Thanks to Steven from Xtenik Audio for sending these my way. And ALso my sincerest apologies for them taking so long!

This thing is built like a tank! Solid and sturdy and definitely weighty, it's not incredibly heavy but you definitely feel the heft, it's not small either. While it is possible to do it as a stack and being portable, with the advent of smaller and lighter options this might be best suited as a desk model, they even send small rubber feet so it doesn't slip nor scratch up your precious surface.

The XD-05 is loaded to the brim with inputs, switches, and buttons. Loaded with front input, bass, and gain switches, the volume wheel that doubles as a power switch on the front. Digital, USB, Aux, input as well as a micro-b USB port in the back. It gives everything you want though it is showing its age with the micro USB which could be replaced with C at this point.

Initial impressions are pretty good! It's about what you expect or want to form an Amp/DAC no coloration in the sound, clean sound, good power, good enough most entry-level uses, and has a lot of battery life. Again while not my first choice for the portable crowd it will work if you want it to. There's a bass switch that does up the bass a fair amount but it's not personally my cup of tea, and the filter button doesn't really do much for me at the first listen. I'll update this soon with even more impressions. But for now, if you like what you see you can buy the XD-05 from Xtenik Audio for $209.90 (This isn't an affiliate link, I do not make ANY money from clicking or purchasing through this link, I just felt like I owe the guys from Xtenik a shout out for my inexcusable tardiness)

Introduction: Periodic Audio a relative newcomer in the audio scene has entered the scene with a completely different perspective from how many other companies address audio. And this approach leads to a current line of products that have an interesting philosophy behind them. Currently, they have a product line that consists of 3 IEMs, but that roster will only continue to grow. For more information about the principles behind Periodic Audio check out my interview with them here. Back to the IEM at hand what we have here is their highest priced product, not exactly a flagship, it's just that it costs the most to produce, this is the Beryllium or Be for short. This name, of course, comes from the material that is the main differentiator between their models, and this is a beryllium foil coated diaphragm that is the heart and soul of this IEM. So what does the Be provide and is it worth the hefty price tag of $299?


The Beryllium was provided to me by Periodic Audio in exchange for an honest and unbiased evaluation. Thanks to Periodic Audio for the opportunity to review this IEM.


Specifications: Performance

Frequency Response 12 Hz to 45 kHz

Impedance 32 Ohms nominal

Sensitivity 100 dB SPL at 1mW in ear

Power Handling 200 mW continuous

Peak SPL 123 dB

THD Less than 1% THD at 1mW

Material Properties

Melting Point 1560 Kelvin

The speed of Sound 12890 meters/second

Young's Modulus 287 Gigapascals

Brinell Hardness 1320 Megapascals

Physical Properties

Cable Length 1.5 m

Mass 2.8 / 9.3 g (IEM/Set)

Operational Temperature -20 to +50° C

Operational Humidity 0-95% Relative Humidity

NRR 31.3 dB (foam ear tip)

Overall Length 21 mm

Body Diameter 12 mm

Nozzle Diameter 6 mm



Packaging and Accessories: The Be comes in a simple white cardboard box that has the product information printed on, as well as a flap that opens up to reveal more details as well as an FR graph. Opening the side reveals a sleeve that holds the IEM, and the accessories contained in the likely aluminum, carrying case, there is an abundance of tips, airplane splitter, and a 3.5mm to 6.3mm adapter. Though one thing to note with how the packaging is that the foam tips were deformed because of all the things that were crammed inside the case, which really isn't that spacious. The overall packaging is simple but functional and has nothing else notable with it, the quality of the accessories, for the most part, is pretty good, though I can't speak for the quality of airline splitter, I found that the 3.5 to 6.3 adapter to be loose leading to inconsistent connections on the 3.5mm side. The silicone ear tips are unremarkable but seem of decent quality, and the foam tips are stiffer than Comply brand tips which for the most part is ok but should be mentioned as it will exert a greater pressure on your inner ear as a result, finally the included case is simple, comes with a screw lid, and is large enough to accommodate the IEM with some tips but nothing in excess of that, the build of the case is sturdy enough to keep it safe in your bag, but the metal is fairly thin so I wouldn't expect it to withstand a more substantial impact.





Build Quality: The construction of the Be is primarily composed of plastics with only the end cap being made of a metal material and this helps keep the Be very light and unintrusive when worn over a long period of time, the build is solid with the nozzles having separately colored screens, black and red, to identify left and right, though I wish there was a more convenient way to tell which side was which. The cables are typical if a bit rubbery to the touch, and the strain reliefs are unexceptional, the overall build is solid however this is where I think the approach Periodic Audio utilized with their lineup shows the weaknesses, because all 3 models across all the price points share the same material outside of the diaphragm the Be being the most expensive loses out on the value proposition relative to the sibling models, as you get the same build and accessories for a lower price with the other models, meaning that the Be heavily relies on sound quality to deliver on the premium cost. On a purely objective level, I can't fault the build but I can't ignore the comparison to both the Mg and the Al and I just have to dock some points because of that, even while fully understanding the rationale behind this approach.

Fit: Due to the shape and size of the Be fitting is rather easy and free of any hassle, it is light, meant to be worn cable down, and is narrow enough to never really be close to being obtrusive to one's ear, the bevy of ear tips offered also lends to a very pleasant fitting experience ensuring that you are very likely to have a good experience wearing these IEMs.



Sound: The overall signature of the Be is a slight V or U shaped signature meaning it performs very well across a good mix of musical styles and genres and works well as an everyday carry especially for popular music of today. As always I tested the Be across a multitude of devices from my LG G6, Alienware 17 R3, Hiby R6, ifi xDSD, FiiO Q1 Mk II, Massdrop CTH, and I have listened to them for over 100 hours before writing my thoughts on them. The Be is generally easy to drive by most devices, though phones with weaker internal amplifiers may struggle, it does seem to be benefitted by a source with a good amount of power as the headroom really helps the Be stretch its legs.

Bass: The Be is very capable in the bass frequencies being very adept in a deep sub-bass rumble with decay on the slower side of the spectrum, so songs with prominent bass drum lines like "Love" by Lana Del Rey exhibit a pleasant natural reverb, moving up to the spectrum of the mid-bass such as the lower registers of instruments there is a pleasant warmth that while adds some intimacy to the sound, gives pleasant vocals to the musical styles of Michael Buble with the vocal undertones being enhanced without ever feeling too syrupy or overbearing, this, however, leads to the subsequent register where there is an overlap but the bass isn't blooming and the quality of the bass is very good and has good overall resolution.



Mids: The midrange is laidback on the Be, taking a step back especially relative to the bass, while it's never overtaken to the point where one would consider to be truly intrusive. What happens is that in songs like "Greek Tragedy" by the Wombats the large bassline does compete with the vocals and instrumentation a bit. Taking that into account the quality of the midrange frequencies themselves are quite good, controlled and with the details that do pop out being rendered quite well, and switching to a different style of music like Dua Lipa, "Hotter than Hell" is reproduced very well where the mixing of the track lends a better cohesion of her higher key, with the instrumentation that takes inspiration from different electronic styles. The story is the same with instrumentation wherein compositions of an orchestral style, the instruments in the midrange are fighting a little bit more for their place in the composition. While this may boil down to the kind of music you listen to, it is noteworthy for those who don't have the ability to swap around multiple earphones.



Treble: On the Be there is a mild accentuation of the treble to lift the overall signature from being too "dark" or "warm" and adds some feeling of resolution to tracks, it, however, does not go overboard and in general does not have any uncomfortable peaks and in general this mild boost is well placed adding some sparkle and air into the tracks. From violins to an electronic synthetic instrument tone, the Be handles them all well without having beats of distortion or harshness that can plague lower quality IEMs. This overall lends to a fantastic overall listening experience for modern tracks, "1989" by Taylor Swift was a wonderful overall experience.

Presentation: The Be performs only average in terms of soundstage, not noticeably wide or narrow, nor does its exceptional quality in terms of height or depth, however, it does mean that it in general sounds natural, and the general 3D positioning is fairly accurate, something that IEMs with unnaturally wide staging suffers from. As previously mentioned it has a good amount of detail retrieval overall, with nuances, especially in the lower end of the frequency spectrum, being quite impressive, and for the most part the layering and coherency is there, save for very busy tracks where the bass and midrange can have some conflict, for the majority of tracks however it performs perfectly fine.



Conclusion: Overall the Be sounds very good. It shows the benefits of material selection in designing audio gear, and really does give you something to ponder, it also is very no frills, focusing only on sound quality and it does deliver, a generally pleasing and flexible tuning, this no-frills approach does, however, have the drawbacks with many competitors around the price range possible offering better overall value propositions with those concerned with build materials, or case materials, or other ancillary things like that, but when you pair it with the Al and Mg you can really see the idea that Periodic Audio had when they engineered this trifecta, and if you can appreciate the sound tuning, which is very easy to do, like the fact that it has a simple design that leads to a great ease of use experience, the Be is a great option for you, as an everyday carry that won't draw too much attention, I enjoyed my time with it in the commute playing whatever my DAP shuffled too, or whatever Spotify recommended me, it's an interesting option for those that want JUST ONE pair of IEMs to own, and as long as you know the whole package, I can definitely recommend the Be, and I applaud Periodic Audio for the execution of this concept. To get a better idea behind the company, check out my interview here.

Introduction: Beyerdynamic, a name in all fields of audio that truly needs no introduction. In fact, since it has been established in 1924, the oldest currently still operating audio company, they have had their go at products ranging from microphones, home audio, wireless systems, and of course personal audio. My father even used a Beyerdynamic mic when he performed with his band in the 70's. Beyerdynamic in the headphone world has had their share of ubiquitous names, with popular models like the 770 and 990 families that until now provide great sound and great value to many music enthusiasts around the world, but what we have here today is the Amiron wireless, one of their entries into the current movement into the wireless audio spectrum. And speaking about wireless audio, it's a very interesting market where for the longest time wireless audio has been associated with poor sound quality, but with the advent of more and more high-quality codecs such as Aptx HD and LDAC promising, and for the most part, providing high-quality wireless audio solutions with a, for me at least, obviously discernable improvement over the likes of SBC. So what does the Amiron offer? Well for a start there's the circumaural/over-ear form factor, an important distinction in a market generally proliferated with supraaural/on-ear varieties. Additionally, these feature the Tesla Technology that is implemented in their other popular models like the Xelento, Amiron Home, T1, 1770, and 1990. On top of that, the Amiron Wireless offers Aptx and Aptx HD codec support and the Beyerdynamic MIY app that with the help of Mimi a German hearing technology company will measure your hearing and then adapt the sound output of the Amiron to achieve the "optimum" frequency response in wireless applications. At an eye-opening $699 what does the Amiron bring to the table? Read on to find out.



Specifications:

Transducer type . . . . . . . . . . . . . . . . dynamic, Tesla

Operating prinicple . . . . . . . . . . . . . closed

Frequency response . . . . . . . . . . . . . 5 – 40,000 Hz (wired

operation)

Nominal impedance . . . . . . . . . . . . . 32 Ω

Nominal SPL with jack plug cable . . 100 dB SPL (1 mW / 500 Hz)

Nominal power handling capacity . . 200 mW

T.H.D . . . . . . . . . . . . . . . . . . . . . . . . < 0.05% @ 500 Hz

Sound coupling to the ear . . . . . . . . circumaural

Cable length and connector. . . . . . . 1.2 m, detachable,

4-pole mini stereo jack

(3.5 mm)

Bluetooth version . . . . . . . . . . . . . . . 4.2

Frequency range. . . . . . . . . . . . . . . . 2.4000 – 2.4835 GHz

Power class . . . . . . . . . . . . . . . . . . . 2.0

Supported profiles . . . . . . . . . . . . . . HSP, HFP, A2DP, AVRCP, GAVDP

Supported codecs . . . . . . . . . . . . . . aptX™, aptX™ LL, aptX™ HD,

AAC, SBC

Operating range. . . . . . . . . . . . . . . . up to 10 m

Battery runtime . . . . . . . . . . . . . . . . > 30 hrs.

Charging time . . . . . . . . . . . . . . . . . 2 hrs.

Battery capacity . . . . . . . . . . . . . . . . 1050 mAh

Charging port . . . . . . . . . . . . . . . . . USB-C

Operating temperature. . . . . . . . . . . 0 – 40 °C

Weight without cable. . . . . . . . . . . . 380 g





Packaging and Accessories: The Amiron comes in a rather large box, that is, however, to be expected given the size of these headphones. On the box is the basic specs of the headphones as well as some images of the product, opening the box reveals the large molded clamshell case of the Amiron. Inside you find the Amiron, a USB A to USB Type-C charger cable, and a 3.5mm cable with inline controls. The molded clamshell case is very nice with a soft touch finish and the Beyerdynamic logo tag on the front and a black zipper and is very sturdy and should protect the Amiron from bumps and light falls. The inside has a small net mesh pocket to place little objects, though it is a bit too small for either cable to be placed in there. The cable quality for both the USB and the 3.5mm cable is about the same, as they both have the same type of coating a smooth, slightly rubbery but not tacky coating that does, however, prevent either cable from tangling. Overall the Amiron has a utilitarian package that provides everything you need in the package without anything superfluous. Some might argue that the accouterments are lacking given the premium price, but as long as the rest of the product delivers, I personally see no issue with it.





Build Quality and Design: The build quality is superb. Starting with the headband there is a metal frame, that is more than adequately padded and lined with breathable mesh fabric on the underside while the top is layered with an Alcantara finish with the Beyerdynamic logo stamped on top. The Alcantara is done in a dark gray. The headband transition into the plastic piece where the yoke of the headphones adjust from, its a satin piece of plastic with another printing of the Beyerdynamic logo on the outside, and Left/Right markings as well as other model information printed inside, with the model number is engraved in gold paint to add an extra touch of class while cabling travels from the earcup to this piece to travel under the headband. The yoke itself is a single piece of brushed metal that connects to a rotating plastic joint on both earcups that allow a couple of degrees of tilt up and down and allows 11 steps of adjustment for overall size. The earcups themselves are done in mostly in an almost gunmetal gray, with silver metal adorning a ring around the main face of each earcup. The earpads are of the velour type, and the drivers have a fabric cover similar to that of the headband. Overall a premium but understated design with hints of industrial influences here and there, that primarily focuses on function, being a wireless and of course possibly a more mobile headphone, it eschews heavy materials like metal earcups to reduce the weight if one were to wear it on the go, or for long periods of time. To round things out the right earcup houses a USB-C charging port, a 3.5mm jack, and the entire face of the cup is a touch panel for use when in Bluetooth mode as well as a power/connect button that also has an LED that will indicate power status, as well as pairing status of the headphones. With no gaps, creaky parts, or anything that seems loose or ill-fitting, there really isn't anything you can point out from these except that they are exceptional.





Fit and Isolation: The Amiron has a moderate to light clamping force that does not wear on you even over longer periods of wear. This combined with the adequate padding on the earcups and headband provides a good comfort experience that couples with adequate breathability. However due to the lighter clamping force even though it is closed the isolation isn't as good as other closed back models, so this may be a trade-off and may be a pro or a con depending on your individual use case.





Connectivity and Interface: The Amiron supports SBC, AAC, Aptx, Aptx HD, and Aptx LL, which basically covers most the popular audio codecs with the only real notable exception being Sony LDAC, this means that for basically any device out there the Amiron will work, and for most modern devices the Amiron will work very well since Aptx HD support is becoming more commonplace, and with the LL Low Latency Standard included using the Amirons for streaming is a treat since it while ensuring that lip movements are synced with the audio. With 8 total devices it can pair within memory the connection interface and procedure is very simple and intuitive with a single button controlling both power and pairing with lights to indicate if it is in pairing mode, with matching audio prompts on pairing, battery percentage, and codec used alternatively if your devices support NFC the Amiron can also connect via that method, and you don't even need to set it to pairing mode to do so. The Amiron also features a right earcup touchpad that allows you to control playback as well as other functions, double taps to play or pause, swipes forward and backward to skip or go back on tracks, a swipe and hold to fast forward or rewind the current track, swipe up and down for volume control, and even one second long taps to answer or end calls, two seconds to reject one, and a one second hold to bring up the supported virtual assistant like Google, or Siri if supported by your device. I found the experience with the touchpad very pleasant, not buggy or finicky like I had feared. You can also adjust the touch sensitivity in the MIY app which I discuss below.





MIY App: The MIY app is the companion app that comes with Beyerdynamic Bluetooth devices that have a few capabilities, first and foremost the sound optimization feature that will take your age, and a listening test and will tailor the sound. The other features are software updates and listening monitoring that is there to make sure you don't over-fatigue your ears. The app has a clean look that makes it very pleasant coupled with a generally uncluttered interface that makes navigating the different options a breeze, though the pairing of the headphones in the app can sometimes be finicky, and non-intuitive which I'm sure can simply be addressed in software updates. Overall I do like the MIY app because it is a companion app that isn't all fluff and gimmicks and makes managing Bluetooth devices even easier.



