iFi Audio is a company with products that I’ve had the pleasure of auditioning at multiple occasions, but never had the chance to really sit down and spend quality time with. Luckily for me, a good friend of mine recently started working for iFi and reached out to me to see if I would be at all interested in spending some time with some iFi products and doing a review of them. How could I say no to that? He got me in contact with Tyler, who sent me a whole box load of iFi goodies as soon as more shipment arrived. I was initially only expecting the Micro iDAC2 and Micro iCAN SE, so you can guess how excited and surprised I was to find the entire stack in the package. Communication with Tyler has been quick and painless. He was able to answer any questions I had and has been very pleasant to talk to.
 
Per iFi’s website, “iFi is a brand new line of electronics with trickle-down technology licensed from AMR and aimed primarily at the future, Computer Audio generation.” As someone who would categorize himself as part of the “computer audio generation,” I’m pretty excited to see how iFi’s trickle-down technology is transformed to fit the needs of those that demand great sound without costing an arm and a leg or need to dedicate half of a room to your audio setup.
 
Big thank you to iFi for the opportunity to finally spend some time listening to products from a company that has gotten quite a bit of praise since their inception.
 
Considering the fact that this is technically a 6 product super-review, I’ve done my best to keep this as informative, yet readable, as possible. Feel free to jump around and find the component you’re particularly interested in. I won’t be offended. Well, I wouldn’t know anyways.
 
Also, I won’t bother wasting space putting all the specs and fancy stuff here. Feel free to visit iFi’s website for all of that good stuff.
 
Finally, I apologize for the picture. They came out a bit darker than I expected.
 
The packaging of the iFi products all follow a very similar design language - simple and clean. The boxes are white with an image of the product and the iFi logo in the front, while a side view of the product can be seen on the side left of the box. The right side of the box has a bunch of logos for the technologies that iFi implemented into each piece, and the back gives you a quick rundown of the products. The back is basically just a mini version of the products page on iFi’s website.
 
With the exception of the iDAC2, which receives its power via USB either from your computer or, in this case, the iUSB3.0, the iFi pieces come with iFi’s own iPOWER power supply which iFi claims has active noise cancellation technology which reduces the noise floor. I probably wouldn’t count on this making a world of difference on the sound, but I also don’t have any way of proving or disproving it. Something else to note is that the iCAN SE comes with a 15V power supply while the iTUBE and iUSB3.0 utilizes a 9V power supply.
 
Overall, I'm not super happy about the accessories and interconnects that come with the Micro products. I love that iFi offers a generous amount of accessories with each piece and the accessories are functional and gets the job done, but they feel fairly out of place when you’re using them with the fantastically well built Micro pieces.
 
The iCAN comes with a red and flat 3.5mm to 3.5mm cable that reminds me a whole lot of Beats by Dre. Despite the fact that Beats have upped their game a bit in terms of the quality of their products, I’m still not totally sure you want your users feeling like their connecting their phone, DAP, or DAC to the iCAN SE with a Beats cable.
 
The iTUBE and iDAC2 come with purple dual RCA cables, while the iUSB3.0 and iDAC2 come with a clear blue USB cable. The cables certainly get their job done, but the color choice is, again, just a bit odd. Putting the stack onto the iRack, you get a really nice looking setup. However, adding the color show that is the stock cables really takes away from that image in my opinion. Going with black might be a bit boring, but it's more low profile and brings out the nice chassis of the products.
 
Looking at the brighter side of things, iFi supplies a small screwdriver for the iTUBE and iCAN SE to make adjusting gain easier - a very nice touch. The rubber feet that are provided with the iFi pieces also have the iFi symbol on it. It’s nice to see little attention to details like this. The 3.5mm to 6.3mm adaptor is also one of the nicer stock adaptors I’ve come across.
 
 
I’ll start by going over the easiest thing to cover out of the iStack. The iRack forms the backbone of the iStack. It’s made from a solid and sturdy feeling organic glass, AKA thermoplastic, and stainless steel pillars. The organic glass component has the iFi logo cut out in the center and the pillars feel very solid. Assembling the iRack was a breeze and every component of the iRack comes together to form a impressively sturdy and stable architecture for the stack. The feet of the stack are machined spikes with matching cups to prevent the spikes from scratching anything. A very nice looking design indeed.
 
The only odd thing I find about the iRack are the o-rings that come with the iRack. I’m not totally sure why they come in a separate bag, but you have to install them onto the pillars yourself. A little odd but I don’t exactly care all that much either.
 
Something else worthy of noting is that while the Micro pieces come with all the interconnect cable you may need, the iRack comes with 3 sets of “upgraded” RCA cables - one 20 cm and two 43 cm. The cables are OFC copper. I’m not sure how much better the material inside the cable itself is compared to the stocks, but the exterior does look a bit nicer than the stock cables that come with iFi products. Does it exude quality and craftsmanship? Not really. It’s no where near as nice feeling as the Mercury or Gemini cable that you can purchase from iFi.
 
The iRack is certainly a good home for the iFi components. Well, it was kind of designed for that. Each component of the Micro series is just slightly longer than the iRack, allowing for the front and back plates of the chassis to lock into place nicely on the rack, preventing it from slipping. I’m not totally sure if that was the intention of the design, as each device also comes with plastic feet. I prefer just keeping the feet off so the chassis stays in place better. Just my own personal preference. The rubber o-rings on the pillars, in addition to its aesthetics, also prevents the chassis from rubbing and scratching against the pillars.
 
Sound Quality:
Say whaaa?? Does the iRack improve the sound quality of the iStack? Well, iFi states that the iRack “is resonance dampened [and] minimizes microphonics.” Get ready for some hype my friends.
 
Okay all kidding aside, I certainly don’t hear a difference and I’d be impressed if anyone hears any changes that’s worth noting. It’s a great looking place to put your iStack though. If you’re already spending the money for the entire iFi set, you might as well pull out the extra 160 bucks and give it a nice home right?
 
The basic principle of the Gemini cable and iFi’s iUSB3.0 is to separate the audio signal from the power source. Thus, the Gemini cable, appropriately named, has two USB A’s on one side, one handling the power and one handling the signal, and a USB B on the other. The housing around the USB plugs are custom designed and quite outstanding. It’s made to match the housing of the rest of the iStack. It feels sturdy and looks awesome. The cable itself has a nice black woven exterior that can be a little stiff, but the quality and feel of the cable is very nice.
 
 
Sound Quality:
Oh boy. So do USB cables make a difference. Well in this scenario, I actually cannot make a conclusion on that. Since the Gemini is so unique in its design and purpose, I don’t have anything to compare it to. Any other USB cable I have takes power and audio signal through the same port. I guess you can say I dodged a bullet on that one. I’ll discuss whether the cable does it job and improves the sound by separating the power and audio signal when I get to the iUSB3.0.
 
 
Now that we’ve gone through the Gemini and the iRack, we can talk about the good stuff.
 
Design and Build Quality:
The design and chassis of the all 4 Micro components are identical besides the changes in inputs, outputs, switches, and volume knobs. Since the idea was to stack them up together, it certainly makes sense that they have the same design language and footprint.
 
iFi’s goal is to target “young audiophiles” and those that are looking for a desktop system to use with their computer. With that in mind, I think the longer design of the Micro products makes sense as it does a good job to conserve space on the desk or shelf that you put the stack on. The ability to stack them of course saves even more space. The products are also small enough that they’re certainly within the realm of transportable gear. I think iFi did a great job designing a set of products that are very good at performing the function that they were designed to do - provide solid audio performance while occupying a minimal amount of space.
 
The bottom of the Micro products have quite a bit of information on them. They list the technologies involved in each product and have a quick description of what it’s intended to do. Most of this information you’ll usually find in a manual. I think it’s an interesting touch for iFi to include them on the chassis itself, although think some may feel that it’s disrupting the clean look of the chassis. For the iCAN SE and iTUBE, the bottom of the chassis also has directions for adjusting gain. I think that’s way better than to have to check the manual. I really like the practicality of it! I also happen to think it looks pretty cool.
 
Onto the build quality. I’ll start with the two fairly minor concerns I had with the pieces. The first was that one of the screws on my iTUBE was loose when I took it out of the box. Luckily I have a set of screwdrivers and found one that fits the screw, so I popped the screw right back in. Not the end of the world. The other issue was that the “Off” next to the volume knob of the iTUBE has rubbed off a little bit. I’m not about to go trying to scratch off the words and logos off the chassis, but it seems that you might lose a few letters here and there through the years, especially if you’re using the pieces as a transportable setup and bringing it wherever you go. For the most part, it seems that the words on the chassis and the chassis itself are fairly resistant to scratches. (NOTE: The iTUBE I received was an open box unit. I have no clue whats its been through. For all I know, the person who had it before could have threw it against a wall. The other units were all new and absolutely flawless).
 
Besides that, there’s not a whole lot of negatives to say about the build, and there’s a lot of good things going on here. The pieces feel sturdy and surprisingly hefty in your hands. Nothing feels loose or inconsistent. I’m personally a huge fan of anodized brushed aluminum and I’m a little sad that the chassis isn’t that, but the pieces make a strong case for itself with a clean and sturdy look. The volume knobs are smooth and have a very slight amount of resistance - enough that the volume knob isn’t going to go haywire if you accidentally brush up against it, and enough to make the knob feel solid but smooth. I’m not the biggest fan of the switches that iFi opted for toggling the likes of their 3D and XBass, as I find them a bit old school and not particularly attractive, but, personal preferences aside, the switches have a satisfying and solid click to them.
 
Honestly, I feel that there aren’t many respectable companies out there these days making components with genuinely concerning build quality - at least on the outside. I think most of them know how to make a well-made consistent product. iFi is certainly no exception. Through and through, the Micro pieces feel very solid - maybe even more so than many portable components since weight isn’t much of an issue for them.
 
 
Listening Impressions:
Listening was done mostly with my Sennheiser HD800 with EQ from Foobar. Some of the albums used during my listening were:
 
Zac Brown Band - The Foundation (16/44.1)
The Eagles - The Very Best of the Eagles (16/44.1)
Billy Cobham - Spectrum (16/44.1) (Really cool album by the way)
Norah Jones - Come Away with Me (24/192) (Also because Norah Jones)
Pittsburgh Symphony Orchestra - Gershwin: Rhapsody in Blue (24/96)
 
And my personal singing group: The Stereotypes - All Tied Up (16/44.1)
It’s certainly far from being the epitome of master audio engineering, but it’s there mostly because I arranged some of the music myself and am very familiar with them.
 
Of course, many more albums were included in the listening, but those are just some of my favorites.
 
Before getting my hands on the iUSB3.0, I used a Schiit Wyrd with my Asus Essence III DAC/Amplifier as I had some noise issues with my old laptop which the Wyrd resolved nicely. While my new laptop doesn’t cause any problems for me, I didn’t find much reason to sell the Wyrd considering the resale value, so it stuck around.
 
Schiit makes no claims as to whether the Wyrd improve the sound or not, although Jason Stoddard did mention that he felt it did something to the sound in one of the chapters of “Schiit Happens.” iFi makes a very different claim about their USB audio solution. They’ve put in a lot of different technologies which they state will improve the audio signal and sound. At 4 times the price, does the iUSB3.0 do what iFi reports it does with all its fancy technologies like the PowerStation+ and ANC+? To really get a sense of what the iUSB3.0 does and how separating the power and audio signal affects the sound, I ran the iUSB3.0 with the power and audio signal separated, the iUSB3.0 with the power and audio through 1 USB port, and the Schiit Wyrd with my laptop and to the iDAC2 and iCAN SE.
 
Okay, so I’ll admit that I was really surprised by my findings. My guess was that there would probably be some difference running the iUSB3.0 with the signal and power separate and the iUSB3.0 with the power and signal together, but not all that much of a difference between the iUSB3.0 with the signals together and the Wyrd. My train of thought was that separating the power and audio signal was what really changes the game. Things didn’t turn out exactly as I expected though.
 
With the Wyrd, the sound is a little warmer and slightly thicker, with a slower low end, a more forward midrange, and an overall softer tonality with imaging and soundstage that’s just slightly behind the iUSB3.0. Feeding both audio signal and power to the iUSB3.0 through the same port, you get an overall flatter sound compared to the Wyrd with a cleaner bass, more extended top end, and just a tad more headspace and air for an overall crisper sound. Running the power and signal separate and you don’t get too much of a change in sound signature compared to running the power and signal together. You do, however, get crisper imaging, separation, and speed.
 
When I say things like “a little,” “slightly,” “a tad,” I really do mean that. There's without a doubt noticeable change between these products and configurations, but not exactly a world of difference. Is iFi selling snake oil with the iUSB3.0? Certainly not. I think it does exactly what it claims it does. Is what iFi claims the iUSB3.0 does worth the 400 dollar premium? Eh, well, not for my current setup at least. It’s like what many people before me have said already - there are more important things to upgrade. You’ll get a hell lot more of a difference in sound quality jumping from an HD700 to an HD800, for example, than you will adding the iUSB3.0 to your setup.
 
But what if you already have the HD800 and an awesome amplifier and DAC and all that good stuff? Are you missing out without the iUSB3.0? A little bit. It’ll certainly improve what you already have. Will you want this product? If you’ve dropped that much cash already, I assume you’d at least be slightly interested in knowing how you can improve your setup even further. Should you get this product? Well if you’ve already spent so much on your setup, I think the 400 dollars may be a worthy investment.
 
I actually got the chance to spend some time chatting with some guys over at iFi. One of them hinted to me that the Micro iUSB3.0 is really designed for ultra high-end setups. For my setup of my approximately 2,000 dollar Essence III and my HD800, he said that the 200 dollar Nano iUSB3.0 would be more appropriate and give me very similar results for 200 dollar less. If this is true, I certainly think that the Nano iUSB3.0 would be worth a serious consideration, as there is undoubtedly an improvement in sound quality. However, it also confuses me as to why the iUSB3.0 is considered to be part of the Micro stack. Afterall, the iDAC2 and iCAN SE will only run you around 700 dollars or so, and while they’re certainly good product, they’re not ultra high-end.  It seems the Micro iUSB3.0 is actually overkill for the Micro stack, but I’d hate to ruin the clean look of the Micro stack with a random Nano in the mix.
 
The iUSB3.0 is definitely one of the last things that you should considering adding to your setup. If you’re really happy with how everything sounds already, then I would feel that the iUSB3.0 is worth looking into to get a little bit more out of your system. I think for most people though, the Nano may be the way to go over the Micro.
 
To test the iDAC2, I compared the DAC section to the DAC of my Essence III, iBasso D14, and Lotoo Paw Gold using the iCAN SE as the amplifier. Of course, the iDAC2 also works as a DAC/Amplifier all-in-one device, so I’ll compare the amplifier section of it to the iCAN SE as well to see how much of a step up the iCAN SE brings to the table.
 
To be honest, comparing the iDAC2 to the DAC of the Essence III isn’t all that much of a comparison. The E3 is more refined by a fairly substantial margin, which should come as no surprise since the E3 is an approximately 2,000 dollar product designed with being a DAC as its primary function. The E3 is more spacious with better height, width, and much better depth along with better low end extension. The iDAC2, on the other hand, has a more energetic sound. The treble has more sparkle to it but it doesn’t have the control that the E3 has, making the high end sound a little splashy in comparison. So the conclusion you can get from this is that the iDAC2 is certainly not setting some super crazy new standard with its performance at its price.
 
To use the DAC of the D14, i used a 3.5mm to dual RCA cable in order utilize the line out of the D14. Priced at around 230 dollars, it’s a bit less expensive than the iDAC2 but its performance is also more in line with the iDAC2 than the E3 is. I really like the sound of the D14 and I think it's a fantastic performer at its price. The iDAC2 certainly kicks things up a few notches though. Most obvious to me is the low end of the iDAC2. While the iDAC2 doesn’t quite have the last bit of extension that you get from the E3, it demonstrates that it still maintains a great sense of low end texture and extension which the D14 can’t keep up with. Other noteworthy improvements include slightly better depth and width to the music. In addition, the iDAC2 has better detail and texture than the D14 throughout the frequency range. Compared to the iDAC2, the D14 sounds just bit too soft and smooth to compete with the detail and texture of the iDAC2. A common theme comparing the iDAC2 with the E3 and D14 is that the iDAC2 is a very engaging DAC to use. It’s got just the right sense of crispness and edginess to make the music exciting, but it doesn’t sound harsh, forward, or distracting in the least bit. I’m pretty impressed with how much improvement in the sound comes from spending around 130 dollars to step up to the iDAC2 from the D14. But then again, the D14 is much smaller and has a killer battery life, making it a true portable device while the iDAC2 remains chained to your desk.
 
The amp section of the iDAC2 is impressively quiet. Like, really impressively quiet. With my Zeus-R, the background hiss is almost inaudible. That is a REALLY big deal. Unfortunately, despite it having such a great noise floor, the iDAC2 isn’t the most IEM friendly. It has a bit of channel imbalance and is a bit too loud to use with an average IEM once you get past the imbalance. For those using more difficult to drive IEMs or headphones though, the iDAC2 has a lot going for it.
 
As an all-in-one combo, the iDAC2 is a very transparent sounding piece. While it’s nowhere near pushing the HD800 to its fullest in terms of the size of the soundstage, the iDAC2 is very open sounding with accurate imaging. The high’s are a tad accentuated, but well-controlled. The midrange to me suffers a little bit to me and is a little bit on the thin side. Finally, the bass is tight and clean, but doesn’t exude the most confidence when it comes to extension. This is, of course, coming from a guy who’s used to listening to his HD800 on a much more expensive setup. Overall, the iDAC2 as a DAC/Amplifier is perhaps a little sterile in its sound, but is an absolute killer product at its 350 dollar price.
 
Switching the amplifier duty to the iCAN SE, and a lot of the little issues I have with the iDAC2 as a DAC/Amplifier is resolved. The sound is smoother, more organic sounding, and more linear as a whole. The treble is more controlled, so you don’t get the sense of air that the iDAC2 amplifier gives you, but treble detail is cleaner and you still get an open sound. The midrange is the biggest improvement without a doubt. Midrange sounds fuller and a good bit more natural. Separation is also a better and the iCAN SE is able to push the soundstage of my HD800 out further. Bass also hits with more authority, texture, and extension. The iCAN SE is a clear and obvious upgrade to having just the iDAC2 on its own. No surprise there though.
 
The only thing I’m not totally sold on the iDAC2 is the 3.5mm headphone output. Since it’s not particularly in-ear friendly, why not go for a 6.3mm. I guess it works fairly well with portable headphones, but I can see a lot of people wanting to drive something like the HD650 or AKG 7XX with these. Just a thought though, as it’s nothing a 5 dollar adaptor can’t resolve. Again though, seriously solid performing product.
 
The iTUBE is a bit more of an interesting product as it’s not something you see as commonly in a headphone setup as you would in a speaker setup. It's a buffer stage/pre-amplifier that gives you the option of adding some tubey goodness to your setup.
 
The goal of iTUBE’s Digital Antidote Plus technology is certainly not a new idea, but it’s an interesting one. The battle between digital and analog sound continues, and many people prefer a tube sound to smooth out the harshness of digital files. Of course, others camp say that tubes introduce distortion into the audio signal and all hell breaks loose, but that’s a different story. The Digital Antidote Plus looks to address that harshness of a digital signal. When I first flicked it on, it was apparent right away that something was different, but I couldn’t quite put my finger on what it was. The sound didn’t sound as crisp, and I almost wanted to say that the sound was perhaps darker, but that wasn’t the case. I tried to convince myself that the sound was less detailed with the switch on, but the textures in the music held strong. Simply put, a crisper sound doesn’t necessarily mean better or more detail. What the Digital Antidote Plus does is smooth out the edges in the music. Detail levels aren’t affected, presentation doesn’t change, and the sound signature remains intact. I was convinced that the sound isn’t as detailed or airy with it turned on, but that’s just not the case. I think a lot of people will come to enjoy this as the sound is just a bit more fluid and smooth as well as being less harsh and fatiguing in the long run. It’s a small change to the sound, but a good one.
 
If I was to guess, I would say that the 3D HolographicSound system of the iTUBE was designed more for speakers in mind. First off, the diagrams on the iTUBE product page depict and discuss a speaker setup while the diagrams of the technology on the iCAN SE page depict and discuss headphones (yes’ I’m a genius right?). The description of how it functions is also different. Secondly, the 3D effects of the iTUBE is very different from the iCAN SE, and the 3D effects from the iTUBE can sound pretty wonky through my HD800. I like that iFi took the time to actually design these settings to work for their intended application. They easily could made the two work exactly the same and called it a day. They didn’t take the gimmick route though, which is nice to know.
 
The 1 setting of the iTUBE gives the sound a bit more air between instruments and more height and width. The overall sound is also a little more forward. It’s not a huge world of difference like many digital 3D processes. The 3 setting is what gets kind of wonky. The sound is quite a bit more forward, and the soundstage becomes very “around your head.” Instruments in your right and left field actually get pushed slightly behind your ears, and everything sounds very open. The upper end is a bit more pronounced, while the low end loses a bit of impact. You end up with a surround-sound sort of presentation with your headphone that’s honestly pretty cool but gets tiring pretty quickly. The sound is fairly aggressive and forward so you’re kind of constantly bombarded as everything demands your attention. I will admit that I had some fun with this, but it’s  not something I’ll be using long term.
 
Oh, also, all of iFi’s switch settings for 3D and Xbass are either off, 1, or 3. 2 is just kind of out of the equation. My guess is to differentiate 1 and 3 more easily on the chassis, as the settings are marked by dots and "off" is marked by a dash.
 
So other than the neat technology that the iTUBE has, what does the iTUBE do? Well, it brings a nice tube sound to your solid state amplifier! While I wouldn’t say the changes with the iTUBE are dramatic, it’s certainly not subtle. The iTUBE gives a smoothness to the sound while taming the high’s just a tad. It definitely doesn’t destroy the integrity of your setup - you’ll still feel like you’re listening to your rig, but it does add that tube flavor you’d expect. Overall, certainly not a must have device, but a good and insanely versatile product that’s worth looking into.
 
 
To test the iCAN SE, I used my Essence III as the DAC and compared the amplifier section of the Essence III to the iCAN SE. To put it bluntly, while there was quite a gap between the iDAC2 and the E3’s DAC, the 300 dollar iCAN SE’s performance is dangerously close to that of the E3’s amplifier section. Of course, the E3 was designed as a DAC first, and it happens to have a good, but certainly not end-game, headphone amplifier.
 
The sound signature of the two are more similar than they are different. Both are very linear with a very slight hint of warmth to keep the sound from being too sterile. The E3 has a little bit more extension in both ends with more prominent bass texture and air. Besides that, the presentation of the two really are quite similar.
 
Where the E3 does flex its guns a bit is in soundstage and imaging. The E3’s sound just feels more coherent overall. The E3 continues to expand on the HD800’s soundstage, and the pin point accuracy of the imaging as well as the sense of depth, in particular, are clearly superior on the E3. Detail levels are a little better on the E3 across the board, but the fact that I’m not simply dismissing the iCAN SE as being inferior is quite an accomplishment. The scaling potential of the HD800 is incredible. Give it a really good setup, and it can be an absolute monster. The iCAN SE is certainly not that, but considering its price and size, it’s pretty awesome how much it can squeeze out of the HD800. This is a product to seriously look at when you're lacking space.
 
When pairing the iCAN SE with my Zeus-R, for some reason, there’s actually a bit of electrical noise. I’m not sure why it’s there, because I don’t have this issue with any other IEM I have. It' s just kind of an unsolved mystery to me. The iCAN SE actually plays pretty well with IEMs. It has a clean, dark background and the inclusion of a gain setting means that, unlike the iDAC2, there’s more room to play with. When iFi says that the iCAN SE “can handle them all,”” they weren’t messing around. Versatility - check!
 
Speaking of versatility, the XBass bass boost of the iCAN is impressively usable. Bass boosts have gotten the reputation for being basically useless, but it’s not the case here, and I encourage users to give it a chance. At the 1 setting, the bass has a relatively gentle boost that very much keeps the integrity of the music intact. Bass speed and resolution remain good, and you get a noticeable, but not distracting, bump in bass impact. I have to admit that I find this setting pretty useful and do find myself flicking it on every now and then. At the 3 setting, the boost is more prominent and I do start to hear the bass quality deteriorate a little bit. The bass feels a bit slower and overall resolution takes a bit of a hit as well. The extra bass is fairly moderate and not overwhelming by any means, but I personally don’t find myself needing this much of a bump in the bass.
 
With versatility in terms of both sound adjustments and drivability, you’re really getting a whole lot in terms of value and size.
 
Putting it All Together
What I really appreciate about the iFi stack, is the amount of versatility it has as a set. With all the technology iFi put in each device, you get a setup that has the ability to present music in many different ways - I would say technically 54 actually. You can be sure that you’ll be able to play around with all the different settings to find one that you works for you - even if that means having everything turned off. Each switch is significant, but gentle, so you have quite a wide spectrum of sound to choose from. For example, the 3D setting, between the iTUBE and iCAN SE, gives you a spectrum of 9 possible 3D settings, ranging from normal, to super crazy weirdness around your head. The in-betweens are impressively usable and I would definitely suggest you play with it before you come to the conclusion that any sort of 3D or bass boost is blasphemy and ruins the integrity of the music.
 
 
Recommending the Micro iStack is a bit of an interesting dilemma. Individually, I think they’re good products, but when you put the stack together, you’re looking at around 1,500 dollars or so. At that price, you’re competing with some very good DAC/Amp devices. For example, I would probably suggest someone spend the extra 500 dollars and get a E3 if they can find one around.
 
Breaking it down, I think the iDAC2 and iCAN SE are strong performers with good value. These are products I can recommend with relative ease. At 650 for the combo, you get solid performance with some versatility in a small package. The iDAC2, especially, is a good DAC at the 350 price point, and the included headphone amplifier is just icing on the cake.
 
The iUSB3.0 and iTUBE, on the other hand, are more sort of luxury add-on products. In comparison to the iDAC2 and iCAN SE, they don’t bring nearly as much bang-for-your-buck to the stack - especially when you realize the iUSB3.0 and iTUBE together constitutes over half of the cost of the iStack. However, they can do some good things to your sound, and I think pairing them with some reference level products will create very positive changes for a relatively affordable price. For example, when I look at pairing the iTUBE with the iCAN SE, I think it may be wiser getting a tube amplifier at the combined price at the cost of some versatility and transportability since the improvement isn’t really worth doubling the cost. In contrast, if you’re pairing your HD800 with a highly detailed setup, the iTUBE suddenly seems like a no brainer if you’re looking to bring more life or smoothness to your sound without any significant compromises. And I’ve mentioned earlier, I think most people will probably find better value with the Nano iUSB.30 at half the price of the Micro.
 
So in conclusion, I feel that each of the Micro products deserves some attention, especially the iCAN SE and iDAC2, but the Micro products as a stack is perhaps an odd combination of products. What you’re paying for with a fully loaded stack is good, but not mind-blowing, sound with an incredibly degree of versatility both in sound and in function and size. If you’re looking for the stack with amazing value, then stack up the iDAC2 and iCAN SE and be impressed with what these two little boxes can do together. On the other hand, if you have a mature audio system, I think you’ll be happy with what the iUSB3.0 and iTUBE can do for you.

T-PEOS is a company that I have some degree of familiarity with. They seem to be a company targeted towards the lower-mid budget market with offerings that seem to focus on a generous amount of bass. I got the opportunity to test and review the Altone 250 about a year ago and, honestly, I didn’t view it in the most positive light. I’m happy to say that the Rasiel is a bit of a different story.
 
