iFi currently produces three portable USB DAC dongles. The entry level, iFi Go link, the regular sized iFi Go bar and its limited edition, the iFi Go bar/Gold edition which is now sold out. The brand new addition to the family is the iFi Go bar Kensei which incorporates all the extra technical features that were to be found in the Gold edition plus a few more.



Technical stuff

The DAC section of the GO bar Kensei uses a powerful 16-core XMOS micro controller to process the audio data received at the USB input and ensure a perfect partnership with the 32-bit Cirrus Logic DAC chipset. A customized digital filter minimizes pre-echoes and ringing artifacts and a Global Master Timing precision clock system ensures ultra-low jitter. The iFi Go bar Kensei supports PCM up to 32-bit/384kHz, native DSD playback up to DSD256, 2x DXD and full MQA decoding.

The analogue circuitry features a balanced design with a symmetrical twin-channel output stage. This topology, usually reserved for larger and more expensive amplifiers owing to its cost and complexity, reduces noise and crosstalk in the signal path by fully separating the left and right channels.



New features

The Go bar Kensei employs enhanced power supply and clock circuitry compared to the original Go bar. The Gold edition also featured an enhanced power supply but iFi doesn't specify the differences between it and the Kensei. By closely inspecting the circuit boards we can see one capacitor in the Go bar, three on the Kensei and four on the Gold edition. I don't know the exact values of the capacitors but the Gold edition seems to have higher rectifying capacitance.



K2HD technology

The brand new and shout after feature of the iFi Go bar Kensei is the implementation of the K2HD processing technology that is an algorithm that revives rich, natural harmonics into emotionally flat and lifeless digital recordings.

The unparalleled originality of K2HD lies in its advanced high-frequency extension, enabling the restoration of natural harmonics and overtones beyond 22kHz, delivering audio quality that is close to the original master.

The K2HD technology was originally developed by engineers at the Victor Studio who noticed a lack of emotion between their original masters and digital sub-masters, sparking a quest for a solution. The K2 parameter values provided by iFi for the Go bar Kensei are completely new K2 parameter values that have never been used before and were selected by JVC/KENWOOD and passed a listening test by studio engineers at Victor Studios.

You can enable the K2HD processing technology by long pressing and holding the setup button for 3s. After the MQA LED starts to flash, then press the volume(+) button and the K2HD LED will light up to indicate that it is active.

The K2HD mode is only effective when the audio file format is PCM and the sampling frequency
needs to be ≤192kHz. The K2HD mode is invalid and cannot be enabled when the audio file format is DSD or MQA. The K2HD is compatible with the GTO filter but its upsampling frequency will be limited to 192kHz instead of 384kHz.



Extra features

The Go bar Kensei incorporates iFi’s iEMatch technology for use with high sensitivity IEMs and a Turbo mode (high gain) for power hungry headphones. The iEMatch is effective for both the 3.5mm and 4.4mm outputs, selectable by a micro switch at the side of the chassis. The high gain is enabled by simultaneously pressing the volume + and - buttons. The 3.5mm output additionally features iFi's S-Balanced technology that cuts crosstalk and noise by 50% compared to regular single ended outputs. Standard are also iFi's renowned XBass+ and XSpace analog processing modes that enhance bass and soundstage perception. These two modes can be separately or simultaneously active.



Non Audio stuff

The chassis of GO Bar Kensei is crafted with Japanese stainless steel for maximum rigidity and shielding from EMI. The surfaces have a matte polish that is not too shiny so it doesn't attract fingerprints. The iFi and Kensei logos are engraved at the front surface, furthermore all other markings that indicate the various operations are also engraved and not ink printed. Craftsmanship and finish are of the highest quality, the iFi Go bar Kensei is one of the best made USB DAC dongles in the market. Subjectively speaking, the Kensei is by far better looking than the Go bar and Go bar Gold edition and maybe the most beautiful and premium looking portable USB stick among all the competition.

The size is compact enough (65 x 22 x 13.2 mm), the iFi Go bar Kensei is not bigger or larger than similar products, but it is substantially heavier. It weighs a whole 65.5g when the iFi Go bar is 28.5g. So while it is pocket friendly and small sized, it is not the best idea to leave it hanging out from your smartphone.

Accessories

The iFi Go bar Kensei comes packed in a nicely crafted wooden box together with a leather carrying case, two short USB type-C to C and USB type-C to lightning cables plus a USB adapter.



Power output and efficiency

The rated power output of the Go bar Kensei is 475mW/32Ω or 7.2V/600Ω from its balanced output and 300mW/32Ω or 3.8V/600Ω from the unbalanced, the same as with the iFi Go bar. This is amongst the most powerful USB DAC dongles that can drive full sized headphones like the Meze Liric 2, the Sennheiser HD660S2 and the Focal Clear Mg. The Kensei is also suitable for use with sensitive earphones because it is silent enough and you also have the option to enable the iEMatch and kill any hint of background noise.

The power consumption of the iFi Go bar Kensei was measured at 0.12A/0.63W when idling and about 0.16A/0.81W with the Meze Liric 2 playing high resolution material at a pretty loud volume. This is not the most efficient USB dongle that you can buy but it also doesn't consume more power than similarly power hungry dongles like the Cayin RU-7 (0.18A/0.92W).

Audio stuff

The iFi Go bar Kensei has an excellent sonic performance that positions it among the top specimens of its kind. It outperforms the iFi Go bar with sonic qualities that match that of the Go bar Gold edition which is already one the best sounding dongles in the market. They do sound a little bit different of course but this is something that is going to be discussed later on.

The Kensei is exceptionally musical and engaging with a sound signature that combines an analog-like and organic timbre with top notch technicalities. Even with the K2HD mode disabled, the sound of the Kensei is realistic and lifelike without any significant digital glare. Sometimes the treble can be perceived as a little fake but this is something that completely vanishes after enabling the K2HD mode. The effects are subtle but worthwhile, consider them as the perfect icing on the cake. The K2HD mode really reinstates and adds all the natural harmonics that were previously missing from the higher frequencies. The result is an expressive and realistic sound with unparalleled fluidity, full of vibrant harmonics and colorful overtones. The Kensei sounds like a miniaturized analog set-up, this is the kind of source that will make your music sound rich and full of emotions. Please note that not all audio tracks will benefit from the K2HD processing technology, sometimes I couldn't notice any audible differences with or without the K2HD.

Technicalities are stellar, the iFi Go bar Kensei is crystal clear and transparent with excellent definition and precision. It can produce deep and layered bass which is tight and controlled with huge physical impact. Dynamic and highly contrasted it can make all earphones come alive and follow the most instantaneous and sudden dynamic changes. Resolution and refinement are among the best ever heard while the Kensei is very skilful at reproducing the finest micro details without never sounding analytical or mechanical. Truth is that some of the competition, and not necessarily more expensive, can sound a little more transparent and crystalline with better precision and deeper detail extraction but they usually tend to become a little sterile and clinical, something that never happens with the Kensei.

The soundstage of the Kensei is not only spacious and expansive with good positioning accuracy but it is also exceptionally holographic and immersive. The Kensei really excels in the way that it communicates spades of ambient information thus contributing greatly to the overall realism. The Kensei will make your earphones sound like ear-speakers and is one of my top recommendations for listening to classical music.



Internal affairs

The iFi Go bar Kensei is not only the most beautiful looking member of the family but also the best sounding one. The Kensei is better than the Go bar as it surpasses it in transparency and clarity, it has an improved suit of technicalities and much better timbre thus creating a more lifelike listening experience. When it comes to the Go bar Gold edition, they are in the same league without a clear winner, the differences are rather a matter of taste than actual performance deviations. The Gold bar has a warmer and slightly thicker sound signature with a bit more visceral and weightier bass but the Kensei is more transparent, has better clarity and definition while it sounds more controlled and tight. The Gold edition has an already natural and organic timbre but the K2HD further enhances these qualities, especially in the critical higher frequencies that sound less digital and more resolving.

Comparison with the Cayin RU-7

This is really a difficult comparison as both sound more alike than different. They are two of the best (if not the best) USB DAC dongles you can buy if you care about timbre realism and tonal accuracy. To my ears, the Cayin RU-7 is a little more natural sounding with just a bit better sense of overall realism and soundstage holography. Differences are really subtle and I could happily own one of those as my end game USB DAC dongle. They both earn my highest recommendation and someone should consider other, non audio, differences in order to decide which one to get. The iFi Go bar Kensei has more bells and whistles that allow for a more personalized listening experience but the Cayin RU-7 has a real, unamplified, line output (both 4.4mm and 3.5mn) so you can use it as a miniature 1-bit DSD DAC.

Conclusion

The iFi Go bar Kensei is not only an improvement over the regular Go bar but it even surpasses the limited Gold edition, depending on someone's listening tastes. The Kensei is a bit expensive but not without a reason as it offers class leading sonic performance and plenty of features. Actually, the Kensei is one of the best sounding USB DAC dongles in the market, thus earning the “Kensei” honorary title.

The price of the iFi Go bar Kensei is €449 and you can buy it from all authorized dealers around the world.

The review sample was kindly provided as a long term loan.

Lavricables

Lavricables is a Latvia based company that was created back in 2012 as a hobby. To ensure the highest quality of their products they use pure silver which is the best conductor available nowadays. Silver is also known for its neutrality, resolution and soundstage openness. Moreover, braided solid core cable geometry allows to eliminate radio frequencies and electromagnetic interferences and with increased number of cores skin effect is also minimized on high frequencies. Currently they make cables for headphones and earphones, as well as interconnect, speaker and power cables. Most of their products are available in four lines: Reference, Ultimate, Master and Grand. You can read more at the Lavricables website.

Master Power Cable

The Lavricables Master power cable is now available in its third generation V3 where the overall silver gauge is increased while cores of bigger gauge and shape have been added in comparison to the previous generation V2. It is a carefully braided, 20 core pure silver mains cable with a complex geometry where 7 cores of 5N solid silver wire (4x AWG28 + 2x AWG26 + 1x AWG26 ribbon) are used for the active line and 7 cores (4x AWG28 + 2x AWG26 + 1x AWG26 ribbon) for the neutral in order to transfer AC voltage. Additionally 6 cores of silver plated copper of 0.3mm diameter are used for the earth line. 5N silver transmits electrical signals faster and with less distortion than ordinary OFC material while skin effect is noticeably reduced via the separated 20 cores.

The cable features an unshielded design that is supposed to bring more air and transparency. Lavricables incorporate woven teflon litz construction in order to achieve RFI and EMI rejection and provide low capacitance. High grade teflon insulation gives a predominant air dielectric and is regarded as the best insulator for bare cable, ensuring safety up to 300 AC of continuous voltage. Lavricables recommend the Master power cable for use in preamps, DACs, streamers and AB class integrated amplifiers.

Non Audio stuff

The Lavricables Master power cable is built like a tank. The outer sheathing is durable and wear resistant but at the same time the cable is very soft and bends easily without getting tangled or losing its shape. The cable is terminated with carbon, rhodium plated plugs that are of the highest quality and also look very gorgeous. The cable has heat shrink reliefs at the plug entry points for protection against bending. This is a luxurious and extremely well made cable that you could just buy for the premium looks and the supreme quality.

Cable talk

After reviewing various headphone cables by Lavricables, I became a fan of their transparency and I decided to use them as my exclusive aftermarket cables. This doesn't mean though that I blind trust all cables by Lavricables. In order to add a cable to my collection it must first pass all my subjective listening tests and convince me that it makes any difference to the better.

When it comes to audio cables, I am not a blindfolded believer but not also a denier. The audio hobby includes plenty of subjectivity, so I do perform my own subjective listening tests and if it happens to like something then I consider making it a part of the audio chain.

This is a purely subjective listening evaluation of the Lavricables master power cable without any scientific validation. It is not guaranteed that you are going to experience the same sonic findings with me and your mileage may vary depending on personal biases and your audio chain.



Audio stuff

The cable was tested for more than one month in various speakers and headphones systems. Some of the audio devices used were the FiiO R9, HIFIMAN Serenade, Auris HA2-SE+, Audiolab 9000N, Lab 12 Integre4 MK2, Hegel H190 and Denafrips Venus II.

From all the audio cables, I am the most skeptical when it comes to power cables and are the last link of the audio chain that I usually deal with. However, the truth is that I never use the stock black cables, instead I buy decent and budget friendly power cables from various brands.

The question to arise is if I heard anything better between using a black cable and the Lavricables Master power cable. I am going to be honest, I did notice a discreet sonic improvement in most of the setups that I have used, but the differences were rather subtle and not in a night and day fashion. Still, in a competent system, where you have everything else settled and carefully matched, the Lavricables Master power cable can be the icing on the cake.

The most notable improvement that the Lavricables Master power cable brings to an audio system is when it comes to transparency and clarity. You can certainly sense a blacker background that lets you effectively focus on the finest details or hear the faintest of the notes. The Lavricables Master power cable can make a high quality audio system sound more spacious with sharper imaging, clearer definition and improved layering. Using the Lavricables Master cable to power an integrated or a headphone amplifier can slightly enhance dynamics and help with transient speed. What the Master power cable did not do was to induce any kind of brightness or sharpness in the treble or derail the system from its frequency linearity. Last, but not least, what I also noticed was an increased sense of refinement, especially in the treble where the cable added some kind of silky smoothness.

The better the audio chain and the quality of the recording, the better were the beneficial effects of the cable. Someone must have an already transparent, revealing and high quality audio system in order to perceive the beneficial effects of the Lavricables Master power cable. The cable will not perform some kind of miraculous magic to transform a mediocre system into something better and it will certainly not act like a frequency filter or an equalizer. What it can do is to uplift the performance of a capable system by adding the final finishing touch.

Conclusion

Audio cables are always a controversial and highly subjective topic that I prefer not to touch so I usually avoid reviewing them. When it comes to the Lavricables Master power cable, I was just asked to offer my honestly subjective findings and thus I did after extensive testing. Some components of the audio chain did gain sonic benefits and I would happily exchange the stock cables for the Lavricables Master power cable. Whether it is going to do the same for your audio system, this is something left for you to find out.

The cable provided free of charge in order to evaluate it and share my honest and subjective opinion about its performance.

The price of the Lavricables Master power cable is €385.00 ex. VAT for 1.5m length and you can order it from Lavricables.

Kiwi Ears is a relatively new brand formed around a team with great experience in designing and tuning earphones for some very popular brands. Their aim is to produce earphones that are both suitable for critical music listening and professional use while keeping a friendly price policy.

Kiwi Ears Quintet

The Kiwi Ears Quintet is a hybrid earphone that utilizes a unique combination of four different types of drivers. One diamond-like carbon dynamic (DLC) driver, two balanced armature (BA) drivers, one planar magnetic driver, and one piezoelectric (PZT) bone conductor.

The large 10mm DLC driver was selected as the subwoofer due to DLC’s high responsiveness and tensile strength, which pumps out impactful bass with fast decay speeds. Two Knowles balanced armature drivers deliver natural and resolving mids. The novelty in the Kiwi Ears Quintet is the use of a new planar tweeter system that features the classic planar magnetic driver circuitry but with a smaller footprint for use in hybrid designs. With an extremely low noise floor and high output capacity, these planar magnetic drivers deliver a treble that is unique from typical BA or EST (electrostatic) tweeters that are used in most IEM’s. Finally, a piezoelectric driver was utilized to deliver ultra-treble micro-detail and air.

Non Audio stuff

The ear-shells of the Kiwi Ears Quintet are made from 3D printed resin compound with a separate aluminum faceplate. They are anatomically shaped, lightweight and relatively small thus offering a comfortable wearing experience. They fit tight inside the ear and seal well without causing any kind of annoyance. The design of the Quintet is plain and minimalistic while they are very well made.

The Kiwi Ears Quintet comes with a 2-pin detachable cable made from oxygen-free silver-plated copper in four strands. It is a well made and soft cable with aluminum plugs that has low microphonic noise but it gets a little tangled. Unfortunately it is not modular and is terminated with a 3.5mm plug. Furthermore you don't have the option to order it with a balanced plug thus making buying an aftermarket cable a necessity if your sources are balanced.

The package also includes a nice carrying case with a side zipper and two sets of silicone ear-tips with wide and narrow bores. Some more ear-tips should have been included to make the package more competitive.

Power requirements and associated gear

The Quintet is rated at 32Ω/106dB so it doesn't need anything special to drive it. A DAC dongle like the Kiwi Ears Allegro would suffice. You can also use something even better, like the FiiO M11S as the Quintet is very transparent and scales pretty well.



Audio stuff

Let's cut straight to the chase, the sound performance of the Kiwi Ears Quintet is absolutely fantastic and definitely much better than the price would suggest. This is an exceptionally balanced and naturally tuned set of earphones. The Quintet combines stellar technicalities with excellent tonal accuracy and plenty of musicality. It is the perfect choice for critical listening and reference applications, like a studio monitor but it doesn't sound clinical and sterile as it usually happens with studio monitors.

The tonal accuracy begins straight from the deepest low-end and smoothly transitions up to the highest treble. The Kiwi Ears Quintet has strong sub-bass extension, without over emphasis, and neutrally tuned bass with just a hint of mid-bass warmth. The tuning of the low-end is almost perfect, natural and clean with a studio-like quality. Instrumental pitch is very accurate, all bass instruments are reproduced as close as possible to reality. Clarity, definition and layering are phenomenal for the category. Few earphones of the same category can reproduce very demanding symphonic works as effortlessly as the Quintet.

The bass is tight and controlled, the low-end discipline is just amazing while the recovery of the driver is lighting fast but still with a decay natural enough to capture the physical acoustic reverb of a concert hall. The bass is impactful and dynamically contrasted without any muddying or bloating nor artificial echo or cup reverb. The only point of criticism has to do with the rather lean and slightly dry textures, the Quintet is not that visceral and weighty, the low-end could use some extra body but then again, nothing is perfect, is it?

The transition to the mid-range is smooth and seamless, the mids are crystal clear, transparent and well defined, free of any mid-bass bleeding. The tuning is still very even and balanced, lower-mids, mids and upper mid-range are reproduced with the same gravity and intensity. There is not any significant upper mid-range emphasis or lower-mids scoop, as a result the timbre is stunningly natural and lifelike. The tonal balance might resemble a studio monitor but the textures do not. The Quintet has plenty of liquidity and colorful harmonies, it excels in reproducing diverse overtones and it manages to sound musical and organic, albeit somewhat lean and not that weighty.

Despite the use of two BA drivers, the Quintet doesn't suffer from the usual balanced armature timbre and artificiality as are to be found in a lot of competitive earphones. And it gets even better in the treble where the planar magnetic driver kicks in. You have to listen by yourself to understand how resolving, articulate and refined is the treble of the Kiwi Ears Quintet. The timbre is natural without any hint of artificiality or metallic sheen. Such kind of smoothness and refinement must have to do with the use of the piezoelectric bone conductor which does miracles in shaping the overall quality of the highest frequencies.

The Quintet has an airy and extended treble, it is sparkling and energetic, with plenty of luminosity, able to reproduce all the contrasted gradients, but miraculously devoid of any sharpness or harshness. The treble is crystalline and detailed but not analytical or clinical, ideal for listening to the faintest notes and the most tiny nuances but without getting distracted from the actual musical event.

The Kiwi Ears Quintet has a mirror-like fidelity when it comes to the source behind it as it is very transparent and will not add any character of its own. Such source transparency can sometimes become a negative point as the Quintet is rather unforgiving and will expose any sonic flaws of the source and the recording. The implementation of the five different drivers is almost perfect, the transition from one frequency range to the next is seamless without audible discontinuity. I was never expecting such a diverse combination of drivers to sound as coherent and natural as in the Kiwi Ears Quintet. The sound engineers must have spent hundreds of hours to achieve such a successful matching.

The soundstage is wide and open with ample width and plenty of air around the performers. The Quintet images very well and sounds bigger than expected but don't expect anything special when it comes to depth layering and holography.



Conclusion

Well, what more to say than that I am totally speechless by the performance of the Kiwi Ears Quintet. I was never expecting such kind of sound quality from an earphone priced that low. The Kiwi Ears Quintet is one of the most balanced and tonally accurate earphones that is also backed by strong technicalities while it manages to sound realistic and organic enough as not to remind a studio monitor.

