*build quality scored at a 4 due to the oxidation / deterioration of the original CIEM faceplate, and bears no relation to the Itsfit reshell

Acknowledgment​

The Jolene I am reviewing were purchased from the original owner (thanks MVVRaz) as a CIEM. Given the freakishly straight ear canals of the previous recipient, it was possible for me to force fit the Jolene with a little help from a pair of Xelastec tips, so I listened to it for a few weeks in its “original” form before sending it to be reshelled by the expert team down at Itsfit Labs in Vietnam. They transformed the Jolene into a “custom universal” shell for me, but as far as I can tell, the sonic signature is exactly as I remember it from the original force-fitted custom.

I can’t guarantee that the two models are an exact match, or that the reshelled universal matches the universal Jolene exactly, but to my semi-trained ears the signature elements of the tuning are the same. I suspect that JH Audio’s proprietary FreqPhase tubing system has something to do with that, but please bear the above in mind when reading the rest of this review.

Introduction​

If you like live music, you will have come across Jerry Harvey Audio, even if you have zero interest in headphones or any other form of audiophile gear. Put simply, they are arguably THE go to brand for touring musicians across the globe. In one of the recent Grammy award ceremonies, 11 out of 17 artists performing on the night were hooked up to a set of JH in ear monitors. This harks back to the brand’s origins in the mid 1980s, where the eponymous Jerry Harvey was working as an engineer for Van Helen. As the story goes, he was tasked with finding a better way to deliver audio to the band’s drummer (Alex Van Halen), and not being able to find a suitable solution “off the shelf”, was inspired to create the first two-way in ear monitoring solution.

Fast forward a few years and Ultimate Ears (Harvey’s first brand) was selling to audiophiles and stage musicians in sufficient quantities to attract the attention of electronics manufacturer Logitech, who bought Ultimate Ears for their portfolio. Fast forward another handful of years and Harvey was back (via a brief interlude designing in-cockpit audio systems for pilots) with another touring musician solution, and the modern day juggernaut JH Audio was born. Serving both the the audiophile and studio/stage market, the brand has earned a reputation for innovation with multiple patents and some unique designs, both sonically and aesthetically.

As with most industries associated with live touring, the last few years has been affected quite significantly by the global Covid-19 related shutdowns, with a lot of bands unable to hit the road. Rather than sit still, the engineers at JH used this as an opportunity to focus on making something aimed squarely at the audiophile market, packing in some pretty interesting technologies to go alongside the more “audiophile friendly” tuning and technical capabilities. Thus the Jolene was born.

“Original” Jolene CIEM design (pre re-shell)

Build​

As this is a reshelled IEM, I can’t really comment on build too much. The original custom version I received was built like an absolute tank, with ultra-dense feeling shells and a real sense of solidity. As with all JH Audio custom designs, the body is visually stunning, and was as good as I’ve seen in terms of quality from a CIEM manufacturer. The original faceplate design requested by the previous owner was a little different, however. The actual design was again stunning, comprising of a metal “comedy mask / tragedy mask” design in copper on a background of some sort of quartz-like material, which was “raw” and exposed rather than being sealed under acrylic, adding a textured feel hen handling the IEMs. The metal work was done in their aged copper style, which is supposed to acquire a dull patina with age. Unfortunately, despite only being a couple of months old, when the CIEM arrived with me the “patina” of the metalwork looked more like rust than anything cosmetic.

I don’t know whether the faceplate is just meant to look like that or it was actually reacting with the gemstone layer underneath and oxidising, but safe to say either way it looked more like the IEM was deteriorating after being left out in the rain rather than a cool design feature. Very impressed with the style and customisation options on show here, but if it was my IEM purchase, I would probably have sent it back after about a week. To be fair to JH Audio, the faceplate was apparently a completely bespoke design, so this sort of “issue” probably won’t occur on their more popular faceplate designs.

The reshelled version from Itsfit lacks some of the original wow factor and solidity of the JH Audio body, but it fits like a glove (despite being universal), looks very appealing in a mixture of blue and a tinted abalone-style faceplate, and has even managed to preserve a little of the original design by using some of the cleaned up stone backing from the faceplate in the JH Audio flying lady logo on each shell. It’s pretty easy to find comments about the quality of Itsfit Labs reshell work across the main internat audio forums, so I won’t say anything else here but to agree with the general concensus – they are good.

Original CIEM design – note the oxidation around the copper trim and on the faceplate itself

Technical design​

The Jolene is a 12-driver hybrid design with a 4-way crossover. The design is pretty unique to the current market, in that it uses a pair of 9.2mm dynamic drivers for the bass (20Hz to 400Hz), another pair of smaller 4.9mm dynamic drivers for the midrange (400Hz to 4kHz) and two quad-packs of balanced armatures for the upper mids (4kHz to 10kHz) and treble (10kHz up to 23kHz). Packing four dynamic drivers into a single in ear monitor is crazy enough, but the Jolene do this using JH Audio’s patented DOME design, whereby the paired drivers are placed in opposition to each other in a phase corrected enclosure, to create the same sound as a DD with a much larger diameter (in theory).

The balanced armature 4-driver “blocks” are configured in another JH Audio patented design called SoundrIVe, where the drivers are bunched together in blocks of four and run in parallel to increase overall headroom. The whole design is then tied together using the last JH patent on display (known as FREQPhase), which uses different lengths of tubing for the pathway from each set of drivers to the IEM nozzle, correcting for the different speed of each of the frequency ranges to ensure that all audio signals arrive at the ear within 0.01s of each other. This ensures that the audio is perfectly “in phase”, which apparently allows for a more realistic presentation and sense of imaging.

The last unusual piece of technology involved in this in-ear is the variable bass potentiometer housed in the cable (the “bass pot”). This has been standard on pretty much all JH Audio custom models since the release of models like the JH16, Layla and Roxanne, and allows the listener to dial in differing amounts of bass (between 0dB and 12-15dB depending on the model) by turning the dial on a small plastic control block built in o the cable. You can tune left and right channels separately, as there is a dial for each – unfortunately as this is an analogue tuning mechanism it is sometimes difficult to get both sides matched correctly if you are selecting a setting in between 0 and maximum. Luckily, the Jolene is designed to run with the bass at “full blast”, so that was less of an issue than I expected, as I just pushed both pots all the way up to maximum and left them there. All listening impressions below were done with the bass output at this setting.

(Internal driver design diagram courtesy of JH Audio website)

Initial impressions on sound​

The overall tune of this IEM is a fairly balanced W shape to my ears, with plenty of substance in the sub bass that slopes down into a slightly less bodied mid bass before pushing upwards in quantity again through the mids before relaxing slightly for one final push into the upper treble. Even though I am running the Jolene at full bore, it is not a bass-dominant signature – it has enough body to keep people satisfied but definitely no huge excess of dBs down low. Texture is plentiful, but if you are looking for room shaking sub or mid bass slam that knocks your fillings down the back of your throat, this will not be the IEM for you, despite the multiple dynamic drivers powering everything.

The bass gives the Jolene as slight tinge of warmth to the tonality, but it isn’t a hugely warm sounding monitor, erring more towards energetic and clean than thick and chunky. There is an element of control and tautness to the low end that keeps it from bleeding upwards, keeping things feeling very precise and crisp for a dynamic driver setup (even if there are two of them in play).

Moving up to the mids, they are positioned somewhere between stage neutral and stage forward, the Jolene painting a big sonic picture but not a distant one. Vocals in particular push forward towards the listener, not quite as “pressed up against the front of your skull” as some of their other models like the vocal-centric (and soon to be retired) Angie but definitely not recessed. Tonality is not that warm but still decidedly analogue, giving a nice sense of roundness and a realistic body to guitar and piano based instrumentation, which both sound phenomenal on the Jolene. There is a nice sense of bite to the edges of notes, with the Jolene sporting some impressive clarity and resolution throughout the range. This isn’t a detail monster style of tune, but there is definitely more than enough macro and micro detail floating in the mix to remind you that you are listening to a flagship-level in ear.

Treble is clean and clear, extending up beyond my meagre hearing capacity without any appreciable roll off. It isn’t sharp, but there is a little more crispness and crystallisation in the upper frequencies compared to those beneath. Cymbals shimmer and sizzle, and room sounds embellish the background of your favourite tracks with a gentle presence. Resolution is most noticeable here, with the Jolene definitely pulling a ton of small details out of the busiest of tracks.

The crisp but shimmery treble also contributes to the open feel to the staging – for a closed in-ear with four dynamic drivers populating the lower frequency ranges, the Jolene has an impressively spacious feel to the staging, extending up and out in all directions, with note reverbs and trails floating off into the ether rather than feeling constrained by the imaginary listening room inside your ears.

The Jolene is the most “audiophile” tuning I’ve heard from a JH Audio model yet. It gives more subtle colouration to songs than the reference-tuned Layla, but steers clear of going “full stage” and adding too much warmth or body like the Roxanne. It clearly prioritises both soundstage and clarity, pulling an image out from the music that is both impressive and precise, with a similarly impressive sense of resolution.

Bass​

Diving into the low end in more detail, the first thing that strikes you is the sense of balance. On initial listen, the Jolene can come across as quite light in terms of bass quantity and presence, without some of the beefy thickness that other models in the JH stable can possess. That initial perception fades away once you play some tracks with a substantial sub or low mid bass presence in the mix – with the right track, the twin DDs on the Jolene jump into life and provide a taut but powerful low end thump. “Disc Wars” by Daft Punk builds up from a subdued intro into a powerful combination of pulsing sub-bass and orchestral timpani, the Jolene capturing the scale and sweep of the low frequencies well. The sub bass isn’t as present or dominating in this track as it can be with some more traditionally basshead IEMs like the IMR Acoustics range or the usual contenders from Campfire Audio, but it still generates enough of a thrum in the ear to give the track the requisite solidity and weight.

Similarly on “C.L.U.” from the same soundtrack, the sweeping orchestral movement that kicks in from around the 1:20 mark hits hard and dynamically in the ear, with plenty of weight. The emphasis is on dynamics rather than sheer weight or quantity, with the Jolene injecting real energy and scale into the music as a result.

Sticking with sub-bass, “Why So Serious?’ By Hans Zimmer (Dark Knight OST) is up next. The pulsating heartbeat movement that defines the track (3:30 onwards) is rendered reasonably well by the Jolene – there is more of an emphasis on the upper area of each pulse rather than the lowest sub frequencies, so while is is clearly present, the Jolene doesn’t dig to the real low ends of this track with quite the authority or volume as some of the bassier IEMs in my current collection. Again, nothing wrong with the power or scale of the music, but if you are looking for an absolute sub-bass beast, this IEM (while being no slouch) won’t quite get you to the top of that particular hill.

Moving up the frequency charts, mid bass is punchy and tight, carrying the weight from the upper parts of the sub bass to give a firm foundation to instruments like cello or electric bass guitar. Slapping on “You’ve Lost That Lovin’ Feelin’” from the criminally under-rated (in my opinion anyway) “If I Can Dream” collaboration between Elvis Presley and the Royal Philharmonic Orchestra, the bass guitar that underpins the song is taut but liquid smooth and nimble. It sits underneath the orchestration a little , but provides a deep richness to the underneath of each bass note. There is plenty of texture and definition, but it isn’t overly analytical despite the tightness either. In a lot of ways, this is the perfect definition of “Goldilocks” bass – enough body not to sound thin or anaemic, but enough control and tightness to avoid blooming outwards and filling the areas around it with too much warmth or any sonic mud.

Firing up “Bad Rain” by Slash, the grunt of the Jolene is obvious. The bass line is down and dirty, with an aggressive, textured sound and a good sense of weight underneath the individual notes. It is a “deep” sounding bass – it’s not necessarily the fattest or thickest in the main body of the notes, but there is a heft and detail to the bass guitar as it snarls that is very enjoyable. The kick drums that accompany the intro pack just enough slam to sound physical, but again don’t go overboard into ultra-visceral territory.

Overall, the bass on the Jolene is very capable, both technically and musically. It gives a solid and highly textured foundation to the music, with plenty of resolution and a great sense of control and tightness. Even at full blast on the bass dials this isn’t an IEM that would fall into the bracket of “basshead” tuning, but it definitely has enough weight and quality to keep most listeners more than happy.

Mids​

Moving up to the midrange, these are again serviced by a pair of opposing 4.9mm dynamic drivers in Mr Harvey’s patented D.O.M.E. setup for the low-mids, and a quad-BA block in Harvey’s other patented SoundrIVe design covering the high mids. The midrange DD drivers may be smaller in diameter, but provide that natural sense of decay and physicality that you only get from a good dynamic driver. The tonality of the Jolene is clean rather than thick or particularly warm, so even though it does sound quite organic, this isn’t an overly romantic or heavily coloured midrange. Bass bleed is non-existent, so while there is a slight hint of warmth coming through from the lower registers into the main tuning, it certainly isn’t a dark or stuffy sort of sound JH are going for here.

Tonality and timbre is fairly true to life, capturing the richness of vocalists like Chris Stapleton and giving an almost analogue ‘sheen’ to the sound without adding any sense of veil, which is a tricky balancing act. In fact, despite the highly resolving nature of the midrange, JH have done an excellent job steering clear of any overt harshness or sibilance. Readers of previous reviews of mine (hi Mum!) will know that one of my favourite test tracks for midrange heat or sharpness is “Whiskey And You” by the country troubadour mentioned above. The Jolene handles this with ease, painting plenty of space around each of the plucked acoustic guitar notes and giving Stapleton’s gravelly roar just enough weight to sound convincing but avoiding the unpleasant harshness that can appear around the 1:47 mark on less forgiving monitors as he gets into full flow. It sounds raw but not ragged, and keeps the track on the right side of musical without detracting from the details that float around the sparsely populated soundstage.

Staying with the harshness and sibilance testers, “Starlight” by Slash and Myles Kennedy. The opening guitar part sounds crystalline and dissonant (as it should), but again the Jolene manages to paint it with enough of a shine it doesn’t grate in the ear. Slash has previously gone on record that the midrange provided by the Lola (the first JH model to use the dual “D.O.M.E” DD midrange setup) is the most realistic he’s ever heard, and I have to say that this statement holds true for me with the Jolene. Guitars (both electric and acoustic) just sound right. No excessive fatness or razor sharp etching, just plenty of natural resolution on the parts that should be sharp, and a reassuring weight and tone on the parts that’s shouldn’t.

Speed isn’t an issue in the mids either, despite being an all-DD affair. The jolene can deal with uptempo guitar-based numbers like “World On Fire” or “Shadow Life” by the same duo without breaking a sweat, the staccato rhythms and crunching stop-on-a-sixpence riffs remaining crisply defined throughout, with no hint of congestion. Ditto for “Coming Home” by the prog supergroup Sons Of Apollo, which sounds damn fine through these IEMs but can turn into a beefy mishmash of instrumentation on less capable monitors. This is a sound that is closer to crunch than chug with electric guitar, trading a little weight for some serious bite when called for – I have heard fatter and thicker sounding in ears n the midrange, but they generally don’t keep up for pace with the snappy delivery of the Jolene dual drivers here.

It’s pretty safe to say that if your main music fare is guitar based rock or acoustic music, the Jolene will be an easy recommendation – I’ve personally not heard much in the market at the moment that gets the balance of tonality, technicality and musicality just right in the same way that these do.

Switching to some more acoustic fare, “Since You Were Mine” by the Shinedown duo of Smith & Myers sounds fantastic, with the sparse piano notes echoing slightly in the ear and resolving plenty of tiny details around the strike of the hammers and the creak of the keys. The vocal has just enough rasp to be engaging, but blends beautifully with the piano and string accompaniment to give a clean but emotionally engaging rendition. Whether it’s the accuracy of the timbre or the phase-mastery of the Freqphase tech I’m not sure, but the Jolene does a great job of sounding “real” with traditional instruments and voices, which definitely adds to the engagement factor.

Vocals are slightly forward on the stage, and the Jolene does a good job of pulling the micro-detail out without becoming distracting – you can almost picture Leona Lewis shaping the words of “Run” , but it doesn’t pull you out of the heart of the music. Lewis’ voice is crystal clear throughout the track, but stays away from harshness or stridency, and capturing the dynamic shifts as she drops back down from her dog-bothering falsetto to the breathy final notes of the song. The Jolene copes equally well with busier vocal tracks, taking the gospel chorus of “High Note” by Mavis Staples and pulling the individual voices just far enough apart to be discernable, but not far enough apart that you lose the blending. Again, I have heard IEMs in the top tier that pull this track further apart in terms of the individual layers, but the Jolene strikes a good balance here between technicality and musicality.

The midrange is probably the area that really catches the attention with these IEMs. It’s subtly warm and inviting enough to be an easy listen, but technically adept enough to trade blows with the current industry flagships without coming off second best. I have heard the previous model (Lola) that used the dual 4.9mm mid-driver design, and the Jolene is an obvious step up for me. The addition of the quad-BA block handling the high-mids/treble transition blends perfectly to provide the best of both worlds, adding subtle nuance and detail to the gorgeous analogue tone that pervades throughout. This is a midrange that is just difficult to find an objective fault with. I’d go as far as to say that even if the Jolene doesn’t match your own personal preferences, it would be a harsh critic indeed who could find a serious flaw or fault with this presentation.

Treble​

As mentioned in the initial summary, treble is crisp and clean with a lightness of touch and delicacy to the presentation. This isn’t a screaming hot IEM, but it isn’t rolled off or shy in the upper registers either – if the track you are listening to has high end information, you will hear it on the Jolene. The ubiquitous quad-BA “SoundrIVe” driver pack is at work again here, but tuned to focus more on extension and articulation of the high notes, leading to a sound that isn’t emphasised but is definitely very present.

Tone follows on from the midrange, with a very analogue and organic feel, not showing any lack of coherence as the driver technology switches across to an all-armature affair. Violins and cymbals both sound true to life, with the cymbals in particular having a nice splash and realistic decay – the notes strike snappily then fade away naturally, not lingering too long or zinging in the ear then deadening like they have been cut off mid-reverb.

Trying out some orchestral music, “Killing In The Name Of” from the David Garrett classical covers album called Rock Revolution has plenty of high violin, which the Jolene paints as quite delicate in terms of size, but still feeling rounded. The tuning actually reminds me of the better tuned EST hybrids currently on the market, with a certain effortlessness to the upper end that doesn’t sacrifice body or weight for delicacy. The armature design isn’t quite up to the speed of an all-electrostatic setup, but we are definitely talking fine margins here.

The stage presentation helps in this regard, with the Jolene putting treble notes in plenty of imaginary space, so that the music doesn’t feel constrained or “walled in” to a particular space, and allows the various cymbal splashes and other treble denizens to inhabit their own space in the upper end of the stage. The hi-hat work that underpins the rhythm of “Go” by The Chemical Brothers is high and prominent, with excellent clarity and realism. It doesn’t overpower the track, but cuts cleanly through the fat bass underneath. It is supported by a swirling synth break in the chorus high sweeps from left to right, and again that feels light and crisp.

In summary, the Jolene sports very good extension and a surefooted but not excessive treble, with lots of resolution. It’s neither too sharp or too smooth, with no hint of roll off but no hint of darkness either. It’s isn’t necessarily the most romantic or organic sort of sound, but what it does possess in spades is a sense of realism. There is a reason JH Audio have stuck with their four-driver armature quad-packs for so long – ESTs, planar drivers and magnetostats might have been making the headlines in high end IEM design over the last few years, but the Jolene is working proof that sound quality is about implementation as much as innovation.

Soundstage, Separation and Layering​

i perceive the Jolene staging as wide and deep, sitting a few cm outside of the ears and pushing forward a little in front of the eyes. It isn’t open-back headphone massive, but it is definitely on the large side for an IEM. This is backed up with a larger than average note size, with the Jolene presenting a picture that is both broad in scale and large in presentation. Guitars and vocals just sound closer and “bigger” in my head than a lot of the IEMs I own – it’s a trick that Campfire Audio do well with models like the Atlas, and makes music very enjoyable for me. The shape of the stage approaches spherical, with just a shade less depth from front to back that it sports laterally. Height is another impressive aspect, with the large sounds and precise placement in three dimensions putting cymbals at the top of the drum kit and bass drum slightly lower down, helping piece the sonic image together in an almost holographic manner.

Imaging has always been a traditional high point of the JH Audio in ear range, and the Jolene doesn’t deviate from that pattern. It has some of the most precise spatial imaging I’ve ever heard in an IEM, placing instruments and voices in an ultra-specific position in the soundstage, each occupying their own specific part of the sonic landscape. As a result, cues like the footsteps that open “Thriller” by Michael Jackson track clearly across the stage in your ears, and tracks like “Trouble” by Ray Lamontagne positioning the drums and bass in areas of the stage so different you could imagine they had fallen out with each other that morning.

Layering and separation is at a similar level, with the tecbnical capability and clarity of the Jolene allowing the listener to pul apart individual strands of vocal from tightly packed gospel choruses, or hear subtle inflections on a guitar in a “wall of noise” style rock track without straining.

Overall, not too much more to say here – the Jolene performs to a very high level in pretty much all aspects here.

Synergy and power requirements​

The Jolene isn’t the most picky of IEMs, and is reasonably efficient, so you won’t need a nuclear power plant to run it. That said, the resolution and slightly more neutral tuning work best for me on a source with a little bit of inherent warmth like the DX300/Amp11 or the tube output of the N3 Pro. The Jolene sounds impressively physical on the M17, but loses a hint of that warmth that really plays on the analogue tonality in the lower end and midrange.

Bottom line – if you underpower this IEM it will still sound OK (my modded Sony NW-A55 getting it to sing quite nicely is proof of that), but moving four dynamic drivers works best with a little bit more current and voltage to my ears. Similarly, if you want a crisper and more analytical flavour, plug into something cold, but if you want to double down on that dynamic goodness then something that is a little heavier on the low end and naturally a bit warmer will make for a very enjoyable pairing.

Tip choice​

I usually include a section on tip choice here, but as this is a reshelled IEM and the majority of users will be going custom anyway, all I can say is that from my experience, wide bore tips seem to suit my particular Jolene best. The Xelastec or Crystal ear tips from AZLA are my current go-tos on this IEM, but Spiral Dots (the original design) also sound pretty good. I didn’t like foam tips for my personal preference, as I feel it takes away a little of the high end clarity with no useful trade off.

(Picture taken from JH Audio website – package contents for CIEM correct at time of posting)

Comparisons​

All comparisons were done using both the Ibasso DX300 with stock amp (11Mk2) on high gain and/or the Fiio M17 in medium gain setting. All IEMs compared against were run volume-matched (via my MiniEARS DSP rig) and using a single ended cable (or BAL to SE pigtail for the Balmung).

Fender Thirteen-6 – (c. $1500, 1xDD 6xHDBA hybrid)

The Fender Thirteen-6 has been the top tier model in Fender’s pro in-ear monitor lineup until the recent launch of its successor the Mix Pro from this year’s “Producer Series” of in ears. It is a hybrid design, with a 13.6mm dynamic driver handling the lows and 6 “hybrid dynamic” balanced armature drivers broken into par for mids, highs and super-highs. It is designed and tuned with stage musicians in mind, carrying a VERY stage friendly sound (read: bassy and warm with forward mids and a veiled upper midrange and treble area). Being frank, if you AREN’T a touring musician, the baseline tuning for these IEMs really isn’t much to write home about, and certainly doesn’t fit the pricetag in terms of clarity or just general enjoyment.

However, it turns out that the high density dynamic driver and the unusual “hybrid dynamic balanced armature” drivers (no, there is no useful info anywhere on the internet to confirm what that actually means in terms of design) are actually very capable indeed when a little EQ is applied. In fact, given that these are heavily coloured in-ear monitors to begin with, I have to say that the drivers take EQ as well as anything I have ever heard, including the Audeze iSine or i3/i4 series. This means that with a bit of judicious tweaking from the AutoEQ database of EQ settings, you are able to turn the Thirteen-6 from a stage monitor into something a little closer to a more traditional audiophile Harman curve tuning. I deliberately use the words “a little closer”, as while the AutoEQ settings drastically up the clarity and resolution, there is way more bass than you would usually find in a strict Harman tuning. All comparisons have been done with the AutoEQ settings applied, as this is how I listen to the Thirteen-6 in day to day use.

Starting with the bass, the Fender have a LOT more bass presence than the Jolene. As articulated in the main part of the review, Jolene is not a bass-light monitor, but the Fender harks back to some of the original Aurisonics bass cannons of yesteryear. It is quite frankly brutal in the low end, with huge quantity of both sub and mid bass (as you would expect from a DD that is almost 14mm in diameter). In terms of tightness and control, the Fender puts up a reasonable fight, but can’t quite match the tautness and snap of the dual-DD setup employed by the JH Audio model. Detail and texture is similar between the two, with the Jolene having a slight edge in terms of ultimate resolution, but certainly not night and day. The Thirteen-6 sound the grander of the two IEMs in the low range as a result, so this is more of a battle of preference than a strict better / worse scenario. If you like your low end detailed but fat with a a capital P H A T and capable of slamming like a pro wrestler, the EQ’d Fender model has both the raw power and technical capability to make it an easy choice. If you like your low end muscular but technical and just a little over natural, the Jolene trots out an easy winner here.

Moving up to the midrange, the IEMs start to diverge a little more. The midrange on the Fender is comparatively leaner and more distant than the Jolene, pulling a little further back behind the bass compared to the more neutral to forward position of the Jolene’s dual-DD driven sound. Without EQ the Fender is considerably thicker and more forward, but tends towards being too warm and slightly muffled as a result – the “cut” in frequency applied by AutoEQ has the effect of sharpening up the detail and clarity of the midrange quite considerably by sucking a lot of the warmth out.

Resolution wise, the Fender can trade blows with the Jolene – the proprietary balanced armatures that Fender are using are very detailed, and it spits out plenty of micro and macro details into the mix. It sounds a little more aggressive than the smoother but still highly resolving Jolene, with more of a BA “edge” to notes compared to the more liquid and organic tone of the JH model. Both IEMs (unsurprisingly) excel with guitar based music, with the Jolene offering more weight and “chug” to proceedings with heavy rock, compared to the more angular and biting edge to riffs that the Fender pushes through. Neither monitor harsh, but the adjusted Thirteen-6 is a lot closer to harshness or sibilance in genera.l.

Moving up to the treble, and this is probably the weakest area of the Fender model before EQ is applied, with a classic “stage roll off” killing a lot of the air and detail. Pushing the EQ sliders WAAAAY up in the high treble brings all that detail crashing back, with the Fender again holding its own pretty well against the Jolene. The Fender is hotter and thinner than the JH model, with a more aggressive edge to the upper end that treads the line between sparkle and heat. In contrast, the jolene is ultra-crisp but still smooth and extended, with zero harshness. It’s fair to say the Jolene is capable of competing with any of the top tier IEMs I’ve heard to date when it comes to treble reproduction, so while the Fender is more than capable, for me the Jolene offers the more balanced and resolving tuning here.

Staging is fairly similar between both – the large low end on the 13-6 leading to a broad sonic landscape. It’s not as deep as the Jolene, but both IEMs are definitely on the bigger side of things. Layering and separation are decent on the Fender, but not quite up to the same standard as the Jolene.

One thing to note about the packaging – the Fender has the best packaging I have ever come across on an audio product. Utterly impractical, weighing a couple of kilos and about the same size as a shoebox for a pair of Shaquille O’Neal’ s shoes, but still awesome. They even include a bulletproof Nanuk hard case, lots of proprietary SureSeal tips (think the original version of Xelastec if you haven’t come across them before), a Fender guitar pick and a signed Polaroid of the technician who built the IEMs. The different areas of the box have half-cm thick plexiglass inserts separating them. The thing is just ludicrous, and fit for something you sell to Middle Eastern royalty. If packaging is your thing, Fender have really gone to town here.

Overall, the two IEMs are shooting for different markets. The Thirteen-6 in stock form is for stage use only, and in its EQ’d form is a V-shaped basshead audiophile’s dream, as long as they don’t mind a splash of heat up top and thinning mids. The Jolene paints a much more balanced picture, with (a little) more resolution, better timbre and technical aspects and an overall less polarising sound. Unless you prioritise bass over all else and don’t mind your ultra-detail served hot and spicy, the Jolene is the easy recommendation here.

MMR Balmung (c. $2600, 12 x BA)​

The Balmung is a 12 balanced armature model from the mad scientists over at Metal Magic Research, the Singapore-based manufacturer run by JOMO Audio founder Jospeh Mou. As at the time of writing, the Balmung is considered a co-flagship of the current MMR series, and is their most driver-heavy model.