I was approached by James Park, who is, from what I know, a relatively new representative for T-PEOS. James introduced me to what they called their new “Vacuum Tube Earphone.” Interested in hearing what they mean by this, James arranged for a review unit to be sent to me.
 
The Rasiel arrived at my doorstep much sooner than I had anticipated. The people over at T-PEOS certainly move fast. The packaging isn’t anything to be wowed by but it’s certainly nice. There are a lot of sub 100 dollar earphones out there that pretty much has a non-existent presentation of their product. The Rasiel comes in a gloss black box that displays the earphones in the front and some details about it in the back. While I would say the packaging isn’t quite on the level of what Brainwavz offers, I’d certainly give it a passable grade. The packaging has a nice presentation to it and protects the Rasiel well. That’s more than enough for me when it comes to an earphone that’s 40 dollars.
 
The accessories that come with the Rasiel are pretty bare-boned. The earphone comes with 3 pairs of silicone tips of S/M/L sizes as well as a set of comply tips. That’s pretty much it. I would have loved to see some sort of pouch or even a softshell case, but unfortunately that’s not the case. Something like a shirt clip would also have been a very nice thing to have. Again, considering the price, it’s not the end of the world, but these little things can certainly make a product feel more well-rounded or premium.
 
The second I glanced at the Rasiel, and it immediately reminded me of the Piano Forte series from Final. The unique horn speaker design seems to be one that quite a few companies have tried their hands at. I'm a fan.
When it comes to build quality, the Rasiel might just take the prize for the most well-built earphone I’ve had the pleasure of testing in the sub 100 dollar price range. The earpieces are made of a glossy metal material that feels very solid. The right/left indicators is a little interesting in that the right piece has an R etched on it while the left piece has the company’s logo etched on it. Once you realize this, it’s certainly not a problem. However, I definitely spent a solid minute awkwardly staring at the left earpiece trying to figure out if it’s the right or the left. The housing also has a vented port for the drivers. From my experience, it doesn’t seem to affect the isolation too much. The isolation is good and comparable to the level of isolation you’ll find in other earphones.
 
 
Back when I reviewed the Altone 250, I had a whole lot to complain about with the cable. It kind of sucks a lot. My experience with the Rasiel’s cable is a complete 180 degree turn. Like the cable of the Altone 250, the cable has a bit of a rubbery texture to it and a nice metal Y-split. That’s about it as far as similarities go. Below the Y-split is a very tightly braided quad-braid. It’s certainly a breath of fresh air compared to a lot of the other cables that other companies offer with their lower priced products. The cable feels solid and is very manageable. It also doesn’t retain too much memory but can be a little bit prone to tangling due to its rubbery exterior. Above the Y-split, the cable has a thin plastic covering over the dual twist of the cable - I’m guessing to prevent the twist from unwinding. The 3.5mm jack is a nice 90 degree angle metal piece with some strain relief. There is also some strain relief between the housing and the cable, but again, nothing overly protective.
 
I have 2 small complaints regarding the cable of the Rasiel though. The first is that T-PEOS still hasn’t included a chin slider. This is where that shirt clip might come in handy. The other is that the cable noise is still somewhat noticeable. Much improved from the Altone 250, but still a bit of an issue for me. Again, maybe that shirt clip would come in handy right about now.
 
The Rasiel also features a 1 button control talk remote which is, interesting, probably the most plastic-y part of the earphone. The housing of it is a blend of metal and plastic with the button being plastic. The button has a nice click to it, but overall, the remote doesn’t exactly exude the feeling of quality like the way other aspect of the product does, and feels a little out of place.
 
 
In terms of fit and comfort, the Rasiel fits easily and very well. Despite having a bit of weight to it due to its metal housing, it doesn’t fall out of my ears as a result. The issue I have with the overall comfort of the Rasiel doesn’t come from the earphone itself, but from its ear tips. To me, they’re just a bit too stiff. With a quick and easy switch of the tips, you can have a very comfortable earphone that you can keep in your ears for hours without any issues.
 
Like with almost all of my other IEMs these days, listening of the Rasiel was done with my Lotoo PAW Gold. Yes, I listened to a 40 dollar IEM with a 1600 dollar player. The LPG is a player I’ve become very familiar with and using it for all my IEM listening at least removes one variable from the equation.
 
The bass on the Rasiel is big. Right off the bat, this is not a product for those looking for a reference sound. But then again, why would you look for a reference sound from a 40 dollar earphone? Bass hits are authoritative, heavy, but somewhat diffuse with a generous about of mid bass bump and some roll off in the sub bass. Sub bass texture is also somewhat lacking, but as an overall package, I think the bass performance is actually fairly good for the price and its bass heavy presentation. Bass hits still have a focal point of impact and, while the heavy low end certainly affects the midrange a bit, I think it’s acceptable and certainly not as bad as some other more budget oriented products I’ve heard.
 
The hefty low end emphasis certainly exhibits itself into the lower midrange. The lower midrange is a bit thick and certain vocal syllables can be emphasized and resonate a bit oddly as a result. Compared to the lower midrange, the upper midrange is a good bit more relaxed. Overall, vocals are fairly laid back and but a good sense of warmth to them. While I personally feel that the midrange isn’t particularly engaging and a little too shy, I think the Rasiel has one of the better midrange presentation at this price point. Overall detail and resolution is honestly not bad, and while the timbre is still overly warm, it’s one of the more natural sounding I’ve come across. Yes when I first listen to it, it’s a little wonky, but it’s something that my ears can adjust to. There are a lot of in ears at this price where no matter how much time I spend with it, it just flat out sounds wrong.
 
The treble response of the Rasiel is fatigue-free, smooth, but respectably well-textured and quick. Actually, the treble surprised me quite a bit. It tends to get lost a bit when the bass starts to take over since it’s fairly polite, but it always manages maintain itself with a good sense of crispness. It’s when the low end takes a break, though, that you actually realize the treble’s pretty good. In terms of overall quantity, I would probably ask for a bit more as you don’t really get too much shimmer or sparkle out of it. Those in favor of a smooth treble will be happy with what it has to offer.
 
Overall soundstage of the Rasiel is not bad, but what does deserve some snaps is the separation and imaging. The lower end does smear a bit and isn’t particularly well-separated, but the midrange and treble has some impressive separation. The soundstage is certainly not expansive, but it does present the sound in a way that’s not claustrophobic and completely in your head. I was actually happy to hear that the Rasiel does have some degree of layering to its sound, which is not something you see too often in this price range.
 
 
There are some absolutely monstrous IEMs in the sub 100 dollars market today – maybe even sub 50 dollars. The Rasiel is, well, not one of them. Compared to some absolutely amazing IEMs like the Zero Audio Tenore, Shozy Zero, or the modified Fostex TE-02n I recently heard (which is probably one of the most natural sounding IEMs I’ve heard below 500 dollars), the Rasiel certainly doesn’t stack up. But that’s also because the Rasiel offers something very different. If you’re looking for something that’ll give you almost as good of a sound as your audiophile setup but on-the-go to places you might not want to bring your expensive gear to, then I would certainly suggest one of those products to you. But for those who just want to feel the bass pump or for those that’s not looking for that flat sound signature, the T-PEOS Rasiel is one of the IEMs that does a better job than most.

HIFIMAN’s (HFM) newest product to their lineup, the Edition X, has been tour all over the US thanks to HFM’s willingness to loan out quite a few units for enthusiasts to listen and review. Many people have already put forth their opinions and reviews of the Edition X, and I’m certainly one of the later people to get their hand on the Edition X.
 
Despite the fact that a lot has already been said about the Edition X, I hope to bring a slightly different approach to the Edition X as well as how a typical review generally goes. I recently got my hands on a lightly used HD800. As expected, the sound was hyper-detailed but a bit thin with quite a brutal peak at around 5kHz (although I believe most HD800 have a peak more around 6kHz). In an attempt to get the best sound out of the HD800 without the sterility and harshness, I turned to experimenting with EQ. I thought I’d share my findings EQing the HD800 and how it compares to the Edition X here. While one may argue that the Edition X’s biggest competitors may be more along the lines of the Audeze headphones, I feel that, even after 6 or 7 years, the headphone to beat, in many ways, is still the HD800 and, of course, the newly introduced HD800S.
 
HFM is certainly a company that has got the presentation of their products figured out. The packaging of the Edition X, while not as luxurious looking as the leather box of the HE1000, feels luxurious and looks beautiful. The overall presentation of the headphones are basically identical to that of all other HFM headphones. The headphones sit inside a foam cutout with the cables and accessories in a small compartment in the middle of the foam cutout.
 
Since the Edition X is advertised to share similar qualities with the HE1000 while being even easier to drive, HFM included a cable terminated with a 6.3mm jack as well as one with a 3.5mm jack - although the cable isn’t particularly friendly for portable use either. Both cables are sturdy, a bit stiff, and certainly more suited for home use.
 
If you ask me, HFM’s has certainly tightened up the QC for their products since being under fire for quite a few years for having some big quality inconsistencies and issues. I’ve had the fortune of having 4 different HFM products pass through my house, and I haven’t had any sort of issue with any of them.
 
However, looking at the Edition X, you can’t help but wonder how HFM got the idea of using the shiny plastic coating, similar to that of the HE400i, for the Edition X. The HE560, being about 1000 dollars shy of the Edition X, at least has some nice wood veneer on its earcups. an interesting decision, but unfortunately one that hurts the presentation of the Edition X as a premium product if you ask me. I get that the Edition X is supposed to look like the younger brother of the HE1000 like how the HE400i looks like the younger brother of the HE560, but perhaps HFM forgot that they're still dealing with a 1800 dollar product and a plastic finish just doesn’t quite cut it.
 
One of the biggest improvements HFM made with their new lineup has to be comfort. While I absolutely despised how uncomfortable the older models were, I’ve found the newer models to be quite comfortable. The HE1000, despite being very large and a bit heavy, sat comfortably on the head and didn’t cause any sort of pain over time. The Edition X is certainly a comfortable headphone as well, but being just a tad smaller than the HE1000, the earpads are also a little bit shallower and do come in contact with my ears a little. Through a period of a few hours, the earcups do end up giving my ears some discomfort. Other than that, I found the Edition X to be well built and comfortable despite the questionable choice in material for its finish.
 
 
As promised, HFM delivered a high-end planar magnetic headphone that can be driven by portable players. My Lotoo PAW Gold drove the Edition X with no problems - very well, if anything. However, the Edition X is still a headphone that is capable of scaling. In addition, it’s still a bulky open-back headphone. For those reasons, most of my time spent with the Edition X was with my desktop setup and my Asus Essence III. Plus, I wanted to compare the Edition X to my HD800, so I had to keep my setup consistent.
 
The Edition X is a headphone that is most easily described as being organic and smooth sounding. Bass extension is good and the midbass presence is north of neutral - but not overbearing. Midrange is smooth with a soft quality to it while the treble is also a bit more on the relaxed side of things. When I first heard the Edition X, I heard the sense of softness that a lot of people pointed out about the HE1000 - but to a greater extent. Unfortunately, it was a to a point where the sound didn’t sound quite right to me. Overall, the sound is within the realm of neutral to me, but with a downward tilt to the sound.
 
If one is to compare a stock HD800 with the Edition X, well they’re in for a real challenge. Switching to the Edition X from the HD800, the Edition X sounds bloated with a smaller soundstage and unimpressive imaging. Going vice versa and the HD800 sounds ultra thin, sterile, but much more detailed as well. The HD800 is not a neutral headphone. In all honesty, I would say the Edition X is closer to neutrality than the HD800 is.
 
I received my HD800 a little before getting the Edition X unit, so even before I got the Edition X, I had decided to compare the two headphones and see how tweaking the HD800 changes its sound. I used Tyll’s “Big Sound” findings as a baseline (LINK) and tweaked the HD800 further with a 30 band EQ to get a sound that is close to neutrality but enjoyable for me. I would describe the sound to be very gently U shaped but with a midrange that is very accurate and uncolored. I was thrilled with the results to say the least.
 
 
Comparing the Edition X to the EQed HD800 is a much more doable feat. The Edition X still has more of a midbass bump to it, a richer sounding midrange, and a smoother treble, but the two are no longer on opposite poles of things. Comparing my EQed HD800 and the Edition X is what really got me thinking about the price of the Edition X and why there are people out there so against EQing their headphones. The HD800 now retails at about 500 dollars less than the Edition X, and I honestly find the EQed HD800 to be superior in a lot of ways to the Edition X. As expected from the king of dynamic drivers and king of soundstage, the soundstage and imaging of the HD800 is simply in a different league. The HD800 bass response is faster, cleaner, but I will give the edge to the Edition X in terms of low end texture. Midrange and treble detail of the HD800 is also superior to that of the Edition X.
 
 
It’s easy to see that I highly preferred my EQed HD800 to the Edition X. Some may make the argument that messing with the digital signal can only lead to degradation of the sound. Whether that’s true or not is not what I’m here to debate. What I’m here to share is my experience with EQing the HD800 and how it compares to a more expensive headphone - the Edition X. Whether the sound is degraded by EQ or not, I’m able to achieve a sound that is similar to that of the Edition X while having a listening experience that’s far superior in terms of detail and realism. I think that speaks enough on its own.
 
It’s a bit of a bummer. I’m honestly quite a big fan of HFM. I think the HE1000, despite being pricey, is an absolute work of art while the HE560 gives you a taste of what a flagship sound is like without the premium on the price. Meanwhile, the Edition X in between the two does… well I’m honestly not sure what it does. I guess it brings a flagship sound to a truly portable market in some ways. To be completely honest, if you’re looking for the best sound out of a portable player, the Edition X might just be the best option you’ve got. The only issue is I can’t see someone truly using it as a portable headphone. On the other hand, I don’t find it to be particularly competitive in terms of flagship headphones for home use.

So my conclusion? Well it seems HFM designed a product that, on paper, is fantastic for a certain market (the portable market), but the product itself still doesn’t fit in such a market. Meanwhile, the market it seems to fit much better in (the home audio market), is filled with contenders that are simply superior. I feel that the Edition X is sort of stuck in an awkward in-between.. If you can find a situation where the Edition X truly works well in a portable setting, then I think the Edition X will be a great addition to your collection. But for probably 99% of the population, the Edition X, unfortunately, seems like a bit of a miss to me. On the other hand, there’s no better time to buy a HD800. It’s price has gone down thanks to the release of the HD800S, and it’s used price is lower than ever. You can really get a lot out of some research on what a good EQ can do.

I’ve been acquainted with Jack of Empire Ears since his earlier days as the CEO of Earwerkz. Back then, I was a happy customer who was lucky enough to pick up a pair of Supra-II during their Kickstarter campaign. Upon hearing that Jack plans to start again under a new name, I was honestly pretty surprised. While I never got a chance to give the Legend R or Legend Omega a listen for myself, the Earwerkz flagship was certainly a product that has garnered quite a bit of respect amongst enthusiasts and reviewers alike.
 
The decision to start again was certainly sudden and surprising for many of us, but it seems that Jack has great confidence and pride in his new lineup. With the exception of the Supra-II, all of the Empire Ears models were created from the ground up and Jack was confident that his new lineup exceeds even the performance of the popular Legend R. I had the good fortune of having the opportunity to spend two or three weeks with the entire Empire lineup the few weeks before the Zeus was even announced – my thoughts were quite positive to say the least (Empire Ears Impression). After giving the lineup a listen, I kept in contact with Jack and he was generous enough to offer me a custom review unit of the Zeus. Having heard the universal Zeus already, I chose to purchase the review unit at a discount. I would like to extend my gratitude to Jack and his team for the opportunity to listen to the Empire Ears Lineup as well as my beautifully handcrafted Zeus.
 
The last IEM I reviewed was Ultimate Ears’ reference monitor – a beautiful and incredible sounding three driver monitor. In the review, I not only praised the UERM for its fantastic sound and sonic capabilities, but I also pointed out that the UERM only contains three drivers and emphasized quite heavily that more drivers does not mean better. Well, ironically, I now find myself with an IEM that might just be the epitome of “more drivers is better.” As the world’s first and only 14 driver monitor, the Zeus would naturally be under some skepticism and attack regarding the number of drivers in its design. Jack has been vocal about his hopes that the Zeus will be appreciated for what its capable of rather than to be seen as a gimmick of “more drivers is better.” Of course, no manufacturer would wish for their product to be seen as a gimmick. My hope is that I can put forward my own opinions regarding this subject through this review.
 
 
The packaging and accessories that Empire offers is simply fantastic. Everything has been customized with the Empire theme and logo and Empire also includes quite a bit of accessories to go with their products. The extra gold-color accessories to differentiate the flagship Zeus from the rest of the lineup is also a nice touch. The unboxing experience is one of the most fulfilling that I’ve experienced.
 
 
The Zeus comes in a very study and quality feeling box – with gold logo of course. Inside, the hard case is covered by a very nice large microfiber pouch. The hard protective case is one of the best that I’ve encountered. While many companies use otterbox or pelican cases, Empire opted to use a different case. This case, made by a company called S3 (I believe), is one that is not seen as often as the others. I’m not particularly familiar with the company that makes the case, but I did recognize the case as it’s the same case that came with my Aurisonics ASG-2 a few years back. Of course, Empire really stepped it up and made the case absolutely beautiful. The case has an awesome brushed metal look to it with the Empire logo and individual’s name (or nickname) engraved onto it. What I really like about this case is that while it’s just as sturdy as the other cases, I find it to be much easier to open and close. Empire also lines the inside of the case with solid foam for maximum protection. In addition to the large microfiber pouch, there is also a microfiber cleaning cloth and small pouch – all, of course, with the gold logo for the extra bling.
 
In addition to the aesthetic upgrades to the accessories that come with the Zeus, the Zeus (in addition to the Apollo) also comes with BTG Audio’s Starlight cable as the stock cable. I’m personally a bit more lukewarm about this as I’m not as fond of the Starlight cable as some. The braid isn’t particularly tight (partially for ergonomic reasons I assume), the cable is a bit stiff, there’s a reasonable amount of cable noise, and it doesn’t feel quite as premium to me in comparison to other aftermarket cables. Of course, I have been spoiled a bit by more premium priced aftermarket cables, but I feel that the Starlight doesn’t compare well even to similarly lower cost aftermarket cables, from the likes of plusSound Audio for example, in terms of ergonomics. It’s just not a particularly comfortable or premium-feeling cable to me.
 
At the same time, however, I’m not able to give any thoughts about whether the Starlight cable changes the sound or improves the sound of the Zeus in comparison to the stock cables – since I don’t have a stock cable to compare with. I have chosen to use a Norne Audio 23 AWG silver cable with my Zeus. I’ve played around with cables quite a bit before and while I have found that cables can mess with the sound signature or presentation of the music a bit, Norne Audio’s CIEM cables are the first cables I’ve experienced that I feel truly improve the sound of a CIEM. At the end of the day, Empire is offering an upgrade cable to go with their top-tier products and that’s certainly not something to complain about.
 
For those looking to get a universal product from Empire, Empire also includes Spinfit and comply tips with their products. I’m personally a huge fan of Spinfit tips and I’m very happy to see a company utilize them as their stock tips.
 
The only thing I can think of that is missing would be a 3.5mm to 6.3mm adaptor. While the Zeus is designed with stage musicians in mind, I think it would still be a good accessory to have – considering the fairly low cost of including it.
 
 
So my ears are really small. So small, in fact, that UE had to make some adjustments to the internal components for my left ear. Yes, they had to make adjustments for my ears on a three driver CIEM. So on one hand, I’m thinking of how Empire’s going to pull off fitting 14 drivers into my ears, while on the other hand, I remember how manageably small the Zeus universal unit is and think there may be hope for me after all. Unsurprisingly, Empire made it work. From what Jack told me, they actually had to restart my unit a few times due to the difficulties of stuffing 14 drivers within such a small shell along with some QC issues that arose because of that. It’s for this reason that my Zeus was actually delayed and took longer than the 10-15 day turnaround time that Empire’s known for. Despite the delay and extra wait time, it makes me a bit relieved to know that Empire isn’t moving on until they get it exactly right.
 
Inspecting the Zeus upon its arrival, its build is simply flawless – no bubbles, no scratches, no fingerprints, no nothing. Like my Supra, all of the wiring inside the Zeus is also neatly bundled together by plastic tubing for a cleaner look. While Jack and his team can still be considered newcomers to this trade, they’re certainly no amateurs to this form of art. The quality of build and finish that Empire demonstrates is a good step up from many companies that have been around for years.
 
In terms of designing the Zeus, I gave creative liberty to Empire with the few guidelines of: transparent shells, no glitter, and no pink. I wanted to see the design inside the Zeus and I didn’t want anything obstructing my view. Empire delivered with a simply yet elegant and beautiful design that I was very excited and happy with. The wooden faceplates are absolutely gorgeous and the shell colors are beautiful as well. In fact, the transparent blue on the left earpiece is the most beautiful shade of blue I’ve ever seen on an IEM.
 
Despite the Zeus being the largest IEM I’ve ever owned, the Zeus is a very comfortable. The fit is very tight but the IEM does protrude out of my ears a bit simply due to the small size of my ears and the need for to fit 14 drivers in the shell. Some compromise had to be made. Regardless of its size or weight, Empire created what I would consider to be the most comfortable custom IEM I’ve owned to date. Impressively, it’s even more comfortable than my Supra, which was made from the same ear mold that Empire already has on file and also a whole lot smaller than the Zeus.
 
 
Custom monitors are known for their ability to isolate outside noise incredibly well. Interestingly though, the Zeus does not perform as well on this front – for me at least. Of the three custom monitors I currently have with me, the Zeus is the least isolating of the three. The Zeus still isolates better than your average universal IEM, but my Supra and UERM isolate noise more effectively. Considering the fact that the Supra and Zeus were made from the same ear mold, it’s interesting that the Supra is my most isolating IEM while the Zeus falls short in this regard. I remember reading somewhere, perhaps on the Earwerkz website, that the recessed faceplate allows for better noise isolation. On the other hand, my ears are too small for Empire to implement their recessed faceplate and the faceplate even protrudes out a bit. My guess is that maybe this different is what causes the difference in isolation between the two IEMs I have from Jack.
 
Jack puts in a lot of effort in making sure that Empire’s customer service is excellent and consistent. With the exceptions of a few days following the release of Zeus and the holiday sales, when order volumes were higher than usual, you can expect a response from Jack almost within a few hours or a day at most. I personally really dislike automated services or automated messages and appreciate the more personal approach to customer service. It’s always nice to know you’re conversing with a real human being.
 
I actually ran into a bit of trouble with the Zeus a few weeks after receiving the Zeus (100% my own fault), and Jack was able to resolve the issue for me within a day of receiving the Zeus. I was honestly surprised by how fast Jack got the job done for me and I have to give props to Jack for his commitment to great customer service and support.
 
Background Hiss
The Zeus is one of the most sensitive IEM I’ve ever owned. For that reason, it hisses with a lot of sources that I tried pairing it with. With my Lotoo PAW Gold, my go-to everyday DAP, the background noise is present even on low gain. In order to reduce the background noise, I’ve tried using a UE buffer jack with the Zeus. I’ve found that the buffer jack can take away a bit of sparkle in the treble from the Zeus. However, in some instances where the background hiss is really too prominent and distracting, I do find the UE buffer jack to be a wonderful accessory to have. Those that may have a hiss problem and do not want to buy a new DAP can look into the buffer jack as a cheap solution. For those looking for the best can look into UE’s Pro Line Drive, which removes background noise without affecting the sound signature. Another option, of course, is to look for a DAP that pairs well with the Zeus in this regard.
 
Universal vs. Custom
I was very lucky to have the opportunity to hear the universal Zeus and then to have a custom Zeus review unit. While they are the same design internally, my impressions of the two do differ a bit.
 
It seems that my ears don’t cooperate with universal products that Jack’s company creates as well as I would like. About a year ago when I first compared the universal and custom Supra, I found the midrange of the custom Supra to be substantially more natural and impressive. It’s a similar story with the Zeus. I had a conversation with Jack after listening to the universal Zeus where I noted that I found the midrange to be forward and somewhat shouty. My impression of the custom Zeus is much more positive. I also recall the bass of the universal Zeus being a bit more elevated and the overall sound being thicker. I liked the sound of the universal Zeus quite a lot – enough to request a review unit – but the sound signature isn’t typically what I prefer. The custom Zeus I have here has a more balanced sound compared to what I recall from the universal Zeus and I’m actually loving the signature of the custom Zeus. I’m not sure what other people’s experience with the custom and universal Empire IEMs are, but from my personal experience, I highly recommend the custom models form Empire. I only wish I had both universal and custom Zeus at the same time so I can compare the two side by side.
 
 
Listening Impressions
Most of my listening of the Zeus was done with the Zeus directly connected to the Lotoo PAW Gold. I also spent a significant amount of time with the Zeus connected to my Asus Essence III through the UE buffer jack. From my experience with the two sources, I have to say that the Zeus scales spectacularly well. The Lotoo PAW Gold is honestly a pretty impressive sounding player, but the sound you get pairing the Zeus with my Essence III is quite a big improvement.
 
The bass of the Zeus is quite interesting to me as I find that it’s able to take on different characters. The lower bass range is boosted a bit and gives the bass of the Zeus some serious authority when it needs to punch deep and hard. At the same time, it’s able to demonstrate a good degree of control and pull it back when it’s necessary. In essence, the bass emphasis always has a satisfying and necessary presence in the music, but it never feels out of place or overbearing. The bass response is also impressively tight and speedy; never sounding thick or dark as a result of the lift in the sub bass.
 
I find that most of the products from Empire have very good low end extension, and the flagship Zeus is certainly no exception. The bass reaches down to 30 Hz with no problem, and is able to maintain presence down to 20 Hz or so. With good extension and a clean and tight bass response, low end detail and texture coming from its two large BA driver is some of the best I’ve heard on an IEM.
 
I wasn’t completely sold on the midrange when I listened to the universal Zeus, but I’m in absolute awe with the midrange of my custom Zeus. It’s full sounding, a bit warm and a bit forward, giving vocals an addicting and luring sound. Male vocals in particular have beautiful tonality and an incredible sense of clarity. Voices are also presented slightly in front of you so it has a great sense of presence without sounding too intimate. I felt the universal Zeus was a bit more intimate sounding – a bit too much so for my personal taste with the Spinfit tips.
 
The midrange has incredibly capable separation and dynamics. If you’re looking for a BA-based IEM that’s allows you to feel the instruments, this is the IEM for that. You’ll feel every pluck of a guitar string. Midrange texture and detail is absolutely incredible as well with some of the most detailed sound I’ve heard from an IEM. Vocal reproduction of the Zeus is one of the most realistic and live sounding I’ve ever heard. I don’t want to go back to talking about vocals again, but as a vocalist, I find the voice to be an incredibly diverse and unique instrument and I’ve very excited with how well the Zeus is able to reproduce the nuances and timbre of the voice (and other instruments, of course).
 
Like the rest of the Empire lineup, the treble of the Zeus has sparkle but remains fatigue-free. It has the 6 kHz lift that’s found in many of the Empire products (along with many products in general) but rest assured, the extra sparkle there is not overly done and does not result in a sibilant or peaky treble response. Treble extension is good and the upper treble response is relatively neutral, giving the Zeus a natural sense of air, but doesn’t give the Zeus a vast sense of openness.
 
The soundstage of the Zeus makes it a very special and exciting product. It’s not breaking any records in terms of soundstage width or size, but it’s how the Zeus utilizes the headspace that makes it such an impressive IEM. The sound of the Zeus has such a natural sense of openness that it feels in some ways like an open-back design headphone. It’s not artificially open or airy sounding – rather its sound feels like it’s part of the environment you’re in. Again, that’s the sense of space that’s so incredibly natural – not the size of the soundstage itself (it’s still an IEM). In terms of the soundstage size, the Zeus has an amazing sense of 3-dimensionality with incredible depth and height and a good but not amazing sense of width. The sound is also very much out of your head – something that is not easy to achieve on an IEM.
 