The Kiwi Ears Quintet is a studio-grade earphone that is suitable for critical listening without skipping in musicality and engagement. If you are after a reference earphone that is not clinical or sterile, then the Kiwi Ears Quintet is a solid choice at a bargain price as you will have to spend two or even three times more to buy something better.

The review sample was kindly provided free of charge.

The price of the Kiwi Ears Quintet is $219 and is available from Linsoul.

The MS1 Galaxy is the entry level earphone of the timeless Hidizs Mermaid series which includes many successful earphones like the MS3 and MS5.

The MS1 has been part of the Hidizs catalog for almost 5 years now, it was first released back in 2019 with the name MS1 Mermaid, and subsequently upgraded to the Rainbow version. This new, Galaxy version, represents an attempt to bring Hi-Fi level materials and technology to a wider audience, making it a true value-for-money option.



Technical stuff

The MS1 Galaxy, features a customized 10.2mm high-performance dual magnetic circuit dynamic driver with a PU+PEEK composite high-polymer diaphragm. This material is recognized as the most stable and mature diaphragm solution in the driver manufacturing industry. It has the characteristics of good uniformity of texture and light weight. Furthermore, the dual magnetic circuit structure improves the magnetic flux, has higher electro-acoustic conversion efficiency and significantly reduces nonlinear distortion.



Non audio stuff

The ear-shells are made from high-density, Germany's Makrolon, resin compound which is skin friendly with non-irritating properties. The compact and rather lightweight ear-shells (10g) have a custom-like, ergonomic shape that allows for a stress-free and stable fit while offering decent passive noise attenuation. The Hidizs MS1 is very comfortable to wear, you can use it for hours without even knowing that it is in your ears. The MS1 Galaxy is available in four colors to choose your favorite one.

The MS1 Galaxy features a standard 0.78mm detachable cable which is made from silver-plated oxygen-free copper wire. This is a cable of surprisingly high quality considering the price of the earphones and you have the option to order it with or without a mic.
Except for the cable, the only other thing included in the package is a set of silicone ear-tips in three sizes.

Audio stuff

Rated at 32Ω/108dB, the MS1 Galaxy is an easy load that doesn't require much power. You can use it straight out from your phone's 3.5mm jack or even better with an entry level USB DAC dongle like the Hidizs SD2.

The Hidizs MS1 Galaxy has a V-shaped tuning with plenty of bass that is not overly dominant. This is a fun, warm and slightly dark sounding earphone that is made for everyday casual listening to a great variety of music.

The mid-bass is generously emphasized so do not expect neutrality and tonal accuracy but still you can listen to all kinds of music as long as you are not in a critical mood. The bass is full , weighty, impactful and dynamic with good control and speed for an entry level earphone. It is not the most fast and controlled bass but it is not too sluggish or bloated either. Layering and definition are satisfying when the bass line is relatively simple but it struggles to keep up and follow when things get a little more complex.

Transition to the mids is rather seamless, the mid-range is not that present but it manages to stay clear enough and well defined without getting overpowered by the mid-bass. The overall tonal balance is slightly uneven but still voices and instruments are clearly reproduced with good intensity and plenty of weight albeit lacking a little in harmonic richness. The upper mid-range is more prominent than the lower mids but not that emphasized as to sound shrill or piercing.

The treble extension is good, it has the exact needed amounts of energy and brilliance that are necessary to counterbalance the warmness of the low-end and help the MS1 not sound too dark. Detail retrieval and definition are sufficient while the general feeling is that of a smooth and polite sounding earphone that is not that resolving and refined. But such criticism is rather unfair considering that the MS1 Galaxy is an entry level, budget friendly earphone that is made for leisure use during the day.

Soundstage size and imaging are not spectacular but still better than expected. The Hidizs MS1 Galaxy doesn't sound too congested or crammed and has adequate spaciousness to sound open and alive.



Conclusion

The Hidizs MS1 Galaxy is a budget friendly earphone with a popular tuning that makes it suitable for casual use. A great choice for the youth that is entering the hobby or more experienced users that need something simple and comfortable to carry around during the day. For such target groups, the Hidizs MS1 Galaxy is an excellent and very affordable earphone that gets highly recommended.

The review sample was kindly provided free of charge in exchange for an honest review.

The price of the MS1 Galaxy is $15.99 (tax excluded) and you can buy it from Hidizs.

Simgot is a premier manufacturer of earphones with a focus on delivering superior audio fidelity, cutting-edge design, and unparalleled user experience. Simgot earphones are known and well regarded by many audiophiles. You can read my previous Simgot reviews here.

The Simgot EA1000 is an upgraded version of the Simgot EA2000, so while the latter is the company's flagship model, the former utilizes more recent, cutting-edge technology. Simgot has code-named the EA1000 as “Fermat's Last Theorem”, you can read the philosophy behind this decision here.



Technical stuff

The EA1000 combines a 10mm dynamic driver (DD) that is paired with a passive radiator (PR) in a rather unique configuration.

Derived from the flagship EA2000 and further optimized, the second-generation DMDC™ dynamic driver revolutionizes earphone design. Unlike traditional single-magnetic circuitry, DMDC™ dynamic driver offers both inner and outer magnetic circuits, delivering unparalleled magnetic flux.

The heart of the EA1000 lies in its extraordinary SDPGD™ Technology. Developed over three years by Simgot, this diaphragm features remarkable characteristics, including high rigidity, exceptional hardness, lightweight construction, and the perfect blend of elasticity required for deep bass. Unlike conventional titanium or beryllium diaphragms, the Purple-Gold Diaphragm undergoes a meticulous process involving multiple layers of transparent, custom-targeted vacuum high-temperature sputtering on a specialized base film.

You can read more about the Simgot EA1000 here.

Detachable nozzles

Like many other earphones, Simgot EA1000 features a threaded, interchangeable nozzle design for further sound optimization. It comes with three nozzles, one brass and two stainless steel, each one with its unique tuning philosophy.

The first detachable nozzle with the silver-steel tube & red silicone ring adheres to the popular H-2019 target curve. Simgot informs us that this is a tuning more suitable for interpreting different music types and sound source quality, and can also meet the needs of professional musicians for recording and mixing.

The second detachable nozzle with the golden-copper tube & white silicone ring adheres to the Simgot Golden 2023 target curve. A new target curve introduced by Simgot which maintains the balance of the three frequency ranges and further enhances resolution, human voice and the high-frequency air. A target curve for better interpretation of live music, classical and other genres.

The third detachable nozzle with the silver-steel tube & black silicone ring adheres to the Simgot classic target curve on the basis of ensuring accurate positioning and clear image, in the dimension of three-frequency balance while it further emphasizes the female voice.



Non Audio stuff

Using high-density alloy metal and CNC engraving technology, a strong and pressure-resistant all-metal body is created through multiple processes. The unique uneven surface inside the chamber also helps to suppress standing waves. The highly transparent crystal panel and the mirror plating process complement each other to display fine luster and elegance. The Simgot EA1000 is a very beautiful looking earphone that harmoniously combines luxury with a minimalistic and discreet design. Build quality and finish are exceptional, the EA1000 is one of the best looking and well made earphones I have ever tested. The polished metal surfaces and the glass faceplates can attract fingerprints but this is the cost you have to pay for its shiny looks.

The metallic ear-shells are not that lightweight as they weigh 11g each but they are compact and have an ergonomic shape that follows the natural contours of the ear. The actual wearing experience is that of a very comfortable earphone, the EA1000 fits well and you can wear it for hours without feeling any kind of annoyance or discomfort.

Cable

The EA1000 comes with 0.78mm 2-pin detachable cable that is made from high-purity silver-plated OFC wire with Litz twisting process. This is a well made cable that is lightweight enough, it doesn't get tangled and has minimal microphonic noise. My only objection is that it doesn't feature interchangeable plugs and you don't have the option to order it with a 4.4mm plug. A cable with a single ended 3.5mm only plug at this price point is rather outdated when almost every source on the planet features balanced outputs.



Accessories

The package includes a luxurious and well made carrying case, three pairs of sound tubes mounted in a metal plate, six pairs of silicone ear-tips and spare filter rings. All the included ear-tips are of the same type so you don't have the option to do some fine tuning. The inclusion of different types of ear-tips would be more beneficial to the overall package.



Audio stuff

The Simgot EA1000 is rated at 16Ω and 127dB/V so it is really easy to drive but at the same time a little vulnerable to source noise so it is recommended to use something of high quality. For this review I have used the iBasso DX260 and Cayin RU-7 with an aftermarket balanced cable made by Lavricables. As per usual practice the Simgot EA1000 was left playing music for about 100 hours before listening evaluation.

The EA1000 is an earphone with a balanced tuning and great versatility thanks to the three different types of detachable nozzles that you can use to fine tune the sound. The overall sound signature is mildly V-shaped and you can use the three nozzles to micro-manage the intensity of the low-end and the treble while the mid-range remains mostly unaffected.

The red nozzle has the best bass extension but also the least emphasized upper mid-range and treble thus making it the most dark and warmer sounding of the bunch. This is a tuning quite close to the Harman target but without exaggerated sub-bass or too emphasized mid-bass thus making the EA1000 suitable for listening to a wide range of music, a true all-rounder with plenty of high quality and non-dominant bass. The two other tubes will slightly attenuate the lower bass to make it even more neutral and a better choice for listening to classical music or other critical applications where tonal accuracy is desirable.

No matter the sound tube used, the bass of the EA1000 is of the highest quality, fast, tight and controlled with excellent definition and very satisfying layering, qualities that surpass all expectations. The textures are not that full bodied and visceral but not dry or lean either while they pose great physicality and plenty of clarity. The bass might not sound that weighty but it is very impactful with wide dynamic contrasts and natural reverb without any audible echo.

The mid-range is crystal clear and transparent, with solid presence and without too much upper mid-range emphasis, at least when using the red nozzle. The timbre is natural and organic, the EA1000 excels in reproducing voices and instruments that sound tonally accurate and realistic with plenty of harmonic contrast and rich overtones. Fans of female voices can use the other two nozzles that add some upper mid-range spice and emphasis but without overdoing it as to induce harshness and listener fatigue. The EA1000 is musical and engaging, vivid and lifelike, it sounds addictive and emotional with all kinds of music.

The treble is energetic and airy, luminous and transparent with great overall extension. The red nozzle is the smoother while the black is the most sparkling and brilliant one. The gold attenuates the high treble while emphasizing the upper mid-range giving more prominence in this particular area. No matter the tube used, the EA1000 is a well tuned earphone that manages to sound lively, detailed and crystal clear without becoming too bright or fatiguing.

The EA1000 is very resolving and refined with excellent tonal and textural coherency throughout the whole frequency range. The benefit of using a well implemented single dynamic driver. From the deep lows all the way up to the highs, the notes are reproduced with the same gravity and intensity.

The soundstage is wide and spacious with plenty of air around the performers and good positioning accuracy from the left side to the right. Depth layering is not class leading but not bad either while the EA1000 is grand and immersive enough to go well with large scale symphonic and choral works.

Compared to the FiiO FD5

The FiiO FD5 is a popular choice for a single dynamic driver earphone with a tuning style that adheres to the Harman target curve. The FD5 has a more aggressive V-shaped tuning with better sub-bass extension but also with more prominent mid-bass that makes it less neutral and accurate than the EA1000. It is also brighter but more safely tuned in the upper mid-range while you can use the spare, smaller nozzle, to slightly attenuate the treble and make it sound warmer and more bass prominent. Both earphones resolve very well for the category but the EA1000 is the more refined and transparent sounding of the two. The FD5 is more visceral and weighty in the low-end but not that well defined and controlled as the EA1000. Both sound open and spacious but the EA1000 images a little better and allocates more air around the performers. I would say that the FiiO FD5 is the more fun and bass prominent earphone while the EA1000 is a better all-rounder and more suitable for critical listening.



Conclusion

The Simgot EA1000 is the best earphone the brand has made up to date as they have masterfully cooked all the right ingredients to make a tasteful dish. The EA1000 is an earphone that combines great sonic performance with proficient technicalities, nice appearance, comfortable fit and exceptional workmanship. It is also very adaptable thanks to the three tuning nozzles that can be used to effectively fine tune the sound to the listeners specific preferences. It is really very difficult not to like the Simgot EA1000 which rightfully so stands out as an easy recommendation and a great bargain.

The review sample was kindly provided free of charge.

The price of the Simgot EA1000 is $219.99 and is available from Linsoul .

Burson Audio is an established audio manufacturer from Australia that is known for their excellent sounding DAC/amp combo units, like the Playmate 2, the Conductor and the Soloist. What people might not know is that Burson Audio was one of the first companies in the audio industry who argued against using IC op-amps on the audio signal path. Thus they have designed and introduced their own op-amps that are made with discrete components. The famous Burson supreme sound op-amps that after 20 years of continuous research and development have now reached their 7th generation.

Burson V7 op-amps

After two decades of relentless research and development, Burson Audio unveiled their V7 Pro series, their 7th generation of op-amps, the successor of the much acclaimed V6 op-amps. The new version combines cutting-edge circuitry and exquisite craftsmanship to offer superior sound and impressive aesthetics

Technical stuff

The Burson V7 is meticulously constructed using up to 8 layers in its PCB design. This approach strategically separates the signal path, grounding, and shielding into distinct layers. Although this method is more costly, it’s the ideal approach for designing analog amp circuits. As a result, the Burson V7 op-amp is not only more compact and practical but also features a shorter, optimized signal path. Additionally, its enhanced design provides superior protection against airborne interference.

The V7 is engineered to operate at high temperatures. To manage this, it is equipped with a new high-density aluminum shell. This shell effectively dissipates heat from each layer of the PCB into the air, while also safeguarding the sensitive components within. This functional and sleek design allows the V7 to work with a higher idling current, enhancing audio quality and improving stability.

Burson uses only the finest components, which are painstakingly matched and tuned in a temperature-controlled environment that simulates real-world operations. The Burson V7 op-amp has reverse voltage protection and is covered by a lifetime warranty.



Non Audio stuff

An op-amp is a component that is destined to spend its life hiding inside the chassis of an audio device so aesthetics should not be much of a concern. However, the Burson V7 op-amp is so beautiful looking and well designed that, if it was not for the dust, I would gladly keep the chassis without the lid. Its high-density aluminum shell is not only designed to effectively dissipate heat but it is also aesthetically pleasing and very well made.

Two flavors

The Burson V7 op-amp is available in two versions, the Vivid and the Classic. The V7 Vivid, standing out for its dynamism, clarity, and accuracy, is an ideal choice for recording engineers who prioritize absolute precision. Particularly recommended for the initial output stages of DACs (Digital-to-Analog Converters), the V7 Vivid excels where transparency is most valued.

On the other hand, the V7 Classic features a completely redesigned output stage, addressing the limitations of its predecessor, the V6 Classic. The V7 Classic now matches the ultra-low noise level of the V7 Vivid, while maintaining the beloved intimate vocals and sparkling highs that fans of V6 Classic appreciate. Additionally, it offers improved dynamics and accuracy in the lower frequencies, striking an ideal balance between enjoyment and seriousness.



Installation

The compact size of the Burson V7 (15mm x 13mm x 19mm) ensures versatility across various applications, it can easily fit from computer sound-cards to DACs and amplifiers, as long as you have enough height clearance. For applications where height is not enough, you can buy the Burson Audio 35mm extension leads that can help with the horizontal positioning of the op-amps.

Both the Vivid and Classic Burson V7 op-amps are available in dual and single variants to cover all usage scenarios. Before buying you have to clearly identify the type of the op-amp you are going to replace. Then, during installation you have to carefully respect the correct position and orientation. At the Burson Audio website you can find tutorial videos and manuals that will help you identify and install the op-amps. The whole procedure is much easier than it sounds, especially if your audio device is designed for easy op-amp rolling

Temperature

The V7 Vivid op-amps run at higher temperatures than the stock IC op-amps so do expect the chassis of your audio device to become warmer. How warm it will become, it depends on the amount of the V7 op-amps used and heat dissipation by the chassis. The Playmate 2 has a chassis that acts as a large heat sink so it becomes mildly warm, nothing too serious to talk about.

Associated gear

Burson sent a pair of dual and a pair of single V7 Vivid op-amps in order to replace all the op-amps inside the Burson Audio Playmate 2. For the review, the stock power adapter of the Playmate 2 was substituted with the Burson Super Charger. I have used the same headphones as I did in the original Playmate 2 review.

Additionally, I didn't miss the opportunity to test the V7 Vivid in the Aune X8 XVIII DAC which has one removable op-amp. Unfortunately the op-amp socket is awkwardly placed at the bottom of the chassis so in order to use the V7, you will have to place the device upside down or sideways.



Audio stuff

Warning: The listening impressions apply only to the V7 Vivid op-amps and not the V7 Classic which are supposed to sound different than the Vivid’s.

People who own the Burson Playmate 2, or have read my review, will know that it is a device capable of some serious sound performance which combines exceptional musicality and analog timbre with competitive technicalities. Thus said, technicalities are not class leading, transparency and clarity could be better, while noise floor is a little high for use with sensitive earphones.

The most unexpected finding after swapping the stock op-amps with the Burson V7 Vivid was the difference they made in the background noise. I always thought that IC op-amps measure better and produce lower noise than discrete components but I was proven wrong. Surprisingly enough, the Playmate 2 became less noisy and more silent even with sensitive earphones like the FiiO FX15. So don't get scared of the Burson V7 Vivid discrete circuitry because it will not introduce any unwanted noise and additionally it may lower the internal noise of your device.

Apparently, lowering noise and improving blackness also helped with detail extraction, the Playmate 2 became more resolving and finer nuances that were not audible before now emerged from the depths of the recording. All these happened while still retaining its natural flow and non analytical character. With the V7 Vivid op-amps installed at the place of the IC’s, the Playmate 2 gained in clarity, definition and transparency but it didn't lose its natural and organic timbre. It is still very musical and engaging as described in the original review but now with much improved technicalities thanks to the Burson V7 Vivid op-amps.

The Burson V7 op-amps are vivid and sparkling, just as their name suggests. They produce fast and controlled bass, add extra layers of clarity in the mid-range and more energy in the treble without sounding lean or dry. The soundstage is wider and more open than the stock op-amps and the soundstage further expands both in width and depth.

The Burson V7 Vivid op-amps produce a sound that is neutral and linear as they will not emphasize or subdue any part of the frequency range. The sound temperature is neutral, it is not cold but neither as warm as the Muses op-amp that I had installed in the Aune X8 XVIII DAC and compared to the V7 Vivid. With the Muses op-amp, the Aune produced thicker sound and a bit more holographic soundstage but the V7 Vivid offered better layering and more accurate imaging. Additionally, the V7 Vivid op-amp yielded wider dynamics and more impactful low-end, albeit not as visceral, but with better clarity and definition than the Muses. The V7 also sounded more refined and resolving in the treble without introducing brightness or glare.

The V7 Vivid op-amp is an engineering achievement that surprised me a lot as I was not expecting such kind of performance. It is more technical and transparent sounding than the well regarded Texas Instruments NE op-amps while at the same time it produces more natural and harmonious timbre.

The sonic differences described above are not that pronounced as may read. Swapping the stock op-amps with the V7 Vivid is not going to transform your audio device into something else by drastically altering its tonal balance and sonic character. The differences are audible but not in a night and day fashion, it's more about fine-tuning the device than drastically changing its sonic behavior and this is something that ought to be well understood before embarking into the op-amp rolling adventure.



Conclusion

Is it really worth replacing the stock IC op-amps of an audio device with the Burson V7 Vivid op-amps? The answer is a definite yes, as long as you have everything else settled down and you want to fine-tune the sound. Contrary to the common belief, the Burson V7 Vivid op-amps will introduce better technicalities and lower noise than stock IC’s while at the same time produce a harmonious and melodic sound that will further enhance your listening experience. Sound differences may not be that pronounced as when rolling vacuum tubes but still the effects are really audible and so beneficial to the sound quality, to make swapping to the Burson V7 Vivid’s a well worth investment.

The review samples were kindly provided free of charge in exchange for an honest review.

You can order the V7 op-amps from Burson Audio shop.