In terms of design, the Balmung is a twelve balanced armature design, utilising MMR’s proprietary internal tuning chamber technology to control the phase and coherency of the multi driver setup and shape the sonics to the desired output. Staying with design, the Balmung is an all-metal design – I’m deliberately not comparing the Jolene to other IEMs in this section due to the fact it is a reshell of the original custom, but it has to be mentioned that the Balmung is simply one of the most complex and beautiful looking in ear monitors I have ever come across. The faceplate is based on the mythical sword of the same name, with intricate 3D metalwork that makes it look more like a Crusader’s shield from the Middle Ages than an earphone faceplate. It is simply stunning, and for my money will win a head to head against pretty much any other IEM out there at the moment.

Moving on to sound, the Balmung is tuned quite surprisingly for a “flagship” model, in that it is unashamedly musical and very coloured, eschewing neutrality for the sort of musical W-shape that companies like Campfire Audio love to play with. Starting with the bass, the Balmung actually sports a pretty hefty low end for an all-armature model, packing a bit more quantity than the Jolene, even with the bass pots fully open. The Balmung bass centres more towards mid than sub, but there is still a decent sense of sub bass extension. It lacks a little of the visceral impact that the Jolene dynamic drivers can bring, but fills out the low end of the soundscape a little more in terms of overall volume. Listening to something like “Why So Serious?” from The Dark Knight OST, the buildup to the drop at the 3:00 mark sounds cleaner and clearer on the Jolene, but fuller on the Balmung. Similarly, the sub-only heartbeat type murmur that kicks in from around 3:30 sounds more physically “present” and a little more obvious on the Jolene, with the Balmung pushing less air and vibrations at the listener. This is easier to hear on “Go’ by The Chemical Brothers, with the Jolene offering considerably more slam factor to the sub bass breaks on the track. You can’t beat physics in this instance – two dynamic drivers will always move more air than a handful of balanced armatures.

Moving up to mid bass, the Jolene is definitely leaner in quantity than the Balmung. “You’ve Lost That Lovin’ Feelin’” from the Elvis / Royal Philharmonic Orchestra collaboration definitely souds fatter on the Balmung. In terms of detailing, both monitors are definitely flagship tier, but the Balmung souds a little more subtle in terms of showing its resolution here, with the comparatively leaner Jolene mid-bass allowing more of the texture of the notes to come through. The Balmung is also slightly warmer as a result, with the mid bass emphasis adding a colouration that seeps upwards through the rest of the sound.

As mentioned, both are absolute top-tier technically, so either monitor is able to scratch that detail and clarity itch, so it really depends on preference to pull these apart. Jolene provides more audible texture and a leaner, more physical rendition, with the Balmung rendering the low end in a louder, slightly “fatter” way, giving more weight to bass guitars and synth notes. Both choices work for me in the context of the rest of the respective IEM tunings, so I don’t have a clear favourite.

Mids are slightly more forward on the Balmung, the MMR model painting instruments and vocals a little closer on the stage to the listener. Both IEMs go for a slightly analogue and romantic “sheen” to the presentation, with the Balmung again providing a slightly fatter sound it’s more warmth to the stage and the Jolene going for a textured, more physical approach that is leaner in body and colder in tone. There isn’t much to split the models here – detail is pretty much a tie, with the Balmung providing a more “rounded” rendition of tracks like “Three Chords” by Goodbye June compared to the more raw and emotive version replayed by the Jolene.

The only area where there is a notable difference in the mids to me is in terms of timbre and tonality; the Jolene gives guitars and voices a warm glow that is still slightly stylised but at the same time pretty true to life. Guitars and voices sound raw and more importantly real, with the Jolene definitely able to eke out a stronger emotional connection to some of my favourite test tracks.

Treble is where the two models diverge slightly, with the Jolene painting a crisper and more prominent treble note than the more slightly smoother Balmung. Neither model are treble cannons, but the Jolene packs a little extra zip into the hi hats on “Go” by The Chemical Brothers, with the Balmung following a similar theme and sounding more weighted. Given I have the usual hearing for a man in his 40s who has been to plenty of live gigs in my mid-spent youth, I won’t talk too much about treble extension apart from to say that the Jolene “feels” like the more extended of these two in-ears, with no noticeable roll off as the frequencies rise. In comparisons, the Balmung feels more reserved and a little less open here as the Hz keep climbing.

In terms of soundstage, the Jolene feels deeper than the Balmung, with a similar lateral extension. Both IEMs stage on the large to very large side, so again, not a huge amount to discern between them here apart from the relatively flatter spread of instruments on the Balmung, and the larger instrument size on the Balmung (as in voices and guitars sound “bigger” on the MMR model, which is in part due to the perception of closer proximity). Imaging is pinpoint precise on both, and separation also operates at a similarly high level. At flagship level it’s usually pretty difficult to pick up glaring differences in technical capability, and these two IEMs are a great example.

Overall, these two IEMs have plenty to recommend them, and very little to definitively separate them either technically or tuning wise. If you prefer a more romantic and thicker sound with more mid-bass, Balmung is the recommendation. If timbre is important to you and you prefer a more textured and slightly cooler sound with more physical grunt and slam, Jolene wins out there. For everything else, either model will suit most genres or musical tastes.


IMR Acoustics Avalon – (c. $1200, 1xDD, 2 x Bone Conduction, 2 x EST hybrid)

The Avalon are the first flagship model released by boutique British IEM maker IMR Acoustics in their “Pro” series. They are a triple hybrid design, packing in one 11mm ADLC / CNT dynamic driver, two bone conduction motors and a dual EST pack from Sonion. The Avalon also sport the standard IMR tuning nozzle system for tweaking the output, consisting of a two part filter nozzle that can be swapped out. There are 8 “base” filters for adjusting the relative amount of bass produced (via different sized bass ports drilled into the filter tube) and 6 different screw in tips that attach to the nozzles that act as subtractive filters for the mids and treble. in combination, there are close to 50 different tuning combinations available, which allow tweaking the IEM from a relatively flat and neutral sound to a bass-heavy V shape.

As I am a big fan of the IMR “house sound” which leans towards the bassier and more musical end of the tuning spectrum, this comparison is done with the black nozzle (maximum bass output) and the blue filter tip (minimum treble attenuation) to give the Avalon a balanced but bass sound profile that sits somewhere around a shallow W.

Starting with the bass, the Avalon is a little more mid-focused than the Jolene, with the Jolene concentrating more on the deep sub bass. The Avalon is a little more balanced in the low end than the usual IMR house tuning, and this shows here, providing a more pronounced mid-bass “thumb” on tracks like “Duel” by Bond in comparison to the more downward sloping Jolene. Detail is similar between the two, with both retrieving flagship levels of texture and resolution but the Avalon pulling slightly more texture forward due to the more forward position of the bass on the stage (the Jolene feels comparatively “deeper” on this track, whereas the Avalon is more “in your face”).

“Figaro’s Whore” by Sons Of Apollo is a good tester for both IEMs in terms of rumble, with the Avalon coming out on top. Both produce a genuine feeling of vibration in the ear as the track blends into the follow on tune “Divine Addiction”, but the Avalon almost feels like it is physically buzzing in your head (I suspect this is due in part to the double dose of bone conduction drivers). The Avalon feels like it is more powerful and substantial in the bass here, but the difference is subtle rather than stark.

Moving up to mids and going back to the Bond track, the main violin refrain feels sharper and more vinegary on the Avalon, with a more pronounced rise into the high mids / low treble that emphasises both voices and overlapping instrumentation. In contrast, the positioning feels a little more neutral and the tonality a little less sharp on the Jolene. In terms of detail, the Jolene just edges ahead here, presenting notes in a slightly thicker fashion but with a shade more texture. That’s not to say the Avalon lacks for resolution (it definitely doesn’t), but it just loses out slightly to the tot tier clarity that the Jolene can provide.

Guitar and vocals sound great on both, with the Avalon again coming across slightly sharper and more vivid in presentation in its black/blue tuning configuration, which is something of a hallmark from IMR. It pushes things closer to sibilance or harshness if you are particularly susceptible to spikes in that particular range, but works beautifully for my own preference. Vocals are slightly more forward on the Avalon but a shade smaller in size than the Jolene, with both models doing a good job of resolving the small nuance and details in the gravelly delivery of Chris Robertson from Black stone Cherry on tracks like “Things My Father Said”. It takes a good IEM to make Mr Robertson’s unique gravel gargling paint stripper of a voice into something smooth enough to enjoy but still raw enough to keep all the emotion he packs in to each note, and both the Jolene and Avalon are capable of handling this with no issues.

Treble is slightly crisper on the Jolene, with the Avalon having plenty of ability thanks to the pairing of a dual-EST block and two bone conduction driver insider the chassis, but not packing the same sense of space and openness as the Jolene. Both extend up higher than I can hear, and neither can be called harsh, but the IMR favours a slightly more rolled off sort of tuning compared to the cleaner and more crystalline Jolene.S

Staging size is somewhat of a draw, with the Avalon probably edging slightly ahead of the already impressive Jolene in terms of overall perceived dimensions, but only marginally – both are very large sounding in ears. Imaging is also a draw, this time with the Jolene just having the slight edge, but again, not by much, with the IMR model being similarly precise in its allocation of musical interments and people to the stage. Layering and separation are again just shaded by the Jolene, but there really isn’t much in that either. Both are top tier in terms of performance across these aspects, with the Jolene just being a slight bit more top tier, as the phrase goes.

In summary, both of these IEMs are on my current daily rotation, and both for good reason. The Jolene is just that shade more refined and resolving in certain aspects of the sound, but that comes at a cost that is pretty much double that of the Avalon. The Avalon has the bonus of the flexible tuning system that allows you to take it anywhere from almost ruler flat, through treble cannon territory to a bassy W shape and almost anywhere in between – in that respect, you are far more likely to be able to find a configuration that “fits” your own preference if the OOTB tuning doesn’t rung the right bells. If money isn’t a concern, I’d lean to recommending the Jolene, but if you are on a tighter budget or just don’t want to pay the best part of a thousand on some marginal improvements across the board, the Avalon definitely won’t disappoint.

Final thoughts​

The Jolene is a product of JH Audio shifting their focus from the traditional target audience of stage and recording musicians they know (and dominate) into the real high end audiophile space. As the first specifically “audiophile targeted” flagship from the brand, it’s a pretty impressive entry into the space. It is hugely resolving, realistic in both tone and overall balance and carries a subtle richness and power to complement the technicality. This is a serious shot across the bows for some of the boutique audio companies, and shows that there is plenty of mileage left in one of the original “legacy” brands when it comes to innovation. More importantly when it comes to creating a high performing and damn fine sounding in ear monitor, it shows a certain Mr. Jerry Harvey definitely hasn’t lost his touch.

Even if you aren’t a fan of custom in-ears, the only downside to this IEM is the relative scarcity of the universal version (I believe only 200 were produced in the initial run). Apart from that, unless you’re an unrepentant basshead who can’t live without a low end response fatter than Humpty Dumpty’s waistline or need your music warm and gooey rather than clean and clear, the Jolene is one of the easiest recommendations that can be made in the current TOTL audio landscape

Acknowledgement​

The Kublai Khan was purchased with my own money at a small discount from the ever-helpful Andrew at MusicTeck USA for the purposes of writing a full review (which will be published soon). No input or other incentive was sought or received from MusicTeck or Noble – all opinions and words below are my own (however ill-informed or misguided!). Many thanks to Andrew and the MusicTeck team for enabling me to hear these in-ear monitors, and for their excellent communication throughout the whole purchase process.

Link to Noble products currently available on MusicTeck can be found here .

Unboxing and accessories​

The Kublai Khan comes in an external box that is nothing short of huge for an in-ear monitor. The initial package from UPS is big enough to hold an adult sized pair of basketball shoes, never mins a tiny in ear sound system. As boxes go, it’s simple but classy, with a nice graphic on the front, and the usual tech spec blurb on the back. Opening the initial cardboard rectangle gives you your first surprise though – the entire inner of the box is taken up with a black Nanuk 903 hard carrying case, emblazoned with the Noble logo. If you haven’t seen this sort of case before, it’s pretty reminiscent of the sort of seahorse cases that companies like ZMF and Audeze use to ship their high end over ear headphones.

In all honesty, on first glance, you almost think a pair of cans might be nestling in there. Taking the nuclear armageddon proof carry case out and clicking the two latches on each side to release the lid, you are presented with the IEMs themselves, sat in a custom cut foam inner, with a much smaller leather carry case of the IEMs (again emblazoned with the Noble logo) sat alongside. As far as unboxings go, this is more like opening a safe than a jewellery box, but there is an undeniable air of quality to the whole experience. T

The Nanuk case is probably more than you will ever need in terms of transporting these in-ears around safely, and is definitely less than practical in terms of the amount of storage space it takes up, but there is definitely something about knowing if you got run over by a tank while carrying your new IEM purchase in your hands, at least something would survive unscathed.

Accessories follow the standard Noble loadout, from what I can tell – a nice 8-wire braided cable (terminated in 4.4mm balanced in my case), a leather carry case, soft velour carry pouch, assorted ear tips (3 wide-bore silicone, 6 x memory foam) and cleaning tool, two wrist/amp stacking bands (black with a Noble logo) and the obligatory “Wizard” signature sticker. The cable is supple and feels quality, with a good weight to it (heavy enough to lay flat, light enough not to pull). Finish is worthy of an aftermarket cable, with matches metal splitter and Y-split and a nicely designed 4.4mm connector. The black PVC coating means this is more of a stealth design, and in a lot of ways this feels like a more pliable version of the M2 cable that unique Melody include with their MEST Mk2.

The other accessories are simple but should cover everything you need to get going – the leather looking carry case is quite light feeling so doesn’t scream quality (or sturdiness), but given the bulletproof nature of the parent case that’s hardly a huge drawback. Overall, the Kublai Khan package is pretty complete, with an outer case and cable giving that required touch of class that you would expect with a flagship-level product.

Tech specs​

The Kublai Khan is technically a “quad-brid”, with a design that incorporates 7 drivers across four different driver types. Lows are shared between a 10mm dynamic driver (composition and design unknown) across the full range of low end frequencies and a similar sized bone conduction driver which is targeted more towards sub bass. The midrange is handled by four Knowles balanced armatures, and the treble is picked up by a new generation of the ceramic piezo driver used in the original Khan series.

Noble are notoriously sparse with their design specs, but it’s safe to say that their low entry bar for driving and power requirements remains in place – while the Kublai Khan appreciates cleaner power and more technically performant audio sources to really get the most out of its capabilities, you can probably blow your eardrums to bits using a 3.5mm iphone dongle adaptor. High powered sources are not a necessity here.

Build and fit​

Given Noble’s history of producing some of the nicest “Prestige” builds in the industry, it’s hardly surprising to note that the Kublai Khan is a bit of a looker. Noble have opted for an acrylic body for these in ears rather than the all-metal designs of their previous K-series and co-flagship Sultan models. The design is simple but visually arresting, with a black lacquered shell in a pseudo-custom design, with a golden metal dragon of Asian descent sitting under the acrylic on one IEM shell, and the classic Noble crown logo in gold on the other. The dragon is visually stunning, and adds a really unique look to the IEM design. The other obvious visual highlight is the large 10mm bone conduction driver in each shell, which is clearly visible on the bottom side of each shell through the lacquer. In a nice bit of attention to detail, the outer shell of each BC driver has an engraved dragon logo (to match the larger gold design on the front).

Build-wise, the shells feel smooth and solid in the hand, with no obvious air bubbles or any other imperfections. The fit is perfect for my larger than average ear cavities – the Kublai Khan housing is pretty large so it does stick out a few mm from each ear when wearing (meaning these probably aren’t ideal for wearing when laying down, if you are a side sleeper), but the casual ergonomics are pretty much bang on for my own ears. I get a very good seal with the included wide bore silicone tips, and can wear the KK for extended listening sessions without any discomfort due to the lightness of the cable and IEMs themselves and the smoothness of the design. To be fair, you would expect a fairly famous manufacturer of custom in ears run by someone with a background in audiology to be on their game here, and they definitely are.

Given the use of bone conduction drivers, getting a fit where the maximum amount of IEM shell is in contact with the surface of your ear is paramount, so it’s nice to be able to achieve that straight out of the box without having to play around with the usual suspects like Spiral Dots or Xelastec tips. It’s even nicer for the IEM shells to feel comfy once you have got them in that “magic” position to maximise the BC elements of the sound.

Initial impressions on sound​

*DISCLAIMER* These impressions are based on a solid fortnight of listening to the Kublai Khan through my main musical source (a Fiio M17) on medium gain. Please take them with the requisite metric tonne of salt – I’m stil getting used to the IEMs and the sound signature, so this is just an initial reaction to what I’m hearing out of the box. Also, these IEMs will probably still have less than 40 hours of play on them at time of writing, so if they change during burn in, I will document that in my follow-up review. If they don’t, I won’t.

My initial take on the Kublai Khan “sound” is that Noble have gone for something between musical and natural, This is an IEM with a good sense of balance – it’s too lush and rich sounding to call it strictly neutral, but there isn’t an overriding emphasis on any particular part of the frequency spectrum either. At a push, I’d say this is a classic but fairly gentle “W” shape, with a good low end heft, some prominent vocals and midrange instrumentation and a smooth but very capable treble. The “W” descriptor comes from the clever sculpting of the response around the bass/mids and mid/treble borders, which ensure nice clean transitions and no audible masking.

Bass​

Bass is deep and very textured. The dynamic driver used actually sounds fairly fast to my ears, and has more of a focus on speed and resolution than sheer volume, so the KK low end isn’t hugely voluminous as a result. Don’t get me wrong, there is plenty of fat and chunky low end presence where the individual track requires it, but it definitely doesn’t step into basshead territory, more “basshead friendly”.

The bone conduction driver is supposedly targeted at the sub frequencies, and there is a palpable sense of physical rumble with these IEMs – I’m not sure if it’s just expectation bias or psycho acoustics at play, but you can definitely feel the thump on some tracks a lot more than you should be able to just going by the decibel output. It’s almost like you took a signature that’s just a few decibels off neutral in the low end, but replaced the “physical” slam and impact levels with something more usually associated with a much louder low end response.

Detail levels in the lows are high throughout, with the KK being able to resolve individual cello notes and bass guitar licks on complex symphonic or rock tracks without any undue effort, but without robbing them of a sense of weight. While it’s not hugely forward or overbearing, I think the bass on the Kublai Khan is very nicely judged in terms of hitting that Goldilocks zone where you get the musicality of a chunky bass presence without any of the bloating. It won’t give you the ultimate basshead high (or low), but it’s definitely packing enough in both quantity and quality to bring most genres of music to life.

Mids​

If the bass is well judged, the midrange is where the KK really takes flight. The four balanced armatures combining together to give a midrange presentation that is both creamy but also ultra-resolving. This is where the Kublai Khan reveals its credentials as a top of the line monitor, with bags of resolution and clarity both in and around the notes. Vocals are forward, large in size and very emotive, accentuating the rasp of singers like Sister Hazel’s Ken Block without having to sharpen the edges of the image or bleed it of body. There is ample space and separation between the notes, with a slightly warm tonality illuminating the midrange instrumentation without making it sound stuffy or overly coloured.

Guitars have a nice sense of crunch and chug, going for a similar sort of organic tone that the recent JH Audio D.O.M.E. – powered models like the Lola and Jolene have made their trademark. There is just enough bite to the edge of the notes to avoid the KK sounding too fat or muddy, keeping the staccato speed of tracks like “Holy Wars” by Megadeth while also getting that nicely full guitar sound.

Vocals are the star of the show without a doubt, the Kublai Khan handling Elvis and Gregg Allman with equal care and attention and pouring plenty of emotion into their delivery. The singers are placed close to the listener on most tracks, slightly in front of the instrumentation. The width and depth of the stage stop them from feeling too intimate, giving the impression of being in the front row of a gig more than sat on top of a near-field speaker in the recording studio. Clarity and phrasing is exceptional, with the KK able to resolve the fine sounds as vocalist phrase each word. It feels almost ultra-HD, but oddly it isn’t distracting, being balanced out by the overall sense of emotional engagement. The Khan v2 can certainly hit you with midrange detail, but it makes sure to do it with heart. It’s a nice balance.

Timbre is another highlight on the Kublai Khan, with piano and acoustic guitar tracks both benefitting from the richness of the tone to sound lifelike. Noble have gone for an overall tone that evokes the old Final Audio Design flagship models, with a sense of emotional rawness almost at odds with the weight and density of the notes.

Treble​

The treble transition is again smoothly handled, with the KK showing a good level of coherence. The ceramic piezo tweeter is technology I’ve heard before (albeit a previous generation) on the IMR Acoustics series of in-ears, and Noble have definitely taken the bar and raised it in terms of what this particular driver tech is capable of. Tone-wise, it straddles the border between high quality BA treble (with the attendant bite and sharpness) and that more smooth and effortless sort of ethereality that the newer second-gen EST drivers from Sonion are capable of. It’s a very good compromise between the two, carrying plenty of crispness and bite but without harshness or glare. The piezo givesthe treble a rounded density that feels like it polishes the raw edges out and just leaves the detail behind.

It’s also a quick treble driver, handling guitar harmonics and other transients without blinking or blurring. I’ve tried plenty of tracks on the Kublai Khan that are busier than downtown Tokyo in rush hour, and nothing got close to congesting the stage. “Starlight” by Slash and Myles Kennedy is a mess of high-pitched dissonance and harmonics in the intro, and the KK brings that to life for the listener without scratching the eardrums. It handles Kennedy’s falsetto equally well, not reaching into sibilance or harshness territory, which is easily enough done on this track with the wrong gear.

Listening to some more laid back tracks, “Chi Mai” by Duel sounds emotive, with the twin violins in the foreground sounding rich and vibrant but not too loud or forward on the stage. The swirling keys in the background don’t get overpowered by the strings, and float around the large stage filling in the space around the musicians. If I’m honest, it’s probably the best rendition of this particular track that I’ve heard with the various gear I’ve reviewed. I heard the original Khan at Canjam London a few years back and the treble on that IEM was definitely not to my taste, leaving an impression of being technically capable but too hot and thin for my personal preferences. Fast forward to the new iteration, and Noble have kept the extension and technicalities that the piezo driver is able to produce but toned down the overall volume and “heat” to create something far more balanced and polished, not to mention more tonally accurate.

Cymbals are crisp but not the most splashy, erring more towards real than emphasised. Decay is quick, hi-hats muting quickly into the background rather than echoing. It suits the overall sound choice, but if you like your treble spicier than a Carolina Reaper and splashier than a Spring Break pool party, you’re probably better off looking elsewhere.

Technicalities​

The Kublai Khan casts a wide and deep stage, placing you at the front of the stage area with music spreading out wide outside the ears in both direction and almost surrounding you on some tracks. It shares some of the holographic traits of the MEST Mk2 and the bone conduction models from IMR, with the addition of the BC driver allowing for that little extra splash of “realism” that makes the music feel a little more dimensional in the ear.

Separation and layering is very good, as you would expect from a monitor in this price bracket. The space between the notes is most apparent in the midrange, with the KK doing an excellent job of separating individual singers in gospel chorus-lines but without dissecting them or losing the connection to the music.

Height is also a notable point on the Kublai Khan, the larger than average note size helping in this regard. I have the uncanny feel on “Bad At Love” by Smith and Myers that the percussion playing about two thirds of the way through the track is sitting below and to the right and left of my head rather than on the same plane as the rest of the instruments, which I realise isn’t actually that common in the rest of my IEM collection.

Imaging is definitely top tier, with the almost holographic three dimension feel to the stage and the excellent separation between instrumentation helping to locate each player and musical strand in their precise location on the imaginary soundstage. I’ve been fairly spoiled with IEMs that image consistently well recently given that my last two reviews have been the JH Audio Jolene and the MMR Balmung, but the Kublai Khan definitely keeps up with that rarified company in terms of technical imaging capability.

Comparisons​

I will write a fuller set of comparisons in the follow-up review, but for now, I will say that the Kublai Khan sounds not too dissimilar to the MMR Balmung in terms of the natural balance they are aiming for. The Balmung is warmer and slightly more emphasised in the mid-bass, with a less prominent treble in terms of both sheer quantity and stage position. The Balmung matches the KK for detail retrieval, but opts for a more musical and far more coloured tuning compared to the more comparative neutrality of the Noble model, so it isn’t always as obvious on first listen. Build and aesthetics is fairly well matched, with the Balmung just edging ahead with its intricate design but losing out to the less flashy but more ergonomic and nicer feeling cable. Accessories are fairly even, except for the frankly bonkers Noble hard case. Overall, if you want warm and analogue sounding without sacrificing detail, the Balmung is my suggestion. If you prefer a more balanced but still musical tuning with a greater feel of air and separation and a more physical bass, the Kublai Khan should be your choice.

Comparing to the JH Audio Jolene, the Kublai Khan is more balanced and somewhat thicker in tone, carrying a little more warmth through the mids and slightly more space between instruments. in contrast, the Jolene has a more analogue sheen to the midrange presentation, in comparison to the rawer and more emotive Noble. Treble feels more airy and extended on the Jolene, but thinner and a little more brittle in direct comparison. Detail levels are again similar, with both monitors sitting the highly resolving category. The Jolene has the upper hand in sub-bass quantity, but the bone conduction driver almost evens the score in terms of physical impact or slam. Stage size is large on both, and other technicalities are also similarly matched. This will come down to preference – the Jolene is a current favourite of mine, but the Kublai Khan just edges it for me in terms of having a slightly more engaging and musical slant to the tuning and that addictive bone conduction realism that’s difficult to find with other IEMs.

Final thoughts​

The Kublai Khan has been a very surprising in-ear monitor for me. I’ve tried a few Noble models over the years, and while some of the lower-end models like the Savant and Sage have sounded OK, I’ll be honest and admit I haven’t really clicked with any of their other offerings, especially the original Khan, which sounded too bright and thin for my personal taste. I’m not sure what I was expecting from the Kublai version, but what I got was something that is beautifully balanced, tonally accurate and pretty musical without leaning into colour. It makes almost everything I’ve listened to sound good, and carries plenty of technical capability to put in the top tier of the current IEM market.

It won’t quite scratch the itch if you are a degenerate basshead, and if you are looking for screaming treble heat and piercing high notes then there are other IEMs that will fit that bill better. Technically it’s excellent but doesn’t have one particular “stand-out” feature in terms of raw resolution or other tuning trickery, preferring to go with an all-court game that is at a high level across the board. The result is an extremely well tuned flagship-grade IEM that will suck you into the music and let you enjoy your record collection, and one I’m definitely looking forward to listening to more over the coming weeks

Website: https://wavaya.com

Price: $690 / 690 Euros (starting prices)



Introduction
Wavaya are a recent entrant into the In Ear Monitor marketplace, launching recently with an initial in-ear product range of six models, ranging from an entry level triple balanced armature design all the way up to an eight driver BA and electrostatic hybrid.

The company employ eight people in their base in a renovated villa in Nicosia (Cyprus), and do all the design and manufacture in house. They caught my attention a little while back, a combination of unusual technology behind the sound design and a unique shell design piquing my interest in the brand and prompting me to get in touch with their enthusiastic CEO Pasquale to find out a bit more.



Acknowledgement
The Quadra were very kindly provided by Wavaya free of charge for the purposes of this review. The opinions expressed here are (as always) 100% my own, and no financial incentive was sought or received for writing this. As they are custom moulded in-ears, I am under no obligation to return them. I would like to thank Pasquale and the team at Wavaya for the opportunity to hear these unique IEMs.

This review has also been posted on my blog, so am posting here fit the good people of Head-Fi as well. With regards to me and my preferences, I have been writing about audio gear as a hobby for the last few years, been a card carrying audiophile for a few years before that and been an audio and music fan pretty much all of my life. My ideal musical preferences lean towards a warmish and slightly musical signature, with a decent (but not basshead) level of low end and a smooth but detailed midrange and treble. I listen mainly to FLAC (either CD quality or high Res) and any streaming is done via Tidal.



Unboxing
The Wavaya arrived by DHL courier in a heavily padded bag. Breaking into the goodies, it revealed a medium sized cardboard red and white box, adorned with the Wavaya corporate logo and “The Audio Factory” emblazoned on the side. Apart from that, the box is closed with a silver “guarantee seal’ sticker, again in the Wavaya logo. Opening the box, the only other writing you see is a nice “handcrafted especially for you” message under the flap. It’s a simple but fun presentation, and while it won’t be the most elaborate unboxing experience you will ever see, still manages to look classy.