The imaging capability of the Zeus is another marvel of the IEM. I’ve pretty much had all the “hear things you’ve never heard before moments” already with past headphones and IEMs I’ve listened to, but the Zeus presents the music in such a clean manner that you hear everything incredibly well. You don’t have to focus and really listen hard to hear anything. The precision in its imaging and its sense of layering and depth means that nothing sounds even remotely smeared. You’re able to discern different instruments or voices even within the center point of the music because the sense of layering is so good on the Zeus that they’re not presented on the same plane on the Y-axis. It’s truly extraordinary and not something you experience often on an IEM – if ever.
 
I considered comparing a few IEMs to the Zeus, but I find the Zeus to have a pretty unique sound and comparing it to other IEMs is a bit difficult. The Zeus is also the most detailed IEM I currently have available to me, so it’s not really all that helpful to just say “it’s better.”
 
As the TOTL flagship model from Empire Ears, the Zeus comes at a steep price. It’s not a product for your average audio enthusiast and certainly not a product for your average consumer. As prices go up, judging the value and worth of a product becomes more and more difficult and very personal. For that reason, I think it would be foolish to take recommending this product lightly. However, what I can offer and say is that I find this product to be more worthwhile than other popular flagships such as the K10 or Roxanne and Layla. I feel that the Zeus offers a cleaner sound than the K10 and Roxanne while being able to compete with the Layla in some regards. Priced somewhere in the middle of the price bracket for TOTL IEMs, I think the Zeus sort of hits the “sweet spot” in terms of value of TOTL IEMs.
 
So is this 14 driver behemoth a gimmick? Well I’m sure Empire takes pride in creating and designing such a complex piece of engineering, but the Zeus does have the sound to justify its status as a flagship product – this is one mean sounding IEM.
 

I first heard the Lotoo PAW Gold (LPG) at RMAF 2015. I exchanged information with XiaoQi of Lotoo and I later contacted him and was given the opportunity to review both the PAW Gold and the 5000. Lotoo sent me both units in a package and I’ve since spend quite a bit of time with them. Actually, I’ve spent a few months with the LPG now, and this review is actually quite a bit overdue. I’d like a give big thank you to Lotoo and XiaoQi for their willingness to send me review units of their products. I’m excited to see Lotoo’s products begin to attract more attention in the west as these are certainly products to keep an eye on.
 
The unboxing experience of the LPG was pretty cool to say the least. I would highly suggest looking up an unboxing video of the LPG on YouTube, as it’s quite unique and hard to describe. There is an exterior gray box that opens like you’re opening an expensive gift. Upon opening the first box, you’re greeted with another box – the actual box that holds the LPG and all the goodies that come with it.
 
The box opens into three layers, and each layer holds different things. The first layer beautifully displays the LPG. The LPG transfers files via a USB 3.0 connection to your computer, and thus, it naturally comes with the appropriate cable. Unfortunately, for whatever reason, my cable doesn’t work and I had to get new one – thank God for Amazon Prime! The LPG also comes with a nice quality microfiber pouch that the LPG fits very nicely into as well as a power cord – since the LPG doesn’t charge via USB. The charger does come with quite a wide variety of adaptors for the charger so anyone planning on traveling a lot should have no problem charging their LPG in a foreign country. Besides those things, the LPG does come with some manuals and guides on how to use the LPG.
 
Something that I was a little disappointed to find missing was a case for the LPG. Yes, perhaps the microfiber pouch was designed for carrying the LPG, but even companies like Astell & Kern offer some nice leather cases for their products. At its price, I would certainly consider the LPG to be a hi-end DAP and, thus, I wish it came with a bit more hi-end accessories.
 
 
In terms of the build quality, the LPG is an absolute monster. The word to describe it is “tank,” as you’re pretty much holding a small brick in the palm of your hands. The chassis is aircraft-grade duralumin, which is a material that seems to be fairly popular with high end DAPs such as some of the offerings from Astell & Kern. The device also has a good bit of heft to it and is perhaps one of the heaviest DAPs I’ve encountered.
 
The screen is a sapphire crystal glass which also feels very durable. The screen does protrude out of the device a bit, and some have voiced their concerns for such a design increasing the likeliness of the screen breaking if the device is dropped. I’m certainly not about to do a drop test to see whether that’s an issue or not, but a solution would be to get a case for the LPG. Considering the price you’re paying for the LPG, I think it’s certainly a good idea to invest another 50 dollars (or maybe less) for a protective case for it. I’ve purchased a Dignis case for my LPG which not only protects the LPG from scratches, but also eliminates the issue of the screen protruding out of the device. It would have been nice if Lotoo included an actual case with the LPG instead of just a pouch, but it is what it is.
 
The LPG is a relatively small device in terms of its width and height. It is, however, also a fairly thick DAP. Despite that, I find the LPG to be a very manageable device and actually fits in my pocket more nicely than larger devices that are thinner – such as smartphones. Yes, it does look like you’ve got something weird in your pocket, but it’s comfortable. It reminds of of the days when I still had a Gen. 5 iPod video. I had one of those incredibly ugly, but super protective, plastic cases to go with it. When add the thickness of the iPod video up with the thickness that's about where you're at in terms of how thick the LPG is.
 
While I love the volume knob on the LPG and appreciate how well protect it is, it also is a point of complaint for me – just a small one though. Because the volume knob does protrude out a bit, it can get in the way of some L-shaped 3.5mm jacks. It’s really not too big of a deal for me, but it does decrease the flexibility of the LPG – especially when you’re thinking about using its line out.
 
The other slight complaint I have regarding the LPG is that it can get a bit warm during use. It’s certainly not enough to burn you or to cause discomfort when keeping it in your pocket, but it does surprise you with how warm it gets when you do take it out of your pocket.
 
Overall, the build of the LPG is really just fantastic. Everything feels solid and while some of the buttons are plastic, buttons feel solid and the LPG is certainly a device that I won’t be afraid of carrying around while engaging in my daily activities.
 
In terms of its looks, I was honestly not the biggest fan of it when I first saw the LPG at RMAF. However, I’ve come to appreciate it quite a bit even if it doesn’t have the edge and sleekness in design that products like the offering from Astell & Kern has. It’s definitely not the cleanest looking DAP, but I do like its purple/grey chassis color and its more retro look.
 
 
Taking a tour around the LPG and starting on the left side, there is the USB 3.0 connection and the charging port. The LPG is a bit old-school in the sense that, unlike most DAPs these days, it does not charge via USB. Moving on to the top, you have the phone out, line out, gain (high and low), screen lock, and volume knob. The volume knob is heavily protected and I have had no issues in terms of the volume getting changed while the LPG is in my pocket. The knob feels very solid and turning it is smooth with a very subtle but noticeable click each with each increment of volume change. On the bottom is a SDXC slot. I’m honestly a fan of using the SD slot over a microSD slot. You get the flexibility and possibility of getting a hell lot more memory and I honestly don’t think that the LPG’s size was compromised all that much as a result. The front of the device is a bit more crowded. In terms of look, it’s almost identical to the PAW 5000 – with just a few differences. The large gold “disk” in the front of the LPG may be mistaken for a scroll wheel when, in fact, it actually is not. It has the basic functions of rewind, fast forward, play/pause, and stop. The button at the center of the disk can be set to either play/pause or screen information. I find the play/pause function redundant so I stuck with the screen information. In the front, there are also files, playlists, settings, ATE/PMEQ, and function buttons.
 
I won’t get into too much detail of how the UI works. Rather, I’ll sort of give my general opinion of it and note anything unusual or interesting I’ve found. I am running the LPG with firmware 5.0.1.8.
 
First off, powering on and off the LPG is super quick and easy. Hold the power button and it quickly turns on. To turn it off, simply hold the power button and you’ll see a loading bar run across the screen. Once it’s moved across the screen, then it will power off. This is just a way to ensure that the power button wasn’t pressed on accident. Quick and easy – love it.
 
Searching for music takes some getting used to. Besides searching for music through your files, you have 3 playlists you can create, or to search for music through a playlist with all the songs on it. The issue with searching through all songs is that the songs are listed as file name, not the title of the song, so if you have any sort of number going on with the files, you’re not going to have fun finding the song you want. The lack of a scroll wheel, like the one on the PAW 5000, means that scrolling through a large library can be a bit slow so if you don’t have a well-organized library, it could take some time to get to that album or song you’re really craving at the moment.
 
Something quite unique to the Lotoo products is the ATE/PMEQ function. Now I’m not sure what ATE stands for, but both just seem to be some sort of equalization program that alter either the presentation or the signature of the sound. The PMEQ is your traditional EQ settings like classical, rock, hip-hop, etc. while the ATE settings seem to focus more on changing the presentation of the music. For example, I found the “Style 701” to sound pretty good with acoustic live music, as it provides a more “in front of you” presentation as well as a more open sound for a more live feel. However, the bass basically disappears as a result, so you do have to pick and choose. Overall, I actually found some of these settings to be fairly well-done and usable, unlike a lot of the settings on other devices, but I do still prefer to keep these settings off. Something else to note is that while you’re able to create your own EQs, it seems you need to create it on a computer and import it onto the LPG.
 
The function setting that Lotoo implemented is also quite unique and overall pretty good. With the function button, you have the ability to select from a variety of uses such as mute, battery info and repeat mode. A lot of these are quite useful. For example, by selecting repeat mode, you are able to change your repeat setting without having to go through play setting. Other functions such as mute or -20dB mute has the potential to be fantastically useful, but fall short. I found that those two would be amazingly useful if someone is trying to talk to you and you can simply lower the volume or completely mute the button temporarily with a push of a button. However, they’re not as useful because in order to access the function button, you need to turn the screen on, in which case, you might as well just pause the device instead. That’s one issue I have with the player. I wish there were some sort of setting where you can select whether you want the buttons to be active when the screen is off. There’s no play/pause button that works when the screen is off, which is something I wish they allowed. It’s not the end of the world, but I would like to see more flexibility here.
 
The main screen is definitely not your typical main screen. There’s no album art – in its place is a pretty cool right/left channel indicator that shows you the activity of each side. The main screen is also filled with information. Battery life, gain, repeat mode, and file info can all be found there. It looks very retro, which is pretty cool to me and I quite like it despite it looking fairly backward and somewhat primitive by today’s standards. One little issue I did encounter with my unit is that album art doesn’t seem to show. I’ve seen it work on other people’s units, however. I don’t care too much about that so I didn’t dig too deep into where the issue lies.
 
In terms of battery life, the LPG is above average – which is always nice to see. Lotoo chose to use a 6000mAh 3.7V battery, which seems pretty massive in comparison to the 3-4000mAh 3.7V batteries most manufacturers choose to use. Despite the size of its battery, the LPG doesn’t last as long as one would think. I generally get around 12-13 hours with one charge. It just goes to show how much battery this thing drains. What’s nice about the LPG is that its battery indicator can show you how much percent battery remains, or it can display a countdown to how much time the player has left before the battery drains – a really neat feature I would love to see more manufacturers implement. I would say the countdown is relatively accurate as well.
 
Overall, the UI is a little clunky in some places, but overall really well-designed. The overall look and feel is very minimalistic, but I enjoy the simplicity of it.
 
 
Here are the specs and features listed by Lotoo:
 
Chasis Material: Aircraft Grade Duralumin
Display: 1.8 inch Color OLED 160x128
Supported Audio Formats: DSD (DFF DSF ISO), FLAC, WAV, AAC, ALAC, MP3, WMA, M4A, CUE, APE, WavePack
Sample Rate: PCM 8kHz~384kHZ / DSD 2.8Mhz, 5.6Mhz
Output Level: +15 dBu (Headphone Output, No Load, High Gain), 0dBu (Headphone Output, No Load, Low Gain), +9 dBu (Line-Output, No Load)
DAC: BB PCM1792
Headphone Driver: Ti LME49600
Core Processor: ADI Blackfin 514 DSP
Input: Super Speed USB 3.0 Micro-B
Outputs: Phone (3.5mm), Line-Output (3.5mm)
Dimensions: 60 x 104 x 25.4 mm (W x H x D)
Weight: 280g
Battery: 6000mAh 3.7V Li-Polymer Battery
Storage: SDHC / SDXC (Up to 2TB)
Clock Jitter: 5ps (Typ)
Feature Enhancements: Firmware Upgradable
 
Headphone Output
Output Power: 500mW @ 32Ohm per channel
Frequency Response: +/-0.06dB (20~20kHz), +/-1dB (5~50kHz)
THD+N: 0.00058% @ 1kHz (20~20kHz, A-Weight, No Load)
Dynamic Range: 121dB @ 1kHz (20~20kHz, A-Weight)
Signal to Noise Ratio: 120dB (20~20kHz, A-Weight)
Crosstalk: -119dB
 
Line Output
Frequency Response: +/-0.06dB (20~20kHz), +/-1dB (5~50kHz)
THD+N: 0.00036% @ 1kHz (20~20kHz, A-Weight, No Load)
Dynamic Range: 121dB @ 1kHz (20~20kHz, A-Weight)
Signal to Noise Ratio: 120dB (20~20kHz, A-Weight)
Crosstalk: -119dB
Output: 2V RMS, +9dBu
 
Noise Floor
Those looking to pair a portable headphone with the LPG should have little to no issues as the LPG has a decent amount of power to it. However, the LPG does tend to hiss a bit with more sensitive IEMs. With my UERM, rated at 112dB sensitivity and 35 ohms, the LPG has a hiss that is barely audible. However, with my Empire Ears Zeus, one of the most sensitive IEMs I’ve ever owned or used, the hiss is pretty distracting for me. I think with most IEMs, the LPG will present a manageable hiss, but for those that are super sensitive to hiss and cannot accept even the slightest bit of it, this may be something to keep in mind.
 
 
Sound
Most of my listening of the LPG was done with the LPG running IEMs right out of its headphone out. Most of the time listening was done with the UERM with some time given to the Empire Ear Zeus as well as the ZMF Omni.
 
The sound of the LPG is fairly flat with just a tad bit of warmth to it. The bass is slightly more prominent than the likes of the Chord Mojo and Hugo, but not as present and thick as that of the Sony NW-ZX2.  While the bass isn’t quite as speedy as that of the Hugo, the bass is tight, well-controlled, and exhibit a great sense of texture. Compared to the ZX2, it’s quite obvious that that the LPG is able to produce a noticeably cleaner and more textured sub bass. The LPG, as a whole, exhibits a fantastic sense of dynamics and the bass, in particular, has a great sense of impact and musicality while demonstrating that it’s very capable as well.
 
The UERM is one of my favorite IEM in terms of midrange and few IEMs I’ve tried have been able to outcompete the sheer enjoyment I get from the midrange of the UERM. No it’s not the most detailed midrange I’ve ever heard, but its presentation makes it a very special IEM to me. The pairing of the UERM and LPG has quickly become a favorite of mine. The LPG doesn’t add too much color to the midrange and has great resolution. I find the timbre to be on point as its sound is detailed without sounding overly sterile and is, in fact, quite smooth and grain-free. The LPG and UERM pairing allows for a sense of naturalness in the midrange that I think is absolutely wonderful. Imaging is incredibly precise, separation is impressive, the background is dark (when there isn’t hiss), and there’s a good sense of three-dimensionality.
 
I would characterize the treble of the LPG as being just a tad on the more relaxed side. It’s by no means a dark sounding device but it’s not a product that will make something sound particularly open. The lower treble still has a good bit of energy and sparkle with great clarity and detail. Overall treble experience is crisp but fatigue-free.
 
In terms of portable players, I think the LPG is one of the most neutral and reference-tuned player currently on the market. I find that most portable players and amplifier generally lean towards the warmer side of things, to varying degrees obviously, and the LPG is the same but to a lesser extent. It has less of a bass emphasis especially in comparison to more mid-fi players such as the DX90, N6, or X5ii, with less thickness in the lower midrange and without the extra energy in the treble. In comparison to the Asus Essence III I use at home, it still exhibits a warmer tone but, again, it’s one of the most neutral portable devices that come closest to my personal reference DAC/Amp in terms of performance.
 
Line Out
During my visit home to Taiwan, I stopped by JM-Plus, a quaint little audio store with a great selection of goodies. While I was at JM-Plus, I hooked my LPG up with the new Shure KSE 1500 – an amplifier/IEM combo. From listening session there, I would say the LPG gets most of its warmth its amplifier section as its DAC seems to present a pretty flat response.
 
It was during this time, however, that I noticed an issue with the line out that I’ve never encountered before. Be default, the LPG line out is fixed at maximum volume but the LPG does have the nice feature of also having an adjustable line out. With the fixed line out, however, there’s a whole lot of distortion and clipping going on. I had to lower the line out volume in order to remove that issue. It’s a bit on in that I’ve never encountered this before with a line out. I’m not sure if this problem is unique to my LPG unit, but I will try the LPG with other amplifiers to see if this issue persists.
 
 
In my RMAF 2015 overview, I stated that “as much as I love the sound, I can't see myself owning a Lotoo PAW Gold.” Well … … I’ll have to retract that statement. The LPG has become a must for whenever I’m out of the house as I find it both portable and wonderful sounding. It’s UI, while basic and perhaps somewhat primitive, is stable, easy to use, and well thought out. On top of that, I absolutely love the sound of it. The only big downside is that it can hiss a good bit when paired with more sensitive IEMs and that it’s a bit of the heavy side of things.
 
In the US, the LPG’s price currently ranges anywhere from 1600 to around 2400. The 1600 price is pretty consistent and a lot of dealers carry it at that price so I would just honestly ignore anyone selling it for more than that. 1600 dollars is, of course, still quite a bit to swallow. Most people won’t need a device as hi-end as this for portable use, but for those with the luxury of being able to dish out that kind of money, I think the PAW Gold is truly a wonderful TOTL product.

I’ve seen lotoo threads and discussions around Head-Fi before, but I haven’t paid too much attention to their products mostly because they’re fairly deceiving with their looks in the sense that they look rather primitive by today’s standards. However, I had the good luck of meeting XiaoQi of Lotoo at RMAF 2015 and got the chance to listen to the PAW Gold (LPG) there – I was quite happy with its sound to say the least. I exchanged information with XiaoQi and we later came in contact, at which time I was given the opportunity to review both the PAW Gold and the 5000. Lotoo sent me both units in a package and I’ve since spend quite a bit of time with them. I’d like a give big thank you to Lotoo and XiaoQi for their willingness to send me review units of their products especially considering the fact that they’re not something you see too often yet.
 
The PAW 5000 comes in a nicely constructed and solid feeling cardboard box that a nice finish to it. The front shows a black and white image of the 5000 as well as a list of some functions that the 5000 has while the back goes into more detail in terms of the specifications of the 5000. Inside you see a warranty and quick guide pamphlet as well as a box with the accessories inside. The accessories are fairly basic, but certainly a bit different from what you’d generally expect. There’s no silicon case, but instead, a hard back cover that you can attach to the back of the 5000. The reason for the back cover is so you can put the provided armband (or your own) through the back cover and turn the 5000 into a nice exercise rig. The fact that the 5000 also has a Bluetooth feature really makes it excellent as an exercise device. Besides the exercise starter pack, you receive a 3.0 USB cable for charging and data transfer. That’s as far as the accessories goes. I like the addition of the exercise starter pack and think it’s a great idea and design. Unfortunately for me, the main means of exercise for me is swimming. I would personally not recommend using 5000 and exercise pack for swimming.
 
 
The main chassis of the 5000 is constructed of metal. While it’s made of metal, the device was surprisingly light to me. The light weight of the 5000 makes it truly ideal for portable use, as it’s also a very small device, but it does make me question how sturdy the 5000 is built. However, further inspection seems to suggest that the 5000 is very well-built. Nothing bends or creaks when I apply some pressure to the 5000 and nothing feels or sounds loose when I shake it. While I don’t think the screen is made up of the same sapphire crystal glass as the higher end PAW Gold, it’s nonetheless sturdy and is certainly not some cheap plastic material. The majority of the buttons are made of plastic but are responsive and have a nice click to them when you push on them. Overall, I’m honestly quite happy with the build of the 5000.
 
With Astell and Kern really bringing up the standards for aesthetics and designs of audio players, the overall design of the 5000 did not impress me to say the least. The button layout seemed like it would be a bit clunky to use and wasn’t particularly attractive. I’m happy to say though, that while the UI of the 5000 is fairly basic, the buttons are intuitive and there isn’t much of a learning curve to it even with quite a few buttons on the device. Something aesthetically that I do actually like a lot about the 5000 and its older brother is the color of its chassis. I can’t, for the life of me, figure out what color it is. It seems to be a dark grey color but with a purple tint to it. Someone please tell me what color it is – I think I’m going a bit mad over it.
 
 
As I briefly mentioned earlier, I’m quite a big fan of how small and lightweight the 5000 is. While there are quite a few DAPs and portable amplifiers out there really pushing the boundaries between portable and transportable, the 5000 is pretty much the definition of portable. It’s not as small as something like the iPod Nano, but it’s still small, not overly thick, and fits in your hand very easily. The battery life is also pretty good. I was able to get around 10 hours or so with it, so it’s nothing exceptional, but it does get me through the day no problem.
 
Taking a tour around the PAW 5000 and starting on the left side, you see the damp feature, volume control (that also double as forward and back buttons), and the gain setting. Quick note about the damp feature – keep it on high and don’t touch it. I’m honestly not sure why it’s there. Low damp brings the volume down lower, like how a gain setting would, but it also veils the sound significantly – it literally dampens the sound and makes it sound like someone’s put a mute on all the instruments. Keep it on high, and adjust your volume accordingly. Moving on to the top, you see a 2.5 mm balanced output, a 3.5 mm headphone out, and a 3.5 mm line out and SPDIF. The right side has the USB 3.0 jack on it and seems to be where the Bluetooth module of the device is. On the bottom are a reset button and the location for inserting your microSD card. The front of the device is a bit more crowded. There’s forward and back track buttons that only work while the screen is on, a music button that doubles as a function button when held, a back button that doubles as a settings button when held, and an ATE/PMEQ button. In addition, there’s a power button, scroll wheel, select button, and of course the screen.
 
I won’t get into too much detail of how the UI works. Rather, I’ll sort of give my general opinion of it and note anything unusual or interesting I’ve found. I am running the 5000 with firmware 6.1.0.6.
 
First off, powering on and off the 5000 is super quick and easy. Hold the power button and it turns quickly. To turn it off, simply hold the power button and you’ll see a loading bar run across the screen. Once it’s moved across the screen, then it will power off. This is just a way to ensure that the power button wasn’t pressed on accident. Quick and easy – love it.
 
Searching for music takes some getting used to. You can search via the folders you have, or by album, which is called “cover.” Now, I’m not sure if the “cover” section is also supposed to show the album art or not, but it doesn’t seem to for me. Besides those two options, you have 3 playlists you can create, or to search for music through all songs. The issue with searching through all songs is that the songs are listed as file name, not the title of the song, so if you have any sort of number going on with the files, you’re not going to have fun finding the song you want. The scroll wheel makes scrolling through files fairly painless, but it’s certainly not as advanced as the likes of Apple devices or Astell and Kern DAPs.
 
Something quite unique to the Lotoo products is the ATE/PMEQ function. Now I’m not sure what ATE stands for, but both just seem to be some sort of equalization program that alter either the presentation or the signature of the sound. The PMEQ is your traditional EQ settings like classical, rock, hip-hop, etc. while the ATE settings seem to focus more on changing the presentation of the music. For example, I found the “Style 701” to sound pretty good with acoustic live music, as it provides a more “in front of you” presentation as well as a more open sound for a more live feel. However, the bass basically disappears as a result, so you do have to pick and choose. Overall, I actually found some of these settings to be fairly well-done and usable, unlike a lot of the settings on other devices, but I do still prefer to keep these settings off. Something else to note is that while you’re able to create your own EQs, it seems you need to create it on a computer and import it onto the 5000.
 
The function setting that Lotoo implemented is also quite unique and overall pretty good. With the function button, you have the ability to select from a variety of uses such as mute, battery info and repeat mode. A lot of these are quite useful. For example, by selecting repeat mode, you are able to change your repeat setting without having to go through play setting. Other functions such as mute or -20dB mute has the potential to be fantastically useful, but fall short. I found that those two would be amazingly useful if someone is trying to talk to you and you can simply lower the volume or completely mute the button temporarily with a push of a button. However, they’re not as useful because in order to access the function button, you need to turn the screen on, in which case, you might as well just pause the device instead. That’s one issue I have with the player. I wish there were some sort of setting where you can select whether you want the buttons to be active when the screen is off. As of now, there is only volume up and down that double as forward and back track that work when the screen is off. There’s no play/pause button that works. It’s not the end of the world, but I would like to see more flexibility here.
 
The main screen is definitely not your typical main screen. There’s no album art – in its place is a pretty cool right/left channel indicator that shows you the activity of each side. I can’t remember the exact term for it. The main screen is also filled with information. Battery life, gain, repeat mode, and file info can all be found there. It looks very retro, which is pretty cool to me and I quite like it despite it looking fairly backward and somewhat primitive by today’s standards.
 
Unfortunately I don’t have any Bluetooth products available so I was unable to test the 5000 with Bluetooth. I think it’s a great feature to have though. On the other hand, the 5000 does not have USB function which is a bit of a downer.
 
Overall, the UI is clunky in some places, but really well-designed in other regards. The overall look and feel is very minimalistic, but I liked the experience I had with the 5000.
 
Here are the specs and features listed by Lotoo:
 
Features:
-DSD Supported
-Bluetooth Supported
-Balanced Headphone Output (2.5 mm)
-Dual Gain Levels
-Dual Damp Levels
-Acoustic Timbre Embellisher
-User Definable Parametric EQ
-SPDIF Digital Output
-Tempo Free Function
-APE/FLAC/ALAC Full Format Supported
 
Specifications:
General specification
-Broadcast formats: DSD64 DFF DSF/ISO
-WAV/MP3 / FLAC/APE/OGG / M4A/AAC/ALAC/CUE
-Display screen: 2 inches color LCD220x176
-Processor: ADI Blackfin DSP514
-DSP sampling rate: DSD2.8 MHz
-PCM32-96 KHZ
-USB transfer: Super Speed start
-Memory card: TF card (maximum 2 TB)
-Battery capacity: 1700mah lithium polymer battery
-Wireless transmission: Bluetooth A2DP stereo audio
-Size: 98 * 55 * 17.5 (not including buttons protruding part)
-Weight: 110 g
-Firmware upgrade: support
 
Headphone output
-Frequency Response: ± 0.5dB (20-20KHz)
-THD + N: <0.007% (20-20KHz)
-SNR: 94dB
-Output Power: 100mw + 100mw @ 16ohm
 
Line output
-Frequency Response: ± 0.5dB (20-20KHz)
-THD + N: <0.007% (20-20KHz)
-SNR: 94dB
 
Unfortunately, I don’t have any sort of 2.5 mm balanced cable, so my listening impression was done with single ended only. The majority of listening was done with some select CD quality albums, a few Hi-Res albums, and a few 320 kbps mp3 files. Listening was done with my UE Reference Monitor running directly out of the headphone output of the 5000.
 
As a whole, the bass region is a bit more polite than what you generally expect from a DAP of this price. Bass is a little rolled off, resulting in less sub bass presence and texture. Mid bass, on the other hand, is fairly well-balanced with a well-controlled but still slightly polite impact. In general, I found the 5000 to be tuned more for a clean sound than a rich and warm sound like most mid-tier DAPs you find around this price range. The overall sound is a bit less dynamic and exciting as a result, but there are still certain benefits. The bass region certainly follows this description as it doesn’t quite have the thickness or the authority you would probably expect from it but also doesn’t color the sound too much.
 