The K9 is FiiO's mid-range all-in-one desktop DAC and headphone amplifier. A model smartly positioned midway between the more expensive FiiO K9 PRO ESS and the less expensive FiiO K7. The FiiO K9 was originally released featuring dual ES9068AS DAC chips and THX AAA 788+ amplifiers. Variety is always welcomed so FiiO has decided to introduce a version with an AKM DAC chip thus the FiiO K9 AKM was born. The AKM version is $30 more expensive than the ESS.

Technical stuff

The only difference between the FiiO K9 AKM and the K9 is in the DAC chip which is an AK4191+AK4499EX combo by AKM instead of the dual ES9068AS by ESS. Everything else has remained the same. The balanced amplifier is still based on dual THX AAA 788+ modules that deliver the exact same power output as the original K9. Two OPA1612 handle the low-pass filtering, two OPA1602 act as the buffer and the NJU72315 is the volume IC.

The PCB of the K9 AKM features a partitioned layout, fully separating the major sections of the audio circuit - the power supply, signals, and analog signal loop. The linear power supply is based on a toroidal transformer paired with 4 massive 4700uF capacitors to provide clean continuous power. Furthermore the digital and analog portions of the K9 AKM receive power separately to reduce interference between the two audio circuits.

The FiiO K9 AKM has an XMOS XUF208 decoder with dual-clock management that supports up to 768kHz/32bit PCM and DSD512. Input sampling rate is displayed with the aid of a circular RGB light around the volume knob.

More technical information are available here.



Bluetooth connectivity

The K9 AKM employs the QCC5124 Bluetooth chip with support for LDAC/aptX HD/aptX Adaptive and other high-res Bluetooth codecs for wireless reception only. Bluetooth connectivity is stable and the audio quality is very competitive. Not the same as from the wired digital inputs but still good and very useful for situations when you can't use them.

FiiO Control application and EQ

The K9 AKM is compatible with the FiiO Control application which allows access to more functions. You can adjust various settings such as 6 types of digital filters, status indicators, EQ, and channel balance. There are 7 music tuning styles pre-set on the EQ of the K9 AKM while you can also self-define the PEQ and store your adjustments in one of the three available memories. Unfortunately the EQ is only effective in Bluetooth reception mode. The FiiO K9 AKM supports the low energy Bluetooth protocol so you can use the FiiO Control application even when the Bluetooth is switched off.



Non Audio stuff

The design of the AKM version is identical to that of the original model. The FiiO K9 AKM features an all aluminum, rectangularly shaped, chassis that is robust, very well made and finished with a smooth, black mate color. The size is compact enough to fit virtually anywhere and you also have the option to place the K9 AKM vertically with the aid of the included stand.

Digital inputs are the same with the K9 except the addition of a side mounted USB type-C port as it is also found in the FiiO K9 PRO ESS. A very useful addition that was missing from the FiiO K9. Other digital inputs include USB type-B, optical, coaxial and Bluetooth. The FiiO K9 AKM also has stereo RCA and balanced 4.4mm line inputs so you can connect analog sources and use it as a standalone headphone amplifier.

The selected inputs are displayed with the aid of the five LED lights that are positioned in the upper right corner. Two buttons and two switches are used for input selection, gain setting, output mode and power standby/mute.

The FiiO K9 AKM has three headphone outputs (6.35mm, 4.4mm and 4-pin XLR) positioned at the front, plus stereo RCA and balanced XLR line outputs at the back. The device supports three output modes: headphone out, pre-out and fixed level line out.

Accessories

The package includes a power cord, six adhesive feet, a spare fuse, the vertical stand, a USB data cable and a 3.5mm headphone adapter. Fitted at the device are rubber plugs for the USB type-C and 4-pin XLR inputs to protect them from dust when not in use.



Power output

The headphone amplifier of the FiiO K9 AKM is capable of delivering 2Wpc/32Ω or 780mWpc/300Ω from its balanced output and 1.5W/32Ω or 200mWpc/300Ω from the 6.35mm. Lots of power to run most headphones except some really difficult ones, like the HIFIMAN Susvara. The amplifier matches very well in terms of power with headphones like the FiiO FT5, the HIFIMAN Susvara or the Sennheiser HD660S2.

The headphone amplifier of the K9 AKM features three levels of gain (low, medium and high) for better adaptability to various loads. Background noise is inaudible even with very sensitive earphones such as the FiiO FX15.

As per usual practice the FiiO K9 AKM was left playing music for about 100 hours before listening evaluation. All cables used are of pure silver made by Lavricables

Audio stuff

This section includes comparison notes between the K9 AKM and the original K9.

The question to arise is, can a different DAC chip, when everything else has remained the same, make the AKM version sound radically different from the original? Well, the answer is yes and no, these two iterations of the K9 do sound different but they also share some common characteristics.

The FiiO K9 AKM has stellar sound quality, that admittedly surpasses the asking price, and offers great sonic performance that guarantees satisfaction no matter your music preferences or the headphones used. This is a neutral DAC/amp with excellent tonal balance, unquestionable transparency and mirror-like fidelity. The sound is crystal clear and well defined with very competitive technicalities and solid driving force.

The K9 AKM is capable of producing deep bass that is fast, tight and controlled with plenty of inner clarity and excellent layering. The K9 AKM is dynamic and impactful with full bodied and weighty textures. The THX amplifiers are slightly limiting the perceived spaciousness and the bass is not as resonating, the sound could be more atmospheric, but the AKM version fares much better in these departments than the K9. The latter might offer better clarity and overall technicalities, it is also more disciplined with a faster decay than the AKM but it also sounds a bit drier, leaner and not as full as the AKM.

The mid-range is open sounding, present and tonally balanced, crystal clear and well defined. The sound temperature is rather neutral, neither warm nor cold, but it slightly shifts warmer than the K9. The K9 AKM produces more colorful harmonies with better overtone diversity than the K9, the timbre is natural and more realistic, while the textures feel richer and rounder. The AKM DAC chip counterbalances the academic sterility of the THX modules and rearwards the listener with a bit more musical and engaging sound signature. Still the ESS version is the most technically adverse, resolves finer and has better mid-range clarity, transparency and articulation.



The most radical sound difference between the two is to be observed in the treble section where the AKM version sounds more lifelike and effortless, not that etched and with less digital glare. The treble of the AKM version is pretty extended and energetic, with plenty of airiness and shed light, but not as sparkling and luminous as in the K9. The latter is the more resolving one and delivers deeper detail extraction but it also sounds a little brighter and more academic. It is also faster and more vibrant compared to the more relaxed and blunt AKM. The overall feeling after side by side listening with the two units is that the K9 AKM is slightly more musical sounding than the K9 but not that transparent and clean.

A couple of differences also apply to the soundstage where both units do sound open and spacious with very satisfying extension and depth layering, especially from their balanced outputs. The AKM is a little more holographic, atmospheric and immersive but the ESS K9 has unmatched imaging precision and pinpoint positioning.

It should be noted though that the sound differences between the two devices are not in a night and day fashion. They do have their own unique and clearly distinguishable personalities but they also share a lot of common characteristics.

All-in-one

For this section I am literally copying myself from the original FiiO K9 review:

“The overall audio performance of the FiiO K9 AKM is of the same high quality both from the headphone and the line outputs thus making it an ideal option for use with headphones and powered monitors alike or even as a standalone DAC. Furthermore, the headphone amplifier of the K9 AKM is very transparent and will mirror the sound characteristics of an external analog source without any further coloration. It gets perfectly clear that the FiiO K9 AKM is a high quality desktop audio source that can meet various usage scenarios.

Comparison with the FiiO K7

The FiiO K7 BT is another option for anyone looking for a more compact and budget friendly desktop DAC/amp with truly balanced circuitry and AKM DAC chips. It features two AK4493SEQ DAC chips and dual THX AAA 788+ amplifier modules that are capable of 2Wpc/32Ω from the balanced output. This is the exact same power output as the FiiO K9 but the devil hides behind the lines because the later has a more robust, internal power supply that helps it to deliver 780mWpc/300Ω than the 560mW of the K7, thus making it more capable of driving high impedance headphones. Another notable difference is the lack of a balanced XLR output and a 4.4mm line input.

When it comes to sound quality, the K9 AKM is the better sounding of the two. If you have the space and the budget to afford the K9 AKM then you are buying an audio device that is more dynamic and impactful with
blacker background, it has better transparency and clarity, as long as it sounds finer and more resolving. Additionally the sound is more fluid and effortless, the treble is smoother and less sterile, with less digital glare while the overall timbre is more natural and realistic.

Conclusion

Exactly as the original FiiO K9, the AKM version offers a near flagship level of audio quality with plenty of connectivity options at a price so low that is hard to beat. Furthermore it differs from the original version by sounding a little smoother, slightly warmer, more natural and less academic without sacrificing too much in transparency and technicalities. Variety is always welcomed, two is better than one and the user now has the option to choose between two flavors of the same awarded dish that are equally delicious. Whether you pick the plain K9 or the AKM version, rest assured that you are buying an excellent sounding all-in-one desktop DAC/amp with an amazing price to performance ratio.

The review sample was kindly provided free of charge.

The price of the FiiO K9 AKM is $530 and you can buy it from here.

The DX260 is iBasso’s new mid-range digital audio player (DAP), the successor of the much acclaimed and multi-awarded DX240. For the DX260, iBasso decided to abandon the modular amp-card system, so unlike the DX240 or DX320, you can't swap amplifier modules to tailor the sound signature to your liking. The DX260 might not be modular anymore but it is the first DAP to feature an easy removable back cover that allows for total battery access, making battery replacement by the user an easy task.

Technical stuff

The iBasso DX260 is the first DAP on the planet to feature an octa-DAC chip matrix, a unique and novel implementation that uses eighth CS43198 flagship DAC chips, four per channel, to achieve class leading measurements.

After years of algorithm development, iBasso's FPGA-Master has entered generation 2.0. As the audio system controller, it directly requests audio data from the SoC and plays a major role in signal reproduction and maintaining signal integrity. It synchronizes and generates all audio clocks utilizing two NDK femtosecond oscillators to achieve a fully synchronized single clock source.

The DX260 also features a dedicated USB receiver for USB DAC mode with low latency and ASIO/WASAPI support. The device supports 768kHz/32bit PCM and native DSD256.



The FIR filter

Thanks to the FPGA-Master 2.0, the potential of the 8pcs CS43198 can be further explored and developed. The DX260 features a synchronous parallel output mode that reduces "discrete distortion" between DACs to improve overall performance. A picosecond-level precise control and adjustment of the DAC clock and data is achieved, making each DAC data stream independently adjustable. Through the "delay parallel" of 4 DACs, the DACs form a hardware analog FIR filter, which averages the differences between multiple DACs, reducing distortion and effectively improving sound details and realism. The user has the option to switch the FIR filter off or enable it in 2x or 4x sampling modes.

Non Audio stuff

Previous iBasso DAPs, like the DX240 and DX320, had a chassis with smooth, rounded corners and curved edges. The DX260 has a new, angular design with asymmetrical lines, sharper corners and harder edges that combine together to a more industrial and aggressive appearance. The DX260 is lightweight and compact enough to fit in your palm and can be easily operated with one hand but the sharp corners may feel a little piercing. Of course, you can always use the silicone case that is included as a standard accessory.

The layout is simple and minimalistic, the right side of the DX260 has the unique iBasso multifunctional wheel and three buttons for playback control. The wheel might seem fragile but it isn't, it has a sturdy shaft that goes deep inside the chassis so it is actually very durable. Rotation is not that smooth and it takes some use to break up.

At the top of the device you can spot the 3.5mm SPDIF jack, the USB 3.1 type-C port and a micro-SD card slot without a dust cover. At the bottom there are the 3.5mm single ended and 4.4mm balanced headphone outputs that can also be set as line level outputs with a fixed or variable level.

The chassis is made from a single block of machined aluminum-alloy, featuring class leading finish and assembly. The back cover is reinforced with hardened glass.

User experience

The device is powered by a Snapdragon 660 SoC with 4GB of RAM and 64 GB of ROM that ensure a seamless user experience. The DX260 is fast and responsive without exhibiting any lagging, no matter the application used. The 5” touch panel is large enough to allow for one handed operation while it has excellent visibility and vibrant colors. Streaming services, like Tidal and Qobuz, run fast and smoothly, you can browse the internet and do multitasking without any slowdown.

The DX260 also supports USB and Bluetooth DAC functionalit, plus it can output digital streams via USB or digital coaxial so you can use it as a transport to an external DAC.



Dual OS system

As per all iBasso players, the DX260 features a dual operating system where the user can choose between a customized Android 11 OS and iBasso's own developed Mango OS for a purer listening experience. The Android 11 OS comes with the official Google play store pre-installed so you can easily download all your favorite applications. You also get all the familiar Android features, like the drop down menu and all shorts of customization options.

The Mango OS is optimized for the best possible sound quality killing all unnecessary tasks. You can't use streaming services, only local playback from the SD card and USB DAC mode are allowed. The Mango OS also includes powerful graphic and parametric equalizers. Database access speed and build times are very fast even with large capacity SD cards.

Battery duration

The capacity of the battery is 4400mAh and supports quick charging so you can get a full charge in about 2.5 hours. iBasso claims 14 hours of average play time which is a little optimistic but still the actual duration was more than satisfying. The player gave me 10 hours of continuous use from its balanced output, in the low gain setting, steaming high resolution material. Additionally you can charge and use the device at the same time but there is no desktop mode that bypasses the battery.

How to replace the battery

Battery replacement by the user is an easy task thanks for the removable back cover. The only thing you have to do is to use a torx screwdriver and unscrew the two screws that fasten the metallic part that secures the back cover. Then carefully remove the back cover, taking extra care not to break it, and you have total access to the battery which is very easy to replace without any soldering involved.



Accessories

The package includes a silicone protective case, a USB type-C cable, a 3.5mm to RCA coaxial (SPDIF) cable, the famous iBasso burn-in cable and some paperwork. A high quality leather case is sold separately for $59.

Power output and gear

The maximum power output of the DX260’s balanced output is 6Vrms or 1015mWpc/32Ω and 3Vrms, 280mWpc/32Ω from the 3.5mm jack. This is not the most powerful DAP of the category but still has enough juice to run a great variety of headphones, like the iBasso SR3, HIFIMAN Arya Organic, Sennheiser HD660S2 and Meze Liric 2 that I have mostly used for the review.

Background noise is literally inaudible, the device is dead silent and suitable for use with the most sensitive earphones, like the iBasso 3T-154, FiiO FX15 and Soundz Avant.

All headphone and earphone cables are made by Lavricables. As per usual practice, the iBasso DX260 was left playing music for more than 100 hours and was updated to the latest 2.02 firmware.



Audio stuff

Simply put, the iBasso DX260 is the most transparent and neutral player I have ever tested. All iBasso DAPs are famous for their linearity and neutrality but the DX260 has easily surpassed all of them and every other DAP in the market. Its not that there are no other neutrally tuned and transparent DAPs, I can think quite a few of them, but iBasso has managed to push neutrality, fidelity and transparency to their limits. Furthermore the DX260 has an ace under its sleeve as it is the first DAP that manages to stay so transparent and neutral without exhibiting digital glare or treble artificiality. The DX260 is really unique as it possess masterclass fidelity and precision but it doesn't sound sterile and clinical, a major achievement from iBasso that a lot of people are going to appreciate.

When using the iBasso DX260 it gets absolutely sure that you are actually listening to the sound signature of your headphones and the quality of the source material and not the player itself. Some of you might get a little disappointed for not being able to swap amp cards, like you did in other iBasso DAPs, the truth is that the DX260 is made for the purists. This is for people who need to be sure that they have the most transparent and linear sounding DAP that guarantees reference technicalities and don't care about any further sound manipulation.

At this point I must emphasize again and underline that the phenomenal clarity and transparency of the DX260 don't equal to a boring and monotonous listening experience. The DX260 is not like a scientific measuring tool or a monitoring instrument as it is actually very musical and engaging. The sound it produces is full with rich overtones, colorful harmonies and plenty of realistic timbre.

Technicalities are class leading of course and only comparable with much more expensive, flashing DAPs. The bass is deep and extended with excellent definition, amazing clarity and the most impressive layering you can possibly imagine. Throw your most demanding and stressing material and the iBasso DX260 will pass the test with flying colors. It has absolutely no problem at reproducing the finest nuances and the most silent notes while retaining astounding dynamic contrast and physical impact. The textures are not that full or visceral but you wouldn't call them lean or dry either, they are just balanced enough.

The mid-range is present and crystal clear with class leading (again) resolution, fine articulation and plenty of fluidity. The timbre is natural and realistic but the overall temperature is neutral, not warm nor cold. The treble is sparkling and energetic with excellent extension and plenty of shining light. The DX260 is fast and agile, it is not a smooth and relaxed player, it is marginally bright but rest assured that it doesn't sound sharp or piercing. This is not a very forgiving player and will not do much favors to poor quality recordings, especially if you pair it with bright or analytical headphones.

Another striking aspect of the DX260 is its exceptional refinement, the textures are silky smooth without any traces of grain or coarseness. Detail retrieval is absolutely stunning, you can hear the faintest notes emerging from a totally black background and every single sound that is captured inside the recording. But miraculously, the presentation is not analytical or mechanical, this is not the kind of player to present details for the sake of details but rather manages to combine every last bit to form the whole picture and make the music sound even more lifelike.

The separation and the imaging of the DX260 are phenomenal, absolutely class leading, I don't know of another player to outperform it in these departments. You can't only pinpoint the sound of each instrument, no matter how many they are, but you can also clearly understand the exact positioning of the performers during the recording. Headphones don't sound like speakers but with the DX260 you can fool yourself that you are listening to a 2-channel system. Furthermore, the soundstage is expanded and holographic, it sounds immersive and grandiose with stunning ambient sensation. The DX260 can make the Sennheiser HD660S2 and other soundstage shy headphones, to sound more open and spacious than you could possibly imagine.



Fine tuning

Selecting the 2x and 4x sampling modes of the FIR filter will mainly result in enhancing the overall sense of clarity, separation and imaging but you might find that the sound becomes a little more sterile and dry than it is with the filter switched off. The DX260 performs at its best under the Mango OS which further enhances transparency and fidelity by a tiny margin when compared to the Android OS. These are nice options to have that together with the five digital filters can help fine tune the sound signature of the player and offer better matching flexibility with various headphones and music genres.

Comparison with the FiiO M15S

The FiiO M15S ($999) has a larger 5.5” display and a higher capacity, 6200mAh battery but it is slightly bigger and heavier, not that pocket friendly as the iBasso DX260. The screen is also of a lower resolution and less vibrant and colorful than the one on the DX260. The M15S is a bit more powerful (1200mW/32Ω) and has a desktop mode that bypasses the battery which is not user replaceable as it is in the DX260. Both units use the same SoC and 4GB of RAM but the iBasso DX260 runs an Android 11 version instead of Android 10.



When it comes to their sound signature, the FiiO M15S has a slightly fuller, bigger and more impactful bass but it doesn't feel as defined and layered as in the DX260. The M15S is a little warmer and more colorful than the DX260 but it can't match its transparency and neutrality. The textures are thicker and fuller on the M15S while the soundstage is a bit bigger but it can't touch the separation and the imaging properties of the DX260. The M15S is the least digital sounding FiiO DAP, with a surpassingly natural timbre, but the DX260 has a more refined and resolving treble which is devoid from any digital glare, unlike that of the M15S that can show some tiny bits of artificiality.

Comparison with the iBasso DX240

The iBasso DX260 is powered by the same SoC and memory configuration as its predecessor but the Android version is upgraded from 9 to 11 and the overall user experience feels snappier and faster. The screen of the DX260 is greatly improved as it is more luminous, vibrant and colorful. Obviously, their most notable difference is the lack of the interchangeable amp-card system but in exchange you get the user replaceable battery.



When it comes to sound performance, the DX240 with the stock AMP1 MK3 shares a lot of common similarities with the DX260 regarding overall neutrality, fidelity and transparency but the latter feels much improved in every single department. It has better clarity and definition, it is more transparent and precise as long as it is also more refined and resolving. The DX240 can't compete with the DX260 in terms of separation and imaging, nor can it sound as immersive and holographic. The most notable difference though is that the timbre of the DX240 is more clinical and sterile when compared to the DX260 and is also not devoid of some digital glare and artificiality. The treble of the DX240 is sharper and brighter, not as natural and realistic sounding as in the DX260.