Popping open the box and removing a covering layer of packing foam reveals some printed care instructions for the porcelain IEM shells on a small piece of card (actually pretty useful, as most people won’t have owned a set of porcelain earphones before). Underneath that is a polystyrene layer with various cutouts for the rest of the contents. There are an interesting series of accessories, with various Wavaya branded pins, badges and stickers (four in total), a Wavaya business card made out of metal and another business card emblazoned with the slogan “Quality Comes First”. This card serves a practical purpose, serving as the confirmation of QC, with a picture of Wavaya’s Head of Production on the back, along with confirmation of what was checked and his direct contact details if any issues are experienced. This is hand signed, and gives a nice personal touch.

Another interesting addition is a small plastic case full of metal cleaning tools. Initially I thought they were for the IEM, but after checking with Wavaya, they are actually for cleaning your ears, which is novel. I will admit I haven’t tried them yet, but it is certainly a new accessory set in the CIEM world as far as I’m aware. They look like a cross between a small set of nailfiles and some miniature kitchen whisks, but presume they will come in useful if I ever need to give my earholes a proper deep clean.

In the centre of the box is another cardboard box with the Wavaya logo. This contains the IEM case and IEMs themselves, along with the warranty instructions and a bit of back story about the brand itself. The IEM case is a two-part rectangular Italian leather carrying case, where the IEMs are neatly packed inside. The case is a seamless cured leather construction, with an embossed Wavaya logo on one side and the model name and logo printed in white on the other. The case is personalised with the name of the owner and the month of manufacture, giving another small personal touch to proceedings. Opening the case reveals the IEMs and cable, separated by a leather cable winder which helps keep the two earpieces secure when packed away, and houses another standard IEM wax-picking tool.

All in all, for a custom IEM, this is a pretty comprehensive load out, with the case feeling particularly high quality. It also serves a more practical purpose, with the hygroscopic properties of leather serving to naturally absorb moisture from the CIEMs when stored after use. For the price of the Quadra, the package feels well thought out and carries that all important attention to detail that is key for a feel-good customer experience.



Build and design
Wavaya currently only manufacture custom in-ears, so all models are custom moulded for the ears of the individual users. They are fairly unusual in that they are the only manufacturer currently using porcelain for the IEM shells. They claim this has various benefits in terms of comfort and fit, with the porcelain quickly adapting to the temperature of the ear and being naturally hypo-allergenic.

In terms of build, the CIEM moulds are 3D printed and then filled with a special porcelain / photopolymer mix. The shells then go through multiple curing, firing and glazing processes to get to the final product – Wavaya actually print two of each shell piece during initial manufacture, keeping the best pieces to assemble the final earphone. The shells are made in two pieces, with a clear seam between them. There is also no faceplate to speak of, the buyer being given a choice between a metal Wavaya logo or various Swarovski Crystal designs (if you go to their signature range). I have read that Wavaya will also produce IEMs without any logo or decoration on request, but haven’t confirmed that with the manufacturer.

The fit between the two pieces is good, the two shell segments sitting flush against each other without any obvious gaps or imperfections. There is an obvious “join line”, but this is as you would expect from a piece of porcelain, and gives the IEM a strangely organic look. The finish is very smooth throughout, the whole IEM feeling silky to the touch and absent any sharp edges or rough surfaces. There is a shine that comes off the shells due to the glazing that catches the light, giving the IEMs a polished appearance. I opted for a light blue shell with additional mica being added to the porcelain mix to provide a really subtle glittery speckling throughout the casing. Being a porcelain construction, there are no air bubbles or other imperfections visible on the shells. I’m not sure whether this is due to the different method of construction or the execution by the team over in Cyprus, but either way, it looks good. Overall, the appearance of the Wavaya is textured and unique, giving the impression of an object more like a small piece of jewellery or ornament than an audio item.

The logo is made out of solid metal and is fixed to a raised “plinth” on the shell to give a 3D effect. This gives quite a bold impression on the outer shell, which people will either love or hate – personally I like the silver logo, and think it adds another unusual element to an already unusual design, but I imagine this won’t appeal to everyone. The design process makes fitting more traditional faceplates somewhat difficult, but fans of serious bling will be able to satisfy their leanings with some Swarovski crystal designs that can be fitted instead, so between the two options most clients should be happy.



Fit
The fit of the IEM is impeccable. I went for a closed jaw impression, and both the comfort and the seal is spot on, comfortably the best I have had out of the four CIEMs I have owned so far. They lock tightly into the ear, and maintain a working seal when walking around and a decent (if not total) seal when I am eating, so are ideal for me for long term daily use. The manufacturer makes some bold claims on their website about the comfort of the porcelain shells, and whether or not the science behind some of it makes sense, in the main I am happy to confirm they are right. The porcelain quickly gets up to the same temperature as the skin in your ear, and can sit in the ears for hours with no sense of itching or irritability. It seems to disappear in the ear once fully warmed up, whereas my more traditional acrylic CIEMs are always “present” in my ears, leaving me aware I have something blocking my ear canals.

The longest listening session I have managed so far with the Quadra is four hours without a break, but I could easily have listened for longer, so I am happy to confirm that wearing comfort isn’t an issue. I also notice that my ears seem to produce less wax during and after use of the Wavaya compared to my other CIEMs – I did recently have my ears micro-suctioned, so please don’t take this as gospel, but they definitely do seem to be an easy to wear IEM.

It is also worth noting that Wavaya scan the moulds that are sent across in the standard STL format as part of the manufacturing process, and were happy to provide me with a copy to use for other CIEMs in future. They should also be able to accept impressions in STL format, making things a bit easier if you already have a set of impressions on file somewhere.



Initial impressions on sound
The Quadra are marketed on the Wavaya website as “a powerful CIEM, suitable for bassists and drummers, and in general rock and pop musicians”. They also state that they are less suited for classical or soft music. Reading that, I was expecting something thick and bassy, with a classic V shaped tuning. While they certainly aren’t bass shy (especially for an all-BA model), I actually think the sound is a lot more balanced than the initial description implies.

There is a definite presence in the lower end, with a solid midbass quantity and decent extension into the lower sub bass registers. It also has a decent sense of punch for an all-armature setup, not quite moving a much air as a dynamic driver due to the physics involved, but still generating a tidy snap to snare drum hits and other percussion sounds. The emphasis lessens slightly the further down the Hz you go, but this feels like more of a gradual slope rather than a more typical mid bass “thumb”.

Moving up to the midrange, this is presented in quite an intimate and forward manner, with the vocals pushing forward towards the listener and the rest of the instruments spreading out laterally across the stage. There are still occasional hints that the bass and treble are slightly more prominent on some tracks, but to me this feels like more of an XXx shaped tuning with the vocal push. It evokes memories of one of my first audiophile pieces of gear, the Aurisonics ASG-1Plus – that was another stage tuned monitor, and one of my all time favourites.

Vocals are refined and velvety, with a slightly larger than average size due to the perceived proximity to the listener. There is good clarity in the delivery, with the Quadra catching subtle details in vocal phrasing and providing a nicely defined bite to some tracks without coming across as harsh or peaky.

Guitar and other electric instruments carry a moderate sense of weight, warmed and beefed up slightly by the bass underneath. Cutting rock riffs fizz with energy, and keep enough of an edge to avoid getting blurry or smudged, retaining the overall impression of clarity in the most frenetic of tracks. Tonality leans more towards musical than reference, but there is a fairly accurate timbre to instruments like piano and acoustic guitar, the Quadra revealing its roots as a stage monitor with a healthy sense of “realism” in the presentation.

Treble is delicate and surprisingly refined, notes shimmering in a black background at the top end of the stage. In fact, the notes almost feel like they don’t HAVE a backdrop, hanging in a space in the middle of your head and pushing out along the x axis. This is definitely a stage tuning, as despite the excellent extension, there is no hint of fatigue or spikiness in the presentation.

This sticks close to my preferred style of treble tuning, with a sweetness and thickness to the body of the notes, bolstered by a fine layer of crystalline detail on the fringe. Detail in the upper registers is very good for the price, adding small micro details into the blank space around each instrument and granting the Quadra a very expressive character when it comes to capturing the raw emotion in a piece of music.

Overall, while this isn’t a flat or neutral tuning in the traditional sense of the word, I’d definitely say this is a balanced sounding IEM, painting a musical and tonally rich sound for the listener, with plenty of detail to spare.



Bass
Delving into the bass in more detail, “Heaven” from Emile Sande is the first track up on the playlist. This track kicks off with a solid sub bass thrum, which is handled without issue by the dual woofer setup in the Quadra. It isn’t the most definitive sub bass in terms of sheer volume, but there is certainly more than enough quantity to make the most of sub-heavy tracks without sounding light or anaemic. Playing “Why So Serious?” from The Dark Knight soundtrack underlines this capability, handling the subsonic pulses that occur around the 3 minute mark with ease, kicking off some serious subterranean rumble in the inner ear.

Extension is excellent, the bass dropping low before it starts tapering off. Songs like “Get Lucky” by Daft Punk feel suitably bottomless, the bass keeping on digging further into the basement with each line.

Kicking on to another one of my favourite bass testers, “Bad Rain” by Slash is full of gritty detail, the growl of the bass guitar riff that underpins the track sounding menacing and full of texture as the strings reverberate. Again, notes don’t sound overly thick or heavyweight, but do pack a muscular solidity on the outer edges, giving an impression of finely grained sandpaper as each note decays in the ear.

With regards to bass texture, I’d classify the Quadra as on the drier side. Bass guitar still sounds lithe and nimble, but not completely liquid, the clarity and detailing around the outside of the notes stopping the bass from sounding fully smooth in the ear. “Hello, It’s Me” by Sister Hazel is a good example, with the chocolatey thickness of the opening bassline coming through with plenty of detail, slinking around the lower end of the soundscape but stopping short of fully coating everything in its unctuous goodness. The bass has slightly too much speed and texture to be considered liquid, the notes decaying a little too quickly to fully melt into the background after the initial impact.

Both the Slash and Sister Hazel tracks illustrate another aspect of the Quadra performance, highlighting the impressive snap in the drums. As an all-BA setup, the laws of physics dictate that this IEM is never going to move as much air into the ear as a dynamic driver equipped model, but the Quadra never feels lacking in terms of physical impact, which is quite impressive. Snare drums hit quickly in the eardrum, and land with genuine punch, and bass drums have a firm thud that is heard, but not quite felt. Again, the speed and agility of the drivers helps here, with the Quadra exhibiting bags of control in the lower ranges. Feeding “Coming Home” by the prog rock supergroup Sons Of Apollo through the Quadra, the multiple drum fills from Mike Portnoy roll across the back of the soundstage like well-defined thunder, each kick drum or tom tom hit landing cleanly in the ear and leaving the listener able to follow the machine gun rhythm of the track without smearing the notes together.

Picking another Portnoy-backed track (“Elevate” by The Winery Dogs), the Quadra makes short work of the complex drum fills, matching them with Billy Sheehan’s complementary quickfire bass without muddying either instrument. Further into the track, Sheehan and Kotzen engage in some bass / guitar duelling, each instrument mirroring the other in a flurry of notes. One less resolving IEMs this can tend to blend together into a mushy amalgamation of the two guitar lines, but again the Quadra keeps both distinct and easily traceable in the ear. It doesn’t paint a huge amount of physical space between either instrument, but I think this is as much to do with the way the track was originally recorded as the IEM itself.

In the main, this is a tastefully done bass for people who aren’t afraid of a little low end, but are a little reticent of joining the full blown bass head crowd. The blend of texture, speed and a north of neutral quantity that gives just the right amount of “thickness” to get your toes tapping gives the Quadra a very good foundation to build on. This isn’t a flat or neutral presentation, but the Quadra is definitely all the better for that. It adds warmth to acoustic genres, a little hum and rumble to electronica and a decent amount of grunt to rockier tracks, giving the Wavaya model a nice all-round appeal.



Mids
Sliding up the frequency range, the bass to mid transition is handled extremely well, without any bleed across the frequencies and plenty of space for both to express themselves. The stage position of the midrange is fairly forward, the Quadra putting you close to the front row of the auditorium with the performers rather than further been in the crowd. There is an element of sculpting to my ears around the vocal ranges, making them feel slightly more prominent than the surrounding guitars or other instruments, but it is quite subtly done.

Tonality is slightly sweet, with acoustic guitars sounding particularly good. There is just a hint of warmth to proceedings, giving the Quadra an organic and natural sound. These aren’t stuffy or cloying, however, with the complex crossover network giving plenty of space and clarity in-between the instruments, despite the warmth.

Starting with some acoustic fare, “Live At Carnegie Hall” by Joe Bonamassa sounds superb, the chiming of Joe’s guitar playing off against the string accompaniment to give a rich and vibrant “live” feel to the tracks. “Nobody ‘Cept You” by Jack Savoretti is a simple acoustic guitar driven cover of a Bob Dylan track, placing Savoretti’s guitar and gravelly vocal front and centre. The Quadra bring the singer front and centre in the stage, with the guitar reverberating and echoing out into the surrounding space, giving a clean backing to Savoretti’s honeyed rasp. The instrumentation feels very solid and real in the ear here, giving a solid mental picture to the listener of the actual instrument being played.

Taking a more electric vibe, I go searching for midrange harshness with “Starlight” by Slash. The mid tempo rocker starts with some deliberately dissonant lead guitar work, which the Wavaya IEM manages to portray with just enough bite to sound alive, but not jagged or unpleasant. The subtle vibrato of the guitarist’s fingers on the neck of the guitar as the notes fade out at the 34 second mark is cleanly heard in the ear, along with the subtle recording sounds a few seconds later. All of this is delivered without a hint of unpleasantness, the Quadra making the guitar positively sing. This is definitely an IEM that is tuned to appreciate (and complement) distorted rock guitar.

“World On Fire” by the same artist is a good tester for speed and congestion through the midrange, and the Quadra come out very well here too. The track contains a quick fire riff that can lose definition on a less resolving monitor as the thickness of the guitar blends the notes together. The Quadra still presents the chugging riff with plenty of meat, but keeps enough edge between each note to keep them separate as they roar on throughout the track. To be clear, this isn’t the most clinical or separating IEM I have in my collection in absolute terms (I own a Zeus-XR, so there isn’t much in the IEM world that does compete there), but there is plenty of speed and technical capability baked in to the porcelain shells here.

Switching to my sibilance testers, “Whiskey And You” by Chris Stapleton is a usual favourite to check the sharpness of male vocals. The track is a simple acoustic ballad, with just Stapleton’s powerful voice and an acoustic guitar carrying the entire tune. It sounds rich and full on the Quadra, the singer’s distinctive rasp coming through loud and throaty. There are sections of the track around the 1:50 and 3:07 marks that can be harsh on some IEMs with mid-range tuning peaks, Stapleton making a sound like a mountain being sandpapered as he belts out the chorus. The Quadra isn’t the smoothest ride I’ve ever heard here, but still manages to keep the tune enjoyable rather than unpleasantly grating. It actually stays pretty true to the original mastering (which must have been done in a bucket of gravel), keeping the raw edge of the vocal without over-emphasising the ragged delivery. This IEM actually gives one of my favourite renditions of this track for my personal preferences, the substance and texture to both the guitar and vocal thickening out the ballad into something emotive and personal.

Vocals in general sound strong on the Quadra, the quad-BA setup not playing any favourites between male and female vocals, presenting both with a slight sweetness and a full, rich tone that packs in plenty of emotion. Listening to something like “Waiting On The World To Change” by Keb’Mo and Taj Mahal, you get the ultra-smoothness of Keb’Mo paired with the Cab Calloway roughness of Mr Mahal, both voices carrying equal emphasis and both absolutely dripping with expression. Vocal nuance and formative breath sounds come through clearly in the mix, giving the Quadra a very expressive tone with “breathier” artists. Paired with the slightly forward stage position and intimate presentation, the Quadra has an approach that is almost reminiscent of the older Final Audio models, but not quite as specialist. It is rare for an IEM to be able to capture a lot of the detail in a performance and also get a similar dose of the anima or emotion behind it, but the Quadra does this well. Very well, in fact.

Tonality of other midrange instruments like piano and brass is similarly warm, not feeling overly coloured and carrying a fairly correct timbre and sense of reality. I think this forms part of the emotional engagement that the Quadra are very good at, with instruments sounding like they should, allowing the brain to just concentrate on the music being played rather than the colouration the IEMs are giving their favourite piano or saxophone. Again, these are more musical than analytical, so they aren’t 100% accurate or transparent, but they do a pretty good job of presenting a musical landscape that is recongnisable in tone but still enjoyable at the same time.

The midrange is where a lot of the magic happens in the styles of music I listen to, and the Quadra capture that magic perfectly for me. They have the right combination of technical capability and emotional heft to really involve the listener in the music they are listening to, and for me are the highlight of this IEM.



Treble
The Quadra user two tweeters for the high range, paired separately with two bass/midrange woofers using a complex crossover and band passing system to effective create two overlapping “pairs” of drivers covering the full frequency range. The Wavaya website points to the Quadra being balanced up to 10kHz, and despite the gentle downwards slope from the midrange into the treble, there is still ample extension for most genres of music. Highs sound clean and solid, and while they aren’t quite as emphasised as the frequencies underneath, they provide a good layer of delicacy and some headroom to the sound.

Hi-hat and cymbals sound crisp but not overly splashy, decaying relatively quickly once hit. They just shy away from sounding subdued, but definitely aren’t overly tizzy or emphasised. Listening to “Go” by The Chemical Brothers, the driving ‘tssk’ sound of the hi-hats that usually sits on top of the rhythm feels a little muted, although still clearly detailed. Fall Out Boy’s cover of “Beat It” renders better with these IEMs, the cymbal work again fading quickly but sounding sharper and snappier, carrying plenty of crisp detail in each strike.

The Quadra deal quite comfortably with the higher stringed instruments and more synthetic fare as well. The layered high violins and swirly synth noises that make up the track “Chi Mai” by the classical fusion duo Duel sound clean and pure, with the violin coming through with some of the midrange sweetness. The synthesiser sounds more delicate and almost gossamer-like in the ear, keeping the edges of notes clean and crisp and but filling them with air like a musical version of a meringue, so they seem to almost float around the top end of the sound.

Wavaya use tubeless outputs in all their models, and the Quadra bear some of the classic hallmark of that sort of setup, pushing a decent amount of air and space into the upper portion of the soundscape despite the relative lack of overall decibels. There is depth and substance to the treble, but not at the expense of making the sound feel closed in, the Quadra doing a good job of presenting a top end that feels open. Granted, it’s more the sort of open feel you get to the sound when a band are playing in a festival, with the notes radiating outwards and dying off as they fade into the distance rather than bouncing off the walls of the venue and back into your ears, but it still gives a pleasantly airy feel to the upper part of the sound.

As a result, harshness isn’t an issue with these IEMs. I can quite comfortably play “Starlight” by Slash and Myles Kennedy without wincing at the dissonant harmonics in the guitar intro, and it handles other similarly piercing tracks like “My Kind Of Love” by Emile Sande with just enough roundness to the notes to avoid lacerating the eardrum. There is still a punchy sense of edge to hotly mastered recordings, so the Quadra doesn’t attain its easy going nature through overly smoothing its response, but it is able to stay inside the lines of listenability on pretty much anything I have thrown at it so far. The stage pedigree of this model come in useful here, the Quadra packing plenty of detail and crispness but still managing to remain non-fatiguing with the ugliest of source material

“Go” by The Chemical Brothers is one of my last staple treble test tracks (try saying that after a few frosty beverages), kicking off with some crisp hi-hats providing the rhythmic counterpoint to the pumping bassline. Again, the Quadra is restrained here, with a quick and almost deadened decay. The cymbals still feel present and carry weight, pushing the song along nicely. The other thing I look for here is the airy synth notes that start peppering the sonic landscape at around the 1:17 mark. The Quadra deals with these well, sweeping across the back of the stage and cutting cleanly through the bass lines underneath. As stated previously, this isn’t treble that will cut glass, but it definitely holds its own against the chunkier sounds in the lower ranges, leaving the listener with a well extended and solidly detailed upper end.



Soundstage, separation and imaging
The Quadra throws out a soundstage that is fairly average in width, sounding more oval than spherical to me, with a modest amount of depth on the z-axis to sounds. You don’t get a huge impression of how close or far away from you the sounds are, more of an idea how far to the left or right they are. Height is quite good. There is a decent but not mind blowing stage spread from left to right, the Wavaya IEM pushing sounds just a little outside the imaginary confines of the listener’s skull in both directions. This is offset with some excellent separation, aided by the previously referenced clarity levels and the relative blackness or lack of perceived background behind each note. Multiple lines of instrumentation resolve without congestion or smearing, and in some cases even the individual notes in a particularly well recorded guitar chord can be discerned as part of the overall whole.

A simple tester I like to use for this is “Everybody Knows She’s Mine” by Blackberry Smoke. There is an acoustic guitar lick that kicks in 15 or so seconds into the track that sits on top of a much fatter electric riff that drives the song along. The Quadra lay this down clearly in the ear, allowing it just enough room to breathe and resolve in the mind without sinking into the swampy country rock riff underneath. To temper this with a bit of realism, please bear in mind that these are NOT the most detailed or analytical IEMs you will ever hear (and for the price, it would be very surprising if they laid claim to that title), but these IEMs can definitely perform at a high level of technicality in this particular facet.

Layering is similarly good, the Quadra proving adept at keeping multiple strands of musical information neatly organised and sliced into the relevant sections. Again, clarity allows the listener to concentrate on a particular instrument in the mix and pick it out clearly, without blurring or blending into the notes around it.

The only thing stopping this from being a tour de force in this particular section of the review is the imaging. The Quadra has a distinct left / right spread, and while the individual instrument images are presented in the head (or mine, anyway!) as being larger than average, they are not always easy to pin down to a specific location. This is due in part to the more forward and intimate nature of the tuning, with things pushing forward around the listener as opposed to pulling a bit further back and laying themselves out in a more typical stage set up. This certainly isn’t an issue for day to day use or music enjoyment, but for those listeners looking for a more 3D or holographic presentation with a more coherent “image” of the whole stage, I suspect the electrostatic tweeter models a little further up the Wavaya food chain would probably be more capable in that regard.



Synergy and power requirements
The Quadra has a nominal impedance of 60 Ohms, meaning it should be able to take a fair bit of power. It also means it matches well with pretty much everything I’ve paired it with, the higher than typical impedance meaning that hiss is pretty much non existent and the response stays relatively even between all of my current sources. It matches this impedance with a sensitivity of 115dB/mW, meaning they get PLENTY loud enough from sources like my mobile phone without any effort at all.

The IEM feels quite transparent in day to day use, the high clarity levels nd lack of hiss allowing it to take advantage of any additional resolution or technical capability in my higher end DAPs to eke a little more out of the musical background. Conversely, the musical signature plays nicely with low end sources too, remaining even and silky even when played through something like my Pocofone F1, which isn’t burdened with the best of audio outputs (to put it mildly). The Quadra do tighten up a bit when fed properly, so hooking them up to a portable amp like the ALO Continental V5 does help maximise the dynamics in the music, but certainly isn’t essential for day to day use.

Bottom line – if you have a higher end music source or amplifier, the Quadra will make best use of it, but this isn’t an IEM that scales ridiculously with the higher end gear I’ve tried it with so far, so amping or a DAP that cost more than your first proper car isn’t a necessity to enjoy the full potential of these IEMs.

In terms of tonality, I actually prefer a warmer source with these, to bring a little more musicality out of the bass – again, that’s just my particular preference though. This isn’t an IEM that is particularly picky about being matched with a cool or warming player, remaining natural or neutral enough to pair well with both.



Isolation
It should go without saying, but the Quadra isolates well. It isn’t the most isolating CIEM I own, so it isn’t a complete black hole for noise, but it easily blocks out enough background hum to be used on public transport or a long haul flight (and also on a stage which is the primary intended use case). According to Wavaya, the internal filling used is actually quite dense, so while it isn’t quite as much of an earplug as some customs I own, it still blocks more noise than most of my non-custom IEMs. This is easily enough isolation to wipe yourself out on a busy road if you aren’t paying attention, so as always, use with care in environments where being deaf to your surroundings isn’t a good thing.



Comparisons
(Note – for simplicity, all comparisons below were done using the Cayin N5IIs in high gain, volume matched with a MiniDSP E.A.R.S rig)

Dunu DK-4001 ($899) – Hybrid 1xDD 4xBA universal

The DK-4001 is the latest flagship from the Chinese audio brand Dunu, sitting around the the same sort of price bracket as the Quadra after customisation. Unlike the Quadra, it is a universal IEM, and a hybrid (meaning it uses both a dynamic driver and some balanced armatures to produce the overall sound). It is always difficult to compare universal and custom IEMs, but they actually have a surprisingly similar take on sound, so I thought this would be a useful comparison.

Starting with the packaging, the Dunu definitely goes for a more ostentatious style than the Wavaya model, with a box that is about twice the size and covered in classic audiophile style with various pictures and tech specs. It feels almost Apple-esque in its presentation, giving the Dunu a nicely premium feel compared to the more reserved Wavaya package. Accessories are actually fairly similar – disregarding the tips, the Dunu comes with a nice leather carry case, which looks good, but doesn’t quite give the same feel as the unique Wavaya leather box. Other load outs are similar, until you come to the cable. The cable that comes with the DK-4001 is one of a kind, made of high-purity 7N OCC copper and sporting an interchangeable connector which can be fitted with four different connectors, ranging from 2.5mm TRRS all the way up to 4.4mm Pentaconn. My Quadra came with a Linux G2 Bax, which is a superb cable, but the Dunu with its high quality construction and ability to use with pretty much all the DAPs on the market edges it a little here.

Construction wise there isn’t much point comparing the two – the fit is better on the Wavaya (unsurprisingly), with the Dunu sporting a very ergonomic but still universal shell design. Both come out well here.

Moving on to the sound, the Wavaya are slightly easier to drive, needing a few notches less on my N5IIS to get the same sort of volume level as the Dunu. In terms of tone, The Quadra are slightly warmer than the 4001, carrying a little more mid bass presence in the main sound signature. They feel a little more balanced and full than the Dunu, with less of a sub bass kick (only marginally) but more mid bass than the relatively restrained Dunu. Detail and texture is also close – the 4001 is powered in the low end by a giant 13mm dual-sided beryllium DD, and it kicks out plenty of detail in the low end, along with a decent if not earth shattering punch. The Quadra can’t quite match the physical impact (although it isn’t far off), but does a good job keeping pace with the texture and detail here – it is difficult to pull the two apart.

In terms of mids, the Dunu feels a little sharp and vinegary in comparison to the more rich Quadra, giving an edge to the upper mids that can make some male vocals sound a little hard in direct comparison. Listening to someone like Matt Andersen, the Dunu captures the edges of the notes in his vocal delivery, where the Quadra tends to present them with a thicker and more substantial body, and a more organic and forgiving tone. Detail level is comparable on both — the Dunu can be a bit of a detail monster with its upper-mid spike and BA highs, but the Quadra comfortably keeps pace in terms of resolution on my usual test tracks, never leaving me feeling like I was missing any subtle nuances.

Guitars a little spicier and crunchier on the Dunu, but lose a but of weight and physical heft as a trade off. Piano and other mid range instruments sound cleaner but colder on the Dunu, with the Quadra edging it in terms of a more realistic timbre and tonality for my preference here. Tone is probably the biggest differentiator here – the Quadra have the old Final Audio trick of capturing the emotion in the midrange down pretty well, whereas the Dunu IEM is going for much more of a clean and analytical sound. It is down to preference as to which is better – I think the Quadra feels a little less sculpted and more natural, but my preference typically leans away from sharper or more analytical monitors as a rule of thumb.

Treble is again similar on both, with the Dunu carrying less weight up top but a crispier and more sparkling edge. Detail is again very similar, with the Dunu possibly shading it overall, but only by the thinnest of margins. Again, this is more a battle of styles, with both earphones producing treble that is very capable and extended, but in different styles. The Dunu crispness will appeal to treble heads a bit more I imagine, whereas the more organic and thicker feel to the Quadra’s top end will lean more toward fans of a warmer sound.