Sound: I listened to the Amiron both wireless and wired over a myriad of devices almost exclusively using Aptx or Aptx HD for Bluetooth ranging from laptops to phones like my LG G6, or OnePlus 5T, and iPhone 7s+, to DAPs like the Hiby R6. Wired they were plugged into the R6, G6, ifi xDSD, or the xDSD amped with the Massdrop CTH the Amiron is very easy to drive and remained consistent throughout the different devices I plugged it into. I originally planned to split my sound impressions between wired and Bluetooth, but remarkably the sound whether wired or wireless remained almost completely consistent, the MIY app sound optimizations notwithstanding which for the most part make the mids a little fuller and forward at 100%, but I will get to that in a second, the sound signature of the Amiron is balanced and natural exhibiting accurate bass, full mids, and natural treble. Back to the MIY app, it conducts a listening test with test tones that takes about 6 minutes and optimizes the sound, when in the app you get an option to adjust the optimizations from 20% to 100% though I wish a 0% slider was available for convenience. Detailed sound impressions below.



Bass: The bass on the Amiron is full, and well extended with a quick attack and a moderate decay that keeps it precise and natural, hitting all the notes well and providing a good sense of rumble and impact, while still having articulation for faster double bass tracks. In Love by Lana Del Rey the prominent bass drum hits are felt but don't linger too long or drag, and the bass line of David Cook's rendition of Day Tripper has a fullness and texture, without ever feeling bloated in relation to the other signatures. All of this is a stark contrast to many commercially available Bluetooth headphones with dark signatures or even bloated bass that really go and mask the overall sound. The Amiron doesn't have any of those qualities and instead just providing enough bass to keep the sound from being boring but at the same time providing such great quality in terms of texture and refinement.



Mids: The midrange, on the other hand, is overall transparent if maybe a touch behind the bass without being crowded out. It reproduces vocals and instruments with very good timbre as well as backing it up with good technical ability. In City of Stars, a simple arrangement with nothing for the mids to hide behind the vocals are clear and detailed with good definition and crispness to the reproduction, the piano accompaniment is similarly well done, providing a pleasant fullness to each individual notes as they cut through the chords of the song. Moving on to something more aggressive What A Catch, Donnie by Fall Out Boy, the Amiron continues to deliver in both the solemn and basic intro to the more complex pieces in the chorus, and bridge, song elements don't get lost in the shuffle and manage to be rendered with articulation even on secondary song elements. The transition between bass and midrange as well as that to the treble are smooth and no awkward and disjointed dips or peaks in those areas could be detected.



Treble: The treble presents itself as clean, crisp, and with good extension. I found no manifestations of sibilance or uncomfortable peaks in the usual areas I expect them to be, and overall round out the signature with great clarity that brings an overall tonal balance to the headphones. In Hibike by Yokoyama Masaru the piano and string parts in this instrumental exhibit the sparkle of the top end on the headphones with each note resonating and lingering just a bit before they fade away. There is good overall air and that lends positively to the spacing of the music presented and just lifts everything to let the individual components breathe.



Presentation: This is another area where the Amiron shines, all around the technical aspects are excellent. The layering of notes even in complex arrangements is superb with the strings, winds, and percussion harmoniously combining. The spatial presentation is accurate and 3D staging is very good being able to present a somewhat holographic image of the music, however, it doesn't feel artificial or hollow like some may do, it's just right with auxiliary notes like tambourine shakes just at the far edges of the spatial field. Consequently, the soundstage presents good width as well a depth that is both partly in concert as to the previously mentioned staging, and when listening to especially spatially tracked recording it can really express the capability.



Conclusion: The Amiron is an impressive accomplishment by Beyerdynamic putting together a headphone that excels both wired or wireless and with a sound signature that is natural but has enough life to be engaging, without trying to mask any deficiencies with muddled software, at least that's what the wired performance delivered. So the sound is nigh unassailable in the realm of Bluetooth options, and at the least can stand on its own two feet vs traditional wired options. But in addition to that, it also brings together a bevy of convenience features and an overall sense of quality fit and finish that leaves little to be desired. Looking at what is left to be desired, the lack of the ANC is a shame at this price point especially with ANC being the new "it" feature to look for in Bluetooth headphones, it would have been something that would have undoubtedly raised the value proposition of the Amiron, and really is something that can't be ignored especially when they do already implement some "secret sauce" with the MIY app. But aside from that there really isn't much to pick at the Amiron on, the sound is sublime, the build is superb, battery life that usually met at least 30 hours, and the design is attractive but not gaudy, it is understated in how it exudes its premium nature, and personally that aesthetic is something I prefer, but I know is different for everyone. Overall the Amiron provides a great package for those looking for as little compromises in sound as possible at this point in time, something with a very traditional sound profile that focuses on quality first, and if you're in the market for simply the best sounding over ear Bluetooth headphones on the market, then I feel like the Amiron should be very much on the top of your shortlist.

Introduction: Custom Art a Polish CIEM company founded in 2013 by Piotr Granicki, I had an in-depth conversation with him here. And while Custom IEMs are the highlight of their service, I mean it IS in their name, they do make universal designs too. And when I expressed interest in their FIBAE 1, the gateway into the Custom Art experience and the Flat Impedance Balanced Armature Earphone secret sauce, something they noted didn't receive enough attention, and after a couple of weeks with it as my daily driver I can't help but agree. So let's dive in and see how far a 300 Euro CIEM "made with passion" will get you.
The FIBAE 1 was provided to me by Custom Art in exchange for an honest and unbiased evaluation. Many thanks to Piotr of Custom Art for giving me the opportunity to review this IEM.

Specifications:
Configuration: Single proprietary Balanced Armature
A vented receiver for improved bass response
Features: Advanced Horn nozzle design
Sensitivity: 109 dB @1 kHz @0.1V
Resistance: 5.6 Ohm @1 kHz (+-0.8 Ohm 10 Hz-20 kHz)
Shell: Hollow Acrylic body
Frequency Response: 10 Hz-16500 Hz (+-10 dB into IEC 60318-4 coupler)



Packaging and Accessories: The FIBAE arrived in a nondescript black box, almost like a miniature shoe box that belied the contents within. However once you open the box you're greeted with a rather attractive Pelican brand micro 1010 hard case, offering IP67 water tightness, and is crush and dustproof too, which is about as safe and secure as you can have for your IEMs while still having space for extra tips and other small accessories or even an extra cable. Packaged along with the hard case is a small oval soft zipper case for more pocket-friendly portability of the IEM, the soft case even has a small net pocket to secure tips or the like. The remaining accessories were a collection of Sony hybrid or Sony hybrid-esque tips, a pair of double flange tips all of which have their own miniature plastic case, a cleaning tool, a pack of desiccant to keep moisture in the Peli low, and a card that contains some information, that also functions as a warranty card. Overall the package and accessories provide decent value, and while the tip selection isn't the most comprehensive you can tell thought has been given to each and every part of the package you receive, and even for a universal, being sold by a CIEM company it doesn't ever feel like an afterthought, and besides if you opt for the custom version tips don't even matter.


Build Quality: I'll start this with the design experience. As with any other custom item, you can have a bevy of options and configurations with your order, and they even have an online configurator here, that will let you configure the options you want, ranging from the type of cable and connector, as well as the design of the IEM itself. The options range from various colors of acrylic of the body, and faceplate, the type, and color of the logo, as well as different materials of the faceplate, from different wood panels, to metal, and even carbon fiber. As far as the accuracy of the rendering it is for the most part pretty spot on, and you shouldn't expect any nasty surprises of getting something disappointing. For my first go around, I used the configurator and ended with an icy blue and orange amber faceplates, with clear bodies, and both Custom Art logos finished in silver. Though there is a 3rd option, one where you give their design team the freedom to design, and that is when you get, in my opinion, some of the most distinctive designs, there are even options to include prints on the shells, all of which you can find on their Instagram.


On to the actual build of the unit I have with me, and I must say these are one of the most impeccably crafted units I have in my collection, and with the transparent configuration I chose, there was no place to hide imperfections, the locations where the BA is set in isn't full of glue or any of that sort, and the wiring is very neatly done, the joint where their faceplate meets the body is clean, the shell almost completely devoid of bubbles, and the ones that were there were incredibly small, that I only managed to initially spot them when on a macro lens, and the engraving on the large CA logo and the Custom Art lettering were finally done, only the inverted small CA logo on the amber side had some paint spillover. Speaking of the logos both of them are inset and have acrylic on top of them so the logos are pretty much immune from fading away as time passes. The 2-pin interface is nice and tight not prone to simple light tugs disconnection them but still pliable enough that after the first removal it only takes moderate force to detach the cable. Speaking of the cable, it's a simple 4 core copper cable, not unlike what you get with most other custom offerings, with nice soft black coating, rather sturdy Y split, and a simple no-nonsense L shaped 3.5mm plug that is gold plated along with the 2-pin pins to prevent corrosion. The chin cinch is a simple piece of shrink tubing, the same kind that forms the ear guides along with the standard metal wiring that helps keep the IEM secure once one is out and about.

Fit: The overall shape of the FIBAE 1 is what I'd like to call a semi-sculpted. While the overall shape of the shell is rather low profile, it has light beveling and sculpting present especially on the side that makes contact with your ears that just let it sit both a little more comfortable and a little more securely as the "mini ledges" the sculpting create nestle against the general curvature of the outer ear. The nozzle is a little long but somewhat narrow and sculpted as well, which leads to fit is on the deep side, unsurprising for something made by a CIEM company. Paired with the double flange tips which are slightly longer than the usual leads to a deep fit that is about as close I have gotten to custom in a universal form factor. This combination leads to one of the best isolation experiences I have had, on top of that since it is a fully closed shell without any vents in the shell, there is also no wind noise at all when I wear them. It's even low profile enough that I can sleep with them in my ears. Overall these are one of the most impressive universal shells I have experienced in terms of overall fit.

Sound: The overall sound profile of the FIBAE 1 is not what I would characterize as "neutral" instead I feel it's more "natural". The overall frequency tonality is a little extra heft on the low end that flows smoothly on the midrange, and just slightly less emphasis on the treble. There is some hiss present on certain lower quality sources, such as the output of my laptop, but once music is playing it becomes unnoticeable. The FIBAE 1 is flexible when it comes to sources thanks to the Flat Impedance Balanced Armature Technology which would usually alter the frequency response depending on sources if they varied in output impedance if the IEM had a large delta on peaks and valleys of the impedance curve. I talk in depth about output impedance variation here. That technology has been utilized in a single Knowles 33357 unit. As is usually the case I tested the IEM across a variety of sources including but not limited to an LG G6, OnePlus 5T, FiiO Q1 Mk II, ifi xDSD, Hiby R6, Alienware 17 R3, and just for kicks a MassdropxCavalli CTH. And with a delta of almost 10 from the highest to lowest OI, I can confirm that on my sources it has remained consistent sounding.

Bass: The bass on the FIBAE 1 is both typical and atypical of balanced armatures. There is a boosted slightly boosted amount of bass with a bias towards the mid-bass. There is decent but not amazing low-end extension or rumble, but that isn't surprising given the configuration, in fact for a single BA it performs amiably. `In "One Dance" by Drake the bass is polite and fast, not linger or overstaying the welcome but not muted and providing a surprising amount of impact, and still giving the beat body. Moving to "Gravity" by the John Mayer Trio the bass line in the intro shows the quality of bass the vented BA can put out, instead of just pumping out bass, there is a deliberate quality to how it expresses the texture of the bass guitar, it can still pick out the thick crunch on bass licks. Finally, the transition to the midrange is even, and the thickness of the low end actually enhances certain instruments and vocals, all of this leads us perfectly to the next section.

Mids: The midrange, in my opinion, is where this IEM shines the brightest. The midrange does not come off as thin. Instead, the slight bass emphasis creates full, but not all the way to lush or syrupy vocals, Michael Buble in "Crazy Little Thing Called Love" is wonderful, his voice takes on center stage taking your attention, but is just correctly supplemented by the guitars and horns, presenting with good cohesion. Moving up the midrange the higher pitched vocals like Air Supply "Here I Am" the vocal doesn't have that same thickness but it still maintains the relative forwardness. Instruments like guitars come through clean and there is a lot of detail that comes through, even in something like "The Dragon Boy" as performed by the New Japan Philharmonic Orchestra detailed nuances still come through the composition across the various instruments.

Treble: The treble while being slightly less emphasized than the other two frequencies, is clean and focused. The sparkle on xylophones and cymbals are very apparent and there is a good amount of air in recordings. Going back to the New Japan Philharmonic "Scootballs" where the complementary violins, pianos, and cymbals, show a good example of the highlights of the treble. On some sibilance prone tracks the FIBAE 1 will not mask or hide it, so "Figure It Out" by MariaMaria is a prime example of not synergizing very well with the FIBAE 1, however outside of a handful of tracks sibilance or treble harshness don't manifest so I can't really say this is sibilance-prone. What I will say is that while the quantity of the treble here isn't the largest, it makes up for it in the quality of the treble.

Presentation: When it comes to technical aspects, I have already previously mentioned the detail retrieval of the FIBAE 1 and it really does provide in that aspect. Even in busier tracks, the BA holds its own in keeping tabs on different track elements, in "Nanairo Symphony" by Coalamode, a typical style pop track with full accompaniment and a faster cadence, elements don't fade away. The overall sense of clarity and layering definitely impress. The width of the soundstage is moderately wide, with a left-to-right extension that can be appreciably outside the ears, and a general presentation that somewhere between average to spacious. While the depth is a little less impressive, falling instead to somewhat average. Imaging proves good with spatial cues being distinct while not being totally 3D or holographic. No complaints in these aspects at all.

Conclusion: The sound quality coming from this IEM is impressive, in fact, it's quite remarkable the end to end performance the FIBAE 1 is able to generate, and really isn't what one usually aspects from single balanced armature designs, rather than try to bolster a single frequency but feel intimately lacking in others, it attempts to strike a balance and commit to the overall spectrum as far as sound goes, and in my opinion it did quite well in that regard. While not trampling others in any of the departments it never feels like something is missing. But the question remains, is it worth the 300 Euros it costs? On sound quality alone, while good it's a harder argument, however, you can't simply put aside the build quality and the fact that this is a custom product after all, and these usually do carry a premium over the usual equivalents as they are handmade to order and will no doubt fit one very well, this isn't simply a product they can mass produce and line store shelves with, that is just a truth we have to deal with, and in the end it will be a product that will be very much "yours" and no one else's. So would I recommend the FIBAE 1? Yes, yes I would. This is perfect for anyone wanting a balanced and natural sounding IEM that in universal form is one of the most comfortable and low-profile shells I have ever tried, it is also great for anyone who is interested in dipping their toes in the world of customs for the first time and don't want to splurge just yet. Finally it is also a great choice for any musician looking for a nice entry stage monitor, given that there is no over-emphasis in any frequency it will be perfect for gigs, and even if you don't avail of the custom the universal provides some of the greatest isolation I have ever received on an IEM and that is invaluable when you are at noisy venues. Custom Art was right, the FIBAE 1 being the cheapest entry in the lineup tend to be overlooked, a step-down version, but it has its own identity, and I believe it can stand shoulder to shoulder with the rest of the FIBAE entries and something that should warrant a look for anyone who fit the bill of the types of people I mentioned above, or for someone who just wants a great natural sounding earphone that can shut the rest of the world out.

Introduction: Astrotec is a name that is not unfamiliar to us at this point. In fact on this very site, I have reviewed their flagship IEM the AM850 here. The AM850 was an interesting IEM that had a very upscale look, with an attractive fun tuning. The model we have here is somewhat of a little brother, the NG30. This particular model from them plans to compete in the ever busy "budget-fi" category at a retail of $30. Does Astrotec live up to the precedent that was set by the AM850 that it seems to inherit some DNA from, given the similar packaging, build, and internal components? Will it be able to hold up with the growing competition in this price range?


Disclaimer: Astrotec provided me with the NG30 in exchange of a honest evaluation. All thoughts are my own and I received no monetary incentive for this review. I do not have to return the NG30 to Astrotec.



Specifications:

10mm Dynamic Driver Unit

DuPont multi layer coated diaphragm

CCAW Light mass voice coil

16 Ohms Impedance

110db/1mw Sensitivity

Frequency Response 8Hz-27KHz





Packaging and Accessories: The NG30 comes in typical attractive Astrotec packaging, the box and the design isn't unlike what you would see in more fashionable audio stores, the front has an image of the IEM with some graphics, while the back contains specifications of the unit. The minor touches like the loop on the top to hang from retail display racks, and the Astrotec sticker serving as a seal show the attention to detail that is shown in the design of their products. Opening the packaging reveals the IEMs in a cut foam mold behind a plastic screen. Underneath the foam you can see the warranty card, the attractive gray leather pouch with a magnetic clasp, and the tip and earhook selection, ranging from S/M/L silicone eartips and 1 pair of foam eartips. Overall the packaging looks premium, while the included accessories also have a premium feel with the soft touch materials, and classy touches as well as foam ear tips that for the price are very welcome inclusions.





Build and Fit: The NG30 follows in the similar design aesthetic of the AM850 with a aluminum shell in a dark gunmetal finish, and simple red accents on the rear of the barrel where a simple geometrical engraving breaks apart the bare shell aesthetic. The cable is in line with the AM850 with a similar look and feel, with the biggest notable difference being the text on the Y-split. SPeaking of the Y-split, both that, the chin cinch, and the barrel of the L-plug are plastic cores with an aluminum shell with the same gunmetal. Build is good, it feels solid in hand, and while the color matching of the shell paint isn't perfect, and the seam is a bit wider than I'd like but it's nothing glaring for the most part, and what parts are normally seen are classy and clean. As with the AM850 the same caveat with the cable being on the rubbery side persist, but those issues are even easier to look past given the price point.





