Design​

When I unboxed Rinko, my first thought was how much it resembled the Truthear HEXA. The aluminium faceplates and translucent 3D-printed resin shells share a similar matte black finish and feel.

The slim shells are not only aesthetically pleasing but also exceptionally comfortable. However, they offer little passive noise isolation. Rinko features standard 0.78mm 2-pin sockets, aluminium nozzles, and a single vent on the rear side.

Included with Rinko is a twisted oxygen-free copper cable. The straight plug and Y-splitter boast a polished aluminium design, while the chin slider and connector housings are made of clear plastic. Although the cable feels somewhat generic, it performs well, despite having a slight memory effect.

Verdict​

In summary, the SeeAudio x Z Reviews Rinko IEM offers a unique sound signature with its emphasized bass and lifted upper midrange. It delivers a bold and intense listening experience. However, the recessed lower mids impact vocal intelligibility. The lower treble region provides clarity, but the subsequent dip limits the presence of harmonics and fine details.

While Rinko performs reasonably well, there are numerous other options available in the market that offer better overall performance. There are more compelling alternatives but the waifus alone might be enough to make you pull the trigger on this one.

The Tinhifi C5 is a hybrid dual-driver earphone with a unique driver configuration. It has 1SPD (square planar driver) and 1BA. In this review, I’ll be taking the Tinhifi C5 through its paces. It’s priced at $79.


Disclaimer: This sample was provided by HiFiGo for an honest review. All observations and opinions here are my own based on my experience with the product.

Specifications​

• Impedance: 9Ω±15%.
• 
  
• Driver Configuration: 10*10 SPD Planar Driver+ Customised Balanced Armature Driver.
• Frequency Response: 5mW.
• Sensitivity: 101±3dB.
• 
  
• Frequency Response: 10Hz-20kHz.
• Weight: 4.41 grams(single earpiece).

What’s in the Box​

• Tinhifi C5 IEMs
• 
  
• Detachable 0.78mm 2-pin silver-plated copper cable
• Mesh pouch
• 5x pairs of silicone eartips
• 
  
• 1x pair of foam eartips

Design​

The C5 in-ear monitors (IEMs) feature a sleek, curved design crafted from aviation-grade aluminium alloy. With no sharp edges or straight lines to be found, these IEMs are incredibly comfortable to wear for extended periods of time.

Unlike other products that feature prominent branding on their shells, the C5 opts for a minimalist approach, with only small L and R markings to denote the left and right sides. Additionally, the inner side of each shell features two pinhole vents, one of which is located near the base of the elliptical-shaped nozzles.


The included cable is made from braided silver-plated copper and features 0.78mm 2-pin connectors. This lightweight and supple cable offers excellent handling, making it a great choice for everyday use.

Sound​

Bass​

The bass of the Tinhifi C5 is tight, concise, and has good extension. The SPD driver is capable of producing some compelling deep rumble, which adds depth to the overall sound. The mid-bass has a nice thump and weight to it, but its fast decay ensures that there’s no lingering resonance or smearing.

However, it is worth noting that sometimes the bass can get pushed back in the mix under the glare of the dominant upper midrange, which can affect the overall balance of the sound.

Midrange​

The midrange tuning of the Tinhifi C5 is neutral with a boost in the upper ranges. However, the note size is slightly thin, especially in the upper mids. The 2kHz-4kHz area is the most dominant region and sometimes sounds shouty.

The upper registers of a piano can sound piercing, and instruments like trumpets can sound uncomfortably bright and upfront, which negatively affects the overall resolution. While it’s nice to have clarity in the midrange, when it’s pushed too far, it affects the overall presentation. The peaky upper midrange doesn’t lend itself to a coherent sound signature.

Treble​

The C5’s treble is crisp and fairly even, with most of the focus placed on the lower treble as it falls off abruptly above 10kHz. Although the quality of the treble itself is quite good, it’s overshadowed by the upper midrange lift. As a result, the treble loses some of its air and extension, and it doesn’t sound as prominent as it could have been.

Soundstage and Technical Performance​

C5 has a decent soundstage. It’s not especially wide but it has natural, rounded dimensions. Stereo imaging is average and gives you an idea of instrument positioning but isn’t pinpoint precise. C5 handles instrument separation quite well but the overall resolution deteriorates when there’s a lot of activity in the upper midrange.

Verdict​

To summarize, the Tinhifi C5 IEM can be considered a decent entry-level option for those who prioritize a neutral midrange and tight bass response. However, the midrange’s peaky upper region can lead to shoutiness and some listener fatigue.

Moreover, the upper midrange boost overshadows the treble, leading to a reduction in its air and extension. The C5’s soundstage is satisfactory with adequate instrument separation, but the resolution suffers when the upper midrange is busy. Overall, the Tinhifi C5 IEM is decent but hardly compelling enough to justify the price.

In this Moondrop Moonriver 2 review, I’m looking at the brand’s new dongle DAC. The Moonriver 2 features dual CS43198 DAC chips. It has a very impressive dynamic range and extremely low distortion. The price is $189.

Disclaimer: This sample was provided by Shenzhen Audio for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.


https://shenzhenaudio.com/collectio...dac-amp-headphone-amplifier-hifi-device-specs
Moondrop Moonriver 2

Package and Accessories​

For some reason, Moondrop decided to go with a more mature approach for Moonriver 2’s packaging. There’s just a small black and white waifu character on the back of the box along with the unit’s specifications. On the front of the box, there’s an illustration of the internal circuitry. Inside the box is the Moonriver 2, a USB-C to USB-C cable, a USB-C to USB-A adapter and a user manual.

Design​

Adopting an unusual steampunk design – a blend of modern and classic elements, the Moonriver 2 stands out visually from its peers. The top of the unit has a raised section where the headphone jacks reside and then a sloped, ridged cutaway tapering down to a thinner section.

On the back of the device is a diagram of the internal circuitry which makes the device look even more unique. I find it to be an unusual and utilitarian aesthetic but that’s just my subjective opinion.



One thing I don’t like about this dongle is its sharp corners; that doesn’t seem very practical for an object that’s likely to spend a significant amount of time in one’s pockets.

On one end of the unit are the 2 headphone jacks, one 3.5mm single-ended and one 4.4mm balanced. On the opposite and is the USB-C port for charging. Included with the dongle is a transparent flat USB-C to USB-C ribbon cable.

There are 2 volume buttons on the side of the Moonriver 2. These buttons have different lengths making it easy to determine which is which by touch – handy when the dongle is in your pocket. Unfortunately, the volume controls are not discrete and will change the volume on your source rather than the device itself.

Pushing both the volume – and + buttons at the same time switches between low and high gain modes. The small LED on the top of the unit glows red in low gain mode and green in high gain. Be advised that the unit defaults to high gain mode every time it’s plugged in so that’s something to be wary of.

One last thing to note is that the unit gets pretty warm when in use. This happens even in the low gain mode so there’s no way to avoid it unless something changes in a future firmware update. This isn’t unique to the Moonriver 2 but it’s worth keeping in mind.

Internals and Functionality​

Internally, the Moondrop Moonriver 2 hosts dual CS43198 DAC chips. This is my first time hearing this DAC so I was curious about how it would sound but we’ll get to that in a moment.

Supporting up to 32bit/384kHz and DSD 256, the Moonriver 2 is geared to handle any format you throw at it unless it’s an MQA file (there’s no MQA support). In terms of output power, the unit can push up to 4Vrms in high gain from the 4.4mm balanced output and 2Vrms from the 3.5mm jack. That’s enough driving power for everything but the most demanding full-size headphones.

Sound​

Gear used for testing includes the Moondrop Chu, FiR Audio 5×5, Meze 99 CLassics and Beyerdynamic DT990 Pro.

As far as power goes, the Moonriver 2 had ample drive to push everything I tested with it. There was even plenty of headroom left for the DT990 Pro in high gain mode and I rarely went over 50/100 volume on most tracks. All the other gear listed above was driven in low gain mode.

I’m a fan of the CS43131 and now I can say that I’m a fan of the CS43198 as well. There are similarities to the sonic character of the former DAC chip such as neutrality and end to end extension.

From the lows to the highs, Moonriver 2 sounds natural and earthy but super clean. There’s no audible noise floor even in high gain mode. It’s a balanced sound full of nuance and emotion coupled with the signature Cirrus Audio DAC smoothness.

Listening to the vocals of Anneke van Giersbergen in The Gentle Storm’s “New Horizons” with the DT990 Pro, I’m impressed by the natural note weight and precise placement. The bass is impactful and the spacing between the instruments is a joy to behold. Here the soundstage is wide and expansive but the vocals, strings and percussion maintain lifelike density and presence.

Continuing with “Upside Down (Live)” by Gazpacho, the expansiveness of the soundstage is apparent right from the start. The Moonriver 2 puts you right there at the concert and gives you a clear image of where every instrument is placed. The hi-hats sound tangible but airy and the kick drum has just the right mix of thump and slam. Throughout the song, the guitar notes are textured and crisp and the vocals shine with a lifelike timbre. I’m reminded of what a great recording it is.

Comparisons​

xDuoo Link2 Bal ($149)​

The xDuoo Link2 Bal (review here) has dual CS43131 DAC chips and shares a similar sound signature as the Moonriver 2. From my very brief research, it seems that the CS43131 and CS43198 are essentially the same except that the former has variable operational power consumption (6.25-40.2mW) versus the latter’s fixed rate (26mW).

So instead of pretending they sound vastly different, I’m going to focus on other factors in this comparison. First of all, the Link2 Bal has additional features; It has a play/pause button plus a switch to select either USB UAC1.0 or UAC2.0. It also has a switch to change between gain modes compared to the Moondrop where you need to press the volume + and – simultaneously.

Furthermore, the Link2 Bal has 2.5D glass covers on both sides whereas the Moonriver 2 has a futuristic steampunk aesthetic. I personally prefer the look and feel of the Link2 Bal but that’s purely subjective on my part.

In terms of output power, they’re close too, although I don’t know exactly how many mW the Moonriver 2’s 4Vrms converts to. But testing the 250Ω DT990 Pros nets close to the same resulting volume.

Lastly, the Link2 Bal stays cool during use while the Moonriver 2 gets warm. I’m not stating that as a con – just letting you know. At the end of the day, you can’t go wrong with either one. But if I were choosing, I’d go with the xDuoo based purely on the physical design and enhanced usability because I honestly don’t think I could tell them apart sonically in a blind test.

Verdict​

There’s no doubt that the Moonriver 2 is currently among the best sounding dongle DACs. Its self-assured assertiveness is tempered with a controlled composure and its neutral presentation means it stays true to the music. Whether or not the physical design appeals to you (or even matters at all) you can be sure that the audio quality is top-notch.

Specifications​

• Specifications:
• Size Volume: 56.8×19.4×12.5mm
• Earphone Jack: 3.5mm Single-ended, 4.4mm Balanced
• Frequency Range: 6Hz-85000 Hz (±1dB)
• USB interface: USB Type C
• Noise Floor: 4.4mm: 1.5μV (AES17 20K Hz) / 3.5mm: 1.2μV (AES17 20K Hz)
• THD+N: 3.5mm: 2Vrms 0.0008%@32Ω / 4.4mm: 4Vrms 0.00013%@300Ω
• SNR: 4.4mm: 131dB (A-weighted) / 3.5mm: 123dB (A-weighted)
• Firmware Upgrade: Supported
• Gain Control: High/ Low
• Line Out: 4.4mm: 4Vrms (High), 2.8Vrms (Low); / 3.5mm: 2Vrms (High), 1.4Vrms (Low)

Earsonics is a French IEM manufacturer with over 20 years of experience in the audio field. In this review, I’m checking out the Earsonics ONYX earphones. The ONYX is a hybrid quad-driver IEM with 1 dynamic driver and three balanced armature drivers. It retails for 490€ (approximately US$533).

Disclaimer: This sample was provided by Earsonics for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Earsonics ONYX​

Specifications​

• Sensitivity: 122 dB/mW.
• Frequency Response: 10 Hz -20 kHz.
• Impedance: 16.5 ohms.
• Driver: 4 drivers (1DD+3BA) with 3 way HQ impedance corrector crossover.

Package and Accessories​

The ONYX comes in an unassuming, utilitarian matte black box. Inside the box, you’ll find the Earsonics ONYX, a detachable 4-wire silver cable, 2x pairs of single-flange silicone eartips, 2x pairs of double-flanged silicone eartips, 2x pairs of foam eartips, a cleaning tool and a carrying case.

Design​

In the age of flashy, colourful 3D-printed resin shells that we live in, I was pleasantly surprised when I first laid my eyes on the ONYX. Crafted from anodized zinc and magnesium alloy with a matte black finish, the ONYX looks something akin to a Northrop Grumman B-2 Spirit (stealth bomber).

ONYX’s contoured shells are largely unadorned except for an ES logo on the faceplates and some grooves carved into the inner side. On the top of the earpieces are standard slightly recessed 0.78mm sockets.

The nozzle diameter is slightly narrower than average. This and the fact that there’s no lip on the nozzles means that some third-party eartips fit loosely. I’ve had to fish orphaned eartips from my ears more than once as a result.

The shells are heavier than your average IEM. It doesn’t bother me in the least but some people may find it an issue. ONYX fits great in my ears, despite the shells being somewhat large. I can wear these comfortably for hours on end.



The passive noise isolation is excellent, making ONYX great for blocking outside noises. There’s virtually no noise leak either so this IEM is ideal for commuting.

Internally, ONYX houses Earsonics’ Acrylic Heart® technology which enables precise driver alignment for optimal phase control. The single dynamic driver and 3 balanced armature drivers are positioned within the heart which resides in the acoustic chamber.

Included in the box is a high-quality 4-core silver cable. The cable handles well and feels robust. It doesn’t have any significant microphonics (cable noise) and is not prone to tangling.

Sound​

Gear used for testing includes the Cayin RU6, Soundaware M2Pro and iBasso DX120.

ONYX has a warm, musical presentation. It has elevated bass, full-bodied mids and an inoffensive treble. I’d say it has a safe tuning but one with strong technical capabilities. It’s a refreshing change from the recent slew of Harman target tuned IEMs. It doesn’t need extra amplification or a fancy source.

Earsonics ONYX frequency response.

Bass​

ONYX gets warmth from its elevated bass. The bass lays down a velvety depth as a foundation for the entire spectrum and is unapologetically boosted north of neutral. There’s grit in the bass too, providing texture and layers in abundance.
With its medium-paced attack and fast decay, ONYX’s bass is rounded and natural yet nimble at the same time. The density of the alloy shells prevents any unruly distortion or resonance resulting in excellent control.

Sub-bass notes dig deep without blanketing the sound or bleeding into the other bands. It not only rounds out the lovely mid-bass but also adds groove and authority to the sound.

Midrange​

One of the challenges of tuning a warm IEM is maintaining clarity and detail in the midrange. ONYX rises to the challenge with aplomb; the mids are energetic, detailed and nuanced.