Separation and layering is close, with the Dunu presenting a slightly less full bodied and sharper sound, which gives notes.a little more room to breathe, but at the expense of some heft. It will depend on preference which sounds best to the listener here, but the Quadra definitely keeps pace with the Dunu flagship. Imaging is average on both IEMs, so again, not much to split them here.

Overall, these two IEMs are different enough to offer different flavours to the listener, but similar enough in terms of technical capability to offer the same sort of quality of sound. If you are more of a treble head who prefers a cooler sound or you are someone for whom the interchangeable cable terminations is a real selling point then the Dunu would be my recommendation, but if you prefer a weightier or more emotional and musical sound which still has plenty of detail, the Quadra are an easy recommend. Both IEMs punch above their price, and I’m personally glad I don’t have to choose myself.



Stealthsonics C9 ($1499) – Hybrid 1xDD 8xBA custom IEM

The flagship IEM of the current Stealthsonics range is probably a little bit of an unfair comparison, coming in at just over double the cost and packing nine drivers compared to the four in the Quadra. I am including it here for two reasons: to show how well the Quadra competes in the next price bracket up, and also because these are the only two customs I currently have that are made from exactly the same set of ear impressions, as the same digital STL files were used as the basis for both monitors.

Starting with packaging and accessories, the C9 come in a carbon fibre effect box about the same size as the Wavaya packaging, with an embossed logo on the front. It is undeniably cool, so sets the tone nicely. The actual load out is fairly similar, with a case, some travel adapters and a small cleaning tool taking up most of the Stealthsonics box. The only other notable accessory is a second IEM cable with a mic. The case is nice (and etched with the owner’s name), but isn’t quite the same quality as the all-leather Wavaya case. There is a lot more room inside the Stealthsonics case to add additional cables or a small DAP, but it lacks the solidity and simple winding mechanism of the Wavaya case, which I feel keeps the IEMs more securely locked in place. The stock cable on the C9 is also a slightly higher quality than a standard Plastics One braided cable, so if you don’t choose to upgrade to the Linum cables then that may be a consideration. Overall, honours fairly even (apart from the case).

In terms of fit, the IEM shells aren’t identical (even though they are both taken from the same STL file). The designers at Wavaya have opted for a slightly longer nozzle, and the Stealthsonics team have a slightly shortened nozzle but a marginally thicker stem. In use, both provide an excellent fit, with the thicker nozzle of the Stealthsonics allowing full seal to be maintained while chewing, where the Wavaya occasionally breaks seal. Both are comfortable to wear for extended periods, but the porcelain shells of the Quadra feel less “obvious” in the ear after a while, seeming to melt away in use in comparison to the very comfy but always “present” feel of wearing the Stealthsonics shells. My ears also seems to produce less wax on the IEM shells using the Quadra.

Sound wise, both present a musical take on balanced – the C9 is designed as a top-tier reference monitor, sporting one 10mm dynamic driver and 8 balanced armatures in a hybrid configuration. It shoots for more of a flat frequency response, but doesn’t lack for musicality due to the punchy 10mm dynamic driver picking up the bass.

In tone, the models are actually fairly similar, with the C9 giving a slightly warmer tone to the music due to the DD underpinning everything. There is more low end on display with the C9, which has a thicker and more present midbass than the relatively cleaner Quadra. Sub bass is also more powerful with the dynamic driver, giving a little more thrum to my usual test tracks from artists like Emile Sande. There is a difference in texture as well – both IEMs produce a beautifully detailed bass, but the C9 is a fraction slower in its decay, letting the bass drum impacts linger a little longer in the ear compared to the snappiness of the all-BA Quadra. The C9 obviously shifts a little more air into the ear with the 10mm driver, so for sheer physicality, the C9 has an advantage here, presenting drums with more physical impact and slam.

Moving up to the midrange, vocals are pushed further forward on the Quadra, which presents a more compact and intimate staging to the listener. Singers are a little less thick, with the trailing edge of notes feeling a little sharper on the ear from the Wavaya model. It balances this out with some cooler air between the instruments, allowing for a little more breathing room and sense of crispness on stringed instrumentation in particular compared to the Stealthsonics flagship. Detail level is similar, with the crisper notes of the Quadra giving a more immediate impression of clarity. The C9 does pack in a LOT of detailing into the main mix, but it resolves in a less immediate way, matching (and occasionally exceeding) the Quadra in raw resolution, but filling the notes out a little more so it doesn’t always scream for attention. The emotional sense of rawness that the Quadra can bring to some vocal deliveries is replaced by a sweeter and more lush tone with the C9.

Treble is nicely extended on both monitors, but the C9 has the nominal edge with a rated extension of 40kHz. This is done so the treble will stay relatively flat past the usual hearing threshold, and it does provide to have a slightly stronger pedigree in the really high reaches of some of my tracks. Both monitors share a similar presentation, going for a thicker and more bodied presentation rather than cut-glass etching, so there is nothing to separate them from a preference point for me there.

The additional extension on the C9 aids its imaging, which is top-tier, and presents a stage that is a little further back from the listener but much easier to locate each individual instrument on in terms of position relative to the listener, giving a more solid stage image than the Quadra. The Wavaya model counters with a slightly cleaner sense of separation, using the slightly larger space between each instrument to keep things more obviously separated and layered. Again, the C9 is a top tier operator here, but the relative warmth of the tuning makes it a little less apparent in direct comparison to the cleaner Quadra presentation.

In terms of driving power, both IEMs require roughly similar amounts of power to drive from the Cayin DAP I am using, so in practical terms don’t have much to split them. They are also both dead silent – Stealthsonics are another IEM firm that have their roots firmly in the stage musician market, and the non-fatiguing and hissless presentations of both is refreshing.

Overall, the C9 is the fuller and more romantic sounding IEM of the two (which surprised me a little), giving a thicker sound and more physical impact. In terms of technicality the Quadra is able to hang with an IEM twice its price, only falling behind in terms of imaging but matching the C9 in terms of resolution. The Quadra is slightly sharper in tone and presentation, giving a more energetic and musical “vibe” to things, in comparison to the slightly more laid back and smooth presentation the C9 puts out. The C9 is a proper flagship-level IEM, and on a purely technical basis it pulls slightly ahead of the Quadra. If you are looking for something to use in the studio or for critical listening without sacrificing bass or a sense of musicality, the C9 will probably be the better choice out of the two. If you are looking for a monitor for stage use or just for extracting maximum emotion and enjoyment from the music you are listening to without sacrificing on technical capability, the more “in your face” style and tuning of the Quadra make this a very compelling offering for the price.



Campfire Audio Polaris II ($499) – Hybrid 1xDD 1xBA universal

This is another slightly unusual comparison, but the Polaris is one of the cheaper models from the current Campfire Audio range, coming in a couple of hundred dollars below the current list price of the Quadra and sporting a similarly musical tuning. The accessory loadout is also reminiscent of the Quadra, so I thought this would be an interesting matchup.

Starting with packaging, the 2019 edition of the Polaris comes with the beautiful presentation that Campfire Audio is known for, presenting in a small square box wrapped in starry craft paper. The unboxing is undeniably premium, giving the impression of a high end or boutique item. Once you are in to the main product, the accessories are similar in thoroughness to the Wavaya pack – apart form the variety of tips (required for a universal monitor), both IEMs sport a high quality handmade leather case, and both IEMs also provide a few nice extras like badges and lapel pins to go along with a top notch cable.

As far as the case goes, the Wavaya case edges it for me due to its more unique look and extra rigidity, but the new CA cases are undeniably attractive and of a similar quality. The Quadra case scores points due to the unique way you store the IEMs to avoid them knocking together in transit – this is countered by the Campfire team with their inclusion of some small dual compartment fabric bags that the IEM shells are placed into when stored, avoiding any unnecessary scrapes or dings when moving them around. Two very different approaches, but both very appealing and unique to the firm in question.

Build quality is high on both, but not much point comparing directly as the Quadra is a CIEM.

In terms of driveability, the Quadra requires more power to reach the same volume levels as the Polaris, so is slightly less easy to drive on weaker sources. Both IEMs trade on a musical style of tuning, but the Polaris is definitely the bassier of the two by quite a significant margin, being a another hybrid design with the bass being taken care of by a large 10mm dynamic driver. The Polaris tends towards more of a shallow V or W shaped tuning, emphasising bass and treble but without a particularly recessed midrange. In terms of detailing, the Polaris actually holds up pretty well for a bass-heavy IEM in this price bracket, giving decent if not mind blowing clarity. The Quadra feels a little further ahead in terms of overall resolution and transparency, with more fine detail nestling in the space between instruments than the fuller and smoother feeling Polaris 2.

Starting with the bass, the Polaris has a huge subwoofer style tuning that really comes to the fore with bass heavy electronic genres or heavy rock tunes. The control and detail is good for a dynamic driver thanks to Campfire Audio’s “polarity chamber” tuning tech, which stops the bass from getting overly boomy or overbearing despite the quantity. In terms of texture and speed, the Quadra just shades it, providing a cleaner and quicker snap. The Polaris provides a much heavier physical slam factor, and a heavier sub bass emphasis. If you like your bass thick and meaty, the Polaris has the advantage here – if you are a fan of a leaner or tauter low end tuning, you will probably lean towards to the more tradition “BA bass” of the Quadra.

Moving up to the mids, the Quadra again pulls slightly ahead in terms of detail and clarity, presenting a slightly cleaner and cooler sound than the more lush Polaris. The heavier bass underneath provides a much warmer tone to the mid range on the Polaris, giving it a meatier and slightly smoother overall feel. It still manages to cut through the layers of midbass underneath quite successfully, giving a decent rendition of the smaller microdetails on the track, but just losing out in the final pieces of resolution in comparison. Guitars sound thick and chugging on the Polaris, not carrying quite as much bite as the Quadra but trading it for a more emphatic physical presence when the chords land.

The Polaris certainly aren’t a veiled IEM, but the Quadra just feel a shade cooler and cleaner throughout the midrange. This is captured most easily in the vocal presentation, with the Polaris choosing to emphasise the tichness and timbre of a singers voice, with the Quadra bringing a little more edge and rawness to the surface, resulting in a more emotional feel to the presentation. Again it is a battle of preferences here – I feel the Quadra has the slight technical advantage in this frequency range, but if you prefer a warmer and more velvety presentation you may disagree.

Treble on both IEMs is strong in terms of extension, but the Polaris has a little more sparkle and brilliance cutting through the heavy bass in comparison to the more delicate and grounded Quadra. The Polaris leverages some of the Campfire TAEC tuning tech here to get decent expansion in the treble region, and feels a little crisper in the really high regions. Again, neither monitor will win any “screaming hot treble” awards, but both have a technically proficient and nicely matched tuning.

Separation is slightly more noticeable on the Quadra, although the Polaris is again surprisingly proficient in this area, only suffering in direct comparison due to the additional thickness of the notes. Both IEMs are clearly able to resolve the slight background noises in the opening bars of the Escala track “Palladio” without any issue, and tracking multiple guitar lines or complex drum and bass passages on either monitor is fairly straightforward. Layering is again similar, with the Polaris providing a slightly better feel for the imaging of a particular track, fixing the instruments slightly more clearly into a coherent 3D space in my mind compared to the Wavaya model.

Overall, both monitors will appeal to different audiences, but have enough similarities to make this comparison worthwhile. If you are a fan of thunderous bass paired with a midrange and treble that isn’t hugely V-shaped but has enough edge to cut through the sound, the Polaris is a good choice in the sub-$500 bracket. If you can live with less bass and a slightly hazier sense of imaging, the Quadra pushes ahead further technically, producing a sound that is equally as engaging but just a splash more crisp and resolving overall, with a greater sense of emotion.



Overall thoughts
One of the best things about getting to hear and review new audio gear is the feeling when something that wasn’t on your radar comes up and gives you a proper smack around the ears. The Quadra have definitely done that for me. These IEMs have a sense of musicality that really draws the listener into the music, and back it up with plenty of technical ability and some pretty unusual technology and design. The porcelain shells feel great in the ear, and while I haven’t had them long enough to rubber-stamp the durability, they certainly don’t feel fragile or overly delicate. The tubeless design in the shell gives the treble an open feel, and the build and fit is equally impressive. Throw in a unique and actually pretty practical IEM case, a double crossover setup and a boat load of accessories, and the Quadra definitely punches above its price bracket for sheer value for money in the current CIEM market.

As far as sonic quality goes, I think Wavaya have really nailed it here, with a tuning that is musical but still keeps a tight grip on the detail and technicality. This is a sound that really works for my preferences, leaving me listening to whole albums from start to end and forgetting what I was supposed to be doing (usually writing this review!). Sometimes in this hobby you end up listening to the gear more than you listen to the music, so I’m always happy when I get to listen to something that reminds me exactly how good music can sound when you just relax and drift into it.

As always, to balance the above out with a dose of reality, there are some things the Quadra don’t do perfectly. The imaging is a little fuzzy compared to the other technical aspects, and there’s stage could be a little deeper on some tracks. These feel very much like nitpicking though, as the overall impression the Quadra leave me with is one of sheer musical enjoyment, and one I don’t have to sacrifice the detail or resolution in some of my favourite tracks to enjoy. Factor in the price (around 690 Euros at time of writing) for a custom moulded porcelain IEM packing a real leather case and four balanced armatures and I’m happy to say the Quadra lays down an impressive marker for what can be achieved in the sub-$1000 price bracket, and definitely an IEM I would be happy to recommend to almost anyone.

Acknowledgement

The Solaris were very kindly provided by Ken Ball at Campfire Audio for the purposes of writing a full review. I paid nothing for these, and there is no obligation to or input from Campfire Audio with regards to the content of the review. All that was (politely) asked for was a few brief impressions to be posted as soon as possible (which were outlined in a previous post on my blog) and a more thorough review once I’d got to grips with the sound. The full review was posted a while back on the Audio Primate blog, so I am now posting here for the good people of Head-Fi. Hope you enjoy as much as I enjoyed the IEMs! (Warning - this is my longest review yet, but something this good deserves this many words).

About me / personal preferences
I am a long time listener and audio fan, and fell into the world of audiophilia about four or five years ago with my first set of "high end" in ear monitors (the Flare Audio R2A) and never looked back. I started writing reviews as a hobby about a year after that, and have been lucky enough to hear some ridiculously good IEMs and headphones over the last few years as a result. My personal preference for sound leans more towards warm and musical than bright or analytic, although I do crave detail. I like a low end with a bit of substance to it, but I'm not a dyed-in-the-wool basshead (or at least I won't admit to it!). I prefer my mids forward and emotional rather than laid back and distant, and my preferred treble is clean and clear rather than crystalline and screaming. I listen mainly to rock and acoustic styles of music, with a splash of electronica and some classical fusion and orchestral soundtracks thrown in. Oh, and I'm a really average drummer.

Ratings



Introduction, build and ergonomics
Campfire Audio are a company who need pretty much no introduction these days, if you are a follower of the IEM (in ear monitor) scene on sites like Head-Fi or the other audio forums out there. They have been making waves for the last three or so years with a series of IEMs that are almost universally well-received, building a reputation as a manufacturer with a strong emphasis on musicality and value for money (if such a thing exists in the world of $1000 headphones!).

The Solaris is the latest evolution of the Campfire Audio line, a four-driver hybrid that brings together all of their current design and tuning knowhow into their defacto flagship model, sitting on top of their universal range at $1499. This brings together their ADLC dynamic driver found in their DD flagship the Atlas, the Polarity DD tuning chamber technology designed for their Polaris and Atlas models and the now-ubiquitous TAEC (Tuned Acoustic Expansion Chamber) technology used in the higher end BA models. This is all married together with a single custom designed crossover, with the DD firing across the full range, one back-vented balanced armature to pick up the midrange and a pair of TAEC BAs taking care of the treble.

All of this is packed into a shell which adopts a more “pseudo-custom” shape than previous models, swapping the more angular edges of the Andromeda and Atlas for a smoother and more textured curve, leading down to an angular nozzle with a steel “grating” to keep out dirt and debris. It is still unmistakably Campfire, sharing an identical nozzle design with the front assembly of the Atlas. The metalwork on the case is highly detailed, with multiple ridges on the inner surface giving a nice visual sense of texture. It contrasts well with the PVD-deposited (makes a really durable finish) 24k gold plating on the outer surface of the shell, making this a visually striking IEM. The two tone colour scheme works nicely here, looking a little more classy than the blue and black of the Polaris (another hybrid model in the CA range). It is a unique design, and one that won’t be easily mistaken for any other IEM currently on the market, so kudos to Ken and team for coming out with another striking industrial design piece here.

Size wise, this is on the slightly large side, but sits well in the ear and doesn’t feel overly heavy. The ergonomics are actually surprisingly good, considering the size of the shell. The Solaris do stick out a little from my ears, but not nearly as badly as something like the JH Audio Angie (v1), which used to protrude at least a few cm out from each ear-hole when wearing. With foam tips or the correct silicone tip styles (Final E work well for me, as do Spiral Dots), the Solaris sit firmly in the ear, with a stable and comfortable positioning. These aren’t the sort of IEMs that lock in place so tightly you will be running marathons in them, but then again, who does that with $1499 worth of audio gear in their ears?

I’m not a huge fan of the memory wire implementation on the CA cables, but when worn without custom tips, I find the memory wire very useful for additional security, so if you are a fervent hater of all things memory-related when it comes to cables, this may inform your tip choices when wearing the Solaris.

Once correctly seated, the shell feels smooth and light in the ear, allowing for some seriously long listening sessions without generating any hot spots or discomfort in the outer ear. For reference, my ear cavities are only marginally smaller than some of the craters the Mars Rover is currently driving through, so please bear that in mind. Given the smooth lines on the inner face, I can’t see this causing an issue with smaller eared users in terms of comfort. There is no getting away from the fact that the Solaris are a big-shelled in ear monitor, so CA’s latest hybrid may stick out a fair bit further than your other gear if your lugholes are on the more petite side. As with all high end gear in this sort of bracket, it’s always best to try and audition before you buy.

One final note on ergonomics and build should go to the new SuperLitz cable included with this model. It sports the twisted braid of the recent Atlas Silver cabling, but is made of a thicker gauge wiring with multiple different strand sizes internally. This makes it a thicker and more substantial cable than the previous Litz cables on the Andro / Atlas etc, with a heftier feel in the hand. The twisted braiding mean it is still supremely flexible, and has practically no memory after being coiled. The additional weight actually helps the cable sit nicely flat when worn, adding to the premium feel of the whole package. The cable is also very quiet (mainly due to the memory wire), so is a quality addition overall. I was lucky enough to get sent a 4.4mm terminated cable as well as the “stock” 3.5mm termination, so have settled on the 4.4mm for daily use with my gear, using a pigtail adapter to hook it up to my other balanced or single ended sources as needed. With most high-end IEMs there is a tendency for buyers to investigate cable rolling once they have got used to the sound, but having rolled a few of my available cables through the Solaris, I keep coming back to the original SuperLitz as by far the best “fit” both in terms of ergonomics and general SQ, so a cable upgrade is certainly not a requirement for most users here if sonics are your main consideration. Cables are a fairly contentious issue for most anyway, so it is nice to see ALO/Campfire providing something that is already firmly in the “after-market” category in both looks and build as standard.



Unboxing
The Solaris comes in a larger art-card box than the usual Campfire models, keeping the same sort of height but now fully square to accommodate the larger “deluxe” carrying case. Opening the box reveals the now-synonymous Campfire Audio fur-lined leather case, which is upholstered in a brown leather (or leatherette) material, and is approximately twice the size of the previous cases. This moves it from being pocketable in a jeans pocket to more of a jacket-pocket carry if you are intending to take the Solaris out and about, but makes sense to accommodate the larger physical dimensions of the IEM and the thicker SuperLitz cable.

The rest of the loadout is pretty standard Campfire Audio fare, with Final E-type tips, campfire silicon and foam tips, a small CA pin and IEM cleaning brush and an ALO Cable. The cable is a new SuperLitz design, with differing strand sizes and a silver-plated copper composition. The only other unusual addition is a nice Campfire branded drawstring bag with two sections, designed to hold the IEM shells when you are transporting them in order to avoid the metal colliding when in transit. It is a definite improvement on the previous red velvet bags, as the cabling on my Vega actually ended up with some staining from the dye of the bags, so another nice evolution.

Specs

Initial impressions on sound
So, what was my initial impression of these babies straight out of the box? Pretty damn good, is the answer. They undeniably sound like a Campfire Audio product, sharing the musical DNA of the TOTL models that have preceded them, but not sounding exactly like any of them. On first listen, I was actually expecting to hear something like the Atlas with an airier top end, but was actually struck by the richness of the sound rather than a sense of sparkle. The Solaris are described on the Campfire site as thinning the walls between high-end two channel hi-fi and personal audio, and the Solaris packs a tonality and fullness to the sound that supports that assessment.

Before any 2-channel enthusiasts start reaching for the pitchforks, I’m not suggesting that the Solaris is exactly like strapping two large cabinets to your ears. What it does bring to the sound is a sense of dimensionality that makes it feel more like listening to the sound system in your favourite music venue than from two small in-ear speakers. The sound is big and bold, carrying plenty of bass but with a little less emphasis than the Atlas, and a more engaging midrange. Despite the size of the image in your head, the presentation still feels intimate, pulling vocals forward towards the listener and spreading guitars and other instruments across the stage.

The vocals in particular are impressive, sounding clean but ultra-textured, and feeling more “3D” than flat. I suspect that this is a monitor that will be a top-tier contender in terms of imaging and staging – it is far too early to make that sort of assessment now, but the depth portrayed in the tracks I have listened to so far bode very well. Detail levels are high across the board, but there is an almost vinyl-esque sheen to the music which reminds me of the way the Empire Ears Zeus spits out detail, relying on true resolution rather than treble sharpness to get the sonic information across. These don’t feel like the most overtly detailed IEMs I have ever heard in the TOTL bracket, but again, it’s way too early to really tell, and they certainly don’t feel lacking. They share that smooth detailing that makes the Andromeda such a great in-ear, but take the tone and body and kick it up a gear.

Treble is clean, clear and extended. It sits nicely in balance with the other two frequency ranges, neither too hot or too dull. Anyone who has heard one of the previous TAEC models should know what to expect here.

Overall, the sound is rich and slightly warm, with a serious amount of bass underpinning a musical and resolving upper ranges. Guitar and piano sound crisp and real, and vocals are emotionally engaging. It marries the best aspects of the Andromeda and Atlas together for me, and the synergy makes for something pretty special. This will be less polarising than the Atlas, but it is an evolution of the rich and musical sound that Campfire have been pioneering with the recent Atlas and Cascade models, with some of the OG Andromeda goodness thrown in the mix for good measure. This doesn’t just add more bass to the Andro tuning, and it doesn’t simply air out the Atlas some more – this is a different beast, but I can see why Ken has been so enthusiastic about it. It plays in the TOTL bracket in terms of technical prowess, while sounding just a little different from anything I have heard before. It almost has aspects of the “3D room emulation” from my Audeze Mobius headphones, the sound feels that rounded – it’s an unusual analogy, but one that probably best fits what my ears are hearing – the sound is inside your head, but also all around you.


Update on sound after burn-in
After a solid month of long chunks of burning in and a healthy dose of listening as and when I could plus a few more months of general everyday use, I probably now have at least 500 hrs on this particular set as at time of finishing this review. I have deliberately left the initial “knee jerk” impressions from my first contact with the Solaris in the paragraphs above, to give a contrast on how I heard them initially and where my brain / the drivers have settled in terms of signature and listening experience.

When I was discussing the Solaris with Ken Ball initially, the subject of burn in came up. While I’m personally fairly open minded when it comes to the effect of burn in on audio gear, I know it’s a rather emotive subject in the audiophile community, so thought I’d better elaborate a little on the reasons given why this IEM needs a solid burn in period. Ken has suggested 5 to 6 days of constant use for the Solaris before they reach their full potential. Even listening for 4 hours a day every day, that would take a calendar month. Being the impatient type, I took the slightly easier route of hooking the Solaris up to my mains-attached Shanling M0 and kept it playing 24/7 until it was well past the prescribed number of hours, with a break every day for an hour or so and the occasional listening session to break things up.

So, why the ultra-long break in period? Ken gave the following two reasons:

• The ADLC driver design will loosen up and reach full mechanical excursion potential after 100-150 hours of use
• The dielectric in the crossover will also benefit from the extended break in period

Now, whether you believe or disbelieve the science, to my ears I heard a difference in both staging width and tightness and impact of the bass (which are likely interrelated). I also perceive the quantity of bass slightly differently, which I will go into in more detail below. Whether it is brain-burn, mechanical or electrical improvement or good old fashioned placebo I can’t say for certain, but my recommendation for any future Solaris users is to put the CA recommended number of hours on these IEMs before passing final judgement on the sound. It’s more of a subtle shift than a sonic epiphany, but if your experience is like mine, you’ll be glad you did. To reflect this perceived shift in sound from the Solaris, I have included a second impressions section below, which reflect the overall impressions I now have after an extended period of listening and use.



“Initial” impressions on sound (part 2)

The sound is full and deep, with a sense of balance that evokes the sort of natural neutrality of the Andromeda. Bass is still impactful, but now feels surprisingly restrained given the fact the dynamic driver used in this hybrid is the same as the one producing the ammunition for the bass cannon of the current CA lineup, the Atlas. Ken and co have opted for a more linear and controlled bass tuning here, with the Solaris keeping a tight rein on the overall quantity, but still providing that dash of visceral impact that all good DDs can bring to the party. Sheer volume has been traded for texture and layering, with the Solaris pushing out some serious detailing in the lower end, with extension and texturing to spare. Initially I thought the Solaris was on the bassy side of things, but after more listening I realised I was mistaking the “subwoofer” style tuning of the lower sub-bass for overall bass quantity, which is actually a little less than originally imagined, and barely more than neutral when taken as an overall whole.

Moving up to the mids, vocals still sit prominently in the mix, with a perceived rise in the early kHz to position the singer closer to the eardrum than the back of the stage, but still not quite as far forward as something like the Zeus. This slight emphasis is countered by what I hear to be a slight dip a little further up the frequency range (just after the female vocal ranges usually end), allowing the vocals to stand front and centre without the rest of the midrange instrumentation dominating the soundscape. The presentation here feels intimate but not crowded, bringing the “heart” of the music close to the listener without losing the widescreen sense of scale.

The tonality across the board is superb, with a very organic sound to instruments like piano and acoustic guitar. Notes feel full bodied without sounding thick or gloopy in the ear, bringing sharpness or liquidity as the recording demands. In fact, the transparency is one of the things that really hits you the more you listen to these, with the Solaris staying true to the inherent rawness or warmth of the underlying recording without adding too much of its own flavour to the mix. It is a monitor that has a distinctive tone and colour of its own, but still remains true to the mastering of the music underneath, which is a a rare combination.

The treble is taken care of by the now-famous Campfire Audio TAEC system, made up of a pair of BA drivers and a 3D printed tubeless resonating chamber. Like the rest of the signature, the highs here carry genuine weight, extending high but remaining solid in the ear rather than ephemeral. There is still plenty of air and sparkle in the presentation, but the additional heft from the mids and bass underneath make this less of a spacious and delicate sound than its predecessor the Andromeda. It certainly isn’t smoothed over or blunted in any way, but people looking for a carbon copy of the Andro’s signature top end will be disappointed.

In terms of position, treble holds fairly steady with the midrange, with just a bit of extra push at the topmost extension of the sound. It is crystal clear, and carries some of that indefinable “sparkle” that makes the edge of cymbal notes and other high range detail shimmer just a little in the ear, decaying delicately into nothing. There is a weight to the treble that adds to the unique analogue or vinylesque tonality that this IEM is capable of achieving, giving instruments room to soar but stopping them from becoming truly ethereal or gossamer-thin in the ear, keeping things firmly grounded and substantial. As mentioned, this isn’t a carbon copy of the Andromeda’s highly rated high end. For my personal preferences (thick and smooth treble over crispy and razor-sharp), this is right in the sweet spot – it may leave a few Andro fans wanting a shade more “zing” or shimmer in the upper reaches of their favourite tracks, but I think the treble is tuned just right to complement the rest of the sound ranges – too much would have unbalanced the delicate alchemy of the overall signature so I’m personally glad Ken chose this path.