The midrange can be described as being transparent and clean. Instrument separation is impressive for a DAP of its price and there is a good sense of air between individual instruments and vocals have a good sense of focus to it and has good resolution. The upper midrange and lower treble is a bit more energetic on the 5000, so you do get more shimmer and attack on some instruments. Unfortunately, I don’t currently have any DAPs of the same price for comparison, but compared to my reference setup, it certainly sounds more energetic but also less controlled and somewhat splashy. Despite that, the sound is never particularly glaring or harsh, but those looking for a warmer and lush sound will best consider another DAP. I quite like the midrange of the 5000 and find its overall transparency to be quite a breath of fresh air from the warmth you get from its competitors. While the sound wouldn’t be characterized as analytical, it is more accurate to me than its competitors.
 
As suggested earlier, the treble is slightly emphasized giving it a bit more sparkle and air. Treble resolution and texture is good with clean and articulate attacks. I find that decay can last just a tad longer than I would like, which does make it just a tad less clean and controlled in comparison to my more reference gear. While I think the resolution in the top end of the 5000 is good, those more sensitive to treble harshness will have to consider pairing. For me, pairing the UERM, an IEM known to be a bit harsh for some, with the 5000 does result in some prominent treble that is pushing it a bit for me. This shouldn’t deter those sensitive to harsh treble from the 5000 as the treble response is pretty good on the 5000 – you just have to consider pairing as well, though I doubt someone sensitive to treble would be using a headphone or IEM with an energetic treble to begin with.
 
The soundstage of the 5000 is fairly intimate, not extending particularly far in any direction, but the overall size is still acceptable. In particular, you don’t get too much layering or sense of depth. However, the 5000 does make good use of the space it’s able to provide. Imaging is quite good and, without a particularly thick sound, the 5000 does sound spacious and open despite the actual instruments being closer in distance.
 
 
Comparisons:
 
Lotoo PAW 5000 and Cayin N5
Both priced around 350 USD (the 5000 seems to fluctuate a bit), comparing the two seems pretty reasonable and intuitive. The N5 is both larger and heavier than the 5000 while also feeling more solidly built than the super lightweight 5000. Both devices are solidly built though. The 5000 doesn’t have the benefit of functioning as a USB DAC like the N5 does, but also has other functions that the N5 doesn’t have like Bluetooth functionality, ATE/PMEQ to slightly alter the sound, a playlist function (for some reason…), and an armband dock (with an armband of course).
 
In terms of comparing the two in terms of sound, I think it’s quite close, but the overall presentation of the two devices are pretty different. The N5 has a much richer and dynamic sound, while the PAW 5000 has a leaner and flatter sound overall. The 5000’s bass doesn’t extend all that well and its mid bass also doesn’t have the impact that the N5 has. The midrange of the 5000 is drier than that of the N5 with slightly more forward vocals and with more treble energy and extension.
 
At first glance, it feels that the 5000 has an overall flatter response and more analytical sound in comparison to the richer sounding N5, but I do feel that the N5 has a more natural tonality overall. I feel that the treble has better balance and control on the PAW 5000, as the treble is just a bit too smooth for me on the N5, but I think the N5 has a bit better soundstage and layering overall, despite having a less open sound.
 
I think both products are pretty good and it comes down to what you need. The PAW 5000 is really the epitome of portability, being fairly durable and very lightweight and small, while the N5 is a little bigger but has the fuller and more natural sound.
 
While most portable DAPs and amps are really pushing the boundaries of how much you want to fit in your pocket, Lotoo chose to give you a break with the PAW 5000. This is what real portability is. The PAW 5000 also has a bit of a different approach to sound, with a much flatter sound in comparison to the warm and smooth sound that other competing devices have.
 
At the end of the day, the PAW 5000 doesn’t have the most dynamic or engaging sound to me, but can be a very good choice for those looking for accuracy in their portable device. Personally, while I generally appreciate a flatter response over a warmer, lusher sound, I feel that a weightier low end is somewhat necessary when you’re in an environment with some external noise. So overall, I like the sound of the PAW 5000 and absolutely love its small form factor, but do find it to be a toss-up in terms of recommending it as a portable device. I prefer its sound to many of its competitors, but that’s if I’m maybe sitting in a library or doing work without too much outside distraction going on.

Edit: So UE has announced the new update to the UERM, the UE Reference Remastered... 1 day after my review. Pretty ironic but it is what it is haha. So I guess this review may be more a tribute to the past than I had initially intended it to be as the UERM is now officially discontinued.
            Back when I first took interest in personal audio early on in high school, there were a few products that seem to have reached a legendary status amongst enthusiasts. HD800, HE6, even the original Audio-Technica M50 were just a few of those ubiquitous names. While some of those behemoths remain relevant today, some have since begun to fade into the past, as this hobby progresses at an incredibly fast pace.
           
            Back in high school, I only had the privilege of reading everyone else’s thoughts on these products. I neither had the resources nor the connections available to allow me to give these products a listen. The only time I did have such an opportunity was when I listened to the Sennheiser HD800 at a bustling electronics market. I wasn’t very impressed. But then again, I heard more of what the dude next to me was saying than what was going on in the music.
 
            Recently, I’ve had the privilege of spending some time with a couple of these old-school legends – well, old-school to me anyways. What I’ve found was that while the market has grown vastly even compared to just 5 or 6 years ago, and the next best “innovation” always seems to be just around the corner, these product not only remain relevant in my eyes, but very much competitive. In fact, they’re some of the best audio products I’ve yet to hear.
 
            Even just a few years ago, the custom IEM market was very different from what it’s like today. The number of potential brands to choose from is certainly not as diverse as it is now. The names you mostly hear of were Unique Melody, Ultimate Ears, JH Audio, and maybe the surging Heir Audio. The first of these classics that I will be looking at is from one of these big custom IEM makers and is none other than the king of neutrality in the world of in-ear monitors: The Ultimate Ears Reference Monitor. No, the UERM is certainly not a forgotten product by any means. In fact, it’s still the reference for many reviewers and enthusiasts alike. However, the UERM doesn’t seem to reign supreme like it did a few years back – and for very bad reasons. Yes, it seems the UERM has fallen victim to the “more driver is better” belief that has taken everyone by storm. Far too often nowadays (grant that’s still not very often), I see someone complaining that the UERM is outdated and overpriced for a custom IEM that has “only” 3 driver. Why can’t I pay 100 dollars more for something that has at least twice the number of drivers that the UERM has? Yikes... The UERM is a testament that more is not better and it remains near the top of the list in terms of sonic capabilities and, even after 6 years, remains a very competitive product at its 1000 dollar price point.
 
            I do think I should explain my connection with Ultimate Ears a bit before I go any further. I had the wonderful opportunity to work with UE at their booth during RMAF 2015 – and I loved every minute of it. UE send me a pair of the UERM in exchange for my services to them that weekend. I also paid for my own flight to and from Denver, so you can say I paid for the UERM with my service and flight to RMAF. And that’s about as far as my connection with UE goes. They didn’t ask for a review, because why would the need a review of the UERM, and I have no incentive for writing a biased review for them in any way. My bias goes no further than the fact that I like them, and hope they like me as well.
 
My UERM came with the small square storage case, so the overall packaging of the UERM was very small. You get a small black box that opens up nicely to display the carrying case, which has my name engraved on it, lying on a nice silky looking material.
 
            Inside the carrying case, there isn’t all that much in terms of accessories. You find the UERM themselves with a 48 inch cable, a cleaning tool, a 3.5 mm to 6.3 mm adaptor, and a device that UE calls their buffer jack. The buffer jack is awesome. The short description UE has on the buffer jack states that it “lowers audio signals on airplanes entertainment system and buffers electrical impedance mismatch,” which basically means it lowers background noise and hiss – something it does fantastically well. This little adaptor allows me to use my sensitive IEMs with my desktop amplifier with an absolutely black background. Even when I use players with very quiet background noise, like my Sony NW-ZX2, the little adaptor helps give you a cleaner and blacker background. The buffer jack add very little bulk to your audio chain and at 10 dollars, I think it’s a great investment for anyone who uses IEMs.
 
 
            As one of the most successful custom IEM company catering towards stage musicians, it doesn’t come as a surprise that UE focuses on the function of their IEMs above all else. The simple default look of the UERM consists of black faceplates with a UE and Capitol Studios logo and a clear shell isn’t anything particularly fancy or extravagant. UE also doesn’t seem to worry all that much about the aesthetics of what’s inside as long as everything is sturdy. Drivers and circuits are stuck right onto the shell itself with a generous amount of adhesive to ensure that they’re not going anywhere. Those looking for the clean and high-end aesthetics from the likes of Noble Audio may not find the UERM all that desirable in terms of its looks. However, for someone like me who’s always been fascinated with the internal designs of a product, I certainly appreciate being able to see every detail that went into the design of the UERM.
 
            
Continuing on the topic of UE’s focus on their product’s functionality, it would be wrong if we didn’t mention its connectors. UE’s 2 pin system is, in my personal opinion, the best connector that I’ve come across, just beating out the connector that FitEar uses. UE’s 2 pin connection is probably the most secure connector I’ve ever encountered. In addition to the surface between the 2 pins and their female inserts, the UE’s protruding jack and cover around it means that there are way more frictional surface to keep the pins in place than any other connector that I know of. In addition, such a design also means that water, or any sort of liquid for that matter, is gonna have a real hard time getting to the electronics at the connector, so people that will be sweating a lot, perhaps stage musicians, won’t have to worry about their sweat messing with their IEM’s connection in any way.
 
 
            The build and finish of the UERM are fine and nothing exceptional by today’s standards. The shell feels solid and is very nicely polished. There are no bubbles to be seen anywhere on the body of the shell, but there are a couple very tiny bubbles at the nozzles on both sides of my UERM. I guess even with 3D printing technology has adopted, the process of making the shell isn’t absolutely perfect yet.
 
            I’ve been told that the shape of my ear canal is fantastic for making custom molded products. I did have to get a very minor adjustment done for my right ear, but the UERM fits very well in my ears with absolutely no way of breaking the seal. What surprised me most, however, is how different the shape of the UERM’s shell is from that of my custom IEM from Earwerkz (now Empire Ears). The biggest difference between the two is the nozzle. The nozzle from Earwerkz is significantly longer, and inserts quite a bit deeper. On the other hand, the nozzle on my UERM doesn’t insert all that deep, in fact it isn’t much deeper than a universal fit IEM. However, the nozzle is also a good bit thicker in diameter in comparison. I’ve seen collections of custom IEMs before, and of course every unit’s shape is a little different. But I’m fascinated by the fact that the shapes of the nozzle between my two custom monitors are quite a bit different, yet both are able to yield a perfect fit. It just goes to show that there are more than one way of achieve the same goal.
 
            Because my UERM has a more shallow insertion, I do find it a bit more comfortable as it’s less intrusive. However, it does sacrifice a bit of isolation for comfort, as I do find my Earwerkz Supra to isolate just a tad bit better. Both are still above and beyond the level of isolation you’ll get from a universal unit though, so it’s a tradeoff I’d happily take.
 
 
            Thanks to the UE buffer jack, I was able to get some fantastically clean and noise free sound from my desktop setup despite the UERM being a moderately sensitive IEM. Because of how good of a sound I got connecting my UERM to my desktop setup, the majority of my listening was done running music of all genres and quality from Foobar on my computer to a Schiit Wyrd and then into my Asus Essence III as a DAC/Amp combo.
 
            True to its name, the UERM has a flat response with a slight bump in the bass and a more forward lower treble that is coupled with an impressive level of resolution.
 
            I think the bass is probably the most misunderstood part of the UERM. While there is less of a bass boost than what many would consider natural or desirable, I find the bass of the UERM to have very good impact and is far from being anemic. It doesn’t have the thump or richness that many love, but it can still demonstrate good authority when called upon to do so. Most importantly, the UERM extends fantastically well. I put on the UERM the first time not expecting too much below 50 Hz or so, as its sub bass presence seems to have been debated on quite a bit. Some have said that the UERM has almost no sub bass extension, while others have said that it is well-extended and can dig deep. After hearing it for myself, I’m certainly in the latter camp. Bass kick, while not bloated or overly thumpy in any way, are indeed able to dig quite deep. A quick tone sweep showed that the UERM is actually able to extend down to 25 Hz without any trouble at all. This is 1 dedicated bass driver in a 3 driver IEM. Needless to say, I was very impressed. I really enjoy the bass performance of the UERM.
 
In terms of quantity, I actually found the bass quantity quite sufficient for lots of genres of music, even the likes of pop and some hip hop or rap. I say that because so many pop songs these days have such artificially enhanced bass that pairing it with a bassy headphone or IEM results in some overly present bass. Because the UERM doesn’t do that, it actually pairs really well with these tracks. I did find myself wishing for more bass punch when listening to older tracks such as rock music from the likes of Journey. To me, a little extra thump in the bass would definitely make Journey’s sound more explosive and true to their reputation.
 
Bass quality from the UERM is also really good. The bass can punch hard when needed and impact and decay is always fast and clean. The bass impact also demonstrates that it can dig deep, and you don’t get the sense of “pop” or “plasticky-ness” that’s often linked with poor bass extension from BA drivers. I will say that sub bass texture is probably the weak point of the UERM though. It has long been surpassed in this regard, and there are IEMs out there that can give you a much better defined bass texture, although there aren’t many products out there that give you the sense of cleanliness that the UERM is able to demonstrate.
 
Maybe at some point, the midrange of the UERM had the most detailed sound out of any IEMs on the market – but that’s certainly not the case anymore. However, the midrange of the UERM is, bar none, my favorite amongst all IEMs and CIEMs I’ve ever encountered – and, to be completely honest, by a long shot. After listening to the UERM, nothing else sound quite “right,” and I find myself longing to return to the UERM. Even IEMs that surpass the UERM in terms of texture and detail don’t cut it for me. To put it simply, the UERM has a sense of naturalness and coherence that I’ve never experienced in an IEM before. The midrange is full-bodied, but not thick, and it’s resolving and clean, but not overly analytical. In short, it’s the only IEM I’ve heard with a midrange that truly walks the fine line between being musical and analytical.
 
The UERM’s midrange is ever-so-slightly relaxed with a presentation that puts the music slightly in front of you. The sound is clean, well-textured, and very smooth. But as I’ve said, there are IEMs that surpass it in terms of sheer detail and texture. Separation is top-notch, and the background is clean. I also find the midrange of the UERM to be very dynamic.
 
The treble is where people also have trouble with the UERM. The treble of the UERM is, without a doubt, somewhat emphasized, giving the UERM its more analytical nature as well as its potential harshness. As someone who appreciates a bit of extra brightness, the UERM is right up my alley. I do admit that while I love the crispness of the UERM’s upper region, there’s no doubt in my mind that it’s to a point where it’ll start making those more sensitive to treble peaks wince a bit.
 
The treble is clean, has fast decay, and crisp. Detail is very good and will bring out faults in poor recordings. However, while there’s some treble emphasis with the UERM, its upper register is surprisingly smooth, with just some fairly minor peaks at around 6 kHz and 10 kHz. Treble extension is fantastic, giving the UERM a very natural sense of spaciousness that doesn’t give the listener a sense that it was artificially done.
 
Something that IEM manufacturers have worked tireless to change in the past half a decade or so since the UERM’s release is the limitations that IEMs have when it comes to soundstage. There are plenty of products out there now that can outperform the UERM in terms of the sheer distance that instruments can extend outwards to, but most of those products are also expensive and are not necessarily natural sounding in that regard. At its 1000 dollar price tag, the UERM still performs valiantly in terms of soundstage and it presents the music in a very nice way. If I have to nitpick, I would say that while the depth is good in the sense that the music is presented in front of you and not so much in-your-head (which is a huge plus to me), I do feel that, compared to a lot of TOTL IEMs, the UERM can be lacking just a bit in overall layering.
 
Source Matching
While I’ve never been one to use the description “chameleon-like,” I will say that the UERM brings out the character of its source quite a bit. I’ve loved pairing the UERM with smooth and slightly warm DAPs such as the Lotoo PAW Gold and Sony NW-ZX2 as the UERM responds by giving a richer sound. I’ve found these DAPs to complement the UERM well as it prevents the UERM’s sound from becoming overly analytical.
 
On the other hand, the UERM’s sound differs quite a bit when paired with my Asus Essence III, which is a good bit flatter and overall more analytical sounding in comparison to the Sony and Lotoo DAPs. With the Essence III, the UERM has a much more linear bass response, replaces the smoothness that the DAPs provide in the midrange for a slightly thinner but ultra-precise sound, and a slightly sharper treble as well. Every headphone and IEM changes with the source, but I really think that the UERM does so more than other products I’ve had experience with.
 
Not surprisingly, the UERM has pretty much become the reference in my arsenal of audio gear. Comparing it to another product really make it obvious when something has any sort of color in the midrange, peaks in the treble, or extra bloom in the bass. It’s not ruler flat, but it is very close indeed. If I could boost the bass just a tiny bit and pull back the treble just a tad bit as well, I think this would probably be the most natural sounding product I’ve ever heard.
 
As for recommending the UERM, I think you’re making a mistake if this IEM is not on your list and you’re looking for a CIEM under the price of maybe $1500 or so. No, I’m not saying that you should just buy the UERM because you’ll automatically love it, or that if you don’t love the UERM then you’re a criminal, but it needs to be on your list. Once you get your list, then it comes down to researching what you’re looking for and getting that right sound for you. I don’t think I’ve yet to hear an IEM under 1000 that competes with it, and I find that the UERM can still hold its ground in many cases when competing with IEMs much more expensive than itself. Honestly, I feel a little inclined to give the UERM a 4.5/5 because I feel that its build quality is a bit mediocre when you have companies making some incredible works of art, but I honestly think that the sound of the UERM deserves some bonus points.
 
The UERM is not an IEM of the past. It’s a product created in the past that is still an absolutely beast today. We get so tied up in the “next best thing” that we forget why these past products were so well received and so legendary. I’ll be completely honest, if I didn’t get the opportunity to demo the UERM 2 years ago, Ultimate Ears would be a forgotten company to me. While they’ve innovated their production process and have completely changed how they interact with their customers, they haven’t released anything new in terms of products.
 
At the end of the day, we gotta trust our ears. This thing has 3 drivers, folks – and it sound incredible.
 

            Cayin is a company that has hit the portable audio market by storm the past year or two. Starting with their well-received and relatively budget friendly portable amplifiers, Cayin made their name known to portable audio enthusiasts. The same thing could be said with their entrance into the portable player market. The N6, while not free of its criticisms, proved to me a very good sounding piece with an interesting look and design. The N5 is Cayin’s answer to a slightly more affordable option for those not looking to spend upwards of 500 dollars for a player.
 
            Cayin has been very generous in terms of sending review units to interested Head-Fiers and the N5 is no exception. I’ve loved seeing the trend of companies interacting more and more with the community and I’m happy to see Cayin getting on board with that. I received the N5 as part of Cayin’s N5 review tour, and have had the pleasure of spending a week with it.
 
            True to the Cayin tradition, the packaging of the N5 review unit was a freaking bomb shelter for the N5. Once you peel away layers upon layers of take and cardboard, you are welcomed with the sight of a plain but nicely designed black box. The back side of the box goes over details of the DAP such as the DAC chip inside, the supported files, as well as the specs and size of the player. In addition, there are a couple Q Codes (which is kind of cool to see) with info such as Cayin’s WeChat contact on it.
 
Inside, the N5 is beautifully displayed with the accessories hiding underneath. You get your warranty card inside along with a manual, USB cable, a screen protector, and a 3.5 mm to coax interconnect. Interestingly, there wasn’t a silicon case included – which I’m more than ok with since I hate silicon cases and never use them myself.
 
 
            When the first sneak peaks of the N5 were leaked on Head-Fi a few months back, my God, I though the N5 was ugly. Now that I have the N5 in hand, I retract that statement to some degree. While the N5 still doesn’t compete with some of the nicest looking DAPs in terms of physical appear, it does have a very nice looking finish to it and isn’t nearly as unattractive as I thought they would look.
 
            The N5 is constructed almost entirely of metal and feels very solid and well-built. Every piece is fit tightly in place and there are no signs of a piece not fitting perfectly in the housing and clicking as a result like the issue I found with the C5DAC. While not heavy by any means, like my Sony NW-ZX2, the N5 does have a decent heft to it that makes it feel like a product built of premium and high quality materials – the carbon fiber back plate is, of course, an added bonus.
 
            The only real concern I found with the build of the N5 is the screen. From the look and feel of it, the screen seems to be made of plastic as far as I can tell, and it does feel much more pliable compared to something like that of the Lotoo PAW 5000’s screen. I only noticed this issue with the N5, but it makes me wonder what the screens of Fiio DAPs I’ve reviewed in the past are made of, as I haven’t really paid too much attention to that in the past. Bit of an oversight on my part. Besides that, the only other small thing I found was that the Cayin logo on the back carbon fiber plate seems to have started to scratch off a bit. Not a big deal, but could have been done better I think.
 
 
            The N5 offers a lot of versatility for its price. On the top side of the device, you have 2.5 mm balanced out, 3.5 mm line out and headphone out, as well as a coax out. On the left side is a volume up and down (which also functions as a fast forward or rewind) as well as a menu button. On the bottom side is a USB 3.0 jack that allows for charging, file transfers, as well as USB DAC function. In addition, two microSD slots and a reset button are also on the bottom side of the N5. Finally, in the front are a back button, a fast forward and a rewind button, a scroll wheel, and a display screen that offers good resolution. In fact, I think it’s actually the same screen used in the N6 if I’m not mistaking.
 
            I personally feel that the N5 is well-designed and easy to use. The scroll wheel is comfortably accessible by one’s thumb (assuming you’re right handed) and the other three buttons are also easy to reach. My only issue with the N5’s exterior in terms of usability is the scroll wheel – which, to me, has two issues. The first issue is that there isn’t any sort of rubbery grip material on the scroll wheel. Ok, it’s not that big of a deal, as I recall that was a small complaint I had for the Fiio X1 as well, but it wasn’t a big deal. However, for the N5, it does become a bit annoying for me because of the second issue I have with the scroll wheel, which is that the scroll wheel is a bit stiff. The N5’s scroll when has a good bit of resistance to it compared to something like the scroll wheel from Fiio’s product line. Factor in the lack of a grip to it and you have a scroll wheel that takes way more energy than it should to scroll through song lists.
 
            In terms of the software, I thought the N5 was good and certainly functional without too many hiccups. I won’t get into too much detail with the UI itself as I find that most companies have figured it out at this point and most UI are very similar and have a relatively low learning curve. First off, the N5 gives you the choice of a few themes for your device. I stuck with the default theme A, which has buttons like your settings and music library attached to the strings of a string instrument. What’s cool is when you scroll from one to the other – the strings vibrate as if they are being plucked. It’s a very small little thing but I think the attention to detail such as this makes the UI feel much more mature. Good job to Cayin on the attention to detail.
 
            Another great thing about the N5 is that scanning is super quick. While I only carry a 64GB microSD card with me, I thought the N5 scanned it impressively fast.
 
            A complaint I do have is that the songs seem to be listed by file name, which is always something that annoys me. That makes finding files a bit of a pain for me as lots of my songs are named with their track number first. Something else I noticed is that there seems to be a lack of a playlist option. There is a favorites playlist that you can add your favorite music to, but I think that’s it. As someone who doesn’t really use playlists all too much, it wasn’t all that much of a problem to me. But if you’re someone who
 
            One other little gripe I have is that the front buttons don’t work when the screen is off. I can see the merit in this, as you could very easily push the forward or back button on accident when the N5 is in your pocket – plus, the volume up and down doubles as the forward and back button. I actually found the forward and back a bit counter intuitive. Volume up is back, while volume down is forward. To me, it just seems like it should be switched. Oh well, back to the point, I would love to see Cayin give the user the option to choose whether they want these buttons active or not when the screen is off.
 
            Again, this isn’t really an overview of the UI, as I find that most companies have figured it out by this point, but just some observations and thoughts I came across.
 
Cayin provided quite a big list of specs for the N5.
            The Majority of my listening impressions and comparisons were done with the Unique Melody Miracle, which is a fantastically capable IEM. I’ve included music of all genres and qualities (mostly CD quality and up) in my test tracks and have also included a couple DSD files. Unfortunately I don’t personally own any DAP that utilizes a 2.5 mm TRRS cable, and so I’m unable to listen to the N5 with its balanced headphone out.
 
General Sound Description:
            I currently have quite a few DAPs with me so I decided to focus the sound impressions of the N5 on comparisons that I feel are most relevant. However, I have included my general description of the N5’s sound.
 
            I find the N5 to be a smooth and slightly warm sounding device that’s geared more towards an enjoyable sound rather than an analytical and revealing sound. There’s a slight bump in the mid bass with an ok bass extension. The UM Miracle is a surprisingly well-extended IEM that’s capable of extending down below 30 Hz with no issues, but I do find that you miss the last bit of sub bass texture with the N5. The midrange is well separated, has good presence, and the most competitive aspect of the N5 to me. Not all of the detail is there in comparison to driving the miracle with higher end products, but you get a warm and smooth sound that does provide good detail at its price point and portability. The treble is very non-fatiguing but is still clean with an impressive level of detail and texture to me. However, I do find that the treble can lack a little bit of air, again contributing to the overall smooth and warmer sound of the N5.
 
Comparisons:
 
Cayin N5 and Lotoo PAW 5000
            Both priced around 350 USD (the 5000 seems to fluctuate a bit), comparing the two seems pretty reasonable and intuitive. The N5 is both larger and heavier than the 5000 while also feeling more solidly built than the super lightweight 5000. Both devices are solidly built though. The 5000 doesn’t have the benefit of functioning as a USB DAC like the N5 does, but also has other functions that the N5 doesn’t have like Bluetooth functionality, ATE/PMEQ to slightly alter the sound, a playlist function (for some reason…), and an armband dock (with an armband of course).
 
            In terms of comparing the two in terms of sound, I think it’s quite close, but the overall presentation of the two devices are pretty different. The N5 has a much richer and dynamic sound, while the PAW 5000 has a leaner and flatter sound overall. The 5000’s bass doesn’t extend all that well and its mid bass also doesn’t have the impact that the N5 has. The midrange of the 5000 is drier than that of the N5 with slightly more forward vocals and with more treble energy and extension.
 
            At first glance, it feels that the 5000 has an overall flatter response and more analytical sound in comparison to the richer sounding N5, but I do feel that the N5 has a more natural tonality overall. I feel that the treble has better balance and control on the PAW 5000, as the treble is just a bit too smooth for me on the N5, but I think the N5 has a bit better soundstage and layering overall, despite having a less open sound.
 
            I think both products are pretty good and it comes down to what you need. The PAW 5000 is really the epitome of portability, being fairly durable and very lightweight and small, while the N5 is a little bigger but has the fuller and more natural sound.
 
Cayin N5 and Lotoo PAW Gold
            The PAW Gold is currently the best sounding DAP (IMO of course) currently at my disposal, so I decided to use the N5 vs. PAW Gold comparison as a way of describing the N5’s sound in comparison to what you can expect from a TOTL player.
 
            In terms of soundstage, imaging, and just sheer sense of space, I’ve found that mid-fi DAPs simply cannot compete with what TOTL players can do – the N5 is no exception. Gallant’s “Weight in Gold” has sort of been my flavor of the month song. The guitar in the intro of the sound has a cool sort of effect that you get when you turn on the surround sound on your player. The Gold is able to produce the sense of space and presence in the studio incredibly well that the N5 can’t come close to. Most obviously, the N5 is lacking in the sense of depth and layering that the Gold is able to create.
 