The transition from the bass to the lower mids is done just right, clearly separating male vocals and instruments while maintaining overall cohesiveness. There’s a clarity and spaciousness in the midrange belying the sense of warmth and musicality that ONYX delivers. Despite the elevated bass, vocals and the midrange, in general, are upfront and engaging.

Treble​

It’s the treble tuning that does a lot of the heavy lifting when it comes to ONYX’s sound. On one hand, the treble counterbalances the fullness of the bass and brings clarity and detail to the midrange. On the other hand, the treble isn’t sibilant and is smooth enough for extended listening without fatigue.

There’s plenty of detail and energy in the highs for precision and excitement respectively. It’s smooth enough for a daily driver yet is crisp and intricate enough for more serious listening when desired.

Soundstage and Technicalities​

Some of my favourite aspects of ONYX’s sound are the layering and placement. Despite its warm, musical nature ONYX has excellent resolution and instrument separation. As a result, the soundstage is uncluttered and organized, clearly defining the centre image from surrounding sounds.

Comparisons​

FiiO FH7 ($449)​

Earsonics ONYX (red) vs FiiO FH7 (grey).

The FiiO FH7 (review here) is a Penta-driver IEM with a 1DD+4BA configuration. FH7’s presentation is more aggressive and very upfront in terms of staging. ONYX is smoother and more easygoing.

The FH7 bass is faster but leaner. It has a cleaner leading edge on bass notes compared to the ONYX’s more rounded ones. The midrange on the FH7 is very forward – the overall sound signature is very linear. On the other hand, ONYX has more of a traditional V-shaped sound signature.

FH7’s lifted upper midrange can get a bit shouty at higher volume. Similarly, the treble on the FH7 is somewhat aggressive and can be strident. The ONYX has a smoother top end but is not as resolving when it comes to micro-details.

The FH7 is an IEM that some people find aggressive and tiring. In comparison, I can easily listen to the ONYX all day thanks to its warmer tone and rounder treble notes.

DUNU Studio SA6 ($549)​

Earsonics ONYX (red) vs DUNU Studio SA6 (grey).

The DUNU Studio SA6 (review here) is a great example of how good an all BA IEM can sound. While the Studio SA6 is more tonally accurate and detailed, ONYX sounds more natural and forgiving.

The SA6 immediately sounds brighter than ONYX. It has less bass quantity, weight and impact. ONYX, in comparison, has a physical bass that you can feel and gives the sound an underlying warmth.

Mids are more forward and have more clarity on the SA6. The DUNU’s mids are clean and transparent while ONYX has added note weight making it more inviting albeit less detailed. Vocals on the SA6 are more articulate and really come to the forefront.

The Studio SA6 has a similar treble timbre as the ONYX but because of its leaner bass, it sounds more upfront. The DUNU is the more accurate sounding IEM but the ONYX has a warmer and more pleasing tonality.

SA6 has a wider soundstage but ONYX has superior layers of depth in front of the listener. Both IEMs have excellent resolution and instrument separation.

Conclusion​

The Earsonics ONYX is a refreshing change from what is becoming the status quo in ChiFi IEM tuning – the pursuit of the Harman curve with as little deviation as possible. Instead, ONYX is musical and fun and not afraid to throw in a dose of extra bass.

What I really like about the Earsonics ONYX is its warm, melodic presentation intertwined with strong technical performance. The fact that it’s built like a tank and dressed like a ninja only makes me like it even more. Recommended.

In this review, I’m looking at the Shozy Ceres. The Ceres is a hybrid dual-driver IEM with 1 dynamic driver and 1 balanced armature. It retails for $179.

Ceres is the goddess of cornflakes. Well, not exactly; Ceres is the goddess of grain crops and harvests in Roman Mythology and the word cereal is derived from her name.

Disclaimer: This sample was provided by Linsoul for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Shozy Ceres​

Specifications​

• Driver: 9.2mm dynamic driver + ultra-high balanced armature
• Impedance: 19Ω@1KHz
• Sensitivity: 100db SPL@1mW
• Frequency response: 20-20000Hz
• Noise isolation: -26db
• Plug: 3.5mm
• Connector: 0.78mm 2Pin

Packaging & Accessories​

• 
• 

Ceres comes in a small rectangular black box with a Shozy logo on the top. Here’s what we find inside:

• Shozy Ceres IEM
• Detachable 2-pin cable
• Carrying case
• 3x pairs of foam eartips
• 3x pairs of double-flange silicone eartips
• 3x pairs of generic silicone eartips

Design​

The Ceres IEM has pseudo-custom resin shells with a dark blue translucent body and irregular blue and gold pattern on the faceplates. Here you’ll also find some subtle Shozy branding in gold print. 0.78mm 2-pin sockets are the connection chosen for Ceres.

The shells have 3 vents running in parallel on the top side which is a rather unusual implementation. The nozzles are aluminium and slightly narrower than average but I didn’t have any trouble finding some suitable eartips. Overall, the build quality of the Ceres feels very good and it has a fairly premium aesthetic to boot.

ⓘ

I find the Ceres to be a very comfortable earphone that is suitable for long listening sessions. The shape of the shells is reminiscent of Form 1.1 and 1.4 models and like those, fits comfortably into the conchas of my ears. Passive noise isolation is above average and when the music is playing, you’ll have little chance of hearing anything else.

Cable​

The included braided cable is a lovely gold colour that matches the gold flecks and branding on the IEMs. All of the cable’s components, including the chin slider, are polished aluminium with textured rings on them. They look like pieces of silver jewellery and add to the visual appeal of the cable.

Not only does this cable look nice, but it also handles beautifully too; it’s supple and light yet strong and doesn’t have any noticeable microphonics.

Sound​

Gear used for testing includes:

• Cozoy TAKT C
• Shanling M5s
• TOPPING DX3 Pro+ -> Burson Funk

The Shozy Ceres has a warm, smooth sound signature with a strong emphasis on the bass. It has a somewhat dark and veiled sound so midrange clarity is a little below average. However, detail retrieval is still quite respectable, largely due to good overall resolution and elevated upper treble.

Bass​

The bass is pretty bangin’. I wouldn’t hesitate to label Ceres as a basshead IEM because it can deliver some thunderous lows. Leading edges on bass notes are somewhat blunted and soft, giving the bass a thick presentation.

Sub-bass notes have a large but smooth rumble that’s free of distortion, even at high volume. Kick drums thump with authority but could use better definition. The warmth of the bass permeates throughout the entire spectrum like a blanket.

Mids​

Vocals sound velvety smooth but a bit veiled, which could be said about the mids in general; the level of clarity leaves a lot to be desired. String instruments resonate deeply and the sound is more body than strings.

Surprisingly, the overall resolution and instrument separation is good. So although I don’t see this kind of tuning being very popular, it scores fairly well on technicalities. The midrange is syrupy and inherits a lot of warmth from the bass. The result is mids that are thick and smooth but dark in tone.

Treble​

Detail retrieval is impressive which is unusual for such a warm IEM. This is due to the elevated upper treble which delivers ample macro details. However, some of the micro details and treble harmonics are smothered by the bass and overall warm presentation.

ⓘ
Another surprising thing about Ceres’ treble is that despite the large 10kHz peak, there’s no sharpness or brightness. There’s no sibilance either but there’s also no sparkle or liveliness.

Soundstage​

The soundstage is fairly intimate but there’s a good sense of layering and depth. Furthermore, the stage is not as narrow as I’d expect from something with such a dark tonality. Imaging and instrument positioning is really quite decent.

Conclusion​

The Shozy Ceres is a gorgeous and comfortable earphone with good build quality. It comes with a decent accessory set and a high-quality cable. With its bass-dominant sound signature, it could appeal to bassheads, especially those who are treble-sensitive.

Although it has a dark and melodious sound it performs admirably in a technical sense. I feel like Shozy could make something really nice based on this IEM with some tweaking. But having said that, Ceres has an outlier tuning and is not something I would recommend for most people.

Burson Audio V6 Vivid​

Specifications​

• Op-amp model: V6 Vivid
• Design: fully discrete
• Min voltage: ±3.5V/ 7 VDC
• Max voltage: ± 16.5V / 33VDC
• Current consumption: Single 7mA | Dual 14mA
• Unity gain stable: Yes
• Reverse-voltage protection: Yes

Design​

In terms of size and form, the Burson V6 Vivid is the same as the V6 Classic. That means it’s rather big (12.4mm X 14.5mm X 29mm), something you may need to keep in mind depending on where you plan to use it. For example, when I put the V6 Classic in my Topping DX7 Pro, I discovered I could no longer put the top of the chassis back on due to the opamp’s height. There are workarounds, such as Burson’s 35mm extension lead, so it’s not a big concern but something worth considering.

The Burson V6 Vivid has built-in reverse-voltage protection, so it should be protected from incorrect insertion. For added peace of mind, Burson’s V6 opamps are covered by a lifetime warranty. When handling the V6 Vivid, I once again felt confident thanks to the strength of the pins compared to other opamps.

Test Setup​

The amp getting the special treatment this time is Burson’s own Funk. Swapping out the stock Texas Instruments NE5532 opamps for the V6 Vivid was a simple task. It was quite a lot easier than doing the same operation on the Topping DX7 Pro as the Funk has more space around the opamp sockets for my chunky man fingers.

The process went smoothly and I was done within minutes. I was also relieved to find that the top of the chassis fits back on comfortably with the V6 Vivids in place; obviously, it has been designed with this specific upgrade in mind.

Sound​

Like I experienced with the V6 Classic, the Burson V6 Vivid has an immediate effect on the soundstage. But whereas the Classic has a softer airiness and rounder notes, the V6 Vivid expands the soundstage by the way of better note density and a more organized stage. It has less of a tube-type sound and more of a solid-state presentation.

However, that does not mean the Vivid isn’t musical: it’s just more transparent and uncoloured in comparison. It has an even blacker background, which enhances the spacing between instruments. So, while the Classic already has lovely imaging and layering, the V6 Vivid takes it a step further with increased pinpoint accuracy.

Speaking of accuracy, those looking for it will appreciate V6 Vivid’s uncoloured and unbiased approach. It’s truly transparent and renders a more precise timbre. Another benefit of transparency is greater detail retrieval which is another thing Vivid is especially good at. If you’re one who likes to pick out every micro-detail in a recording, this will enhance your experience. Treble notes have more definition compared to the Classic’s slightly rounded ones, making positional cues clearer.

The V6 Vivid is a better match for speakers or headphones with a fuller bass response. All of the extension is still there but the speed of decay and thus the control and definition are improved. It might not provide the same level of warmth as the Classic but it gives you a more tangible level of precision.

In the end, the Burson V6 Vivid is a stellar opamp that (at least in my opinion) is worthy of the asking price. I think it works better with warmer or more “musical” setups while the V6 Classic is a better match for more analytical or drier sounding systems. The beauty of it all is you get to choose which one works best for you and your specific gear.

Conclusion​

I was impressed by the V6 Classic and I like the Burson V6 Vivid even more. It elevates my Burson Funk amp to a new level with an expanded soundstage, more precise imaging and blacker background. The added transparency enhances micro-detail retrieval and produces accurate timbre across the spectrum. If you’re looking for an opamp to breathe new life into your system, I can easily recommend this one.

Operational amplifiers (op-amps) are often referred to as the workhorse of analogue electronics. In this review, I’m testing the Burson Audio V6 Classic op-amp. The V6 Classic is a discrete op-amp and is the result of 12 years of research by Burson Audio.

Burson Audio official website: https://www.bursonaudio.com/

Disclaimer: This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Burson Audio V6 Classic Op-amp​

Specifications​

• Op-amp model: V6 Classic
• Design: fully discrete
• Min voltage: ±3.5V/ 7 VDC
• Max voltage: ± 16.5V / 33VDC
• Current consumption: Single 7mA | Dual 14mA
• Unity gain stable: Yes
• Reverse-voltage protection: Yes

Design​

The Burson V6 op-amps are the 6th generation of their designs, are the smallest discrete op-amps in the world and according to the company, are the only op-amps in the world to have reverse-voltage protection. What does that mean? Basically, it means the op-amps won’t die if you accidentally insert them in reverse.

Burson claims that their op-amps are “specifically designed to optimize audio performance”. We’ll find out soon how that turns out. The company certainly seems to be confident in the quality of its products, since every Burson op-amp is covered by a lifetime warranty.


My first impression of the V6 Classic was that it’s big (12.4mm X 14.5mm X 29mm), at least compared to something like the LME49720 or MUSES8920. It has an orange-coloured plastic enclosure that surrounds the 2 parallel printed circuit boards inside for improved temperature tolerance. There’s a groove on one side of the enclosure which helps to indicate the correct alignment for the op-amp.

The pins on the V6 feel much more robust than the ones on the LME49720 that can bend and break easily. I feel much more confident handling the V6 which feels as though it will survive endless swaps and system changes. Overall, the build quality feels reassuring and also goes a long way towards justifying the higher cost.

Test Setup​

For this test, I swapped out the Texas Instruments LME49720 op-amps from the headphone path of my Topping DX7 Pro and replaced them with the V6 Classics dual op-amps. The process was simple although there wasn’t much room to move around. Unfortunately, due to the size of the V6 Classics, I need to keep the chassis open but I will most likely get their 35mm Extension Lead x 2 in the near future.

• 
• 

Sound​

To my surprise, the difference in sound is quite dramatic and immediately apparent. Suddenly the DX7 Pro sounds more muscular and slightly warmer with better bass extension. It sounds more analogue, almost akin to a tube amplifier.

Also, the sense of depth is heightened plus the lower frequencies have added texture and body. But it’s not only the depth that improves. The entire soundstage feels more expansive and open. It seems that the treble is also more extended but at the same time slightly warmer.

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• 

The only negative thing I would say about the V6 Classic is that heavy bass notes sometimes sound a little looser. But for me, that is a perfectly acceptable trade-off for all the other improvements it brings.

Perhaps the most startling change is the increase in overall resolution. Suddenly every sound sounds like it’s floating in its own space. The level of transparency is intensified and instrument separation is improved. With the V6 Classics in place, the imagery intensifies and the soundstage takes on a more holographic nature.

There is a greater sense of layering now too and all these things seem to be in contradiction to the added colour the V6 Classics bring. Normally, an increase in warmth and body will shrink the soundstage and create a more intimate space but with the V6 it’s just the opposite: somehow these little blocks increase the dynamics and resolution while at the same time making the stage more expansive.

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Conclusion​

In many cases, upgrading or customizing the sound of your expensive audio gear means buying new components or an entirely new system. But sometimes it’s possible to simply change the op-amps which can bring significant improvements or at the least change the character of your system’s sound. The Burson Audio V6 Classic is a fantastic choice, especially if you want some additional warmth or colour to your sound. I wasn’t sure what to expect at first but I’m a true believer now and the V6 gets my recommendation.

DUNU is an IEM manufacturer with a great track record when it comes to producing high-quality earphones. They recently launched their Studio series in-ear monitors and in this review, I’m looking at the entry-level model, the DUNU SA3.