Swapping the stock amp card to the AMP8 MK2 will make the DX240 to sound warmer and more organic, the timbre becomes more natural and analog-like while digital glare is effectively minimized. Still the DX260 is the more neutral and transparent player with better technicalities and much improved resolution but I can see some people preferring the DX240/AMP8 MK2 for its warmer and more relaxed sound signature or the versatility of swapping amp cards.

Conclusion

The iBasso DX260 is a phenomenal player with a class leading transparency and neutrality that are not found elsewhere, even when comparing it with flagship models from iBasso or other brands. The DX260 offers masterclass fidelity and precision while it stays musical and engaging enough without sounding artificial and sterile. The price to performance ratio is really astounding, iBasso has managed to make a flagship-level DAP with a price lower than $1K. The DX260 hides plenty of innovation under its compact body and is the first player of its class to come with a user-friendly, replaceable battery.

The DX260 has become my reference DAP, a tool for evaluating headphones but it is also one of my favorites for music enjoyment. This is the perfect choice for everyone who seeks the best possible transparency and fidelity without sacrificing musicality and engagement. The DX260 stands as a major achievement for iBasso but also poses a great challenge as they will now have to surpass its sonic performance in their future products, something not that easy as it sounds. But I still have faith that iBasso is going to surprise us and come with even something better in the near future.

The review sample was kindly provided free of charge in exchange for an honest review.

The price of the iBasso DX260 is $949 and you can buy it from here.

Night Oblivion Audio is a new brand exclusively distributed by Penon Audio. Their first born product is an earphone named Butastur. Butastur is a genus of prey birds that consists of four species. One of their main habitats is North and South China so that might explain the naming of the earphone. The Butastur is a collaboration between Night Oblivion Audio and a community member who contributed in the final tuning.



Technical stuff

The Butastur is a full balanced armature earphone with 10 drivers per side with the following configuration: 2 Sonion drivers for the low, 2 Knowles for mid-low, 4 Knowles for mid-high and 2 Knowles for ultra-high frequencies. Further information regarding the specific type of each driver is not available.

The drivers are combined together with the aid of a three-way crossover that has two tuning switches. The first switch increases the low frequencies and the second increases the high frequencies. You can set both switches to ON position to increase bass and treble simultaneously.

The Penon website also informs us that the Night Oblivion Butastur is using a 110dB air-pressure balancing vent system that prevents resonance and protects against stimulation caused by high frequencies. Furthermore it serves to discharge certain frequencies, protecting ears from hearing damage, offering long term wearing comfort without pressure-build up while it serves as natural air pressure reserve to deliver natural lower-mid and bass resonance.



Non Audio stuff

The ear-shells of the Butastur are made from skin-friendly resin material using 3D printing technology and they have a glossy faceplate with an attractive black and white, wavy pattern. They are anatomically shaped while they are surprisingly compact and lightweight, considering that they house 10 drivers each.

The earphones are actually very comfortable and offer great wearing experience, suitable for long term listening while passive noise attenuation is good, as long as you fit them snugly. What you should know though, is that the sound nozzle is relatively short in length so people with deep ear cavities might have some trouble achieving a stable fit. Thankfully, double-flange ear-tips are included but triple-flange would be even better.



Cable etc.

The Butastur comes with a 1.2m long, 2-pin detachable cable that has an interchangeable plug system. Three high quality aluminum (2.5mm, 4.4mm and 3.5mm) straight plugs are included in the package. This is a 4 strands, 6N single crystal copper LITZ cable that is of high quality. It is sturdy and well made, with very low microphonic noise and it doesn't get tangled but it is a little heavier and thicker than the usual. The cable is actually so good that it doesn't come as a surprise that Penon Audio is selling it separately for $49.90.

https://penonaudio.com/Night-Oblivion-Butastur-IEM-Cable.html

The package also includes two types of silicone and one set of double flange ear-tips in three sizes each plus a luxurious carrying case with a magnetic lid. Some extra ear-tips would be much welcomed.



Drivability

The Night Oblivion Butastur is rated at 30Ω of impedance with 107dB of sensitivity so it is pretty easy to drive and additionally not that sensitive to source noise. Further testing of the Butastur with various sources revealed that it scales quite well, so the better the source you are going to use, the better the performance is going to be. Most of the time, I used the FiiO M15S and iBasso DX260.

Audio stuff

The most notable characteristics of the Night Oblivion Butastur, that leave the deepest impressions upon first listening, are the excellent integration between the ten drivers and the speaker-like quality of the sound presentation. The Butastur is refined and resolving, it has supreme sound cohesiveness and great tonal balance with a mostly natural timbre, sonic qualities that let you immerse into the music to a non stop listening experience. The overall sonic performance is class leading and definitely better than the price would suggest, the Butastur outperforms much of the competition and easily compares with more expensive earphones.

The overall tuning is mostly balanced with just a touch of mid-bass emphasis that adds some cozy warmth without leading into any severe tonal inaccuracies. The bass is not, strictly speaking, neutral and critical but you can't call it out of tune and insufficient for listening to classical music. The overall balance of the low-end is suitable for listening to a wide range of music without doing anything too wrong or heavily emphasizing over the rest of the frequencies. Sub-bass extension is very satisfying and you also have the option to increase its amplitude a little more by using the first switch of the crossover. This action will also add a touch of extra bass and mid-bass, making the Butastur more appealing to bass lovers while respecting the rest of the frequencies.

Technicalities are great, the bass is tight and controlled, fast paced and well defined with crystalline clarity. Layering is also very good, despite the mild mid-bass emphasis, and the listener can easily focus on various bass instruments or listen to the faintest of the notes, no matter how populated the bass line. The Butastur is a good choice for listening to large scale classical music despite its non critical tuning. The low-end textures are not that weighty and visceral, the bass can't sound as full and impactful as it would do with a good dynamic driver. Thus said, the physical impact and the dynamic behavior are surprisingly well done for an earphone that uses two Sonion drivers for the low frequencies. An extra point worth of noting is that the bass is reproduced without any unwanted resonances or excessive reverb.



The mid-range is masterfully tuned as it manages to sound extremely natural, musical and engaging, effectively reaching into the emotional depths of your favorite tunes. Not subdued or forward, it is balanced and smooth without any upper mid-range glare. The sound is full of fluidity, colorful harmonies and rich overtones, voices and instruments alike are reproduced with plenty of naturalness and speaker-like qualities. The Butastur is lively and lifelike while at the same time smooth and polite. The mid-range is resolving, lush, articulate and well defined with weighty and finely shaped notes, this is an earphone made to touch your heart.

The stock tuning of the treble is easy going and forgiving with a somewhat restrained extension. Still, it is not that lacking in energy and excitement albeit not that luminous and sparkling as some would like. Thankfully you can use the second switch to add a generous boost at the presence and brilliance areas and energize the overall tuning by giving more energy and extension up top to counterbalance the warmer sound signature of the stock position. Boosting or not the treble will not affect the texture of the higher frequencies which is liquid and lush without any hints of metallic or the so-called, balanced armature timbre. The treble region of the Butastur is natural and effortless, the notes have substance and weight, so do expect cymbals, high huts and bells to sound as anticipated and not like paper-thin, fake counterfeits. The timbre is still realistic and organic, instruments sound like real instruments without any metallic sheen, coarseness or dryness. Detail retrieval is great as long as you are not interested in analytical or monitor-like listening style. The details here are to serve the whole picture rather than standing out for their own sake.

The soundstage of the Butastur is not that expanded, not that deep and wide but it has plenty of air and spaciousness as not sound congested even with dense material. The soundstage might be lacking in wideness and depth layering but it compensates with its rather impressive imaging and the ability to convey a holographic sensation.



Further tuning

There is also a fourth tuning option with both switches of the crossover set to ON. This way you get both the mild bass boost and the generous treble emphasis while keeping intact the balanced mid-range tuning without making it lose its presence. Thus you can enjoy the magnificently engaging mid-range of the Night Oblivion Butastur with a touch of extra bass and treble sizzle.

Conclusion

The Night Oblivion Butastur has a mature tuning that might not appeal to people who like glowing, but short lived pyrotechnics. The Butastur is addressed to more trained ears that value timbre realism and musicality over casual or “exotic” tunings. This is an earphone for listeners who like to relax and immerse themselves in the music, getting carried away by their favorite tunes without compromising on overall technicalities.

The Butastur is a worthy addition to an already heavily saturated market, with an interesting tuning that bravely departs from the beaten track. An earphone that balances technicalities with musicality and sounds as comfortably as it fits. An excellent first effort for the Night Oblivion Audio brand that I wish should not stop here.

The review sample was kindly provided free of charge in exchange for an honest review.

The price of the Night Oblivion Butastur is $599 and is exclusively available from Penon Audio.

Intro

Goldenwave is a boutique audio manufacturer from China that was recently bought by HIFIMAN. The first two products born out of this collaboration are the Prelude headphone amplifier and the Serenade DAC/amp. The Prelude used to be a DAC/amp when it was produced under the Goldenwave brand name but now HIFIMAN has stripped it out of its DAC, offering it as a standalone headphone amplifier and kept the Serenade as the DAC/amp combo unit.

When the Serenade was produced by Goldenwave it featured a ES9038PRO DAC chip that is now substituted with HIFIMAN’s own HYMALAYA PRO R2R DAC module.

Technical stuff

The HYMALAYA PRO R2R DAC is a small module that consists of several 0.01% precision resistors and supports a new FPGA algorithm. The Serenade uses two such modules in a balanced implementation and HIFIMAN claims that it has a performance equivalent to two PCM1704K balanced connections with a measured performance that surpasses that of the legendary PCM1704.

The Serenade uses a discrete components LPF analog circuit without coupling capacitors in the signal path. The Class A, fully balanced, headphone amplifier is made with precisely matched transistors and is based on the circuit of the Prelude headphone amplifier.

HIFIMAN knows that clean power is the mother of audio so they have designed an internal, linear power supply that is based on a 50W toroidal transformer which has an iron core and oxygen-free copper windings. The power supply has nearly 30.000 microfarads of total capacitance and features multiple, low-noise, high speed voltage regulators.



Non Audio stuff

HIFIMAN Serenade supports traditional USB, optical and coaxial digital inputs as well as streaming media through a wired LAN connection. The USB input uses a separate XMOS XU316 receiver and supports up to 384kHz/32bit PCM and DSD256 while the SPDIF inputs are limited to 192kHz/32bit PCM and DSD64. The LAN wired network further surpasses the USB input to support 768kHz/32bit and DSD512.

An RCA single-ended line level input is also included so you can use the Serenade as a standalone headphone amplifier or preamplifier for an external analog source like a phono.

Analog outputs include both XLR balanced and RCA single-ended while the headphone amplifier offers 4-pin XLR and 4.4mm balanced as well as 6.35mm single-ended outputs.

The HIFIMAN Serenade includes a great variety of inputs and outputs to cover multiple usage scenarios and the only thing really missing is WiFi wireless connectivity for the streamer and maybe a balanced XLR analog input. A version with a Bluetooth module that supports LDAC level reception is only available for the Chinese market.

The whole chassis of the Serenade is made from solid CNC machined aluminum alloy that has a smooth black finish and features an elegant design with rounded corners and curved edges. The front panel has a glass faceplate insert that looks very attractive and houses a small LCD screen that is positioned just before the volume control knob.

The Serenade combines compact size with a low profile so it can fit virtually anywhere, be it your desktop or a HiFi rack. This is a sturdy and exceptionally well made device that weighs a whole 3.9kg. The Serenade together with the Prelude are the best made and assembled HIFIMAN devices I have tested so far.



Operation stuff

Operation is easy and straightforward, the Serenade has three buttons at the top part of the faceplate that are used to perform the various operations. The left one is to cycle through all the available inputs. With the center button you can enter a sub-menu with the options to set LCD brightness and select whether the steaming board power supply will be always on or not. The right button will cycle the output options between headphone amplifier, preamplifier or DAC. The screen will clearly display all settings and input sampling rate.

The power switch is located at the back and since there is no standby button at the front you must reach for the switch every time you have to power on/off the device.

The HIFIMAN Serenade features an embedded network streamer with the option to switch it off when not in use in order to minimize EMI. This is a wired only board without support for wireless connectivity. The device is plug 'n play, the only thing you have to do is to plug a LAN cable and start steaming.

There is no dedicated application so you must rely on third party apps, like the well known BubbleUPnP, in order to access streaming services or your music library through network attached drives. Not much of an issue though since this is the best streaming application available in the market and is very cheap to buy the premium version. The Serenade also supports Tidal connect and it doesn't have a USB port for attaching memory sticks or hard drives.



Power and gear stuff

The headphone amplifier of the Serenade is powerful and can do 4W/32Ω or 760mW/300Ω from its balanced output. Even the single ended output is powerful enough and can do 2.8W/32Ω or 510mW/32Ω. The Serenade can effortlessly power the HIFIMAN Susvara and high impedance headphones like the Sennheiser HD8XX with plenty of headroom and excellent dynamics. With the Susvara, I never needed to go past the middle of the volume knob.

Noise floor is low and not audible unless you plug in some really sensitive earphones like the FiiO FX15 or headphones like the Aune AR5000. With such loads there is also the risk of getting loud too early because the amplifier doesn't have a low gain setting. There is a workaround though, you can always use the iFi iEMatch which helps to enjoy the sonic qualities of the Serenade with your favorite sensitive earphones as it effectively vanishes noise and allows for a wider range of volume adjustment.

As per usual practice the HIFIMAN Serenade was left playing music for more than 100 hours before listening evaluation. Power, USB and headphone cables are all made by Lavricables.

A caveat

The LAN streamer of the Serenade is a little better sounding than all the other digital inputs, USB included. And I am not talking about the maximum bit rate support, which is higher on the LAN, but I am rather referring to actual sound quality differences when comparing the exact same track through all the digital inputs. Plain and simple, the LAN just slightly surpasses in audio performance all the other inputs and this is the one that must be utilized in order to get the most out of the HIFIMAN Serenade.

Audio stuff

Reading all these technical mumbo jumbo about the HIFIMAN Serenade using R2R DAC modules and discrete audio circuits with transistors and all that stuff made me have great expectations about the audio performance. I was expecting something different sounding than the usual D/S & THX combo units that are flooding the market and I was proven right.

You don't need to listen to more than a couple of favorite tracks to get acquainted with the Serenade and become familiar with its special sound characteristics and the philosophy that hides behind the tuning concept. The Serenade belongs to the rarely found specimens of audio devices that are specifically designed and tuned to sound as natural and musical as possible. Timbre gets the lion's share and technicalities follow suit to support by adding the necessary technical performance a modern audio device should have to stay competitive.

What the Serenade does extremely well is to transform digital streams into real sounding music by recreating and communicating the soul and the atmosphere that are captured inside the recording, connecting the listener with the music. The Serenade has all the necessary means to reproduce instruments and voices with the utmost realism and exceptionally natural timbre, an euphonic and organic sound that is full of colorful harmonies and rich overtones. Furthermore, digital glare and artificiality are banned forever, the treble is free of metallic artifacts and any kind of sharpness or coarseness.

This is a smooth sounding device that doesn't induce listening fatigue while it manages to stay vibrant and energetic enough. Detail retrieval is realized in such a way to let the finest particles naturally emerge from the depths of the recording and gather together to help form the whole picture. The Serenade is not made for analytical listening and has long parted from sterility and clinically driven manners.

This kind of sound shaping doesn't mean that the HIFIMAN Serenade is deliberately adding some kind of extra coloration that is not already present on the source material or manipulating the frequency response of both the DAC and the amplifier. Linearity and neutrality are respected, the sound is not lacking in transparency and overall clarity from the bottom to the top. Resolution and definition are very competitive and not less from what someone would expect for the category. The textures are rich and juicy, from the weighty and visceral low-end, to the lush and fluidious mid-range, up to the liquid-smooth treble. Bass technicalities are really great, it is speedy but not too fast, tight and controlled with plenty of physical impact and good layering. You can definitely find faster sounding and more controlled bass, with greater dynamic impact and even better layering (if that is what you seek) but as a whole, the Serenade offers a nicely balanced low-end that sounds effortlessly natural.

The Serenade shines when it comes to the soundstage and the way it gets recreated by becoming multi-dimensional and holographic. This is not only a spacious and open sounding audio device but furthermore it offers gobs of depth layering and ambient information. Imaging and separation are very good but not class leading, some of the competition, like say the FiiO K9 PRO ESS, can do better than the Serenade. But in the end, what really sets it apart from the competition is its unique way to sound atmospheric , grandiose and speaker-like. Listening to large scale classical music, with headphones like the Meze Elite and the HIFIMAN Susvara, is an unmatched experience.



Treat me like a DAC

Except for headphone listening I have also tested the DAC output of the HIFIMAN Serenade in a 2-channel speaker system that consists of the Audio Physic Spark speakers and the Lab 12 integre4 MK2 integrated amplifier in an acoustically treated room.

In this section I am not going to describe the sound performance of the DAC because it is nearly identical to that of the balanced headphone output as discussed above. What I want to do is to emphasize how good sounding and competitive is the DAC portion of the Serenade. You can buy the Serenade as a standalone DAC/streamer and completely ignore the headphone output if you don't need it.

The Serenade is just excellent as a standalone R2R DAC and can do justice to many 2-channel speaker systems. The overall sound signature and sonic performance reminds me a lot of the Gustard DAC R26 that I have reviewed in the past or maybe the Denafrips Pontus II. Yes, that good is the Serenade as a DAC and it gets my highest recommendation if you are after a mid-range R2R DAC with the added bonus of the embedded streamer.

Comparison with the FiiO K9 PRO ESS

(sound only comparison)

The K9 PRO ESS is more neutral and transparent, an audio device that is more absent rather than present. Technicalities are of higher quality but the sound signature is slightly more sterile and drier when compared to the warmer and smoother sounding Serenade. The K9 PRO ESS is cleaner and more energetic, with better overall definition and offers a more analytical view into the recording but it is also flatter and not as dimensional and atmospheric as the Serenade. The bass on the K9 PRO ESS is more impactful, faster and tighter but not as rich and visceral as on the HIFIMAN Serenade which has also the ability to sound more organic and natural than the K9 PRO ESS which additionally is not devoid of some digital glare and artificiality.

Conclusion

The HIFIMAN Serenade is an all-in-one audio device where all outputs are equally treated and offer the same kind of sonic performance without compromises. You can consider the Serenade both as a powerful DAC/amp for your headphones or as a DAC/preamplifier for a 2-channel speaker system and treat the embedded streamer as a nice gift. Whichever the use scenario might be, you are going to be rewarded with a very musical and organic sound signature backed by strong technicalities.

I consider the Serenade as the best sounding and well made audio device HIFIMAN has made thus far and has rightfully become an indivisible part of my reference systems both for headphones and speakers listening alike. The HIFIMAN Serenade earns my warmest recommendation and it is an audio device that you must definitely audition if you value timbre realism and lifelike musicality.

The review sample was kindly provided free of charge.

The price of the HIFIMAN Serenade is $999 (€1139) and you can buy it from the HIFIMAN store.

A deluxe version of the review with more photos is available in my website.

BGVP is a pro headset brand founded in 2015 and the subordinate brand of Dongguan Nengjiang technology limited company which is located in ChangPing Town, Dongguan City. BGVP mainly produces and customizes various high-end HIFI earbuds, earphones and other electronic products. In the process of development, BGVP has never forgotten to master the core technology capabilities, independent research, development and sales. BGVP is committed to providing high-quality HIFI headsets for consumers around the world. The brand produces various highly acclaimed earphones, like the NS10 that I have reviewed here.

BGVP DMA

The BGVP DMA (DMA stands for Dream Armature) is a brand new earphone that features a groundbreaking 1DD+2BA+2BCD hybrid configuration that incorporates both bone conduction and air conduction technologies. This combination of bone conduction and air conduction technologies aims to provide a real and wide sound field atmosphere, compensating for the frequency band loss that occurs during air transmission.