            Comparing the overall color of the two, the N5 is a bit smoother and warmer in comparison to the more reference (but still relatively smooth) PAW Gold. Bass extension isn’t as good as the Gold, there’s more of a mid bass punch, and the treble has a good bit more crispness, texture, and air with the Gold.
 
            I really tried to find something where I feel that the N5 demonstrates that price isn’t everything, and that it can still perform very well in comparison to something 6 times its price. Unfortunately I don’t quite see the two being remotely close in any aspect. It’s not to undermine the N5 in any way, it just shows that you do have to fork over a good amount of cash for something like that PAW Gold.
 
 
Other Pairings:
 
Cayin N5 Pairing with ZMF Omni
            The N5 has enough power to drive the likes of the HE560 and ZMF Omni to reasonable volumes without too much trouble in high gain. I would also say that I was pleasantly surprised by the performance of the Omni with the N5. Compared to my desktop setup, you lose some micro detail, soundstage, and extension – particularly in the low end. The N5 isn’t quite able to produce the sub bass authority that the Omni is capable of, but the N5 does have a bit more of a mid bass bump that gives the sound a bit more impact but at the cost of losing a bit of tightness. The biggest downgrade going from the Essence III to the N5, though, is difference in imaging. The Omni is fantastically capable when it comes to instrument separation and giving very clean and precision imaging to instruments. With the N5, you don’t quite get as tight and clean of an overall sound.
           
            While the N5 certainly doesn’t drive the Omni as well as a 2000 dollar desktop setup (go figure), I think it does do the Omni justice when you look at its price and its portability. I personally don’t plan on using my Omni on the go all that often, if at all, but for those looking to drive a respectably power hungry headphone (the HE560 and Omni aren’t power hungry beasts by any means), expect the N5 to be capable, but not stellar.
 
            I think the N5 is an overall solid product. It has its little flaws like the scroll wheel or the inability to make a playlist outside of a favorites list, but I think it fits the bill nicely for a portable mid-fi player. It has a very easy-to-listen to sound that has a good overall presentation. I also do think that it sounds a little better from what I can remember of the iBasso DX90. However, the DX90 will be hard to replace for me in terms of overall usability. Other than its horrendous battery life, the DX90 is really just an incredible piece at its price. No product has kept me away from upgraditis like the way the DX90 did. Nonetheless, the N5 does a lot right and is certainly a product to keep in mind for those looking for a good but relatively affordable player.

            I’ve always been curious about Zach’s modded Fostex T50RPs. I almost grabbed myself a set of the ZMF x Vibro from Massdrop a few months back, but decided against it due to many people saying that it’s a richer, darker, LCD-2 sort of sound, which isn’t my personal preference. I’m glad I decided against going with the ZMF x Vibro because a few weeks later, the Omnis were announced! As someone dying to get a taste of Zach’s legendary tuning, I was one of those guys that counted down to the hours and minutes to the pre-order of the Omnis and pre-ordered it as soon as I could. Yea… that happened…
 
            It took Zach many changes and iterations in tuning even after the Omni was announced for him to finally perfect the Omnis, which led to quite a bit of delays, but I can certainly say that the extra month or so was definitely worth it. The Omni is a fantastic work of art – both inside and out.
             Because I pre-ordered them, my Walnut Omni came with a seahorse case and an OCC ZMF upgrade cable (which I further upgraded to include a black sleeve and carbon fiber splitter). The Omni therefore came in the seahorse case packaging. Inside the case, you find the Omni and a little pouch with the cable and a card that specifies the contents of your order.
 
            I think the seahorse case is a fantastic accessory and a worthy investment. It’s incredibly sturdy and does a great job protecting whatever might be inside it (probably a ZMF Omni?). I have a feeling I’ll be using it for more than just a storage and travel case for the Omni though.
 
            I don’t know what the quality of the stock cable is like, but I can say that the upgraded ZMF OCC litz cable is a great upgrade as well. If you’re looking for an upgrade cable for a ZMF or Audeze headphone, I think it’s a no brainer. You don’t find too many OCC litz cables at 100 dollars. Not only that, but I can tell that Zach has improved his cable craftsmanship quite a bit. I got the upgraded cable not expecting to really care much for it, but I can say that it looks much better than what I saw from videos and pictures. It’s a flexible, comfortable, and nice looking cable. Zach uses Double Helix Cables’ (DHC) high quality material in the wires inside the headphones themselves, and his upgrade cable is also made out of DHC’s Nucleotide V3. He says that his measurements pre and post replacing the wires inside the headphone shows something along the lines of a 2 or 3 dB increase in overall volume, and that he is personally a big fan DHC. Not surprisingly, he also sells DHC cables for his Omnis. I personally use a DHC Complement 2 cable with my Omni.
 
            Zach is also looking to release a headphone stand sometime next year. I look forward to seeing what he comes with!
 
 
            The Omni has some gorgeous earcups. The wood is well-finished and the symmetrical vents look really nice. Of course, the ability to customize the earcups as well as the sliders also gives some degree of freedom for customizing the look (and sound) of the Omni. I, of course, chose the walnut earcup and opted for the natural bronze slider and I’m very happy with how my Omni looks. What’s so great about it is that you can tell it wasn’t built in a factory as it doesn’t have that industrial sense of precision to its build. It doesn’t look like any ordinary DIY’ed product though. The Omni gives off the vibe that it was handcrafted with great care and precision.
 
            Besides looking beautiful, the Omni also boasts top-notch build quality. Everything about it feels solid and there’s no imperfection of any kind despite it being modified by hand. The finish of the earcups shows no signs of blemishes or unevenness in the coating. The same goes for the paint of the sliders. When Zach says the Omnis are delayed because he needs a bit more time to make sure each unit is perfect, he gives you no reason to doubt that. The only imperfection I can see is that there are a few little flakes of wood in the vents of the Omni. It doesn’t affect the sound and it certainly doesn’t how the Omni feels or looks. No glue residue, no uneven wood finish, no crooked stitches. Awesome job Zach!
 
 
            By design, the Omni is a semi-open headphone. Thus, it is somewhere in between an open and closed headphone in many aspects. However, the Omni does resemble a closed headphone more so than it does an open headphone. The Omni has a good degree of isolation and doesn’t leak all that much sound. While it doesn’t sound completely open, it does have the benefit of having a more open sound. Not quite the best of both worlds, but the Omni does sneak in a few extra benefits that come from both type of headphones without all that much drawbacks.
 
            The Omni isn’t the heaviest headphone I’ve ever put on my head (the Kennerton Odin takes the prize for that), but it is the heaviest headphone I’ve personally owned. As a relatively skinny and small-headed person, big, heavy headphones aren’t exactly my best friend. Weighing 100 grams more than my HE560, I was a bit worried and skeptical about whether the Omni would be comfortable enough for me. My doubts were quickly proven wrong, as the Omni are fantastically comfortable despite being a bit heavy and bulky on my tiny head. I guess it makes sense… look at those earpads! They’re monstrously large, and they’re good at what they do. There’s also plenty of padding on the headband with ZMF’s pilot pad. While I found the HE560 to be comfortable, I did have a little bit of an issue with the earpads causing discomfort after 2 or 3 hours because it pushes my glasses against the side of my head. With the Omni, that’s not an issue. The earpads are just so massive and so plush that it wasn’t an issue. The lambskin earpad is a little bit softer than the cowhide and I found the lambskin to be a little more comfortable, but at the end of the day, both are very comfortable and I preferred the sound of the cowhide to the lambskin. More on that later.
 
There are two areas in which I do think the Omni can improve upon in terms of overall comfort. One complaint I do have is that the earpads aren’t the most breathable and can get a bit warm over time. I’d love to see Zach come out with an earpad that has a material that would be more user-friendly during the hot summer months! The other place I see potential for improvement is where the connector for the cables are located. I wish they would be located more forward on the headphone’s earcup so that they are angled forward more. At their current location, the semi-bulky connectors coupled with my stiff DHC Complement 2 cable (which is basically the anaconda of headphone cables) means that I can’t lean too far back as the cable and connector will touch my shoulders and possibly shift the headphones on my head a little. Now this isn’t an issue with the ZMF OCC litz cable, and I assume wouldn’t be an issue with the stock cable either, but for those playing around with aftermarket cables that have higher braid counts or thicker wire gauges, it may be something to look out for.
 
Last bit of business that’s sort of a complaint, but not actually – the Omni has a square material between the diaphragm and earpad in each ear. When I first received the Omni, I felt that something was a little off – I felt that the left side was just a little brighter than the right side. I later asked Zach what the two squares are, and he says that they’re there to reduce a peak at 10 kHz. I decided to play around with the positioning of the squares a little bit, and voila! The two sides sound balanced. I’m not sure if anyone else had any sort of experience, but if you do, see if the positioning of the two squares help balance out the two sides.
 
As I briefly mentioned earlier, one of the beauties of the Omni (besides its build and design) is that the sound is customizable to a small degree. Well, actually, if you don’t like the sound of the Omni, you can send it back to Zach and he’ll retune it to your liking. How cool is that?! But, of course, that’s not what I mean when I say the sound is customizable. What I mean is that you can alter the sound a bit with the choice of the wood used in the earcups as well as the material in the earpads. The cherry cups are supposed to have a slightly richer sound, the blackwood is supposed to have a slightly drier sound, while the walnut is supposed to be somewhere in between. As Zach explains, these are subtle differences. The earpads also affect the sound to a degree. The cowhide gave a smoother sound while the lambskin tends to give a brighter and airier sound. I didn’t get a protein pleather pad, but according to Zach it’s also a slightly brighter sound. Once you choose the type of wood, that’s obviously set in stone. But you do get a little bit of flexibility in terms of the earpads as well. For me, my choice was the Omni with walnut cups and cowhide earpad. I tend to like a slightly more energetic treble but I found that the lambskin could get a little hot in the treble.
 
Listening was done with songs of all genres and quality (with the exception of DSD) running Foobar > Schiit Wyrd > Asus Essence III DAC/Amp > DHC Complement 2 > ZMF Omni.
 
 
The lower end of the Omni is rich, but not as big as I was expecting – which is a great relief to me. I’m not a big fan of an overly bassy sound and I feel that bass of the Omni has good thump and excitement to it without straying too far from the realm of neutrality. True to the reputation of orthodynamic drivers, the Omni has fantastic extension down low. The sub bass starts to take a dive below 40 Hz, but retains good presence down to 23 Hz or so. With great sub bass, of course, comes great sub bass texture and detail. While not the fastest or cleanest sub bass I’ve heard, it’s nonetheless very capable. The mid bass has an extra bit of thump to it, but it’s very tastefully done. Few people will say that the Omni is too bassy for them, and only the truest of bassheads will say that the Omni isn’t bassy enough. The bass is exciting with a great sense of impact and rumble, but retains great control, speed, and detail.
 
The earlier prototypes as well as the first few units of the Omni supposedly had a more recessed midrange. Zach at the last minute, decided to retune them a little bit, and boy am I glad he did. There are a lot of great things to say about the midrange of the Omni. The midrange has a good sense of balance that isn’t particularly forward or recessed. Vocals hold their ground very well and always has a great sense of presence, instrument separation is incredibly well done on the Omni, and the background is very black. I honestly think that separation is one of the strongest points of the Omni. I find the upper midrange and lower treble of the Omni to be just a tad aggressive, which gives the Omni a sense of flare and crispness that makes instruments pop a bit more and is very enjoyable to listen to. This also brings forth a better sense of the detail in the music, and the Omni is able to deliver plenty of detail.
 
As I said, the lower treble is crisp and exciting, but I never found it to be sharp or fatiguing at my normal listening levels. Using the lambskin earpad I do find that the treble can get a little hot and fatiguing after some time, but that’s taking into account that the lambskin is brighter. With the cowhide earpad, the Omni is fatigue-free but still exciting. The treble of the Omni is very crisp, detailed, and textured. Decay is also clean and very fast. However complex the music may become, the Omni remains unfazed and every hi-hat or cymbal will always ring with a great sense of clarity and realism. While the Omni doesn’t have the sense of openness and air that truly open headphones have, the Omni does have a good sense of space and a decent sense of air thanks to a pretty good treble extension – going up to 16 kHz without any real issues.
 
            In terms of soundstage and imaging, the Omni really delivers. The soundstage has a great sense of width for a planar driver and the Omni also has a really good sense of depth, allowing for some really really fantastic layering. Imaging is incredibly precise – I would perhaps dare to say one of the best I’ve experienced in a headphone below 1000 dollars. The Omni really delivers a wonderfully clean and precise presentation of the music with plenty of headroom to go with it.
 
Summary of Sound
            The Omni really delivers a wonderfully fun experience and I finally understand why Zach’s headphones are so popular. He doesn’t tune his headphones for any other purpose but for them to sound good to him – it just so happens that he has pretty good taste! The Omni is a dynamic and exciting headphone to listen to that doesn’t leave you feeling that it’s too aggressive or thick sounding.
 
Comparisons:
 
ZMF Omni and HIFIMAN HE560 (Unmodded)
            I love my HE560. It’s light, it’s comfortable, and it has a neutral and detailed sound. Being priced at very similar prices, the two are naturally seen as potential competitors – and competitive they are.
 
            The HE560 has a very flat bass response that is able to extend very deep despite not being particularly emphasized in the low end. On the other hand, the Omni does have a more impactful and weighty bass. Honestly, both headphones have very good extension but the Omni is just a teeny tiny bit better to my ears. However, I do find overall sub bass texture to be cleaner and faster on the HE560. Neither headphone has any sort of issue keeping up with low end textures, but the HE560 does tend have a clearer texture as it has less of a bass bloom compared to the Omni.
 
            The midrange of the Omni feels fuller than that of the HE560, which can feel a little thin in comparison. The midrange of the HE560 is also a little more distant in presentation. I find the presentation of the Omni to be more natural while also being a little better in texture. Instrument separation is also just a tad better with the Omni to me.
 
            Treble comparison is a little more interesting. While Zach says that the difference between the lambskin and cowhide pads is fairly subtle, I would say it can be pretty significant. As someone who enjoys more treble energy, I chose to try out the lambskin first. However, I found the lower treble of the Omni to be sharper than that of the HE560. So for those that find the HE560 treble to be harsh (I’m not one of those people), go straight to the cowhide. With the cowhide pads, the treble is smoother than the HE560’s treble but remains very well textured.
 
            As a semi-open headphone, the Omni naturally doesn’t’ have the sense of openness that the HE560 is capable of. However, the Omni has a larger soundstage as well as better imaging. Again, the imaging and sense of depth the Omni is capable of is really spectacular – especially when you factor in price.
 
            To sum it up, I certainly wouldn’t say one is superior to the other. Without a doubt, the Omni has the more exciting and punchy sound that people will love, but it also has no problem competing with the HE560 in terms of sonic capabilities. The HE560 has a drier and more analytical signature that certainly has its own merits as well. I never thought I’d be saying goodbye to my HE560 so soon, but I do prefer the Omni to the HE560.
 
 
             So I really like the Omni and I’m very happy I preordered it. Zach has really done a wonderful job tuning this headphone. It’s able to present a fantastic level of detail and texture while sounding really fun and enjoyable. Better yet, the Omni performs very well on all levels and fronts. While I love the sound of the LCD-3 and can see why people find the two similar, I will never be able to upgrade to the LCD-3 from the Omni. The Omni is much more comfortable for me in comparison to Audeze headphones, and I’m not quite willing to give up the comfort of the Omni for the upgrade in sound.
 
            There’s really not a whole lot to dislike in the Omni. For anyone on the fence or giving it a consideration, I can feel very comfortable in suggesting the Omni to you. Even if the sound signature of the Omni isn’t “to your liking,” there won’t be many people out there that legitimately dislike how the Omni sounds. There’s really no glaring weakness to how it’s tuned. Congratulations to Zach and ZMF for creating a fantastic flagship headphone

            Hong Kong based Brainwavz has been making budget oriented IEMs for quite a few years now and has had a presence here on Head-Fi thanks to their generosity with providing review units to Head-Fiers. Their most recent creation, the S3, looks very much like its brothers in Brainwavz’s S line of IEMs, but still has its own unique characteristics. I received the S3 from Brainwavz for the purpose of this review and will, of course, provide an honest review of the S3.
 
            Besides the Jive and Blu-100, all of Brainwavz’s IEMs I have received have come with a pretty standard packaging style with very similar, if not exactly the same, sets of accessories. The S3 comes in a well-designed box with a cover that opens up to show the IEMs inside the box as well as information about the IEM like details about the driver, housing, cable, and microphone remote. Inside the box, you find the carrying case with the S3 and a shirt clip inside as well as a bag with a fairly generous number of tips, a set of comply tips, and a warrantee slip. Unlike other Brainwavz IEMs, the S3 does not come with an included 3.5 mm to 6.3 mm adaptor since, with the microphone and remote, the S3 was designed for mobile use.
 
 
            Like almost all Brainwavz IEMs (with only a few exceptions), the S3’s housing is constructed out of metal – more specifically, aluminum. The housing is a nice silver color with “Brainwavz” and the R/L indicators printed in red. There is also a small bass port at the top of the housing.  The S3 housing is solidly constructed and has very good strain relief connecting the housing to the cable. The only complaint I have for the housing of the S3 is that it seems the Brainwavz logo has scratched off a bit on the left housing. I’m not sure if that was my doing or if it came like that out of the box, but I’ve certainly not put the S3 through all that much torture. In fact, they’ve either spent their time on the shelf with my other IEMs or in my ears. They haven’t even left the house yet. I haven’t had the logo scratch out on any of my other Brainwavz IEM so I assume this isn’t a huge problem. As long as you put in some effort to protect your IEM, it should have no problems.
 
            One of my biggest criticisms of Brainwavz has always been their cable. I’m glad to hear that they’ve listened to their reviewers and consumers. Compared to the S5, which I reviewed sometime last year, the cable retains a similar style but is MUCH improved. I heard that Brainwavz uses the newer design of the cable on the S5 as well now, which is a great thing to hear. The cable is flat with a relatively small-sized Y-split and terminates into a straight 3.5 mm jack. Now I really wish Brainwavz would abandon the straight jack altogether. The Jive uses a 45 degree angled jack, so I’m not sure why the S3 doesn’t use the angled jack. My S5 actually ended up having some issues with the cable because of some issues with the straight jack. I would love to see more angled jacks from Brainwavz in the future.
 
            The S3 was designed for mobile use and, thus, comes with a microphone and remote. The remote has a good location on the cable (you’ll be surprised how many companies manage to mess that up) and feels sturdy enough. The remote has a rubbery feel to it that is similar to the cable’s material and the buttons are also slightly rubbery. The buttons have a gentle click when you push them which I rather like as it allows you to know that you’ve activated the button’s function.
 
 
            Brainwavz’s IEM designs have ranged from very comfortable and low profile, like the Jive, to something completely bizarre looking. Who could forget the time someone compared the R3 to a pair of water tanks? Regardless of how Brainwavz’s IEMs look, they’ve always been comfortable for me. The S3 for me, unfortunately, seems to be the first IEM to deviate from that a bit. The design of the S3 looks like it’s an in-between of the S5 and S0. Its housing is a little longer like that of the S5; however, it doesn’t have the tilted nozzle design like the S5 that makes it an over-the-ear IEM. Instead, the housing sticks straight out like the S0. Because of its additional length compared to the S0, however, the S3 sticks out of the ear a bit more. I’ve found that the S3 doesn’t stay in my ears as well as other Brainwavz IEMs because of this and it also tends to start shifting downwards after a while as well. That’s the one fit/comfort issue that I encountered on an otherwise solidly built and good sounding IEM.
 
            One other little problem I encountered with the S3 was driver flux. Taking the S3 in and out of my ears causes the drivers to make a crinkling sound, which isn’t an issue and is often normal for many dynamic IEMs. The issue is that sometimes a driver would be unable to move because of the pressure that built up from pushing the S3 into the ear canal. In such a case, adjusting the S3 a bit to relieve the pressure and let the driver move again, but it is a bit of a nuisance. It also makes one think about whole ADEL campaign from 64 Audio…
 
 
Specs provided by Brainwavz on the box of the S3:
 
-Drivers: Dynamic, 8 mm
-Rated Impedance: 16 Ohms
-Frequency Range: 16 Hz ~ 22 kHz
-Sensitivity: 96 dB at 1 mW
-Rated Input Power: 10 mW
-Plug: 3.5 mm, Gold-Plated
-Cables: 1.3 m Y-Cord, Copper
 
            Listening of the S3 was done with my phone (mostly to test remote functions) as well as my Sony NW ZX2 and Asus Essence III. Both the ZX2 and Essence III are a bit overkill, but I use the Essence III to keep my listening consistent between different products, and the ZX2 is the only DAP I currently have.
 
            There has been a lot of controversy over the sound of the S3.Some people have stated that the S3 bass is bloated and bad, while others have stated that the bass has very poor extension, but is otherwise clean. Other Head-Fiers with the same measuring setup as I do as shown that their S3 unit is indeed lacking in extension, but my unit seems to show decent bass extension. I would say the bass is a bit rolled off, but it’s not 15 dB rolled off below 100 Hz. In fact, the bass on my S3 is actually quite excellent and is neither bloated nor overly thin. I’m not sure what’s going on with the inconsistencies of the S3 as this was not an issue in any prior Brainwavz product I’ve reviewed. Yes, tips matters, but it shouldn’t make as much of a difference as the discussions on the S3 impression thread suggests. But with that in mind, take my impressions of the S3 with a grain of salt as my unit possibly sounds different from yours?
 
            Edit: Brainwavz has chimed in and said that the few people that have reported a poor bass response may have the bass ports impaired or blocked off. That seems like a plausible explanation to me, as very few people have mentioned very poor bass response, and my biggest concern has been how rolled off the bass is. It is somewhat rolled off to me, but others feel that the roll off is very excessive.
 
            So as I’ve just said, I found the bass of the S3 to be very good. It’s probably one of the most well balanced bass that’s come out of the labs of Brainwavz. The bass is punchy but fantastically tight, making it also one of the most enjoyable bass I’ve heard from Brainwavz. The bass does start to roll of a little bit below 100 Hz, but only start to take a dive below 50 Hz or so, and only really struggle to produce rumble below 30 Hz. So overall, rolled off – yes, but not to the point where it sounds thin or can’t produce rumble. Instead, it has good impact with clean bass texture. The lower end tends to be the Achilles heel of many more affordable IEMs, but I was actually very happy with the performance of the S3 in the bass department. I didn’t put them on and immediate think “here we go again.” I found that it stands its ground very well.
 
            The midrange is actually where I felt the S3 performs well, but could be better. The midrange balance is very good and has a natural sound and timbre, but is just a bit too smooth sounding for me and can sound just a tiny bit veiled as well. Besides that point, the midrange has good presence, good separation, and good vocal presence as well, for a coherent sound. Vocal detail is also really good, but I do find instruments can be a little smoothed out and lack just a bit in texture as a result.
 
            The treble is smooth without any odd peaks besides having just a bit more energy around 5 kHz. The treble extension is also not fantastic, as the S3 seems to lose quite a bit of energy past 7 kHz or so and struggles past 15 kHz. However, the S3 doesn’t sound dark or suffer too much from a lack of air as a result. The treble does take more of a backseat as a result and isn’t as sparkly as other Brainwavz IEMs I’ve heard and is lacking in energy for someone like me who enjoys a bit more of a kick in the treble.
 
            For an IEM of its price, I thought the S3 performs admirably in terms of soundstage and imaging. Soundstage has a good bit of width with some sense of height and depth, and I would say is just a bit above what you might expect from an IEM in this price (Except maybe the GR07).
 
 
            I think the S3 is one of the most well-rounded IEM that Brainwavz offers. There are a lot of good things to say about its sound at its price, although I would say it is a safer and perhaps less exciting tuning. The build quality, as always from Brainwavz, is good, and the only major issue I found with the S3 is its smoother tuning and it’s fit for my ears.
 
            I’m still looking for that one big winner from Brainwavz though. Brainwavz makes good products, and I have no trouble recommending them – the S3 is no exception, but I still haven’t found the “clear winner” from Brainwavz. I do think that with each product release, Brainwavz is getting better at what they do though. Build and design have generally seen an upwards trend, and the tuning of their IEMs are more and more suited to my personal taste as well. Again, I give Brainwavz a thumbs up on the S3, but I still want to see that big breakthrough from Brainwavz!

            Nouske is a company I’ve never heard of or seen on Head-Fi or on the internet as a whole. I was first contacted by their rep, Laura, back in August regarding a new IEM they were releasing. Laura informed me that it was to be a single BA + dynamic hybrid IEM and asked if I would be interested in giving feedback and reviewing it before its final release. It seems like the IEM wasn’t quite ready yet as she didn’t give me the ok and ship the IEM to me until late September. I was told that Nouske is a Chinese company based in Shen Zhen, but on their website, it says that the products are “designed in Denmark.” I found this a bit misleading as now I’m not completely sure if this is a Danish company with production in China, a Chinese company with Danish designers, or something else completely different. Either way, what I wanted to know is if this new company can make good IEMs or not. The Nouske NH-14 Hybrid IEM is looking to be priced at 50 USD with a, at the time of this review, TBD release date.
 
            The NH-14 comes in a very small, ergonomic, and simple black box. Inside, the overall presentation is quite nice. The ear tips are nicely displayed with the housing of the IEM on the top later of padding, while the bottom layers hold the cable.
 
            Accessories included are somewhat bare bone. There are 4 sets of tips given, two of which look to be the same size (medium). No other accessories are included. I think it would have been a nice touch if there was also some sort of soft or hard case included, but I guess it’s not the end of the world.
 
 
            The build of this IEM is very solid, and certainly very impressive for a 50 dollar product. All the important parts of the IEM are constructed of metal – that includes the earpiece, Y-split, and the 3.5mm jack. I’m also quite a big fan of the cable. The looks of it reminds me a little of the cable you find on the Vsonic GR07. It’s fairly thin, tangle free, and feels slightly rubbery and sturdy. Overall very good build for a budget IEM.
 
            I had a few small problems with the design of the earpieces. First off, I found the insertion to be a bit shallow. Couple that with the vents in the back of the driver, and you get an IEM with fairly mediocre isolation. In addition, I found the left right indicators a bit of a pain to read. They’re small and written on the black strain relief (which is very good by the way), making them super hard to read.
 
            When it comes to portable products, I’m not a big fan of straight 3.5mm jacks. Unfortunately, the NH-14’s jack is straight. The good news, though, is that it’s pretty thin so it should be able to fit through your phone case. The Y-split is also study and with very low profile, making the cable very usable and comfortable overall.
 
One last little thing that I think is really nice on this IEM is that it’s designed with very small studded patterns on them. Not only does that make the IEM look pretty nice, but it also makes the surface IEM easier to hold. I’m not sure if that was the intention of the design, but it does make a bit of a difference when you pull out the 3.5mm jack.
 
As a whole, I think this IEM is built well and has a nice looking and usable design. The only complaints I have for it is that it doesn’t have a chin slider, and the cable noise can be a bit distracting. The Y-split is located at a fairly good location so it’s not the end of the world, but I do like having the option to adjust it myself.
 
Specs:
Drivers: Dual-Driver, 10mm dynamic + Balanced armature
 
Sensitivity: 112 dB/1mw
 
Impedance: 32 OHM
 
Frequency response: 8 Hz-26000 Hz
 
Jack Type : 3.5mm Stereo Gold-plated plug
 
Cable length: 1.22m
 
            As you may expect from a budget price hybrid IEM, the NH-14 is a pretty bassy IEM. The vented bass driver means that it can pump out a good bit of bass. The bass also extends impressively low, starting to roll off past 50 Hz, but still able to muster out some rumble at around 25Hz. The sub bass is very prominent on the NH-14, so you won’t miss the bass line on any song. However, it does struggle a bit keeping up with the overall texture of the lower end, so the bass can sound a little one-noted. In addition, the mid bass is actually not all that prominent relative to the sub bass, so you get sort of an interesting “slam to rumble” ratio if you will. The amount of bloom you get for each bass hit just seems excessive compared to how hard the hit is – which by the way is impressively tight. The bass does a good job keeping good presence and fun without being overly distracting, but at the end of the day isn’t particularly impressive from a technical standpoint.
 