Sound: As always I've listened to the NG30 extensively and with a nyriad of devices ranging from the LG G6, OnePlus 5T, FiiO Q1 Mk II, ifi xDSD, Hiby R6, and straight out of my laptop audio. The NG30 is very easy to drive and I doubt any modern phone would have trouble powering it. The overall signature presented is a warm and smooth L-shape with well extended and forward bass, slightly recessed mids, and treble that exhibits a light brightness that manifests in a rather mild manner.



Bass: The bass on the NG30 is the star of the show. It has above average subbass extension that leads to bass drum kicks that hit firm and then will decay slowly, lending each bass hit to have an organic full timbre and a natural texture that appears can add the extra oomph needed in many songs. The recording of Daughters by The John Mayer Trio starts with a deliberate drum beat, that fills the sound field very well, and in that song the drum beat becomes accompanies with both bass and lead guitars after a few seconds, this brings us perfectly to the midbass. The midbass exemplifies similar characteristics to the subbass, slightly slower without being lethargic, so when the the bass guitars enter, it slowly spreads and lingers and as the note decays it has a very good textural aspect, especially when the note reverberates as many bass notes in slower songs do. Combined the bass provides a full experience that will please even moderate bassheads, especially those looking for a more typical bass tonality.



Mids: The vocals on the NG30 are a bit tricky. On their own on mostly vocal centric songs, particularly "I Will Follow You Into the Dark" by Death Cab for Cutie, the vocals are actually quite well defined, there's enough definition there that I definitely wouldn't call the vocals disappointing, in fact they were pleasant upon discovering it, the problem herein lies because once you add a bass guitar or bass drum, the vocals start to get left behind and just fall back from the low end. It's a similar story with instruments, listening to Alter the Ending by Dashboard Confessional, the vocals don't sound too thin, but even the acoustic guitar can have more prominence, the instrument reproduction however was another pleasant surprise especially the lower mids. Upper mids are quite nice having enough energy to cut through the bass, but again somewhat at the expense of some vocal prominence.



Treble: The high frequencies are a little bit boosted over the mids, but only ever so slightly. There doesn't seem to be much sibilance being produced. There is a mild and pleasant crisp sparkle you can hear on guitars, violins, and piano tracks, like on "Belle of the Boulevard" enough to stop the signature from being too dark. Cymbal hits are quite nice, and it's not harsh. However while there is some bite to the treble, there isn't much in the way of air in the sound.



Presentation: The overall resolution of the NG30 across the frequency range is above my expectations, from the texture of the bass, to the vocals and instrumentation. Once they commingle however there can be times where it gets a bit too busy for its own good and the gains in resolution are lost to the difficulty in layering and separation. In more relaxed song this isn't an issue however. Stereo separation is good, slightly extending outside the ear, however height and depth are only average. To get the most out of the NG30 the rule of keeping it on the simpler side definitely applies.



Conclusion: I quite like the NG30. It has a very pleasant signature, that many will find attractive, and resolving capability that I wasn't expecting. Together the build, sound, package and accessories provide for what the casual listener that wants an upgrade from their daily driver prepackaged IEMs. It's classy but still simple, the only thing that this could use would be an inline mic and some controls. Other than that I can't think of much considering that the NG30 will only set you back $30. It's a good deal, and definitely beats a lot of the stuff you might see hanging on retail shelves. So if you are in the market for something relatively affordable, that doesn't sacrifice aesthetics, build or accessories, with a mainstream friendly sound that isn't muddled, the Astrotec NG30 is definitely worth a look.

Introduction: I had heard of NCM before through some blog posts and other reviews, though I'd never had much experience with their products personally. However when I learned about their flagship IEM, the 9 driver hybrid beast that I would know to be the Bella which costs about 1000USD give or take, I was extremely interested. Nguyen (Ng-Wen) Custom Monitors is a relatively small custom in ear monitor company based in Vietnam, that offers a variety of different products and services, ranging from relatively affordable single driver models, to the hybrid behemoth I have been lucky enough to review, as well as repair and reshelling services to boot. I talked in depth with the NCM in my earlier feature here. Now let's talk about the Bella, the crowning jewel, the pinnacle of their lineup, up to this point at least, the Bella is the IEM that will encapsulate the essence of their philosophy of tuning, and what does that essence manifest to be? Well how about 1 10mm dynamic driver paired with a whopping 8 balanced armatures, that would be enough for one top of the line IEM in itself! But I digress, we know it's not a numbers game, and the devil is in the details of the implementation, so how does the Bella measure up? Read on to find out.

Disclaimer: I received the Bella Universal as a loaner unit. After I completed my review I forwarded them to another party who requested to loan the unit. I did not receive compensation for this review, monetary or otherwise, and all thoughts are my honest impressions on the product.


Specifications:

1 10mm Dynamic Driver
8 Custom Balanced Armature Drivers
20Hz-20KHz Frequency Response
3 Bore Design
4-way Crossover
32 Ohms Output Impedance
114db Sensitivity



Packaging and Accessories: The Bella arrived to me in a simple brown cardboard box. Opening that up reveals the a Pelican-ish type black case with a stylized NCM logo on top that has a reflective silver finish. The case is shockproof and has seals to protect it from the elements, coupled with 2 latches and some holes to hook up carabiners or something similar to it. Opening the case shows a soft foam lining on the bottom half and a zipper pocket containing all the accessories on the bottom.
Speaking of accessories the Bella has a good smattering of accessories. Included come the 6.5mm adapter, a cleaning tool, a velour soft pouch with the NCM logo stamped on in reflective silver and a selection of tips ranging from classic wide bore silicon tips, "whirlwind" tips, double flanges, and foam tips.
Overall the Bella comes with a nice range of accessories and should just about fill every need someone could think of, and the tip selection is a nice touch because they are primarily a CIEM company.



Build and Fit: Moving on to the build the universal Bella is primarily comprised of two parts both being acrylic. The main shell, and the face plate. The main housing is done in clear acrylic and taking a look up close, reveals some small bubbles but overall a solid acrylic shell. Looking closer you can see the stainless steel lined bores and the individual cores of the wrap that forms it, on the other end there lies a rather large cutout for the dynamic driver, covered in a fine steel mesh, this allows the driver to breathe, minimize driver flex and still keep the inside of the IEM free of debris the last detail of the outside is the Bella inscription on each IEM filled in with gold paint, a nice classy touch that fits with the overall scheme. Peering inside the shell nothing looks out of place though it does look understandably busy due to the simple fact that there is just so much drivers and wiring going on. The black face plate on this unit, is very simply, but is smooth and the seams are all built to very nice tolerances. Now for some obvious caveats, likely when you order these yourself whether custom or universal, but especially if custom it will have even better finishing given that this unit has already seen the world and had some hard knocks, additionally you will have a variety of customization options at your disposal when you order the Bella, from shell color to pattern to prints, it will definitely go beyond just a plain black and clear color scheme.

The cable that comes with the Bella is the usual fare for CIEMs, and it is a black four core cable, this one of the 2-pin variety. NCM has added some nice touches with the chin cinch and Y-split being fashioned out of wood, and done in a orange hue, with NCM engraved and filled in with black to complete the look. This is a welcome departure from the plain jane looks of most custom works, to the downright barebones implementation of others. The cable itself is soft enough, doesn't seem to have much memory or spring, and feels generally sturdy with the low profile, but straight barrel 3.5mm plug, and the someone oddly shaped ear guides pre-formed with molded shrink tubes, however this could be a quirk due to the intended shell being customs. The touches here show what NCM can offer to customers in terms of off the beaten track optimizations and leaves a solid, if not good base for the performance of the IEM stock.

The fit on these obviously applies for the universal model, as the custom models will have exacting fit to the users specifications. But back to the fit on these models, the IEM itself is quite large, both in overall shell size as well as the size of the 3 bores, but this is all understandable as there isn't much wasted space due to the sheer number of components contained within. The effects on fit however are rather simple, the Bella will protrude slightly from the outside of the ear, almost irrespective of the ear size and depth of the wearer, and tip choice will be affected due to the very thick bore diameter. That coupled with the weight may lead to eat falling out from those with shallow and small ears if not worn properly, so it is definitely something to keep in mind when deciding if one would get a custom or universal configuration. The fit is probably the only real glaring issue you could take from the Bella, and even then it feels somewhat unfair to take it against NCM due to their CIEM background.

Sound: As is usual I tried the Bella from various sources, ranging from more conventional sources like the 3.5mm jack of my Alienware 17 R3 laptop, and my LG G6 with the stock DAC setting, to an intermediate source like my FiiO Q1 Mk II DAC/Amp, up to an ifi Audio xDSD, and my Hiby R6 with and without the IEM match at both settings to paint a more complete picture of the sonic landscape of the Bella. The Bella exhibits scaling to a degree where better sources seem to give better control to the balanced armatures, leading to a fuller, crisper sound all around. Some sources some very light hiss could be heard when nothing was being played. There seemed to be some relationship between the Bella and the stock 10 Ohm output impedance of the R6, lending to a slightly brighter sound stock, an IEM match restored the sound to the base signature with plenty of headroom to drive the Bella to good listening volumes even with the "ultra" setting. The overall signature reveals itself to be a mild U-shape exhibiting slightly boosted bass, and treble relative to the mids, that while a step behind in the presentation, I wouldn't consider "recessed" in the typical way that it is understood. What I mean by this is that while the bass is deep with good amounts of slam and rumble, and the treble has a pleasant crisp aggressiveness(more on those below), the mid-range sticks closer to the neutral side of things whilst avoiding being drowned out due to the technical performance it exhibits in the mid-range area.

Bass:First of the subbass response delivered has good extension, that exhibits good rumble on deeper bass cuts on "Love" by Lana Del Rey providing good texture with minimal distortion for an IEM while still delivering speed that is about average and a slightly slower decay typical of the expectations from dynamics. The midbass frequency exhibit the most of the boost providing for a satisfying slam especially on songs with a skew towards electronica type bass, like that of "Hotter than Hell" of Dua Lipa whilst still retaining enough control that leaves a good sense of control to not bleed into the mids. The 10mm dynamic driver delivers an overall sublime bass response fitting the overarching theme of the signature due to delivering deep rumble, coupled with just enough slam to distinguish itself and please even those with a bass preference without dominating the overall sound.

Mids: The vocals on the Bella for the lower notes have good thickness, with Michael Buble sounding appropriately full, without going overboard on syrupy lushness, instead there's just enough texture and detail to show the nuances in his delivery and tone that improve the the emotional conveyance of his voice. Vocals on the upper range, are a bit more forward in comparison, with the upper mids having more aggression, whilst still showing the nuances well, for example on Amy Winehouse tracks the difference can be palpable when she does runs up the vocal register, with a noticeable increase in forwardness as the runs progress. Guitars are delivered well with good note definition and proving capable of delivering the nice twang on blues tracks, while other instruments like the piano at this register similarly shows that the each note can hold distinction. The mids reveal a performance that as previously said leans closer to neutral but sets itself apart with detail, and texture.

Treble: The Bella has notably aggressive treble, so those with sensitivity to treble might want to look for a more relaxed option. However those that aren't will be rewarded with a distinct crispness with the delivery of the treble, what while I wouldn't call natural, is on a level of engagement that just captivates my ear. Cymbals aren't harsh but just have a satisfying crash that pulls your attention to them for that split second, listening to the New Japan Philharmonic reveals a beautiful sparkle and shimmer. Violins and trumpets are on full display, and all the while, it will not exhibit sibilance except when it reveals a song to be naturally sibilant in the recording, there is definitely no chance of hiding a song via a veil in the tuning. There is a lot of air in the head space due to impressive extension and clarity that is almost addictive in the quality. For me definitely one of my most favourite aspects of the Bella without a doubt.

Presentation: The Bella excels at technical presentation, with a solid left to right stage, expanding squarely outside the ears, and an impressive depth staging being capable of presenting a nice 3D space overall. The layering likewise is notable due to the ability to have well defined notes and sounds from various instruments even in the busiest multi instrumental arrangement, rarely if ever have a familiar or expected sound to get lost or "crushed" within the mix. Detail retrieval is exceptional as I touched on earlier, with the clarity that just ties the whole sound signature together, without the technical aspects the aggressive tuning implemented would just fall short in every aspect and would seem brash and disjointed, but it doesn't and it's great that it doesn't.

Conclusion: It isn't everyday I get such opportunities to have a flagship like the Bella, not just in the sense of price, but also the tier it resides in for a small manufacturer like NCM, their greatest delivery of a product up to this point to their consumers, something that would be representative of them, but the Bella definitely feels like it is on that scale. Even in the universal form, the near madness of the driver configuration performs great, it's well rounded and is a fantastic daily driver, and with the addition of the customization options, it's no wonder NCM is gaining recognition with artists in its home, and I wouldn't be surprised if it starts to extend beyond Vietnam. The Bella is powerful, the sonic delivery gives aggression in all the best ways, just drawing you in with the sound and will take you for a ride at mach 5. Listening to it gave me a lot of excitement and grin from ear to ear, and I can imagine it will give you a similar feeling if you get to try one. With powerful bass, well defined mids, and crisp and shimmery treble, dipped in clarity, the Bella by NCM is an experience, and an experience I hope more people get to try. I'll miss it once I ship it to the next lucky ears to get their hands on it, and I hope those ears are be yours.

Introduction: Geek Wold(Old English for Forest) is a new audio company that has recently hit the market with their first offering the GK3 sporting a novel configuration of 3 dynamic drivers at the reasonable, and entry friendly price of $19.99. Much has been made of the GK3 since it was announced, will it meet the lofty expectations levied upon it as the new king of budget-fi? or will it be another forgotten face in the ever growing list of IEMs? It turns out, as usual that the answer lies somewhere in between.



Disclaimer: I received the GK3 from Geek Wold free of charge in exchange for a free and honest review.



Specifications:

Brand: Geek Wold

Model:GK3

Driver:3 dynamic driver

Frequency response:20H-20Khz

Impedance:8ohm

Sensitivity:102db

Cable :1.2M

Packaging and Accessories: The GK3 arrives in a simple non-descript black box, with gold lettering on the debossed logo giving basic information of the item in the front and some specifications on the back. Opening it reveals some pre-cut black foam housing the IEMs and some generic silicone tips, removing the foam insert reveals a compartment for the warranty card as well as space for the cable to hide. The accessories on the other had is admittedly barebones, all one gets it the different sizes of eartip, and while perfectly adequate given the price, competing products have a far more expansive catalogue of accessories creating an even larger burden on the rest of the facets of the GK3. Overall the packaging is simple the accessories are few, and while nothing is substandard or low quality, it loses a chance to put it over the top of the competition especially in the crowded budget market.





Build: The build quality of the of the GK3 strikes me as completely, but understandably middling. The shell is of some indiscernible hard plastic, that comes in 2 parts, with the nozzle being capped off with a metal perforated disc that works as a screen. The main housing is in glossy black with a pinhole vent that allows the drivers to breathe, while the faceplate is what appears to be carbon fiber set in plastic with the brand name also inlaid in gold. It presents itself with a classic color scheme, with some modern touches that if not for the apparent quality of the material, as something more upscale. The quality of the build itself presents no glaring mistakes or deficiencies outside of one, the word wold on one side of the faceplate is missing, moving past the main shell, the cable is a 4 core affair with shrink wrap to make ear guides, that is non-removable. The cable is mildly springy and tangle prone, which presents itself to be a mild inconvenience. The chin cinch is functional and simple, and the only other adorned piece is the Y split made of a aluminum tube with a plain print of the word "Geek Wold" in white. The build is overall quite good for the price bracket with some improvements that could greatly enhance quality of life for the end user.





Fit: The GK3 shells are a somewhat generic IEM shape, providing a decent fit for most individuals. The size is slightly on the larger size but the IEM is very light providing with minimal problems of it falling out of the ear due to the weight alone. Those with small and shallow ears may find proper wearing somewhat difficult and the IEM will protrude slightly from outside the ear. Isolation provided is average, a change of tips help, but the standard silicone tips are on the stiff side and lend to a difficulty to get proper fit and isolation. However for the majority it should be adequate to fit and average to isolate.



Sound: The GK3 utilizes 3 dynamic drivers, a somewhat novel concept that especially in its price bracket hasn't really been seen before. The overall tonality presents it self to be L shaped with the most defining characteristic of it being bass reproduction. My listening tests were done with an Hiby R6, LG G6, FiiO Q1 Mk II and an ifi xDSD to ensure accurate information across a range of devices.





Bass: The bass is surely the highlight of the GK3, where a dedicated dynamic driver is showing its capability. The subbass extension is deep, with bass drum hits in songs like "Royals" by Lorde have a good "visceral" feel, and the midbass is similarly prominent that bass is likewise high impact. The bass is relatively well textured and isn't something I would describe as muddy. On the other hand this means the bass has a rather slow decay and can somewhat feel lethargic when it gets mixed in with the other frequencies.



Mids: The midrange takes a step back from the bass, while the boosted lowend aids in the thickness of notes especially in the lower midrange, it isn't something that takes the stage for the IEM. It has decent resolution and detail retrieval, but overall serves as an adequate complement to the bass the precedes it. The vocals in "Girls Like You" by Maroon 5 are all generally placed somewhat intimately with an overall warmth no doubt again due to the low end lightly coloring it.