Bass

Delving into the individual frequency ranges in more detail, the bass on the Solaris is a point of debate among the audiophile community. Some are concerned that the CA hybrid may have toned down the mighty ADLC driver a little too much from its fire and brimstone heyday powering the Atlas to the top of the audiophile basshead tree. Personally, I’m of the opinion that the bass is ideally judged for the rest of the frequency range, neither too little or too much. It has impact and a sense of physicality, hitting with a muscular thud on drum impacts, and giving bass guitar and synth a well rounded presence, if not an overwhelming sense of volume.

“Tommy The Cat” by Primus is a good example of the above, the riotous jazz/rock bass riffing of Les Claypool that underlines the song hitting the eardrums with a genuine fizz as the strings pop and vibrate. The kick drum riff that appears at 0:32 feels so real in the ear that you can practically see the skin of the drum vibrate as it gets hit by the pedal, capturing a crystal clear image in the mind. It is a mixture of power and control that makes the song sound almost primal, without having to blow you away with sheer volume or slam.

Moving on to my more usual bass testers, “Heavy” by Emile Sande is up first. This song leads off with a sub bass synth rumble that persists throughout, and this is present on the Solaris but not massively emphasised, giving more of a tickle than a thrum in the ear. It still has substance and extension, but doesn’t dominate the sound like it can on monitors with more of a sub bass slant.

Similarly, “Heavy” by Linkin Park carries the depth and texture of the (sub)bassline well, but probably not enough to keep a true basshead salivating. There is still physicality to it, bringing a slam that is almost at odds with the quantity. This is almost the inverse of a traditional “BA bass”, delivering only a medium thrum in the ear but maximum physicality and air movement that only comes with a good dynamic driver. That seems in part to account for the “subwoofer effect” that the Solaris so effortlessly conjures up when listening to certain tracks, being able to make them sound like there is a proper 2-channel subwoofer in play, rather than the actual quantity of bass hitting the eardrum.

Midbass is thicker in volume, and absolutely drips with texture. It feels velvety and thick, coming through just a little north of neutral on most tracks but definitely still sitting more towards balanced than basshead. This is where the real texture in the low end starts to show its face, revealing layer upon layer of bass in your favourite tracks that other monitors may just smooth over. Some of the retrieval is so nuanced that if you stuffed it into a Gucci tuxedo and rolled out onstage at the Oscars, it would probably come home with an award. This thing can legitimately lay claim to being the Daniel Day-Lewis of bass, in my humble opinion, matching its presentation to the material like a sonic chameleon, capable of captivating nuance and occasionally surprising brutality in the same track.

“Get Lucky” by Daft Punk and “California Love” by Dr Dre are dispatched with aplomb, the liquid bassline of the Daft Punk track dropping low as maintaining its infinitely varied shades in the ear. Dre brings an altogether more in your face vibe, the Solaris responding to the additional low end in the mix with a controlled and punchy rendition, with more than enough volume to get the head nodding. There is slightly more weight to the mid bass tones here, carrying more fullness than the surprisingly punchy but lighter sub bass. “Reptile” by Skrillex also comes out surprisingly well, the mix of impact and fullness actually giving the track a fairly prominent low end, with the hammering electro-bass riffs filling the ear nicely. The ADLC driver shows its chops here, keeping all the differing layers of sound cohesive as the track builds, immersing the listener into the dubstep soundscape and the various dynamic shifts as Skrillex bends and twists the sound.

Kicking things up a gear, “Bad Rain” by Slash hits with genuine impact, the simple 4-4 drum beat that drives the intro arriving with punch in the ear. The growling bass guitar that follows feels textured and raw, diffusing out into the soundscape after each hit. The decay is controlled but very organic sounding, lingering just long enough in the background to give that sense of presence without muddying up the next note. Mid bass presence is more towards neutral here, with the bass clearly audible, but leaving more of an impression of texture and physicality than sheer volume.

Rounding the bass section off, “Hello, It’s Me” by Sister Hazel and “The Chain” by Fleetwood Mac are up. The Sister Hazel track practically oozes bass on some monitors, and the Solaris doesn’t disappoint here. The bassline feels lithe and flexible, each note carrying fine texture around each plucked string as it is hit. It doesn’t dominate the low end or completely fill the stage like it can on something like the CA Atlas, keeping a more reserved but still musical approach. The texture of the notes sits somewhere between chalky and liquid, carrying the smoothness of the latter without ever feeling fully “melted” in the ear. It shows control as well as flexibility, sitting in that Goldilocks zone that gives maximum musicality without resorting to overly sloppy or liquid reproduction of notes.

One final thing to note on the Solaris is the potential for EQ in the lower regions. This is the same driver that floods the ear with bass boom when called upon in the Atlas, and with the right electronic stimulation, this IEM can be turned into a serious bass-capable beast. Jacking the low end EQ on my N5IIs or DX200, the Solaris responds in kind with a heavier, much more prominent bass, that adds a layer of warmth to the sound at the expense of some of the crystal clear midrange tuning. It doesn’t distort on anything I’ve tried it on yet, so if you have access to a high quality parametric EQ, this should allow you to add some decent dBs to the bass response without too serious an effect on the overall quality of sound. Personally, I’m happy to leave the bass dials where they are, as any attempts I made to bring in some Atlas style boom took too much away from the delicate balance of the rest of the sound to be worth the additional bass.

Overall, this is bass of the highest quality, with enough presence to keep most people more than happy and top tier texture and layering, along with a real physical impact to give the sound that authentic DD flavour. It’s difficult to see where Campfire could have made too many alterations to this tuning given the context of the other frequencies sitting above, so while it isn’t quite my “preferred” or ideal bass tuning, it is probably the best balanced and most accomplished bass I’ve heard yet (and that includes the Atlas, which sounds a little better for my preferences in the low end but doesn’t quite have the undefinable balance that the Solaris possesses).



Mids

The Solaris midrange is taken care of by an overlap of the ADLC driver powering the bass and the same single midrange BA used in the newer Andromeda S model. It is hands down the best hybrid implementation I’ve heard, with no obvious “seam” or audible crossover point in the bass to midrange transition – in fact, the single crossover in use actually sits between the mids and treble, so it really is a masterfully blended mix of BA and DD together, executed without any loss of coherency to the overall sound.

It is a rich but not overwhelmingly full sound, giving plenty of room for delicacy and dynamics throughout the range. Vocals are the star of the show here, imbued with a soulful timbre that evokes the best high end dynamic driver IEMs like the AKT8IE or RE2000, but carrying the detail and clarity of a top flight BA setup. This isn’t a highly coloured sound, but it does carry a slight warmth and air of “natural neutral” that the non-basshead Campfire models have in common. This is an all-rounder’s take on a midrange, with smoothness and space in equal measure, all sitting on a backdrop of solid micro-detail. This allows the Solaris to be complementary to multiple musical genres without picking any particular favourites.

Starting with the voices, Aaron Lewis’ cover of the Chris Stapleton track “Whiskey And You” captures the velvety richness of the ex-Staind singer’s delivery well, full of darkness and grain. It contrasts against the sweeter and lighter voicing of the backing singers, blending to create a multi layered chorus that is both deep and light at the same time. Similarly, “And On A Rainy Night” from the recent reinterpretation of the “Soul’s Core” album by Shawn Mullins captures the gruffness in Mullins’ half-sung, half-spoken delivery perfectly, pulling the vocal medium-close to the listener and giving it a texture like fine certificate paper as it pulls the small details in his delivery out. It is a sound that feels grounded and resolutely physical, with an air of stylised authenticity in presentation that captures more than its fair share of emotion en route from driver to ear.

Lining up some Mavis Staples, the veteran soul legend sounds like gravel dipped in butter, her distinctive croaky roar sounding both warm and gruff at the same time on “High Note”. The multi-layered chorus places each individual singer in the gospel choruslines at slightly different points around the soundstage, allowing the brain to track each line individually without losing the musicality of the blend. The Solaris is resolving enough to catch the raspy breathing patters in “Love And Trust” by the same singer, slotting them around the warm and soulful vocal to give a three dimensional feel to the delivery. It isn’t hyper-detailed for its price bracket, but there is enough clarity to make the brain feel like the sound is pure and unadulterated, with no hint of veil to my (admittedly less than golden) ears.

Trying some sibilance testers, Chris Stapleton is up first. Hi version of the simple acoustic country ballad “Whiskey And You” is one of my favourite tracks for late night listening, but it does his raw vocal delivery no favours at all, sounding like it has been mixed in a chainsaw testing facility and mastered with sandpaper on some audio gear. The Solaris cruises through the troublesome vocal sections at around the 3 minute mark with no issues, keeping the sound raw and emotional but relying on natural resolution rather than artificial peaks in the upper mids to retain definition without grating on the eardrums in the process. “My Kind Of Love” by Emile Sande has similar mastering issues, and passes a little less smoothly, still avoiding out and out shrillness but definitely bordering on sharp. This is another track that has been mastered on the surface of the sun, so the heat is inherent in the track itself – the transparency of the Solaris plays nicely with most styles of music, but won’t overly smoothe out or hide poorly recorded tracks, so quality of source file and more importantly quality of recording are definitely factors when choosing your playlists here. If you feed it a bag of broken glass, expect your eardrums to get cut to shreds in the process – there is no sonic smoothing at play here. However, feed it Elvis in his prime and it’s Vegas all the way, baby – thank you very much.

The flipside of the Sande tune, “Starlight” by Slash and Myles Kennedy is a track that has an inherently sharp vocal line and some very dissonant guitar work, but is recorded superbly. The Solaris excels here, sharpening Kennedy’s falsetto to a razor-edged wail, but adding body throughout the notes to keep it sounding solid and silky in the ear rather than unpleasantly brittle or rapier-like. Sticking with the same track, the intro bars demonstrate the capability of the Solaris to handle guitar-based music, delivering pin-sharp harmonics and a crunchy edge to the electric guitar without sacrificing the natural tone. Guitars sound defined, and carry a sense of weight and solidity to them without sounding too beefy or chunky. This isn’t the thick “wall of sound” style you can get on some mid-centric monitors, but like the bass, carries an aspect of physicality that is slightly at odds with its more neutral / natural leanings in terms of note weight. If the midrange instrumentation were a boxer, it would be a super-middleweight: packing enough size and power to do some proper damage without losing speed or carrying too much weight around the edges. This is a monitor that can chug with the best of them (try out some P.O.D. or Metallica for proof), but it isn’t a specialist in this sort of area.

With more acoustic fare, the Solaris really opens up, with a beautiful organicity of tone (copyright @Deezel77 – Head-Fi / THL) that makes strummed strings feel like they are being played in the same room as the listener. “Champagne High” by Sister Hazel is one of my favourite acoustic rock tracks, a fine blend of regretful vocals, delicate acoustic noodlings and a sweeping rock backbeat. The acoustic guitars sound delicate and real in the ear, blending softly with the heartfelt vocal to give the song a genuine emotional ballast. They sit naturally a little further into the background than the singer, the slight dip in the upper midrange pulling the instruments a little behind the voice, giving the Solaris a more “live on stage” style of presentation with certain tracks. There has been some chat on the usual forums about this “scoop” and how it affects the mids – as mentioned above, I think this is pretty well judged, and gives the Solaris a nice balance across the range without making any of the tracks I usually listen to feel hollow or absent through the midrange. As always, YMMV, but I don’t think this tuning tweak is a worry, and actually adds to the overall signature Ken was shooting for here.

A lot of the beauty in the Solaris midrange comes from the physical presentation of the notes. The two drivers combine to create notes that feel slightly more rounded and three dimensional than an all-BA setup should deliver, and more defined and articulate than a typical dynamic driver. I’m not talking about the often used term “holographic” (although that will likely surface in the soundstage section of this writeup), just the sense that each instrument has more heft in the ear, almost as if you can sense the angle of the notes as well as the notes themselves.

Female vocals have divided a few listeners on the forums so far, with some listeners of Asian alphabet-pop (J and K) noting a recession in the voices of some artists or an unusual timbre. I personally don’t hear any recession or “suck out” with the vocals of the songs and styles of music I listen to. Artists like Amy Helm are just as up front as they always were on tracks like “Odetta”, her smoky and soulful voice sitting just in front of the instruments rather than alongside or behind them. I tend to prefer female singers who operate in the lower registers like Mavis Staples, so I’m more rock chick than mezzo soprano in my female music tastes, so please bear that in mind. The Amy Helm album actually sounds sublime through these IEMs, with a warm tone and analog feel like the best 70s soul recordings, but still packing some great modern day clarity and recording detail.

“Michigan” from the same album starts with some subtle brushed drums and a little organ work, with some delicate acoustic guitar in the left and right periphery of the soundstage and Helm’s deeply soulful vocals sitting right up front. This sounds solemn and reverent as it builds, sweeping the listener into the chorus where Helm is joined by her backing singers. Each chorus vocal renders separately in the ear without losing the sense of togetherness, allowing you to follow the individual lines if you concentrate but not distracting with detail. The vocal isn’t the cleanest recorded delivery I have in my collection, but the Solaris sounds faithful in reproducing the sound as recorded – despite having a great individual “tone”, this isn’t a monitor that will sugar coat or artificially smooth poor recordings – in fact, I’d suggest it is welcoming, but not overly forgiving with poorly mastered source material. The assumption would be that if you are going to spend the best part of $1500 on an in-ear monitor, you are likely to have a suitably refined source and decent source material, but just putting this out there in case you are looking at pairing these with your Android mobile phone or a collection of 128kbps MP3 from the 90s (each to their own, and all that).

Switching up to some of my favourite rock tracks, Slash is up next. The Solaris handles rock guitar pretty well – it isn’t the crispest monitor out there, but if treads the right sort of line between sharp-edged attack on guitar riffs and a blunter and more full bodied sound. “World On Fire” from the album of the same name kicks off at 100mph, with the guitars feeling solid in the ear, moving nimbly around the quickfire riffs but still carrying some resonating chug in the ear and a satisfying distorted wail.. “Shadow Life” is dealt with the same way, the staccato riff descending into the chorus stopping and starting on a sixpence with excellent control, but still sounding analogue and almost tube-warm in tone, with a solid sense of gravitas and sonic weight. The riffs are supported by the solidity of the lower end, picking up some rounding to the lower harmonic edges from the DD portion of the midrange pairing. This isn’t to the same level of thickness or heft as the original owner of the 10mm DD, with the Atlas possessing a more full-bodied presentation with these sort of tracks. There is still enough depth to make the Solaris sound planted and full, however, with the combination of BA speed and organic and almost tube-like warmth to the tone sounding a little reminiscent of the Angie by JH Audio, with just a splash more presence to the notes.

As mentioned, speed isn’t an issue, with the IEM handling frenetic rockers like “From The Sky” by Tremonti or “Coming Home” by Sons of Apollo just as easily as it chews through my Foy Vance back catalogue. In fact, the mythical PRaT (Pace, Rhythm and Timing) of this IEM is top class, with the Solaris able to capture the uptempo groove of something like “Dubai Blues” by Chickenfoot with all its toe-tapping groove, matching technicality with a swing to the sound that feels musical rather than analytical. This is another side-effect of the overall coherence, with each driver moving with control and speed to give a vice-tight grip on the underlying music tempo, translating well into the ear.

Other midrange instrumentation sounds accurate, with a slight warmth to the tonality but nothing too stylised. Piano rings true to my ear, and strings sound three dimensional and just… right to me. “Kentucky Rain” by Elvis and the Royal Philharmonic has a delicate orchestral backing and a sweeping lower end, and the Solaris deal with both easily. The delicate finger-picked acoustic guitar sounds barely-there it is so light against Elvis’ velvety crooning, the layers of horn and trumpet and gospel chorus building as the song rolls on through its chorus, giving a dynamic swell and recession to the track that feels like a good live performance. The separation and layering abilities of the Solaris also come to the fore here, giving the various instruments a little room to breathe without diffusing through the soundstage, leaving just enough black space around notes to give that authentic feeling of top-tier clarity. The absolute resolution of this IEM in the midrange probably won’t bother something like the Jomo Flamenco or Zeus-XR, but with the tuning choice Campfire have gone for, it doesn’t need to. The pinpoint image and top notch separation make this almost an irrelevance, bringing out nuance by clearing the space around each little micro-sound rather than turning up the resolution to make it stand out.

To inject a dose of reality, this isn’t something completely revolutionary or new that the Campfire team have cooked up here, just a very good implementation of the midrange. It is noticeable mainly when you switch back to other IEMs after a session with the Solaris – the other gear (even things like the Zeus) just feel a little flatter overall. I don’t think this will be the “ultimate” midrange tuning for all genres of music, but for fans of guitar and piano based genres, or western rock and pop music, it should pretty much tick all of the boxes that need ticking.



Treble
The treble on the Solaris is handled by the same twin balanced armature setup used in the higher tier all-BA models in the CA range (the Jupiter and Andromeda) and also in the first hybrid in their range, the Dorado. It uses their proprietary Tuned Acoustic Expansion Chamber (TAEC) technology, using a 3D printed resonating chamber to remove the need for sound tubes and “open up” the sound in the high frequencies to allow better extension and air. As can be testified by their various other models, this works, with the Solaris inheriting a few traits from its greener sibling the Andro in both extension and shimmer. As has already been stated, it isn’t a full-blown Andro clone up top, however, coming across a little darker and more grounded in tone than the lighter and brighter all-BA model. I have not heard the limited edition SS (Stainless Steel) version of the Andromeda, but that is purported to have slightly smoother and less sparkling highs, so I suspect it will have more in common with the Solaris in that respect.

There is a crispness and lightness here that still makes the music sound wide open and airy, but also a solidity and thickness of note that stops it from completely floating off into the upper atmosphere. The effect is more reminiscent of a concert in a wide open field than a large auditorium to my ears – sounds float away and fade out, but lack the defining boundaries of a large space to give them that reflective sense of scale.

Going back to “Starlight” by Slash, the dissonant guitar harmonics in the intro are sharp but still weighty, glistening in the ear with an analogue tone that stops them grating like they can on thinner monitors. “Chi Mai” by the classical fusion violin duo Duel sounds majestic, the mix of fluttering synth notes and sharp and emotive violin building to a sparkling crescendo. Violin sounds rich, the vibrato of finger on violin neck coming through clearly with each note that is bowed or plucked. The electronic accompaniment occupies the space above, lightening the tonality without overpowering, providing just the right level of accent to the sound.

“Go” by The Chemical Brothers follows a similar theme, the swirly keyboards that kick in around the 1:20 mark whipping across the top of the soundscape, opening up the higher octaves without sounding overly bright. It envelops you, bringing the height of the stage into full relief. Moving to something more analogue, “The Golden Age” by Beck plays wonderfully, with its chimes and xylophone style percussion filling the space around your ears with an expanded sphere of high notes, full of detailing and texture, popping in the ear like little bubbles full of sound.

That sounds like an overly flowery piece of hyperbole, but it is the closest my brain can get to a descriptor, unfortunately. Treble is solid but extended, carries sparkle but isn’t overly thin or delicate (unless that’s the way it is recorded in the track) and is absolutely packed with fine detail and texture. Despite saying that the treble has weight, this isn’t a dark monitor by any means, and for fans of an ultra dark or rolled off treble tuning, the Solaris probably shouldn’t be at the top of your wishlists. It extends effortlessly past the upper reaches of my hearing without any apparent strain, but doesn’t lose it’s analogue tone while doing so, staying true to the overall sound of the IEM without resorting to any particularly obvious spikes or hotspots in the upper ranges (that doesn’t mean they aren’t there, they just aren’t obvious TO ME). This is pure treble, with plenty of inner resolution rather than specific frequency sharpening, making it easy to listen to for extended periods without any dose of fatigue.

Overall, if you are looking for a clone of the Andromeda, the Solaris won’t quite get you there, but if you are happy trading just a touch of that wide open treble fizz for a meatier and more analogue tonality, the Solaris is an exceptional IEM in this frequency range, providing some of the most musically enjoyable treble I’ve heard yet.

Soundstage, separation and imaging
The Solaris throws out a fairly wide and deep soundstage, pushing about 30cm outside of the head in all directions, forming a perfect sphere with excellent height and depth. It feels broad, but doesn’t give the feeling of huge vastness in its sonic image, mainly due to the size of the individual notes on the stage.

The Solaris has inherited the “big sound” of its DD predecessor the Atlas here, presenting vocals and guitar in a larger than life sizing, almost as if the music had been blown up with the classic iDevice “pinch to zoom” gesture in the ear, but while still being able to see the full picture. It’s this sense of scale which leads to an almost speaker-like feel to the Solaris presentation, the music giving the impression of filling the available space around the listener’s ears without seeming crowded or claustrophobic.

In terms of separation, the Solaris won’t blow you away with a sense of distance between far left and far right panned instruments, but rather impress with a scale that can leave other IEMs sound a little small until you readjust. Playing something like “Trouble” or ”Shelter” by Ray Lamontagne, the hard-panned drums and bass parts push outside my head further than a lot of IEMs I own in either direction, but don’t feel as distant from the vocals in the centre image. The Solaris has truly TOTL layering capability, which helps in this regard – no matter how densely packed a section of the audio spectrum is, the Solaris manages to lay each instrument and noise down cleanly in its own little slice of the universe, with no sense of congestion or blurring.

This is put to the test with “Coming Home” by Sons Of Apollo and “Take You With Me” by Tremonti. The former is a track which is stacked higher than a Black Friday sale shelf, the bass guitar and electric both shadowing the same riff and overlaying the busy kick drum and tom tom phrases underneath. On less capable monitors this song can collapse into a enjoyable but muddled wall of noise in centre stage, but the Solaris remains impeccably composed throughout, carrying the texture of the bass, the bite of the guitar and Mike Portnoy’s roving drum fills with equal ease. This is where the bass tuning really comes to the fore, the extra emphasis on speed and definition over sheer quantity from the ADLC driver really helping the Campfire model retain clarity at all times. The Tremonti track is a blast of high speed guitar and kick drum patterns, and again the Solaris is clean and crunchy throughout, the speed of the drivers matching the music without any blurriness.

This is one of the areas where the Solaris obviously shows its credentials at the top table, presenting a large and impeccably positioned sound, with instruments laid down in solid locations across the stage and everything having enough room to breathe, without dissecting the music into an analytical pile of component parts. Another area where the TOTL card gets played shamelessly is with the imaging capability of the Solaris. The 3D stage and clean layers of sound allow the CA flagship to present music with a very specific sense of location and positioning on the soundstage, giving both width and depth to individual instruments, dropping them carefully into their own clearly defined slots in the ear rather than spreading them between the ubiquitous three left/centre/right musical “blobs” that some lesser monitors will resolve into.

This allows the listener to hear further “in” to some well recorded tracks, with each instrument possessing more of a lifelike feel as it sits in a specific location in the overall sound, mimicking the sort of feel you get from a live acoustic gig, and helping with the effortless sense of immersion that these IEMs can manage with the right track. The fact this can be done without losing the analogue tone and natural feel to the sound is potentially the Solaris’ greatest achievement IMHO – allied to a natural inner resolution that can dig into the sound, this really is something pretty special to experience with the right tracks – if you have any binaural recordings, I strongly recommend tracking down a Solaris to try them out with.



Power requirements and gear synergy
The Solaris is roughly similar to other CA models in terms of sensitivity and overall driving requirements. If you haven’t owned one before, this basically equates to being able to drive the Solaris to acceptable listening volume with two paper cups and a piece of string, and listening to it hiss like a drunken polecat with anything less than a jet black source. Personally, I find the noise level to be pretty low with both my N5IIs and DX200 / Amp 8 setups, but it does give a little more noise with other gear I have tried it with like my Questyle CMA400i desktop rig. While you can get pretty high volume without much effort, the DD driver in the Solaris can soak up a pretty obscene amount of wattage, so I personally find that I get the best results in terms of driver control and texture in the low end with my DX200/8 on high gain, the additional bump in output power giving a little more grip to the DD elements of the sound. The trade off will come with increased hiss on some sources as a result, but as mentioned, I don’t really notice with the Ibasso, so as always, YMMV.

The Solaris also shares another trait of the CA line, with an impedance curve in the BA elements that react differently to sources with different output impedance. Basically, the higher the OI, the more emphasised / sharp the treble in my experience, so if you prefer a more crystalline and etched feel to the sound, using a higher-OI output device will allow you to tinker with some elements of the sound there. There is plenty of info on this in the various Head-Fi threads for Campfire IEMs, and there are some notable outliers (like the Questyle devices with their unusual amp designs), but as a rule of thumb, anything hovering around the 1 Ohm mark should be fine for an “optimal” listening experience.

As mentioned above, my “go to” sources for the Solaris are the N5IIs and the DX200 – the Solaris is relatively transparent, so will benefit from the highest quality source components you can provide in the chain to really get the most out of the available sound. Both DAPs mentioned provide a nicely weighty feel to the low end, with the Cayin feeling a little more dense at the bottom of the frequency, with a wonderfully black background. It loses out a little in overall presentation to the higher-performing DX200, which scales a little better with the Solaris to present a more fully 3D picture in the ear, with more definite placement across both the X and Z axis.

Another surprisingly good pair up is the LG V30, with the mobile phone “audio flagship” sounding excellent in terms of noise and overall detail retrieval, just lagging behind the Cayin and Ibasso DAPs in a little micro-resolution and imaging prowess. Unless you have a particularly noisy source I would imagine most things will play nicely with the Solaris, but it does have a tendency to expose any gaping flaws in the chain, so sources with particularly high OI or any areas of rawness in the response probably won’t provide the best matches.

One frustrating pair up is the ALO Continental V5 amp; while the Solaris don’t need additional power, the tubey goodness of the CV5 was too good an opportunity to pass up to see how it would match up. On a musical level, it pairs wonderfully well, accenting the organic tone and throwing a fully rendered 3D image into the ears from the off, accentuating the strengths of the Solaris without making it sound too warm or smooth. Unfortunately, this comes with a level of hiss that is higher than I am comfortable with, making the pairing one that is ultimately a little frustrating for me. Admittedly, you can use something like an IEMatch from iFi to alleviate that, but this has a slight effect on the overall tonality to my ears, negating some of the wonderful richness the CV5 throws out with this pairing. If you aren’t sensitive to hiss, then by all means go for this pair-up, but if you can’t stand a hissy source, this probably won’t be the best combination you can find for the Solaris.



Tip choice
The Solaris is quite divisive when it comes to best tip choices, with the bigger shells of the IEM giving various opinions on what sort of tip is best for each individual ear shape. From the included tip range, I prefer the CA Marshmallow foams over the ordinary silicon tips or the Final E-series tips, as they provide the most stable seal and fit for regular wear. In terms of sound, the Final tips probably edge it for me in terms of sonics, giving a little bump in the bass and additional crispness in the higher ranges, but the fit it a little problematic for me so I keep losing seal in longer listening sessions.

As far as after-market tips are concerned, I have had the most success from a “regular” tip with Spiral Dots tips from JVC, the wide-bore and relatively shallow fit allowing a more stable seal in the outer ear and a nicely neutral effect on the overall tuning. I personally find the best synergy with a set of custom-moulded silicone ear tips from Polish manufacturer Custom Art, as they combine the cleanliness of the Spiral Dots with the same sort of isolation provided by foam (which aids mainly with bass slam), plus a rock solid fit which locks the Solaris shells firmly in place while I’m up and about (yes, I wear these on my commute sometimes!). Obviously, custom tips aren’t an option for everyone, but given the relative cost of the Custom Art solution, I wouldn’t class it as prohibitive in comparison to the cost of the IEMs and the source you will be using to run them with, so well worth looking into if you want to get the best combination of seal and fit.



Comparisons
Stealthsonics U9 – (1x DD / 8 x BA hybrid, $1099)

The U9 is the current flagship from Singapore-based IEM firm Stealthsonics, packing one 10mm dynamic driver and 8 balanced armatures in a 4-crossover design. Much like Campfire Audio, the team at Stealthsonics are quite comfortable to trumpet various unique technology they use to achieve their house sound, with the team at Stealthsonics concentrating on material composition on the shells themselves along with some advanced airflow modelling in the nozzle to deliver the best sound they can.

The U9 packs slightly more drivers into the shell, using 2 armatures for the midrange, two for highs and a quad-driver array for “super highs”. The DD is the same size, but utilises a more standard design than the ADLC diaphragm used in the Campfire model. In terms of overall sound, the U9 is an impressive performer in its price bracket, with a crisply detailed sound and razor-sharp instrument placement. Despite its hybrid design, the U9 isn’t particularly bass-heavy, with the DD being tuned in a very similar manner to the Solaris, pumping out decent impact in the sub-bass regions with an emphasis on speed and impact over sheer volume. It feels a little less full and rounded than the Solaris, following an almost flat or neutral response – extension is similar on both models, digging deep into the recesses of sub-bass without any noticeable roll-off. In terms of layering and detail retrieval, the U9 driver is no slouch, but it doesn’t quite have the stellar response of the Solaris, lagging a little behind the Campfire model in overall texture and fine detail. Neither model will be suited for extreme bass heads, but the Solaris is definitely the juicier of the two in universal configuration (the U9 is also available as a custom IEM for an additional $400, bringing it into line with the price of the Solaris and potentially improving bass response slightly due to the additional seal).