The SA3 has 3 balanced armature drivers per side, a 2- electronic crossover and gorgeous 3D-printed shells. Let’s see how it performs.

DUNU website: https://www.dunu-topsound.com/

This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

DUNU SA3

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Package and Accessories
The SA3 box comes wrapped in a dark blue cardboard sleeve which has the model number on the front and a specifications list on the back. Inside the box, you’re presented with the leatherette carrying case. Underneath the case is a smaller box which holds the rest of the accessories. Let’s break down the contents of the box in a list.

• DUNU SA3 earphones
• Detachable silver-plated OFC 0.78mm 2-pin cable
• 9 pairs of silicone eartips
• Cleaning tool
• Leatherette carrying case
• Documentation
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• 

Design, Comfort & Noise Isolation
The SA3 shells are 3D-printed photopolymer resin with gorgeous hand-finished Hokusai blue faceplates. Speaking of the faceplates, each one has been hand-painted, meaning that every individual unit is unique.

Apart from the white and blue Hokusai paint, the left faceplate has the number 3 in gold while the right side has DUNU branding. It’s a relatively simple but striking design and colourway.


In terms of comfort, the DUNU SA3 is about average for a 3D-printed shell. They are a bit large considering there are just 3 drivers inside. However, I find the ergonomics pleasing and the SA3 has slightly above-average passive noise isolation thanks to its closed ventless design.

They’re perfectly suitable for noisy environments and that passive noise isolation would also be really beneficial if you were performing live and using these as your stage monitors.

Cable
Cables are something that DUNU has traditionally done extremely well. I’m happy to say that the SA3 cable is also really nice. It’s a braided 27 AWG Kevlar-reinforced, high-purity silver-plated OFC cable with transparent insulation.

At the top, the transparent plastic 2-pin connectors are mercifully straight (I HATE those angled ones!) which is a godsend for people like myself who have larger ears. The standard heat-shrink ear guides are present but thankfully not too aggressively curved which makes the fit more natural.

The chin slider, Y-split and matching straight 3.5mm plug are all ringed aluminium and look pretty slick. In terms of handling, this cable rocks: it’s very malleable, drapes nicely and has minimal microphonics (which can be mostly eliminated using the cable cinch). It’s good to see that DUNU still make some of the best cables out there when it comes to universal IEMs.

Sound

Gear used for testing

• iPhone with Shanling UP4
• iBasso DX120
• PC -> iFi Audio ZEN DAC

With a low impedance of 13 Ω and sensitivity 112 dB, the DUNU SA3 has been designed to work with any source. Indeed, it can be driven with just about anything including phones, PCs, tablets, DAPs and does not require any extra amplification.

The SA3 has a neutral presentation with a slight emphasis on the vocal range. It has above-average clarity and good detail. But what really stands out is the accurate timbre and uncoloured nature of the sound.

This would certainly be a good set for monitoring midrange instruments and the human voice but it’s not the most engaging presentation when it comes to music listening. Having said that, certain music genres such as vocals-based, acoustic and classical can sound great with these. For other types like hip-hop, electronic and jazz etc., it doesn’t fare so well.


Bass
The SA3 bass is neutral and quite linear albeit with a typical balanced armature sub-bass roll-off. The mid-bass has a touch of warmth and has great definition, control and speed but very little overall impact.

This is not an IEM for bassheads; the quantity of bass just isn’t there and basslines sometimes have difficulty contending with the midrange. However, in terms of speed, texture and control, the BA drivers excel as expected. Furthermore, the lightness of the bass prevents any bleeding into the midrange which allows that region to shine.

Mids
Continuing the generally neutral character of the SA3, the midrange is uncoloured and accurate in tone. Vocals in particular, really stand out and sound, in a word, exceptional. Male voices are lean but natural although they might sound slightly gravelly on leaner sources.

Female vocals are intimate and intoxicating. In Above and Beyond’s “Can’t Sleep – Acoustic” Annie Drury’s voice sounds pure and articulat and floats effortlessly above the music. The piano and trumpet notes appear vibrant and clear without being glaring and the violins have a nice, natural resonance.



Treble
The treble is slightly laid back and emphasizes the lower treble range to give it sufficient spirit. However, the large dip starting at 9.5kHz draws some of the energy out of the treble, along with some of the detail one would expect to accompany a lean tonality such as this.

It’s a fairly safe treble tuning that doesn’t offer much in the way of sparkle or shimmer but on the plus side, it’s non-fatiguing and doesn’t show any signs of sibilance. Even inherently sibilant recordings such as The Pineapple Thief’s What We Have Sown album are tolerable on the SA3, despite having so little bass weight to counterbalance its upper registers.

Soundstage
The soundstage dimensions are about average in width and depth. The stage position is somewhat forward, making vocals intimate and fairly close to the listener. Imaging is good and there are good positional cues but layering is just moderate. Thanks to the fast transients of the BA drivers, the stage feels organised and doesn’t feel congested.

Comparisons
NF Audio NM2+ ($169)
DUNU SA3 (red) vs NF Audio NM2+ (grey).
The NF Audio NM2+ is a single dynamic driver IEM. The reason I’m comparing this with the SA3 is that it’s also aimed at musicians and has a reasonably neutral tuning. Although the graph above suggests these 2 IEMs have a similar bass quantity, that is not the case.

The NM2+ has better overall bass impact and extension, particularly in the sub-bass where the NM2+ has a rather exciting deep rumble and reach. The bass hits harder, moves more air and provides a more stable platform to counterbalance the raised upper midrange. It’s not quite as fast and isn’t as textured as the SA3 bass but it feels more natural in terms of the overall tonal balance.

Vocals aren’t as forward as they are on the SA3 but are slightly smoother in comparison. Those looking to specifically monitor vocals would be advised to use the SA3 for their neutral transparency and vocal nuance.

TenHz P4 Pro ($150)
DUNU SA3 (red) vs TenHz P4 Pro (grey).
The TenHz P4 Pro is a 4 BA driver unit. Both IEMs share similarities but the P4 Pro has a more dynamic presentation with increased lower bass and treble quantity. P4 Pro’s sub-bass gives produces a more tangible sub-bass rumble although the SA3 has slightly better extension. The SA3’s bass has superior definition and texture but is pushed back further in the mix.

When it comes to vocals, the SA3 is in a class of its own in this price range and it comes off more nuanced and articulate than the P4 Pro. Midrange resolution goes to the SA3 too due to its more linear bass and subdued treble. However, the P4 Pro has mildly better detail retrieval thanks to its extra treble presence, in addition to a more vivid attack on percussion instruments.

Both IEMs have average soundstage dimensions but I’d say the P4 Pro has a bit of extra depth because vocals aren’t so upfront as the SA3, giving the P4 a little more breathing room.

Conclusion
The DUNU SA3 poses a bit of a conundrum; On one hand, it has class-leading vocals reproduction plus excellent timbre, transparency and technical performance. Furthermore, the build quality, accessories and aesthetic are fantastic. On the other hand, the neutrality of its bass and the laid back treble ultimately result in a sound that oftentimes lacks engagement and fails to excite.

As a tool for midrange monitoring (particularly vocals), the SA3 is hard to match at this price. For music consumption, however, it works for certain genres but falls flat with others. That’s not to say this is a bad in-ear monitor, just that it’s not really ideal as an all-rounder.

Specifications

• Frequency Response: 5 Hz – 40 kHz
• Impedance: 13 Ω
• Sensitivity: 112 ± 1 dB at 1 kHz
• Total Harmonic Distortion: < 0.5% at 1 kHz
• Shell: High-Precision, 3D-Printed Biocompatible Photopolymer Resin
• Faceplate: Handmade Photocurable Resin
• Cable length: 1.2 ± 0.1 m
• Cable connector: 2-Pin (0.78 mm)
• Plug type: 3.5 mm Single-Ended TRS
• Cable Material: 27 AWG Kevlar-reinforced, High-Purity Silver-Plated OFC
• Product weight: 12.5 g

Auglamour is a Chinese earphone manufacturer that sells products under its own brand name as well as providing OEM services to other companies. In this review, I’m looking at their latest model, the Auglamour RT5.

The RT5 is a dual-driver hybrid with one dynamic driver and one balanced armature driver. It has medical-grade resin shells and CNC machined aluminium-magnesium alloy faceplates. Let’s check it out.

Disclaimer: This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Auglamour RT5

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Package and Accessories
The RT5 box has a dark grey cardboard sleeve with a colour photo of the earpieces on the front and specifications list on the back. Here’s what we find inside:

• Auglamour RT5 earphones
• Detachable 2-pin 0.78mm SPC OFC cable
• Clamshell carrying case
• 3 pairs of narrow-bore silicone eartips
• 3 pairs of wide-bore silicone eartips
• Shirt clip

Design, Comfort & Noise Isolation
The RT5 shells are made from medical-grade resin and have an aluminium-magnesium alloy CNC faceplate. The left faceplate is blue and the right is red and both sides sport a white Auglamour logo. A single pinhole vent is located near the base of the nozzle which has a solid lip and protective metal mesh cover. The RT5 adopts the increasingly popular C-Type 2-pin connector sockets.


Internally the Auglamour RT5 sports a 10mm titanium coated diaphragm dynamic driver and a Knowles 32873 balanced armature driver and utilizes a dual-channel audio duct. That is the same dynamic driver used in Auglamour’s current flagship model the RT3.

I find the ergonomics of the RT5 good and they fit really snugly in my ears. The length of the nozzles feels just right too and allows me to get a stable, secure fit. The passive noise isolation is good too, making the RT5 perfect for public transportation and noisy environments.

Cable
The included cable is a braided 8-core SPC OFC type. At the top end are transparent plastic C-type 2-pin connectors. Attached to the connector housings are some extremely stiff and aggressively curved ear guides – one of my current pet hates but your mileage may vary.

The Y-split and straight 3.5mm plug with knurling are matching aluminium. When it comes to handling, the cable itself is fine, has minimal microphonics and feels very robust.

Sound
Gear used for testing

• PC -> iFi Audio ZEN DAC
• FiiO M6
• iPhone with Yin Lu Mei B2

The Auglamour RT5 has a W-shaped sound signature with a moderate boost on all bands. A punchy low end, forward mids and a lively treble are coupled with good clarity and detail. RT5 has a fun tuning that’s optimized for normal people rather than audiophiles chasing the neutral holy grail. An impedance of 13.6Ω and 112.6dB sensitivity the RT5 has low power requirements and works with all kinds of devices including smartphones.

Bass
RT5’s bass is punchy and delivers with good impact. It’s not overblown or basshead level but it has a healthy dose of slam. The main emphasis is on the mid-bass but the sub-bass is still there with plenty of rumble and authority.

Attack and decay are reasonably fast and the bass is well-defined. It’s thick enough to yield a sense of power and it gives the overall tonality plenty of warmth without being dominant or destructive in the mix.

Mids
Midrange notes are quite forward, with a particular focus on the upper midrange. The boost at approximately 2.5-4.5kHz adds clarity and loudness but can be a bit glaring or fatiguing on some recordings. Jakob’s “Blind Them With Science” for example, sounds harsh on a lot of earphones but is more exhausting with the RT5.

One advantage of the upper-midrange lift is vocal presence and the RT5 takes advantage of this by making vocals upfront and intimate. Female vocals are slightly thin and could use a bit more warmth for naturalness.

Treble
The lower treble is brought forward and has a good amount of energy. It is a fairly detailed treble and isn’t sharp or sibilant. The upper treble rolls off steadily after 10kHz so there’s just a bit of sparkle but the sound is fairly airy and open.

I find the treble tone to be fairly accurate, though perhaps a little bit thin in the lower treble. The note density cuts the decay a tad short but overall it’s a pretty good treble for something at this price point.

Soundstage
The soundstage has average dimensions and is roughly equal in width and depth. When it comes to width, the RT5 reaches out to but not beyond the headspace. Depth is slightly more pronounced, with elements detectable behind the central image and vocals. Instrument separation is on par for this price bracket but it doesn’t really create a holographic scene.

Comparisons

iBasso IT00 ($69)



Auglamour RT5 vs iBasso IT00.
The iBasso IT00 is a single dynamic driver IEM. IT00 has superior sub-bass extension that gives it an authoritative and powerful sound. Mid-bass is more prominent too, however the IT00 bass has a faster attack and decay.

The IT00 upper-midrange is more linear, avoiding the glare and fatigue issues that the RT5 has. Despite having more bass quantity and less lower treble, the IT00 has greater resolution and natural tone.

By shifting its treble emphasis up the scale, the IT00 has an airier treble with more sparkle but the RT5 has slightly better detail retrieval. However, the iBasso is ultimately smoother and less fatiguing over time, trading some detail for musicality.

BGVP DN2 ($59)



Auglamour RT5 (red) vs BGVP DN2 (grey).
The BGVP DN2 is a dual-driver hybrid IEM with 1 beryllium-plated dynamic driver and 1 customized balanced armature driver. The DN2 has more bass elevation and a slower attack which makes bass notes thicker. On the other hand, the RT5 has better bass extension and sub-bass rumble.

In the midrange, the RT5 has more intimate and upfront vocals while the DN2 pushes them back a little more. Resolution is very close on both models but the RT5 has a little more detail retrieval because of its more forward treble.

Treble on the RT5 is more lively and has more zest than the DN2, however, the DN2’s midrange is not as upfront which gives the illusion of a more spacious stage. Furthermore, DN2’s midrange notes (particularly female vocals) are smoother albeit less articulate.

When it comes to treble, the DN2 has a more laid back approach while the RT5 is more in your face and demands attention. The DN2 cable is nicer and the included accessories are slightly better. Considering the DN2 costs $10 less, it makes it the more desirable, in my opinion.

Conclusion
The Auglamour RT5 is a competent entry-level earphone with upfront and engaging sound. It has excellent build quality and comes bundled with a good accessory kit. However, I think the pricing might be a little too aggressive considering the competition (Moondrop, Tin Hifi, iBasso, BGVP etc) in this crowded segment. Nonetheless, it offers a lively sound with hearty bass and good detail retrieval. If you’re looking for a starter IEM, this might be a good place to start.

Specifications

• Driver unit: 10mm titanium coated diaphragm dynamic driver + Knowles armature 32873
• Cable: 8C * 2-pin 0.78mm silver-plated oxygen-free copper wire core
• Frequency response range: 20-20000Hz
• Sensitivity: 112.6dB
• Impedance: 13.6Ω

Gustard is a Chinese electronics manufacturer known for making high-quality DACs (Digital to Analogue Converters) and amplifiers. In this review, I’m checking out the Gustard A18 balanced DAC. The A18 features the latest flagship AK4499EQ DAC chip, Bluetooth connectivity and completely independent power supply plus much more. There are a bunch of impressive specs some of which I’ll cover later but what I’ll be focusing on in this review most is the sound and end-user experience. Let’s begin.

Disclaimer: This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Package and Accessories
The Gustard A18 came in a fairly nondescript but well-padded box. Inside, the device is secured in and protected by a sturdy foam insert. There is also a USB cable, power cable, Bluetooth antenna and remote control in the box.