Treble: The high frequencies are overall smooth, and has moderate extension. Though the GK3 does not exhibit much in the way of sibilance which is a plus for those that are sensitive treble. It is relaxed and very much only there as it is called, and the with the smoothness there is a lack of crispness or bite as well as sparkle, overall lending the signature a darker tone. There is some air to it making the overall sound not feel congested, and Trumpet in "Feel So Good" by Chuck Mangione does give a hint at the tonal limitations of the IEM. But while not a con per se, it's just merely something to keep note of for those with a preference.



Presentation: The GK3 staging was has average width, and somewhat below average height, though the width can sometimes surpass the ear on some tracks. This can lead to some congestion on tracks as it can negatively affect the finesse of the layering, though in tracks that aren't busy it shouldn't be overtly problematic or even noticeable. Overall the technical aspects are OK in most applications and is something that while it doesn't excel at, it isn't terrible at it either.



Conclusion: Overall it may seem like I am down on the Geek Wold GK3, but it is wise to remember that it is only a mere $19.99 and when you consider that, it is an amiable performer and something that relative to the cost I would recommend to some people as long as it fit their taste. So if you're interested in a cheap IEM, that has an attractive aesthetic and smooth, if not refined sound, then by all means the GK3 is for you.

Introduction: I reached out to Mee Audio, already known for the popular m6, the Pinnacle (and it’s Massdrop Collaboration) as well as a plethora of other products ranging from IEMs to accessories. They blur the line of fashionable audio with that of high quality audio. When Mee offered me an opportunity to try out their MMCX cable that comes bundled with 3 adapters I didn’t hesitate for a moment.


Disclosure: The Mee Audio MMCX Cable with Adapter Set was provided to me by Mee Audio in exchange for a comprehensive, and honest review.





Packaging: The Mee cable set comes in a simple cardboard packaging, with the cable and adapters inside slotted inside a clear plastic mold the keep them secure. The box contains the product information with a cutout in the front with a plastic screen to display the contents in their full glory.





Build: The Mee cable has solid build quality. Everything from the MMCX connectors to the main 2.5 plug as well as the adapters show no signs of flimsy build. Hard plastic is utilized for the MMCX housing, the neck cinch, the quite hefty Y split, and the central core of the plug. The main housing on the plug is metal and painted with a fantastic gunmetal finish with the white Mee logo on top. At the base of the MMCX housing there is a small amount of clear heat shrink that is utilized as strain relief, while the base of the 2.5mm plug has a more substantial black rubber strain relief. The MMCX housings have L and R markings as well as dots to help you find left and right as well as the logos found on the same part of the Pinnacle series of IEMs. The chin cinch is a rather beefy one keeping the cables in place, but it has a spacing so that the two cables are set a few centimeters apart. Following that is the rather large Y split that sports the Mee logo as well as what looks like cutouts that aid flexibility, though I wonder how much flexibility they are offering.



The cable itself is a 4-core silver plated oxygen free copper affair, done in a neat double twist “braid” it comes in a rather heavy sheathing that is an opaque dark grey, possibly to not show the effects of possible oxidation over time. Upon first opening the packaging the cable did exhibit some memory, however over time the cable did relax. While I would consider this to be a soft cable, it is functional and pliable and in no way stiff. It doesn’t feel heavy either however it is weightier than most due to the beefier y split and neck cinch, this may be perceptible to some but nowhere cumbersome. The overall quality of the MMCX connection is good as well providing a nice satisfying connection and with no wiggle or at any point did it cut out when I was using it.



The last part of the build is the 3 adapters. They come in 4.4mm balanced, primarily for Sony devices, a 3.5mm balanced for items such as the iFi xDSD, and 3.5mm single ended for the rest of the devices out there. They all come with the same appointments as the main cable, a gunmetal finished shell albeit in a slightly different shade, a hard-plastic interior core and a gold-plated connector. They all worked flawlessly with all the devices I have used it on ranging from a Sony WM1A to the Hiby R6, all the way to the OnePlus 5T.



DISCLAIMER. IF YOU DON’T BELIEVE OR DO NOT CARE ABOUT THE SONIC EFFECTS THAT CABLES DO OR DO NOT HAVE ON AUDIO GEAR, SKIP FORWARD TO THE CONCLUSION.



Sound: For evaluating the Mee cables, I paired it with the Campfire Audio Polaris, sporting a somewhat similar 4 core pure copper litz cable. I attempted to be as methodical as I could having a friend swap the cables at random intervals without my knowledge.

The Mee Audio cable in comparison to the stock cable, doesn’t do anything drastic to the overall sound signature or sound quality of the Polaris, sounding mostly neutral however the treble and upper mids do take another slight step forward, without noticeably impacting the rest of the frequency. Meaning for those who don’t want a substantial change from their stock OFC copper or SPC cables, or those just wanting to edge out a little alteration, this cable fits the bill perfectly.



Conclusion: The great thing about this set of cable with adapters with Mee audio is the flexibility. It offers unparalleled freedom that is perfect for those with multiple sources or those who love to test out sources. Everything from Sony to AKs to iFi this cable set will have you covered, and personally in audio meets it’s been one of my favorite companions. It just simplifies so much of the struggle with when you normally would have to have different cables for it, this offers an all in one solution and a great value. Because not only do you get the aforementioned flexibility the set gives, but you still get a high quality, well built MMCX cable that is a worthy addition to any audiophiles collection.

Introduction: During my visit to Japan a few months ago, I went to the Fujiya Avic Spring Headphone Festival and heading into the ifi suite I was greeted by their welcoming reps and got to take a look at all their goodies, however the xDSD with its svelte and modern look caught my attention almost immediately; So when ifi reached out me and offered me a chance to review the xDSD I leapt at that chance.

The xDSD is the first foray of a new era of ifi products it seems, embracing a modern look and feel with the X series, seemingly with the xDSD leading the charge being dubbed “Generation X”, after a slew of popular and fantastic products like the iDSD BL Micro and Nano among the popular ones that have entered the market. Does ifi successfully make their transition? Or have they bitten off more than they can chew with some radical changes? Read the full review below to find out,

Specifications: USB Input: up to PCM768kHz & DSD512 (24.6/22.6MHz)

S/PDIF Coaxial and Optical Input: up to 192kHz/24Bit

Dynamic Range: > 113dB (A)

Volume Control: -101dB…0dB in 1dB steps

Output power:

> 2.82V/500 mW @ 16 Ohm

> 3.7V/270mW @ 50 Ohm

> 3.8V/48 mW @ 300 Ohm

> 3.8V/24 mW @ 600 Ohm

Line out Level: > 2.1V @ 0dBFS (& 0dB Volume)

THD &N (1V/16R): < 0.005%

Output Impedance: < 1 Ohm

Battery: 3.8V/2200mAh

Dimensions: 95 (l) x66.5 (w) x19 (h) mm

Weight: 127g (0.28 Ibs)

Warranty period: 12 months



Packaging and Accessories: The xDSD comes in about bog standard packaging with an attractive thick white box containing the name, composite image, and the specifications of the xDSD. Opening the box reveals a velour type string pouch for storing the xDSD, the unit itself, some pamphlets and instructions, and a box that contains all the cable connectors and accessories. What is noticeably missing is a connection interface for mobile devices, at the premium price point one might argue that there should be more accessories but in the end it has everything you need to plug the product in and almost everyone should have a micro USB cable handy.



Build and Interface: The outer shell of the xDSD is composed of two main parts the main part being magnesium alloy and matte plastic for the rear. The faceplate has the 3.5mm ifi proprietary jack that functions as both balanced and single ended outputs, a multifunction button that works as the volume know and volume level indicator and a extra button that controls the 3D+ and XBass+ features. There are also 4 indicator LEDs that detail the type of input, type of file and bitrate being played as well as lights for if either 3D+ and XBass+ are activiated. The rear is where all the inputs are located, with the male data USB port, 5v micro B power only USB port though hopefully type-c is embraced by ifi soon, an optical in and a switch that turns filtering from Measure to Listen. The rest of the physical build is 4 rubber and a Hi-Res sticker. The build quality is very good, the seams where the shell comes together has no gaps, the finishing and paint of the lettering is smooth, and while light, it feels very solid and sturdy. The only thing I can note is that the volume knob/multifunction button sometimes feels like its scratching the metal shell. Speaking of the metal shell, the xDSD has a unique scalloped design and it is polished to a near mirror like finish, this is very attractive in my opinion however this renders the xDSD both extremely fingerprint and smudge prone and quite scratch and ding prone. Because the reflective nature of the shell reveals imperfections readily.


Usability: For desktop use the xDSD was plug and play for me and did not require any sort of driver installation to properly interface with my Windows 10 machine. Set up was mostly simple, connecting the data cable to my computer and turning the unit on and plug and listen. However, it is important to note that the instruction manual for the xDSD is very important to correctly understand how it functions and how to change settings and the like. This is because while it has a simple 1 button interface this leads to it being unintuitive when trying to troubleshoot what is happening, like turning on or resetting line out mode, changing from Bluetooth to USB or optical and the like, as this takes a certain specific combination of holds and button presses to swap around from the different settings. ifi recommends to maximize the in computer volume and use the xDSD as the control, and it has an indicator that changes the main LED color to correspond to a volume level.

For Bluetooth the setup is generally pain free, most if not all devices I tried were able to detect and connect with the xDSD properly with minimal fuss. However, with some devices I did experience drops in the connection once or twice, that never seemed to be recurring, so they were probably one of events. Nonetheless for the most part the xDSD is a straightforward device to use daily and with a solid average of 7 to 9 hours of juice from it, it should serve you well. One thing to note however is that if you plan to use it wired with a phone, like a mentioned before you need to acquire an OTG cable for yourself. Volume changing in this mode is courtesy of the source device and not on the xDSD.

Sound: Sound impressions were taken with a variety of devices. And always a reminder that a while DACs and Amps can affect the sound of what you’re listening to, to a degree it won’t radically change the sound signature and qualities of your audio gear and can merely enhance or complement your gear.

The overall tonality of the xDSD is mostly smooth and flat, with maybe a bump in the bass region adding a certain warmth but not overtly so, this leads to a certain note thickness, especially on the listen filter, swapping over to measure evens it out more if that is something you would like to try. It seems to be very consistent device to device, this is probably partly due to the OI being below 1 ohm, and it has enough power to drive my HE400i at around 85% volume, though can struggle with super power-hungry cans, (though I think ifi may have something for those 600ohm can owners soon.) The analogue circuits that can enhance the listening experience, namely XBass+ provide a nice pleasant bass bump that is not overbearing nor does it sound artificial, perfect for those with more neutral gear that would like to increase the dose of fun and bass response when listening to music. 3D+ on the other hand is supposed to increase the spatial 3D imaging of the music and the effects of these in my experience were hit or miss, some gear and music combinations responded to it well while others it seemed unnatural or I wouldn't really be able to tell any changes. On the technicality side the staging is accurate, though there seems to not be a pronounced depth, just average, and for width we have a little bit wider than normal, and details are good, while not uber transparent, is not lagging in terms of clarity. Definitely pleasant as an overall daily device in sound, not dry and has an ample level of engagement.



Conclusion: ifi has stepped into their modern age confidently with the xDSD. Offering a futuristic design, good features, and specs in a relatively compact size and light weight chassis, that while it has blemishes(literally) in the design that might not make it for everyone, you can’t say it’s boring or generic. It provides great sound and a feature set that can rival the competition out there with Bluetooth and extensive file type support. It has good ease of use especially if firmware updates continue to improve stability, and while there is a learning curve to using all the features, keeping a copy of the manual close by, whether physical or digital, will help ease you in and most of what you’re going to do is simple enough to remember. It makes for a capable mini desk DAP that can easily double as a portable option especially in Bluetooth mode. If there was anything I could ask for only better mobile wired support and USB type-C, maybe for the next revision. But overall at $399 it’s a capable device that is highly recommended for those looking for a versatile and adaptable DAC/Amp that is at worst capable and even excellent at multiple use cases.

Introduction: Kinera a relatively new company in the audio scene has been steadily releasing new products ever since their initial big offering the H3 came out. I have experienced the H3 and lauded the build, fit, and clarity but did note the somewhat unnatural timbre and hot treble. Moving on to the middle of 2018 and now we have the Idun; A model that Kinera slates as a step up, a step forward, continually building and applying what they’ve gleaned on their past models and has culminated here. The Idun utilizes a very similar shell to the H3, and the same driver configuration, the ever growing in popularity 1DD+2BA hybrid, with the dynamic and one balanced armature, the one handling the treble, being in house proprietary models, and the balanced armature handling the midrange is a Knowles 32873. All of it seems promising at $140, so for my full thoughts continue reading down below.

Specifications:

Sensitivity: 112 +/- 2db
Impedance: 32ΩConfiguration: Hybrid
1 Dynamic Driver @ 7mm
1 Mid Frequency BA
1 High Frequency BA
Cable: Hybrid
4 Core Copper
4 Core Silver
Interface: 2-Pin 0.78mm
Length: 1.2m
Plug Type: Straight 3.5mm Gold Plated



Packaging and Accessories: The unit sent to me by Kinera is a limited promotional unit and therefore does not come with final retail packaging, which seems to be a unique looking hexagonal box. What I did receive was a round aluminium case, it came in black with the Kinera logo and slogan printed in white. Inside there was the Idun and 2 sets of tips. A pair of Sony hybrid type tips and some non-descript plain silicone tips. The tips are about par for the course in quality, though maybe in the full retail release they could increase the variety of tips to include foams or double flange tips. As for the case, it’s of a similar build to the one provided by iBasso and the interior is lined with a soft fabric to minimize scratches or other wear on the IEMs, furthermore it offers good impact protection however since this is simply and aluminium build it is not crush proof and may be prone to dents or small nicks. It is, however still a step above the soft cases and pouches other IEMs offer.





Build Quality: The Idun sports a semi-custom type shell made from acrylic and a stabilized wood faceplate stained in red for the limited-edition units, while the regular retail version while have a blue abalone face plate and a white pearl type face plate. Back to the unit at hand, the acrylic that comprises most of the shell is a smoked-out finish allowing most of the light to come through and revealing the internals of the IEM. The shell is free of bubbles and the point where the shell meets the faceplate is smooth, likewise the faceplate is stained red revealing the nuance of the grain on both the top and sides with a gold Kinera logo set on top of the wood covered in acrylic. The included cable meanwhile is something that shouts premium, 8 cores 4 copper and 4 silver braided together, with soft and pliable sheathing that is just a pleasure to hold and touch, the splitter is matte black metal and the 3.5mm plug is also metal and has the Kinera logo printed on it, overall the cable is of a calibre that is rarely seen even at this price point and is definitely great value. The only issue I can find is the ridge that holds the tips in place is slightly uneven in the left vs the right, otherwise a solidly built IEM, that has an overall attractive aesthetic exuding a premium vibe without going over the top and garish.



Fit: As I previously mentioned the shell of the Idun is very similar to the H3 shell, and this is one retention that is in fact a very good thing. The shell while being slightly on the larger side is shaped in such a way that for most ears it will lead to a nice snug fit offering very good isolation especially when the correct tip is paired. While the silicone tips provided were good pairings, my favourite pairing was using double flanged tips, these lent to really highlight the semi-custom fit and increased the isolation levels just above what other tips provided. Overall the fit is great and one of the best at this range, so long as you don’t have ears that are quite small.

Sound: All sound impressions were taken using a variety of sources, from an LG G6, Hiby R6, iFi xDSD, FiiO Q1 mk II and stock output of a laptop. The Idun can be easily driven by phones though it seems to appreciate the increase in power amps or DAPs can provide. The Idun presents another Japanese type tuning that is mostly balanced in tonality with slight tinge of brightness on the top end with a surprising amount of technical proficiency.

Bass: The sub bass of the Idun is good presenting a good amount of rumble that is always there when needed but restrained enough that it doesn’t overtake the entirety of the sound signature. The dynamic driver is obviously pulling it weight here because the delivery of the sub bass is made with the natural tone that only a dynamic driver can deliver with a decay that I can only describe as organic, not sluggish or dragging but not quick, in Closure by Maroon 5 the bass drum hits have that satisfying impact rumble that has the visceral impact that you want to have in this region. In fact, while not to a level that would appease bassheads the sub bass of the Idun will surely fit the needs of most everyone else. Moving on to the mid bass here is where the first sign of the Japanese-esque tuning rears itself, as the midbass heads towards the midrange there is a definitive recession that only begins to rise only as it approaches the 1k frequency, this results in a tamed midbass response that spaces out the bass and mids preventing bloom and congestion at the expense of some mid bass punch, this is quite apparent in the upper end of bass instruments like in Blame It On The Boogie the difference between the sub and midbass is quite apparent and while not anaemic at all, it is something to take note of, though again this is more a characteristic of the tuning identity. Overall it presents a moderate amount of well textured bass that is controlled and is enough for most tastes.

Mids: The tuning characteristics return for the mid-range with the previously mentioned recess affecting the lower mids, they are set behind a touch and are presented drier and while still there contrast the upper mids which are set more forward, so instruments and vocals comprising the upper spectrum of midrange frequencies are presented to be fuller sounding. Vocals like John Mayer in All We Ever Do Is Say Goodbye just has a different feel, it’s not really recessed but you do feel it is noticeably thinner versus Sam Smith Not in That Way. Instrument wise guitars are generally well rendered and higher register instruments like piano have good definition along with the rest of the mid-range. There is an overall crispness to the mids and it is pleasant, not fuzzy or hazy, if not as lush as some might like for their tastes.