Mids are a little thinner and more distant on the U9, with it painting a slightly less intimate picture in terms of both stage position for the vocals and overall note size. The U9 feels a little cooler and leaner in tone, with more emphasis on the edge of notes and a sharper and more overtly detailed response. Resolution is one area where the U9 is noticeably more emphasised, the more neutral tuning allowing the thinner notes to eke out high levels of micro-detail with well recorded music, in comparison to the more laid-back and natural sound of the Solaris. This does come at the cost of a little of the Solaris’ organic timbre and tone, with the U9 sounding more “processed” in direct comparison. The colder tone also provides a more analytical feel to the presentation.

Treble is sharper and more emphasised on the U9, again feeling a little thinner than the Solaris in both both tone and overall weight. The 6 drivers responsible for the higher frequencies provide a superbly linear extension up past the limits of usual human hearing, allowing the U9 to paint an extremely detailed picture in the high ranges without any issues. Despite the extension, the tuning is devoid of any peaks or hotspots, so the U9 is always smooth, being slightly more forgiving on hotter or more poorly mastered tracks in this respect. The super-tweeters also allow the U9 to paint a lot of supersonic “room noise” and other sonic cues into the sound if it is there in the underlying audio, competing well with the Solaris in terms of providing a solid and holographic image, with neither IEM pulling ahead significantly here. Stage size feels similar on both, with the Solaris providing the bigger picture and the U9 taking a more widescreen approach.

In terms of driving ability, the Solaris is the easier IEM to drive, with the U9 requiring a little more power to get to the same listening volume on my usual gear. U9 is less picky with source OI, staying pretty stable with differing output impedance and offering not much in the way of hiss with any of my current sources.

Build is very different on both, with the U9 being made of a super-light rubberised polycarbonate type material in comparison to the all-metal design of the Campfire model. The Campfire model feels a notch up in both durability and overall aesthetics here, providing a much sturdier feel. The U9 counters by weighing almost nothing, so if long term listening comfort is a concern, the Stealthsonics IEM will probably be a better bet as it will disappear into your ears with no obvious strain due to the lack of weight. That being said, fit and ergonomics definitely go to the Solaris for my particular (large) ear shape; the U9 use a rounded shell design reminiscent of the Noble Audio universal shell designs, but for me this translates to a very shallow fit and some difficulty getting a solid seal in the ear with most tips. Once sealed, they are Uber-comfortable, but there is definitely more fiddling required to get (and maintain) a seal with the U9 in comparison to the more ergonomic Solaris.

In terms of the overall package, Stealthsonics provide a decent if not mind blowing loadout compared to CA, with a similarly sized (but lower quality) carry case, a variety of tips and two IEM cables from Singaporean manufacturer Null Audio as standard, one with mic and one without. Both cables are terminated in standard 3.5mm single-ended format, so the mic is the main distinguishing feature, which is slightly unusual given the “audiophile” market they are obviously shooting for with this model. Cables are a good standard and ergonomically excellent, but not quite up to the full after-market experience of the ALO SuperLitz in terms of looks.

Overall, the U9 is a well performing hybrid in the $1000+ market, with a strong analytical sound and excellent technicalities. It offers similar imaging prowess to the Solaris, but diverges quite significantly in terms of tuning, erring more towards a cooler and thinner tonality, with less physical dimension to the individual notes (both in terms of weight and overall “roundness”). As a result, while I am impressed with the technical prowess of the Stealthsonics model, the Solaris is the more engaging musically, giving a more immersive and enjoyable musical ride when you just want to lose yourself in a track. Add that to the more premium feel to the build and packaging, and I would find myself siding with the Campfire model if I had to choose between them – fortunately for me, I don’t.



Empire Ears Zeus-XR – (c. $2300, 14 x BA custom IEM with 8 crossovers and tuning switch)

The Zeus-XR is the legendary former flagship of the Empire Ears “Olympus” line, sporting 14 balanced armatures and a 7 or 8 crossover design, depending on which tuning you select on the inbuilt switch. This is a combination of the previous Zeus-XIV and Zeus-R models, offering both tunings in the same shell. At time of launch, it was the IEM with the highest balanced armature and crossover count in production, and while it has since been surpassed by models from Rhapsodio and 64 Audio in that particular race, it maintains its position as a summit-fi in ear in terms of sheer technical prowess to this day.

Prior to the launch of their hybrid series, the Empire Ears lineup were well known for their midrange, and the Zeus is based firmly around that mid-centric house sound. Starting with the bass, the Zeus (in both configurations) has less substance than the Solaris, with a snappy but flattish sounding bass tuning that is more tilted towards mid-bass than sub-bass. The dual-BA woofer setup is surprisingly impactful for an all-armature driver, but it definitely lags behind even the restrained bass of the Solaris in terms of overall presence. Detail levels and texture are high with the Zeus in both configurations, but again it lags a little in terms of layering compared to the Solaris, and doesn’t have quite the same level of richness in bass-heavy tracks. The Zeus often gets unfairly labelled as a “bass-light” monitor, but I think it is capable of digging out bass if it mastered into a track, but here it shows its BA roots compared tot he thoroughbred DD packed inside the Campfire model. Sub bass is won easily by the Solaris, with the Zeus mustering a little tickle on serious basshead tracks, but not providing the same sense of physical impact the Solaris can muster with the same tunes.

Moving up to the midrange, the Zeus offers a forward and thick mid presentation, giving a slightly denser feel and more forward tuning in the “XIV’ configuration and a more neutral tonality with the ‘R” switch engaged. In either mode, the Zeus sound marginally more forward with vocals than the Solaris, sitting in the forefront of the sound. Where the Solaris excels in the bass, the Zeus pulls slightly ahead here, presenting a dense but ultra-detailed midrange with more layers than a prizewinning Gallic onion. The Solaris sounds a touch more organic, and has a more diffuse quality in comparison to the solidity displayed by the Empire Ears IEM. The Solaris also stacks up surprisingly well in terms of resolution, but can’t quite match the sackful of balanced armatures providing the grunt in the Zeus engine room, with the Zeus finding the smallest nuance and inflection and painting it effortlessly into the ear. To be fair, not many IEMs can best the Zeus in terms of sheer clarity, so it’s a surprisingly good effort from the single BA and DD powering the Solaris here.

Treble is similar on both, with the Zeus feeling a little zestier and more sharp than the crystal clear but smoother Solaris. Neither IEM is prone to sibilants or harshness, so there are more similarities than differences here, with both designs relying more heavily on natural resolution over strategic peaks in the upper end to pull out details.

Stage size isn’t too different, with the Zeus feeling similarly wide but not quite as deep as the Solaris, throwing more of an oval stage in my mind compared to the sphere of the CA model. The Solaris again feels “bigger” in terms of note size, but this is countered slightly by the more prominent vocal staging. One area where there is a notable difference ins the depth, with the Solaris definitely feeling more three dimensional compared to the flatter presentation of the Zeus. This is purely a comparative observation, as the Zeus is far from a flat sounding IEM, but it helps to highlight again the prowess of the Solaris in this respect.

With regards to power, the Zeus and Solaris are actually very similar, with the Zeus actually being marginally more difficult to drive on my DX200, which is a little surprising. One thing to note is that the Zeus hisses a LOT more than the Solaris with this pairing, making it sound almost jet black in direct comparison.

In terms of packaging and build, this is a draw. The EE model comes with a superb (and superbly huge) hard carry case, and a premium aftermarket cable as standard (currently the Effect Audio Ares II, although mine shipped with a BTG Starlight cable),. Build quality of the CIEM is first rate, matching the Solaris for aesthetics and obviously moving ahead in fit (although the custom eartips I use are made from the same mould as the Zeus impressions, so the fit is actually remarkably similar for my particular circumstances).

Overall, this is a closer race than the U9, with the Zeus providing an addictive Ley rich and detailed midrange presentation that is pretty unique in the current IEM landscape, throwing out gobs of detail in a rich and smooth feeling package that excels with vocal heavy or acoustic music. The Solaris again sounds like the more organic and natural of the two, with a more impactful bass and a deeper and large sonic image. They are different enough that they will appeal to differing audiences, and are both comfortably top-tier in raw performance, so I’m not able to pick a favourite here. The Zeus would probably get more ear time for acoustic of more complex music, with the Solaris being my go-to for rockier music or more chilled vibes where I just want to drift into the soundscape.



Campfire Audio Atlas – (c. $1299, single 10mm ADLC dynamic driver)

The Atlas is the dynamic driver flagship of the current CA range, sporting the same single 10mm ADLC driver as the Solaris and a much bassier flavour. It shares a little of the shell design with its hybrid older brother, with the same stainless steel front assembly and grille. In terms of size, the Atlas is a lot smaller than the Solaris, but feels similarly heavy in the hand due to the solid steel body and small size, being designed for wearing downward in a more traditional “earbud” style (although it can be worn over-ear / IEM style with a bit of effort).

In terms of packaging and build, it will be a draw, with the Atlas sharing an almost identical package and loadout (albeit in slightly smaller dimensions), right shown to the tip choice and CA pin. The two areas of difference are with the case and the cable. The case is the same classic Campfire Audio design, but approximately half the size of the Solaris case, so a lot more pocketable. The cable difference is also one of size, with the Solaris being sold with the thicker ALO SuperLitz cable, whereas the Atlas is paired with a thinner ALO Silver Litz cable. Both are twisted rather than braided, but the Atlas is paired with a pure silver cable design as this was felt to better complement the sound than a more standard SPC. Both are high end after-market cable quality, but the SuperLitz is a thicker and more physically (and visually) impressive cable, with similarly good ergonomics and low cable noise. One plus point for the Atlas Litz is the lack of memory wire (due to the fact it is intended to be worn down), which makes it easier to wear with other MMCX in-ears in my collection.

Sound wise, these are two VERY different takes on the evolving Campfire Audio “house sound”. The Atlas is a brassy, impactful sonic punch to the eardrum compared to the more restrained and airy Solaris. It is still balanced in its own way but it is more a balance of dialling everything up to 10 and still keeping it coherent and separate rather than the more delicate naturalness of the hybrid model.

Both sub and midbass are present in more quantity on the Atlas, reaching just as low as the Solaris but with a fair few dB more oomph across the board. Whereas the Solaris has a solid sub-bass slant that tails off into the mid-bass, the Atlas stays almost flat throughout the range in direct comparison, providing a fair bit more punch on things like bass guitar and kick drum beats. The Atlas is the more visceral and animated IEM, building on the foundations of its predecessor the Vega. Texture and layering is a draw, as you would expect from the same exact driver design. Detail is possibly slightly more noticeable on the Solaris due to the decreased sound pressure, but it is a very close call. The Atlas has speed for a single DD, but seems a little less crisp than the Solaris in direct comparison, again probably due to the lowered emphasis. The Atlas is a true basshead capable IEM, so if you are looking for real lower register slam, the Atlas definitely pulls ahead here.

Mids are differently presented, with both having a similar position on stage, but the Atlas presenting in a thicker and less overtly detailed way. The mids are still free of mid-bass bloom so don’t feel veiled or blunted, but the additional warmth imparted from the bass below gives them a chunkier and less open feel to the more organic tone and clearer separation evidenced by the Solaris. Atlas excels with guitar music, giving an edge and crunch to guitar transients and chugging rock riffs that is more in your face and involving than the more laid back Solaris. This energy is addictive, but is has an “always on” quality that makes it difficult to drift into the music as the same way as the Solaris – both have excellent detail and clarity, but the Atlas is definitely the more energetic presentation, making it more of a specialist than the Solaris’ natural jack-of-all-genres tuning. The Solaris feels more spacious to my ears, giving a slightly better sense of resolution due to the clearer air around each note.

Treble is a battle of BA vs DD, with the Atlas tuning showing decent crispness and extension, with a nice sharp edge around notes that helps cut though the thickness below. The Solaris have a more organic and airier tonality, with a more expansive presentation and a dash of sparkle that makes them pop a little more than the more earthy sounding Atlas. Clarity seems to be a little higher on the Solaris, the dual-BA and TAEC chamber technology providing a more crisply resolving sound in the ear. The additional space and headroom around the treble notes again allows for a little more of the subtle micro-detailing to come through in well recorded tracks, things like scuffs on guitar frets and more distant room noises throwing themselves into sharper relief in the ear.

In terms of separation and layering, the Solaris has a clear edge here. The Atlas has TOTL DD credentials, and backs this up with some excellent technicalities, but the Solaris just has slightly more space around each note and a dash more crispness in the presentation that marks it out as a slight notch up in this regard. As far as power requirements go, the Solaris is the more sensitive of these two IEMs, requiring less juice to drive to a similar sort of volume.

These aren’t two completely different monitors in terms of overall tuning, rather they are two ends of the same spectrum. Both have a great musical / natural tonality, with decent to excellent technical prowess and a killer sub bass. The Atlas takes the warmer, bassier road, excelling with tracks requiring lots of low end or punchier rock tracks. The Solaris puts its efforts into turning your head into a well damped speaker listening room, playing with clarity and emotion across all genres and drawing you into its own little “cone of music”. The Atlas has been my daily driver since I got it, and for day to day use on public transport etc or when I just want to rock out with some high tempo beats, the additional bass and thickness is preferable. When I am at home or at my desk, the Solaris has now supplanted it in my personal music listening, which is no mean feat. Both are excellent, and both have an equal place in my collection – if you are after the absolute best in terms of imaging and resolution, the Solaris would be my suggestion out of the two, but if you need something almost on the same level but with a healthy dollop more bass, the Atlas won’t steer you far wrong either.

Overall thoughts
The Solaris is an impressive culmination of the last few years for Campfire Audio, taking the building blocks of the earlier models in their dynamic driver and balanced armature designs and slotting it all together into a remarkably coherent and compelling sound. There is a balance that provides musicality without more than a hint of colouration, giving a transparent window into the sound that feels more like a live gig or a good speaker setup at times with the right track. It’s no exaggeration to say I’m a huge fan of Campfire Audio gear, so please bear that in mid when reading these comments, but it’s also no exaggeration to say that for me this is the best IEM that Ken has made to date. It lacks the raw visceral impact and rampaging sense of fun that characterises the Atlas, but it replaces it with a lifelike and beautifully rendered sonic landscape, placing instruments and voices around with such realism that you forget you are listening to an IEM and just think about listening to the music instead.

The Solaris have only just missed out on a 5-star rating across the board due to the slightly fiddly fit with certain tips, but as always, a quick reality check: these IEMs are not the second coming of whichever deity you worship, they are not the best thing that will ever be heard by everyone ever (and in some cases probably won’t even be in some people’s top five, depending on preference). They should appeal to a pretty broad slice of the audiophile market with a tuning that is suitably all-round, but could be described as bass-light by Atlas fans and not trebly enough by people expecting a carbon copy of the Andromeda. They might not play well with some pop music, and certainly aren’t forgiving of badly mastered recordings. All of these things are true, but what is also true is that these are a rare blend of technical capability and a natural musicality that the entire team at Campfire Audio can (and should) be proud of. If you get the chance to hear these IEMs at a Canjam or local audio retailer, please do your ears a favour and do so – they might just be the answer to the questions you never know you had about how good audio can be with the right gear. As always from the Portland manufacturer, "Nicely Done".

This review was originally posted on my blog, and is now being reposted here for the good folks on Head-Fi.

Price: $1299

Website: Campfire Audio

Introduction and acknowledgement
For most audiophiles following the current in-ear monitor scene, the brand Campfire Audio should require no introduction. The Portland outfit sprang out of owner Ken Ball’s ALO Audio brand a few years ago, and have slowly but surely carved themselves out a sizeable chunk of the mid to high end IEM market with some stellar models like the Andromeda, Jupiter and Vega, along with some more budget friendly gear like the Orion and the new Comet. Campfire seem oblivious to the driver wars going on around them, concentrating on producing beautifully tuned models with unusual industrial designs, usually at pretty decent prices.

The Atlas is the latest IEM in their dynamic driver range, and replaces the previous DD flagship the Vega, using the same amorphous diamond-like carbon (ADLC) driver technology, but with a slightly larger 10mm diameter. The ADLC diaphragm is ultra-stiff, allowing for extremely fine control and dynamic shifts. It is also very low yielding and difficult to manufacture (i.e. a lot gets left on the factory floor from each production run), hence the rather chunky $1299 price tag. As I have had the privilege of reviewing quite a few of the Campfire range to date, when I heard there was a successor to the Vega in the pipeline I dropped Ken Ball a note asking if I could get a chance to hear it, and he very kindly sent me out a review unit. The unit does not need to be returned.

As with all my reviews, the views expressed below are 100% my own, and I have received no incentives (financial or otherwise) for any positive or negative comments. It’s also only fair to warn you that the bassier Campfire “house sound” that has been evolving with the last few models fits pretty much perfectly into my ideal tuning bracket, so please bear that in mind when reading the review.



Unboxing and aesthetics
[Please note – the Atlas comes in the same Campfire packaging as the rest of the CA IEM range, so parts of this section have been lifted directly from previous reviews and amended as neccessary- feel free to move on to the sound section if you have already read this!]

The Atlas follows the usual Campfire Audio presentation style, coming in a small box just marginally bigger than the hard leather carry case it contains. This time, the box is a mustard colour, with green constellations patterned on the outside and a nice picture of the IEMs on the front on a blue and sliver sticker. There is also a brief description of the technology inside and the Campfire branding, but no major graphs or specifications. The box opens up to show a nice shiny black leather carry case inside, with the usual Campfire Audio embossed logo and zippered closure. Removing the carry case, there is a false floor on the box, underneath which the various loadout of eartips (foam, silicon and Final E-tips in various sizes) and a Campfire Audio pin are nestled, along with a cleaning tool, warranty card and small booklet with more technical information on your purchase and instructions on how to use them for those people unfamiliar with operating high tech ear-gear. Opening the carry case completes the gear list, containing the IEMs and a twisted silver litz cable, some Velcro cable ties and two small velour bags to keep the heads of the IEMs from clunking into each other when they are stored, all nestled in the dark pseudo-wool interior of the case.

The accessory package is simple but comprehensive, with the beautifully designed and now iconic carry case and the well thought out cable and tip selection giving a premium feel to proceedings, proving that you don’t need to inundate the buyer with technical data or hundreds of add-ons in order to give a high-end unboxing experience. The small footprint of the outer packaging also has more practical use, as it makes it far easier to store than the usual foam filled presentation boxes you tend to get with other IEMs in this sort of price bracket. Overall, nothing spectacular, but certainly stylish enough for this sort of price bracket.



Build and ergonomics
The two most recent IEM releases from Campfire Audio mark another change in the design aesthetic, moving away from the smooth LiquidMetal housings that came with the Vega, Lyra and Dorado to something similarly sized but this time made out of drop-forged polished stainless steel. When the IEMs first hit the ground, there were a fair few memes doing the rounds about the choice of shape – the Atlas resembles the barrel of a tubby raygun from 80s era sci-fi (think Buck Rogers meets Star Trek), with an octagonal shape for the main body of the IEM that tapers down to a rounded cone at the front, finished off with a solid metal grille at the end that wouldn’t look out of place as a miniature drain grating.

The description doesn’t sound great, but the Atlas look a lot better than they describe, the engraved CA logo on the corner joints and mirrored surface giving more of an air of ear jewellery than a serious audiophile purchase. This is complemented by the pure silver cable, which is braided in a twisted design this time (another departure from the usual ALO SPC litz design that accompanied previous models). As the Atlas shells are uniform and designed for wearing down (although they can be worn over-ear if desired), the cable doesn’t come with any memory wire or preformed ear guides, dropping nicely over the ear if you do wear it up and behaving if you wear in the more traditional manner.

With regards to ergonomics, the Atlas is a fairly heavy IEM in the ear, so requires a solid sealing set of tips to keep in place if you do wear it down. I have extremely large ear canals (occasionally mistaken for soup bowls or cave entrances) so I’m probably not a “normal” example, but I found that it was difficult to maintain a seal for more than 20 minutes or so with the provided silicon or Final Audio tips for more than about 20 minutes or so without readjusting, which may prove to be an irritation for some. The marshmallow foams do alleviate this problem by “locking” the Atlas more tightly into your ears, so would be my favoured tip out of the stock options for long term wear (please see the “Tip Choices” section towards the bottom of this review for more details).

The cable itself is a thing of beauty, with a luminescent sheen and superb ergonomics, with not a shred of cable memory. Much like the litz cable was an advancement of the original ALO tinsel cables, I think this new twisted design is another step up in both looks and ergonomics, so I very much hope this becomes the new standard going forwards. As with all Campfire cabling, the connectors are beryllium-copper hybrid for enhanced durability, and the jack is covered in a chunky overmoulded right-angled connector (3.5mm as standard).

Overall, the build is impressive both in looks and feel, but the fit may not be universally liked – I suspect Campfire are already pretty comfortable with that, given the polarising fit of their first ever shell design on the Andromeda. I personally have no issues with it, and find the IEM design both striking and comfortable to wear with the right tips, but as always, YMMV.

(new twisted cable is on top of the below picture)



Initial impressions on sound
I normally start this section with a quick description of the defining points of the sound signature of whatever I’m listening to. Rather than start with the usual bass/mids/treble, I’m going to start with size. Atlas is a big sounding IEM. Not so much big in the HD800 / “dear lord, will this soundstage ever end?” way, more in the “why is the giant from Jack and the Beanstalk sitting in the middle of my head playing an enormous guitar, and where has his beanstalk gone?” type of way. It feels like using the ubiquitous iDevice/Android “pinch to zoom” function and just blowing the proportion of everything in front of your face up to a bigger scale, while somehow keeping everything visible in the sonic landscape at the same time. This is an in-ear monitor that has aspirations of being a floor-standing speaker. It wants you to physically feel the music around you, dropping you into the middle of a sea of audio and letting the sound fully immerse you.

I’ll expand more on that below, but for now, just rest assured in the knowledge that this small steel earspeaker is no shrinking violet. Atlas was known for taking the weight of the world on his mythical shoulders, and it seems quite fitting Ken Ball & Co have given this soubriquet to an IEM which produces a weight and size of sound almost as mythical.

As far as more mundane aspects like tuning go, the Atlas is a tricky beast to categorise. There is some serious bass presence to contend with, keeping (and in some cases improving) the low end impact and prowess from the other ADLC driver in the current CA range, the Vega. When there is bass present on a song, the Atlas throws it out in serious quantity, balancing the mid and sub bass frequencies nicely to give a quantity that is quite frankly huge without overcooking it with the classic mid bass hump. It also extends lower than a certain international statesman’s toupee glue, holding strong into true sub bass rumble and shudder. This gives the Atlas an enviable sense of physical impact and “slam”, the single DD moving some serious amounts of air in and out of the ear canal at pretty short notice. It produces a sound you think you can feel in the top of your chest, not just your ears, bringing that “live” vibe you experience when some huge stage-side amp stack kicks into life and you feel the bass and drums rattling your ribcage (disclaimers apply – this is a tiny 10mm speaker, so it doesn’t actually cause any chest palpitations).

Conversely, when a track is mastered without much low end, the Atlas doesn’t artificially boost the elements that are there, receding into the background and allowing the tracks room to breathe without adding any unwanted omnibass to the mix. It’s a nice mix of stealth and savagery, accentuating rather than overpowering whatever is supposed to be there, rather than adding its own interpretation of what is supposed to be present.

While bass will be the first talking point for many people, the Atlas is actually a pretty well balanced signature. Like all the Campfire models I’ve heard so far, it aims for musical rather than neutral, so this isn’t a sound that is ruler flat. In fact, I find it difficult to categorise the shape of the sound, as it changes with the mastering of each track. With tracks holding a lot of bass, it can tend to a gentle L or tilted U shape, but with tracks with plenty of mids and treble in the mix as well it’s probably more of a W-shape, with all three elements of the sound feeling neatly balanced, but holding some strategic peaks and valleys in the frequency response.



Mids are beautifully smooth and weighty, carrying plenty of texture and detail. They aren’t overshadowed by the bass, keeping a clean distinction and transition between the two ranges irrespective of the amount of low end being pumped out. Note size is large, building a picture of big guitars and life sized vocals in the minds eye. Stage positioning is a touch forward, but not “leaning over the stage” close, putting the listener around the first or second row when listening to guitar, piano and vocal lines.

Guitars are very well catered for on the Atlas, carrying plenty of edge and bite around the edges, wrapped around a dense and meaty core to the sound. Listening to heavy rock is a foot stomping experience, something like “Legion Of Monsters” by Disturbed landing riff after riff on the inner ear with the sort of power and precision Iron Mike Tyson used to use in his prime, with a comparable sense of menace and raw aggression. These babies chug with the best of them.

Switching up to something a little more mellow, artists like Chris Stapleton and Elvis sound gloriously three dimensional and emotive. There is plenty of fine detail and nuance in the Atlas vocal delivery, allowing the listener to form a mental picture of the singer and how their lips are moving on more well recorded tracks. There is a richness to the tone through the midrange that adds a dose of realism to both male and female vocals, without sacrificing detail for body.

Brass instruments also fare particularly well, the reeds of a saxophones or some good honky tonk horns coming alive in the ear. This isn’t a resolution monster of an IEM compared to some other TOTL models I’ve had like the Zeus-XR, but there is a palpable sense of detail and clarity that marks the Atlas out as a top-tier competitor. It never feels muddy or clouded, given the bass presence – despite throwing a large mental image, the staging and separation isn’t huge, however, with the different instrumentation being clearly defined but not enormous distances apart.



The treble is the biggest deviation from the previous template laid out by its Vegan predecessor. It feels less peaky than the Vega, with a more linear extension. It also feels crisp without feeling spiky, carrying a little splash of the treble presentation of its other flagship sibling the Andromeda without directly mimicking the BA model. It is an important differentiator, as it helps cut through the heavier traffic beneath it and “air out” the chunkier sound, adding a delicacy and dash of sparkle to the otherwise heavyweight signature.

This is all achieved without any notable harshness – you are more likely to come across Ghandi going full Tyler Durden on Mother Theresa in an underground fight club than you are to find any offensive peaks in the sound here. “My Kind Of Love” by Emile Sande is mastered hotter in the vocal ranges than a Death Valley summer, but the Atlas keeps an admirable control on the harsher elements without neutering the heart of the track. Hi-hats sound metallic and crisp, shimmering naturally as they decay. Synths sound clear and fresh, something like “Go” by The Chemical Brothers sounding both propulsive in the low end and delicate in the floating keyboard accents that pepper the chorus.

A common theme of the early impressions noted so far is that the Atlas is something of an AndroVega, mashing together the best bits of both previous flagships. To those who are looking for that exact merger, I’d contend that the Atlas shares elements of the Andromeda approach and ethos when it comes to presenting the high frequencies, but it isn’t a direct copy and paste, so it is definitely a different take on things. It doesn’t have the effortless sense of sparkle and space that the Andro manage to pull off, but does add a more welcome sense of air and crispness without the slightly more aggressive nature of the Vega. Given the rest of the tuning, I don’t think it’s a bad thing, and the Atlas definitely improves on the Vega tuning in this regard, in both overall treble presentation and fine detail, but keeps the signature coherent and true to the thick and large signature I think they are shooting for.



Bass
Digging into the first of the frequency ranges in more detail, we come to the bass. This is a subject area you could probably write a thesis on, as it is both the most immediately impressive element of the tuning and also one of the best executed. Big, bold and brassier than a sackful of kitchen fittings, the Atlas bass hits you the moment you put on a track with any serious low end presence.

On first listen, it can get a bit overwhelming, filling the soundscape with a massive sense of weight and presence. It takes the brain a little time to get used to the sheer volume of air being moved, and allow it not to dominate proceedings. Once you “snap in”, it becomes apparent that no matter how big the bassline, it still manages not to obscure the midrange detail. I’m neither a believer or disbeliever of burn in, but I did believe that these are an IEM you need time to mentally adjust to before you can fully appreciate the finer nuances of their sound. They feel similar to the Cascade in that regard, taking a little time to get to know you before showing you where all the detail is hiding.