I was pleased to find the quality of the USB cable to be quite good; it’s thicker and more robust than what you typically get with Topping DACs and more in line with the ones that come with Singxer products. However, the remote control is a generic plastic unit that has some extra non-functioning buttons. This isn’t a serious issue or a deal-breaker but it is a little quirk worth mentioning.

An additional rather strange inclusion found in the box is a Mini-CD, presumably with the user manual and Windows drivers on it. However, I haven’t been able to see what is on the CD since I haven’t used that legacy system for over 10 years now.

Considering how easy it is to set up free cloud storage nowadays, I’m disappointed that the drivers and user manual aren’t available online. This is exacerbated by the fact that Gustard doesn’t seem to have a working website so users are forced to just figure things out for themselves (or find and read reviews like this one).

*Update: The drivers and user manual are now available on the Shenzhen Audio website: https://download.shenzhenaudio.com/#all/6



Build Quality & Design
In terms of build quality, the A18 is built to impress (and to endure). It has a very sturdy CNC aluminium chassis that looks and feels like a serious piece of equipment. The weight of the unit is around 2kg and it feels substantial when handled.

On the bottom of the A18, there are 4 large aluminium feet with rubber bottoms. These are nicer than the typical small silicone domes you get and the extra height granted by them provides more airflow underneath the DAC to keep things cool.



Taking a look at the front panel, I like the low-key aesthetic of the A18 DAC. It’s very minimalistic with just a small OLED display in the middle and turntable/function button on the right side.

On the rear panel are (from left to right):

• Balanced XLR Outputs (right and left)
• RCA Outputs
• IIS Input
• AES Input
• Coaxial Input
• Bluetooth antenna
• USB Input
• 220V/110V selector switch
• Power Input
• Fuse
• Power switch

That sounds like a lot but as you can see, the rear panel is all very organized and tidy.



Functionality
When in use, the display shows the input channel, encoding format and sample rate and volume. The screen can be set to automatically turn off after 10 seconds of inactivity or it can be left always on. Additionally, the brightness of the screen can be adjusted and there are a total of 8 different brightness levels.

The turntable/function button can be used to adjust the volume, select the digital input source and open or navigate the system menu. It’s a pretty logical setup and only takes a short time to get accustomed to. The buttons and menu feel quick and responsive.

Here’s what you find in the Gustard A18 menu settings:

—PCM Filter
—DSD Filter

—Bluetooth power control
—Phase invert
—Display control
—Brightness



These are all fairly self-explanatory, so I’m not going to break down the details of each list item. It’s here where you find the various PCM filters, of which the Gustard A18 has 6, including SHARP, SLOW, SUPER SLOW, SHORT SHARP, LOW-d SHOT, SHORT SLOW. As usual, the differences between the digital filters is subtle but can be detected if you’re using good speakers or headphones. For the duration of my testing, I mostly kept the A18 on the recommended SHORT SHARP filter.

Internals
Inside the A18 are a lot of high-quality components normally found in more expensive units. In fact, the A18 shares a lot of the same innards as the company’s flagship Gustard A22 DAC. Speaking of flagships, the DAC chip used in the A18 is the same top of the line AK4499 found in the Topping D90 and SMSL M400 DACs.

Other noteworthy components found inside are the Accusilicon AS318B femtosecond oscillators, LME49860 dual op amps and a high-quality linear power supply to keep any electrical noise (noise floor) as low as possible.

Taking charge of the Bluetooth connectivity is the flagship Qualcomm CSR8675 chip. Equipped with Bluetooth 5.0, the A18 supports all the best wireless audio codecs, such as PCM LDAC, AAC, SBC, APTX, APTX LL, APTX HD. When streaming using LDAC, the A18 can achieve a crazy 24b / 96k transmission rate.



Bluetooth Connectivity
When testing the A18’s Bluetooth functionality, I found it to be extremely easy to pair with various sources. These sources included my iPhone, Sony NW ZX-300 and FiiO M6. The sound quality when streaming Bluetooth is superb, especially when using LDAC. Having said that, I was also surprised at the quality of the sound even coming straight from my iPhone.

When it comes to connection stability, the A18 performs like a rock star. I’m able to connect from anywhere in my 2 story house (admittedly a fairly small one) without any signal drops or cutouts. It’s only when I walk out to my front gate when the connection begins to stutter. So for all intents and purposes, the Bluetooth 5.0 works like a dream.


Gear Used for Testing
For the majority of my testing, I used the USB input and fed the A18 files from my computer. I also paired it with the Aune X5s which yielded excellent results. For headphone testing, I hooked up the A18 to my Feliks Audio Echo tube amplifier. I then tried various planar and dynamic headphones, along with various types of in-ear monitors.

On the active speaker side of things, I tested with the Kali Audio LP-8 studio monitors. Thanks to its variable level output, the A18 can be used as a preamp which means it’s perfect for powered monitors and can also be plugged directly into a power amp. For testing passive speakers, I connected the A18 to the FX Audio FX1002A which in turn, was hooked up to my NHT C3 Carbon Fibre LE.



Sound
I’ve been using the Gustard A18 for several weeks now and it has given me many hours of joy. Whether using headphones or speakers, this DAC sounds engaging, effortless and vibrant.

Listening to the A18 with my NHT C3 Carbon, music comes to life in a way I’ve not heard with these speakers. Likewise, when listening to headphones and in-ear monitors, I was impressed by the solidity and black background of the DAC. In fact, what was meant to be a ‘quick test’ with the Feliks Audio Echo amp and the iBasso SR2 headphones turned into an hour-long session as I sat engrossed in the music.

Listening to the haunting “Finality” by Gealdyr, the A18 shows its aptitude with timbre and naturalness. The voices sound lifelike: the AK4499EQ Velvet Sound DAC chip has been implemented in a manner that in some ways sounds more akin to a Sabre DAC with its fabulous detail and resolution.

This is a DAC that delivers with solidity and drive yet is more than capable of delicate nuance and sensitivity. The Gustard A18 is transparent in its neutrality but at the same time, musical and smooth in character.

I was struck by the realism and naturalness of Manu Katché’s “Swing Piece” rendered by the A18. It’s a juxtaposition of a muscular yet detailed sound with immaculate timing and confidence. Each note from the piano and saxophone is rich and lifelike, cast on a stage that feels holographic and vivid.

Kicking things up a notch, I fired up Ice Cube’s “**** Dying” and swiftly got caught up in its fiery, defiant energy. The A18 delivers the vigorous vocals, crunchy electric guitars and grand strings with a fervent eagerness that really highlights the epic nature of the track and sweeps you along with it.

Once again, the A18 created an expansive, organized stage where every element of the music occupies its own space. Every detail is revealed but the presentation always sounds musical without any analytical dryness.



Conclusion
To my ears, the Gustard A18 is in a class above the competition in its price range when it comes to audio quality. Regardless of music type or genre, the A18 sounds robust, effortless and totally in control. It has wondrous detail and transparency and is simply amazing in terms of spatial cues and imaging/soundstage.

The A18 has marvellous build quality and is super easy to use. It’s not loaded with features and doesn’t have the most extensive menu or options but it does what it does extremely well. I also just learned that there is an updated version that has MQA support and an optical input which will really bring it into line with the competition in terms of functionality. Simply put, Gustard A18 is an excellent component that sounds amazing and offers great value for money. I highly recommend this to anyone looking for a solid DAC/preamp to add to their system.


Specifications
Sample rate supported by digital input channels:

COAX ：PCM 16-24bit/44.1-192kHz；DSD DOP64
AES ：PCM 16-24bit/44.1-192kHz；DSD DOP64
USB ：PCM 16-32bit/44.1-768kHz；DSD DOP64-DOP256；NATIVE DSD：DSD64-DSD512
IIS ：PCM 16-32bit/44.1-768kHz；DSD DOP64-DOP256；NATIVE DSD：DSD64-DSD512
BT Bluetooth 5.0 : PCM LDAC, AAC, SBC, APTX, APTX LL, APTX HD and other high frequency
encoding, LDAC can achieve 24B / 96K high code transmission

*USB input supported operating system：WIN7 SP1/WIN8/WIN10 32-64bit；macOS；Linux

Analog output performance：

Amplitude frequency response：20-20kHz /+-0.6dB
DNR： >124dB
Crosstalk：-129dB @ 1kHz
THD+N：<0.00015% 1kHz
IMD：<0.0008%@-3dBFs

RCA Output level：3Vrms (VOLUME 00dB)
Output impedance 100 ohms

XLR Output level：6.0Vrms (VOLUME 00dB)
Output impedance 100 ohms

Other specifications：

AC Power supply：AC 115V/230V 50/60Hz
Power consumption：<15W
Dimensions：Width 220mm * Height 50mm * Depth 170mm（Excluding protrusions）
Weight：2.5Kg (including packaging)

Anew is a relatively recent newcomer to the Chinese IEM scene. Until recently, they had only released a single model, the U1 which received a lot of praise among the community. In this review, I’m looking at their newest earphone the Anew X-One.

The X-One has 5 drivers per side (1DD + 4BA) plus a unique tuning system that utilizes interchangeable modules which allow you to adjust the tuning to suit your own preferences. I wasn’t sure what to expect at first but I can confidently say that this system and the earphones themselves have some serious merit. Let’s take a closer look.

As our case is new, we must think and act anew. (Abraham Lincoln)

Click to expand...

Disclaimer: This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.


Anew X-One


Package and Accessories

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• 

The Anew X-One comes in a fairly substantial white box with a white cardboard sleeve. On the front of the sleeve is an image of the earphone and the tuning modules and on the back is a list of specifications.

Inside the box is a hard carrying case seated in a white foam insert. The earphones and accessories are all located inside the carrying case. Here’s what you get in the box:

• Anew X-One earphones
• Detachable MMCX high-purity SPC cable
• 3 pairs of tuning modules
• Tool for changing modules
• Fabric carrying pouch
• Plastic weather-sealed carrying case
• 4 pairs of silicone eartips
• User manual/warranty card

Design
Right off the bat, you’ll notice the X-One’s aluminium alloy shells feel really substantial in the hand. These feel a bit heavier than your average IEM, similar to the Shanling ME500 Platinum but I kinda like it that way.

The shells adopt the common pseudo-custom shape and have a smooth white finish. On top of each earpiece is a small vent with a mesh cover. You can see the attention to detail in the design here as each vent is colour-coded (blue for left and red for right).


On the centre of the faceplates is where you’ll find the tuning components. These components have an aluminium face with the Anew logo on the outside. On the other side are 8 pins which alter the crossover frequency and produce the different tuning configurations.

The components are really nicely implemented too: they click into place easily and feel very secure. I never felt any concern about them coming loose and being lost. Overall, the build quality is great and the X-One feels very durable.

Comfort and Noise Isolation
For my ears, the Anew X-One is very comfortable. The heavier shells have a habit of moving a bit in your ears so it’s really important to find the right eartips to get a secure fit. Having said that, with the right tips in place I can comfortably wear these earphones all day long.

Noise isolation is good and these shells block out a good amount of external noise making them great for commuting and other noisy environments.

Cable
The included cable is a braided silver-plated copper type and it’s gorgeous. It’s has a nice girth which makes it look and feel premium. Handling is excellent and there is no significant microphonics.


At the top of the cable are curved and colour-coded transparent plastic MMCX connector housings. The heat-shrink pre-formed ear guides are very subtle and work really well. Further down is a cylindrical aluminium Y-split with a matching aluminium chin slider.

The cable terminates in a straight aluminium 3.5mm jack with the Anew logo on one side. This is a really great cable and feels suitably premium for an IEM at this price point.

Sound
Gear used for testing includes the Sony NW ZX-300 and Shanling M5s as portable sources. In addition, I tested with my iPhone and the YLM portable Bluetooth amplifier review of that device coming soon). On the desktop, I plugged the X-One into the excellent Yulong Canary II DAC and fed it delicious FLAC files.

The general signature of the Anew X-One is mildly U-shaped with a fairly even tonal balance. There is a slight emphasis on the sub-bass and upper treble which gives it a wide, dynamic sound. It has excellent clarity and resolution wrapped in a musical package giving you the best of both worlds. Outstanding features of the X-One’s sound are its end to end extension, expansive soundstage and natural tone.


Anew X-One with default red module.Tuning Modules
Of course, one of the most interesting features of the X-One is its unique tuning modules. These manipulate the crossover frequencies and each has its own unique twist on the default tuning. Like many earphone tuning systems, the changes made by the various modules are fairly minimal and only slightly tweak the default tuning. In fact, the difference between the black and blue modules is almost imperceptible, making the red module the most unique-sounding.

While I enjoyed all 3 modules, I kept going back to the red one because it sounded the most natural to me. It is slightly more relaxed in the presence region (4-6kHz) which can be a little fatiguing for me personally.

The modules make subtle differences to the default tuning.Bass
X-One’s bass is rich, full-bodied and ready to rock. It has a medium attack and decay speed which gives it a solid, weighted impact but one that is still well-controlled. It’s not the most textured bass, instead opting for a natural smoothness over absolute speed.

With proper amplification, the X-One can give your skull a pounding in a truly satisfying manner. Hooked up to the Yin Lv Mei B2 amplifier, the deep, rumbling notes of Bersarin Quartet’s “Oktober” left me with a grin on my face.

Mids
There’s a surprising amount of detail in the midrange, thanks largely to the deft treble tuning. The midrange is rendered with excellent clarity and body being just slightly on the leaner side for increased resolution.

Vocals have good articulation and note size. This carries over to acoustic guitars as well which sound clean and textured. In Oh Hiroshima’s “Simulacra”, the electric guitars have a good amount of crunch and clarity. They sound nice and clean on the X-One but still gritty enough. This effect is heightened by the above average soundstage and airiness that creates layers in the midrange.

Treble
The X-One has a lively, airy and detailed treble. It’s a very detailed treble but one that doesn’t have any sibilance. While it is precise, it also has a sweetness to it that makes it non-fatiguing to listen to. The extension is excellent, giving the overall sound an openness and transparency.

It’s here (particularly 7-8kHz) that gives the mids get their clarity and detail. The X-One treble cuts through the bass notes without being too bright and strikes a perfect balance with the weighted low end. This light and detailed treble is showcased nicely in the percussion in Fourplay’s “Silverado” which sounds clean and crisp on the X-One.

Soundstage
The soundstage is an area where the Anew X-One really shines. It has above average dimensions, outstanding depth and layering. Excellent instrument separation means there’s plenty of clean air between stage elements, painting a holographic 3D image. Sounds often reach outside of the headspace but at the same time, the X-One maintains excellent note density. Imaging is precise, giving you pinpoint cues to instrument and sound positions within the space created.

Comparisons
Shanling ME500 Platinum Edition ($289)

The Shanling ME500 PE (review HERE) is a hybrid triple-driver IEM with 1 dyanamic driver and 2 balanced armature drivers. It also has great end to end extension like the X-One, reaching deep into the sub-bass and trailing off with airiness in the upper treble.