Treble: Moving on to the treble, the Idun, thankfully unlike the H3 is not something I found to exhibit sibilance in normal circumstances, and the treble had a good amount of air and sparkle, rendering overall treble performance to be good if on the bright side as there is a good amount of energy present. Cymbal crashes likewise are crisp and have a pleasant amount crunch that just feels right and instruments at this end of the spectrum come off free from harsh peaks that would make one wince. Listening to Feel So Good by Chuck Mangione the trumpet is full and not shrill and the violin from Lindsey Stirling’s Crystallize has that attack in the busy sections that exhibit the positives of the energetic treble and toe the line very well in terms of not going overboard with the energy.

Presentation: This I where I personally feel the Idun shines, not necessarily in the quantity of certain frequencies but rather the quality. The detail retrieval and clarity for an IEM of this level is top notch especially in the mids and treble even when songs get busy you can still point to details. The layering and separation is likewise a cut above most at this price point even during passages of songs that skew towards congestion. Soundstage is average if a little bit wide, and depth is quite good. 3D presentation I found for the most part accurate without anything sounding unnatural or out of place. It is hard to argue that the tuning direction and implementation here work hand in hand to produce the technical level that the Idun presents.

Conclusion: Overall the Idun presents a true maturity for Kinera, without it leaving the identity it has forged, instead it builds upon it and refines it. Holistically from the improvements made in the quality of the case, the cable, the tuning it’s a major step forward. The Idun presents the Kinera flavour of the Japanese tuning (a similar style to the one utilized on the Campfire Polaris) presenting an overall balanced tonality, with enough bass to keep you satisfied, wonderfully detailed midrange, and an energetic airy treble that is miles better than the H3 before it. Aside from the lack of tips, and recessed bass to mid area, that is expected from this style, and the energetic treble, which aren’t really faults on their own but merely someone with certain preferences might want to account for, it’s hard to fault the Idun. It puts together a wonderful package, and something that looks like it may want to challenge the current stalwarts at its price range, and definitely a good option for the budding audiophile looking to finally breach and go beyond the $100 barrier.

Introduction: Campfire Audio, a name in the industry that needs little to no introduction, recognizable in both name and design choices. With the Dorado, they’ve decided to create and put their own spin on an IEM configuration that has steadily increased in popularity in the last year or two; The 1 dynamic driver, 2 balanced armature hybrid. This configuration has had its share of hurdles and criticisms; usually these issues are all rooted in the lack of coherency, and this makes sense, dynamic drivers and balanced armatures tend to have different base “sounds” wherein if not properly executed lead to the final product sounding confused and with no real direction in tuning, just drivers doing their own things that happen to the same shell. And while constantly improving it is a setup that is often meant to give the best of both worlds can simply end up giving neither due to the nature of the difficult balancing act of tuning hybrids. With that we have the Dorado, utilizing the signature Campfire 8.5mm PVD Beryllium dynamic driver and 2 balanced armatures with T.E.A.C. wrapped in the (mostly) familiar liquid metal housing that has usually been utilized for their single dynamic models, a tantalizing combination of technology for sure. It does however come with a price tag to match at $999, only $100 less than the Vega and Andromeda, does it pull its weight in the Campfire Audio Family? Was it able to take full advantage of the technology within? Does it avoid the usual pitfalls of the configuration it utilizes? And most importantly does it fulfill the promise of Campfire Audio of “…delivers on the promise of hybrid designs; excellent detail with a visceral punchiness to the low end.”? For the most part, it does, and it does so much more.




Disclosure: The Dorado was provided to me by Campfire Audio in exchange for a comprehensive, and honest review.




Specifications:

5Hz–27 kHz Frequency Response

107 dB SPL/mW Sensitivity

15 Ohms @ 1kHz Impedance

Beryllium / Copper MMCX Connections

Liquid Metal Alloy Shell

8.5mm Beryllium PVD Diaphragm Dynamic Driver

Dual Balanced Armature High Frequency Drivers

Tuned Acoustic Expansion Chamber (T.A.E.C.)









Packaging and Accessories: (As the packaging and accessories are very similar parts of this section have been lifted from the Campfire Audio Polaris Review.) The Dorado comes in the standard Campfire Audio packaging, a relatively small box, colored red just like the Lyra II and Vega, decorated with the camping/night sky theme and Campfire Audio branding with the details and photo of the model on the outside. Opening the box reveals the Campfire Audio leather zipper case, and inside the 4 core SPC litz cable and the IEMs can be found inside with the IEMs coming in red miniature drawstring pouches sporting a red velvet like exterior with a simple fabric interior to protect the housings (more on that later). The Dorado comes preinstalled with Campfire’s marshmallow tips. Removing the case, you will find a false bottom revealing the rest of the included accessories. The included accessories are a standard set of black wide bore silicone eartips, a set of Spinfit tips of a host of sizes, the remaining marshmallow tips; And then we have a warranty card, a quick start guide, an attractive lacquer pin, and an IEM cleaning tool. The zipper case of the Dorado has a pebbled leather outer finish that sports their logo engraved, black zipper with a logo engraving as well, the interior is lined with an almost shearling like fabric to keep the housings free from scuffs or scratches from within; The case is high quality, and seems to be relatively durable, and while the leather outer material seems on the thin side, the case itself seems to have a backing that that keeps it stiff and sturdy. Overall the packaging is simple and not wasteful, and the accessories included are a quality and attractive case, a wide variety of tips to suit almost any need or use case, though a softer case material as well as a softer interior for the individual red pouches would ever so slightly increase the premium factor. Another thing of note is that the red pouch in some instances may stain the coating of the cable, so be mindful.













Build Quality: The Dorado (and those of its siblings) shell is a departure from the more recognizable shell design used for the balanced armature models of Campfire, with a smoother and more compact overall shape and utilizing what Campfire calls Liquid Metal Alloy shells. The shell is divided into 3 main parts the faceplate, the main body, and the nozzle. The faceplate is bare save for the engraved Campfire Audio logo and its share of the MMCX connection, with a bevel as it meets with the main body. The main body houses a lot of the bulk, with it housing the dynamic driver, the vent for the driver and the requisite engraved L/R marking. We finally transition to the nozzle area, to me the most intriguing part of the build as it is much longer and a bit thicker than what one would normally expect, this is, would hazard where both balanced armature drivers reside, the nozzle is capped off with a metal screen cover to protect the internal components from dust, or earwax from getting inside and clogging up the nozzle or drivers. The Dorado utilizes the tried and tested Beryllium MMCX connection for extra durability; and the main portion of the shell is finished in this gorgeous rose gold paint that just exudes class without being over the top, though I did find the finish to chip and scratch just a little too easy for my preference, but I have not experienced any major marring in the finish.

On to the cable, the Dorado comes with, what is by now standard fare for Campfire IEMs with their Litz cable, the 4-core double twist SPC cable that is of exceptional quality, though one would expect nothing less since this is coming from the same minds as ALO audio and they make fantastic cables. It feels supple, is light, and is flexible while looking attractive to boot, although as previously mentioned one might want to be careful since the soft coating might take on colors from dyes prone to running.









Fit: The fitting experience with the Dorado is somewhat of a peculiar one. The relatively more compact body and smooth edges mean that it is less likely to hit parts of outer ear and cause chafing, scratching or discomfort to the wearer, typical of this shell design like with the Vega and Lyra II, however the nozzle presents an interesting challenge, it is LONG and has a larger diameter than most, so this places individuals with narrow or shorter canals in a little bit of a bind, meaning that it will likely sit outside of the ear a touch, or it might prove difficult to wear altogether. Pairing with foams seem to be the best option as many silicone tips just don’t have the bore diameter or length to fit properly, bullet shaped foams however cover the length and diameter just fine for the most part and their nature tends to lend an easier and more secure wearing experience for most people. I personally found them to fit nearly perfectly with medium foam tips, sitting and cradling right in my ear and providing great sound isolation to boot.







Sound: To capture as comprehensive a picture of the sonic characteristics of the Dorado, I tested them using various source, including (but not limited to) Hiby R6 with and without an IEMatch, ifi Audio xDSD DAC/Amp, FiiO Q1 Mk II DAC/Amp, LG G6 with and without the HiFi DAC enabled, stock output from an Alienware 17 R3, volume matched to as close as my measuring gear would allow. The overall sound characteristics of the Dorado seem to be a warm W, and by that, I mean it has a boosted bass response that tapers towards the mids, with another peak in the midrange, finishing with energy in the treble.







Bass: Let’s get this out of the way immediately the bass on the Dorado is north of neutral. It has authoritative and visceral bass delivering on both slam and impact without sounding sloppy or uncontrolled, a common issue when bass is a focus of IEMs. The sub bass response is simply wonderful, especially for those who prefer their subbass to be powerful; in Lana Del Rey’s “Love” the bass drum hits seemingly fill the stage and resonate with wonderful and natural texture. The decay of the subbass is on the slower side, not being sluggish but rather almost thoughtful in the pacing of the decay, highlighting the timbre of the dynamic driver that. The midbass lightly tapers off at the transition to the mids lending to minimize “bloom” often associated with bass forward tunings that lead to interfering with midrange performance, particularly vocals, however it doesn’t really present itself as “thin” sounding at all in fact it still shares the same qualities with the subbass in texture, note fullness and decay, however it is just a tad more subdued, presented a touch behind the subbass, however with regards to the to rest of the frequencies it is still forward in fact when listening to “I Sold My Bed, But Not My Stereo” by Capital Cities the synth bass hits definitely get your head moving but there you can easily contrast it with the subbass that appears in the bridge of the song; and bass guitars in general are simply a joy to listen to on the Dorado. The bass delivery of the Dorado is fun, full, and can put a smile on your face. Those however looking for neutral, faster bass should definitely look elsewhere though.







Mids: The most prominent thing to notice with the midrange performance of the Dorado is the general forwardness and quality of the vocals, something not necessarily expected when the bass is as prominent as it is. Lower midrange is slightly behind, a result of the gradual rise from the taper in the midbass. This means that sound in that range, mostly instruments in my experience, like lower piano notes and the like sit a bit behind the vocals and suffer the most of any frequency in the tuning. Lower register vocals seem to be mostly free of any effect of the taper, “Perfectly Lonely” by John Mayer sound just about right, presenting the vocals with good thickness, with an ample amount of texture and definition that his singing doesn’t feel dry and it provides a listener with a pleasant amount of emotion with the texture. Moving up the scale to higher register vocals, I find them a hair bit ahead of the lower register, but only slightly, to me this manifests itself in more emotion coming through. “Valerie” by Amy Winehouse is a terrific example, the vocal delivery takes center stage, letting you focus on it and be complimented with the guitar riffs, and the consistent bass line and piano. Sam Smith’s “Baby You Make Crazy” is another great song on these, the chorus where he sings with a falsetto are smooth, delicate though not as well balanced as Valerie, so the bass is definitely a bit more in your face here. Instruments in the midrange as I touched on earlier take a step back from the vocals but the quality coming from pianos, guitars and the like are still very good, sounding articulate and never get muddled or lost even when there is a fair amount of distortion.







Treble: This is where the T.E.A.C. kicks in, and Campfire has managed to insert a surprising amount of air and sparkle into the Dorado. The treble is lightly energetic and has a good treble extension, as expected from this kind of configuration but the quality and the handling of the treble here is what sets it apart. The amount of details here is good, especially remembering the amount of bass these things pack. I did not find it sibilant and it is not harsh, the frequency response charts show that well enough, what they don’t show is that for that relatively mild graph, cymbals for one is reproduced relatively well, not something I initially expected, but the articulation of cymbals, from hi-hats to ride, and crash cymbals surprised me; listening to the typical “pop/punk” or metal jaunts the Dorado handles the fast cymbals really well, good definition and good “bite” on crashes without veering into the territory of discomfort thought still not the level of articulation found in high end multi BA configurations, but that is also expected. Moving onto other instruments the story remains much of the same “Feels So Good” by Chuck Mangione, the delivery in the instrumental is smooth, but not sounding rolled off, and violins and the high end of piano as in the cover of “Yellow” by Daniel Jung highlight an amount of “attack” I like in the violin while the piano notes in the treble region have this sparkle that really cap off the treble well. Overall there is good energy in the treble so that it isn’t “soft” that doesn’t overstep and articulates itself well.







Presentation: The overall presentation of the Dorado is not what I would call spacious, mostly because the forwardness of the vocals range tends to increase the intimacy of the listening experience, however the due to the recess in the transition point of the bass and mids coupled with the treble performance kind of balance or cancel each other out. The staging width is a little better than average, giving a good sense of left to right end to end, a fair bit beyond the ears. Depth on the other hand is quite good providing a good overall stage, and positioning is accurate as far as I can tell. Layering is pleasant all the way from the bass to the treble, while separation is likewise very good, with the individual presentation of instruments or notes good, even with more complex tracks and only in bass heavy tracks does the technical performance of the Dorado begin to suffer. One thing to note is that the Dorado is relatively forgiving of the source music, so even is tracks that aren’t the most technically proficient in mastering, it will not be as revealing of flaws as other IEMs, you can take that as either a pro or a con. Now back to something I touched on earlier, and one of the biggest draws of Dorado, cohesion. The way the tuning was handled is great, balancing the big bass response with the treble energy and the bump on the vocals that remove the usual “dips” in the sound that this configuration can suffer. The Dorado has a direction in the sound signature it’s trying to accomplish, and it succeeds.




Conclusion: The Dorado follows in the philosophy of Campfire Audio, it doesn’t aim for outright technical proficiency, or pure reference tuning, it is fun, engaging. The Dorado is their attempt to fulfill the goal of getting the best of both worlds with a hybrid, timbre and fullness of dynamic drivers and articulation, details, and speed of balanced armatures, all the while packaging the sound neatly together avoiding it from sounding unnatural or off kilter. For the most part they have succeeded in providing an experience that is as close as to best of both worlds as one can get, and while it leans a little warmer than true balance, the level of cohesion they deliver here can almost be said as a “maturation” in the configuration and is hopefully something more hybrids will deliver in the future. All the while all of this is packaged in a housing that while might not be for all due to the nozzle, is for the most part comfortable, attractive and is generally of the high quality we have come to expect from Campfire Audio. This all delivered in the compact but accessory rich package. The Dorado is a wonderful IEM, easily lining up with my personal preferences, and one of my favorite earphones. And yes $999 is a steep price, I feel like for those hybrid fans like me looking for a “best of both worlds” experience that Dorado is one of the most well-rounded options that fit the bill, with a combination of build quality, and a sound signature that is not only unique but also refined, that price will be worth it, not a steal mind you, but definitely well worth it.





Originally posted at:https://faceaudioreviews.blogspot.com/2018/06/the-road-to-el-dorado-campfire-audio.html

Introduction: The amazing people responsible for Campfire Audios highly acclaimed in-ear monitors have continued to be busy at work since their initial entry into the market a couple of years back, along the way they’ve crafted some of the most well-regarded IEMs in their respective classes, from the airy, resolving Andromeda to the visceral and powerful Vega. In their journey of creating various innovations in how to extract the most out of whatever drivers they had to achieve the target sound they were looking to accomplish and not necessarily just jamming as many drivers as they could. What we have here is the Polaris, combining the familiar; the shell that embodied many of their balanced armature designs, the TEAC technology, the 8.5mm PVD beryllium dynamic driver; with the new, a hybrid dynamic driver and balanced armature design, a new aesthetic design with a two-tone color space, a non SPC cable, and what they’re calling a polarity tuned chamber, also in the vein of maximizing the performance of their dynamic driver. So, what can we make of Campfire Audios “middle child” in their line-up, slated at $599? Check it out after the break, and if you want a summary of my thoughts head on straight to the conclusion of the page.

Disclosure: The Polaris was provided to me by Campfire Audio in exchange for a comprehensive, and honest review.



Packaging and Accessories: The Polaris comes in the standard Campfire Audio packaging, a relatively small box, colored blue, decorated with the camping theme and branding with the details and a photo of the model on the outside. Opening the box reveals the Campfire Audio zipper case, and inside the IEMs and the cable are inside. The Polaris comes preinstalled with their marshmallow tips. Removing the case, you will a false bottom revealing the rest of the included accessories. The included accessories are a standard set of black wide bore silicone eartips, a set of Spinfit tips, the remaining marshmallow tips; And then we have a warranty card, a quick start guide, an attractive pin, and an IEM cleaning tool. The zipper case of the Polaris has a pebbled leather outer finish that sports their logo engraved, black zipper with a logo engraving as well, the interior is lined with an almost shearling like fabric to keep the housings free from scuffs or scratches from within; The case is high quality, and seems to be relatively durable, and while the leather outer lining seems on the thin side, the case itself seems to have a lining that that keeps it stiff and hardy. Overall the packaging is simple and not wasteful, and the accessories included are a quality and attractive case, a wide variety of tips to suit almost any need or use case.