The two bone conductor drivers by Sonion are adjusted to support lower mids rather than the low-end as is the usual practice. This type of balanced armature bone conduction units is different from the dynamic driver type bone conduction. The vibration frequency of the balanced armature type bone conduction is delicate, so the outer skin tissue cannot sense the vibration frequency. The bone conductors kick in at 100Hz and are effective up to 10kHz with maximum effect at about 2.5kHz.



Additionally, the front cavity features three acoustic ducts for independent sound production, minimizing interference between drivers. Metal acoustic damping is employed to ensure accurate frequency division and clean details. The back cavity includes an independent bone conduction shock hole for realistic sound field simulation.

DMA is equipped with Sonion 2300 series balanced armature as the middle frequency part of the sound and Knowles RAD series balanced armature that has good analytical performance, super high frequency linear extension and great transparency.

The dynamic driver incorporates a nickel vibration film with high temperature distribution, resulting in a thin nanoscale diaphragm. Nickel's properties, including hardness, high rigidity, fast heat conduction, and high specific elasticity, contribute to the driver's performance.



Non Audio stuff

BGVP has cooperated with the famous 3D printing company, HeyGears Technology, to make the front cavity using advanced DLP-3D printing technology for high precision molding. The clear resin material that is used for the main body of the ear-shells ensures impact resistance and durability while allowing a clear view of the internal parts. The outer faceplate is made from CNC machined aluminum alloy that is available in two beautiful looking finishes, dianthus silver and dark blue. An engraved “Y” pattern at the center of the faceplate is both aesthetically pleasing and also serves as a venting mesh to relief bass pressure.

Despite the many internal parts, the ear-shells are compact and lightweight enough while they have an ergonomically shaped design that results in a comfortable and stress free fit, even after prolonged time of use. Build quality and finish are really good, the only things of note are the rather sharp edges of the faceplates and the non seamless integration between them and the main body of the ear-shells.

Cable and accessories

BGVP has equipped DMA with a detachable and modular cable that utilizes MMCX attaching system and snap-on interchangeable plugs. High quality, polished aluminum 3.5mm and 4.4mm plugs are included. The cable is made of four-strand 6N single crystal, silver-plated copper and has an outer sheathing made from transparent TPU material. This is a high quality cable that might be a little thick but it looks very durable, it doesn't get easily tangled and has
minimal microphonic noise.

Except for the high quality cable, the package also includes two types of silicone ear-tips in three sizes each (vocal and bass), a pair of memory foam ear-tips and an absolutely fantastic carrying case in a classy white color.



Audio stuff

Rated at 17Ω with 106dB/mW of sensitivity, the DMA is very easy to drive and doesn't need special amplification. However, it scales quite well and is also a little sensitive to source noise so you are encouraged to use gear better than entry level USB DACs. For this review, I have mostly used the FiiO M15S and iBasso DX260.

The sound signature of the BGVP DMA is distinguished by abundant sub-bass extension, generously emphasized bass and mid-bass, present and natural sounding mids and a treble that is luminous and energetic yet quite smooth and polite. The tuning is a warm and colored, steering away from neutrality, however it is still a mostly balanced and not dark sounding earphone that additionally is not lacking in transparency and overall clarity.

Sub-bass extension is excellent, the deep low-end is slightly boosted in a polite way that makes it very enjoyable with bass heavy tracks without ending too dominant. Thus said, this is an earphone that can't hide its bass credentials, the low-end is emphasized all the way up to the lower mids. The bass is weighty, visceral and impactful with plenty of punchiness and dynamic force. The overall experience is head shaking and rattling, the bass is mostly tight and controlled but not without some boominess and a few instances of slow rebound.

The DMA does very well in reproducing deep synthesized bass and percussion instruments (like bass-drums or timpani and even with bass guitars and electric bass) but it doesn't fare that well with low-pitched stringed instruments, especially when many of them are playing together. This is because mid and lower bass are too boosted to sound tonally accurate and correct while at the same time layering and definition are not class leading. I don't know if it is due to the bone conductor driver but listening to heavy populated passages with a bulk of cellos and double-basses playing together can get rather messy and lacking in definition. The DMA wouldn't be my first choice for large symphonic works, reproducing Mahler's 2nd symphony was not an easy task for the earphone.



Thankfully not all people listen to classical music and the DMA truly shines with a lot of other genres, like modern pop and electronic. Part of this success is the crystal clear, well voiced and present mid-range that allows for vocals to shine forth with adamantine clarity while at the same time the bass hits hard at the back of your head. So you can listen to stuff like Billie Eilish and enjoy the heavy beat without losing track on the vocals. The mid-range is very harmonious and engaging with a natural timbre, great vibe and absence of any shoutiness or other fatiguing elements. The texture is weighty and rich without dryness and has plenty of liquidity despite using a single BA driver.

The treble is well extended and clean, it is energetic and lively with good levels of clarity, definition and detail retrieval. There is plenty of shed light and a pinch of brightness to counterbalance the low-end warmness and keep things moving and sparkling but it never sounds harsh or piercing. The textures get a little drier this time but not overly lean while some traces of balanced armature tinge can be spotted here and there. Resolution and refinement are pretty good but not the best, you can expect much from a single balanced armature per each frequency section.

The BGVP DMA surpasses itself and punches above the category when it comes to the soundstage which is extended both horizontally and vertically to make for a three dimensional and rather grand listening experience. Separation and imaging are also above the average of the category but it is not that successful in communicating the ambient information.

Comparison with the BQEYZ WIND

The BQEYZ WIND is a hybrid earphone that combines a single dynamic driver with a custom bone conduction driver that is effective in the low and mid frequencies. The all aluminum made ear-shells are slightly more compact than that of the DMA. Both earphones are very comfortable but the DMA is more ergonomically shaped so it matches better the shape of the outer ear. Both are also well accessorized, the cable and the carrying case of the DMA are of higher quality but the WIND comes with a greater variety of ear-tips.

When it comes to tuning, the WIND is also a bass prominent earphone but it doesn't have the sub-bass extension of the DMA. The WIND is not as dynamic and impactful as the DMA but the bone conduction driver is more effective at transferring the low-end energy inside your head. Textures on the WIND are leaner and not as visceral as on the DMA but it sounds just a bit more clear and well defined on the bass. The mid-range is more prominent in the WIND, especially in its upper section where it gets a generous boost to sound more energetic and luminous but slightly brighter and sharper than the DMA. The WIND has better frequency cohesiveness but it not as resolving and detailed as is the DMA, both in the mids and the treble. The two earphones are really good when it comes to soundstage, the WIND is more expansive and airy but the DMA is the most holographic one.

Conclusion

The BGVP DMA is an earphone made for people who like shuttering bass experience without sacrificing anything when it comes to mid-range clarity and treble definition. It has a special tuning that combines thundering bass with very engaging mids and a rather smooth treble that blend together to form a sound profile that pairs well with a lot of sources and matches a variety of music tastes. If you are after that kind of signature, then the BGVP DMA is a solid choice as it combines great sonics with a comfortable fit and plenty of high quality accessories at the right price.

The price of the BGVP DMA is $299 and you can buy it from BGVP official AliExpress store.

The review sample was kindly provided free of charge.

A deluxe version of the review is available in my website.

The KA17 is FiiO's latest portable USB DAC dongle and their current flagship product dethroning FiiO KA5. It KA17 features the latest design pattern that was introduced with the KA13 but keeps the OLED screen of the KA5 while it also blends KA13’s desktop mode switch with an additional USB type-C power supply port as is inherited by the FiiO Q7 and M17. In case that you are not familiar with FiiO's USB DAC dongles, their catalog now consists of the following models from the most budget to the more premium: FiiO KA1 (now replaced by the FiiO KA11), FiiO KA2, FiiO KA3 (getting discontinued), FiiO KA13, FiiO KA5 and FiiO KA17.

Technical

The KA17 employs two of the brand new ESS ES9069Q flagship DAC chips, powered by fourth-gen 32 bit HyperStream technology. These chips feature even higher performance, lower power consumption, and less digital noise than previous generations for an absolutely pristine and pure audio background.

The THX AAA 78 headphone amp was extensively used by FiiO in products like the M11 Pro and M11 Plus players. Now, the even newer and upgraded THX AA 78+ amplifier is featured in the KA17. Inside there are THX AA 78+ headphone amplifiers, with 8 op-amps working in a parallel, 4-channel fully balanced configuration, allowing for greater power output.

The audio circuit of the KA17 is far more complex than most USB DAC dongles, featuring dual crystal oscillator clocks, LPF voltage amplification, BUF current expansion and headphone amps working together in parallel. The digital and analog portions of the audio circuit lie on totally separate circuit boards, each board equipped with a shielding cover for total isolation.

Also included is a 16-core XMOS XU316 USB receiver, rarely found in audio dongles. This chip features lower latency, more stable signal transmission, and better compatibility than typically used USB control chips.

The device supports asynchronous decoding up to 768kHz/32bit, DSD512 and full MQA. USB DAC driver free is also supported while the KA17 can also be used as a USB to SPDIF bridge.

Desktop mode and power

FiiO's desktop mode has been introduced and continuously refined with the release of various products, such as the M17, Q7, M15S, Q15 and KA13, and now has found its way to the KA17. The FiiO KA17 features a special desktop mode, activated using a dedicated switch. Enable the desktop mode, and the KA17 will automatically adjust the DAC, amplifier power supply, and the amplifier power output to fully unleash their potential with greater power output.

The maximum power output of the FiiO KA17 is 300mWPC/32Ω from the balanced output in normal working mode and 650mWPC/32Ω for the desktop mode. With such power output, the FiiO KA17 is the most powerful USB DAC dongle at this size, even surpassing the KA13 (540mW), the Cayin RU-7 (400mW) and the iFi Go bar (440mW) that used to be the power champions.

The KA17 can easily drive most full sized headphones, like the FiiO FT3 and FT5 or even the 300Ω Sennheiser HD660S2. To get a rough idea about real life performance, for the Focal Clear Mg, 30 out of 60 steps are enough to get them loud with spare headroom (at desktop mode off) and the value drops at 25 out of 60 for the desktop mode (from the balanced output). At the same time, the KA17 is dead silent no matter if the host device is a noisy PC or an Android phone, so it is ideal for using sensitive earphones like the FiiO FX15.

The desktop mode will make the KA17 pretty hot, it is really difficult for such a compact chassis to effectively dissipate heat and stay cool, thus FiiO has implemented a clever thermal protection circuit.

The FiiO KA17 was updated to the latest v0.99 firmware.

Non Audio stuff

The FiiO KA17 has a tiny 0.91”, dot matrix display and three dedicated buttons so you can independently adjust the volume and access the menus without the need to reach for your phone or use an application. Play, pause and skip tracks are not supported. The screen displays information like sampling rate, gain and volume while it is used to navigate through the menus. The device is highly customizable, the user can select between two volume adjustment steps, gain (high and low), digital filters, EQ profiles, UAC mode, screen rotation and timer, channel balance, etc.

You will only need to reach for the FiiO control application in order to configure the 10 band PEQ. You can store up to three different user configurations. All settings are permanently stored in the device memory so there is no need to reach for the application again after you are finished. You can select your custom settings or one of the 7 ready-made EQ profiles directly from the device menu.

Important note: The EQ can only be configured through the FiiO control application.

The KA17 inherits the new design pattern that was introduced with the FiiO KA13 but this time the see-through glass window is replaced by the dot matrix display. Measuring 64x27.7x12.7mm and weighting 33.5g, the KA17 is also slightly bigger and heavier than the FiiO KA5 and KA13 but still compact enough for portable use. This is a well designed device that has a premium feeling and great looks, especially the blue version. The chassis is made from solid aluminum alloy and boasts excellent finish and craftsmanship.

The package includes a short USB type-C cable, a USB A to C adapter and a nice leatherette case. Unfortunately an iOS cable is not included as a standard.



Audio stuff

(This section includes comparison notes with the FiiO KA5 and KA13)

The general sound profile of the KA17 is not that different from FiiO's house sound as is expressed in most of their audio gear with THX amplification. The KA17 is neutral and transparent with a hint of treble brightness but it also has a touch of low-end warmth, a nice combination that makes for a balanced sound signature. In this regard, the KA17 sounds musical and engaging while expressing excellent fidelity.

The key difference is that the sound of the KA17 is weighter and fuller than the KA5 and the KA13 thus it combines plenty of musicality with top notch technicalities. Another notable difference is that the timbre is slightly more natural, the sound is harmonious and less sterile without any notable artificiality or metallic tinge despite some certain treble energy.

The low-end is surprisingly weighty and visceral for a THX amplifier, the bass on the KA17 is fuller and not that lean textured as in the KA13 or the KA5 while at the same time is fast, tight, well defined and controlled. Additionally it is punchy and impactful with great dynamic contrast, especially with an external power adapter.

The mid-range is neutral, crystal clear and transparent with excellent articulation and surprisingly colorful harmonies that are embodied into instrumental and vocal overtones. This is still a THX - ESS design, don't expect much liquidity and organic characteristics but the truth is that the overall timbre is more natural and realistic than someone would expect.

The KA17 is fast and energetic, airy and luminous with a touch of a well controlled brightness that is smartly configured as to shed light into the mix and help with detail retrieval but without verging into too analytical and brilliant. This is the most naturally expressed and better realized treble from all previous FiiO DAC dongles (battery powered ones also included). This is the most sophisticated and mature sounding FiiO dongle, also the most resolving and refined, greatly surpassing the KA13 and KA5 in these regards.

The soundstage that the KA17 produces is stellar, wide and spacious without artificially added width, the sound is open and expansive with surprisingly good layering. Imaging and separation are also top notch, the presentation is also quite holographic with plenty of ambient information. The overall performance is greatly satisfying and better than someone would expect from a portable DAC, especially if you employ the desktop mode which further opens the soundstage and enhances separation.

Comparisons

For $149 (a little more or less) there are dozens of other USB DAC dongles each one with its own unique merits. Some of them are more compact and lightweight, others have lower power consumption or fancy designs and most importantly, all of them have their own unique sound signatures. After all, not everyone is going to like the sound profile of the FiiO KA17 so thankfully there are plenty of other options, from extremely technical sounding to more analog and organic, there is literally a USB DAC to keep everyone satisfied. But the truth is that I can hardly think of anything else at this price point, that offers the same combination of sound quality, functionally, power output and compact enough size, as the FiiO KA17. So it's up to you to decide if you need something multi-talented as the FiiO KA17 or something else with more specific and unique characteristics.

Conclusion

The KA17 is FiiO's best USB portable DAC/amp so far, not only because it sounds maturer and more sophisticated than its predecessors but also because it embodies plenty of features and the innovative desktop mode that transforms it into a desktop-grade device.

The FiiO KA17 has really everything and even more than you are ever going to need from a portable USB DAC/amp. This is an endgame DAC and the only reason to buy something else is only if you seek a different kind of sound shaping or something smaller and more efficient. Everything else is included in the FiiO KA17, at a price that is really hard to beat, thus surpassing all competition when it comes to value for money. Plain and simple, the FiiO KA17 offers the best price to performance ratio in the market right now and I can clearly see it selling like hot cakes.

The review sample was kindly provided free of charge.

The price of the FiiO KA17 is $149 and you can buy it from here.

Visit my website to read the full version of the review which includes power consumption measurements and other interesting stuff.

Aune Audio is a well known audio brand from China that has been developing desktop and portable audio products such as DACs, digital transports, music players and headphone amplifiers. Their catalog also includes an earphone, the Jasper but no headphones. Well, until now because Aune Audio have finally released their first full sized headphone, the Aune AR5000.

Aune AR5000

The AR5000 features a large, 50mm open-back dynamic driver unit with an innovative structure. The multi-layer distributed (MLD) diaphragm balances rigidity and damping, further resolving the breakup issue often found in large drivers. This reduction in distortion across the entire frequency range results in high transparency and a frequency response that effortlessly extends up to 40kHz.

The newly designed acoustic suspension and airflow system enhance the linearity of diaphragm movement and balance the internal pressure and sound velocity within the transducer.

The large-tilt-angle driver panel, optimized through computer-aided design, together with the ear-cup designed with also a tilt - the bold acoustic structure enhances spatial perception. Compared to regular headphones with horizontal or slightly angled drivers, the AR5000 offer significantly improved vertical soundstage and imaging quality. The open grid design on the ear-cup shell, combined with side vents, precisely balances the diffusion of airflow at the rear of the driver, further expanding the naturalness and openness of the sound.

Non Audio stuff

The headphone features an innovative "concentric circle" wearing adjustment system that is combined with an overall lightweight design. The height adjustment system works well and allows for fine adjustments within discrete “clicks”. The headband size and its overall curvature are ergonomically designed to fit the head without exercising any excessive pressure. The inner strap of the headband is made from synthetic leather and despite not having any extra padding, it is comfortable enough with the additional benefit of staying cool.

The user replaceable ear-pads are roomy enough and made from perforated, synthetic leather that is filled with breathable acoustic slow-rebound sponge. They are designed to fully cover the ears that don't touch the tilted driver. The ear-pads get attached to the ear-cups by the means of a narrow sleeve that gets inserted into a slot. Just like the iBasso SR3. Not very practical but it doesn't matter a lot since there are no spare ear-pads for fine tuning so the user is not going to do frequent pad swaps.

The overall feeling and wearing experience of the AR5000, is that of a very comfortable and lightweight headphone that you can use for hours long.

Aune has made a considerable effort to combine sturdiness with a lightweight frame and they have succeeded because the headphone weighs 350g only and seems to be quite durable. The takeaway is that there are a lot of plastic parts that look fragile and there is a chance to lose their silver finish. However, all critical parts of the headphone are metal made. These include the upper arc of the headband, joints, the ear-cup gimbals and the outer, protective grills. The overall construction and assembly of the headphone are of high quality, it looks sturdy enough, there are no crackling noises during use but there are some parts that are a little sharp and need caution during handling. Summing things up, this is a well made headphone with a premium, yet minimalistic appearance.

The headphone comes well packed in a big and impressive cardboard box that is rather empty. The only things you get except for the headphones themselves are a plain cable and a 6.35mm adapter. No extra ear-pads, no carrying case, not even a storage pouch. The 1.5m long cable has a fabric sheathing and 3.5mm aluminum plugs so you have plenty of aftermarket options for replacing it. Aune is selling their own upgrade cable that costs $49 and is available from Amazon. For $299 someone would expect a higher quality cable with a 4.4mm plug and a single-ended adapter plus some extra accessories.

Sensitivity and associated gear

The headphones have 28Ω impedance with 108dB/mW of sensitivity so they are really easy to drive and don't need special amplification. Most portable sources and DAPs can drive them to their full potential, just make sure to use something decent because the AR5000 is very sensitive to noise. For this review I have used the Aune Yuki and S9C Pro, together with the FiiO M11 Plus ESS, to find out that the AR5000 scales well and is able to do justice to upstream gear.



Audio stuff

For their first born headphone, Aune has opted for a reference tuning with flat bass, fairly neutral mid-range with a touch of upper-mids prominence and a bit of brightness on the treble. Thus said, the AR5000 is not a sterile sounding headphone but it rather manages to combine plenty of musicality with great transparency and neutrality.

The low-end end is linear, the tuning is made for critical listening, gravitating towards tonal accuracy and precision without any kind of emphasis or further coloring. Sub-bass extension is very good, the AR5000 has the means to successfully reproduce all the low-pitched instruments of the symphonic orchestra and the lowest tones of the pipe organ while it also does well with deep synthesized bass but without doing any additional boosting. Reference neutral doesn't necessarily mean sterile or boring bass, the AR5000 has a touch of warmness and sounds natural and organic. The texture is lean but not dry, this is not the most weighty and visceral sounding headphone but it compensates with firmness, precise definition, plenty of clarity and excellent control. The bass of the Aune AR5000 is really amazing, it combines electrostatic speed with planar-magnetic layering and dynamic driver punchiness. Transition to the mids is exceptional, the clarity is really amazing, there are no signs of bleeding into the mid-range or masking of the inner bass line no matter how complex and overloaded it is. The AR5000 is absolutely fantastic for listening to classical music, Mahler's 2nd symphony opening bars never sounded so well defined and layered at this price point.