In terms of extension, the Atlas drop even deeper than Kanye West’s epic reservoir of self belief, kicking out some impressive levels of sub bass. This is bass that vibrates in the neck and shoulders, not just the ears. Starting with “Say Something” by Timberlake and Stapleton, the bottomless “whoomp” that punctuates the track periodically stays low and full, giving a physical texture to the air in the bottom of the stage that almost recreates a club PA system, delivering palpable vibration on tap, and fading out just as quickly when not required.

It’s the control and texture the sub bass takes on that really pushes the Atlas into the top tier, marrying top notch detail with a big slab of decibels to give a performance that feels equal parts brutality and finesse. Switching to “Heaven” by Emile Sande, the thrum in the ears is palpable and loud but still in keeping with the vibe of the track, allowing Sande’s crystal clear vocal delivery to cut through all the vibration with ease.

Balance between mid and sub bass is nicely done, with a reasonably linear extension up through the frequencies. With tracks mastered with plenty of mid bass, the Atlas is still capable of inducing an ice cream headache with the best of them, but it generally stays pretty well behaved. “Get Lucky” by Daft Punk comes through with plenty of punch in the bass and a well rounded feel to the slinky bassline. It drops low, and keeps a clear differentiation between the bass notes, which can tend towards blurriness on more “consumer” style basshead monitors.

“Bad Rain” by Slash sounds like it was mastered with the Atlas in mind. The opening kick drum sounds physically imposing, and slams with authority into your ears, flexing the eardrum in and out in time with the beat like an inbuilt cranial drumhead. The signature bass riff that kicks in at the 23 second mark practically growls, feeling big and thick but conveying a huge amount of texture at the same time. The size of the notes is apparent here, with the bass just sounding “bigger” in the head than other monitors I have heard.

In terms of liquidity, the Atlas bass is fairly smooth, but not 100% viscous. It has an organic texture, with plenty of agility and control thanks to the diamond-coated driver, but just lingering in the ears long enough not to sound too clinical or sterile. The bass fills the stage with size, but remains muscular and solid rather than oozing into the far corners. “You’ve Lost That Loving Feeling” from the Elvis album with the Royal Philharmonic has a solid mid bass presence to the track, and the Atlas reproduces the drum head impacts and the memorable bassline with a sense of subdued physicality that draws you into the track.

Now to the sobering thought – yes, this is bass of the absolute highest quality, but if you dislike frequencies below 150Hz in your musical universe, these IEMs won’t be for you. There is no getting around the fact that these drivers produce ear-shaking low end. They do it without drowning the sound (which is impressive enough in its own right), and once you have adjusted, it will probably leave your other earphones sounding anaemic and weak, but if you are a dyed-in-the-wool HD800 or Ety enthusiast, your preferences will probably be met elsewhere. For everyone else who likes a bit of meat on their musical bones, the Atlas has got you covered.



Mids
When an IEM is tuned with a gargantuan low end, it is usually the midrange that is the first thing to suffer, drowning in a swamp of marshy midbass. Not so with the Atlas. Despite the tendency towards a more L-shaped tuning on more bass heavy tracks, the vocals and midrange instruments have no problem cutting through the foundation below and carving themselves some room to breathe. Voices sound just a little more forward than neutral, and have plenty of clarity, sitting above the beefy sound beneath without any hint of masking or veil.

Listening to “Whiskey And You” by Chris Stapleton is a buttery smooth experience, Stapleton’s seasoned gruffness taking on a velvety but substantial persona, carrying genuine heft both physically and emotionally. This track has a notoriously jagged and shrill chorus (I suspect it was mastered in a cement mixer full of broken glass by a deaf person), but the Atlas handles it smoothly, the extra weight from the bass and lower mids filling in some of the rawness in the singers voice without losing the texture. My other tester for vocal harshness and sibilance is “Starlight” by Slash and Myles Kennedy, with its soaring vocal. The Atlas handles Kennedy’s falsetto with aplomb, capturing the breathy intonations of the early verses and staying crisp but still easy on the ear as the singer winds up into the higher octaves. The Atlas won’t smooth out the raw detail in a track, but it does have a way of presenting it that errs towards smooth and musical rather than raw and spiky.

Guitars are thick and chunky, the all round weight of the lower mids and upper bass filling the core of the notes with a sonic lead, anchoring the sound and giving it serious substance. The speed and responsiveness of the driver saves it from being sludgy or syrupy in presentation, handling the furious riffing of SOAD just a easily as the more sedate chugging of someone like Slash or Halestorm. This is a headphone that will excel with almost all types of rock and metal music, adding that head banging loudness to the mix that you only get in a live concert without losing any of the speed or precision. There is a crispness to the edges of riffs that adds crunch to the sound, backed up by the bone crushing weight behind it to give the best of both worlds.

As an example, “Chop Suey” by System Of A Down fairly batters along into the eardrum, the opening bouzouki-style guitar jangling giving way to pounding drums and elephantine riffs, peppered with the occasional acoustic guitar floating around in the periphery. Despite the thickness of the sound, vocals again cut through clearly, standing separate from the wall of noise without feeling detached from it (noticing a common theme here?).

Switching down a gear, “All Around The World” by TajMo’ is a good tester for mid range congestion, the excellent recording and multi layered sound stacking horns, acoustic and electric guitar and two of the most recognisable voices in modern blues over an upbeat Lionel Richie-esque backing. The Atlas keeps all the individual parts comfortably separate, but gives them all enough solidity to sound “real” in the ear. These aren’t the most accurate IEM in terms of timbre, with a slightly stylised approach to its presentation, but that omnipresent weight across the spectrum evokes the feeling of listening to a real instrument. It’s an interesting effect, and has become quite addictive over the two or so months I’ve had the Atlas.

Listening for some other midrange instruments, piano sounds particularly deep and resonant, adding a sense of emotion to more subdued recordings. String instruments are similarly well looked after, sounding rich and textured on tracks like “Palladio” by Escala. The slightly forward nature of the tuning brings the instrumentation a little closer to the listener, lending a more intimate sheen to the sound. This is backed up with some top-notch detail retrieval. The 10mm driver in the Atlas manages to capture the faint scuff of fingers on frets and the creak of seats in the studio as well as the main tones and textures in the sound. The resolution through the mids is actually pretty impressive, and while being slightly overshadowed by the warmth and bassiness of the overall sound when you initially hear it, should not be underestimated.

I think this is an area that has definitely been tweaked over their previous DD flagship, levelling out the sound a little and bringing things together with a splash more balance. Again, these aren’t neutral or uncoloured mids by any stretch of the imagination, but the tone and weight sit perfectly on top of the thunderous bass foundation underneath to build a very compelling presentation.



Treble
This is the area that has improved most for me over the Vega, with the spike in the highs which gave the Vega its crunch moving down a few kHz into the midrange and leaving a more linear and extended feel to the treble in the upper reaches. There is a clearer sense of space and presence in the upper end, the sound relaxing outwards and upwards in comparison to its younger sibling.

It isn’t the most sparkly or glittering treble you will find in this rarefied pricing bracket, but there is a pleasing lightness and crunch to the edge of notes that pulls them clear of the main body underneath. It evokes memories of the Andromeda in the way it seems to take the roof off the sound, giving the presentation plenty of vertical headroom. The easiest way of describing it is like being in the front row of a rock gig, but instead of being in a small venue (Vega), you feel more like you are standing in a amphitheatre or a festival field.

This additional sense of air helps the Atlas sound more balanced overall, leavening the weightier elements underneath with a splash of lightness. Something like “St Elmo’s Fire” by John Parr benefits from this deftness of touch, with the hihat feeling crisp, and the upper edges of the synth and piano hanging in the topmost reaches of the soundstage rather than feeling pinned to the sounds beneath.

Another area of difference is the lack of perceived harshness compared to the Vega. I personally never found the Vega harsh, but some people reported a little sibilance in their own problem ranges. The Atlas is an altogether more even affair, giving crispness without glare right across the board. Throwing “Starlight” by Slash at the ADLC drivers, they chew up the angular dissonance of the harmonic-laden intro bars and pour it back into the ear like honey. This isn’t done by smoothing off the edges – each note still has bite and angularity, but it has enough body and roundness to avoid feel scratchy or irritating.

Cymbals are crisp but not overly emphatic in the soundscape, hitting with a satisfying tsssk but deadening quite quickly rather than splashing around. “Go” by The Chemical Brothers is propelled along nicely by the hi-hat rhythm, blending well with the swelling synth in the chorus and opening the otherwise bass-driven track up a little.

Overall, the treble is well judged and balanced the heavier aspects of the tuning out well. It isn’t the sparkliest or hottest treble you will ever hear, but it is a marked improvement over the previous DD models for my tastes, adding a little more breathing room and shimmer to the sound and making perfect sense for the overall tone Ken & Co seem to be aiming for.

Tip dependency

Like the other new model in the lineup (the Comet), the Atlas can be quite a tip dependent IEM. It is bigger and heavier in the ear than the slimline Comet, and requires a better seal to get a stable fit in my larger than average ears. Like the Comet, it is also designed to be worn down, and while it can be worn up, I found the best fit from an ergonomic and insertion depth perspective was definitely found when wearing in the more “conventional” manner. The provided silver cable helps a lot here, as it doesn’t have any preformed or memory wire section, and the super-soft twisted braiding leads to almost no cable noise as it moves around.

The included tips all have their slight differences in terms of affecting the sound of the Atlas. The CA Marshmallow tips have the best seal, and keep the Atlas firmly in place. These are the bassiest tips I have heard on the Atlas, so depending on your preferences they may be your go to or not – unlike Comply, they don’t overly deaden the highs, but the extra isolation can make the bass feel a little more pronounced.

The Campfire silicon didn’t give a great seal or comfort for me, so my preferred choice out of all the enclosed tip choices is actually the Final Audio E-series tips. They fit and seal a little better than the stock silicon, and hold the Atlas a little more firmly in place, requiring less adjustment. Due to the heaviness of the housing and the way it sits in my cavernous ears, a little occasional readjustment when not using the foamies was usually required if moving around – I do have huge ear canals, however, so this may not be the case for all users.

The actual sound of the E-series tips balances the sound of the Atlas a little, giving the mids a little more prominence and taking a little off the bass. It doesn’t drastically alter the base tuning, so the effect is subtle, but if you are having issues with the bass levels being put out by the 10mm ADLC driver then these tips may be a good bet.

For me personally, I have found that the best tip in terms of both balance and ergonomics is actually a custom tip I had made a while from the Polish CIEM manufacturer Custom Art. They are made out of silicone and moulded to the shape of my ear canal, so help “lock” the Atlas firmly in place for extended listening sessions without requiring any further readjustments, and also provide a great sound without affecting the airiness or sparkle of the treble in any way.

I believe that Ken and crew are shortly looking at launching their own custom tip solution, so this may become an option straight out of the box for Atlas users in future, but if you have access to a custom fit solution then I suggest the Atlas are a perfect candidate. It is difficult to overstate how much easier and more comfortable they make this particular IEM – ironically, they don’t actually work so well with the more “usual” CIEM type over-ear design, as it tends to hold the shell a little out from my ears, but the small design of both the Comet and Atlas from the new CA range seems almost purpose built for these tips, so hopefully the Campfire in-house solution will work even better. Long story short – if you are intending to buy the Atlas, custom tips are seriously worth investing in to maximise the potential of this fantastic sounding IEM.



Separation, soundstage and layering
The Atlas soundstage is somewhat of a curate’s egg, not possessing tremendous width or height in real terms, but managing to fill up the available dimensions with a sound that just feels bigger than other IEMs I have with a similar X and Y dispersion. Depth is a different matter, with the CA flagship throwing a deep stage from front to back. This allows for excellent layering on multi tracked recordings, the Atlas deftly setting out its stage in 3D space to allow the listener to move between the instruments and feel the gaps between the performers.

Separation is predictably good, despite the thickness of the sound. The acoustic guitar lick that kicks in around the 20 second mark of “Everybody Knows She’s Mine” by Blackberry Smoke stands out clearly against the backdrop of chugging country rock guitar going on underneath, allowing the listener to track both with ease. Despite the size and thickness of the sound, there is still plenty of room between each note, even the most frenetic of rock or electronic music never managing to make the Atlas sound congested or blurry to my ears. It definitely errs more towards the “wall of sound” type sensation on tracks with more stuff going on, but it’s the sort of wall where you can pick out the detailing on each brick as it hurtles towards you.



Power requirements and source matching
This isn’t a difficult IEM to drive. It’s a little thirstier than things like the Andromeda, but it is still easy enough to get deafness inducing volume out of a humble mobile phone or entry level DAP, so amping isn’t an absolute requirement. That being said, the ADLC dynamic driver does like a bit of power, and will soak up output from portable amps and desktop based solutions with absolutely no issues. To get the best out of the Atlas in terms of dynamics, you will probably want to run them with a source capable of some decent output power, or pair with an amp that can deliver a good voltage swing.
Likewise with sources, the Atlas sounds good out of most things, but feed it through something like the desktop CMA400i amp/DAC from Questyle or the ZX300 from Sony and it will take advantage of the extra resolution and control. As with power, it doesn’t absolutely NEED a top line source to sound great, but it will reward you with greater detail and dynamism of you feed it the right diet.

From my personal observations, my favourite sources are actually the humble Shanling M0 (either in high gain if I want a crunchier edge to the sound or fed through the ALO CV5 if I want something a tad warmer and more organic) and the CMA400i. The Andromeda pairs beautifully with the amp tech used by Questyle, and it’s tubbier DD brother makes similarly good use of the output, throwing a sound that is thickly musical but still clear as a bell when it comes to detail. It achieves detail without sharpening or digitising the sound, feeding into the strengths of the Atlas to bring more nuance and passages of light and shade into the presentation without losing the raw power or smoothness.

Comparisons
Rhapsodio Zombie
The Zombie is a 9-driver hybrid IEM from the Hong Kong manufacturer Rhapsodio, and retails at around $1699 at time of writing. It is positioned as one of their flagship models, and by far the bassiest in the Rhapsodio range, so should offer a good comparison.

Starting with bass, “Heaven” by Emile Sande puts out a sub-bass rumble that is equal or bigger than the impressive Atlas low end. What it edges in quantity, it loses out in overall texture and tone, however, with the bass coming across as far crisper on the Atlas. There is far less bass bleed, and more clarity, the bass hitting with a little more punch in the Campfire model. The bass on the Zombie is more heavy feeling but slower and more diffuse in presentation, giving a wetter and more enveloping sensation. As mentioned, I did experience some bass bleed with the Zombie into the lower mids, having a tendency to slightly overpower tracks with minimal bass in mix.

Moving up to the midrange, the Atlas presents vocals with a more forward stage position and and a splash more air. The Zombie sounds warmer in tone (mainly due to the bass) but loses a bit of perceived clarity as a result, feeling slightly veiled on male and female vocals in direct comparison to the Atlas.

Feeding both IEMs some more rock music, “Legion Of Monsters” by Disturbed is up next. David Draiman’s vocals feel slightly harsher and grittier on the Zombie, ringing a little smoother on the Atlas. Despite that, the Atlas still wins for me in detail retrieval, bringing more macro and micro detail into the sound, and giving a more emotional feel as a result.

Heavy guitars have a meaty feel to them, blending together into one crunchy wall of sound on the Zombie. In comparison, the Atlas has more dynamic thrust in the track, with a heavy but more crisply defined guitar riff driving the track, with the edges of the notes more clearly defined.

In the highs, the Zombie has less presence than the Atlas, giving a more L-shaped tuning. Despite the high BA count, there is less feel of air and sharpness on the Zombie. In terms of staging, the instrumentation actually feels smaller on the Rhapsodio, although soundstage is fairly similar in dimension.

Packaging is good on Zombie, but not quite at the level of the Atlas. Cable is a sturdy copper aftermarket cable from Rhapsodio’s own range, of high quality fit and finish. It isn’t as flexible or ergonomic as the thinner and slightly nicer looking CA silver cable, but it certainly isn’t a standard Plastics One effort either. Accessories feel slightly higher grade on the Campfire, despite the fact the Zombie is actually the more expensive monitor by a few hundred dollars.

Build quality and finish is high on the Zombie, but the large shell shape and shallow nozzle doesn’t work well with my ears, meaning I only get a good seal with foamies. Atlas also has mild fit issues for me unless used with custom tips due to large size of my ear cavity, so it’s roughly similar here – the shape of your ear canal will most likely determine which IEM you get on better with.

Overall winner – Atlas by an easy margin. It gives a more refined and detailed sound than the Zombie, with a bigger sonic image and a more balanced feel to the huge bass on display. The Zombie feels like an “almost” IEM – if Sammy at Rhapsodio has managed to get the 8 BAs use to cut through the bassy fog and let a little more air and detail into the sound, it may have been a contender, but as is, the Atlas is an easy recommendation for me personally.



Campfire Audio Vega
The Vega was the former DD top dog in the Campfire lineup, sporting a liquid metal body and a smaller 8.5mm ADLC driver. The Atlas has since taken it place (and its pricetag), knocking the Vega down a couple of hundred dollars in the process to around $1000 at time of writing.

Starting with ergonomics, the Vega is smaller, lighter and has a more conventional over-ear fit. The Atlas is more isolating with a good seal, however, with a bigger all-metal body which blocks more of the ear canal. Personally, I prefer the build of the Atlas in terms of materials and shape, but the lightness of the Vega in terms of long term wearing comfort. The cable is far more manageable on the Atlas with the change in braiding, too.
Power-wise, the Vega is harder to driver (8-9 notches on high gain single ended on ZX300), which was surprising. Once driven to the same volume, the main difference that becomes apparent in the two sound signatures is in the midrange. The vocals and midrange instrumentation feels slightly less emphasised on the Vega, sitting further back on the stage. It’s a matter of a few imaginary feet in the in-ear soundstage rather than a huge distance, but it is noticeable.

Detail and texture in the low end is roughly equal, with both exhibiting top tier bass in quantity, quality, detail and texture. Slam is the same for both models, with the Atlas just shading it for my, most probably by virtue of the slightly larger driver being used. Sub bass feels a little more clearly defined on the Atlas, and has a cleaner definition between bass and mids overall.

Micro details are a shade easier to pick out on the Atlas, due to the slightly more forward emphasis in the mids and the more linear and extended treble. Both resolve well when driven with a quality source, but again, the Atlas feels marginally crisper.

In terms of midrange tone, there is a slightly crunchier feel to the Atlas, despite the more prominent high mid/low treble spike on the Vega. Listening to “GRITS” by Brantley Gilbert sounds slightly warmer on the Vega as a result, but has a finer texture with the peripheral acoustic guitar notes on the Atlas, with the Vega sounding a little more laid back and romantic in comparison. The edges of the vocals just feel a tad more easy to identify with the newer model. Playing something like “Drinking From The Bottle” by Calvin Harris and Tinie Tempah, the opening synth and vocal lines are more precise and sound clearer on the Atlas. The track feels less warm and more balanced, with a bigger sound. The swirling synth on this track and “Go” by The Chemical Brothers is cleaner and airier on the Atlas, with more sparkle. Overall, the Atlas treble is less abrasive, and feels more linear as it extends upwards. It has a higher ceiling, and sounds more natural than the more pointed treble in the previous model.

Stage-wise, the sonic image and instrument size is bigger on the Atlas – it is an improvement rather than a complete redesign of the presentation, but it is noticeable. The actual size of the stage is similar on both IEMs, but despite the bigger note size, the Atlas doesn’t feel congested or closed in, so is comfortably better than the Vega here.

Overall, the Atlas is an evolution of the sound, rather than a complete quantum shift or drastic improvement. It “fixes” a few things that people have mentioned in the previous model (the c. 6kHz spike for one), and added a little more balance and size to the sound without losing the unique energy and dynamism. They are almost two different flavours of the same basic sound profile, so I can imagine that some people will prefer the Vega, either for the fit or for the more pronounced treble peak and more “fizzing” sound. If you get the chance, audition both to see which fits you best in terms of preference – for me, I prefer the Atlas as I feel it takes what I loved about the Vega’s unique signature and takes it up another small notch, refining the “audiophile basshead” tuning of these two models to something approaching perfection.



Final thoughts
The Atlas has been a bit of a watershed IEM for me, helping me complete my journey in this hobby from basshead-in-denial with my Aurisonics ASG-2.5, through the “classic” audiophile appreciation of things like the EE Zeus and CA Andromeda and back to a more mature presentation with plenty of low end. The sound is rich, thick and deliciously musical, and sounds like very little else currently on the market. It is unashamedly coloured, but not so much that it distorts the underlying feel of the music or adds anything that isn’t already there. It is a distillation of the evolving Campfire Audio “house sound”, proving that bass isn’t the enemy of detail or a true audiophile experience, throwing a huge sound into your brain that you can’t help but be swept along by. For most people reading this, listening to music is a hobby and a pleasure, and the Atlas concentrates on the latter phrase, making listening to even the most laid back of tunes a genuine joy.

To add a dash of perspective, this isn’t a perfect IEM (either in tuning or design), so it won’t be the endgame for everyone or as universally acclaimed as the Andromeda. The fit can be a little problematic for extended listening sessions, it requires careful tip matching to get the best sound and it will just flat out have too much bass for some. While it shares the same DNA as the Cascade over-ears in this regards, it lacks the wider range of tuning abilities that the Cascade sports, so this is less easy to alleviate if you do want to lay off the low end a little. All the above being said, this IEM is pretty much perfect for me, and has become my daily go-to IEM for listening to my music out of all the IEMs in my collection. There is just something about the soul and physicality that it imparts to my favourite tracks that can’t quite be matched by the other gear I currently have (apart from the Cascade), making it uniquely enjoyable as a result. If you are considering a foray into TOTL sound and like a bit of meat on your musical bones, the Atlas is definitely something you should be considering.

Price: $799

Product site: https://campfireaudio.com/shop/cascade/

Acknowledgement


These headphones have been provided to me by Campfire Audio for the purposes of this review, along with their SXC8 4.4mm balanced cable. There is no incentive (financial or otherwise) for giving these headphones a positive review, and all the words and opinions expressed within are my own (no matter how misguided!), with no editorial input from Campfire Audio.

This review was originally posted on the UK based audio blog I contribute to (Audio Primate) and is being posted here for the benefit of any Head-Fi'er who may be interested.

About me:
I'm a fairly recent convert to audiophilia but a long time music fan, also aspiring to be a reasonably inept drummer in my spare time. I listen to at least 2 hours of music a day – generally prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. I have converted most of my library to FLAC or 320kbps MP3, and do my other listening other listening through Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body to it. My ideal tuning for most IEMs and headphones tends towards a musical and slightly dark presentation, although I am not treble sensitive in general. Please take all views expressed in my posts with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story



Introduction
Campfire Audio are a brand that are quickly becoming one of the defacto “go to” manufacturers on the current audiophile scene for high end portable audio. Based out of Portland, Oregon (USA) and headed up by Ken Ball, this American audio powerhouse originally sprang from Ken’s other business selling high end audio components and amplification, ALO Audio. Despite the fact they have only been around for a couple of years, they have quickly slipped into the fabric of the audiophile upper echelons with releases like the Jupiter, Andromeda and Vega, utilising advanced tuning techniques in the IEM shells and unusual driver materials to keep the driver counts down while producing some of the most well regarded IEMs in the $1k bracket.

I first heard a Campfire Audio product when the Nova was made available on the group buying site Massdrop. As Campfire don’t currently have a UK distributor (at time of writing), the only way for me to hear their take on sound was to jump in with both feet and buy blind. To cut a long story short, while the Nova wasn’t my own personal endgame in terms of preferences, there was something in the skill of the tuning that very much appealed to my inner sensibilities, so I made it my goal to hear as many more of their lineup as I could, whenever the chance arose. Having since heard (and reviewed) their 2017 flagship models (the Andromeda and Vega) and loved both very different takes both IEMs produced, I was hugely intrigued to hear what Ken & Co could cook up with a 42mm over-ear driver, so I positively jumped at the opportunity to review these headphones once the chance came up.



Unboxing
Campfire Audio are becoming synonymous in their IEM range for the simple elegance and diminutive size of their packaging, and the Cascade certainly doesn’t veer far from that established blueprint here. The headphone is initially presented in a dark green cardboard box, with a grey constellation pattern meant to evoke the feeling of sitting around a campfire and staring into the stars (hence the name of the brand, or so the story goes). On the top face of the box is overlaid a classy grey and silver sticker with the name of the headphone and some basic information in shiny silver writing, set on a swirling grey background. It is simple but undeniably classy, with the front face of the box carrying more information including a picture of the headphones, the relevant certifications and a nice holographic Campfire Audio sticker verifying the serial number of the headphone. The rest of the box is bare, with just a couple of stick-drawing trees and a small Campfire Audio logo in gold breaking up the starry green and grey backdrop.

Opening the flip top lid of the box, you are presented with a large faux-leather headphone carrying case, in the same form as the iconic carry cases from their IEM range, including the faux-wool interior cushioning. Removing the carry case and opening it reveals the headphones themselves, along with two small black envelopes. Tipping out the contents onto the table will reveal the ALO Audio headphone cable that comes as stock, a small Campfire Audio pin, a warranty card, two sets of instruction manuals and some small acoustic tuning inserts.

The manuals for things like headphones are usually of the strikingly obvious variety, and don’t often offer much in the way of any useful insights. The main manual follows this format, providing some useful info on how to detach the earpads from their magnetic assembly, but otherwise sticking to the tried and tested format of “plug this in here and place on head”. The second manual is far more interesting, as it details the effects of the four different acoustic damping filters that are provided with the Cascade to tweak the tuning.

All in all, it’s a classy presentation, not overly ostentatious but definitely in keeping with the pricetag of the gear. It sets a good tone for the whole first listening experience, and as the headphones fold into the carry case, is actually not a horrific size in terms of the overall package when you actually have to store it on a shelf somewhere. Off to a good start.

Build quality and aesthetics
Taking the Cascade in hand, they are a sturdily built affair, sporting a solid aluminium frame with a padded headband and ultra-thick detachable earpads which are held on by a magnetic fastening system. The entire headphone feels sturdy and robust, even down to the metal extenders that move with a solid click as the extend and retract. Despite the all-metal build, the weight is pretty reasonable, and is well distributed across the head when worn. I have a head that is only marginally smaller than an elephant (or so I’ve been told), and occasionally I can feel a slight hotspot right in the middle of my skull after protracted periods of wear, but this isn’t a huge concern for me personally. Otherwise, the clamping force is firm but not overpowering, the swivelling earcups and plushness of the memory foam padding making for a very good seal and secure fit.

The pads click on and off easily, with a strong pulling force to keep them in place when they are on your ears. As mentioned, the foam filling is on the thick side, with a ergonomic wedge shape to the pads that is thicker at the back of the headphone, following the contour of the head. The size of the pads is on the smaller side of the circumaural scale, being only marginally bigger than the circumference of my ears. The softness means that this isn’t uncomfortable if your ears do touch the outside of the padding, but if you do have ears that wouldn’t look out of place on the front cover of the BFG, this will probably be a snug fit. The detachable pads also allow the user to fit one of the four included tuning filters into a specially designed gap between the driver and the pad, allowing some subtle fine tuning of the sound. The act of placing the micropore fabric over the driver vents is a delicate process for those with fat fingers, but they stay in place very well once you have the pads back in place, so isn’t an odious process to change whan you fancy a slightly different tang to the presentation.

The Cascade use the Sennheiser HD800 style of push.pull connectors, and these are angled out of the bottom of each earcup at 45 degrees. This allows for a nice solid cable connection, and naturally angles the cabling forwards so it lays more easily across the chest. The cable connectors and socket both look well machined and fairly robust, so should last through multiple connection and disconnection cycles. This is handy, as the cables need to be detached from the cups before being stowed in the carrying case. In conjunction with the hinges in the headband (just above the extender on both sides), this does allow the Cascade to pack down into a very compact shape for ease of transport in their case for taking on the bus/train/plane.

Finally, the included cable is a high-quality fabric sleeved cable from Campfire’s sister company ALO Audio, terminated in an angled 3.5mm connector. The cable is a silver-plated copper cable, and is very flexible, with practically no microphonics or memory effect. The grey sheathing is less “custom” looking compared to the exposed insulation of something like the SXC8, but it is still in keeping with the overall aesthetic, and the lightness and manageability of the cable go a long way towards making the portable experience more practical.