ME500 PE has slightly less sub-bass emphasis but has added bass texture and a faster decay. Mid-bass is punchier but has less overall impact than the X-One. ME500 PE’s midrange is more forward in comparison to the X-One but has less body in the lower mids. Vocals are more intimate on the ME500 PE but smoother on the X-One.

In the high frequencies, the ME500 PE treble is more forward and has extra definition. This gives it slightly more detail, in particular, micro-detail retrieval but at the same time, it has a brighter overall tonality. X-one has better treble extension with more air. Both IEMs have a larger than average soundstage with the X-One being slightly stronger in imaging.

DUNU DK-2001 ($299)

The DUNU DK-2001 (review HERE) is a quad-driver IEM with 1 dynamic and 3 balanced armature drivers. It has less sub-bass emphasis but a snappier mid-bass punch compared to the X-One. DK-2001 bass attack and decay is faster with less impact.

DK-2001 lower midrange has more body and fullness while X-One has more fullness in its bass. The DUNU’s mids are more forward, especially around the upper mids from 2-3kHz. This brings vocals, particularly female vocals to the forefront and gives them extra bite.

The treble is less pronounced due to the forwardness of the mids and more diffuse than the X-One. The X-One has better treble extension making it airier enhancing soundstage dimensions, which are larger than the DK-2001’s.

Conclusion
The Anew X-One turned out to be a real surprise. It’s built like a tank and has a unique tuning system that lets you change the default tuning. Regardless of which module you choose, the X-One will sound great, making it even more appealing.

Despite there being some serious contenders around the same price, I feel that the X-One can confidently take its place among the best in this category. If you like the idea of customized tuning, solid bass, clear mids and great treble all wrapped in an exceptional soundstage then the Anew X-One deserves your attention.

Specifications

• Drivers: 1 dynamic + 4 balanced armature
• Sensitivity: 108±1dB
• Impedance: 20Ω
• Frequency range: 20-20kHz
• THD:﹤0.2%

Things move rapidly in the audio equipment scene and the rapid adoption of planar magnetic drivers in both in-ear monitors and headphones is an indication of this. With that said, in today's review, I'm testing the Gold Planar GL600 planar magnetic headphones. Coming in at under $200, the GL600 has a premium all-metal construction and proprietary Nano-Membrane 66mm, planar magnetic diaphragm driver.



Disclaimer: This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Package and Accessories



The GL600 comes in a standard black box with a matte finish. Inside are the headphones seated in a satin-covered foam insert. Apart from the headphones you get a cable and a 3.5mm-6.35mm adapter.

Build Quality and Design

This was a real surprise. The build quality of the Gold Planar GL600 is quite frankly, superb for a headphone at this price point. They have an all-metal construction that feels substantially robust and durable. In terms of appearance, I'd say they have a utilitarian aesthetic that should appeal to the audiophile crowd.


The spring steel frame forms the basis of the construction along with a padded, pleather suspension headband. The open-backed earcups swivel 360° freely so they can sit flat around your neck or on a table. There is no visible branding or markings on the headphone anywhere and overall, I really like the way these are put together.

Comfort and Noise Isolation

Because the earcups swivel forward and back and pivot up and down, the headphones naturally conform to the shape of your head. However, I found the clamping force to be excessive which was causing me severe discomfort after a relatively short time. I ended up bending the corners of the frame slightly to alleviate some pressure which made a big difference.


Having said that, I do still get hotspots after a while due to the relatively shallow earcups but I can wear them for a couple of hours before it gets intolerable.


Noise isolation is almost non-existent which is always the case with open-back headphones. If you normally use your headphones in a noisy environment then these might not be the best choice for you.

Cable

The included cable is a 1.5 meter long fabric braided 6N OFC 4-core cable. It's lightweight, flexible and has minimal microphonics. It has a straight 3.5mm plug and comes with a threaded 6.35mm adapter. The Y-split is a light plastic material and is accompanied by a rubber cable cinch. At the top end it has dual 2.5mm connectors.


While the connectors do have an L and R marking for left and right respectively, the markings are quite difficult to see. Normally this wouldn't be an issue but because there are no indicators on the actual headphones, you need to rely on the cable to determine the left and right sides.

Sound

The general sound signature of the Gold Planar GL600 is warm and fairly dark. There is an emphasis on the lower frequencies, a thick midrange and a reasonably soft treble response. Overall clarity is mediocre, as is the resolution and detail retrieval.

Bass

The bass is one of the better aspects of the GL600's sound. Mid-bass is quite punchy and delivers with impact but it feels a bit slow for a planar driver due to a blunted attack. It's fairly light in terms of quantity and sits roughly in line with the midrange.


There is reasonably good bass extension but sub-bass notes don't have much authority. The GL600 delivers a light sub-bass tone rather than any visceral type of rumble. For the most part, it's pretty decent though, especially in the context of the GL600's price.

Mids

There's a palpable veil over the midrange, caused by a lack of clarity which results in a dark presentation. In addition, an upper midrange lift adds some presence but can make vocals sound a bit shouty and uneven. The mids are rich with rounded notes and thickness that permeates the overall performance.

Treble

The treble is rather soft, making it non-fatiguing and great for people who are treble-sensitive. But as a result, it's not the most detailed or precise. A dull upper treble caused by high-frequency roll-off means there's no sparkle up top and limited extension.


On a more positive note, the GL600 is never sibilant, sharp or overly bright. In fact, I quite like this type of treble tuning but in this case, it's positioned behind the midrange and struggles to gain a foothold.

Soundstage

For an open-back headphone, the soundstage feels rather intimate and small in dimensions. It's not an open or airy stage and this is mostly caused by the forwardness of the midrange and lack of treble openness.

Conclusion

There is a lot to like about the Gold Planar GL600. It has a beautiful, immaculate build quality that's rare for a headphone in this price range. Although the sound quality is a bit average I think this affordable planar magnetic offering will still be appealing to many enthusiasts on a budget. I look forward to seeing what Gold Planar does next.

Specifications

• Impedance: 22ohms
• Sensitivity: 100dB
• THD: 0.25%@1KHZ/100dB SPL
• Frequency: 6Hz-50KhHz
• Weight: 375g
• Driver: Nano Diaphragm planar driver
• Cable: 1.5meter OFC 4 core cable.

Of all the products I’ve reviewed over the last few years, the Earstudio ES100 Bluetooth receiver has been one of the most popular by far. However, when it comes to desktop use, a compact dedicated USB DAC often makes more sense. Enter the Earstudio HUD100, a DAC that has a tiny footprint but plenty of output power and Hi-Res audio quality.

So why do you need an external DAC, instead of just using your laptop or phone’s headphone jack? Well, laptops generally have low-power and low-cost built-in audio solutions. So the default audio quality is not that great and there is a lot of internal electrical interference or noise that can degrade the audio signal. In addition, the Earstudio HUD100 supports higher bitrates (PCM up to 32bit/384kHz) and has native DSD support for up to DSD128.

Radsone Official website: https://www.radsone.com/earstudio

Disclaimer: This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Package and Accessories

• 
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The Earstudio HUD100 comes in a simple compact box. Inside the box, you’ll find:

• Earstudio HUD100
• 1m USB Type C to A cable
• 10cm USB Type C to A cable
• Leatherette travel pouch
• Owner’s manual

Build and Functionality
Starting with the physical build, the first thing I noticed is how tiny this device is. It’s smaller than a matchbox and in fact, is only 43% volume size compared to the already diminutive ES100MK2. The chassis is aluminium and feels robust despite its mere 21.5g weight.


On the front face of the device are 2 headphone jacks: the first is a standard 3.5mm low-powered (0.914 Vrms) jack which is perfect for sensitive earphones. On the right is a high-power output (2.26 Vrms) that can drive more demanding headphones up to and above 250 Ohm.

Also on the front face is a switch for choosing one of the 3 available sound options. Option 1 is Bypass mode which bypasses any internal sound processing, giving you an unaltered, uncoloured and transparent audio signal. 2 and 3 are DCT and Dynamic modes respectively. DCT produces an analogue-like sound while Dynamic is Radsone’s own processing mode that offers a powerful and balanced sound.

HUD100’s rear face has a USB Type C port plus a firmware update switch. On top of the device is a single small LED that lights up in different colours depending on the current sample rate. For example, when playing a 44.1kHz file, the light glows green and when playing back a DSD128 file, it’s white.

How Does It Work?

All you need to do to start using the HUD100 is plug it into your source device (laptop, smartphone etc.) It’s worth noting that Windows users will need to install the driver to unlock the full functionality. The Windows driver can be downloaded from Radsone’s website. For those who want to use the DAC with their Apple or Android smartphone, you will need a separate adapter which isn’t included in the box.

I’ve seen some people on Head-Fi asking if there is any app or EQ for the HUD100 and the answer to that is no. But, you can simply use the EQ settings on your music software, whether you use Foobar2000, MusicBee, or JRiver etc. On top of that, there are the 3 sound modes which I will cover more in the sound section below.

One thing I dislike about the Earstudio HUD100 is the lack of any physical volume or playback controls. While in general, all laptops have multimedia control functionality via the keyboard, desktop PCs do not. That means unless you have a keyboard with multimedia controls, you have to pick up the mouse to adjust the volume which is hardly convenient.

Internals
According to Radsone, the Earstudio HUD100 has an “elaborate circuit and layout design for best performance in small size”. Furthermore, they claim that this is the first DAC to adopt an ARM Cortex processor to implement their own proprietary algorithms.

The device is built around an AK4377 DAC chip and has a dynamic range of 118dB. Another first for the HUD100 is the MEMS oscillator used as a master audio clock which provides clearer clocks and further reduces jitter. While all that seems rather impressive, it doesn’t mean much unless it actually sounds good. So does it?

Sound
Let’s start with the Bypass mode. True to its namesake, the Bypass mode sounds transparent and uncoloured. What impressed me right away here was the space and air that the music was delivered with.

Firing up Joy Wants Eternity’s “Abide, Moment“, HUD100 sounds wide, deep and has impressive levels of separation. I loved the openness and tonality the song was presented with. Of course, good headphones will make a difference too and for this test, I was using the Beyerdynamic DT990 Pro 250 Ohm with the high-power output. As an aside, the HUD100 has more than enough juice to drive the DT990 Pro’s: I was hovering at around 30-40/100 volume on my Windows PC.

Next up was the DCT mode, playing Outkast’s “In Your Dreams“. The HUD100 delivered the track with good energy and body but didn’t quite match the clean presentation pitched by the Yulong Canary II or its own Bypass mode. Here I matched the HUD100 with the Hifiman Sundara. From the standard output, there was ample volume but to my ears, the bass came across with more depth from the high-power output. Volume levels on my Windows PC were around 24-30/100 (High-Power mode).


Moving onto the Dynamic mode, the bass and midrange are slightly lifted and the sound is filled out with more body. The Earstudio HUD100 in this mode was a great match for Baden Powell’s “Reza“. It’s a track that changes pace and dynamics regularly and the HUD100 flows along with it masterfully. Moreover, it establishes a large, well-defined stage that the various instruments are clearly spread throughout with lots of empty space in between.

For testing the Dynamic mode, I used the DUNU DK-3001 Pro. Plugged into the standard output, the DK-3001 Pro sounds dynamic, full-bodied yet clean and airy and at with Windows volume at around 8-14/100, there was obviously no need to move to the high-power output.

A Note On Source Pairing
While testing the Earstudio HUD100 with my smartphone, I noticed that with my personal setup the power levels were quite limited. This is possibly specific to my older phone (Samsung Galaxy Note 5) and its Micro USB port but I don’t have a compatible OTG cable to test my other phone with its USB Type C port.

Even with fairly sensitive IEMs, I was maxing out the volume when using the standard output and going up to or over 60% from the high-power output. Needless to say, there was nowhere near enough power to drive the DT990 Pro. Even the much less demanding Sundara was too much for this setup. They sounded good but the phone’s volume was maxed out so there was absolutely zero headroom.

Conclusion
Radsone’s Earstudio HUD100 is a unique device that has some unique capabilities. In terms of audio quality, it really sounds fantastic and the 3 various sound modes give some welcome extra versatility.

When plugged into a laptop or PC, the HUD100 can easily drive full-size dynamic and planar headphones with confidence. However, as I found out (at least with my phone) – pairing it with a smartphone may limit you to using easy-to-drive earphones due to power limitations.

So who is the Earstudio HUD100 for? That is the question I kept asking myself during testing. It would obviously be a good choice for people who need portability: someone who spends hours sitting in Starbucks working with a laptop comes to mind.

But for use on a desktop, there are compact DACs like the FiiO K3 which adds a dedicated volume pot, balanced output, bass boost plus line, coax and optical outputs and it costs less. Then there are the dongle DACs like the DragonFlys and the Cozoy TAKT C which has its own onboard volume and playback controls. Furthermore, there are several good DAPs for the same price or less that have the same functionality and Bluetooth.

As I said, the Earstudio HUD100 sounds good – really darn good. It’s compact, well-built and uncomplicated. But it just seems like a weird implementation that will appeal to a small niche audience. If you are one of those people, however, you will be delighted by what you hear.

Specifications

• Inputs: USB Type C
• Outputs (3.5mm): Standard 0.914 Vrms / High Power 2.26 Vrms
• THD+N: Standard -105dB (0.00056%) / High Power -102dB (0.00079%)
• Dynamic Range: Standard 118dB / High Power 118dB
• Sample Rates: Up to PCM 32bit 384kHz, DSD128 (DoP)
• DAC Chip: AK4377
• Desktop Compatability: Mac OS 10.10 or later / Windows 7 (32/64bit) or later
• Mobile Compatability: iOS 10.2.2/iPhone 6 or later / Android 6.0 or later
• Dimensions: 45 x 32 x 8mm
• Weight: 21.5g

Craft Ears is a new custom in-ear monitor manufacturer hailing from Poland. Their target audience is audiophiles and musicians and they work closely with many local artists, providing high-quality stage monitors. In this review, I’m checking out the Craft Ears Craft FOUR, a 4-driver custom in-ear monitor with 4 balanced armature drivers and a 4-way crossover. Let’s get into it.

Craft Ears website: https://www.craftears.com/

This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Build and Design

Knowing that Craft Ears was a relatively new brand, I didn’t really know what to expect in terms of build quality. Needless to say, the first time I opened the box and laid my eyes on these monitors, I was delighted with what I saw.

Craft Ears uses the latest 3D printing technology in their manufacturing process and the results speak for themselves. My customs came with stunning blue shells that have a subtle green swirl mixed in and sparkle under the light.

Inlaid into the faceplates is real American chestnut wood which contrasts beautifully with the blue shells. In addition, a silver-coloured Craft Ears logo is embedded on each faceplate and the outcome is easily one of my favourite CIEM design to date.

Every part of the surface is curved and smooth all over with no visible flaws. So, it seems that Craft Ears already has their 3D printing process down to a fine art. I must say, in terms of build quality alone, these are of a very high standard.