The mid-range is fairly neutral with amazing transparency and clarity. The AR5000 sounds alive and lifelike, placing some extra gravity onto the mids, offering an engaging and naturally toned listening experience. This is a headphone with intense harmonic variety while articulation and fluidity are really excellent for the category and maybe more. What is also rarely found in this price point is the exquisite fidelity of the AR5000, the headphone is like a mirror that can't hide anything. The texture is still lean but not thin or skinny, the notes are not lacking in weight and substance. The timbre is natural and realistic, instruments and voices are reproduced with lifelike tonal accuracy and great balance. The overall feeling is that of a resolving and smooth sounding mid-range that is not lacking in energy and precision.

Clarity and transparency are also the dictating rules for the treble which is mildly emphasized but not that much to become excessively bright. This is definitely a sparkling and luminous sounding headphone with plenty of energy on tap but thankfully not sharp or piercing. The word precision springs to mind when listening with the AR5000, definition and detail retrieval are excellent without magnifying too much, this is a mildly unforgiving headphone but not ruthlessly revealing. You can listen to pretty much anything and pair it with various sources but high quality recordings and less bright partners will result in a much more enjoyable listening experience. While the AR5000 is not bright and fatiguing, you can't fail to notice a slightly metallic tinge to the higher frequencies, cymbals, high-hats and some other instruments do sound slightly artificial and thin. There is a ringing effect to some extent, but it is not that bad as it might sound. Resolution and refinement are very satisfying but the AR5000 is slightly lacking in these departments when compared with other headphones like the Sennheiser HD650 or some planar magnetics, like the HIFIMAN Ananda.

Aune has made special designing efforts to make the AR5000 sound open and spacious and I can report that they have succeeded. The soundstage is not artificially enlarged or extended but it manages to stay faithful to the recording while providing plenty of openness and spaciousness. Stereo effect is solid and realistic while imaging and separation are among the best of the category. The AR5000 can handle large symphonic and choral works without breaking a sweat while providing plenty of ambient information and good height. Depth layering is rather limited though, the soundstage is more horizontal than deep so holographic illusion and grandness are quite limited. On a side note, the user must be careful during the positioning of the asymmetrical ear-pads taking care to place the thicker side at the center back of the ear, otherwise spatial effects will be limited.

Comparison with FiiO FT3

The FiiO FT3 is a similarly priced dynamic driver headphone that is available in two versions, 32Ω and 350Ω. The first one has a warmer, thicker and more casual tuning while the second one has a transparent and monitor-like character with some extra brightness. The sound signature of the Aune AR5000 is like a mixed version of both FiiO FT3 variants, not as warm and colored as the 32Ω but also not that bright and as dry sounding as the 350Ω. The Aune is also more lightweight and comfortable than the FT3 but the latter is better made, with more premium materials and comes with a generous bundle of accessories that includes two sets of ear-pads, a premium carrying case and a modular cable.

Comparison with Sennheiser HD650 & HD800S

The tuning of the Aune AR5000 reminds a lot of the Sennheiser HD650 and HD800S, actually it is closer to that of the 800S rather than the first. It has better bass extension than both of them and less emphasis on the upper mid-range than the 650 so people with sensitivity in this particular area will find the AR5000 more to their liking. The mid-range tuning of the AR5000 is almost identical to that of the HD800S but then avoids the boosted treble plateau so it sounds less bright and more naturally toned. I would dare to go as far as to say that the AR5000 is a less bright and more bassy version of the HD800S with the same kind of soundstage openness and expansiveness while it is definitely more spacious than the HD650. Thus said and leaving tuning similarities/differences aside, the AR5000 is less resolving and refined than both Sennheisers, it doesn't have the same organic character and the viscerality of the HD650, nor the magnifying glass ability and the depth layering of the HD800. But then, it is really amazing how close you can get to some departments of these two famous headphones for a mere $299.

Conclusion

Aune has confidently entered uncharted territory, skilfully navigating through the reefs to reach their goal. Their first born, the Aune AR5000 is a comfortable and well made headphone that exceeds all expectations when it comes to sound quality. With a reference - critical tuning, this a headphone that bravely departs from the beaten track to cater for the budget conscious audiophile. Value would be much better though, if it had included a better cable and a couple of accessories but this is something that I am sure that Aune are already considering for their next installment. And judging from this very successful first foray into the headphones market, their next one must be something really special.

The review sample was kindly provided free of charge.

The price of the Aune AR5000 is $299 and you can buy it from Amazon.

Aune upgrade cable is $49 and you can buy it from Amazon.

Rose Technics

Do you know Rose Technics? The truth is that I didn't know them until HiFiGo contacted to suggest a review of their latest creation, the RT5000, an all-in-one unit combining a DAC, a headphone amplifier and a preamp under the same hood. Visiting their website we can learn that Rose Technics is a Chi-Fi brand that was established back in 2012 with the goal to deliver unparalleled original sound reproduction through intelligent technology and meticulous manufacturing. Sounds familiar? Their catalog consists of audiophile in-ear monitors, TWS wireless earphones, a couple of cables, a portable USB DAC and a full sized headphone. You can visit their website and learn more here.

Rose Technics RT-5000

Rose Technics are now expanding their business to include an all-in-one DAC/amp, the RT5000. The RT5000 might be their first such product but they are aiming high because it features a flagship-level configuration.

Audio decoding is assigned to two pieces of the flagship ES9038PRO DAC chip by ESS in a fully balanced configuration. Eight OPA1612 are implemented for the I/V conversion circuit and two OPA1612 for the LPF. No surprises so far, this is the standard circuitry that is used by almost all Chi-Fi brands, like SMSL and Topping, that usually design by the book.

The surprises are saved for the last as Rose Technics has equipped the RT5000 with dual JRC MUSES01 J-FET input op-amps, one per channel. Moreover they have opted for a fully discrete headphone amplifier that is realized by using two B772 and two B882 transistors per channel. A very promising configuration! The surprises don't stop here as the MUSES op-amps are dip-mounted so you can exercise the op-amp rolling sport, that is if you are skilful enough to open the chassis which is not designed with this purpose in mind.

Rose Technics is well aware that clean power is essential if you want to achieve high quality audio, so they have designed a power supply with large filtering capacitance split into small value capacitors to keep ESR as low as possible.

What they have not included though is a separate XMOS USB receiver so decoding is limited to 32bit/384kHz PCM and DSD256 while USB latency might not be that suitable for gaming

The RT5000 is also equipped with the QCC5125 Bluetooth 5.1 chip which supports LDAC, aptX HD, aptX LL and aptX adaptive reception.



Non Audio stuff

The Rose Technics RT5000 is an all-in-one, balanced DAC and headphone amplifier combo that also includes a preamplifier output with both balanced XLR and single ended RCA plugs. The line output is variable and can't be set as a fixed DAC out. The three headphone outputs (6.35mm, 3.5mm and balanced 4.4mm) are located at the left side of the front face.

The digital inputs include full size USB, optical and coaxial connectors that are positioned at the back together with the 15V/3A DC input, the Bluetooth antenna, the power on/off switch and an input selector. Switch this one up to select the USB input or down for the coaxial/optical inputs and enable the Bluetooth reception mode which has priority over them.

At the front face you can see three small buttons that are used to perform various operations and four notification LEDs. Single pressing the first one will cycle through the four gain levels of the headphone amplifier. There is no visible indication of the selected setting so you must be careful not to fry your sensitive earphones.

Long pressing and releasing the same button will cycle through the seven digital filters of the DAC. After releasing the switch a white LED will flash with the number of flashes indicating the selected filter as follows; (1. fast linear, 2. slow linear, 3. fast minimum, 4. slow minimum, 5. apodizing, 6. fast hybrid and 7. brickwall). Not practical at all as there is no way to know the selected filter at a glance and must rely on your memory skills.

The second button is only used to mute the sound. Long press the third one to enter Bluetooth pairing mode. A blue LED will start flashing and become solid blue after a successful connection. Long press again to disable Bluetooth and use the optical/coaxial inputs. There is also a third LED that will light only during DSD decoding and a fourth LED that will turn red when the power switch is on. A very strange and confusing decision since the norm is to have a red light for the standby or power off mode.

The Rose Technics RT5000 is a compact sized unit that can fit virtually anywhere. Despite its compact dimensions (191x144.5x40mm), the RT5000 is a solid and sturdy device that weighs 822g.

The Rose Technics RT5000 has a unique and intriguing appearance that combines both retro and modern design elements. The chassis is made from CNC, high rigidity, aluminum alloy which minimizes vibrations and shields the internal components against EMI. The front panel is made from a single piece, solid wood that is engraved and hand polished. The natural brown color of the wood panel is beautifully combined with gold-plated volume control knob and buttons. Furthermore, the top and the bottom parts of the chassis are covered with real leather that is available in two dyes, back and green. The RT5000 is a well made and luxurious looking device with its own personality that reminds of handmade, boutique audio gear.

The package includes a universal, switching power adapter, two high quality USB cables and the operation manual.

Power output

The discrete headphone amplifier of the RT5000 is able to produce 800mW/32Ω from the single ended and 1.6W/32Ω from the balanced output. Plenty of power to run most of the headphones on the market, like the Sennheiser HD660S2, the HIFIMAN Arya Organic and the iBasso SR3 that I have used for the review. The low gain setting is suitable for sensitive earphones as it is dead silent and doesn't get loud too early. As per usual practice the Rose Technics RT5000 was left playing music for about 100 hours before listening evaluation.



Audio stuff

I must confess that the Rose Technics RT5000 took me by surprise because I was never expecting it to sound so good. The sonic performance is of such a high quality that it can easily compete with similar products carefully designed by well established brands. The sound quality is so exceptional that you are not going to believe your ears.

It seems that these guys at Rose Technics know their trade well as they have managed to combine the excellent technicalities of the DAC chip with a sound full of substance and essence. Rarely has the ES9038PRO sounded that musical and engaging with so minimal digital glare and artificiality. I must have written hundreds of times that clever engineering always pays off. Designers who dare to become creative and depart from the beaten track by taking the time and effort to finely tune their devices, rather than throw them in the APx500 and just be happy with the measurements, will always end with something special at their hands.

The Rose Technics RT5000 has tons of musicality on tap and a deep level of engagement rarely found at this price segment, especially when dealing with mass produced, Chi-Fi audio devices. The sound is warm and organic but not mellow or dark, the timbre is natural and full of realism and overflows with colorful harmonies. You will have to search a lot in order to spot any signs of digital glare, if any at all, the RT5000 actually reminds a lot of a good analogue set-up. This is audio at its best, the music sounds like real music as when it is performed by the artists and not like simple sounds emanating from the headphones.

At the same time technical performance is at the highest grade as someone would expect from a dual ES9038PRO configuration. The bass is fast, controlled, precise and accurate with excellent definition and layering. The transistor amplifier makes for a low-end that is powerful, punchy and dynamic with a weighty, full bodied and visceral texture. The texture retains these physical characteristics both in the mid-range and the treble, making for a very cohesive and realistic sound presentation.

The RT5000 has fast transient response and excellent detail retrieval but it doesn't sound clinical or boring. The mid-range is crystal clear, present and well defined, with excellent articulation while the treble is full of energy and luminosity but not sharp or bright. The use of the Muses op-amps is beneficial to the sound as it successfully mitigates the sharpness and the sterility of the ES9038PRO, fortifying the overall sense of realism.

The soundstage is truly where the Rose Technics leaps ahead from most of the competition as it is considerably more holographic and immersive, with an exceptional and resonating ambience atmosphere, separation is amazing and positioning accuracy is class leading.

The Rose Technics RT5000 is one of the rare examples of an audio device that is so engaging that you can't stop listening to your music. It pairs well with all kinds of headphones and it has all the skills to make justice to headphones that are much more expensive than it. Listening to classical music with the Rose Technics and the Arya Organic is a mesmerizing sonic experience, especially if you value timbre realism where the RT5000 really excels.

The sonic performance of the RT5000 greatly benefits from the use of a high quality, external power supply. I have substituted the generic power brick with the FiiO PL50, linear power supply and the sound became cleaner, the background gained in blackness and separation improved by a fair margin.

The competition

The sound signature of the Rose Technics RT5000 compares with audio devices that are designed with the same creative thinking behind them. In this regard the sound of RT5000 reminds of audio products like the Aune X1s GT, Yulong Aurora, Burson Playmate 2 or the Aune S9C Pro and not the likes of SMSL, Topping or other brands that are focused on measurements. The RT5000 is actually very good and can outperform some of the devices mentioned above. Sound differences are not night and day of course and I am having a hard time deciding which one I prefer. As always, functionality and appearance should be also considered before making your final judgment.

Conclusion

The Rose Technics is an audio device by a virtually unknown brand with a sonic performance that easily competes (and sometimes outperforms) with all the mainstream competition. The RT5000 is so good that if it had a little better functionality and a famous brand name it could easily sell for double the price. Yes, that good is the Rose Technics RT5000, this is a hell of a surprise, an unexpected finding, an all-in-one DAC/amp with exceptional sound quality that deserves your attention. Trust me and you are not going to regret it as it is very difficult to find such a combination of musicality and technicalities at this price point.

The Rose Technics RT-5000 was kindly provided free of charge.

You can buy the Rose Technics RT-5000 from HiFiGo and AliExpress. (Non affiliate links)

The deluxe version of this review is available in my website.

The FiiO JH5 is a product of FiiO's sister company, Jade Audio which focuses on high performance to cost ratio and build quality, providing audiophiles with affordable yet high quality devices to listen with.

The JH5 is a hybrid earphone with 1 dynamic and 4 BA drivers per side with an acoustic design that borrows elements from FiiO's high-end IEMs such as the FiiO FH9 and FH7. The goal is that of presenting music from genres as diverse as classical to pop all in a high-fidelity manner.

At the heart of the JH5 is a 10mm carbon-based dynamic driver which is seamlessly connected to the custom balanced armature drivers covering medium to ultra-high frequencies thanks to the drivers being separated into three independent chambers.

Two custom BA drivers handle the mid and high frequencies. These two BA drivers were specially designed along with the dynamic driver to have a resonance peak at 2.8kHz, which also happens to be a resonance frequency formed by the shape of the human ear.

Another two custom ultra-high frequency (UHF) BA drivers are placed closer to the sound nozzle – which itself was made to have a thicker inner part, be shorter in length, and have a small curvature. The result of this design allows the FIIO JH5 to be well-extended in the treble, being able to produce ultra-high frequencies.

More information here.

Non Audio stuff

The main body of the FiiO JH5 ear-shells is 3D printed from medical grade resin compound and features a magnesium alloy faceplate insert that is mirror polished. This is a well made and beautiful looking earphone with a touch of luxury that reminds of more expensive products. The only complaint is that the polished faceplates tend to attract stains and fingerprints.

The lightweight ear-shells have a custom-like, anatomical shape so they are very comfortable to wear. They fit like gloves without causing a hint of annoyance and they also isolate quite well from outside noise despite the inclusion of a small venting grill.

The FiiO JH5 comes with a 2-pin detachable cable made of high-purity silver-plated copper wires. Every 14 wires are twisted into a small strand, and 7 small strands make up one large strand. With a total of 4 large strands, the JH5’s cable boasts a total of 392 wires.

The cable is well made with low microphonic noise but is a little stiff and doesn't feature interchangeable plugs. A 4.4mm plug would be very useful because the FiiO JH5 scales pretty well and most USB DACs (FiiO's included) now come with balanced outputs.

The package includes balanced and bass ear-tips in three sizes each and a transparent plastic case that reminds of a Lego brick. This is more like a drawer for storing the FiiO JH5 and not that practical for carrying it around with you.



Audio stuff

The FiiO JH5 with a rating of 13Ω/111dB/1mW, is very easy to drive but also too sensitive to source noise so you are advised to use only high quality and noise free sources like the FiiO KA5 or the KA17.

For the tuning of the JH5, FiiO has opted to follow the Harman 2019 target curve with some deviations here and there. The only notable differences are the addition of a generous mid-bass boost and some extra sparkle in the treble region. These measures translate into a sound signature that combines a healthy low-end with very good mid-range presence and plenty of energy in the treble.

The low-end end might be well boosted but it is not too dominant, the JH5 is an earphone that loves bass but has plenty of room left for the mids and the treble that don't suffocate. Sub-bass and bass are generously extended but the JH5 is not a bass-head earphone, the low-end is prominent enough to sound fun and powerful with all kinds of music but it doesn't overpower the rest of the frequencies. The tuning is not - strictly speaking - a reference one, as the emphasized mid-bass does add some color and extra weight to certain instruments that have the tendency to sound out of tune. But mind you that the phenomenon is not too severe to make the FiiO JH5 unsuitable for listening to classical music or similar genres. In this regard, the JH5 is more like a bass chameleon as it is ideal for most kinds of music and good enough for the rest. Technicalities are also very competitive for the category, the bass is punchy and dynamic with plenty of weight, good definition and a nicely layered texture. It is also fast and tight with satisfying, but not perfect, control as it can sound a little sluggish depending on the material but then this is not made for critical listening.

The mid-range is crystal clear, present and well defined without getting clouded by the emphasized mid-bass. FiiO has managed to achieve a balanced tuning that leaves plenty of room for the mids to shine, be it while reproducing voices or instruments, the JH5 has always the means to sound natural and harmonious. Resolution and refinement punch well above the category, listening to the JH5 without knowing its price can be deceiving and think that you are dealing with a much more expensive product. The overall balance of the mid-range leans towards neutrality, it is not significantly recessed, nor that forward and is devoid of upper mid-range emphasis. In this regard the FiiO JH5 is a smooth and polite sounding earphone without accentuating sibilance or shoutiness.

The treble poses a good mix of extension, clarity and luminosity without sounding bright, piercing or harsh. The JH5 is fast and energetic with good definition and a rather satisfying but not class-leading resolution while detail retrieval is good enough but not spectacular. What matters the most though is that the FiiO JH5 doesn't sound metallic or too artificial, the timbre is quite natural and the overall presentation is smooth, forgiving and suitable for long listening sessions even with mediocre recordings. The texture doesn't become thin, as it usually happens with badly implemented treble drivers, and the JH5 exhibits very good sound and textural coherency.

The soundstage of the FiiO JH5 is surprisingly wide and spacious with a rather accurate imaging. The JH5 might not win any laurels for its depth layering or holography but it is an open sounding earphone that never gets cramped to sound claustrophobic.

Comparison with the FiiO JD7

For the same amount of money (SRP $99 but now you can get it as low as $79) you can buy the FiiO JD7 which is a single dynamic driver earphone and Jade Audio’s current flagship. The FiiO JD7 has rounded shaped ear-shells that are made from stainless steel so they are a little more premium looking than the JH5. The JD7 is more compact than the JH5 but both are very comfortable to wear. The JD7 is more discreet looking though and it doesn't protrude outside the ear. Both have detachable cables with MMCX connectors for the JD7 and 2-pin for the JH5. The cable of the JH5 is of higher quality though and offers better handling. The JD7 comes with balanced sound, HS18 and memory foam ear-tips while the JH5 has balanced sound and bass ear-tips. The plastic case of the JD7 is a real carrying case rather than a drawer as that of the JH5.

When it comes to sound signature, you have the JD7 which is tuned as close as possible to the Harman in-ear 2019 target curve when the JH5 has the tuning deviations that were discussed above. The JD7 has the advantage of using a single dynamic driver so it sounds more coherent from the bottom to the top of the frequency range but the JH5 pulls ahead with better resolution and energy in the mids and the treble. However the JD7 is slightly smoother and more forgiving in the treble. The bass of the JD7 follows a more natural curve without the mid-bass emphasis of the JH5 but the latter extends a little lower and offers a bigger and more impactful low-end. These are two earphones with excellent audio performance for the category that are slightly differently tuned so you have the option to choose the one that suits you the best.

Conclusion

The FiiO JH5 is a great example of an entry level, high quality, earphone that does most things right without any notable sonic deficiencies. This is a budget friendly earphone that has the means to elevate your listening experience without the need to reach deep in your pocket. An excellent all-rounder earphone that might not be a genre specialist but it will allow you to listen to your whole music catalog without sounding bad with anything.