            The bass does bleed into the mids a bit, and the midrange is slightly relaxed but remains present and very clear. The lower mid emphasis can cause vocals and instruments to have a somewhat unnatural tone. Especially with lower resonating syllables like “uh,” you can really feel the vocals resonate in a bit of an unnatural way. Despite that though, I felt the level of detail that the midrange was able to produce was good and instrument separation is also very well done. Instruments actually have very clear presence and good space and air between them, giving the NH-14 an overall clean sound that doesn’t feel overly warm despite a fairly hefty low end.
 
            The upper register of the NH-14 is relatively smooth with very small peaks at 3 and 5 kHz. Extension isn’t too bad overall, with some roll off past 15 kHz or so and dropping off past around 16kHz to my ears. Upper range attack and decay are surprisingly fast with a good bit of sparkle that doesn’t sound harsh by any means and the level of detail produced in the treble is also a plus for this IEM. The only thing that didn’t quite line up to me is the overall tone of the treble. To me, the treble has good sparkle and energy, but can sound a little plasticky. Snare and hi-hat hits somehow don’t quite have the metallic shimmer to them. Nonetheless, the amount of detail and overall performance of the upper end of the NH-14 is very good in my opinion.
 
            The NH-14 sounds very spacious for an IEM of this price, partly due to venting and partly due to a present treble response. The overall headspace itself isn’t anything mind-blowing though. The NH-14 has a maybe slightly above average sense of width for an IEM of its price, but still lacks in the sense of height and depth like almost all IEMs at its price.
 
 
            Looking back at my listening impressions of the NH-14, I think my negative comments of it really all connected to one thing: timbre. To me, the timbre of the NH-14 is just a little off. Lower instruments can be a little too resonant while upper range instruments don’t quite have the metallic edge they should. However, despite the fact the overall timbre of the NH-14 irks me a little, I can’t help feel that the NH-14 is actually a very easy to recommend IEM and I'm actually quite happy with it. The sound has good detail, good sense of space, and very good presence and separation with instruments. On top of that, the NH-14 is comfortable and the build is on point for an IEM of its price.
 
            The timbre is a little unnatural to me and the tuning of the NH-14 certainly took me some time to get used to (as someone who very much prefers a flatter response), but I really think that the NH-14 is a very good piece for those that want to keep the jammin’ and dynamic sound that they’re used to from their earpod or skullcandy, while providing an impressive amount of resolution – all without breaking the bank.
 
Link to Product on Amazon: http://www.amazon.com/dp/B018JKOK1C

            The Aune X1S is a product that has piqued my interest since its release. After getting the chance to hear the B1 amp, Aune was a company I kept my eyes out for. This X1S unit is part of the review tour that Aune kindly organized, and I’m very happy to have the chance to partake in reviewing the X1S. Reviewers are supposed to spend 5 days with the review unit, but I actually took a bit longer because I was out for 3 days at RMAF 2015 and because I wanted to wait and see if I can get some time pairing the X1S with the new ZMF Omni (which unfortunately did not arrive on time). Big thank you to Aune for giving me another opportunity to give their products a listen and for accommodating the fact that I needed a few extra days to put out my review. The X1S is a beautiful piece and I’ve enjoyed the few days I spent with it.
 
            The X1S come in a relatively large box considering the size of the amp itself. The box is a solid feeling black cardboard box with a nice finish and the Aune logo on the front. Opening up the box, you learn why the box is so big. Rather than cramming everything into as small of a package as possible, the amp and accessories are separated cleanly to give a nice overall presentation. Accessories include a 3.5mm to 6.3mm adaptor, USB cable, power cord, and a USB drive with the firmware and manual loaded onto it. Because of that, there are no paper manuals or directions in the box. I think that’s a really cool touch that makes the product feel more advanced. You also don’t have to visit the Aune website to download the firmware, though I’m sure they’ll put a firmware on their website if they ever put forward newer and updated firmware.
 
            Now, onto the power cord and power brick. I think people have complained about it before, but I will put forth my opinion about it as well. I’m also not a fan of it. The length between the end that plugs into the X1S and the power brick is about an average desktop’s height length, which means if you’re looking to put it on a higher shelf, you’re gonna have a bad time. In addition, the power brick is pretty bulky, so you’re outta luck when it comes to hiding it behind a bookshelf that’s close to the wall. You’ll probably need to keep your shelf at least 3 or 4 inches from the wall if you want to hid this thing behind the bookshelf. The power brick wasn’t a problem for me personally since my desktop rig is on a low shelf that’s a good 6 inches or so way from the wall, but it’s something to look out for.
 
            While the material of the X1S’ exterior isn’t the flashiest (I’m a sucker for brushed finishes), the X1S is fantastically well-built and put together. It has a decent heft to it and the construction feels very solid. Nothing feels loose and nothing rattles when shaken. The only real bit of plastic you can see on the exterior is the power switch – everything is metal. Simply put, the X1S is built like a tank and built to last.
 
            The X1S is a DAC and amplifier in one box solution that comes with a very respectable number of inputs and outputs. It has coax in/out, RCA in/out, USB in, optical in, and of course, a 6.3mm headphone out. I think that pretty much covers most, if not all, of the bases that someone looking for a simple desktop solution would need. Switching between the inputs are also as easy as clicking a very responsive button that switches between the various inputs.
 
            I’m also a pretty big fan of the volume knob of the X1S. It’s extremely smooth and it looks quite nice. A small part of it, where the volume pointer is, is etched in. I’m not sure if that’s just to look nice or not, but I personally found that it makes adjust the volume quite easy since you can turn the knob with just a finger. Maybe I’m just lazy and thought of that though… haha.
 
            The X1S is very desktop friendly and is also a good looking device that certainly doesn’t compromise the look or fengshui or whatever of your office or desk. I’m a fan of the slightly curved top and the overall design of the piece. Aune did a very good job creating a sturdy device that is versatile and beautiful in design.
 
            I set up the X1S with my desktop rig for my listening impressions. I’m running music of various genres and quality (minus DSD) to a Schiit Wyrd, then to the X1S with my HIFIMAN HE560 and Noble Audio Savant as my main listening gear.
 
Background Noise
            So I was actually very impressed with how quiet the X1S is when I plugged my Earwerkz Supra 2. As the most sensitive and prone-to-hiss IEM I’ve encountered, it was quite surprising how quiet the X1S was. There is still a small degree of background hiss, but I actually found it to be quieter than some portable DAPs I’ve used.
 
            The only bit of complain I have is that with more sensitive IEMs, there aren’t a while lot of the volume knob available to you before the sound gets to be too loud. I definitely think that implementing a gain setting would give a bit more freedom for users looking to use their IEM with the X1S.
 
General Sound Impressions
            The X1S is a very good sounding device and a very impressive performer at its 300 dollar MSRP. Its sound is well balanced and offers good detail retrieval as well.
 
            I think the only real upfront criticism I have for the X1S is bass extension with my more demanding HE560. I don’t feel that the X1S has enough of what it takes to let my HE560’s planar drivers really deliver its low end oomph, making the bass sound just a bit polite with my HE560. Besides that point, the bass impact is tight, punchy, and can dig deep when it needs to with good texture and separation.
 
            I would describe the midrange of the X1S as being clean and transparent. It’s smooth and doesn’t sound particularly warm or dry. Instrument separation is also very good, and vocals have a natural sense of presence that doesn’t sound too forward but also doesn’t get lost and overpowered by the presence of other instruments.
 
            The treble is well balanced and non-fatiguing. I don’t feel that it adds any extra shimmer to the sound nor do I feel that it’s particularly smoothed out. I thought the amount of treble detail was quite fantastic for a device of its price, but I do think it lacks the last little bit of texture from something like a cymbal crash or a hi-hat. Despite that, the treble is crisp and has very quick decay. Treble extension is also quite capable on the X1S, being able to give a natural sense of air to the music without being artificially open sounding.
 
            While the soundstage of the X1S doesn’t feel like it extends out limitlessly, it is nonetheless open and natural sounding. The music tends to be presented just a bit in front of you rather than around you. I found the soundstage’s extension in all directions to be very good. However, there is a good perception of depth, but only really in the sense being in front of you, and not so much behind you. To me, this is what makes the presentation of the sound slightly in front of you rather than a more immersive around your head experience.
 
Comparisons
 
Aune X1S and Asus Essence III
            I think the biggest thing that separates the X1S from my significantly more expensive Asus Essence III is soundstage and imaging. The Essence III offers more of an around-your-head presentation and extends quite a bit further with its soundstage in all directions. The Essence III also sound just a bit more open sounding. Switching from the Essence III to the X1S and you instantly feel that the sound is a bit more closed in. When you have effects in music that involves something moving across the headspace, like the opening effects from Michael Jackson’s “Thriller,” it’s becomes quite obvious that the effects sound much more convincing on the Essence III.
 
            The other big difference that is quite obvious when switching over to the Essence III is the effortless bass reproduction that the Essence III is capable of when driving my HE560.  With the Essence III, you’re really able to the HE560’s drivers do the things in the low end that make planar drivers so popular.
 
The Essence III also has that last bit of micro detail, resolution, and texture that the X1S isn’t quite capable of. The Essence III sounds crisper and tighter in comparison, and can make the X1S sound a bit smoothed over despite the fact that both devices are very neutral, transparent, and similar in signature.
 
Taking into consideration the fact that the Essence III is about 6x the price of the X1S, all I can say is that the X1S certainly exceeds expectations when it comes down to price. While the performances of the two aren’t exactly close, credit is given where credit is due. The X1S is a very capable device at its price.
 
 
Aune X1S and iBasso D14 “Bushmaster”
            The design and intended use of the two products are somewhat different, and the price of them also differ a bit, but both can be used as a USB DAC/Amplifier solution and I did get a couple request for this comparison, so I thought I would put these two against each other anyways. The comparison was done using my Noble Audio Savant.
 
            The bass of the D14 is a little more accentuate than that of the X1S and has a little bit more bloom to it. However, separation and detail of the X1S’ lower end is cleaner and tighter. In particular, the impact from the bass of the X1S is more textured and true to whatever instrument it is, while the low end of the D14 doesn’t quite have the texture of the X1S and can sound a bit more of a thump than a realistic hit. The bass of the D14 is definitely tuned to be more fun than the X1S, and there is a little bit of a tradeoff there.
 
            The midrange of the D14 is just a tiny bit richer than the midrange of the X1S. This gives the X1S the edge in terms of separation, as the air between voices and instruments are quite excellent on the X1S. The D14 also has a very clean sound but has a slightly darker presentation.
 
            The treble of the X1S is more extended and crisper than the treble of the D14, which I felt has a very slight roll off and a slightly smoother, but still energetic, sound.  The better extension of the X1S makes it sound more open and a bit more natural as well.
 
            In terms of soundstage, I felt the two were close, but the X1S does perform noticeably better in terms of depth. For example, the decay and echo of a snare drum is substantially more realistic with the X1S – not because it’s much better in terms of texture or detail, but because you can feel that it’s moving further away from you.
 
            In conclusion, the X1S does outperform the D14 in terms of technical capabilities, but the D14 does have the richer and arguably more enjoyable sound. Of course, the D14 also has the benefit of being a portable device with a battery and all that good stuff.
 
            There’s no question that the X1S is a very good sounding product. The only issue is the possibility that it doesn’t have quite enough juice to drive more demanding headphones – the HE560 is honestly not a particularly hard to drive headphone, and the X1S seems to struggle just a bit with it. The X1S is also a versatile piece of equipment that will be able to fulfill most of your desktop needs.
 
            The performance you get out of the X1S is very impressive, and the size of the X1S makes it a very manageable desktop, maybe even transportable, DAC/Amplifier solution. The solid build also ensures that it’s built to last. The X1S is a product that is very easy to recommend and should pair very well with the majority of IEMs and dynamic driver headphones. Great job Aune!

I currently have the Calyx PaT, Cozoy Aegis, and Cozoy Astrapi in hand. I got these three from my good friend, nmatheis, who sent the three as a set to a couple Head-Fiers to audition as sort of a “phone powered DAC/Amp” tour if you will. For this review, I will be talking briefly about all three of the products. The reason I’ve put this as a Calyx PaT review is simply because I found the PaT to be the most worthy of the three products, and thus I’ve chosen to focus on the PaT as the center of this review.
 
            So in terms of packaging, the ranking goes: Aegis = Astrapi >> PaT. The PaT’s packaging is actually way more basic and unimpressive in comparison to the Cozoy products. The Cozoy products come in a nice white box with the products sitting nicely in a velour feeling material. On the other hand, the PaT comes in a clear plastic encasing that makes me feel like I just bought a cheap remote control from Home Depot or something. A bit exaggerated but not by much – the presentation of the Cozoy products are quite a few steps up from the PaT.
 
In terms of accessories, they’re quite similar. They all come with various cables for use with different devices. However, the Cozoy products also include a cable with lightning connection while the Calyx PaT does not have such a cable. Fortunately for me I’m using all three products with my HTC One M8, so that doesn’t affect me but it would be something nice to have though.
 
 
 
            The ranking for build goes something like: Aegis > Astrapi > PaT. The Aegis, with its brushed aluminum finish, takes the cake as being the finest looking piece of the three. The Astrapi has a brushed aluminum front like its older brother, but has a more generic metal finish for the rest of the piece. Finally, the PaT is constructed of metal with a blue tint to it (you can select from a few choices of colors), with a rubber back. While the PaT doesn’t quite look or feel as premium as the Cozoy products, its build quality is still very good nonetheless – it just takes a simpler approach.
 
            Ranking the design of the three is a bit more of a tricky matter. They’re all well-designed because the concept of this type of super portable device in itself is a good design. So for me to say one is better in design over the other doesn’t really make too much sense to me. I can say in terms of look, I would go: Aegis > Astrapi > PaT, but in terms of function, it’s a bit of a different story. The PaT is the largest of the three, being almost twice as large as the Astrapi, in fact, so in theory, it’s the least ergonomic. But does size really matter at this point? I say no – these things are already so small that it really makes no difference to me. They all fit in my pocket with no problem, and when I do put them in my pocket it just feels like I have my phone in the pocket. These guys really don’t add much more. All three also drain the battery of the phone, but I found it to be reasonable and I wasn’t running out of battery in the middle of the day because I was using one of these devices.
 
I actually like the PaT the most of the three when it comes to design. Yes, it’s a little bigger, but it doesn’t matter. What I really like about it is its rubber back side. While perhaps it makes the PaT look a little cheaper, as someone who likes to really take care of his gear and can’t stand a single scratch on anything, I really appreciate the rubber back as it prevents both my phone and my PaT from leaving a mark on one another. I liked the PaT more than the Aegis mostly because the Aegis gets pretty warm real quick when in use. On the flip side, my least favorite is actually the smallest one of the bunch – the Astrapi. I don’t get the clip that’s on the back of the Astrapi. I think it’s small enough as is that I can fit it into my pocket with my phone with absolutely no problem. I don’t think I’ll ever use the clip to clip the Astrapi to my belt or the side of my pocket or anything, so it just becomes a thing that takes up space and a possible place for the Astrapi to break. Admittedly, the clip is well built and feels sturdy, but if anything’s going to get twisted weird and break, it’s the hinges on the back that might break.
 
One more thing to add is that the PaT has controls. I never got it to work with my HTC phone, but perhaps it works with iPhones. Either way, if the button controls on the PaT do work, it would also be a big bonus to have in terms of its design. Unfortunately I can’t speak for how well the controls work since they never worked for me.
 
Again, at the end of the day, all three products are built well with good designs. They’re all sturdy and fit in my pocket and disappear. So again, when I say X is better thay Y because of reason Z, it’s really just the tiniest of observations.
 
 
            So this is where the three products really separate themselves from one another. To keep things consistent, all three products were connected to my HTC One M8 running PowerAmp with the Noble Savant as the IEM of choice. Music ranges in a wide variety of genres as well as quality. Another quick note before we start – the Aegis currently runs for around 300 dollars, Astrapi for 130 dollars, and the PaT for 100 dollars.
 
Astrapi and PaT Comparison
So the Astrapi was a bit of an annoyance for me. For some reason, it seems to have some connection issues with my phone where if I disconnect the Astrapi, I would need to restart my phone to get the Astrapi working again. I didn’t have this issue with the other two devices. The phone recognizes the device, because an indicator on the phone shows up saying that the phone is in “host mode,” but music still comes out of the phone’s speakers. This problem was very frustrating to me and made A/Bing a bit of a pain.
 
Both devices also have a bit of hiss. It’s not overly present on either device as it’s mostly present only when music isn’t playing. However, I did find that the Astrapi seems to have some sort of high pitched hum along with the hiss, which I found a little distracting. In terms of power, the PaT is also a tiny bit more powerful.
 
Looking at the two’s lower end, I wouldn’t say either of the two are particularly well extended down bottom, but the PaT does do just a tad bit of a better job. The PaT also has a tiny bit more of a mid-bass bump to it, making its thump also just a tad more impactful – it’s not a big difference though.
 
The PaT has a smoother and slightly richer/warmer midrange compared to that of the Astrapi. The Astrapi has a little bit more upper midrange energy and treble air, which makes the Astrapi sound crispier and more open, but also a little edgy and unnatural at times to me in comparison to the more organic sound of the PaT.
 
The Soundstage of the Astrapi feels more open and has more height to it, but the PaT edges it out a bit in terms of width and height to my ears. In terms of imaging within the space, I think both do a pretty good job. Both devices overall sound clean and well controlled.
 
Comparing the two, I personally prefer the PaT to the Astrapi because the PaT just sounds a bit smoother and more natural to my ears. Performance wise, the two are fairly close, but both are certainly a good step up from what your typical smartphone would be capable of.
 
PaT and Aegis Comparison
            The Aegis is very much an improvement over both the Astrapi and the PaT, which doesn’t come as a surprise. Impressively, the Aegis is the most powerful of the three, but also the quietest, which I was very happy to see.
 
            The bass doesn’t have as much of a mid-bass bump to it as the PaT does, but the extension is a very welcomed improvement on the Aegis. It’s certainly not at the level of something like my Sony NW-ZX2, but I’m happy with what it’s capable of nonetheless.
 
            The midrange, in terms of balance, to me is somewhere in between the PaT and the Astrapi. It doesn’t quite have the warmth the PaT has but it also doesn’t have the edgy tendency of the Astrapi. To me, it’s certainly the most well-balanced of the three, and its treble extension remains very good and open. The soundstage is also more three dimensional in all directions, although I don’t see it as a huge improvement over the other two. Detail and imaging capabilities are also a bit better when listening through the Aegis.
 
 
            So I guess I kind of gave a spoiler earlier when I said that my overall favorite of the three was the PaT. At 100 dollars, I think it’s a great upgrade to your phone that delivers a well-detailed yet enjoyable and smooth sound. I would personally recommend it over the Astrapi at 30 dollars more. I found the Astrapi’s sound good, but a little unnatural and not nearly as enjoyable as the PaT, especially when it comes to portable and on-the-go use.
 
The strongest sonically of the three devices was, without a doubt, the Aegis. However, I can’t help feel that at around three times the price of the PaT, the price is a pushing it a bit. I can’t really see the benefits you get over the PaT with the Aegis to be worth the 200 dollar premium. For me personally, I would have guessed the Aegis to be around the 200-250 dollars range.
 
At the end of the day, these Ultra-portable devices are awesome. They do drain your phone battery a little bit more, but it’s by no means at an unreasonable rate. While my 230 dollar iBasso D14 is certainly better sounding than all three of the devices, the insanely small form factor of these devices really puts them in a different realm of portability than your average portable device.
 
For those that like to use their phone to listen to music for whatever reason it may be (UI, portability, ease of use etc.), I highly recommend picking one of these up. For many consumers, audiophile products are pretty unreasonable in terms of price and design. Why would your average consumer pay 300 bucks to pay for giant block that connects to their phone just to listen to music a little better on the train? Well, I really think there’s no excuse to not pick one of these up, especially the PaT at just 100 dollars. It’s 100 dollars that really goes a long way to improving your listening experience without feeling the burden of carrying a portable device around. Great stuff!

I’m sure by now, many people know of the tours that Fiio often hold for Head-Fiers interested in giving their line of DAPs a listen. The X5ii I have in my possession is part of the North American tour and also the third Fiio tour that I have participated in. I’m glad that Fiio has continued to send units out to give those interested in hearing their products a chance to listen to them in the comforts of their own home and set ups, and certainly hope to see more from Fiio in the future.
 
Fiio seems to have gotten their recipe down in terms of making their DAPs. Besides the soon-to-be released X7 DAP, most of their new generation DAPs have the same general layout and design – and it’s a design that I’d say works. You have your scroll wheel with the select button in the middle of the wheel, as well as the four buttons at the four corners of the front and the volume and power controls on the side.
 
The build of the X5ii is very good. Each generation, from the X1 to X3ii to X5ii has shown slight upgrades in the build. I don’t have the X3ii to directly compare the difference in size between it and the X5ii, but they’re certainly very similar. The upgrade from X3ii to X5ii gives you a brushed aluminum plate both in the front and the back of the X5ii, which makes the X5ii look just a bit better. In addition, rather than having rounded edges like the X1 and X3ii, the edges in the front have sort of a geometric angle to them instead – a change that I think really makes the X5ii look more aesthetically refined. I’m sure there are other changes that I’ve missed, but these are just the changes that I can recognize without having both in front of me.
 

There seems to be quite a bit of discussion and disagreements regarding HIFIMAN’s (HFM) newest headphone, the HE400S. Some have praised the HE400S as being a giant slayer while other have said that it’s fine for its price, but certainly nothing special. I hope to take some time to put forth my own personal opinion regarding the HE400S. HFM sent me this particular unit of the HE400S for the sake of this review, and I have since returned them to HFM after the 1 month review period that I’ve spent with the HE400S. Big thank you to Jeff and HFM for securing me a review unit.
 
I really liked HFM’s overall packaging for their new line of headphones. The wooden box of the HE560 and leather box of the HE1000 certainly makes the presentation of the respective headphones feel very premium. The HE400S, being price significantly lower, has a much more standard looking packaging – but nice nonetheless. The HE400S comes with a well-padded brown box, like all other HFM headphones, with a picture of the HE400S. Rather than a box made from some fancy material, you find a sturdy and somewhat simple box inside with the HFM logo and a picture of the HE400S. What’s inside the box is very familiar, and very similar to the way other HFM headphones are presented in the box. The box is incredibly well padded and has a little compartment where the cable is stored.
 
While overall not as premium as the packaging of the higher end HFM products, the packaging is still much better than the packaging of the HE400S’ competitors, in my opinion. The packaging from the likes of the AKG K702, Fidelio X2, Sennheiser  HD600, for example, don’t really match up to the overall unboxing experience of the HE400S. There are, of course, more important things to consider than the packaging of the headphones!
 
The HE400S comes with a cable and a 3.5mm to 6.3mm adaptor. That’s it. The cable has the length of a portable cable (1.5m) and the ergonomics of a desktop cable. This kind of tells me that the HE400S is mean to be sort of a transportable indoor headphone. The length of the cable is very manageable and easy to plug into anything and roll with it, while the cable is built to be quite sturdy and certainly a bit stiff to really be used when walking out about. Considering the fact that the HE400S is a relatively easy-to-drive but open headphone, the cable makes sense to me. While the cable is a little stiff, I do like it quite a bit because it doesn’t retain too much memory and is pretty easy to straighten out. Not recommended for portable use though.
 
 
HFM has gotten quite a bit of complaint when it comes to the build of their headphones. I think I may be the few people out there that honestly really like the way the new generation of HFM headphones are designed, so I guess I’ll try to explain myself the best I can here.
 
With the exception of the headband being metal, the majority of the HE400S is made of plastic. The reason why I don’t complain about that too much is because the plastic is fairly sturdy and you don’t see too much of the imperfection where the plastic was injected into its mold. A lot of the plastic also has a matte finish to it, and I honestly find it to be pretty attractive. Yes, metal would have made the HE400S sturdier and more attractive, but the plastic housing is also one of the reasons that HFM is able to produce some of the lightest planar headphones on the market.
 
On the topic of weight, the HE400S is also one of the most comfortable headphones I’ve ever put on my head. I’m not sure why, but I find them to be slightly more comfortable than my HE560. While the focus pads of the HE560 and velour pads of the HE400S are supposedly the same dimensions, the velour pads seem to have a little more depth and are overall a little softer. In addition to its pads, the thick click-adjustable headband assures a good fit as well as a good distribution of the HE400S’ weight across the top of the head. Put that all together with the 350 grams of the HE400S and you get a really comfortable and well-designed headphone. I also think the new HFM headphones are pretty attractive despite being fairly bulky, but that’s just one man’s opinion.
 
The other big complaint that has sort of marred HFM’s reputation is their quality control. I have never had an issue with HFM’s headphones, but the stories of a headphone cracking or what nots do seem pretty scary. While I’ve never had a legitimate issue with the quality of HFM’s headphones, there are things that have come up that kind of makes me think “eh… it’s not the end of the world but it would have been nice if this didn’t happen.” I’m very happy that my HE560 has no issues of any sort. Everything is in place, nothing is loose, and everything functions well as it should. The connectors are a bit of a pain, but with the HE400S and HE1000, HFM has changed the connectors to a 2.5mm mono plug that’s much more manageable. Unfortunately, the connectors aren’t really cleanly put together. You can see some remains of glue and both of the 2.5mm jacks are a bit crooked. Not the end of the world… but… arghhhh!! In addition, the grill of the left earcup is a little loose and can rotate. Again, not the end of the world… but argh! While I haven’t run into any big issues with the QC of HFM, these little things are certainly bothersome, especially for those spending big money for some of HFM’s TOTL models.
 
I think HFM should take some steps to tighten up their QC. Making the consumer feel safe with purchasing a product is incredibly important. HFM has a great reputation when it comes to the sound of their products, but their QC seems to hold them back a bit.
 
 
 
I think I would feel fairly comfortable describing the HE400S as having one of the most balanced sounds amongst the 300 dollar open headphones. Overall sound is smooth, offering a very easy and enjoyable listening experience.
 
Listening was done mostly with my desktop setup, running music through Foobar USB out to a Schiit Wyrd and Asus Essence III (single ended) with music of all different genres and quality (with the exception of DSD).
 
Bass
So I’ll get this out of the way first. Yes, the bass is rolled off. I found that past 80Hz or so, the bass does begin to decline and by 30Hz or so, the amount of bass you’ll get compared to the rest of the frequency is fairly minimal. Yes, it still rumbles at 30Hz, but its presence is pretty much irrelevant when listening to music at reasonable volumes and you don’t get the most dynamic sound from the HE400S. When compared to other planar headphones like the upper echelon of HIFIMAN’s headphones, it becomes incredibly obvious that the low end of the HE400S is not “filled up” in comparison. While there is a gradual decline in bass presence, I only really find it to be problematic below 40 or 50Hz, so it’s not like the HE400S has no depth to its bass at all either. Rather, it just lacks a bit of the lower end texture and control that planars are so well-known for.
 