Customization
You can specify the details of the design you want via the order form on the Craft Ears website. It allows you to choose shell colours plus faceplate and custom logo designs. If you have a specific idea in mind for a custom design, you can also request that on the form or talk to someone via email to get exactly what you’re looking for.

Fit, Comfort and Noise Isolation
As I say in all my custom in-ear reviews, the fit and comfort rely first and foremost on getting a good set of ear impressions. When ordering a set of Craft Ears customs, you can either send them a set of physical or digital impressions. The advantages of digital impressions are that you don’t have to wait or pay for shipping.

The set I received is very comfortable and the shells are similar to my Itsfit Fusion and Custom Art FIBAE Black, both of which were 3D printed as well. Noise isolation is comparable with my other CIEMs and again depends on having good ear impressions and a good fit. With the Craft FOUR in my ears, I can’t really hear a darn thing going on around me and that’s the whole idea, right?

Sound
From the get-go, the Craft FOUR’s stage monitoring pedigree can be heard in the accuracy of its timbre. But you’ll notice something else right away: the FOUR is a musical IEM too. It is uncommonly detailed – unusual considering the warmth of its tonality and relatively calm upper treble.

Craft FOUR is defined by its upper midrange and lower treble emphasis backed up by a speedy and light but warm bass. While it could be labelled as a predominantly technical IEM, its core treble dip ensures that there isn’t an all-encompassing brightness – a trait that’s often necessary in the pursuit of extreme detail retrieval.

Bass
Craft FOUR has a light, punchy bass that focuses on speed and accuracy. Despite its speed, however, it has a lovely, natural decay which gives it body and fullness. This is a typically fast BA bass that never feels lethargic or gets bogged down: it will keep up with all types of demanding music with nimbleness and poise.

Bass extension is really outstanding and it’s rare to see such a linear transition from mid to sub-bass and so little fall off with a multi-BA IEM. It may not be the most impactful or hard-hitting but it is sufficient enough to be engaging.


Sub-bass rumble is light and controlled and the mid-bass is punchy but reserved, leaving lots of room for the mids to shine and adding to the openness of the stage. Hans Zimmer’s “X-MP” is a track that showcases FOUR’s bass speed and agility. The frenetic energy of the drums can be an obstacle for lesser IEMs but the Craft FOUR doesn’t even break a sweat. In addition, the bass doesn’t mask or smother any of the finer background details in the track.

Mids
The transition from the upper bass to the lower midrange is a gentle slope that eases in carrying warmth and giving the sound body. When we get to the core mids though, they’re quite neutral but still have good note size so they don’t sound anaemic or unduly analytical.

Then there is a fairly rapid lift in the upper midrange that makes vocals and guitars really come alive. It brings the midrange quite forward which is intensified by the lower treble plateau (more on this later) and the relatively neutral level of the bass. Craft FOUR has a very vibrant and articulate midrange that’s full of presence and sparkle.

In Julian Javan’s “Adagio” Craft FOUR presents the vocals and guitars with clarity and definition and lifts them well above the lengthy bass notes. The presentation is airy and light with abundant presence and space between instruments.

Treble
Powered by a Sonion E25ST001 treble driver, FOUR’s sound signature could be called bright. But it’s not a brightness caused by an aggressive upper treble. Rather, it’s a more like a linear plateau that’s raised from the upper midrange all the way to the upper treble.

Now, keep in mind that the bass is reasonably neutral and this treble plateau is only slightly north of neutral as well. Rather than raising these areas, FOUR attenuates the midrange and part of the upper treble instead. This doesn’t make the midrange recessed in the least – quite the opposite as the mids and especially the upper mids are well forward in the resulting presentation. This is an intelligent tuning that delivers loads of detail without the often associated harsh side effects.

FOUR cuts around 10kHz to avoid any piercing or sizzle and this works particularly well as it stays smooth without any significant loss of detail. The upper treble is then lifted again after the dip and by doing so provides plenty of air without compromising timbre.

Soundstage
Craft FOUR creates a large stage, enhanced by its airiness, upper treble extension and reserved low end. It’s a particularly wide stage but one that also creates ample depth in front of the listener. Separation is excellent and creates a stable image with clearly discernible layers. There’s still a little warmth in the air so it doesn’t feel stale or clinical, just open and organized. Vocals and stage position are both neutral – neither intimate or distant but a comfortable in-between.

Comparisons
Custom Art FIBAE 3 ($593)
The Custom Art FIBAE 3 (review here) is a triple-BA driver IEM with a loosely similar tuning i.e. one that is balanced with a slight focus on the midrange. FIBAE 3 has more mid-bass and this gives it a warmer general tonality.

Throughout the midrange, FIBAE 3 has a thicker presentation with more rounded notes and a smoother presentation. Craft FOUR is leaner, has faster transients and greater definition. The Custom Art romanticizes vocals more with added richness and softer edges. Craft Four, in comparison, makes vocals more upfront and vivid but in a less smooth manner.

FIBAE 3 and Craft FOUR both have a detailed but reasonably smooth treble. Craft FOUR’s treble is slightly more forward which, in conjunction with the leaner midrange and lighter bass creates an airier stage with slightly increased instrument separation. While this aspect of the Craft FOUR’s presentation gives it a slight edge in stage dimensions and detail, the FIBAE 3’s slightly warmer tone feels more natural.

Empire Ears Bravado ($599)
The Empire Ears Bravado (review here) is a hybrid dual-driver (1DD+1BA) iem. It has a starkly contrasting approach compared to Craft FOUR. This one is about all-out fun with its big, impactful bass and laid back treble.

Bravado’s bass is bold, powerful and has a slow, thick presentation. But it does have great texture and pleasing warmth to it. Its sub-bass rumble can really be felt too, in a way that only a dynamic driver can deliver. In comparison, Craft FOUR’s bass is light, tight and punchy. It’s much tidier in comparison and tuned more for detail than outright impact.

Mids have less clarity and are more recessed than the Craft FOUR. Somehow the Bravado still manages to have pretty good detail retrieval and a large stage. The FOUR’s midrange is more forward and has greater transparency. Vocals are more articulated and clear and the tonality, on the whole, is brighter.

Bravado has a very easygoing treble that’s feathered and non-fatiguing. Despite that, it still feels quite airy and the stage has good dimensions. Craft FOUR, on the other hand, has a starker, more accurate treble, giving it a brighter presentation and improved imaging.

Conclusion
Craft FOUR is a unique IEM that is a blend of accuracy and musicality. It manages to be highly detailed without needing to resort to an aggressive treble. With its mixture of light warmth plus an upper midrange and lower treble elevation, it has a sound that leans towards bright but remains fairly smooth.

Moreover, Craft Ears is designing and building shells that look and feel truly premium which is surprising for such a young company. They’ve come out of the gate with the bar raised high and I very much look forward to what they do next.

Specifications

• Driver configuration: 4 balanced armature drivers
• Frequency response: 15Hz-22kHz
• Impedance: 10 Ohms @ 1kHz
• 4-way electrical crossover
• 3-bore acoustical design
• -26dB noise isolation

*The full written review was originally posted on my blog.

What’s crackin’ PAR fam? In this review, I’m checking out the Phatlab Chimera tube and JFET dual-mode portable headphone amplifier. The Chimera has a bunch of interesting features, in particular, a seamlessly switchable Triode and JFET gain stage. Other features include a 4.4mm balanced output, high output power plus low and high gain modes, making it compatible with sensitive in-ear monitors as well as demanding full-sized headphones.

Over the past few years, portable HiFi has continued to grow in popularity and complexity. Nowadays, people want a more diversified approach to their music listening with the option to take the music with them when they’re on the move. In addition, they want to be able to switch between various headphones and earphones while using the same source. Enter the Phatlab Chimera.



The Phatlab Chimera is perfect for anyone looking for a portable and powerful headphone amp. With the option to switch between tube and JFET modes on the fly, it’s versatile too. It’s compatible with all types of headphones and IEMs, whether they’re warm and thick or bright and analytical; you can choose whichever mode fits best.

*This review was originally published on my blog.

Itsfit is a relatively new company based in Hanoi, Vietnam that manufacture’s custom in-ear monitors (CIEMs). Despite only recently opening for business, they’re already delivering on a level you’d expect from a well-established brand in terms of product quality and user experience. In today’s review, I’m taking a look at the Itsfit Fusion, a tribrid custom earphone with a magnetostatic driver plus a dynamic, musical and immersive sound.

Price $950
Website: https://itsfitlab.com/

This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Package and Accessories



The unboxing experience begins with a black box adorned with the Itsfit logo. This outer box was actually sealed in plastic; the first sign that I was dealing with a proper finished product and not just a branded DIY project.

Inside you’re greeted by a plastic carrying/storage case plus the rest of the accessories. What’s in the box:

• Itsfit Fusion in-ear monitors
• Hard carrying case
• Carrying pouch
• Cleaning tool
• Cleaning cloth
• Detachable 2-pin cable
• Warranty & documentation

So far, it’s a fairly standard CIEM package, however, there are some things that stand out, most noticeably the uniform branding and feel of a finished product. For a company that is just starting out, there is a high level of polish here.

Build Quality and Design



Let’s talk about the internals before we get to the actual design. Internally, the Itsfit Fusion has three types of drivers which were chosen for their optimal performance in specific frequency ranges. A 10mm dynamic driver was naturally chosen for bass reproduction, as they excel at moving air and creating authoritative lows.

For the core and upper midrange, a dual balanced armature driver was given the task; perfect for fast transients and instrument separation. Lastly, the most exotic of the drivers, the 8mm magnetostatic, which is in charge of the high frequencies.


Image courtesy of https://itsfitlab.com/
Itsfit uses 3D-printing technology which allows them to produce the shells with more consistency and with advanced features, such as 3D acoustic chambers.

In terms of build quality, the Fusion looks and feels fantastic. The shells have a uniform thickness thanks to the 3D-printing process and they feel fairly robust, although, you wouldn’t want to drop them of course. They come with recessed 2-pin sockets for extra durability as well.



Customization
When it comes to customization, there is visual product designer software on the website that lets you choose from a variety of colours and patterns for the shells and faceplates. You can also upload your own artwork or logo and you can communicate directly with Itsfit staff for even more options.

My unit came with the “Skeleton Leaves” heritage design complimented by cyan-clear and pink-clear for the left and right sides respectively. I’m delighted with the way they turned out. The skeleton leaves design is exquisite and of course, every leaf is 100% unique courtesy of mother nature.



Comfort and Noise Isolation
As always, the fit of your custom monitors relies on sending a good set of ear impressions. The website has a useful page with detailed instructions on how to get the best fit. It’s wise to print the instructions and share them with your audiologist.

In terms of size, my Fusion earpieces are about average among my custom monitors. They’re smaller than the LXear Pluto, slightly larger than my Empire Ears Bravado and are most comparable in size to my Custom Art FIBAE monitors.



The shells are beautifully finished and are very smooth all over. I can wear them comfortably for hours but again, your mileage may vary and is dependant on starting with a good set of impressions or 3D scan.

Noise isolation is par for the course in regards to modern 3D-printed customs meaning they block out a good 25-26dB of external noise passively so even playing music quietly will shut out just about all ambient noise unless you’re in an extreme environment.

Cable



The stock cable included with the Fusion was quite a surprise, as I was expecting to find the ubiquitous Plastics1 that comes with many custom in-ears. However, Itsfit includes their own custom cable and it’s a good one too.

It’s a twisted 4-core SPC (silver-plated copper) wire with glossy black sheathing. It’s thicker than the Plastics1 cables and handles really nicely. There is very minimal microphonics and the cable drapes comfortably without any springiness or kinks.

At the top are gunmetal-coloured 2-pin connector housings followed by heat-shrink ear guides. A small metal Y-split and plastic chin slider are next and the cable terminates in a straight 3.5mm plug. Each of the components is the same colour and have Itsfit branding on them. This is easily one of the nicer stock cables I’ve seen with a CIEM but I would love to see Itsfit add options for 2.5mm and 4.4mm balanced terminations as well.



Sound
Portable sources used: Shanling M5s / Sony NW-ZX300 / Soundaware M2Pro.
Desktop source: Windows PC > Foobar2000 > FiiO K3.

Alright, let’s get down to the meat of this review: the sound. The Itsfit Fusion’s defining characteristics are its clarity, timbre, tonal balance and staging. Too vague? Stick with me here, I’m getting to it. The overall presentation is one of balance, where the trinity of bass, midrange and treble are all on equal ground. A touch of warmth is added for intimacy and naturalness which combined with the staging and cleanliness makes for one very interesting performance.

Technically, Fusion can go toe to toe with the best of them and surpasses many of those that are similarly priced. It’s supremely confident in its presentation without being brazen, not like the new kid on the team with something to prove but more like a player at the top of their game.



Bass
Itsfit have chosen a 10mm dynamic driver for the bass reproduction and it pays off handsomely. The bass is boosted a little north of neutral but governed and balanced with the mids and highs. There’s plenty of force in reserve when required though and the Fusion has sufficient impact to work across any music genres.

The Fusion’s bass is simply among the best I’ve heard on a CIEM. It seems to dig down forever but it’s not sheer grunt that makes it special; It’s the depth of its extension coupled with its resolution and definition. It also comes from the naturalness in its weight and tone plus the clean leading edge and the relaxed but never loitering speed of its decay.

Listening to Hans Zimmer’s “Gotham’s Reckoning“, Fusion recreates the dark foreboding tones of the synth bass with a physical rumble and the potent drums of war with all their vast grandeur while sustaining just enough restraint to keep them in check.

Mids
The Fusion’s midrange is a mix of clarity, body and naturalness. It has pristine cleanliness but blends it with a musicality rich with detail and nuance. Instruments are neutral in size so they never sound thick or clammy nor are they analytically thin. Stage positioning is also neutral, allowing you to take in the full scene but keeping you close enough to feel immersed in the sound.

Vocals are rich yet articulated, whether male or female, the Fusion’s midrange is rendered evenly without any area taking precedence in the overall presentation. Perhaps the midrange’s greatest asset though is it’s natural timbre. That cleanliness has an underlying warmth that is ever so inviting but never cloying. Fusion’s mastery of midrange timbre is evident in tracks like Above and Beyond’s “Sun & Moon – Live At The Hollywood Bowl“, where it renders the instruments, vocals and the crowd with vivid naturalness.

Treble
So now it’s time to see what the fancy magnetostatic treble driver can deliver; Is it merely marketing buzz or does it really add value to the sound? Well, I’m a believer, let me tell you. Fusion’s treble is crisp and lively with a light halo that adds a touch of softness and body. A brilliant extension gives it abundant airiness while its tastefully even presentation keeps it smooth and fatigue-free.

There’s sufficient sparkle and shimmer but thankfully no sign of sizzle or sibilance. Given its calm delivery, it’s striking how it can still be so precise, detailed and accurate. There’s no evidence of compression or steeliness either – timbre is another box the Fusion’s treble ticks off with zeal.

Soundstage
Fusion’s soundstage is stately in its dimensions and very stable by nature. While that in itself is an achievement, it’s made even more extraordinary by maintaining instrument and vocal note size and density. The result is a stage that is not only large but is holographic with precise imaging and spatial cues. Stellar instrument separation and a black background give the Fusion tangible layers of width, depth and height.