The FiiO JH5 is a perfect example of how good the entry level earphones are becoming. Several years ago you would have to pay double or triple the amount of money to get the same level of performance and craftsmanship. The JH5 is not without competition though but the truth is that it has its own unique merits to win you over and it's a FiiO after all.

The review sample was kindly provided free of charge.

The price of the FiiO JH5 is $79.99 and you can get one from here.

Kiwi Ears Forteza Review

The Kiwi Ears Forteza is a hybrid, 1BA and 2DD, in-ear monitor that retails for $59. Yes, you have read it right, one balanced armature and two dynamic drivers and not the opposite. The Forteza uses one high-mid balanced armature, one 10mm mid-range dynamic and 10mm bass dynamic drivers. This unique combination fulfills a full sound from 20Hz to 20kHz. The drivers are carefully implemented with the aid of a three-way passive crossover system that is tuned for a rich and lush sound signature. All three drivers are in-house developed by Kiwi Ears.

Non Audio stuff

The ear-shells are 3D printed using a skin friendly resin compound and have a semi-custom anatomical shape. They are lightweight and compact thus very comfortable to wear. This is a clean and beautiful looking earphone that isolates well and is suitable for all day use without causing any discomfort. The Kiwi Ears Forteza is available in blue, black and purple.

The Forteza uses a 2-pin detachable cable with high quality aluminum plugs. It is a soft and lightweight cable without much friction noise but it is also rather thin, it gets easily tangled and looks fragile. The package also includes three types of silicone ear-tips in three sizes each and a very nice carrying case with a side zipper.



Audio stuff

The Kiwi Ears Forteza (32Ω - 103 dB/mW) is moderately easy to drive, it doesn't need special amplification but a powerful USB DAC dongle is strongly recommended if you want to move these two dynamic drivers. As an example, the FiiO KA1 is sufficient enough but the iBasso DC03PRO and the Shanling UA1 Plus are better and more effective.

The Kiwi Ears Forteza has a deeply “V” shaped tuning which emphasizes bass and treble, pushing mid-range at the background. The low-end is very extended with plenty of punchy sub-bass and emphasized bass. A fun and warm tuning that is very enjoyable with all kinds of modern electronic music as the Forteza has the means to reproduce the deepest bass notes with a hefty and visceral texture. The bass is dynamic, explosive and impactful but not that tight and well controlled, decay time is longer than the ideal, there is an audible cup reverb and it gets a bit challenging for the driver to keep up with timing and definition at busy passages. The bass is emphasized and prominent but it is not annoyingly dominating while bleeding into the mid-range is not that much as to severely affect clarity and transparency.

Despite the upper mid-range getting the lion's share, the overall tonal balance is rather acceptable and the Forteza doesn't sound too shouty or shrill as long as you don't listen too loud. Clarity and separation are good for the category, resolution is above average but while the timbre is not that artificial it sometimes lacks in tonal accuracy and realism. The use of a dynamic rather than a BA driver for the mids helps with textural coherency, the sound is full and weighty just like in the lower frequencies while the Forteza has an open sounding presentation that is not claustrophobic.

This doesn't happen in the treble though which is less weighty and thinner sounding than the mid and lower frequencies thus compromising overall texture integrity. The treble is emphasized in order to counterbalance with the accentuated bass, adding energy, airiness and sparkle to the sound. The Forteza is a bit bright sounding but not that harsh or piercing. The real issue that makes the treble the weakest link of the Kiwi Ears Forteza is its textural and timbral qualities. The quality of the treble is below average, the sound is too artificial and metallic with a paper-thin texture and bad tonal accuracy, as a result most higher pitched instruments sound fake and out of tune. You can still get plenty of enjoyment with several types of music, like electronic but the Forteza doesn't fare well with acoustic music.

Conclusion

The Kiwi Ears Forteza is a very comfortable and lightweight IEM with a polarizing tuning that can be fun and engaging with some kinds of music and rather uninspiring with others. If you don't care much about tonal accuracy and you like plenty of sub-bass that is combined with mid-range clarity and a sparkling treble then the Kiwi Ears Forteza might be the right choice for you.

The Kiwi Ears Forteza was kindly provided free of charge by Linsoul.

The price of the Kiwi Ears Forteza is $59 and is exclusive available by Linsoul

The Hidizs SD2 is a portable USB DAC dongle without a cable that directly plugs in a host USB type-C port and delivers audio in a 3.5mm headphone output. The Hidizs SD2 not only supports in-line control but also features a high-definition microphone. Plugging it in enables SD2 to convert microphone audio streams to 24-bit, 48 kHz, ensuring clear voice transmission.

The Hidizs SD2 is equipped with the brand new ES9270 DAC chip by ESS that features a patented 32-bit HyperStreamII QUAD DACTM architecture. The chip supports PCM up to 384kHz/DSD128 decoding and has an integrated headphone amplifier that delivers up to 70mW+70mW@32Ω. The SD2 is compatible with Android, Windows, Mac OS, iPad OS and HarmonyOS with zero delay so it is suitable for movie watching and gaming. Furthermore the SD2 bypasses the integrated audio processing of mobile devices, such as smartphones and tablets.



Non Audio stuff

The SD2 has an aluminum alloy chassis crafted with a unique etching technique, creating a mecha style appearance with sharp lines and geometric shapes that reminds a lot of a Tetris brick piece. The two faceplates of the chassis are made from aluminum alloy while the outer perimeter is from resin material.

The SD2 features an angled 3.5mm audio jack that is inclined at 45 degrees for better ergonomy when you plug your earphones. Additionally the USB type-C plug is long enough to fit without the need to remove the protective case of the host device.

This is a compact sized (34.5×20×10ｍｍ) and lightweight (6g) USB DAC dongle that is easy to carry and use without adding much bulk to your phone. The SD2 is equipped with a tiny sample rate indicator LED that will turn red for PCM 44.1-48kHz and blue for PCM 88.2-384kHz & DSD128.



The package includes a USB type-C to USB-A adapter. Additionally the Hidizs official online store edition includes a complimentary iPhone Lightning to Type-C cable with OTG function to support iOS which is excluded from the universal dealer edition.

Audio stuff

The power output of the Hidizs SD2 is 70mW/32Ω, quite high and better than similar, compact sized USB DAC dongles that are equipped with one DAC chip. For the sake of comparison, the FiiO KA1 is rated at 45mW/32Ω and the ddHiFi TC35PRO at 65mW/32Ω. The SD2 is also quite efficient, I have measured power consumption at 0.02A/0.12W when idling and 0.07A/0.37W at full throttle. The SD2 runs cool during use and is dead silent without audible noise. The SD2 doesn't support hardware volume control and you get 15 steps of volume adjustment through your phone.

For this review I have used the Penon Vortex, the Hidizs MP145 and the Hidizs MS1. The Hidizs SD2 provided good loudness and dynamic range with all three of them.



Audio quality is exceptionally good given the humble size of the Hidizs SD2. The sound is crystal clear and transparent with great fidelity. Frequency response is flat without any audible deviations from linearity.

The bass is fast, tight and controlled with good definition and layering. The SD2 is dynamic and impactful as long as you use efficient and not difficult to drive earphones. The texture is not that visceral and weighty but you wouldn't call it lean or dry either. Mid-range clarity and presence are very good, the sound is open and spacious with excellent articulation. The timbre is quite natural and realistic with plenty of harmonic variety and without sharp edges or any kind of shoutines. This ES9270 DAC chip by ESS seems to be well designed and produces sound without any severe artificiality and digital glare. The SD2 is not as warm or organic, like the iFi Go link but it is certainly not sterile or lifeless. The SD2 is fast, energetic, luminous and just a bit treble forward but thankfully not aggressive, bright or harsh.

Detail retrieval is excellent for the category and the overall resolution is very competitive even when compared with more expensive USB DAC dongles. The soundstage of SD2 is open, spacious and surprisingly well extended with excellent stereo imaging and sharp positioning. It pairs well with all kinds of earphones and makes them sound grand and immersive.

Comparison

I am not going into detailed comparisons, it gets pretty vague after a while, the market is flooded with USB DAC dongles that sound more or less the same with minor tuning variations. Some of them are warmer and more organic sounding, others are sharper and brighter while the rest are flat and balanced. The Hidizs SD2 mostly falls into the last category despite its mildly energetic nature. There are also differences to power output, size, weight and extra functionality like app support. The Hidizs SD2 is more powerful than other competitive DACs, it is also lightweight and compact but it doesn't support hardware volume control and app connectivity.

Conclusion

For $39.99, the Hidizs SD2 is a very competitive USB DAC dongle worth checking because it is compact, lightweight, well made and has excellent sound performance with plenty of musicality and great technicalities for the category.

The Hidizs SD2 was kindly provided free of charge.
The price is $39.99 and there is a Special Price promotion of $31.99 (Limited to 200 units) if you buy from the official Hidizs online shop.

Special 5% discount available with the code ICHOS5

Amazon link

All links are not affiliated

Flux Lab Acoustics

Flux Lab Acoustics is a Ukrainian company dedicated to the design and manufacturing of high-end audio products. The company is well regarded in the audiophile community and their portfolio includes many successful and well awarded products, like the Flux FCN-10 or the FA-12 headphone amplifiers. Their products are famous for combining excellent sonic performance and build quality at very reasonable prices.

The Russian invasion of Ukraine ruined their business and Flux Lab Acoustics was forced to cease production. Thankfully none of the team or their families was fatally wounded and now that the Russians have retreated back, Flux were able to resume production at their own facilities in Kharkiv.

Their new creation is the Mentor, a headphone amplifier born during war, under very difficult conditions and this means a lot about the dedication and the internal strength of the Flux Lab team.



Flux Mentor

The Flux Mentor is a Class-A, dual mono headphone amplifier with many technical innovations

The output stage operates in class A, which allows transmitting signals of small amplitude with the highest accuracy. The amplifier circuitry uses J-Fet transistors at the input for a meaty and smooth sound, and bipolar transistors at the output, specially designed for use in high-end audio circuits, to deliver the highest fidelity and transparency. The power supply for the amplifier circuitry is 70 volts to ensure uncompromising dynamic performance with the most demanding headphones on the market.

Class-A produces a lot of heat that needs to be effectively dissipated and in order to do so, Flux have refined the heat sink design. The amplifier circuitry is promptly prepared for utilization, and subsequently shares its greatest sound quality only after a mere 15 minutes. In addition they have partially placed the heat sink under some of the PCB components, which allows the amplifier circuitry to start up faster and provides better thermal stability for the entire circuitry.

The amplifier is built on the dual mono principle, with each channel having its own power supply and power transformer. The power supply for each channel uses four high-capacity capacitors manufactured by Cornell Dubilier Electronics, capable of delivering significant current at their output and having a low output impedance.

The power supply utilizes custom power transformers with a very low dissipation field and noise. This permits the amplifier circuit to function without any apparent hum, even when using high-sensitivity headphones. Flux have also used an Ultra Pure Oxygen Free Copper (UP-OFC) power cable with additional shielding from Neotech from the AC inlet socket to the power transformers.

The volume control is based on a relay attenuator and contains 64 steps. The control circuit uses Panasonic fast signal relays with low contact resistance. The analog signal is fed to the relay attenuator located next to the input sockets, and the ALPS variable potentiometer (Blue Velvet series) is used for control only.

The Flux Mentor supports a feature that allows the synchronization of two amplifier units in a dual mono mode for an even greater power reserve. Each channel of the amplifier operates in a fully balanced mode. You simply select which unit is the master and which is the slave. The synchronization system also allows you to control the operation of the second amplifier, so that when the master unit is switched on, the second unit is automatically switched on.

A dual mono Mentor stuck in mono mode is able to produce 33.5W RMS per channel at 32Ω and 6.4W RMS per channel at 300Ω, a huge amount of power that can ransack every headphone in existence or even run your speakers. You can order the Mentor with or without the mono module.

FLUX guarantees an absolutely identical volume level between the two units, even if the second unit is purchased much later. The differences may be primarily due to the tone of the front panels, as there are slight differences from batch to batch.

Components and PCB

The high quality components used in the circuits include Takman resistors (Rex and Rey series), extremely expensive Vishay VAR series uncased audio resistors, PRP resistors, Cornell Dubilier, Nichicon, Wima, and Epcos capacitors.

The internal PCB features exquisite craftsmanship, most components are through hole, the quality of the soldering, the cabling and the assembly are really marvelous.



Remote control

The Mentor supports remote control for volume adjustment and mute/unmute functions.
The high quality, all aluminum, remote control is optional and available for $50 extra. It could have been included as a standard but on the other hand it saves some money for people who don't need one.

The remote control adjusts the volume without moving the volume knob. Every time you touch the knob, the volume automatically reverts to its given position.



Power cable upgrade

The designer suggests that you will get the most out of the Mentor only if you use a high quality power cable. You can use your favorite brand or consider Flux Lab custom-made power cable. It is based on an NEP-5002 conductor from Neotech that features thick conductors (0.42mm) of ultra-pure oxygen-free copper (UP-OFC). The ground conductor’s smaller cross-section (1.43mm) results in a slim and flexible cable for a better user experience. The cable provides complete protection from external electromagnetic radiation, thanks to an internal aluminum foil shield and a drain wire. Filling the free volume with synthetic fiber ensures comfortable flexibility and a “memory” effect, allowing the cable to be easily positioned and maintained in the desired position. Each cable is hand-crafted in the Flux Lab workshop and equipped with high-quality TTAF 93047/048 connectors with gold-plated brass and copper contact groups. The cable is supplied in a length of 1.8 meters (6 feet) and is available as a $100 extra purchase when you place your order for the Mentor.



Non Audio stuff

The chassis of the Mentor is made from black painted metal sheet. The front panel and the impressively massive volume knob, which is custom made, are from one piece, solid aluminum alloy. They are painted with a high quality and very smooth finish that is available in two color options, titanium gray and coal black.

The sturdy and well made chassis comes with four anti-vibration feet installed as a standard.

The only thing of note is the rather odd shape of the chassis which measures 342x397x82mm thus making it more deep and less wide than the industry standard so you might have a problem placing it above or underneath other audio components.

The Flux Mentor is a headphone amplifier without a preamplifier output function or any digital inputs. It has balanced XLR and single ended RCA line inputs that are located at the back of the unit. You can have both of them simultaneously plugged in and select the desired one from the corresponding switch at the front. The back also houses the AC input and the optional synchronization interface.

The minimalist front face has power on/off, input and gain switches located at the left, the dominating volume knob at the middle and two headphone outputs at the right. The first is a combined 6.35mm jack and 3-pin XLR for the mono mode while the second is a 4-pin XLR.



Let's talk about power

The power output of a single Mentor is 11.2W (32Ω) and 1.6W (300Ω) RMS per channel so it easily ranks amongst the most powerful amplifiers in the market. In order to cater for different headphone loads, Flux have included three gain settings (low-14dB, medium-20dB and high-25.3dB) that can be selected from a switch at the front panel.

The stepped attenuator is well programmed and makes fine adjustments with every “click”, not too loud, not too quiet. To get a rough idea about the power output and the volume adjustment range of the Mentor, the Focal Clear Mg needs about 21 steps to get from silence to pretty loud at low gain setting and the HIFIMAN Susvara 30 steps at high gain. Volume alone doesn't mean much though, what matters the most is that the Mentor drives the Susvara with great dynamic range, excellent control, strong grip and surplus of headroom.

The Mentor is a powerhouse but the low gain is so well designed that it can also drive sensitive earphones without getting loud too early. As an example, the FiiO FX15 needs 18 steps to get comfortably loud.

The Flux Mentor doesn't get hot as other Class-A amplifiers, it only becomes mildly warm under the bottom of the chassis. The rest of the chassis stays cool even under stress conditions.

As per usual practice the Flux Mentor was left playing music for about 150 hours before listening evaluation.

The Flux Mentor was tested with the Neotech power upgrade cable.

All headphone cables that were used during the evaluation are made by Lavricables.



Audio stuff

The Mentor is dead silent without the faintest background hiss even when used with very sensitive earphones. A pitch black background that helps all the finest sonic particles to emerge and surface from the depths of the recording in a pure and naturally flowing way so the sound is full of detail but never becomes analytical or sterile. The sound of silence is audible and extremely beneficial for the sonic performance of the Mentor which has an eerie and spooky calmness, a quietness that only the best “high end” amplifiers have.

You don't have to listen a lot in order to realize that the Flux Mentor has class leading transparency and impressive scaling potential. It is a high-end amplifier with a mirror-like fidelity that must be paired with the best possible sources in order to unveil its full glory. The Mentor will never become the bottleneck of your system, no matter how good your source and your headphones are, it will always deliver its best and make sure to highlight every last bit of their unique sonic characteristics. On the contrary, there is a strong possibility that source and headphones might become the limiting factors if they are not up to the task.

I have started my listening sessions with trusted mid-range sources, like the Aune X8 XVIII and the Volumio Primo, soon to discover that despite having good results from the beginning, I always felt that the Mentor could do much better.

My next move was to switch to the HIFIMAN Serenade, the Denafrips Pontus II and the Lab 12 dac1 reference (custom edition) that all of them perform admirably well, greatly surpassing their asking price. At last, now everything felt at place and the combination unveiled all the sonic virtues of the Flux Mentor or the Mentor unveiled all the sonic virtues of the sources, read it the way you like! Still I am pretty sure that if I owned better sources, the Mentor could have sounded even better.

The Mentor is not some kind of a snobbish amplifier though, you can always enjoy it with your favorite sources in a never ending musical journey that might eventually lead you to an upgrade path.

With the Mentor there is no such thing as headphone matching, the amplifier pairs exemplary well with virtually all kinds of headphones as it mirrors their own sound signature with the most impressive fidelity. I have enjoyed pretty much everything, from the Sennheiser HD660S2 to the HIFIMAN Arya Organic, the Meze Elite and the HIFIMAN Susvara. The better the headphone I used, the better was the performance of the Mentor.

At this point someone could rightfully ask - is the Flux Mentor like a “wire with gain” kind of an amplifier? The only things you have been talking about are fidelity and transparency.

Well, not exactly, the Mentor is exactly the opposite, this is an amplifier painstakingly tuned by ear to combine transparency and fidelity with deep musicality and astonishing levels of engagement. It took months of fine tuning to give Mentor its sound signature which is flowing, effortless, natural, immersive and communicative without calling attention to itself.

The amplifier is synonymous with precision and calmness, it is not producing short lived glowing pyrotechnics that may sound impressive and imposing at the beginning but fail to communicate the true essence of the music at the end.

The Mentor is a silent force, a mature and sophisticated sounding amplifier that very carefully balances technicalities and musicality in the exact needed amounts to make your music sound as realistic as possible while at the same time respecting the sonic characteristics of the source and the headphones used.

The amplifier is dynamic and impactful but not in a brutal way, it is fast, precise and accurate with crystalline clarity and strong presence in the whole frequency range but everything is done in a way that oozes aristocratic politeness. The Mentor is not raw or bold sounding, this is an intellectual amplifier that will play with your mind and heart rather than excite your primitive instincts.

Music break

One of the albums that I have listened with the Mentor was Handel's opera Alcina. The listening experience with the Mentor and the Lab 12 dac1 reference was simply magnificent. I have used both the Susvara and the Elite.



More audio stuff

The overall resolution and refinement of the Mentor are astounding, especially in the treble which sounds silky smooth and ethereal but never lacking in extension and energy. The mid-range is larger than life, spacious, and articulated with natural voicing while the bass has impressive layering and definition. The timbre is extra natural and realistic with the most organic characteristics. Acoustic music sounds convincingly lifelike while the Mentor has all the technical prowess to handle all kinds of music.

The sound is smooth and mildly warm but not mellow or dark, the flowing music is full of colorful harmonies and overtones, like a meadow full of spring flowers and thousands of butterflies. The texture is weighty and and visceral, every single note is heard weighty and full of substance. The amplifier has excellent timing, the music fades away in the most natural manner, not fast not too slow, the time that passes for the moment a note is born till it dies is exactly as it was captured in the recording.