Moving on from that point, the bass of the HE400S is honestly pretty good. The mid bass has just a very slight extra lift to it, giving it a little more punch but remaining very neutral. Bass impact is very well-controlled and very tight. One other little gripe I have with the HE400S, though, is that the HE400S has the tendency to be a little reverberant, particularly in the bass. While the impact is honestly really tight and on-point, the decay tends to linger just a little longer than I’d like.
 
Again, overall, the bass of the HE400S is quite good. Detail, texture, and impact are all good, but this is not the headphone for those interested in hearing what makes the planar bass so well-known. The HE400S bass does not excel in speed nor extension – the two elements that many associate with planar bass.
 
Midrange
The sound of the HE400S is smooth, slightly warm, but also not the most transparent or open (mostly due to a somewhat lacking top end extension). The midrange has good presence and strikes a good balance between being full-bodied without becoming a thick sound. Vocals have good focus and good detail while instrument separation is good, but not stellar. Particularly at higher volumes, I find that the sound of lower instruments can smear just a little bit. Instruments also have a bit of a softness to their timbre that gives them a little bit more of a romantic sound rather than being sharper or analytical sounding. Whether that’s a plus or a minus really comes down to preference. I personally find it to be a little unnatural sounding, but comfortable and pleasing to listen to at the same time.
 
Treble
The treble of the HE400S rolls off a bit and doesn’t have too much of a presence past 16kHz to my ears. Thus, the HE400S can lack a bit of air and sense of openness. That being said though, I didn’t find the HE400S to sound particularly closed in either. It certainly could benefit from a bit more upper treble extension though.
 
Besides that point, I think the treble of the HE400S is very well balanced. Lower treble has a good sense of presence but without ever sounding harsh. In fact, I can’t imagine anyone complaining of harshness from the HE400S as the treble is relatively smooth and inoffensive. Instruments can lack just a bit of texture and micro detail in comparison to more expensive headphones, but I was pleased to find that the treble is well-controlled and articulate, giving the HE400S a clean sound. Nothing ever sounds splashy to me and everything remains very well separated and crisp.
 
Soundstage and Imaging
I would say the soundstage is pretty respectable for the price that you’re paying for the HE400S. Width, while not as wide as that of the HE560, extends out a good bit. You also get a decent perception of depth from the HE400S, but I think the layering of instruments and the imaging within the soundscape has a good sense of coherence and it’s what makes the presentation of the HE400S’ sound enjoyable for me.
 
Overall, the HE400S offers a decent out-of-head experience but, again, doesn’t offer a particularly open or expansive sound.
 
 
Comparisons
 
HIFIMAN HE400S and HE560
So the point of these comparisons with higher end headphones isn’t for me to state the obvious that something like the HE400S is outclassed by the likes of the HE560. Rather, I hope that these comparisons will help those interested in upgrading from the HE400S or considering a lower priced complement to their headphones to understand what they’re getting themselves into. So yes, the HE560s is considerably more resolving than the HE400S, especially in the sub bass, where the HE400S is lacking, and in the treble where the HE560 tends to be brighter.
 
The designs of the two are essentially the same, with a metal headband and plastic earcups. Of course, the earcups of the HE560 have the added fanciness with the veneer wood design. The HE560 also has a matte black finish while the HE400S has a glossy silver finish. I personally like the look of the matte finish better, but it’s just preference. Besides the basic design, the HE400S is also a little lighter than the HE560, making it slightly more comfortable as well. The most significant external change, however, is probably the cable connectors. The new 2.5mm mono plugs are definitely easier to deal with!
 
Signature wise, the HE560 in comparison to the HE400S has a much more substantial sub bass presence (compared to the rolled off sub bass of the HE400S), slightly less mid bass, slightly less forward mids, and more treble presence overall. The HE560 is what I consider to be one of the most neutral headphones I’ve heard, with just a bit more treble than I consider neutral, while I see the HE400S as being just a tad warm.
 
The difference in mid bass presence isn’t too substantial, especially compared to the difference in sub bass presence. I covered it briefly earlier in my review, but the sub bass presence of the HE560 makes the HE400S roll off incredibly noticeable. The HE560 doesn’t have an accentuated bass, it’s just wonderfully well-extended. The midrange of the HE560 is drier and slightly more distant than the HE400S. I don’t think there’s too drastic of a difference in presentation between the HE400S and HE560, but it’s still noticeable. The treble region of the HE560 and HE400S is where the two differ most probably (minus the difference in sub bass presence). The HE560 has a sharper and analytical sound that is somewhat fatiguing for some people. It also has an incredible sense of openness and air due to a good treble extension. The HE400S in comparison has a smoother lower treble with less energy and somewhat of a treble roll off, making it completely fatigue free.
 
Both headphones are very neutral and I think people will find that there are certainly similarities between the HE400S and the HE560. I actually think the HE400S sort of sits somewhere between the HE560 and HE1000 in terms of sound signature and presentation (again, minus the roll offs). However, the HE400S is not merely just a HE560 or HE1000 junior. It’s sound is still different enough that it still has a unique sound within the HFM lineup. However, if you do have the HE560 or HE1000, I personally don’t see too much incentive to get the HE400S, unless it’s because you need a headphone that you’re willing to beat up a little more. On the other hand, I think for those interested in upgrading from the HE400S, it’s good to consider the higher end HFM models and to know that you’re not getting yourself into a completely different beast.
 
HIFIMAN HE400S and ZMF Omni
Coming Soon!
 
Quick Thought on HE400S with Fiio X5ii and iBasso DX90 (Taken From Earlier Post in HE400S Thread)
In terms of power, both devices have plenty of power to drive the HE400S. Mid volume on low gain was enough for both devices to drive the HE400S.
 
Comparing the HE400S from the DAPs compared to my desktop setup with my Asus Essence III shows that the HE400S does scale well despite the fact they're fairly easy to drive. Yes, the HE400S is more detailed, clearer, etc. with the Essence III, but I think the biggest difference is that the HE400S sounds much more open and has a good bit more 3D and larger soundstage in comparison to when the HE400S is connected to the DAPs.
 
That being said, I certainly wouldnt say the HE400S sounds bad by any means with the DAPs. With the X5II, I found the sound the sound wasn't too colored by the X5II, keeping the sound of the HE400S clean and open despite the smaller soundstage. However, I felt that the sound fell flat a bit. Overall sound feels a little relaxed and lacks a little bit of articulation. 
 
With the DX90, the overall sound is a little darker than the X5II and soundstage is just a tad smaller. However, I find the DX90 with the HE400S to be more articulate and well-separated sounding than with the X5II. The DX90 also has a bit more of a bass boost to it too, which really helps the HE400S out because the HE400S, without a doubt, does have a roll off to its low end. 
 
So basic take away is that yes, the two DAPs drive the HE400S with no problem. Yes, the HE400S can sound better with better gear, but no, it doesnt mean it sounds bad with the two DAPs by any means. The X5II has a flatter signature, but also a bit relaxed sounding to my ears, while the DX90 with the HE400S has a slightly more colored sound that also has a slightly smaller soundstage but overall punchier and more exciting sound to me.
 
Very brief thoughts. I'd be happy to give you guys any thoughts that I may have missed that you may be interested in knowing (I'm sure there are plenty of things I didn't mention).
 
I really wish I had other open headphones around the same price as the HE400S on hand to do more accurate and helpful comparisons with – unfortunately that’s not the case. I have heard the likes of the K701, Fidelio X1 and X2, and Sennheiser HD600 and 650 though. I’m not able to make a solid conclusion on how the HE400S compares to its competitors, but I can say that I like the sound of the HE400S quite a bit. I’ve nitpicked quite a bit in terms the sound of the HE400S but in the end, I think the HE400S offers a neutral yet enjoyable sound that isn’t particularly lacking in the sense that it doesn’t leave all that much to desire or truly complain about. Part of me being pickier with the HE400S is also the fact I’ve come to expect quite a bit from HIFIMAN and the fact that most of my reference headphones are a good bit better. I think the HE400S is a very good all-rounder headphone and has a solid sound for the retail price. I also really like the overall design of the HE400S and am pretty glad that the gloss finish isn’t a fingerprint magnet. Attention to detail could still use a little work, but I think HFM has put forth a good product!

Lend Me Ur Ear (LMUE) is a Singaporean-based dealer that has made many Asian brands, such as Vsonic and Fidue, available to the international market. LMUE is a dealer that I’ve personally purchased from before, and my experience with them has been very positive. After being in the business for a few years, LMUE decided to use the experience they’ve gained from being an audio retailer and create their own set of IEMs. The Alpha & Delta AD01 is a dual dynamic driver IEM that was the results of their efforts. The particular unit that I have is part of the North American Tour that a fellow Head-Fier and LMUE set up, and I’d like to give a thank you to LMUE for bringing us the opportunity to try their new IEM as well as for their great service!
 
I don’t think I know of any audio product under 100 dollars that is as well-presented as the AD01. The AD01 comes in a nice blue box that opens like a jewelry box. At a first glance of what’s inside, I’m immediately reminded of the packaging from Tralucent Audio, but watered down a few notches. There are different slots in the box where the cables, accessories, and housing of the IEM are as well as a few special slots for some extra ear tips. Again, for an IEM under 100 dollars, the presentation of the AD01 is top notch.
 
The AD01 also comes with a generous number of accessories. There are a good amount of silicon tips (the silicon tips look like they may be Sony tips), a pair of comply tips, an ear guide, as well as a hard carrying case. What’s also included is the optional upgrade cable, which can be bought on the side for an additional 30 dollars or so. I personally enjoy clear cables that allow me to see individual strands that are inside the cable. So for those that would like to score a few extra style points, the upgrade cable is certainly something worth considering, as it’s not overly expensive. LMUE also sell replacement earpieces, which I think is a fantastic service that they provide to insure that there’s a fairly economic way of replacing the AD01 if it breaks after its warranty. Big thumbs up to LMUE for offering this kind of service.
 
 
The AD01’s metal housing feels very sturdy while remaining relatively light. The cable, both stock and extra, are also very well build and very sturdy with good strain relief at the 90 degree angle jack. At 100 dollars, I think the AD01is a very well-built product.
 
The cable is detachable, and the connector reminds me very much of those used by Sleek Audio. I personally feel that the cable may detach a little too easily, and those that like to stuff their earphones in their backpack or purse and just go might have to search through their backpack to find one of the earpieces every now and then. That doesn’t mean the connection is loose though. When wearing the AD01, you’ll never have any issues with the connector coming off because of the cable being tugged at. Overall easy to use and simple design that works.
 
One downside to the earpieces being replaceable if damaged or lost is that there’s no right/left indicator on the housing itself. Instead, the indicators are on the cable. Unfortunately, the indicators are way too damn hard to read. Rather than having almost illegible R or L on the cable, I think simply a red and blue dot would have been much more effective.
 
Overall comfort of the AD01 is very good. The housing, while perhaps a bit bulky, is quite comfortable and lightweight. Its sound isolation is average, as it doesn’t insert particularly deep. The AD01 can be worn both straight down and over the ear with the ear guide provided – I’ve found both to work very well. Cable noise isn’t a big issue with the AD01, but is nonetheless present. I do find that wearing the cable over the ear reduces cable noise a bit and is my preferred method of wearing the AD01 because I hate cable noise.
 
I’ve had more time in the house during the week that I had with the AD01, so most of my listening was done with my desktop setup running Foobar > Schiit Wyrd > Asus Essence III DAC/Amp > AD01. The setup is probably a bit overkill for the AD01, but the AD01 isn’t particularly sensitive so the setup drives it quite well. In addition, I’ve been using this setup more and more for most of my listening, pairing the AD01 with it gives me a more consistent listening experience as well.
 
As a whole, the AD01 is a v-shaped sounding IEM with most of its emphasis on the mid bass and lower midrange, giving it a more colored and warm sound.
 
The bass is certainly big and bold, and one of the bassiest products I’ve tried in the past year or so. Bass impact is surprisingly good in terms of tightness in its punch for the amount of bass boost that the AD01 has, and the bass also extends quite well into the bottom end. I think LMUE did a respectable job bringing forth so much bass without the sound of the AD01 becoming boomy. However, I do find the caveat to the AD01 having such an accentuated bass is that bass texture and separation isn’t quite up to par with what it could be. The bassline of Michael Jackson’s “Smooth Criminal,” possibly the most badass bassline to ever exist, while punchy, didn’t really have the grit to its texture that makes it so satisfying for me. Overall bass decay is also a bit slow, which also adds to the bass’s separation and texture being a bit more difficult to distinguish.
 
The midrange of the AD01 has more emphasis on the lower midrange, and is fairly relaxed sounding overall. The accentuated lower end does color the midrange a bit, giving the AD01 a warmer and slightly thicker sound. The upper end of the AD01’s midrange is more recessed relative to the lower midrange and lower treble of the AD01, giving the AD01’s midrange a fairly smooth sound that, to me, is just a little lacking in detail. Despite that though, I do have to commend the AD01 for remaining clean sounding with relatively good separation despite its emphasis on the lower end.
 
The treble tuning of the AD01 is a bit interesting. There’s a peak at 3kHz and 5kHz, but then the AD01 takes quite a bit of a dive after 5kHz and eventually rolls of around 15kHz or so. The lower treble peaks are present, but not jarring to me. It gives instruments a bit more edge, texture, and crispness, which I personally like, but others may find a tad artificial sounding. Besides that, the treble is quite smooth, without any other peaks that would cause any excessive harshness. Extension is fine on the AD01, but the sound does begin to roll off past 15kHz. For that reason, while not closed-in sounding, the AD01 doesn’t offer the airiest or open sound.
 
Soundstage I think is fair on the AD01. It still fairly in-your-head, but does have a good sense of extension in all directions. Left/right imaging is pretty good overall, but the warmer and less airy sound of the AD01 doesn’t really allow for the most natural experience.
 
The sound signature of the AD01 isn’t really my cup of tea. The bass is a good bit more boosted than I’m used to and the midrange is just a bit too pulled back for me. The tuning is, however, very consumer friendly and certainly makes a whole lot of sense for its target audience.
 
 
The AD01 is certainly a good first effort from LMUE. The presentation and accessories that comes with the AD01 as well as the ability to get replacement earpieces is unseen in an IEM of its price. In fact, it’s hard to find such services at all. I think at its price of just under 100 dollars, the ability to replace the earpieces makes the AD01 a very safe investment that could save you a lot down the road. Despite that, I do feel that the price of the AD01 is just a tad steeper than I would like. While you certainly don’t get the benefits and services or the sheer bass punch of the AD01 in most other IEMs at a lower price, I do feel that you can get better sound for less – unless you really want the extra bass punch. There are IEMs that have enough bass to satisfy most people while retaining better detail than the AD01, so unless you’re looking to buy an IEM that you’ll be using for years and years down the road, I think there are other options available. Nonetheless, I do commend LMUE on putting forth their first IEM, and I am excited to see what else they can do.

Brainwavz is a company that has been making some nice budget earphones for quite a few years now. Their most recent release is the Brainwavz Jive, coming in with an MSRP of a mere 28 dollars. The look of the Jive and Brainwavz’s description of the Jive as “tuned to perform like a balanced armature” got me pretty excited for this release. I received my unit from Brainwavz as a review unit and I’ve posted my objective impressions here to help those interested in the new and very affordable Brainwavz IEM decide whether it’s right for them or not. With that said, let’s take a look at the Jive!
 
The Jive came in two very big envelopes that are way bigger than the package itself.  I’ve always liked the way Brainwavz packaged their products, particularly their slightly higher end models. However, it seems they’ve downsized their lower end models. The Jive comes in a plastic box that seems to have been abused pretty heavily during its journey from Hong Kong to my doorsteps here in Saint Louis. The good news is that everything is packaged inside the nice Brainwavz carrying case, so there was no fear of any sort of damage. The Jive comes with the newer version of the Brainwavz carrying case, which is just slightly longer and thinner than the older version. I believe Brainwavz will be using both cases, varying depending on the model.
 
The accessories are very similar to any other Brainwavz product you would purchase, but slightly downsized. You get 3 sets of silicon tips, that nicely match the color of your Jive (nice touch!) as well as a set of comply tips. In addition to the tips, there is also a shirt clip and a cable tie that comes with the Jive. You can see that Brainwavz really designed the Jive for portable use as Brainwavz did not include accessories such as the 3.5 to 6.3mm adaptor with the Jive.
 
Overall the packaging is certainly a step down from other Brainwavz products I’ve reviewed, but is certainly by no means bad for a 28 dollar product.
 
 
 
Like almost all other Brainwavz product that I’m aware of, the housing is built solidly of metal. My Jive’s housing is an “ink blue” color that I feel has a hint of purple to it (or a lot of purple… idk). The cable is slightly rubbery, which isn’t my favorite thing, but feels solid and has decent strain relief. The Jive feels like a good product and certainly feels very solidly built for a mere 28 dollars.
 
In terms of overall design, I think the Jive takes the cake for my favorite design of any Brainwavz product, and just a very well designed product as a whole. In addition to being solidly built, the housing is very small and attractive. It has a familiar horn shape that is similar to their Delta, HIFIMAN’s Waterline IEMs, as well many other IEM’s I’ve seen in the past. The right and left earpieces are also very clearly labeled on the housing. The cable has a 45 degree jack, which is really nice to have, as well as a much less bulky Y-split than what Brainwavz have used in the past. The Jive also has a control talk mic and remote that’s made of plastic that feels a little soft, but with very responsive buttons. Only thing I can’t figure out is why there’s a D written on the remote. I think it might be a smiley face to go with the theme of Jive?.. anyways…
 
The Jive is a very comfortable IEM. Its small housing means that just about anyone will get a very good, consistent, and comfortable fit with it. Because it’s so small, however, insertion depth is relatively shallow, so isolation isn’t amazing. The Jive is designed very well for portable use though, with its comfortable fit, low profile, and manageable cable.
 
 
I’ve had more time in the house during the week or so that I spent reviewing the Jive, so most of my listening was done with my desktop setup running Foobar > Schiit Wyrd > Asus Essence III DAC/Amp > Brainwavz Jive. The setup is certainly overkill for the Jive, but the Jive isn’t particularly sensitive so the setup drives it quite well without any hiss. In addition, I’ve been using this setup more and more for most of my listening, so pairing the Jive with it gives me a more consistent listening experience as well. I did use the Jive on the go a bit as well to see how it performs portably and how its control talk remote is.
 
So do these perform like a balanced armature IEM? Well I will say of all the dynamic driver IEM I’ve heard from Brainwavz, the Jive definitely sounds different. While still being somewhat V-shaped, the Jive is one of the more “balanced” IEM that has come out of the labs of Brainwavz. I think the sound is most similar to the Brainwavz S5, with a little less authority in the bottom end. The Jive is also fairly sensitive to tip rolling. I opted for the provided silicon tips as I find them most comfortable, despite giving the treble a little more edge than I’d like. For those that find the treble too piercing, I’ve had success toning the treble down with a smaller bore tips. So if you have some available and lying around, I’d give them a shot and see how they work for you.
 
The bass of the Jive is present but no overbearing. For a 28 dollar IEM, I would consider it to be very well balanced compared to its competitors. The bass has good punch with relatively good tightness but, to me, lacks just a little bit in its focus on impact. Sub bass extension is very impressive for an IEM of its price and bass quantity, able to extend down to around 25Hz with good presence. While the bass has good presence and rumble to it, however, the overall bass texture is a bit lacking, which isn’t overly surprising as its one of the most common problem that plagues lower priced dynamic driver products.
 
While the bass is north of neutral and punchy, the bass doesn’t really affect the midrange. The midrange is relatively dry sounding without too much warmth to it. In fact, I find that it can be a little thin and lack some body. Vocals have good focus and presence, but can be overshadowed by instruments in terms of presence in some instances. Instrument separation though, I must say, is very well done for an IEM of its price, giving the Jive an overall clean sound.
 
The treble is crisp, energetic, and well-extended with good detailed for the price. It is, however, fairly peaky – the most significant of which, to me, is the peak at 3kHz, which gives the Jive good treble texture, but at the cost of being somewhat hard sounding. For example, orchestral string instruments tend to sound a little cold and tinny, and the plucks of an acoustic guitar, which not piercing, certainly sound a bit harsher than they should and sound almost a little metallic. While I personally did not find the peakier treble to be overly harsh, I do find it to lack overall control and refinement – a similar issue that I had with the treble of the Brainwavz S5.
 
The soundstage of the Jive, while not expansive by any means, is what I would consider to be well-rounded. The sound is still in-your-head for the most part, but does extend in all directions decently well. You don’t feel that the sound is obviously two dimensional relative to the sound’s presentation.
 
All in all, the Jive is not an IEM without faults. However, after factoring its solid build, good comfort, control talk functionality, and respectable sound, I think the Jive is a very solid deal. I think the Jive will take the spot as my second favorite Brainwavz IEM – the first being the Brainwavz M1. At 20 dollars more, the M1 has a more refined sound with a more natural and warm timbre in the mids as well as a slightly larger and natural soundstage. In terms of form and function though, the Jive is not only my favorite Brainwavz IEM, but one of my favorite within the realm of affordable budget IEMs.
 
While good at its 28 dollar price, I don’t think it’s quite ready to be a match for my personal budget king and recommendation – the Zero Audio Tenore. At just 7 dollars more (around 35 dollars on Amazon), the Tenore offers a more refined and smooth sound that’s honestly comparable to some 100+ dollar IEMs. However, the Tenore seems to be plagued by an inconsistent and somewhat weak build. Thus, for those seeking a solidly build IEM with apple or android functionality for mobile use, I would happily suggest the Jive as a strong candidate. However, for those looking for sound above all else, I think the Tenore still holds true to its title as having some of the best price/performance ratio on the market.

Introduction:
Axgio is a company that I’ve never heard of before, so when I was approached to do a review of their new Sprint sports Bluetooth IEM, I was quite intrigued as I had no clue what to expect. Doing more research on the company, I learned that Axgio is a company that specializes in make mobile phones and accessories. Some of their products include phones, cases, earbuds, and power banks. I believe the Sprint is their second venture into the IEM market, as well as their second Bluetooth IEM.
 
It wasn’t Axgio themselves that approached me about reviewing the Sprint. I was actually approached by an Amazon seller that carries Axgio products by the name of DigitalEra US. The Sprint was recently released with an MSRP of 85 dollars, but is sold for 50 dollars by DigitalEra US.
 
Packaging and Accessories:
The packaging of the Sprint is fairly simple, but I think its presentation is pretty nice for a 50 dollar headphone. The IEM itself is in a plastic display that is put in a small box of fairly decent quality. The back of the box also includes some useful information such as battery life, frequency response, impedance, etc.
 
Included with the Sprint is a USB cable to charge the IEM as well as a generous set of tips. The silicon tips come in four sizes, ranging from absurdly small, to large. I found the tips to be a bit on the stiff side, but they weren’t uncomfortable so I didn’t complain too much about them. Also included with the Sprint are some foam tips, which I thought was a nice addition. I opted for the medium tip, which is a size larger than I usually go. I’ll explain more in detail as to why later on.
 
 
The housing of the Sprint is made of hard plastic, making the housing very lightweight. Although you can visibly see where each piece of the housing are put together, the Sprint actually feels fairly sturdy. The cable is made of a slightly rubbery plastic material that honestly doesn’t feel too strong. But after some tugging, the cable seems to hold its own just fine – very well in fact.
 
The Sprint is designed to be worn over ear, and thus the Sprint has ear guides on the cable. As someone with glasses, I’m not a particularly big fan of ear guides because they tend to get in the way of your glasses, but the Sprint’s ear guides are actually pretty nice, and don’t get in the way too much. The ear guide is also an appropriate length. I’m not sure how and why so many manufacturers manage to mess this part up, but Axgio certainly didn’t.
 
Now one thing I really like about the Sprint is that it has a very tiny and low-profile cable clip that allows the user to fold up the cable a little, either for storage or just for more comfort. It’s so small that I actually didn’t even realize it existed until I read about it in the manual. Yes, I read the manual. No, I never read manual. This is the first time I ever did… I promise. Now, I’m not sure if I’ll every use it personally, but I can see it being very useful if you’re out and about doing some more intensive sport and can’t afford to have the extra cable slack. I’m really glad to see a company think of the little things that improve the user experience.
 
Now onto the comfort of the Sprint. Oh boy do I have to rave about this IEM. When I first received them, they reminded me a little of the Westone line of IEMs, but bulkier. I was actually a little worried about how comfortable they’ll be because the nozzle in particular was really thick. Well my worries were very quickly put to rest. While not being THE most comfortable IEM I’ve ever worn, it’s up there. The Sprint is a very comfortable IEM to wear and I can wear it for long periods of time without any discomfort. What makes the Sprint rave-worthy, however, is its fit. These are perhaps the most snug fitting IEM I’ve ever worn. If you want the fit to be even more snug, I think the only option you got is to go custom. Once you put the Sprint on, they don’t budge. Because the nozzle is so thick, it leaves much less room for the Sprint to move around in your ear, making its fit one of the most consistent fitting IEM I’ve ever tried. Note that the nozzle isn’t TOO thick though to the point where it causes discomfort.
 
While the fit of the Sprint is fantastic, the insertion is fairly shallow due to the nozzle being relatively short. Because of that, I had to use a larger set of tips than I usually would opt for. However, despite its shallow insertion, I actually found the isolation of the Sprint to be quite good.
 
In terms of the form and function of the Sprint, I think the Sprint is going to make a lot of people happy, because they’re very well designed. Upon first look, they don’t look like anything special, but it’s the little things, like a more secure fit and a smart cable management clip, that sets the design of the Sprint above and beyond the other budget Bluetooth or sports IEMs.
 
 
As a Bluetooth IEM, the Sprint has a 3 button remote build in its cable. The remote is made of plastic, with the buttons being made of rubber and very nicely responsive. The remote is also where the micro USB slot for charging is located. What’s a bit unusual about the remote is that rather than your typical back, play/pause, forward, type of setup, the remote is designed such that the order is play/pause, back, forward. It’s not a big deal but takes a little to get accustom to. Besides that, the buttons are pretty standard in function in terms of calls, volume, and skipping music.
 
Syncing to my HTC M8 was a breeze and I had absolutely no issues with disconnections or drop outs. The connection range is also pretty good. I’m able to walk around most of my average sized apartment without drop outs. I would say past maybe 25 feet or so is about when drop outs begin to occur. Certainly more than I’ll ever need since my phone is always in my pocket. The playback time for the Sprint is pretty good. I never got it to run out of battery, but the longest I’ve gone before recharging it was about 6 hours. Axgio claims that the Sprint has approximately an 8 hour playback – a claim I would definitely believe.
 
I think it’s always important to keep the design and function of a product in my when reviewing and analyzing it. When I’m looking at a Bluetooth sports IEM, or even just a budget Bluetooth IEM, I’m honestly not looking for amazing detail. Rather, I want to hear a clean and clear sound that, although not sonically impressive, faithfully reproduces the recording. I think the Sprint achieves that sound very nicely. Listening was done connecting the Sprint to my HTC M8 via Bluetooth and running PowerAmp.
 
Bass
Bass, as a whole, isn’t too bad on the Sprint. It can, however, be a little odd sounding. The sub bass of the Sprint is accentuated a bit more than the rest of the frequency range, with pretty good extension capable extending down to and beyond 30Hz. The mid bass, on the other hand, is accentuated, but only slightly in comparison to the sub bass, and is actually pretty neutral. So when you’re listening to most music that isn’t tuned to have more of a sub bass presence, the Sprint actually sound pretty clean. However, when you listen to something with more of a sub bass presence, like some metal or electronic music, the bass begins to sound a bit unnatural. What you get is a very present (not overbearing) sub bass rumble while being slightly lacking in mid bass thump to back up the sub bass presence.
 