Comparisons
M-Fidelity SA-50



The SA-50 has long been one of my personal favourites. With 5 BA drivers per side, it has a balanced signature with great end to end extension and superb detail retrieval. SA-50’s bass is still my top pick for an all BA bass – it sounds so natural and carries itself with imposing authority. That said, it can’t bring the same level of impact as the Fusion’s dynamic driver although it does get very close.

The midrange of the SA-50 is more in line with its bass and treble as its whole presentation is very linear across the board. Vocals are more upfront on the Fusion and they’re positioned more forward too – the SA-50’s stage position is further back.

Both iems share a similar treble quality with excellent timbre and airiness. The SA-50’s treble sounds slightly more feathered and the Fusion extends a touch further. When it comes to stage dimensions, the SA-50 is wider but not as deep. Therefore, stereo imaging is stronger on the SA-50 but the Fusion has more clearly defined layers.

Itsfit’s Fusion is the first custom monitor that has challenged the SA-50 for the top position in my collection. Thankfully it’s different enough to compliment the SA-50, rather than having to compete directly with it.

LXear Pluto



The LXear Pluto is a 4BA iem and has a bold and upfront presentation with a strong emphasis on bass. Tonally, it’s much warmer than the Fusion due to the underlying bass colouring the sound from top to bottom. How the Pluto performs really depends on the amount of bass in each individual track. In bass-heavy songs or music, it tends to become congested and stuffy while the Fusion is able to maintain its lightness and separation regardless of the recording.

Both iems have a similarly upfront vocal presentation but the Pluto doesn’t have the same separation or layering ability and as a result, it has a less convincing stage that is surrounded by heavy, rounded bass notes.

It’s a similar situation in the treble too. Even though Pluto’s lower treble is more forward it’s mainly there to compensate for the powerful bass and the stage still ends up being darker than the Fusion.

These have starkly opposing approaches and each one would no doubt appeal to different listeners. The Pluto would be ideal for musicians as a stage monitor or people who want a more upfront performance with a wow factor. The Fusion, on the other hand, has more of what is commonly known as an audiophile tuning that concentrates on details and nuances rather than sheer fun factor.

Empire Ears Bravado



The Empire Ears Bravado is a dual-driver hybrid with one dynamic driver and one balanced armature. Its sound signature is more L-shaped and less mids-forward than the Fusion. Its extra bass presence brings with it more warmth and body. In contrast, the Fusion’s bass is tighter and has better definition but has less overall impact.

Bravado’s midrange sits further behind the bass and goes for more smoothness over absolute clarity. Furthermore, the treble is more laidback and doesn’t have the extreme extension that the Fusion has.

A direct result of the relaxed treble and rounder bass is the Bravado’s smaller stage, although it is still excellent for such a warm iem. The Fusion has more pinpoint imaging thanks to its detailed treble and tighter bass plus clearer air between notes gives it stronger instrument separation.



Conclusion
I have to admit that I was not expecting to be affected in such a manner by the Fusion. While it’s not unheard of for a new brand to enter the market with an excellent product, it is uncommon for one to manifest with such a level of completion. The Itsfit Fusion feels whole in every sense; from the coherency and maturity of its sound to the branding, packaging and build quality.

The Fusion has a golden ratio of bass, midrange and treble that creates the perfect mystic blend. No single IEM is going to please everybody as personal preferences in tuning and musical tastes vary too much but it’s hard to imagine most people not loving the Fusion. Not only does it excel on a technical level but it has a tuning that is lavishly musical and impassioned. With its fun but tight bass, liquid midrange and spectacular treble, it is simply outstanding.

Specifications

• Driver configuration: 1 Magnetostatic driver, 2 Balanced Armature drivers, 1 Electro-dynamic: low
• Freq. Response: 4Hz – 40kHz
• Sensitivity: 98 dB/mW @ 1kHz
• Impedance: 13.1Ω @ 1kHz
• Isolation: -26dB
• Price $950
• Website: https://itsfitlab.com/

*This review was originally posted on my blog.

Han Sound Audio is a Taiwan-based company that manufactures high-quality upgrade cables for headphones and in-ear monitors (IEMs). In this review, I’m checking out their most affordable model, the Han Sound Audio Zentoo, a 4-core OCC copper Litz cable with unique spiral T-twisted tech. Zentoo (Zen 2) is the second generation of Han Sound’s Zen cable. Let’s see how it performs.

Website: http://www.hansoundaudio.com/default.aspx

This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

*Prior to testing, the Agni MK2 unit used for this review was run-in for 72 hours using the Telos QBT machine, courtesy of BKK Audio.

Package and Accessories



Like we saw with the Agni MK2 and Kimera, the Zentoo is packaged in Han Sound Audio’s classic black cardboard box. On the top is a brand logo in silver and on one side of the box, there’s a white sticker displaying the model name, connector and plug type. Inside the box, the cable is nestled in a circular, black foam insert with a thin layer of foam on top of the cable itself for extra protection. Also included is a leather cable wrap, embossed with the brand name.

Build Quality and Design
After my experience with the Kimera and Agni MK2 cables, I knew the Zentoo would be a quality product, at least in terms of build and materials. Zentoo utilizes a 24 AWG wire which is thicker than the Agni MK2 (26 AWG) and thinner than the Kimera (23 AWG).

It is woven in Han Sound’s preferred Milliot or rounded braid style and has a clear UV-PVC jacket. Being a pure copper cable, Zentoo has a richer, darker colour than the Kimera and with its neat hand-weaved braid is definitely easy on the eyes.

Zentoo sports HanSound’s own plug, which is available in 2.5mm/3.5mm/4.4mm sizes. The 2.5mm balanced plug is made with phosphor bronze material and the 3.5mm and 4.4mm balanced plugs are tellurium copper material.



Components
As usual, I went for a 2.5mm termination for maximum compatibility; it’s easier to go from 2.5mm to 4.4mm with an adapter than it is the other way around. I also went with 2-pin connectors because the format is more common than MMCX for high-end iems (and it’s also my preferred type).

Zentoo has the same smooth, polished connector housings as the rest of their product lineup. While I appreciate colour-coded housings, I would prefer to see them use something with a bit of texture to provide extra grip when handling.

The brand’s standard metal, chisel-top Y-split is still here with the logo in the centre, accompanied by the matching metal cable cinch. Lastly, the cable terminates with the gold-plated phosphor bronze 2.5mm Han Sound Audio plug with it’s textured, honeycomb surface.



Handling and Aesthetic
.There are no pre-formed ear guides. It seems that currently, the only 2 models have them are the Torfa and Venom. This, of course, means that the Zentoo can be worn over-ear or straight down, making it more versatile and compatible with most iems.

With a softness rating of 5/5, Zentoo handles like a dream. It’s supple, hangs comfortably with no kinks or memory and has almost no cable noise/microphonics. When it comes to appearance, Zentoo shines with a natural lustre. Its pure copper DNA is clearly visible through the transparent PVC cover. It is a little surprising that Zentoo shares the same handling and aesthetic traits of many of the company’s much more expensive cables. Bonus!



Sound Impressions
Sources used: Shanling M5s / iBasso DX120 / FiiO K3

So what are the benefits of upgrading to a pure copper cable other than improved handling and ergonomics? In general, copper cables add warmth and body but the effects can vary significantly between different cables, depending on materials, wire gauge (thickness), wire count and according to some, even braiding pattern.

Zentoo does have a slightly warmer than neutral character which enhances bass impact and extension. Incidentally, the bass gains body and depth which carries over into the midrange giving it a soft, smoother glow.



Unlike the fiery and energetic Ares Audio Kasai, the Han Sound Audio Zentoo has a calmer tone but it does not sacrifice resolution in any way. It has a rounder bass that produces a weightier response but one that retains its texture.

Zentoo creates a smoother midrange, a consequence of the extra note size and body. Vocals sound slightly fuller though they’re not positioned any more forward or emphasized. The size of the soundstage and tone are preserved but the midrange presentation feels more relaxed.

Similarly, the treble is denser and warmer in tone. Subsequently, it is slightly wetter and less precise but the upside is a more natural character. Where Kasai’s treble is vivid and energetic, Zentoo makes it smoother and more even, perfect for brighter iems.

Select Pairings

Itsfit Fusion



The Fusion has a very clean sound with remarkable instrument separation. Paired with Zentoo, the Fusion takes on a warmer, more natural tone. Its moderate bass gets a nice boost in impact and weight which gives the overall presentation more fullness. The midrange becomes richer and smoother. Additionally, Fusion’s remarkable magnetostatic-driven treble takes on more density, making it even creamier than before.

Fearless S8F



S8F is an energetic sounding iem with upfront and brighter presentation. Along with the extra bass impact, Zentoo infuses S8F’s midrange with some added body that makes it sound more organic and natural. Vocals are full-bodied, upfront and physical as if you could reach out and touch them. The treble tone is warmer and more even, making the S8F calmer up top.

Custom Art FIBAE 2



Custom Art’s FIBAE 2 is a dual balanced armature driver iem with a light V-shaped signature. Zentoo fills out the BA bass and gives it extra body. But it’s the midrange where FIBAE 2 sees the real benefits of this all copper cable. Mids and vocals sit more forward and gain fullness from Zentoo’s warmth. Treble is subtly attenuated and the rounder notes make it softer and more laidback.



Conclusion
Priced at around $150, the Han Sound Audio Zentoo offers a more accessible way to experience a premium upgrade cable. Considering it has comparable build quality and handling of the higher end and higher-priced models, Zentoo is a fantastic entry-level model that shows no compromises despite its lower cost. If you’ve been looking for a cable to take your iem game to a new level or are just looking for a solid all-copper solution, it’s hard to look past this one.

Features

• 4-wire OCC copper Litz with unique spiral T-twisted tech
• Gauge: 24 AWG / each wire
• Softness: ★★★★★
• Standard plug: HanSound’s own plug 2.5/3.5mm
• Compatible with 2P IEM, MMCX(incl. AKG), ODC, UE, Fitear, A2DC etc.

*This review was originally posted on my blog at Prime Audio Reviews.

This DAC is built around the AK4497EQ chip, has native DSD512 support and fully balanced outputs. Let’s see how it performs.

Singxer website: http://singxer.com

This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Singxer SDA-2 Review
Pros

• Brawny, expressive presentation
• Price to performance ratio
• Input and output options
• Headphone driving power
• No external power brick

Cons

• No auto power-saving mode

Package and Accessories
In true Chi-Fi cost-saving fashion, the SDA-2 comes in a generic cardboard box with no labelling or description. However, the unit inside is well-packed with foam to protect it from shock or damage during shipping. Included in the package are the SDA-2, a power cable, a USB cable and a remote.

Build Quality and Design



After the rather uneventful unboxing experience, I was happy to see the actual device has exceptional build quality. The chassis is CNC crafted aluminium with a matte black finish and smooth edges. It feels very substantial, weighing in at almost 3kg.

The underside of the unit has 4 rubberized feet to prevent it from sliding. There are no vents or heatsinks so the SDA-2 does get warm when in use but it never feels hot to the touch.

On the left of the front panel is an OLED screen, which displays:

• digital filter mode (Sharp, Slow, S-sharp, S-slow, NOS, Low-Dispersion)
• analogue output mode (FIX or PRE)
• volume level
• currently selected input source
• current sample rate

The three buttons in the middle of the front panel are INPUT, D-Filter and PRE-OUT. To the right of the buttons are the 6.35mm and balanced XLR headphone outputs. The aluminium multi-function knob on the right is for adjusting volume, with a press to MUTE function and a 2-second press will put the device into standby mode.

On the rear panel are the RCA and balanced XLR analogue outputs, plus a wide array of digital inputs including AES, COAX, Optical, I2S and USB.

Features and Functionality



The SDA-2 features an AK4497EQ DAC chip and supports up to PCM 384kHz and DSD512 natively. It features a 4-way fully balanced design, independent discrete class-A headphone output, plus the rear analogue outputs can be used at a fixed or variable rate and thus, the SDA-2 can also be used as a pre-amp.

Setting up the Singxer SDA-2 is easy. For the majority of my testing, I simply connected it to my computer via the included USB cable. It does work right away with Windows 10 but for the best experience, you should install the drivers which are available for download from the official website. Linux and Mac computers do not need additional drivers as they work natively. I also connected it via the optical output to my Shinrico D3S media player.



Using the remote gives you access to volume controls, digital filter selection, mute and standby functions. The SDA-2 functions like most modern DAPs and is simple and pleasurable to use. The only thing I would like to see added is some kind of automatic power-saving function that puts the device into standby mode when there’s no audio signal detected for a set period of time.

The headphone output has lots of power (220mW @ 600Ω) and should drive anything you can throw at it. THD is extremely low, as is the noise floor; I don’t hear any background noise, even with IEMs.

• 
  1K FFT with only 2-5 harmonics
• 
  20-20k frequency response
• 
  THD below 0.00033%

Images above courtesy of Singxer website.



Sound



Gear used for testing:
Beyerdynamic DT990 Pro (150 ohms), Thieaudio Phantom, BLON B20, Acoustic Research AR-H1, Hifiman Sundara.
Windows 10 PC > Foobar2000 > SDA-2 / Shinrico D3S > SDA-2
SDA-2 > Feliks Audio Echo > headphones

While the numbers look impressive, it really comes down to the listening experience and this is where the SDA-2 really delivers. The Singxer presents itself with controlled enthusiasm and never fails to convey nuances and emotion.

Hanz Zimmer’s Inception is the perfect testing ground with its dynamic mix of thunderous lows and subtle nuances. The Singxer accepts the challenge and responds with zeal, There is loads of power on tap, coupled with reserve and poise. From the quietest whispers to the roaring crescendos, the SDA-2 handles it with ease.



The SDA-2 is muscular but nimble, with excellent tonal balance and refinement. What I really appreciate too, is the way it responds with confidence but doesn’t overlook any subtleties nor does it sound exceedingly aggressive.

Firing up Airbag’s “Sleepwalker” we see the SDA-2 step up once again to show its command over rhythm and momentum as it transitions with expertise between the impassioned vocals, the sparser instrumental segments and the electric lead guitar sections.

I’m delighted with its expansive soundstage and instrument layering, Everything is organised and composed with a perfect balance between energy and refinement. The Singxer remains transparent with superb dynamics and a great sense of timing.



Compared to something like the Sabre-based Topping DX7, the Singxer SDA-2 sounds slightly fuller and richer. That’s not to say it’s colouring the music but rather it just delivers dynamics and detail more effortlessly. It has a resolution and refinement closer to that of the excellent ARCAM irDAC-II but with more vigour in reserve.

Whether used as a standalone DAC or headphone amplifier the SDA-2 consistently delivers and lets the music take control, rather than trying to control the music.