Build Quality: The Polaris uses the familiar Campfire shells used in their balanced armature models. The aluminum machining is wonderful, with all the bevels, and edges being precise and smooth. The shell utilizes 3-piece construction, the main housing being the textured blue anodized aluminum, with the textured lines only appearing in the upper half portion of the shell, painted in a metallic blue finish that gives a nice reflection when hit by light in various angles. The faceplate section as again anodized aluminum but this being finished in a Cerakote coating that will increase its durability; also located on the faceplate is an intricately machined Campfire logo, a breathing port for the drivers, and 3 torque screws to secure the housing assembly. The last portion is the 3D printed nozzle, constructed out of some variation of a plastic polymer with 2 ports, 1 for each driver and a nice lip to secure ear tips. The MMCX connectors are their usual beryllium MMCX connectors that add more durability. The construction of the Polaris is just wonderful, with expert machining and assembly, free of gaps, glue, or debris along the seams of the housing. If there’s anything to say the anodized finished combined with the angular housing lead it to be prone to chips in the paint, even when it’s in the case tucked away with care.



The cable is a 4-core Litz copper affair, with a 3.5mm single ended termination. The plug portion is reinforced plastic with nice strain relief, the Y splitter is made out of black aluminum, and the cinch is constructed out of plastic. The cable itself is “braided” in a twist configuration, and the black plastic sheathing seems soft and pliable. The MMCX connector portion is made out of hard plastic with shrink wrapped ear guides complete with the moldable metal wire. All told the cable is a simple but premium affair, with minimized microphonics and while I personally am not a fan of metal guides, it does do its job, though if it could hold memory better I think that would provide for a better wearing experience.





Fit: The fit experience with this will be mostly similar to the other Campfire IEMs with similar housings, where those with a smaller or shallower auricle may have some difficulty wearing them, due to the somewhat unconventional shape, larger housing, and somewhat harder edges. However, the introduction of the new nozzle alleviates some of the older issues and may introduce some new ones. Firstly, because the nozzle is longer this means that the large shape and sharp edges are less likely to cause discomfort for those wearing them as they sit farther away from your ear, however that might also introduce the fact that it will sit more outside the ear vs the Orion, or Andromeda for example. For the most part they fit me seamlessly and should fit most people comfortably if they were able to comfortably fit the other Campfire IEMs. A unique fit to be sure, but one that works well for the most part.



Sound: The Polaris was tested across various devices, from the stock output of an Alienware 17 R3, an LG G6 with and without the Hi-Fi Quad DAC, an ifi xDSD, a FiiO Q1 Mk II, and the Hiby R6 with and without an IEMatch as well to be able to test it across various output impedance levels. Listening comparisons were done volume matched to ensure accurate impressions relative to volume. The tuning of the Polaris seems to have taken some influence from the “Japanese” style, meaning there’s a boost in the mids around the point where higher pitched vocals start to enter. This is complemented by good sub bass, an attenuated mid bass, and smooth but well extended treble, the full breakdown of the sound will be found below.



Bass: The bass reproduction on the Polaris is a tale of two parts, the first part is the sub bass and lower half of the bass, up until I’d say 200Hz or so. The sub bass extension is quite good; bass drums from “Love” by Lana Del Rey, “Way Down Deep” by Jennifer Warnes, “Down”, and “Deep” by Marian Hill, have a fullness, that while stopping short of authoritative, definitely is a focal point. The texture on the bass drum is nice with the natural timbre you expect from a dynamic driver, every hit can be felt and not just heard. The sub bass decay is moderate, with a little linger that makes it sound “organic”. The rest of the lower bass is also a little elevated, but not to the same degree as the sub bass, the presentation is a little less detailed texture, but still pleasant and it does not linger like the sub bass.



The other side of the coin, the mid bass is a little more attenuated as it approaches the mids. This approach gives nice spacing between the bass and the mids avoiding any bloat or overlap, on the other hand this slightly reduces the thickness and forwardness of instruments on the lower pitches as well as really deep vocals. While I wouldn’t consider them thin, they are a little bit drier, especially juxtaposed with the mids (that we will discuss further later). The dynamic between the upper and lower halves of the bass is interesting because the lower half is definitely more prominent and are intentionally not on even footing, this can be exemplified in “I Won’t Give Up” by Jason Mraz where the bass guitar overtones looms over the guitar and some of the vocal work that usually is the focus of the songs, especially in the intro. Overall the bass reproduction is boosted but well controlled in relation of the other frequencies, something especially for those looking for the “natural” bass that is more “felt”. I can definitely appreciate the Polarity chamber here.



Mids: The mids on the Polaris is another two headed beast, and again with a lower half, and an upper half. The lower half something we slightly touched on earlier, usually reserved for lower spectrum vocals, usually male, and full range instruments is affected the by the recess that bottoms out somewhere between 500Hz and 1kHz. In this lower half range the reproduction have a little less body, and just take a step behind when presented, probably a consequence of taming the bass. This is exemplified in the chorus of “Castle on the Hill” by Ed Sheeran especially with the rolling bass drum line that runs throughout the song, the vocals and guitar just lose a bit of resolution and definition and blends in together a bit more.



The upper half on the other hand is just a polar(is) opposite, there seems to be a crescendo towards 2k Hz. “Valerie” by the late, wonderful Amy Winehouse has her voice forward, almost enveloping you, and when she does mini runs during the outro the feeling gets even more enhanced. There’s a sense of “emotion” in the way it reproduces vocals, where getting the grit and texture of the voice is imperative, the Polaris nails this. A great song that really showcases the midrange response is “Hello” or “Turnin’ Tables” by Adele, in the verse she sings slightly lower notes, and when she gets to the chorus the run she makes gradual increases in the note, and the top of those runs there’s some extra “oomph” that brings it a little higher, a little more forward, it helps encapsulate the emotive sense I mentioned before. The instruments in this range follow the same formula, as the pitch increases they get better definition, and fuller rendering, think of it like the Polaris is more an Adele IEM vs a John Mayer IEM, though it still does both well.



Treble: The top end of the spectrum for the Polaris is the most straightforward. It is well extended, linear, and free of harsh peaks or sibilance in my testing with cymbal crashes not even close to wince inducing. The TEAC module allows the balanced armature to introduce a moderate amount of air, just enough to “space out” the sound and add a good dose of sparkle that really gets to shine when violins, saxophones, or pianos get some focus. Treble response is clear and open, not sounding or muffled at all, and the detail retrieval in this spectrum is quite good, not exceptional but good. In “Feels So Good” by Chuck Mangione the saxophone delivers notes pleasantly even when it works up the scales, and the solo has good definition even once it gets busy. Daniel Jung’s rendition of “Titanium” sounds nice and resolving and is not shrill, however it reveals that the top end is a little soft and could use some more bite or crispness, evident in drum solos cymbals sounding good, but feel like it needs a little bit extra. Overall the treble reproduction is pleasant, giving a good amount of air and sparkle without being too hot that it could turn some people away or be too fatiguing. While I could personally do with some more sharpness, the overall tone is well defined and lends nicely to the overall signature of the Polaris.



Presentation: The emphasis on the sub bass and upper mids, work together in creating a more intimate presentation, somewhere along a Lounge feel, where most of the vocals lightly surround you, lending in a more intimate feel. The staging width wise is not particularly expansive with cymbals and other complementary sounds appearing just outside the ear, however there is nice depth to it, helping to give a sense of good layering, and everything not just being shoved at the same time. Separation for the most part is good, detail retrieval is good as well and except for the lower mid, mid bass section where they can be slightly lost in the mix when busy, there’s good technical proficiency here that you definitely don’t feel you’re sacrificing detail for the fun sound.



Conclusion: The Polaris is an intriguing entry, and a specimen that encapsulates things being greater than the sum of its parts. It has elements in the bass and midrange that when viewed in a vacuum would seem to indicate a lack of cohesion, but when you put it all together it paints a beautiful sonic image, that in fact does work hand in hand. Campfire Audio has combined their signature design and build quality, integrated their staple technology, and added upon it some touches we haven’t seen before in their product range, and have a take on their tuning that is emotionally captivating and engaging, while still more than enough resolution to remind you that this a premium IEM. Powerful sub bass that then tapers off in the transition, then full emotive vocals with a slant towards the upper register, and smooth but well extended highs with nice sparkle all of which with a slightly intimate delivery. Something to consider if you’re looking for more “fun” and engaging tuning at this tier, Campfire Audio has another winner with the Polaris and one at $599 is, in my opinion one of the better value propositions to be had. Simply a well rounded IEM that is both immensely enjoyable in sound and exceptional in quality.



Originally published at: http://faceaudioreviews.blogspot.com/2018/06/campfire-audio-polaris-review-when-you.html

Overview: Astrotec is an audio company hailing from China that entered the market and started to gain traction with their vast array of affordable and attractive options, though one of their shining jewels, the Lyra series of earbuds stands special mention. The AM 850 on the other hand represents the flagship of their IEM lineup consolidating their ideals of sound, design, materials and build, all in one package. Does the AM 850 live up to the pedestal status it owns in the product line-up? How does it stack in the increasingly crowded entry level market, standing in at $99? These are all questions I hope to help answer below.
Disclaimer: The AM 850 IEM was provided to me by the good people at Astrotec free of charge in exchange for an honest, unbiased review.



Specifications:
Driver: 10 mm
Resistance (ohms) / 1 kHz: 60 Ω
Maximum input (mW): 12Mw (IEC *)
Frequency response (Hz-kHz): 10Hz-40 kHz
Rated power (mW): 3Mw
Sensitivity: 110Db / 1mw (S.P.L at 1 KHz)
Headphone plug : 3.5mm
Wire length (mm): 1.2 ± 0.3mPU silver plated wire





Packaging and Accessories: The AM 850 comes in an attractive textured box with a sleeve containing the model name, serial number, and specifications. The main box is a sideways opening magnetic clasp with the Astrotec logo and a sketch of the earphones printed on it. Opening it reveals 2 cardboard covers with Astrotecs motto. Removing those reveals the earphones as well as an aluminum eartip holder that was surprising in the thickness and quality that the material used. Removing the foam carrier reveals the rest of the accessories, some over ear hooks, some more silicone tips, a pair of foam tips, an airline adapter and an attractive leather looking case are included. Overall the packaging has a higher quality feel, and the included accessories have a premium and fashion forward vibe to it, and while the case may not offer a lot of protection for the earphones they will definitely be something that draws the eye. The offered tips are a set in the style of Sony hybrids, as well as more generic silicon tips. The ear hooks are also nice for those looking to use these during exercise.





Build and Design: The AM 850 is an earphone that carries high build quality not only in manufacturing process’ but material quality as well. The quality and finish of the aluminum and wood is quite exceptional, you can feel the slight heft the units, that give yet again a premium impression to whoever holds or wears them. The cable on the other hand is another story, while the Y splitter, cable cinch, and 3.5mm plug all are finished in aluminum its not the same thickness and are cored with plastic in the middle. The actual cable on the other hand is another mixed bag, while the quality of the 4-core cable themselves are quite nice, which are quite flexible, the sheathing they chose to utilize is quite rubbery, resulting in a sticky feel and some microphonics. The aluminum shell utilizes 3 pieces, 2 of which are aluminum forming most of the exterior but the wooden chamber that peeks out from the rear. Seams are nice and tidy; no stray glue marks and machining is all smooth and tidy. Overall the build quality strikes me as above average, hopefully Astrotec utilizes better sheathing in the future especially since the rest of the build has a higher quality feel. The design follows a more conventional design of earphones in the market eschewing the cable up approach that will mean it’s a more accessible design for all, aesthetically it is a simply but classy design making the most of the aluminum design with a contrast of polished and brushed finishes leading to a nice visual contrast, it is followed with a touch of wood to give a peep of the chamber inside, and it shows quite well the grain of the wood that’s had a nice dark red stain.



Fit: They fit easily and comfortably and should be pleasing to a wide variety of ear shapes and sizes, due to the fact that is uses the conventional cable down fitting compared with a rounded barrel shape so there isn’t any points or edges to cause any sort of discomfort. Weight wise they shouldn’t be too heavy to cause removal in casual use, but something like running or jogging might dislodge them easier, luckily the provided hooks will let you wear them over ear and keep them more secure. Overall a classic design leading to easy and friendly fitting.





Sound: Listening impressions and comparisons of the AM 850 were taken with the FiiO Q1 mk II DAC/Amp, ifi Audio xDSD DAC/Amp, Hiby R6 DAP, and LG G6 these I found were on the slightly harder end of driveability for a phone in the sense that you might need around 80 to 90% on weaker phones but completely driveable with a phone nonetheless, and it seemed to be agnostic to the amount of power it received . Volume matched for accurate comparison between sources or other gear. Astrotec didn't require or advise any burn in time but I did get to 100 hours with them to please both sides.
The overall tonality of the Astrotec AM 850 leans on the darker and warmer side of the spectrum, will lots of body in the lower frequencies and a relaxed one at the higher ones, a tuning for bassheads definitely.



Bass: The bass on the AM 850 is the star of the show, offering full bodied bass, with decent texture, and slower decay, and LOTS of it. The sub bass extension is good enough, allowing songs like "Way down deep" to really dig in those bass drum hits, while the mid bass takes that up a notch with a thick full slaw like in "Super Bass" the low end on these puppies just keep on giving and giving. The texture is actually nice relative to the amount of bass, with a timbre that you can't get anywhere else but a dynamic driver; coupled with a decay that is on the slower side, both likely caused by the wooden sound chamber, this gives a feeling of reverberation and definitely will please those looking for a true blue basshead experience, now or course this unique bass experience has a cost, and for that we move on.



Mids: The mids on the AM 850 is quite an interesting listen, on a quality standpoint, it's not bad, in fact when I dissected them with less bassy songs such as "Landslide" by Fleetwood Mac, overall the mids had good texture and with good enough details and sounded smooth while lower mids had a fullness from the lower notes of pianos to some vocals, no doubt thanks to the boosted mid bass, the same can't be said when we go up the scale however, because while the the quality is more or less the same, they can get overpowered by the bass, sounding thinner and drier in comparison, the upper register vocals and instruments are there but when the bass guitars, or lower tones of instruments step in, singers, especially those with higher voices step back, and almost play accompaniment instead. This leads to an odd sound in vocal or mids focused recordings the likes of Adele come to mind especially when she starts going on vocal runs like in "Hometown Glory", while not necessarily a negative, definitely something that one should keep in mind before buying these earphones.



Treble: The treble on the AM 850 takes a smooth and relaxed approach, it's not energetic and is also free from harshness or peakyness, and there is no trace of sibilance. It's smooth though it doesn't extend very far, and the air and sparkle is kept to a minimum, aiding the sense of warmth and darkness, however the highs aren't dull, they're presented well enough and are present, however it is again a case of it simply taking a backseat though the treble itself has decent detail, enough to get by. The violins in The Ransom Collective's "Settled" are there but are merely accentuating the drum and bass lines, and round out the musical composition and don't stand out or grab you.



Presentation: The AM 850 packs a somewhat wide stage, extending a little past the ears, while height and depth are mostly average. With staging that is fairly accurate, and in no way sounding unnatural. Layering and separation can get a little tight especially with bass heavy arrangements, while within the low end, the layering is fairly good, with nice definition between drums, guitars, and other instruments, once the bass does start taking over the mids and treble start to lose their footing when it comes to the technical aspects.



Conclusion: It seems that Astrotec had a certain idea in mind when they made the AM 850, a fashionable and attractive earphone, sporting a quality build with quality materials (cable notwithstanding) with a commercial style sound, that had more refinement than the usual items tuned in that manner. And with that goal I think they have succeeded, and if I were to sum up the AM 850 a word I'd use is accessible, something most consumers might look to pick up, even though maybe those looking for more "audiophilic" tunings might not find these to be what they seek. In the end AM 850 looks good, is packed with accessories, built great, and will have all the bass you might ever want, and the bass is pretty good mind you. So if you're in the basshead camp, and you want something that looks classy and refined then the AM 850 is exactly what you should look for.

Introduction: Hiby Music, a company that for years has been designing a music player app for phones and a full player platform for DAPs, one day decided that it would breach the software-hardware demarcations and build its own music player, this project is 2 years in the making and is now about done with the crowd funding campaign and is almost ready to take the world by storm. This is the Hiby R6, “The Most Advanced Android Hi-Fi Player” let’s see what Hiby has managed to bring to the table with their first offering that is served right in the "sweet spot" of the mid range market at $569 for aluminum and $649 for the Stainless Steel.


Specifications:
Dual ESS ES9028Q2M DACs
Dual OPA1612 and Dual TPA6120 Amps
32-bit/384kHz format support & Native DSD
Snapdragon 425 Processor (4x1.4gHz)
3GB RAM (DDR3) and 32GB Storage
Expandable for up to 2TB (tested on 400GB)
Dual-Band Wifi (2.4G/5G)
Bluetooth 4.0 with apt-X
Android 6.0 (Marshmallow)
DTA (Direct Transport Architecture)
Bit-perfect output (bypassing Android SRC)
4.2 inch 300dpi 768X1280 Touchscreen
Arc-shaped 316L High-impact Stainless Steel CNC Body
Supports Line out and coaxial digital output
4000Mah Battery (with 12 hour battery life)
3.5mm, 2.5mm and line-out/coax outputs
USB-C with Quick Charge 3.0
USB DAC functionality and transport






Packaging: The Hiby R6 comes in a black cardboard box reminiscent of boxes for most modern mobile phones. The box is sturdy with the Hiby logo embossed on the front and the R6 specifications printed on in the back. Opening the box reveals the player packaged in soft plastic in a foam carrier, and underneath it you would find the rest of the accessories, and literature like instruction manual and warranty card. Everything is packaged nicely and most of the things are wrapped in soft plastic to avoid scuffs or scratches in transport.