The soundstage of the Mentor is both deep and expanded but in a natural way without artificiality added width or depth. Separation is phenomenal, both in the vertical and horizontal plane, the Mentor has class leading positioning accuracy and imaging. The presentation is grand and holographic, the listening experience is immersive, large symphonic works sound really impressive, the listener feels like sitting a couple of rows behind the conductor, enjoying the full glory of the symphony orchestra which is re-created with a finely sculptured relief. The Mentor also excels in reproducing all the ambient information that was captured in a high quality recording thus making the listening experience even more realistic.

The competition

Other solid state amplifiers that I have reviewed and are worth mentioning as possible alternatives to the Flux Mentor are the Violectric V222, V340 and V550. The sonic characteristics of the Mentor are rather closer to the flagship V550 than the other two models. The V222 is warmer with a more tube-like character but it can't match the precision, the resolution and the transparency of the Mentor while the V340 gets close enough but not as much as the V550.

The truth is that the Violectric V550 and the Flux Mentor share a lot of common characteristics regarding their transparency, precision and mirror-like fidelity. Additionally both sound musical and engaging and none of them is clinical or sterile despite their flagship technicalities.

A difference is that the Flux Mentor is a calmer and more polite amplifier, the sound approach is more sophisticated and civilized when compared with the muscular brutality and the raw power of the Violectric V550. The V550 is more impactful on the low-end and energetic in the treble while it has an edge when it comes to overall clarity and transparency. What doesn't have though is that delightful Class-A timbre of the Mentor which makes it sound more organic and natural than the V550, the music has better fluidity and a greater sense of realism in the Flux Mentor that is additionally more holographic and immersive sounding than its German colleague.

The Violectric V550 is also a high-end balanced preamplifier and is built around an all aluminum chassis but it is considerably more expensive than the Flux Mentor and you have to spend even more money to upgrade to the V550 PRO in order to get a stepped attenuator that is included as a standard in the Flux Mentor.

Conclusion

Some of the best human creations were made during war time. The Flux Mentor is a masterpiece, a mature and very sophisticated amplifier that has all the right ingredients in the exact needed amounts to make the perfect sonic dish. Honestly, high-end was never so affordable before the making of the Flux Mentor. The Flux Lab Acoustics have made an end-game solid state amplifier that you can buy and stop worrying about future upgrades. The Flux Mentor is easily the most affordable, high-end headphone amplifier on the planet with an insane value for money ratio and one of the best - if not the best - bargains in the audio industry.

The review sample was kindly provided free of charge in exchange for an honest review.

The Flux Mentor is available from here. The base price for a single Flux Mentor is $1229 and $1299 with the additional mono input so a dual mono set-up costs $2599. All orders are dispatched from a warehouse in Poland so EU customers will not have to deal with import fees and tax.

A deluxe version of the review is available in my website.

This is the world premiere review of the FLUX Mentor headphone amplifier.

The iFi iDSD Diablo 2 is the successor of the original iFi iDSD Diablo which was one of the most powerful, battery powered portable DAC/amps in the market. This updated version of the product adds several new features as we are going to find out later on.

Technical highlights

The Diablo 2 is a battery powered DAC/amp that can be used at home and mobile. The DAC chip used is a Burr-Brown True Native chipset that offers ‘bit-perfect’ decoding. An XMOS 16-Core chip processes the audio data received via the USB and S/PDIF digital inputs while a GMT (Global Master Timing) femto-precision clock and intelligent memory buffer are used for jitter eradication. The Diablo 2 supports PCM 768kHz, DSD512 and full MQA decoding.

Unlike other iFi DACs, like the NEO iDSD 2, the Diablo 2 doesn't include the analogue processing modes, XSpace and XBass II, and it doesn't support digital filters other than the bit perfect.

A fully balanced dual-mono circuitry, called PureWave, elevates clarity by separating channels and reducing noise while DirectDrive removes the need for coupling capacitors and OptimaLoop employs tailored multiple feedback paths in the amplifiers, refining gain control and reducing distortion.

The Diablo 2 supports xMEMS solid-state micro-speaker technology, enhancing performance of compatible IEMs and headphones.

Contrary to the original Diablo, the iFi Diablo 2 features wireless Bluetooth 5.4 reception with support of the new aptX Lossless codec for lossless CD-quality streaming. This codec is not yet that widespread but you shouldn't be worried as the Diablo 2 is also compatible with the aptX Adaptive, aptX, LDAC, LHDC/HWA, AAC and SBC codecs. Bluetooth reception is strong and stable while sound quality is exceptionally good with some degradation, most notably in the treble.

Extra features vs the iFi Diablo 1

When compared to the original iFi Diablo, the Diablo 2 has improved power supply and amplifier designs that translate in a 52% increase in balanced power output at 32Ω and 405% increase in balanced power output compared to the SE output at 600Ω. Additionally the new model features a Quietline control system, iEMatch for 3.5mm and 4.4mm, Bluetooth (Lossless) input, support for xMEMS, MQA over SPDIF, USB Type-C input, a volume locking mechanism and enhanced analogue volume control with improved accuracy (+/-0.6dB vs. 1.5dB before). The downsides are that the iFi Diablo 2 is bigger, heavier and $300 more expensive than the original.

Non Audio stuff

The iFi Diablo 2 has grown bigger and heavier (166x85x28.5mm/455g) than the already big Diablo so it is not exactly portable but rather transportable. This is not a device that can fit in your pocket, you are going to need a small carrying bag for moving around with it. Thankfully a high quality carrying case is included in the package.

The minimalistic and industrial design resembles that of its predecessor but now it has twenty-two curved rails for improved cooling performance. Eight of these rails are compatible with four wind shaped stands that are included in the package and can be used to position the device vertically or horizontally to save space. The red/gray aluminum chassis is very well made and looks extremely sturdy, the only thing of note is that the back side has corners and edges that are a little sharp. Those engraved channels might work well, because the Diablo 2 runs very cool, but they attract dirt and are difficult to clean.

The generously accessorized package includes long USB type-C to C, short USB type-C and lighting cables together with a USB type-A adapter. Another cable converts the barrel jack of the included iPower 2 power supply to a USB type-C jack. There are also included 3.5mm to optical and 6.35mm jack adapters and an iFi travel case with a shoulder strap.

At the front face of the Diablo 2 you can see two headphone outputs (6.35mm and 4.4mm), xMEMS and gain switches, a volume control knob, with a newly added lock mechanism that prevents accidental adjustments, and a LED that displays the input sampling rate.

At the back panel there are two USB type-C ports, one for data input and one for charging, a S/PDIF 3.5mm input, a 4.4mm line input/output, a battery status LED and the input selection button. Positioning the battery status LED at the back was not a smart idea as it is not practical at all.

Pressing the input button once will place the Diablo 2 into Bluetooth pairing mode. The other digital inputs are automatically detected, the USB has priority over S/PDIF and both over line input. The line input is 3.5mm only and in order to work you must have all digital inputs unplugged and Bluetooth switched off. Otherwise this jack will work as a line output.

Battery and DC mode

The power source of the iFi Diablo 2 is a 4800mAh battery that gets charged by a dedicated USB type-C port so it is possible to charge and do USB decoding at the same time. The battery needs about 5 hours for a full charge and its duration ranges from 8-9 hours at the best, to 5 hours depending on the load, the gain setting and whether the Bluetooth is enabled or not. The unit sports an auto power off feature that shuts it down after about half an hour or inactivity.

An additional feature of the iFi Diablo 2 is that it can be powered by mains. The bundled 5V iPower 2 power supply features Active Noise Cancellation II, effectively canceling out all incoming EMI and RFI noise. Unlike the FiiO Q7 there is no switch to manually enable the DC desktop mode and bypass the internal battery. The procedure is automatic, and there is no way of physically switching it. The way it works is that once plugged in and the battery gets fully charged, it switches internally to the mains power and only supplies battery power when it falls below a certain level.



Audio stuff

The Diablo 1 was already a very powerful portable DAC/amp but its low gain setting was too aggressive for use with sensitive earphones. The iFi Diablo 2 is even more powerful than its predecessor and additionally it fixes this issue by incorporating a third gain setting and iFi’s iEMatch technology. This feature is tailored for high-sensitivity headphones and earphones as it removes background noise and increases the usable volume range. The feature is enabled by a switch located underneath and is separately available for the 6.35mm and 4.4mm headphone jacks.

The Diablo 2 offers three power modes: Normal for IEMs, Turbo for mid-sensitivity headphones, and Nitro for demanding headphones, boasting a 19.2V maximum output. The maximum RMS power output of the 4.4mm jack is 19.2V/611mW (600Ω), 7.4V/1710mW (32Ω) and 11.5V/2060mW (64Ω). Furthermore the Diablo 2 has a unique design that allows it to offer a max peak power of ~5.2W(32Ω) per channel thus allowing exceptional headroom.

To get a rough idea about the actual performance of the Diablo 2, the Focal Clear Mg gets pretty loud halfway the volume range (normal gain/4.4mn) and the same applies to the sensitive FiiO FX15 but this time with the iEMatch enabled. The Diablo 2 has absolutely no problem driving headphones like the Sennheiser HD660S2 while it is one of the few portable, battery powered amps that can sufficiently drive the HIFIMAN Susvara. The amplifier is also dead silent and noise free when used with very sensitive IEMs like the Soundz Avant.

The overall sound signature of the iFi Diablo 2 sits somewhere between the original Diablo and the iFi NEO iDSD 2. The Diablo 1 was surprisingly neutral and flat sounding for an iFi product (just like the NEO iDSD) while the NEO iDSD 2 has a warmer and more organic sound presentation, quite reminiscent of an analog set-up. The Diablo 2 is a bit warmer and more euphonic sounding than the Diablo 1 but not as much as the NEO iDSD 2. What we have here is a well thought balance between class-leading transparency and neutrality with an engaging and musical character that will make your music sound alive and lifelike with respect to the recording.

The Diablo 2 has a powerful and dynamic low-end, the bass is punchy, impactful and realistically contrasted. The texture is not as visceral as in the NEO iDSD 2 but is weightier and not as lean and dry as it was in the Diablo 1.

Slightly warm, speedy, tight and controlled with excellent definition and top-tier layering, the Diablo 2 will shake all your headphones and unleash deep bass while offering technicalities of the highest level.

The iFi Diablo 2 is still a little bit aggressive and vibrant but not as nervous and exposing as its predecessor. This time it is much easier to match with various headphones, even brighter ones, as the treble is relatively smoother and not as bright or sharp while the mid-range is linear and neutrally tuned without accentuation.

The sound is sparkling and energetic but the timbre manages to stay rather natural and realistic, the Diablo 2 has a hint of warmth and plenty of harmonic variety that were slightly missing from the original model. Voices and instruments sound lifelike as they have excellent tonal and timbral accuracy. The textures are full and weighty, the sound is devoid of any severe artificiality and is not sterile. Detail retrieval is excellent but Diablo 2 avoids the trap of sounding analytical and clinical.

The Diablo 2 poses sound fluidity and sonic richness while it offers top shelf resolution and refinement as someone would expect from a flagship product. The soundstage is both deep and expansive, given that you have an equally skilled headphone. There is plenty of ambient information on tap, the Diablo 2 is exceptionally skillful when it comes to imaging accuracy and will make your headphones sound grand and immersive.

Comparison with FiiO Q7

The $799 Q7 is FiiO's flagship portable (transportable) DAC/amp boasting similar features with the iFi Diablo 2. It uses a single ES9038PRO DAC chip in a fully balanced configuration with dual THX AAA 788+ amplifiers that can do 3WPC (32Ω) in desktop mode and 1.5WPC (32Ω) in battery mode.



The FiiO Q7 features a manually switched DC desktop mode that completely bypasses the internal battery. The downside is that you need a 12V power supply to do the job when the Diablo 2 can be DC powered by a 5V phone charger. The Q7 supports Bluetooth connectivity but without the aptX lossless codec, it has a couple of more digital inputs and analog outputs but it doesn't support line input. The Q7 also has a tiny OLED screen and is compatible with the FiiO control application that allows deeper customization. The Q7 measures 158.4x88.5x28.3mm and weighs 620g compared to the 166x85x28.5mm and 455g of the Diablo 2.

When it comes to sound, the most notable difference is that the FiiO Q7 is a bit more technical and transparent sounding than the Diablo 2 but also a little sharper and less organic. The Q7 is more dynamic and impactful than the Diablo 2 but it has drier and somewhat leaner textures while it is a tad less forgiving and more exposing. Resolution is on the same level for both and while the Q7 has marginally sharper imaging than the Diablo 2, the soundstage is not as holographic and immersive as in the Diablo 2.

Conclusion

Species keep evolving, constantly adapting to their surroundings to become better and stronger than their ancestors. The same happened with the Diablo that successfully evolved to the Diablo 2 which is more powerful with better sound quality and many new features than its predecessor. Not without a cost of course as it is also bigger and more expensive than the Diablo 1. The iFi Diablo 2 belongs to a new generation of products that are designed to be used as portable and desktop, all-in-one, audio devices at the same time. It is a flagship level product with features and audio performance that can justify the price of admission but the truth is that it would be more competitive and better value for money if price was a little lower.

The iFi Diablo 2 was provided as a loan and now is returned back.

The price of the Diablo 2 is $1299 and you can buy one from iFi shop.

A more comprehensive version of the review is available in my website.

Introduction

The Burson Playmate 2 is a compact sized, all-in-one DAC and headphone amplifier, representing a significant evolution from its predecessor, merging aesthetics with high-end functionality.

The Playmate 2 is equipped with a single ES9038Q2M DAC chip and Xmos USB input, supporting high-resolution audio formats up to 32bit/768kHz PCM and DSD512. The unit is compatible with Android, Windows and Mac operating systems.

The discrete headphone amplifier of the Playmate 2 is operating in pure class-A and offers 3W/16Ω with two gain levels for perfect headphone matching.

A novelty feature of the Playmate 2 (and all other Burson Audio devices) is that it allows for sound tuning through op-amp rolling thanks to the four detachable DIP sockets. The only thing that the user has to do is to unscrew and take the lid off in order to access the DIP sockets. The Playmate 2 comes with 2 x NE5532 and 2 x NE5534 op-amps pre-installed that can be rolled with compatible op-amps, like the Burson Audio, Vivid discrete op-amps.

Another feature that Burson Audio has implemented in the Playmate 2 is their proprietary Max Current Power Supply that greatly enhances audio quality.

Non Audio stuff

The Burson Playmate 2 is a compact sized device with a chassis that is made from precision-machined aluminum alloy with a special design in order to function as a unified heat-sink. This is a solid and well made device with an industrial look and a compact size that can fit virtually anywhere. There is also the option to buy a stand for vertical positioning to save even more space. The only thing of consideration is that the deeply engraved lines of the chassis are dust magnets and need regular cleaning.

The Playmate 2 is a headphone DAC/amp that also has a variable RCA line output that can be used as a preamplifier for active monitors or a power amplifier. The device doesn't have a line input and the digital inputs are limited to USB type-C and optical, missing a coaxial one. All these are located at the back together with a 24V/3A DC input where you connect the external power adapter.

The front face has a tiny OLED screen located at the center, a multifunction knob, a 6.35mm headphone jack and a 3.5mm jack that also doubles as an HD microphone input for gaming. The package includes a mic splitter so you can have a microphone and a headphone simultaneously plugged.

The screen displays information like volume level and input sampling rate while it is used to navigate through the configuration menu where you can set various parameters, like amplifier gain and digital filters. You must have eagle vision though because the digits are so small that are almost impossible to read. Another thing of consideration is that the multifunction knob doesn't respond to every step, sometimes you need two or three continuous clicks to register an action and this also applies to volume setting. I do think that the remote control should have been included as a standard accessory.

The package includes a USB type-C cable, a mic splitter, the external power adapter and a hex key for removing the lid in order to access the op-amps.



Audio stuff

The power output of the Playmate 2 is 3.5W/16Ω or 2.5W/32Ω with a 2Ω of output impedance and plenty of instantaneous current supply thanks to the innovative power supply. The Playmate 2 can drive both low and high Z headphones no matter their sensitivity minus some really difficult loads like the HIFIMAN Susvara. The Playmate 2 didn't break a sweat with headphones as diverse as the Focal Clear Mg, the HIFIMAN Arya Organic, the iBasso SR3 or the Sennheiser HD660S2 but it gets loud too fast with sensitive loads even at low gain.

The Playmate 2 is silent enough for use with regular headphones but it produces some noise and hiss with sensitive earphones. You can use the Burson Audio Super Charger, low noise power supply, which considerably lowers noise floor but still the Playmate 2 is not an ideal match with sensitive earphones. Another thing of criticism is that the amplifier makes a loud “pop” noise when switching on and off, there is no “pop” elimination circuit.



The ES9038Q2M is a widely used DAC chip that can sound from ultra linear and too technical to quite natural and organic depending on the implementation and whether the designer chooses to highlight its technicalities or add some extra musicality. Usually everything has to do with the design of the output stage and the headphone amplifier, and the Playmate 2 has some aces under its sleeve.

Burson Audio has opted for a tuning that is vastly different from the current trend of THX or current feedback amplifiers that aim for the best possible technicalities and measurements but usually end sounding sterile, clinical and lifeless without any significant ambient reverb.

The Burson Playmate 2 has a smooth, musical and rather laid back sound signature where timbre realism and texture shaping are prioritized over strict technicalities. Don't take this wrong though, the Playmate 2 is quite competitive when it comes to transparency, definition and clarity, it can offer good detail retrieval and satisfying layering but in a relaxed manner without letting technicalities become dominant and suppressive.

The Playmate's 2 sound is about harmony and melody, the presentation is rich and harmonious, weighty and full bodied with colorful overtones and realistic timbre. The treble has minimum artificiality and digital glare, it is smooth and rather forgiving without any roughness or harshness. Still, it is not dark or muted and it doesn't lack in extension, energy and clarity. The mid-range is present and transparent with nice articulation and satisfying resolution. Voices and instruments are reproduced full bodied and lush, they sound lifelike, euphonic and organic. The bass is weighty yet tight and controlled. Layering, definition and dynamics are good but not class leading, competition can fare better in these departments but what you get in exchange is a warmer and considerably more visceral low-end which can be used to fill lean and dry sounding headphones.

The soundstage of the Playmate 2 is wide and spacious with good depth layering and height. Positioning accuracy and imaging are good but they can be bettered by some more technical sounding amplifiers, however they will have a really hard time to match the holography and the grandness of the Playmate 2. Additionally, most THX implementations are not that great in reproducing the ambience atmosphere of a recording, they sound flat and lifeless when the Playmate 2 really excels by adding extra fluidity to the music.

Against the competition

The main section of review describes how different is the sound signature of the Playmate 2 when compared to amplifiers that employ op-amp designs in their output states. So the question is how it fares against similarly priced DAC/amps that also have discrete output stages, like the $520 Yulong Aurora or the $320 Aune X1s GT.

Well, the answer is that the sonic performance of the Playmate 2 is very competitive and such audio devices share a similar kind of sound shaping, each one with its own advantages and disadvantages. The main differences have more to do with functionality and interface rather than sound. So in the case of the above mentioned devices you can get balanced headphone or line outputs, more digital inputs, Bluetooth connectivity or even a line input in the case of the Aurora, but none of them offers the ability to exchange op-amps and roll the sound of your preference. Additionally the Playmate 2 is focused on single-ended performance when the other two are fully enjoyed from their balanced outputs so the Playmate 2 is more recommended if you have single-ended headphones.

Conclusion

Thankfully not all audio devices sound the same and not all audio engineers follow the same path when designing. If you are tired of the measurements war and the lack of inspiration that many current audio devices have, then you should put the Playmate 2 in your short list. Musical and engaging with a lush and organic sound signature, this is a DAC/amp that will make your music sound like real music again. It is not without quirks but they can be overlooked in favor of the good sound and the unique ability to easily roll op-amps.

The review sample was kindly provided free of charge.

The price of the Burson Playmate 2 is $544 for the basic version and $744 for the deluxe. The basic version comes with 2 x NE5532 and 2 x NE5534 op-amps installed while the deluxe includes an extra 2 x V6 Vivid dual, 2 x V6 Vivid single op-amps and a remote control. Both can be ordered from the Burson Audio online shop.

A More comprehensive version of the review is available in my website.