Conclusion
The Singxer SDA-2 is somewhat of a dark horse. It might easily go unnoticed with its low-key, utilitarian design, but once you have a listen to it you’ll discover that this is one serious device that can outperform many of its direct competitors. Whether you’re after a dedicated DAC or an all-in-one solution the SDA-2 is absolutely worth going for.

Specifications
Analog output performance:

• Output level (0dBFS):
• PCM: RCA single-ended output is 2V RMS, XLR balanced output is 4V RMS
• DSD: RCA single-ended output is 1.8V RMS, XLR balanced output is 3.6V RMS
• Output impedance: 22 ohms (RCA single-ended) / 44 ohms (XLR balanced)
• Frequency response: 20-20kHz +/-0.2dB
• Signal to noise ratio: 125dB
• Distortion characteristics:
• THD+N (1kHz, 0dBFS) 0.00025% at fs=44.1Khz (PCM)
• THD+N (1kHz, 0dBFS) 0.00030% at DSD256
• Dynamic response (1kHz, -60dBFS) 125dB
• Left and right channel separation >125dB
• Balanced output noise floor: 2.2uv RMS

Load power:

• 30Ω 3480mW
• 75Ω 1640mW
• 150Ω 920mW
• 300Ω 440mW
• 600Ω 220mW

Han Sound Audio is a Taiwan-based company that manufactures high-quality upgrade cables for headphones and in-ear monitors (IEMs). In this review, I’m checking out the Hand Sound Audio Kimera, a 4-core hybrid upgrade cable with an exotic combination of gold, silver and copper wires.

Han Sound Audio website: http://www.hansoundaudio.com/

This sample was provided for the purpose of an honest review. All observations and opinions here are my own, based on my experience with the product.

Prior to testing, the Kimera cable used for this review was run-in for 72 hours using the Telos QBT machine, courtesy of BKK Audio.

Package and Accessories



The Kimera is presented in Han Sound Audio’s classic black cardboard box. On the top is a brand logo in silver and on one side of the box, there’s a white sticker displaying the model name, connector and plug type. Inside the box, the cable is nestled in a circular, black foam insert with a thin layer of foam on top of the cable itself for extra protection. Also included is a leather cable wrap, embossed with the brand name.

Build Quality and Design



Kimera’s gauge is the thicker 23 AWG for each wire, reducing resistance and increasing conductivity. Kimera uses a combination of gold plated silver-copper alloy, silver Litz and copper Litz.

The wires are braided in a unique arrangement that allows the different elements to meld together smoothly. These exotic materials are then sheathed in a soft, thin PVC that offers better handling and showcases the stunning colour mix of gold, silver and copper.

Like the Agni MK2, Kimera uses HanSound’s own plug, which is available in 2.5mm/3.5mm/4.4mm sizes. The 2.5mm balanced plug is made with phosphor bronze material and the 3.5mm and 4.4mm balanced plugs are tellurium copper material.



Components
For the cable configuration, I chose a 2.5mm source termination along with 2-pin IEM/CIEM connectors. The 2.5mm termination comes with the gold-plated phosphor bronze 2.5mm plug with branding in white print on one side. The plug also has a lightly-textured honeycomb pattern that is smooth but adds a little bit of grip that comes in handy when plugging in or disconnecting. Like the Agni MK2, I was a little surprised to see there is no strain relief on the plug.



Once again we see the distinguishable Han Sound metal Y-split with the chiselled top end, tapered bottom end and black band with logo in the middle. There’s a matching metal chin slider that moves up and down the cable easily but stays firmly in the place where you left it.

There are no memory wires or pre-formed ear guides, so you can use the Kimera with any style of IEM, either over-ear or cable-down. The aluminium 2-pin connectors at the top have a white and red coloured ring on the left and right sides respectively for easy identification.



Handling and Aesthetics
The Kimera handles like a charm. It has a nice bit of weight to it that makes it feel premium without being heavy. Kimera is not quite as soft as the Agni MK2 as it is crafted with thicker 23 AWG wire but that means it’s even less prone to tangling.

There are no kinks or inherent memory in the Kimera and there is, of course, no microphonics either. As much as I love the way the Agni MK2 handles, the Kimera’s extra robustness and exotic character suit my preference even more.

The Kimera feels like a guilty pleasure to use. It sparkles and it shines like it is a piece of exotic but functional jewellery. Han Sound Audio has extensive experience in manufacturing cables and the Kimera is the perfect example of their masterful craftsmanship.



Sound Impressions
So what kind of sound does this triple-element mix concoct? This is the most interesting and visceral cable I’ve heard to date. There is a sense of fullness with the Kimera that makes everything feel bigger and more substantial. It delivers a rich, dynamic sound with powerful, authoritative bass and mids full of body and transparent clarity. Treble is remarkably well-defined, airy and pure.

The soundstage is incredibly organized and instrument separation is exquisite. By far, the thing I most love about the Kimera’s sound is its texture. It adds an extra dimension to notes and a physicality that you feel you can reach out and touch. It’s almost as if it could turn a smooth sphere into a bumpy pineapple. It’s especially noticeable in the bass and mids giving drums and lower register instruments extra layers of complexity.

Select Pairings
For testing, I used the 2.5mm balanced output on both the Soundaware M2Pro and Shanling M5s. As noted at the top of this article, the cable was run-in for 72 hours using the Telos QBT machine prior to testing.

Empire Ears Bravado

The Bravado (review here) is a hybrid IEM with 1 balanced armature driver and 1 W9 dynamic bass driver. It has a beefy bass with a clear, articulate midrange and a sweet, laid back treble. Paired with the Kimera, the Bravado’s midrange and vocals come forward with more aggression and body.

Bass takes on extra texture and impact and leaps forth with powerful vividness. Instrument separation is enhanced too, making the background even blacker and improving separation of the bass and midrange. The treble takes on extra density and body as it shimmers with purity and detail.

LX-Ear Pluto

The Pluto (review here) is a very warm and mid-bass centric 4BA IEM. In reality, the last thing the Pluto needs is even more power in its bass but it does sound nice with the extra grit granted by the Kimera. For my preferences though, I prefer the Agni MK2 for this monitor for its tighter bass and treble extension.

M-Fidelity SA-50

The M-Fidelity SA-50 (review here) is a hidden gem among CIEMs and every time I listen it leaves me in awe of its prowess. It has an expansive, airy stage with stunning separation and black background. SA-50’s tonal balance is exquisite, as is the vocal density, rich, detailed mids and crisp, extended treble.

Paired with Kimera, the SA-50 becomes an even better version of itself. The increased texture, the bass definition and midrange fullness make the effects of this combo something akin to numinous. It’s a mix of power and delicacy, speed and grace that I’m finding really hard to put down as I finish writing this section.



Custom Art FIBAE Black

The FIBAE Black (review here) is warm and buttery smooth in character. While the Han Sound Agni MK2 enhanced its treble extension, the effect of Kimera is even more impressive. It adds sublime texture to the Black’s bass and lower midrange, taking away some of that smoothness in exchange for a more aggressive and visceral impact. The Black already has an impressive soundstage for a warm IEM and the Kimera’s improved instrument separation is able to make the background even blacker.



Conclusion
So, there you have it. The Han Sound Audio Kimera is some special sauce, unlike any cable I’ve heard before. It’s powerful, it’s transparent and I’m still trying to figure out how it adds so much texture to bass and midrange notes. Just in case you didn’t notice, it’s beautiful too. Oh yes, Han Sound Audio has woven magic into the Kimera and I’ll be fighting the temptation to put it on every single IEM I listen to in the future. This is one outstanding cable.

Features

• Conductor Material: Gold plated silver-copper alloy, OCC silver, and OCC copper Litz
• Jacket: UV-PVC
• Colour: Natural
• Gauge: 23 AWG each wire
• Softness: ★★★★☆
• Quantity of wire: 4-wire
• Standard Plug: HanSound’s 2.5mm/3.5mm/4.4mm
• Connectors available: 2P IEM, MMCX(incl. AKG), QDC, UE, Fitear, headphones, etc.

Han Sound Audio is a Taiwan-based company that manufactures high-quality upgrade cables for headphones and in-ear monitors (IEMs). They started selling the first model, “Magic” in 2011 under the HiSound moniker and then the popular Muse in 2012.

But it was in 2017 at CanJam Singapore when I first became familiar with the brand, which had since changed their name to Han Sound Audio. Since that time they’ve become a popular and respected source of IEM cables. Moving forward and today we’re reviewing the Han Sound Audio Agni MK2, the 2nd generation of this high-purity OCC silver upgrade cable.

Han Sound Audio website: http://www.hansoundaudio.com/default.aspx

Agni is considered the mouth of the gods and goddesses

Wikipedia
This sample was provided for the purpose of an honest review. All observations and opinions here are my own, based on my experience with the product.

Prior to testing, the Agni MK2 unit used for this review was run-in for 72 hours using the Telos QBT machine, courtesy of BKK Audio.

Package and Accessories



The Agni MK2 comes in Han Sound Audio’s classic black box. On the top is the brand logo in silver and on one side of the box, there is a white sticker displaying the model name, connector and plug type. Inside the box, the cable is nestled in a circular, black foam insert with a thin layer of foam on top of the cable itself for extra protection. Apart from the cable, the only other thing in the box is a leather cable wrap, embossed with the brand name.

Build Quality and Design
The Agni MK2 is an extremely classy looking cable with a premium feel. It’s a 4 core braided design, from the source termination to the Y-split, after which it transforms into 2 dual twisted cores. Each core is sheathed in a clear UV-PVC jacket.



The gauge is 26 AWG for each wire and interestingly, the cores are made by twisting 2 different sizes of high-purity OCC silver (4-wire/8-wire) in concentric circles around a DuPont Kevlar 200d element to increase the strength of the structure.

Unlike the original Agni which had a Furutech plug, the MK2 uses HanSound’s own plug, which is available in 2.5mm/3.5mm/4.4mm sizes. The 2.5mm balanced plug is made with phosphor bronze material and the 3.5mm and 4.4mm balanced plugs are tellurium copper material.



Components
I chose a 2.5mm source termination along with 2-pin IEM/CIEM connectors. So, what you’re seeing here is the gold-plated phosphor bronze 2.5mm plug with branding in white print on one side. The plug also has a lightly-textured honeycomb pattern that is smooth but aids when gripping the plug while plugging in or disconnecting. There is no visible strain relief here which I find a bit strange for a premium cable and hope it does not cause any durability concerns later on.

The Y-split is the iconic Han Sound Audio one, with a tapered lower end and chiselled top end with the brand logo in the middle. Unlike the earlier version which was all silver-coloured, this one has a black band in the middle with a white logo. There’s also a matching rectangular metal chin slider with rounded sides.

There are no memory wires or pre-formed ear guides, meaning the Agni MK2 can be worn either down or over-ear. At the top, the metal connectors appear to be unchanged from the older version with their polished finish and white and red coloured ring on the left and right sides respectively.



Handling and Aesthetics
Apart from its fantastic audio qualities (more on that later), the Agni MK2 has some of the best ergonomics I’ve seen in an upgrade cable. As I mentioned earlier, it feels premium in the hand; the UV-PVC jacket has a nice thickness to it making it not only feel hardy but the extra girth just makes it look even better.

At the same time, it is exceptionally supple and drapes really nicely. There are no kinks, nor is there any springiness or awkward twisting. Additionally, the MK2 is resistant to tangling, it’s lightweight and has no microphonics. Simply put, the Agni MK2 is a joy to use in terms of handling.



Sound Impressions
If there ever was a perfect cable for my many warmer IEMs, the Agni MK2 fits the bill. I love a warmer tonality plus the extra weight, body and musicality it brings with it. But apart from a pleasing tonality, my other must haves are transparency and resolution. The MK2 brings all the right characteristics to the party and it’s a party that I hope never ends.

What pure silver cables are universally expected to do is to increase resolution and the MK2 checks that box with a flourish. Silver is also often considered to be more analytical and it’s here where the Agni MK2 contradicts itself because while it does improve resolution remarkably well, it’s also absurdly smooth, even when paired with brighter IEMs.

Perhaps this oxymoron of “smoothly resolving” is partly a result of the MK2’s increased bass extension. By that, I don’t mean an increase in the quantity of bass. In fact, if anything, the bass is tighter with better control. But the improved extension inadvertently adds a touch of extra body while maintaining the same definition and control.



In the midrange, the Agni MK2 increases transparency and resolution, making everything sound a bit cleaner and purer. The background becomes blacker but the transients and decay feel unchanged, so there’s no loss in musicality. The MK2 does a sweet number on vocals too, granting improved clarity and uncompromised richness. In Riverside’s “Under The Pillow”, the articulation of the softer style vocals is improved and the guitars have added texture.

On the subject of texture, the treble gets more of it too, along with more definition and control. The effect this has on staging is very positive and with a capable monitor, results in a more holographic and engaging stage.

Select Pairings
For testing, I used both the Soundaware M2Pro and Sony NW-ZX300. With the Sony DAP, I also needed a 2.5mm-4.4mm adapter. As noted at the top of this article, the cable was run-in for 72 hours using the Telos QBT machine prior to testing.

Empire Ears Bravado

The Bravado is a monitor that continues to surprise me when tested with different cables. Compared to the stock EA Ares II cable, the Agni MK2 sounds more refined with better bass control and a more balanced overall tonality. The extra treble texture gives the stage extra stability and a holographic feel. Midrange is rich and smooth with great resolution and transparency.

LX-Ear Pluto

The Pluto is a very warm and mid-bass centric 4BA IEM. The Agni MK2’s tighter bass goes a long way in reining in this boisterous monitor’s low end. Guitars in the midrange are crunchier and the mids, in general, have increased transparency. Better treble texture helps the high frequencies to better contrast with the aggressive bass and also improves imaging and stage stability.

Custom Art FIBAE Black

The FIBAE Black is another inherently warm IEM that gets a really tasty boost with the Agni MK2. The mid-bass notes become less rounded and more precise, while the midrange sees an increase in resolution and a cleaner presentation. The Black’s treble sounds a little better extended and airier too, slightly expanding the dimensions of the soundstage in the process.

M-Fidelity SA-50

With the SA-50 I hear more mid-bass definition like I can hear the skin on the kick drum better with the MK2. Sub-bass is more textured with better extension. The SA-50 already has a very resolving midrange on its own but paired with the MK2 it goes to a whole other level. Treble is more defined and for some reason, the SA-50 is the only monitor I tested that sounds brighter than usual with the Agni MK2. Instrument separation and 3D staging are off the charts with this combination.



CIEMS: Top left: Empire Ears Bravado, Top right: M-Fidelity SA-50, Bottom left: LX-Ear Pluto, Bottom right: Custom Art FIBAE Black.
Conclusion
The Han Sound Audio Agni MK2 is a visually striking cable that also handles extremely well. I love the fact that its extra girth makes it look and feel (and sound) so substantial but it remains very supple and comfortable to use.

What really surprises me is how well it works with all types of sound signatures, from warm and thick to neutral or even bright. Without a doubt, the Agni MK2 is a sterling (pun intended) pure silver upgrade cable and one that I highly recommend.

*This review was originally posted on my blog.