While bass extension isn’t too bad on the Sprint, overall low end texture if fairly lacking. Bass impact, while not loose, could also use a bit more focus and clarity. While the bass is sonically somewhat lackluster, I think it does its job of remaining present when the individual is active. The bass is traditionally the weakness of lower end dynamic headphones, as they often lack good control and clarity. I wouldn’t go as far as saying the bass performance of the Sprint is poor, but it did not leave me particularly impressed as it has a long way to go before competing with the likes top tier budget IEMs like the Zero Audio Tenore (which goes for just 30 dollars).
 
Midrange and Treble
While the bass left me somewhat lukewarm, there are certainly a lot of good things happening with the midrange and treble of the Sprint. First off, the Sprint maintains a relatively good balance throughout the mids and treble with a more relaxed upper treble. The midrange has just a hint of warmth to it, and the upper midrange and lower treble are a little more accentuated, giving the Sprint just a bit of crispness to its sound. In an active environment, this translates to instruments and vocals maintaining a good sense of presence and detail while remaining fatigue-free.
 
While the soundstage is pretty in-your-head and forward sounding, as you would expect from a 50 dollar Bluetooth IEM, I think the separation is actually quite clean, and a good treble extension prevents the sound from feeling closed-in or claustrophobic.
 
The only real complaint that I can justify really bringing up is that the Sprint tends to have some distortion past 9kHz or so which is fairly audible during a frequency sweep. This issue is, again, fairly common in lower priced dynamic driver IEMs, and certainly no unique to the Sprint. I do wish that it was less of an issue with the Sprint though, because when translated to the listening experience, the distortion just means that upper end tends to be a little graininess and likely one of the factors that leads to the Sprint’s sound being a little more edgy. The overall sound would be a bit smoother and refined if otherwise.
 
Overall I think the midrange and treble of the Sprint does a great job of presenting and clean and precise sound while remaining fairly natural, being just slightly warm.
 
Comparisons
 
Brainwavz Blu-100 and Axgio Sprint
Right off the bat, I think the Sprint has an edge over the Blu-100 in terms of form and function, mostly because it’s designed for active use. The Sprint’s fit is significantly better, having a better fitting and lighter housing. The trade-off is that I prefer the overall build of the Blu-100 slightly over that of the Sprint. The metal housing of the Blu-100 is always welcomed, and I also find the cable a little more manageable than that of the Sprint. The 8 hour playback of the Sprint compared to the 4 hour playback of the Blu-100 is also a pretty big deal. Finally, and this is purely based off of personal preference, but I do like the buttons of the Blu-100 better. I personally like physical buttons over the rubber buttons of the Sprint.
 
In terms of sound, I think the two are tuned differently and each have their merits. The Sprint has a warmer and more pleasant tuning in comparison to the Blu-100, which is more v-shaped and has a bit of a harsh treble but a punchier bass. Instrument separation and soundstage is a little better on the Sprint, but the Blu-100 bests the Sprint in left/right imaging and overall detail. In particular, the treble is a good bit more textured on the Blu-100 than the Sprint, but it certainly comes at the cost of being a grainer and harsher sounding sound in comparison to the slightly warmer and smoother Sprint. The Blu-100 also has a more open sound due to its greater treble presence.
 
In terms of functionality, I highly prefer the Sprint over the Blu-100. The great fit of the Sprint is much better than the almost Frankenstein-like fit of the Blu-100. In terms of sound, I also prefer the Sprint just a little bit more over the Blu-100. While the Blu-100 has more overall detail, I prefer the warmer, more balanced, and less fatiguing tuning of the Sprint over the Blu-100’s sound.
 
 
While I’m no expert on the current state of the Bluetooth in-ear market, I do see the Sprint as a solid recommendation at its price. I think its sound is fairly comparable to other good “normal” 50 dollar IEMs, like the Brainwavz M1 for example, maybe being very slightly behind in terms of detail, but completely wiping the floors with them in terms of ergonomics thanks to its fantastic fit and Bluetooth functions. For portable or active use, I think it’s a very worthwhile (sometimes necessary) trade off, because the cable of more budget IEMs tend to be complete garbage. The Sprint is one of the better Bluetooth IEMs I’ve heard, and a good IEM overall at its price.
 
Amazon Link: http://www.amazon.com/Axgio-Sprint-Isolating-Adjustable-Sweat-proof/dp/B0123KN5TC

For many Head-Fiers, Final Audio Design is a name that is clouded by controversies and disagreements over the value of the brand. Are they the works of a genius or just overpriced crap? What’s even more frustrating is the only answer you’ll get to that question: “If you don’t mind point A or disregard point B, then their earphones will amaze you and all you’ll ever need. If not they’re crap.” All I got from that is “You’re about to spend 500 dollars on something you’ll either love or absolutely hate. Good luck!”
 
I’ve been lucky to have heard a few of Final’s products at various meets or from friends and for me, personally, I’ve liked what I’ve heard. However, the subject of this review, Final’s Heaven VII, is the first time I’ve had an extended period of time to really give something from Final a good listen. The Heaven VII unit, released in late 2014, was provided by Final UK as part of a tour. I’ve had a week’s time with them and have posted my thoughts and opinions of the products here. My hope is that this review will help those interested in this particular Final product make a decision on whether they will “love or hate” the Heaven VII. As a disclaimer, I think the Heaven VII is quite a worthy product!
 
The packaging of the Heaven VII, like many Final products, gives off the vibe that you’re dealing with a luxury good. The exterior of the box is covered in a plastic cover that looks to mimic crocodile leather. Upon opening the box, you see the headphones resting on a thick layer of fur – like it’s some sort of prince. For the prince’s transportation needs, Final provided a metal carrying case which has a slim profile. While the slim profile makes for easy storage and the metal exterior gives the Heaven VII plenty of protection, the shiny exterior is also the safe haven for fingerprints. They’re gonna get everywhere... which is a bit unfortunate. Besides being a fingerprint magnet, the carrying case is attractive, protective, and easy to use.
 
Included with the Heaven VII are also 5 sets of ear tips of various sizes. Being a small Asian with some very small ears, the smallest size fit me best. At first, I felt the ear tips were a bit stiff, and can often cause air pressure to build in my ear canals when I put the Heaven VII on, but after tip rolling a bit, I found that the stock tips gave the best sound, so I stuck with them.
 
 
The housing of the Heaven VII is constructed from stainless steel. Final offers the Heaven VII in either polished silver or matte black finish. The unit Final UK sent out was the matte black one, which I rather like. The housing feels rock solid, and has a very nice face to it. The Final logo is etched into the side of the housing, and the R/L indicators are etched on the interior of the stem of the housing.
 
I’ve never been a big fan of flat cables, but I think the flat cable of the Heaven VII is one of the few that I think is actually not too bad. The cable is tangle free, feels sturdy, but does carry a bit more cable noise that I would like it to (partially due to the IEM being designed to be worn straight down). The Y-split isn’t particularly attractive, but I find its low profile to be practical, which I certainly appreciate over something fancy in aesthetics that doesn’t function well. The 3.5mm termination has a nice metal finish to it with the Final logo on it. There isn’t any tangible strain relief but the cable feels sturdy nonetheless and cable issues don’t seem like an issue I would worry about if I was an owner. One gripe I did have with the cable is the lack of a slider to make adjustments.
 
The Heaven VII, like most other Final products, are designed to be worn straight down. I did try to wear it with the cables over my ears, but the fit was pretty wonky, so I quickly scrapped that idea. The housing of the Heaven VII is quite heavy, and I found that if I move about too much, the Heaven VII did have the tendency to start slumping down a bit, often pressing on at bottom of my ears and causing some pain over time. For that reason, I haven’t enjoyed my time with the Heaven VII too much when on the go, as I’d have to take them off after maybe 30 minutes or so.
 
When using them at a desk though, the Heaven VII stays in my ears much better. Comfort isn’t bad, but the combination of the Heaven VII’s weight and the stiff ear tips still tend to cause some discomfort for my ears after maybe 2 or 3 hours of use. I think those with more average sized ears will have better comfort with the Heaven VII than I did since the housing will be less likely to start pressing against your ear like it tends to do with my ears over time. With that said, I wouldn’t be discouraged from considering the Heaven VII as an option, because its sound is stellar.
 
Of the few Final IEMs I have tried, none of them have been overly odd or bizarre sounding, but all of them certainly have a unique quality to them that I only find in Final IEMs. Note though, that I have yet to try the Piano Forte line – perhaps the most controversial of Final’s lineup. I view the Heaven VII as a fantastic IEM for those who want an introduction to the Final sound (for those who can afford it, of course), because the Heaven VII actually has a fairly well-balanced sound while having the midrange magic that Final seems to be so famous for.
 
The majority of my listening was done using my desktop setup. The Heaven VII aren’t by any means difficult to drive, but they’re also not the most sensitive IEMs in the world, and driving them from my desktop setup produced some very good results with a very low and acceptable (but present) level of background hiss. My desktop setup consists of music running through Foobar on my computer connected to a Schiit Wyrd and Asus Essence III in single ended. I did also listen the Heaven VII with my portable setup, consisting of iBasso DX90 as the source and iBasso D14 “Bushmaster” as DAC and amplifier. Both setups yielded good results, but I will focus on the portable setup later on in the review.
 
 
Bass
The bass response of the Heaven VII is perhaps one of most truly linear responses that I’ve experienced. The bass is authoritative on impact, with fantastic speed and tightness. Because the bass has such a tightness, clarity, and speed to it, I never feel that its presence is missing or lacking despite the fact that the lower region of the Heaven VII doesn’t really have any sort of boost or extra warmth to it. I think it’s a fantastic trait to have – being able to deliver a great sense of impact without coloring the sound.
 
I have to constantly remind myself that the Heaven VII is a single BA driver IEM, because I don’t know how Final managed to squeeze such impressive sub bass extension out of a single BA driver. I found that the bass does start rolling off below 40Hz or so, but what really impressed me is that it maintains its presence down to around 20Hz. The result is a low end that doesn’t feel filled up, but instead sound clean and with a fantastically well-textured bass. This isn’t an IEM where you’ll be able to feel a great sense of rumble, but it’s an IEM that demands you sit down, and take some time to appreciate what it has to offer with its sound.
 
For a one driver IEM, the Heaven VII has certainly blown my mind on how good bass can be coming from a single BA driver. In fact, it’s one of the best bass I’ve heard from an IEM regardless of the number of drivers. The sheer speed, impact, and texture make it one of the cleanest and most realistic I’ve heard from an IEM.
 
Midrange
All that traits that I loved about the bass is certainly not restricted to just the bass of the Heaven VII. Linear, fast, tight, and clean are some words that I would use to describe the midrange. Micro detail and texture are phenomenal on the Heaven VII. While the Heaven VII isn’t realistic in terms of the presentation of the music (it’s still an IEM and has its limits to how close to live it can be), its perhaps one of the most convincing IEM I’ve heard in the sense that each individual instrument or voice sound incredibly realistic. I would describe the vocal as being present but non-intrusive in the sense that it always has good presence without being overly forward.
 
The Heaven VII also boasts some of the most impressive instrument separation on the market – seriously. Everything comes out as being insanely precise and articulate. Nothing seems to blur together in any way whatsoever. The Heaven VII takes the clean, low-distortion characteristic of BA drivers, and takes it a step further.
 
Quick anecdote: When I got the chance to listen to the beta HIFIMAN HE1000, it was my first experience being blow away by the realism that the finest of detail can produce. It’s cliché, but it was like moving from listening to a recording to having real instruments playing around and in your head. The HE1000 was also one of the first times I got to experience the nuances of how the instruments interact with the environment, be it a recording studio or outdoors somewhere. Hearing a piano key and how it resonates and reaches the wall of the studio some feet in front of me was something quite special. While I haven’t heard the most exquisite gear, I do have a good amount of exposure to the likes of the HD800. However, neither of the two higher-end headphones that I’ve spent a lot of time with, the AKG K812 and HIFIMAN HE560, were able to reproduce such an experience. Instead, I found that it was the Heaven VII that came closest to what I experienced with the HE1000. The Heaven VII does a fantastic job bringing a level of texture to instruments that makes the listening experience much more realistic than other IEMs I’ve heard.
 
Treble
I find the treble of the Heaven VII to be somewhat north or neutral in the lower treble. While I personally enjoyed the sound, I could see some finding the lower treble presence to be a bit artificial sounding as the Heaven VII has a peak at around 3kHz. I also did find that female vocals, in particular, could sound a tad thin or breathy at times. Beyond that though, the upper treble is fairly smooth with good presence and air, but relaxing a bit past maybe around 14kHz or so.
 
Unsurprisingly, the name of the game is again speed and accuracy. Treble decay is fast and very well textured, while attacks are crisp and clean. I think Final did a very nice job tuning the Heaven VII, so that it brings out the treble energy while remaining very well under control.
 
Soundstage and Imaging
I’ve yet to hear the JH Roxanne or Layla, which seem to have reached a legendary status and set a new standard for how large a soundstage can be on an IEM, but the Heaven VII has an incredibly capable soundstage – one of the best I’ve heard on an IEM, in fact. The soundstage is three dimensional, and comparable to many full size headphones in terms of size. The Heaven VII also sounds open with amazing imaging capabilities. Simply put, the Heaven VII does a fantastic job in creating an out-of-head experience for the listener that’s competitive not just against IEMs, but within the realm of personal audio in general.
 
Comparisons
 
Heaven VII with D14 “Bushmaster” and Essence III
I’m not really here to tell you that the Heaven VII sounds better on the 2000 dollar Essence III in comparison to the 230 dollar D14. What this comparison is meant to demonstrate is that the Heaven VII scales up surprisingly well. The D14 is a fairly warm and smooth device in comparison to the Essence III, and it reflected on my listening experience. You get a bit more bass, more forward midrange, and a slightly more smoothed out midrange with less extension up top. The sound is certainly much more suited for portable use, but it comes at the cost of the amazing detail and texture that Heaven VII is capable of when used with the Essence III. With the D14, the Heaven VII is still fantastic with detail retrieval and I would say go beyond its competitors with that regard, it just has even more to offer with better gear. The sound is also significantly more out-of-head. Vocals are positioned slightly more in front of you, and the sound opens up a good amount with a larger and more natural soundstage.
 
Basically, the moral of the story is that if you have some amp that are very good and won’t blow up your IEMs, give them a shot! I certainly did not get the Essence III to drive IEMs, but its shown great results with the Heaven VII.
 
Heaven VII and Noble Savant
The Noble Savant is perhaps one of my top choice and recommendations for a neutral, yet musical, sound that is also a fantastic all-rounder when it comes to both listening and design. Comparing the two, the Heaven VII has more of an upward tilt, with less bass and slightly more forward midrange and lower treble. The Savant does have a more present upper treble though.
 
Of the two, the Heaven VII is the more detailed IEM, and basically on all fronts. The Savant has a great sense of detail and smoothness that makes the Savant musical yet detailed. The Heaven VII is tuned to have a drier sound which allows it to have a level of detail and texture that the Savant can’t quite compete with. When listening to the Savant, the music sounds like a good recording. But with the Heaven VII, as I’ve sort of covered earlier, it has a level of realism that makes the instruments sound very life-like, so that it doesn’t just seem like a good recording (or bad recording I guess). The Savant is able to come closer to the Heaven VII’s realism when connected to the Essence III, but never quite matches it.
 
I also have to emphasize again how incredibly good the separation, imaging, and soundstage of the Heaven VII are. The Savant, again, has a very nice and spacious soundstage for an IEM using BA drivers. The Savant has a clean and very enjoyable sound. The Heaven VII, on the other hand, is just an incredibly technical IEM. Separation is so incredibly good and the imaging is laser precise in its more spacious soundstage. When comparing the two with the D14, the Savant can even sound a bit congested in comparison to the Heaven VII, as its smaller soundstage and more prominent low end shows with the D14.
 
While the Heaven VII has certainly impressed with me sonically, unfortunately the Savant still takes the cake as my first recommendation for a well-rounded IEM – for multiple reasons of course. First off the Savant is more suited to be the genre master. While neither are true genre masters, I actually found both to be quite satisfying with most genres. But I do find the Savant to be better with more genres in terms of its tuning. Secondly, and more importantly, the Savant is just worlds ahead in fit – to me at least. The Savant has had its share of people with fit issues, but it’s a pretty small handful of people. I’m pretty confident that maybe 90% of people will find the Savant more comfortable. It’s significantly lighter, has a lower profile and snug fit. The over ear design also has lots of benefits such as reducing cable noise. I’m able to wear the Savants upwards of 6 or 7 hours with no discomfort, while 3 hours is probably my limit with the Heaven VII.
 
For these reasons, I see the Savant as the better choice for a larger variety of genres as well as a larger variety of environments or uses. However, if you’re in an environment where you’ll remain fairly stationary (at work, or your desk), I think the Heaven VII will give you more than what the Savant can offer.
 
 
Summary
It’s no secret now that I seriously like the sound of the Heaven VII. Some will find the bass lacking, while others will find the treble maybe a little artificial (or both), but there’s really no doubt that the Heaven VII has a fantastic sound. For the price of around 600-700 dollars (you can even find it closer to 500 dollars!), the Heaven VII is perhaps one of the best sounding competitor in that price range. If it wasn’t for its Achilles heel of a pretty mediocre fit, I think the Heaven VII would be my top recommendation for an upper-tier IEM.
 
I think the Heaven VII is the perfect IEM for people interested in Final Audio Designs but are a bit reluctant to jump the gun because of Final’s reputation as a love hate sort of company. While not everyone will love the Heaven VII, I don’t think anyone will legitimately hate it or look at its graphs and claim that the Heaven VII is an insult to audio or an April Fool’s joke. In other words, the Heaven VII is a relatively safe pick in the Final lineup. If you want a taste of the Final magic without taking a huge risk, the Haven VII is for you!
 
I’d like to give another thank you to Final UK for giving me the opportunity to spend some time with the Heaven VII. Final will definitely be a company I’m keeping an eye out for. If they’re ever able to make a more ergonomic product, I think I just might be jumping on that hype train.

I received the Cayin N6 as a tour unit that was generously provided by CTC Audio. CTC Audio focuses on making brands that aren’t as accessible in North America, mostly from Asia, available. Jeremy, CTC’s rep here on Head-Fi, has been a great help throughout the tour, as there was a bit of a hiccup when the original tour unit pooped out on us. I had the review unit for a week to audition and I’ve posted the results of my week with the N6 here.
 
Quick note: I completely forgot to take pictures of the N6 unit during the week I had with it. Because of that, this will be a pictureless review, and I apologize for the lack of colors in this review.
 
The nice packaging of the N6 certainly has a wow factor to it. Taking off the exterior, the box opens up like a jewelry box with the N6 beautifully displayed inside. The padding has a nice velour feel to it and everything is very well organized within the padded inside. The presentation of the N6 certainly makes it look like a valuable luxury good – which it is, of course!
 
In terms of the accessories, the N6 comes with all the basic goods you need to have it running. Included is a 3.5mm to RCA coaxial cable, silicon case, screen protector, SD card adaptor, carbon fiber keychain. I think one of the previous members of the N6 tour may have accidentally taken the USB cable as it’s missing from the packaging.
 
I still don’t understand why manufacturers insist on giving a silicon case. It’s a lint magnet, and for a device that’s on the larger side, like the N6, the silicon case makes it difficult to move the N6 in and out of the pocket. While I think the SD adaptor and keychain are a nice touch, I don’t see the point of them. 99% of the time, you’ll be connecting the N6 directly to the computer to access the micro SD card. The only time you would need the adaptor is if the USB cable is missing somehow. So honestly, I would rather Cayin take the SD adaptor and keychain out, and upgrade the silicon case to something that not awful. Even something plastic or pleather would do. What’s the point of the gorgeous carbon fiber backside of the N6 if you’re just covering it up with silicon?
 
The N6 is a beautifully designed and solidly built device. I think the entire exterior is made of aluminum metal and the screen is made of a strong and scratch glass. The back, of course, is covered with the beautiful carbon fiber finish.
 
I honestly cannot imagine anyone complaining about the build quality of the N6. It feels sturdy, has a good heft to its weight, and has responsive and solid buttons as well.
 
One complaint about the design of the N6 that many people have voiced their concern is its size. It’s definitely on the larger size. I don’t really see it as that much of a concern though for men. With the race for bigger screens on smartphones these days, the size of the N6 is honestly comparable to your average smartphone – only downside of the N6 being that it’s significantly thicker than your average smartphone. So while it’s a large device, I never had any issues with fitting it in my pocket even when I wear skinny jeans.
 
Another issue I’ve found with the N6 is that it gets hot. Keeping it in my pocket, I can feel it radiating a significant amount of heat after 10 or 15 minutes. It’s not enough to burn you or anything but it’s pretty uncomfortable, especially during the summer.
 
The battery life of the N6 I found to be around 7 or 8 hours when using my IEMs. The sad reality is that while many will criticize that for being fairly poor battery life, the battery life is pretty average compared to other DAPs. The N6 lasts me the day on a single charge, so I’d say it’s passable. It’ll be an issue once you start putting international flights into consideration though. I’m still waiting for a solid sounding DAP with a great battery life. Unfortunately the N6 isn’t that, but battery life isn’t poor on it either – by today’s standards at least.
 
I’ll try to keep things short here as I feel that there wasn’t much that surprised me with the UI of the N6. Rather than explaining what every button does, I’ll simply put forth my opinion of the UI.
 
I think the N6 UI works, is well thought out, but still have room for improvement. All the functions you’d expect are there – EQ, shuffle, favorites list, etc. and all of them work. Navigating with the four buttons is also quite intuitive. My only wish for navigating the N6 is to have a faster way to scroll through all my music. I only have 1500 songs or so on my micro SD card, and that alone already takes forever to scroll through. The scroll wheel scrolls through the files and clicking the scroll wheel selects it. The up and down button also scroll through the song, while the right button selects the file. Considering the fact that the scroll wheel’s click is already a select button, I think the right button also having the same function is redundant. I would have loved to see the right button be a fast scroll function of some sort where it scrolls down maybe 10 or 15 at a time, just to speed things up.
 
Something else to note is that the resolution of the screen is really good for a high-end DAP. I’m not sure if the N6 competes with the offerings from Astell & Kern in this regard as I’ve had no experience with their products, it’s definitely better than what you get from Fiio or iBasso.
 
In terms of what the N6 can do, the N6 is quite a versatile beast. With a USB input, coax out, line out, as well as headphone out, the N6 is able to do quite a lot. It can act as a soundcard for your computer, as a source, as a DAC, or as an all-in-one player. The N6 covers quite a lot of bases for you audio needs and I think having that versatility is a great thing to have and could potentially save some money down the road as well.
 
Background Noise
The N6 joins the iBasso DX90 as the quietest DAP I’ve had the pleasure of testing thanks to its low output impedance. With my Supra 2, which is incredibly sensitive, the N6 produces very little background hiss. Use your sensitive IEMs with confidence friend!
 
Sound Impressions
Having previously spent some time with the Cayin C5DAC, I definitely hear the Cayin house sound in the N6. The sound is quite linear with a bit of warmth in the lower end as well as a very nice and airy top end that offers a natural and pleasing listening experience. For my sound impressions, I used the N6 as a standalone DAP with my Noble Audio Savant as the earphone.
 
Relatively speaking, I think the N6 has the most neutral bass presentation of the mid-tier DAPs. It’s clean and well extended in comparison to the bass of the DX90, which is a good bit thicker and richer in comparison. The N6 also has better low end texture and detail but doesn’t quite have the impact and thump that other DAPs in the relative price range has. The N6 is tuned more for accuracy, but I never found it too lean or boring. On the contrary, the cleaner and faster bass was quite a welcoming quality to my ears, as it makes other DAPs sound a little muddy in the low end.
 
Midrange continues the trend of accuracy. The mids are neutral with just a slight hint of warmth to it. Accuracy and detail are, again, a bit of a step above the current offerings from Fiio and iBasso. I personally do feel, however, that midrange of the N6 lacks a little bit in dynamics and energy that makes instruments and vocals pop to life, making the midrange presentation neutral, accurate, but maybe just a tad flat. I also found that vocals with the N6 tend to be just a tad more distant, which could also be one of the reasons that I feel that the midrange isn’t quite as engaging.
 
The treble has a good sparkle to it with a great sense of air – one of the points I really enjoyed about the C5DAC that I’m glad is also present in the N6. The treble is more tamed and well controlled than the treble from the C5DAC, which I found could be a bit unnatural and splashy, and has better texture and resolution as well in comparison and is one of the strong points of the N6.
 
The soundstage of the N6 is wide and feels expansive, but lacks a little in depth especially in comparison to the width that N6 is able to present. Imaging on the N6 is also quite good, but I think still has room for improvement, as I feel that things to clutter up a little as the music gets more complex. The N6 is still a step ahead in terms of soundstage compared to other DAPs in the same price though. The sheer sense of openness that the N6 offers is really quite a treat and makes the N6 sound very natural.
 
Overall, I find the N6 to be faithful to the recording and headphones you’re using. While certainly not dead neutral, the N6 doesn’t color the sound too much. The N6 brings a very good resolution and an expansive soundstage to the realm of true portability. Yes, you can get better sound when you strap on a DAC or amplifier to a DAP, but for something that is truly pocketable and doesn’t require rubber bands, the N6 offers very impressive performance and at a price that’s relatively sane and reasonable (well, sort of?).
 
Comparison
 
Cayin N6 and iBasso DX90 + D14 “Bushmaster”
The beast of a DAC/Amp that is the D14 has been what I’ve been using since I received it and up to the point of this review. I use the DX90 simply as the source, while using both the DAC and Amp of the D14, so this is really more of an N6 and D14 comparison than it is an N6 and DX90 comparison. I feel that the N6 is better than the DX90 in almost all regards, being more detailed, accurate, natural, and having a more open sound with a larger soundstage. I was quite happy with how much better the N6 is relative to the DX90, and I think the extra 250 USD or so of the N6 is justified and worth it. Now back to the D14.
 
The D14 offers a slightly richer and colored sound compared to the N6. This is really the iBasso house sound versus the Cayin house sound at work. The D14 bass has more punch and more subbass presence, while the treble is smoother with a slight roll off, making the N6 sound more airy and open.
 
While having more punch in the bass, the bass isn’t really all that much more accentuated than the N6, and still remains very neutral and clean. I feel that bass texture is slightly better with the D14 thanks to its slightly more present subbass.
 
I think the midrange of the two are quite similar. Both remain fairly neutral, but the D14 is slightly warmer and slightly more forward. On the other hand, the N6 sounded more accurate and a little more detailed than the D14, as the D14 is a little smoother in the mids.
 
Treble detail is also better on the N6, and the sense of air that the N6 possess is simply fantastic. However, I find the control and decay of the D14 to be more organic sounding and overall more enjoyable to my ears.
 
I think comparing the soundstage and imaging of the D14 to the N6 really shows why the D14 is such an amazing device at its 230 USD price point. The N6 has a more open sound with a wider soundstage that is certainly impressive compared to other DAPs, but the D14 has a sense of three-dimensionality with fantastically precise imaging that I don’t think even the N6 can quite match.
 
The Cayin N6 is one of the best performing DAPs I’ve had the pleasure of auditioning. While it’s relatively large, I think it’s still of reasonable size to call it portable compared to something like the Aurender Flow, which is really more under the category of transportable than anything else. I had no trouble fitting the N6 in any pocket I had. What’s really great about the N6 is that it offers a usable UI and very good sound in a solidly built device that’s honestly not unreasonably big in comparison to other DAPs. I think the N6’s sound is honestly very close (if not better in some cases) to most portable stacks you can buy at 600 USD, while almost certainly being much more portable than the stack. The N6 is an easy recommendation for someone looking for a new DAP who has the money for it. Big thumbs up to Cayin for making a very solid product!
 
PS: Again, apologies for the lack of pictures!