Accessories: The base R6 has a few basic bundled items, a pin ejector for the Micro SD card, a USB A to USB C charging cable, the cable is black and sheathed in fabric but remains pliable and the connectors are quite sturdy, a line out cable, thicker but like the USB cable it’s sheathed in fabric and retains a nice flexibility with quality connectors. There are also 2 screen protectors one is tempered glass and the other is standard plastic, though Hiby says the R6 comes pre-applied with a screen protector at the factory, so you have 2 spares. Finally, there is a simple jelly style silicone case that while simple fits the unit well and does its job in protecting the player from scuffs and scratches; though a leather case is available as an add on option. Something to note though is that due to the curved nature of the screen borders the screen protectors will never fill the glass front completely.



Build Quality: I chose the grey aluminum variant as I preferred aluminums light weight over stainless steel. The R6 body is the familiar glass-metal-glass sandwich that has become the norm for mobile phones in the last few years, albeit a little thicker. The front houses a 4.2-inch 1280 x 768 screen, topped of with 2.5D curved glass and minimal bezels. Right underneath the screen is an aluminum chin with the Hiby logo and a Hi-Res sticker. Moving on the sides of the unit we have 3 ports on the top, a 3.5mm line out port, a 3.5mm headphone jack, and a 2.5mm 4 pole balanced port. On the left-hand side, we have 2 volume buttons and the location of the lone Micro SD slot. On the right is where you will find the power button and status LED, forward backward and play-pause buttons as well. Finally, on the bottom you will find the USB C port. On the back is a full black backed glass panel with the Hiby logo and device information, much like most phones you’d see today.





Build quality of the R6 spans from good to great, where the front and back glass meet the chassis you will find close to no gaps and smooth transition and curves at the corners of the screen. The main part of the chassis sports smooth aluminum machining highlighted especially in the top and bottom areas where the aluminum body curves inward to give some relief space for the ports and the port cutouts themselves showing very smooth cutouts for both the USB and analogue ports. The buttons all feel good with nice tactile feedback though the buttons have slight wobble in their default position.





Screen: The Hiby R6’s 4.2inch screen is quite simply a delight. At its size and resolution, it hits the ~300DPI sweet spot for most handheld devices for a smooth viewing experience. Resolution however is only one part of the story, the screen boasts wonderful color response, and black levels leading it to being one of the best screens on a DAP I have seen, even more so in this price range, rivaled only by the Pioneer/Onkyo DAPs. There isn’t much backlight bleed to speak of, and while it only has average peak brightness it manages good sunlight legibility and fantastic color visuals, although it has a slight warm cast. This high-quality screen renders album art and the navigation beautifully and, in a pinch, will do perfectly fine for watching streamed video so long as the size is no issue.





UI: One of the biggest selling points of the Hiby R6 was both it’s Snapdragon 425 SoC and the 3GB of ram it has packed in. That combo and the software work Hiby has done under the hood has lead to the absolute smoothest UI I have ever used in an Android DAP. Navigation through the familiar android UI is effortless, lag and stutter free in almost all regular usage scenarios whether it is swiping through menus and screens, switching apps, or pulling down the main tray. It can also handle the bevy of day to day apps we can use from social media like Facebook and Twitter to YouTube and Spotify it handles them with relative ease even with multiple aps running multitasked. All told the Hiby boasts performance that while not on par with 2018 flagship phones which cost nearly double its price, it’s still miles ahead other DAPs and should be the benchmark for mid and high-end DAPs from here on out.




Android Implementation: Hiby decided to go with an open Android 6 implementation on the R6 this giving user the ability to access the Google Play Store and the opportunity to download each and every app under the sun without the need to sideload apps and offering that extra bit of security getting your APKs from a more trusted source entail. There are other DAPs that do this however, so what sets the R6 apart is what Hiby calls DTA or Direct Transport Audio, the reason being that Android natively has what is called SRC or Sample Rate Conversion, essentially this means that audio coming out of an Android device gets resampled to 48kHz, either resampling 44.1kHz audio or downsampling higher sample rates, so this renders open Android platforms moot right?


Well most manufacturers get around this by getting their built-in player to bypass the SRC or having dual boot functionality with pure audio modes being available. What Hiby did was something different, they managed to bypass SRC on a wider near system wide scale, meaning whatever audio you’re playing from almost all apps comes out at native sample rates. So, what does this mean for end users? Well DTA plus the open platform gives users unrivaled flexibility in using the R6 not only unlocking its use with current and possibly future Hi-Res streaming platforms, but to also give the user their pick in app, you’re not stuck with the Hiby player if it’s not your cup of tea, the HiFi player apps out there are now yours to access and make the most use of. This freedom of choice is refreshing in the DAP market, and quite surprising coming from Hiby since they pride themselves in their player.



Hiby Music App: The stock audio player pre-installed with the R6 is feature rich, with some features being unique to the R6, while suffering from certain bugs that while not something rendering the app unusable is present enough to take note of. First let’s talk about the basic features, the Hiby Music app has the usual selection of sorting via song title, memory folder, album, artist, as well as genre, these are all about as expected though when using the artist tab, it’s noteworthy that you always default to alphabetical list of all the songs, an option to default to the album selection within the artist would be nice. Once you’re playing music you get a nice screen with the album art, the forward and back, play pause, and the Hiby special circular progress bar. Aside from that the song info is displayed, shuffle and repeat options shown and an option to pull a quick tab for the rest of the songs in the playlist. Swiping to the right once brings you a lyric pane and twice a full file info pane, there is also a 10-band equalizer with the usual presets.


Now for the interesting bit, what Hiby calls Mage Sound Eight Ball or MSEB and its really interesting software tweak that instead of an EQ that classifies by frequencies classifies items into sounds you want to accentuate or attenuate, dark vs bright tonality, bass extension, texture, sibilance, etc. that really provides a different way to fine tune the sound and for those who are into EQ and other DSP tweaks, this is a cool idea with a great implementation. As for the downsides of the app, the software in charge of obtaining lyrics and album art online is unreliable at best, sometimes getting me art where I can’t seem to find any real connection to the album or artist in question. And another album art problem is that the app can fail to pick up on album art that is already stored in the folder. A firmware update has mitigated but not totally eliminated this issue.



Sound: The sound of the Hiby R6 has a duality in it. I’ll discuss more about on it below, but a short version is that due to the relatively high output impedance the R6 has, devices sensitive to this will have an altered sound, usually a reduction in the bass region making the overall signature of IEMs seem brighter.
To get the best idea of the sound I tested the R6 with multiple IEMs ranging from the iBasso IT01 to the Campfire Audio Andromeda and HiFiMan HE-400i among others. The testing was done volume matched to within as close as tolerances allow. The base tonality of the R6 skews slightly on the warm sound, but nothing drastic, a slight boost in low end at most.



The slight warmth lends to a full sounding bass response with impressive extension and a texture that tends to bring out “emotion” in music all the while not losing out in resolution as some players do. This full-bodied approach is carried over into the mids, again with a little emphasis so that vocals in particular won’t sound anemic or dry. Again, seemingly recurring theme with the R6. The tonality is bookended by what is by and large neutral treble that doesn’t accentuate harshness in what you’re listening to. Staging on the R6 is impressive providing good width that has a little more edge in depth, though not disproportionately so, and neither having an artificial feeling, giving a natural and accurate perception with regards to imaging when listening to music.
Technical aspects are good with the R6 showing quite capable of proper detail retrieval and not having any frequency range losing resolution. Amplification wise the R6 packs in 120mW and 300mW of power on unbalanced and balanced respectively, more than enough to run IEMs and proving capable of powering headphones that are moderately power hungry. The background is very dark, providing no hiss on almost every test situation especially when Wifi was turned off, so even sensitive gear is right at home noise wise.




Now let’s talk output impedance shall we. The R6 packs 10 ohms, that’s a pretty high number especially these days. So why does it matter? It’s because of the interaction between the input impedance (IEMs/headphones) and output impedance (amp/DAP), because frequency response changes occur when the output impedance is close to the input impedance. So naturally we’d want higher impedance gear to pair with the R6 so that the attenuation of bass doesn’t happen, so why then does other gear not seem to be impacted the same way? Because the impedance of earphones is not actually fixed but varies throughout the frequency curve and because, and especially with multi driver the impedance curve is different for every IEM.
Single drivers, dynamics in particular usually have more linear impedance responses therefore is more uniformly affected by the R6, and if they’re all affected the same it balances it out. But once you add more drivers, the more sensitive multi-BA style it gets tricky because every driver could have different impedance ratings and now a change in one drivers output can greatly affect how you hear the signature. So, it’s a lot of uncertainty out of the box. A simple, but not free solution is to buy an IEMatch from ifi it’s a dongle that works well and essentially eliminates all the issues related to the output impedance of the R6. Generally, it will bring back the signature of whatever affected gear you are listening to, and if you are one of those who have many multi BA IEMs it will be your best buddy.



Conclusion: The Hiby R6 has a lot going for it. It has a great price, great form factor, great screen, great UI and usability, great sound, even some great secret sauce with the DTA and the MSEB. It has a lot of great things working for it but is marred by some software issues within the app, that with proper support will be patched sooner rather than later, and a hardware design choice that adds an extra step than you need to for it to be fully flexible, something that no amount of software updates will fix. However overall, it’s a device that checks a lot of boxes and falls short in others.


But at the price it was offered up for on Indiegogo at somewhere between $400 to $500 depending on the variant and how early of a backer you were it really is hard to beat. But with the $569 and $649 at retail, you understand that you aren’t getting a top of the line device, yet it has a combined feature set and sound that can go toe-to-toe or even beat some of the pricier options in the market and essentially beats everything else around or below it as an overall package. So is the Hiby R6 perfect? A world beater? No. But it sure is a winner, and other DAP manufacturers could learn a thing or two from the R6. It's definitely worth the money and I can't wait for the next thing Hiby has brewing.

Overview: The Hibiki Special Edition is the “big brother” of Shozy and AAW’s popular collaboration Hibiki IEM. Upgrading not only aesthetics but sporting internal improvements as well as a different sound tuning. Will this prove to be worth the price premium, or will it prove to be all sparkle and no substance? It’s what we’re here to find out.

I have received the Shozy Hibiki Special Edition from Shozy at no cost in exchange for my honest and unbiased thoughts on the product.

Specifications: All specifications received from Shozy-hk.com
10mm Bio Cellulose Membrane Proprietary Full Range Dynamic
Single Sound Bore Design
Frequency response:20Hz-40000Hz
Sensitivity: 102dB SPL@1mW
Impedance: 18Ohm@1KHz
THD≤0.5%@1KHz
Connector: 2-pin 0.78mm
Plug:3.5mm
Price: 129 USD






Packaging and Accessories: The Special Edition comes in tall sleeved cardboard box, with the sleeve sporting photos of the IEMs and a logo on the front and some technical information in the back. Opening the sleeve reveals a black clasped box that opens via magnetic flaps. This reveals the IEMs, the cable, the usual quick-start and warranty booklets, 2 extra sizes of silicone tips, and a black draw string carry pouch. Overall the packaging and included accessories are okay, at this price point a better case, and maybe more tips would be better.






Design and Build Quality: The Special Edition uses the same general housing design as the original Hibiki, sporting a somewhat large shell in a two-piece design. The main part of the housing is made of opaque plastic given a dark smoky treatment that under good enough light reveals just enough of the internals of the IEM. The second part is gorgeous faceplate finished with stained stabilized wood that comes out purple or violet depending on the characteristics of the specific wood panel. This is surrounded by a chrome trim. The finishing of the housing is good with not gaps or cracks and while light it feels sturdy in hand. You can even see the thickness of the plastic used as well as the reinforcements used in the build. The included cable is a 4 core SPC cable in a double twisted configuration terminated in a 4 pole 3.5mm plug for the included mic and controls. The control unit is plastic with 3 buttons for your basic controls and works fine on all the cellphones I have tried. On the other end of the cable is a pre-molded ear hook and the usual 2 pin CIEM style connector, which fits perfectly with the recessed plugs on the IEMs though the cable is a little more tangle prone than I hoped. Overall the aesthetics of the Special Edition is more upmarket and something you don’t see that often even at this price range and minus some small hitches here or there the design and build of the package is top notch.





Fit: The Special Editions due to the larger housing design can be tricky to fit for people with smaller or shallower ears and sleeping with them is out of the question for all but the most cavernous of ears. That said if your ears can handle the size, they fit quite comfortably and have a smooth inner side that minimizes any irritation you might feel with the inside of the ear. Security is aided by the pre-molded guides and make sure they stay in your ears where they belong even if they jut out a bit. Using these shouldn’t be a problem even when running or working out due to the hooks and because they aren’t heavy enough to really dislodge themselves once inserted properly.


Sound: Sound impression of the Hibiki Special Edition were taken after 100 hours of manufacturer recommended burn in on the Hiby R6 with and without an ifi IEMatch, FiiO Q1 Mk II, and LG G6. All of which were volume matched to ensure as accurate a representation as possible. I found the best fit with SpinFit eartips so I used those and the stock tips when I listened to them.
The overall tonality of the Hibiki Special Edition is warm and has the smooth cohesive transition as expected of single dynamic drivers and a low end focused signature that brings good body, musicality, and fun.


Bass: The bass on these are wonderful with addictive sub bass with deep extension that brings that rumble and fullness to instruments. It also has wonderful texture that lets bass percussion and other instruments have liveliness. Mid bass also has a boost but not too close to the mids and giving it space. There is good slam that decays moderately and not having a flabby quality that weighs the music down. Songs like Love by Lana Del Rey highlight the bass where the deep drum kicks fill the space in your ears but once the songs picks up the pace the vocals aren’t merely an afterthought.


Mids: The mids are not pronounced and seem a touch south of neutral indicating that bass is truly the star here, the space between the mids and mid bass means that the mids aren’t completely left behind but the result is a good thickness and warmth to the mids lending to nice lower register vocals. Upper mids are relaxed but not to the point of congestion, merely slightly subdued lending to while not fully emotive vocals and instruments, they are still pleasant to listen to. Nowhere in the mids does anything sound thin or dull, and overall they are presented well. Ed Sheeran’s A Team sounded great with the timbre of his voice and guitar coming through really well.



Treble: The Treble is smooth on the Hibiki and brings decent extension. The treble is just brought forward enough so that the overall signature isn’t dark and brings in air and just a touch of sparkle and clarity to the overall sound. There isn’t any harshness, peaks, or sibilance that I could detect. In Viva La Vida by Coldplay you can hear how the violins have enough juice to cut through the sound but at no point does it come close to taking center stage. Treble overall brings a pleasant listening experience that while not being at the forefront of the signature, that wasn’t its goal. It’s there to prop up the signature and balance out the full bass and it performs in that regard.



Presentation: Hibiki Special Edition has moderate presentation with soundstage width and depth not standing out in either spaciousness nor intimacy. Though layering and separation are good, especially given the bass, there is enough room for the instruments to highlight themselves and not end up congested and lost. Relatively the resolution is adequate providing enough detail and articulation in the music.



Overall: Shozy has updated their lineup with the Special Edition, after a few weeks of listening to the IEM, it has proven to be more than superficial changes, and is not merely an upgrade over the regular Hibiki but also a change of pace. It both addresses what I felt the original Hibiki lacked and refined what it already had. With a smooth, warm sound, oozing with quality sub bass yet having a bit more refinement, coupled with a gorgeous faceplate and a mobile friendly cable, the Shozy Hibiki Special Edition at $129 provides a good upgrade path to current Hibiki owners wanting to stay in house, and is a good option for anyone who likes their music smooth, warm, with a sprinkling of fun, just like a day at the beach.

Overview: The Seed Yin is Kinera’s spiritual successor to their very popular BD005, utilizing the same 1 Dynamic and 1 Balanced Armature driver hybrid configuration that proved successful in the BD005 whilst adding some refined touches in its design and build indicating the direction that Kinera is headed towards for their future releases. The Seed Yin is placed in the ever growing and competitive ~50 USD bracket clocking in at 49 USD SRP. Will the Seed sprout and allow Kinera to turn on a new leaf? We will find out. Disclaimer: The Seed unit I have is a unit given to me by a personal friend not affiliated with Kinera.
Packaging: The Seed comes in a compact white cardboard box containing the basic product information and a photo of the IEM on the front and detailed specifications at the back. Opening the box reveals the IEMs themselves, the cable, and 3 pairs of silicone ear tips all tucked in foam. Lifting the foam carrier up reveals the user manual, a card with a brief background on the Seed, a card advertising Kinera social media channels and, a “special thanks” card. Finally, there is a small pouch with a self-closing clasp and red accent stitching. Overall the packaging is attractive and has a premium feel, though more eartips would be appreciated.
Build Quality: Kinera has utilized a 3-piece housing design on the Seed with the main housing being divided into 2 molded plastic pieces and the final piece being the gold metal sound tube that utilizes 2 different sound bores for each driver, the construction shows no gaps or air holes along the seam of the shell, which admittedly could be smoother in how they come together, but at this price point that is hard to criticize. The Kinera logo and left and right markers are debossed and painted with gold and there’s a bass vent just at the end of the Kinera text. On the reverse the Kinera Seed logo also appears painted in grey. The cable included with the Seed is a fantastic looking 6 conductor silver plated copper cable with plastic molded ear guides and is reasonably tangle resistant. The 2-pin terminations are housed in a black metallic cover with blue and red rings to indicate left and right. The “Y” split and neck cinch are plastic and finally the 3.5mm termination is finished is metal with both sporting printed logos. Overall, the cable is of a quality that isn’t common at this price point, though a better strain relief on the 3.5mm jack would have been appreciated.
Fit: The Seed has a light build and a rather compact shape, this provides very good fit for a wide variety of ear shapes and sizes. It’s quite easy to find your preferred fit and once inside your ears they are very secure and provide good isolation even with the vent, which was a pleasant surprise especially on windy days or light runs around the neighborhood. The form factor also made sleeping while wearing the Seed quite comfortable.
Sound: Sound impressions of the Seed were taken after 200 hours of playtime with the Hiby R6, LG G6, and FiiO Q1 Mk II connected to a laptop playing both extreme quality Spotify Tracks and a minimum of 16-bit 44.1KHz FLAC. All of them being volume matched appropriately for fair comparisons.
Treble: The Seed’s treble can be simply described as polite and relaxed. There are minimal peaks so cymbal crashes don’t exhibit harshness and the Seed is not prone to sibilance in most music. Clarity and details are average however, and due to this conservative treble approach air and sparkle is minimal, so music genres that are focused on upper register instrumentation don’t synergize too well, “Mr. Sexy Saxy” by Jarez didn’t have the grating feeling of uncontrolled treble during energetic saxophone runs but also lacked the engagement that really lets the instrument shine.
Presentation: The Seed has a more intimate presentation both in width and depth, however does not sound congested with positioning being accurate in the stage. Layering and resolution are good, though not exceptional, with busy multi-instrumented tracks not just losing all definition and good enough articulation within and between the instruments in those compositions.
Overall: The Seed has a coherent and easily listenable signature. Whilst not particularly engaging, it provides fatigue free listening that is overall pleasant with most pop, rock, and some electronic music. It’s a signature that while not very targeted, it’s also one that few would take issue with and at 49 USD that’s not a bad direction to take.
Conclusion: The Seed combines, premium build, (subjectively) attractive design, good fit, and smooth sounds well suited for easy listening. It is however not without its misgivings; the lack of sub bass and conservative tuning might turn off some looking for a specific sound or those aiming for critical listening sessions. But if you’re looking for something for casual and relaxed listening that’s a bit different from the usual sonic flavors then the Seed provides a good alternative to the options in the market segment.

*Disclosure: I purchased the FiiO Q1 Mk II myself for full price.*
http://www.fiio.net/en/products/76



Overview:
The FiiO Q1 Mk II, FiiO is their second foray into their Q lineup (Now consisting of the Q1, the Mk II, and the Q5) and brings a novel feature rarely seen at the price point, balanced output.
Were there any sacrifices made to pack that feature into such a portable frame? If there were any, what could those be?
Enough lollygagging and on to the main portion of this review.




Specifications:
From Penon Audio website: https://penonaudio.com/fiio-q1-mark-ii.html

Weight: About 101g
Dimensions: About 99mm x 59mm x 12.5mm
Audio Input: Micro USB/3.5 mm Jack
Headphone Output: 3.5 mm stereo jack
Balance Headphone Output: Supported (2.5mm balanced headphone jack)
Recommended Headphone Impedance: 16~100Ω(PO),16~150Ω(BAL)

Bass Boost: 0/5.4dB
Channel Imbalance: 0.2 dB
Power Input: DC5V 2A recommended
Battery Capacity: 1800mAh
Charge Time: ≤4h
Battery Life: ＞20h（AUX IN）＞10h（USB IN）
USB DAC: Up to 384kHz/32bit supported
DSD Support: DSD64/128/256
Line output specifications
THD+N: ＜0.003% (1 kHz/10kΩ)
SNR: ≥110 dB (A-weighted)
Frequency Response: 6 Hz~80 kHz（-3dB）
Channel Separation: ＞90 dB (1 kHz)
Max Input Level: 3.4V









Packaging:

The Q1 Mk II comes in an approximately 6.5x4.5x2 inch carton box, with a pull out inner box sporting the FiiO logo that opens up to reveal the device on top, surrounded by foam and underneath you will find the included accessories:
USB A to Micro B cable, Lightning to Micro B cable, a 3.5mm to 3.55 cable, a Silicone pad, 4 Silicone bands of 2 sizes, and a mesh pouch for the device along with an instruction manual and a warranty card.
There is no Micro B to Micro B or USB C to Micro B cable included as this was a “Designed for Apple” device with MFi certification.












Build and Design:
The Q1 Mk II is an attractive device, definitely deserving of its iF Design Award, with smooth lines and all design elements coming together cohesively. If anything, the design isn’t an innovative one, but a very well executed one.
Size wise it’s a 4-inch diagonal and fits quite nicely in hand with the smooth curves of the side helping in handling of the device and lends quite well with stacking with most modern devices.
The main body material is smooth black aluminum, with plastic front and rear covers, with the volume knob being made of aluminum as well with red trim at the base of the knob, in a similar style to the AK70, and sports a 2 tone LED light to indicate blue for power and red for charging with purple being the color when both functions run at the same time plus a smaller green light to indicate DSD playback.

Overall, a well thought out and attractive design that should work well both in a stack with your transport of choice or with your laptop as an alternative playback device, as long as you don’t mind that this doesn’t come with rubber or silicone feet, though the included pad should suffice.






Features:
The FiiO sports one 3.5mm single ended output, one 2.5mm balanced output, one hybrid line in/out 3.5mm port, one gain switch, one bass boost switch, and one Micro B input, and while separate input and charging ports would be preferred it’s understandable given the compact size.

Using the device is quite easy, for most phones iPhone or android you merely turn it on and plug and play, it worked without a hitch on the iPhone 7 plus I tested it with, and played nicely with most android phones I’ve tested.
On Windows all you need is to download and install a driver an you will be good to go.

Fair warning though, phones with USB C ports may have some issue with the phone charging/powering the Q1 no matter what settings you try, this is largely a USB C issue as some cables work and won’t cause discharge and some will, the Oppo HA-2SE also has this problem.




Performance:
The biggest draw here is the balanced output, often you don’t see balanced out in this price range, but it’s all part of FiiO’s new InfinitySound system, albeit not as fully spec’d out like the higher tier products in FiiO’s product stack, due to the relatively low to average 112mW output of the 3.5mm port.
While this will be good enough to drive most earbuds or IEM’s certain power-hungry models can prove to push the 3.5mm output to it’s limits. Fortunately, the balanced output of the FiiO is quite robust with a 240mW output being able to serve enough power to drive the HIFIMAN HE-400i (an admittedly relatively easy to drive set) comfortably, a pairing where the Single Ended output was struggling to give enough power to, especially on low gain.

The Q1 Mk II presented an adequate black background free from and static or hiss and didn’t cause any issue even with less forgiving sensitive IEMs like the Campfire Andromeda, either on single ended or balanced at either gain settings at reasonable listening volumes.
The gain and bass boost switches all found on the rear functioned correctly, with the bass boost adding around 5db in the bass region, nice if you have any gear that seems to lack a little low end. And the line-out functioned fine as well, the hybrid line in/out port being a nice touch to save space.



Tonality and Sound:
All comparisons were done volume matched using: Campfire Andromeda, Hifiman HE-400i iBasso IT01
A reminder; Of course, the sound you hear will largely be the sound of the ear gear you plug in, but there are some minute and nuanced sonic differences that the playback device will have.
The Q1 Mk II houses an AKM 4452VE “Velvet Sound” DAC and Texas Instruments OPA 926 amp. The FiiO imparts warmth and smoothness to the sound of whatever you’re listening to. This may be attractive to those who have a certain sound they are looking for and want that little nudge of low-end to fully round out their sound, I found this to be a very nice pairing with the HE-400i.

The tonality of the FiiO is the same through either output, but the balanced connection of the FiiO is really where it shines, when running through balanced there’s extra dynamism to the sound, instruments or sounds that usually just blend in the background stand out more. Like in Billie Jean, through the balanced output the guitar riffs in the back that you wouldn’t really focus on are just a touch more defined. It’s a small change, but that plus the extra driving power the balanced output brings shows that it really is where the FiiO shines brightest.
So if you’re planning to get the most out of this device, then be sure to have a balanced cable ready.




Select Comparisons:
The following comparisons are here to give an alternative view.








Sony PHA-1A: The Sony is a similarly designed product, sharing the same overall shape albeit quite larger. The Sony does have the advantage of having separate USB ports for input and charging, as well as a full sized USB input making it a more versatile companion. It does lack the bass boost and DSD support but does have a gain switch. Tonality wise, the Sony also leans slightly warm but not as much as the FiiO.
The Sony also has much more power via the single ended output but lacks the flexibility the FiiO provides with balanced.
If DSD playback, super portability nor balanced output don’t interest you, the Sony provides an equally attractive, still somewhat compact alternative option, for the Sony price premium of course.






XDuoo XD-05: The XD-05 is an interesting device, it barely qualifies as portable thought the size it comes in it just squeezes inside, thus being a more rugged and unwieldy device. However it makes up for it with possibly the most features packed in, barring balanced out.
It is easily the most powerful device here, with 3 gain settings, a bass boost, DAC and SRC filters, with an OLED screen to boot. It can also playback DSD files.
The tonality of the XDuoo is the most natural of the 3, and if you’re looking for “purer” sound it definitely warrants a look plus the filters do add a slight flexibility for getting that last extra mile in the sound. The XD-05 stands out by being a “Honey I Shrunk the Desktop DAC/Amp” toeing the line of being portable but trading off by having a more robust feature set, so as a Laptop DAC/Amp the XDuoo is a compelling alternative.






Conclusion:

The FiiO Q1 Mk II provides a very interesting value proposition.
Good build, decent power, attractive design AND balanced output all for around $100.
That doesn’t mean it’s not without its flaws however, single end output being on the lower end of the spectrum, with middling performance, and no dedicated charging port comes to mind.

However if you’re a mostly IEM user looking to turn your iPhone or Android into Hi-Fi listening device, and want to sacrifice as little in terms of portability as you can, or a balanced believer looking for a portable solution with balanced output that won’t break the bank, then the FiiO Q1 Mk II Portable DAC/Amp will not leave you wanting, and is something you should seriously consider for your portable purchase.

Special thanks to HeadPie for hosting my impressions on the IT01






*I purchased the iBasso IT01 at full price.
Overview:
The iBasso IT01 is iBasso’s most affordable and accessible option in their current IEM line up.
It’s a single dynamic driver universal IEM priced at $109 from Penon Audio and the latest entrant in the ever growing ~$100 entry level IEM market.

Specifications:
Taken directly from the iBasso IT01 product page on Penon Audio
Driver：10.0mm Dynamic driver
Multi layered graphene, which is Ultra-light and stiff.
Frequency response: 10Hz-42kHz
Sensitivity: 108+/-2dB
Impedance: 16 Ohm
Noise Attenuation: -26dB
Rated power: 10mW
T.H.D.: <1% (at 1kHz/1mW)
Plug size: 3.5 TRS gold plated
Cable length: 1.2m
Connection: MMCX
Weight: 8.0g without cable

Packaging:
The iBasso IT01 comes in a medium sized box for an IEM, that is covered with a white carton sleeve containing the iBasso logo and IT01 text at the front with the product details in the rear.
Removing the sleeve reveals a navy-blue box with an embossed iBasso logo and opens from the front via a magnetic clasp.
Opening the box reveals a red lining, a paper sleeve for the manual and warranty card, and in the main compartment the IEMs sitting in foam and the metallic green case containing the included cable and 4 bags of a different variety of included ear tips including 2 sizes of foam ear tips.
The case is made of metal with foam padding inside and though not very pocketable offers good protection for the IEM but the paint and strength of the case material is a little poor as a drop easily chipped and dented the case.
Overall a good value package, though maybe replace one set of silicone tips with double flange tips for a more comprehensive offering and improve the quality of the case.











Build Quality:
The IT01 has a plastic shell, a metal nozzle with metal mesh filters and two vents near the base of the nozzle to let the driver breathe.
This unit is in the “Black” color though in reality it is a very opaque “smoky” shell.
Plastic seems to be of good quality and doesn’t bend or buckle when reasonable amounts of pressure is applied.
No unseemly gaps, MMCX connection is tight and fit and finish all look very good.
The included cable is a 4N OFC 4 core loose braid and is of very high quality. The cable is soft and pliable and offers no micro phonics at reasonable levels of movement. It uses metal for the 3.5mm jack cover, Y-splitter, and cable cinch, the MMCX termination is plastic and the cable has a pre-molded shrink wrap tube to fit over the ear. The cable quality is not one often seen at this price point and is a plus.
Do note that while the universal MMCX connection is secure, it may be a little too secure and the cables are somewhat difficult to remove.
Overall the IT01 exhibits excellent build and exceptional cable quality at its price point.



























Fit:
The IT01 is a universal IEM of small to medium size, though maybe slightly larger compared to most single dynamic IEMs, that borrows some small traits from custom shells, such as the slight protrusion at the top of the shell to fit snugly along the ear while the main part of the body is designed to rest along the ridge on top of our earlobes.
Overall this a safe and comfortable shape that doesn’t have many exaggerated protrusions that could lead to an uncomfortable fit.
It is also very light, so you don’t feel weighed down when wearing them for long periods of time. They fit snugly enough that they may be used to sleep in for people with average or larger ears, those with smaller or shallow ears however may have difficulty when sleeping on their side.




Sound:
The IT01 was burned in for 100 hours before listening impressions were taken.
Sources used: LG G6, FiiO Q1 Mk II. Volume matched for all the songs and sources.
It seems
The overall sound signature of the IT01 seems to be mild U shape though sometimes exhibits an L shape. I didn’t notice much difference between either source, except for some mild improvements in bass and presentation through the FiiO DAC amp possibly indicating that the IT01 appreciates some extra amp power.

Bass:
The IT01 has wonderful bass. It has good sub bass that pleasantly hovers and has good rumble.
In ILYSB by Lany the bass drum kick just lingers long enough so that it doesn’t sound hollow.
Mid bass is punchy with good texture and has quick decay.
The bass lines in P.Y.T. by Michael Jackson are nice, tight, and well defined.
The bass is dynamic in the sense that it can provide a large quantity when songs call for it, but it can also be show more control in less demanding songs so that the bass doesn’t end up bleeding into the mids.

Mids:
The mids aren’t as brought forward as the bass or treble but only by a little.
On Rehab by Amy Winehouse I find the bass lines and horns toe the line of being too overpowering for her voice to shine. On the other hand, Adele’s vocals in Chasing Pavements is delivered very well where the band instruments still let’s her vocals take center stage.
Male vocals are similarly well rendered, like in All of Me by John Legend vocals were full and had no unpleasant thinness to them. Instruments don’t get lost in the mix and carry enough detail and definition to be pleasing.
Mids are clear, detailed, and natural sounding

Treble:
The IT01 has treble that isn’t peaky nor does it exhibit sibilance. It has good extension lending a sense of airiness in songs. Cymbals even on busier songs like Smells Like Teen Spirit are crisp and not harsh.
Listening to Lindsey Stirling’s The Arena the violin and piano have a sparkle in them and they can stand along the hip hop bass line. In Jazz songs even wailing sax solos have enough restraint to keep them from being unpleasant yet not sound dulled out.
Overall airy and sparkly and detailed without ever being shrill.

Presentation:
The IT01 has decently wide soundstage. On tracks that can utilize it, like live orchestral recordings it will render space well, just a little to the left and right of the head.
Depth is good having the space to identify that secondary instruments are a step back from the main band. Height is nothing noteworthy.
Imaging is good, relative positioning of instruments is discernible and it did great at the virtual barbershop test.
Separation and clarity are good, even in more complex arrangements individual instrumentation doesn’t get lost.
Detail level and retrieval likewise is good in Hotel California the subtle hints of shakers, supplementary guitar isn’t drowned out by the main riff and bass line.





IT01 200-hour update
200 Hour Update: For the Burn in inclined.
After some more burn in there were a few changes to the IT01 sound.
The bass however remained powerful, full sub bass, and good texture on the mid bass.
The bass did seem more controlled leading to the mids, the vocal range seemed to be more forward.
Testing the song 'Rehab' again, the vocals don’t risk being taken over anymore.
Either way it’s a good development overall.
The Treble on the other hand seemed to smoothen up a touch.
Overall the sound is still similar but the mild U, due to the little bump in vocals, was given it more linearity which personally I preferred as I’m not a fan of very recessed mids.



Conclusion:
The iBasso IT01 is a real winner at its price. It has a natural tonality that is very pleasing and not tiring to listen to.
It can handle different genres well or at the least adequately.
The highlight of IT01 is the bass that can be powerful when it needs to be while not letting the bass dominate its sound signature nor sacrificing other aspects of its sound. That characteristic of the IT01 is what I think makes it a winner at this increasingly crowded market segment.
It’s adept enough to cater to different tastes in music, I’ve listened to Jazz, Rock, Punk, Soul, RnB, and classical music on the IT01 and it does an admirable job in all of them.
It doesn’t have the super extended rumbling bass or super airy and detailed highs of much more expensive or focused IEMs sure, but it’s a great everyday carry from going through the daily commute to waiting in line to relaxing at a cafe.
If you want a good, all around IEM then the IT01 is a great addition to one’s collection at $109.