Overall, these headphones feel sturdy and beautifully put together, and sport an angular industrial design that doesn’t take up too much real estate on the skull. They look different (and not in a bad way), and pack down neatly and easily, giving the impression that they will survive a multitude of trips wherever you intend on taking them without the slightest hint of trouble. Like much of Campfire’s design work, they are definitely a bold design, but unless you really hate the industrial look they are going for, these tick all the major boxes for a top of the line headphone.



Initial impressions on the sound signature
The Cascade is unabashedly a Campfire Audio product in terms of the tuning, sharing a similar sonic slant to both the single DD in-ear monitors on their current range, the Lyra II and Vega. For the uninitiated, this means depth, a weight to the sound you usually only get from sitting in the front row at the World Anvil Dropping Championships and some world class musicality. While it has balance, this is not a headphone for the neutrality-lovers out there. It has bags of bass, a detailed and forward leaning midrange, and a decently crisp treble.

The first and most prominent frequency range is the bass, and it’s here that the Cascade takes full advantage of the Beryllium driver technology to present a sound that is big, bold and punchy. It had the same sort of presence as their flagship IEM the Vega, verging on basshead levels of quantity and slam. Straight out of the box, it occasionally approaches boominess with some poorly mastered tracks, but manages to keep enough of the beast in its cage to cruise just inside the lines. After 200 hours of use, the bass (or my ears) has tightened up, giving a superb sense of dynamism and texture to the lower end, with no small amount of snap. Despite the size, the bass doesn’t overshadow or bleed into the midrange, managing to keep from drowning the lower registers of the vocal ranges in mud or haze. Big, bold and musical are the order of the day here.

The mids are slightly forward and verging on the intimate side in terms of stage position, but a little behind the bass in volume level. Detail levels are surprisingly high for such an overtly fun tuning, with the Cascade being able to spit out gobs of fine detail and texture when required. Guitars sound damn fine, carrying a physical substance and crunch that works superbly with most genres of rock music. The presentation is densely layered, hitting you with a tightly defined wall of sound without sounding cluttered or congested. Vocal delivery is throaty and emotional, and remains fairly even handed when portraying both male and female singers. Overall, musical and thickly detailed is how I would describe these, taking the sort of tuning that worked so well for the Vega and adding a little tweak.

The upper end is crisp but not overblown, sitting somewhere between an XXx and XxX sort of tuning. Ken @ Campfire recommends >75 hours of burn in for the drivers to really relax and start showing their true colours, and while I’m neither a believer or disbeliever, the treble does seem to have moved more to the fore as the hours have racked up, so be prepared to give your brain or the drivers time to break in before you pass judgement.

Again, detail level is high, with a crispness to the leading edge of the notes that adds just a splash of bite to the otherwise warm and musical tone of the Cascade. They are far from congested or dark, but there isn’t a huge feeling of air or sparkle in the upper registers for me, with the treble staying firmly planted just above the midrange rather than glittering off into the rafters. Lovers of 1000C treble heat should probably look elsewhere for their dose of in-ear acupuncture – these cans are definitely not tuned for the stereotypical HD800 fan.

Bass
Getting into the main talking point of these headphones, the bass is something that will polarise the card carrying “audiophiles” out there. With a sound that is thick and beefy, the Cascade kicks out a huge amount of body in the lower end. It isn’t a bass that is woolly or loose in its presentation, and carries a nice sense of agility and punch, but it is BIG. It’s the sort of bass that feels almost tactile, filling the lower end of the frequency range with a sound that is rich, velvety and textured. It lends a very musical and “live” feel to the sound, evoking the chest rattling feeling you get at a good gig when the bass and drums kick into gear.

In terms of balance, the Cascade shares the load fairly evenly between the mid and sub bass frequencies, with a slight tilt in the midbass and then a strong and linear descent into true sub bass (or as true as you can get from a pair of over ears) without and loss of power or emphasis. The bass quantity is definitely a way north of neutral, verging on basshead territory depending on which filter setup you use. It shares a similarity with its IEM counterpart the Vega in that no matter how big the bass feels, it doesn’t feel like it is overshadowing or muddying up the sound above it.

Speed is good, if not quite planar-quick, with a crisp snap and sense of dynamics that keeps drum hits clearly separated in the midst of the most demanding of tracks. “Coming Home” by the prog / rock supergroup Sons Of Apollo starts with a thunderous fill across the width of the kit from Mike Portnoy, and this rolls from left to right across the back of the Cascade stage like a tidal wave. Each strike of the drumhead occupies its own space, both in the X-Y axis and also along the Z-axis, giving a three dimensional feel to the rhythm section.

The bass guitar on this track is thick, distorted and lightning quick, and the Cascade keeps up with the frenetic fretwork easily, providing a thick and rasping low end to the crunchy guitar and vocal histrionics going on above. Another bass growler on my review playlist is “Bad Rain” by Slash, and this absolutely roars on the Cascade. The bass riff that kicks in at the 20 second mark fills the lower left half of the soundstage, and sounds so rich and thickly textured you could probably sell it as a steak in a Michelin starred restaurant. The inner detail here is top notch, presenting layering and resolution in the lower end that is of the highest order, especially for a can in this price bracket. You can hear the heavy gauge strings on the bass guitar vibrating after each hit, slowly starting to fade before the next note hits the ear. Despite the thickness, this is sound with body but no bleed, keeping each strike distinct and taut against the listener’s eardrum.

In comparison to some of the bassier IEMs I have, I find the Cascade presents the lower frequencies in a physically larger and slightly more diffuse way, filling more of the sonic picture in my head. The imaging is actually pretty tight, but the overall presence just feels a little more physically real to my ears.

Switching to something a little funkier, “Here Come The Girls” by Trombone Shorty kicks off with a driving bass and snare drum intro, then the titular brass comes to the party. The Cascade captures the energy of the song, each bass drum hit landing with a solid physical impact and the snare packing a seriously heavyweight punch. The bass quantity adds a richness to the lower end of the horn section that makes the song sound organic and alive, each instrument having a solid and thick foundation to the underside of the notes that plants the music firmly in the listeners’ brain.



“Get Lucky” by Daft Punk sounds sublime through these headphones, the liquid chocolate of the bassline dancing around the ears and dropping lower and lower without losing emphasis. Some drivers can leave the bassline sounding a little one-note as it scrapes the floor of the track, but the Cascade is able to pick up the fine differentiation between the notes without iver-analysing it and losing the inherent Rogers and Pharrell funk that gives the song its heart.

Another genre that benefits from the Cascade’s loud and proud bass stylings is funk, with both Rock Candy Funk Party (yet another Joe Bonamassa driven supergroup) and the more bluesy crossover from artist like Keb’ Mo’ sounding at their toe-tapping best through the Campfire cans. “Stand Up (And Be Strong)” by Keb’ Mo’ is a current favourite, mashing a bluegrass style fingerpicked blues riff up against some vintage Stevie Wonder hammond organ and a whole heap of funk in the rhythm section. The bass is multi-layered and thick, propelling the song into the front of your brain and getting the feet tapping involuntarily. The Cascade is very good at that, the thick and full bodied sound just feeling so damnably engaging that you end up losing yourself in the music and just going along with the flow. At the end of the day, you can talk technicalities until the sun comes up, but sometimes it just has to be about how a particular headphone/DAP/amp makes you feel with a particular piece of music, and the Cascade has this pretty much nailed.

Rounding out the bass, “Heaven” by Emile Sande tests out the sub capability of the Cascade, and once again it doesn’t disappoint. The track kicks off with a meaty thrumming, the sense of vibration building slowly in your ears until it feels almost physical. To be fair, this isn’t the most sub-bass I’ve ever heard in either an IEM or over-ear, but it is definitely north of neutral, sitting nicely weighted against the beefy mid-bass to round out the sound without overly tilting or skewing the signature. EDM lovers will be well served with this headphone, the Cascade punching out each kick drum and snare impact with a visceral authority, contrasting well against the physical hum of the sub bass tones.

“Why So Serious?” from The Dark Knight OST underlines the prowess on display, the ominous rumbling as the track passes the 3 minute marker really sucking the listener into the sound, and slowly pulsing in the ears as the track starts building again. As mentioned, this isn’t the biggest sub-bass I have ever heard, but it is present, dense and physically involving, which is all I really want from the low-low end of my headphones.

In summary, the bass on display here is large, tight, fully textured and capable of excellent layering and detail retrieval. More than that, though, it is just downright involving and fun, putting a big grin on your face and a little shudder in the soft grey stuff behind your ears as it plows through each track you feed it. Yes, it demands attention, but it manages not to overshadow the rest of the music in the process. If you are looking for anaemic texture-but-no-substance “audiophile” bass, you have most likely come to the wrong set of cans, but for everyone else who loves a bit of meat on their music, the Cascade are as close to perfect as they can get for this particular tuning.

Mids
In its naked (no filter) configuration, the mids aren’t recessed, but sit a little behind the bass in terms of stage presence. This has balanced out a little with brain/driver burn in, but my personal preference for the Cascade is running with filter #4, which adds a little more emphasis on the mids to the mix (to my ears, anyway). If the bass is the talking point of the Cascade, the mids could be its most unexpected strength.

In keeping with the presentation below, the midrange is thick and meaty, sounding rounded and muscular. There is a subtle detail and clarity to the presentation that lays underneath, however, and once your brain has tuned in to it, it can provide a very pleasant surprise. This can reminds me of the way the Questyle QP2R presents music – plenty of body and richness, but never at the expense of the detail sitting behind. The Cascade are actually one of the more resolving headphones I have heard, allowing the listener to resolve small details on well known passages of music that can be muddied or obscured by other cans. This is the difference between treble emphasis (which can artificially boost perception of micro-details) and actual resolution, where the details are present in the music for the listener to discern, rather than being pushed up against the front walls of the soundscape demanding attention.

For avoidance of doubt, these are NOT headphones that will take on detail monsters like the HD800 in a straight micro-plankton sifting contest, but they also deserve more credit than they seem to be getting for the actual insight into the music they provide.

Starting with “Everybody Knows She’s Mine” by Blackberry Smoke, the first thing I was looking for to test out the clarity of these ‘phones is the acoustic guitar lick that comes in over the chugging electric at around the 20-second mark. The Cascade give the main riff a meaty and thudding sense of body, but the acoustic guitar still comes through clear and neatly defined, sitting just on top of the main sound. On some IEMs and headphones I have, this lick can be swallowed up by the body of the amplified guitar underneath, or sticks to it like an unfortunate bug on a windshield as it blows by your ears, but the Cascade manage to avoid both of those outcomes. There is plenty of other macro-detail in this track that is pulled out well, the jangle and resonance of the acoustic guitar strings as chords are strummed playing into the periphery of the sound and adding a nice layer of texture to the main body of sound.

Sticking some vocal testers into the mix, “Whiskey And You” by Chris Stapleton sounds powerful and rich, avoiding traces of sibilance or harshness as the raw sounding chorus kicks through. The weight of the mids and bass beneath fill in the gaps around the singer’s gravelly roar, keeping the detail in place but sounding very forgiving on the hotly mastered ballad, which can sound unpleasantly ear-shredding on sharper setups. “Starlight” by Slash also passes the sibilance test, the nitro-fuelled wails of Myles Kennedy coming through with texture and power but no unpleasant edge or harshness as it soars. The body around the track allows the vocals to hit the limits of listenability without bothering the eardrum, and more importantly without compromising on the inner detail. The Cascade present both male and female vocals with the same level of prowess, voices in the lower register coming out just a shade thicker due to the bolstering effect of the bass underneath it, but not enough to unbalance the delivery.

The last of my vocal stress tests belongs to Emile Sande. Whoever mixed and mastered “My Kind Of Love” from her debut album either directs spends their leisure time directing an off-off-waaaay off Broadway show consisting of recordings of babies screaming for 3 and a half hours, or has a serious high range hearing deficit. The track is sharper than a bag full of scalpels, and is positively punishing on some gear. Again, the Cascade keeps a lid on the harshness, making the track listenable if not fully enjoyable. While the vocal presentation is usually on the warm and slightly sweet side, even the Cascade has its limits, so while this is definitely a headphone that brings the best out of most things you feed it, there is too much detail underneath to fully hide a really bad recording.



Guitars sound sublime on the Cascade, both electric and acoustic types sounding big and dynamic. A decent portion of my music library involves either of these instruments, and the thick and beefy sound of a chugging rock riff just sounds right through these cans. To put it simply, this is a headphone that is tuned to excel with all types of rock music. There is a thick, viscous feel to the body of the notes, hitting with genuine weight and presence. Despite this, the presentation doesn’t feel muddy or clouded, keeping a nice sense of separation between each of the large bodies of sound. The sounds feel full bodied, carrying a thickness through the middle of the note and just sharpening up around the edges to retain the detail.

The Cascade isn’t picky what it sounds good with, either. From radio friendly AOR (“Be Good To Yourself” by Journey) through instrumental tracks (“Crazy Joey” by Joe Satriani) to something like Metallica or the Foo Fighters, all sound thickly resolving and full of life. The Satriani track is particularly well recorded, and the Cascade revels in putting the little sonic cues around the stage into focus, playing the reverb from Satriani’s wailing guitar cleanly into the space between each note.

Moving to something a little more funky, “Stand Up (And Be Strong)” by Keb’Mo’ channels Stevie Wonder into the finger-picked guitar that sits on top of the pure funk bassline and hammond organ. The bassline is thick and driving on this track, but doesn’t cloud the acoustic guitar accents, all coming together to generate a toe tapping gospel/funk/blues fusion that actually got my feet moving while I was writing this paragraph. The Keb’Mo’ album this track is taken from is actually pretty good for testing headphones, with some high quality recording and plenty of subtle micro-detail in the tracks. “Gimme What You Got” is another funk/blues number, which starts with a barely audible count-in from the drummer that is picked up on one of the drumhead microphones. On a lot of gear it can blur together with the opening organ notes, but the Cascade manage to present it faintly but clearly in the back of the soundstage.

Piano and keys are also represented with authority, with a warm and natural sounding timbre that prioritises weight and physical impact but still retains detail (noticing a theme here?). The piano evokes more of a smoky jazz bar theme than a classical recital in Carnegie Hall, carrying more weight on the bottom end of the notes, but that fits in nicely with the overall tone of the Cascade. On “Your Heart Is As Black As Night” by Beth Hart and Joe Bonamassa, the opening piano bars sit on top of a rolling bassline, and set the tone perfectly for the sweeping jazz-soul of the track. They sit just underneath Hart’s throaty vocals, accentuating the bass without getting drowned in it.

So, we’ve discussed how the Cascade chews through rock tracks like an 80s roadie, and how it treats wailing walls of sibilance. How does it do with the more civilised end of the spectrum when you feed it some classical music? The answer to that is: pretty damned well. It lacks the super-expansive soundstage and uber-detail of something like the HD800 to really give you that “in the opera house” feeling, but for most classical or classical-fusion fare, the Cascade present a more than adequate sonic picture. Stringed instruments feel full and weighty, cello and violins carrying a sackful of texture in each bow stroke. The relative bass emphasis adds a fair slice of sturm und drang to passages like “Orpheus In The underground” or “Toccata & Fugue”, sacrificing stage size for a more intimate but heavyweight presentation of the music. “Danse Macabre” by Dual & the London Session Orchestra sounds full and rich, the violins taking centre stage. This presentation is more orchestra as a wall of sound than a full symphony, but no less moving or engaging for it.

In summary, the mids here are weighty, smooth and warm but still carry plenty of peripheral detail and bags of texture. They are slightly in the shadow of the bass, but certainly never overshadowed by it. In terms of staging, they are still further forward than neutral on the stage to my ears. They make rock and other guitar music sound excellent, and make a pretty good fist of correct tone and timbre for other stringed instruments and piano. In isolation, they provide a beautifully tuned take on a musical midrange that doesn’t sacrifice detail. In concert with the bass below and the treble above, they make even more sense. These aren’t mids for the audiophile purist, these are mids for the music lover, and like the rest of this headphone, are all the better for it.



Treble
Considering these are a set of headphones tuned for bass presence, the treble is a pleasant surprise, packing a good anoint of presence and very good clarity. “Starlight” by Slash starts with a screeching guitar harmonic, which comes through clear and strong on the Cascade, sounding deliberately dissonant but not grating. It isn’t the most emphatic or forceful rendition I’ve heard, but it certainly isn’t lacking. The rest of the track has some gentle guitar fretting and reverb sounds that the Cascade havens equally well, presenting them softly in the upper layers of the sound without letting them be overshadowed by the thickness of the sound underneath.

Cymbal crashes and hi hats on the track feel realistic and deftly emphasised, providing a percussive backdrop to the music without distracting. Again, not the splashiest, but the decay feels weighty and real, cutting through the music and dying down shortly afterwards. The sound isn’t overly tizzy, having a very realistic (to me) timbre.

Sticking some more electronic fare into the playlist, the upbeat synth of “Drinking From The Bottle” by Calvin Harris carries a chunky presence, sitting a little further back on the stage than the mids and bass but not feeling overly shelved or rolled off. This treble is clean and thick, painting itself across the ceiling of the soundstage rather than echoing out Ingrid the distance. There is a small element of sparkle hiding in the occasional synthesiser run, but this isn’t a headphone that screams Beyer or Senn HD800 when you think about how it presents itself up top.

This is a headphone that concentrates more on purity and blackness in the higher registers, presenting a treble that is crisp and crunchy, but doesn’t sparkle in the same way as its stablemate the Andromeda. There is delicacy and detail in the upper reaches of the music, but it feels a little more reserved compared to the titanic midrange and bass to my ears. Listening to “Mountains” by Emile Sande, the sweeping strings and delicate finger picked acoustic guitar float about in the top end of the song, showing a nice level of finesse without dominating proceedings. This headphone feels a little more present in the treble than IEMs like the Vega and Lyra II from the same manufacturer, carrying just enough edge in the treble to let the notes cut through the notes around them and retain their clarity without getting lost in the body.

“Theme” by the classical duo Duel is rendered with a twinkling finesse that underlines the credentials of the treble, strings dancing around in the upper left and upper right quadrants of the sound, the delicate pluckings of other instruments like the harpsichord (I think – ironically, I used to fall asleep in music lessons in school) adding finesse to the more emotive orchestration underneath. The whole album (also called “Duel”) is actually fairly eye opening through the Cascade, the twin violins and smattering of synthesiser and other more modern electronic instrumentation being beautifully presented as the tracks ebb and flow.

The general tone of the treble lends a more enclosed rather than spacious feel to the sound, with the notes dying away into silence a little quicker like they would in a well damped room or packed music venue, rather than echoing around a larger hall or audio space. This doesn’t feel cramped or squashed, and for a closed back can the soundstage is still far more than adequate, so the tuning choice here sits well with me in terms of the overall cohesion of the sound signature. For those who had issues with the Vega’s treble (I wasn’t one) and wanted something a little more , the Cascade may be just the thing you are looking for.

Separation, soundstage and layering
The Cascade have a naturally compact soundstage, presenting a big sound that hovers around the circumference of the head. They are slightly above average for a closed back headphone in that respect, but still clearly a closed back model in direct comparison to open-backed models. It presents with good depth and height, however, lending a feeling of scale and size to the notes that give the presentation a “big” feel to it, even if it doesn’t wander off too far while playing with your ears.

The staging is relatively forward and intimate rather than spacious and distant, the size of the notes and the stage they play on pulling you forward into the mix, rather than leaving you sitting a few rows back in the crowd. Vocals are strongly centre-field in the stage, coming down through the top of my head on a slight angle for most tracks, as if I was sitting on a chair with the singer standing up and performing in front of me. Imaging is strong on this headphone, allowing “live” recordings like Better Man by Leon Bridges to place the instruments in the room in exact places, notes drifting forward over your ears and sitting at the back of the sound depending on which instrument is playing. There is a gentle whistle at the end of the chorus (around the 1:05 mark) that floats in just from the left, giving a strong picture of the backup singers in their position in the cavernous room this track was recorded in.

Separation is good, hard panned instruments pulling well to the left and right of the soundscape and multiple strands of music resolving themselves clearly in the ear without bleeding together or being bulldozed by louder passages of music. Layering is similar, with the Cascade more than capable of stacking multiple textures and tones into the same musical space without becoming blurry or smeared. The feel of the sound is dense but detailed, and rewards critical listening by allowing you to move around the various strands in a well recorded track without too much mental effort. Given the relative size of the stage, the peripheral instruments never stray too far on the x-axis from the main central image, but again, this is in keeping with the overall presentation.



Cable choice
The Cascade uses the push/pull HD800 style of cable connectors, so there will be a plethora of available upgrade cables available from the usual aftermarket suppliers if you want to experiment with different cable “tones” for this beast of a headphone. The demo unit I got sent was lucky enough to come with a 4.4mm terminated version of the ALO SXC 8 upgrade cable, currently being sold on the Campfire and ALO websites for $349. Like the stock cable, it is an SPC configuration, this time in an 8-braid form with transparent sheathing and the eyecatching ALO 4.4mm golden connector plug at the end.

As these are the only two cables I currently have using this type of connector, and one of them (the SXC8) runs balanced, I wasn’t able to do any thorough A/B comparisons. To my ears, the SXC8 sounds a little richer in tone out of the balanced out from my ZX300, and the Cascade does seem to benefit from the additional power at the same matched volume levels. The SXC8 is a beautiful looking cable, and while it lacks the absolute flexibility and lack of microphonics of the stock sheathed ALO cable, it does look and feel premium. Added to the additional benefits of being able to access the sonically superior (to my ears) balanced amp pathway of the ZX300, it has become my cable of choice for the Cascade. It does suffer a little with microphonics and stiffness, so if you are mainly intent on using the Cascade as a fully portable unit on your daily commute, you will probably want to stick with the highly capable and more manageable stock cable, which has no real stiffness or microphonics to speak of. On the other hand, if you do have access to a 4.4mm balanced source and intend to listen to the Cascade in more “stationary” locations (coffee shop / office / home) then the SXC8 does help to my ears to bring a small but noticeable improvement to the signature – as mentioned, the ZX300 is known to have a “better sounding” balanced out due to the way the device is put together, but as always, we are talking about very small margins here, so please take that opinion with the appropriate grain of salt.



Power requirements and matchability
The Cascade share many similarities with their fraternal stablemate the Vega, and one of them is their approach to amplification. Neither unit needs to be amplified, with both being able to produce louder-than-comfortable output from things like mobile phones or typically underpowered DAPs like the Sony A-series. That being said, if you do apply the power, both models do a very good job of drinking it up, scaling in dynamic impact and power as the wattage increases, and taking a slightly tighter grip on the lower end. I don’t have any true face melting power outputs at my disposal, but running the Cascade off my desktop CMA400i from Questyle or the portable Continental V5 from ALO, the extra juice adds a little something to the sound that suggests that these should be fed as much power as you have on tap when you have the chance – you will be pleasantly surprised with the results.

In fact, if you have a CV5, you should definitely consider welding it to the cable of the Cascade, lest you forget to use these together. On paper, the warm and tubey sound of the Continental may not be the best match for the already warm and deep tones of the Cascade, but the additional voltage swing the CV5 is capable of putting out takes a slightly firmer hand on the rudder in the more lively bass passages, and the staging of the amp lends itself well to really flesh out the stage of the Cascade in the ears in all three directions.

In general, though, the warm and thick sound of the Cascade will typically benefit from a cooler source to really unlock the levels of detail and resolution that the drivers are capable of. Paired with the Sony ZX300 in balanced mode (using the ALO SXC8 cable kindly provided with my review unit), the Cascade double down on the thick and warm element to their sound, with the ZX300 adding more solidity to the already prodigious bass on display with its classic Sony house sound. For some tracks, the texture is so rich and decadent that you could probably market it in a patisserie, but for others, it flirts with the border into stuffiness. Music never sounds anything less than good, but if you aren’t a fan of overly warm signatures, this may not be the best pairing for you. Personally, I do enjoy this pairing for the huge feeling of substance it is capable of evoking, but as always, one man’s nectar may be another man’s poison (or whatever the analogy is!). One thing the Sony does have to counteract the effect on the bass is a naturally expansive soundstage, which does go some way to alleviating the warm air in the midrange by giving it a bigger stage to play on.

The Echobox Explorer produces similar results to the above, with less solidity in the bass but without the expansive staging properties of the ZX300, pulling the music into a denser and smaller central image. This isn’t a great pair up to my ears, and again while it still doesn’t sound bad, it isn’t a coupling I have reached for since my initial listens.

The best matches in terms of DAC signature I have found from my collection have been the LG V30 and the CMA400i. The V30 provides ample power to run the Cascade, and the naturally cooler and more analytical tint to the sound allows the full clarity of the mids to come through a little easier. The CMA400i takes things up to the next level, the neutral/revealing tone of the DAC bringing out more of the potential of these cans without losing their warm and engaging sound. The unusual “current drive” technology employed by Questyle also plays very nicely with this headphone. Given the CMA400i shares some sonic similarities and much of the same technology as the QP2R (from memory – I have never compared the two in the same room), I suspect that the QP2R will also be a very good source pairing for the Cascade.

Comparisons


Focal Elear

The Elear is Focal’s entry into the high-end dynamic driver headphone market, with a list price of slightly more than the Cascade as at time of writing. The Elear are an open-backed headphone, with a unique “M-Dome” driver design and a mostly metal construction rivalling that of the Cascade.

Starting with sound, the Cascade has a bassier tuning, losing out slightly in dynamics to the Elear, carrying more body to the low end and a slightly less crisp feel to the presentation. It carries a little more physical impact down low, but can lack a little of the Elear’s class leading dynamic punch in the midrange with more frenetic tracks. That isn’t to say the Cascade is lacking, as it does sport a hugely dynamic sound itself, but just isn’t quite at the stellar level of the Elear in this specific regard.

Tonally, the Cascade are a warmer headphone than the Focal, with voices feeling slightly more forward in comparison to the Elear. The Elear has a slightly leaner tone, so carries a little more texture in the midrange, where the Campfires tends to sound a little smoother and more emotional in its delivery. Audible detail retrieval and resolution is similar between both, with the Cascade keeping pace with the Elear, despite the increased bass presence. The Elear feels the “crisper” of the two cans, but this is due to its relative lack of warmth and bass compared to the Cascade. In contrast, the Cascade feels the fuller and richer of the two, with a more enveloping sound. Guitars sound crisp and spiky on the Elear, and solid and meaty on the Cascade. Drums hit with visceral immediacy and then relax on the Elear, but hit you slower yet a lot heavier on the Cascade, and linger a little longer to see the damage done. The Cascade also has the advantage of the four included tuning filters, giving you a total of 5 variations on the main tuning to find your preferred sound, in comparison to the fixed tuning of the Focal unit.

In terms of driving power, the Cascade requires a little less juice from all of my sources except the LG V30 (which has its high gain output triggered by the 80 Ohm output of the Elear). Comfort wise, the Elear feel a little lighter and less “present” on the head than the more solidly built and sturdy feeling Cascades. The Cascade offers far superior noise isolation, and has smaller earpads which hug the outer ear a lot closer than the Elear but feel a lot softer and plumper. The Cascade also leaks practically no noise into the surrounding environment, in comparison to the portable loudspeaker effect of the Elear.

In terms of presentation and loadout, the Cascade sports a less ostentatious but more practical package, with the “usual” Campfire loadout and carry case being far more portable and usable than the more regal but less practical presentation box of the Elear, which is the same size as most 1980s teleevisions and sadly doesn’t come with a portable alternative. It looks very foam filled and plush, but the sheer volume of real estate it takes up makes it difficult to store.

The cabling is also more practical on the Cascade – the Elear’s amp friendly 6.3mm connector is married to a 3m rubberised monstrosity of a cable, fixing it firmly in the non-portable (and frankly unwieldy) category, and is a lot less ergonomic and user friendly to actually use without resorting to the aftermarket cable landscape.

Build quality on both headphones is high, but the Cascade edges it overall, with a more compact and sturdy feel to the construction. It is marginally heavier on the head, but the weight distribution is good and it feels more robust and solid than the Elear. It also molds more completely to the shake if the head and ears when worn due to the rotating earpads, in comparison to the Elear’s fixed pad design.

Overall, both headphones are heavy hitters in their price brackets, with the Elear costing about $200 more than the Cascade at current street prices. Neither is an outright winner, with the Elear having a crispness and dynamism to its sound that the Cascade can’t quite match. The Campfire model parries in response with a weightier bass, a warmer and more intimate feeling sound (the word vinyl-esque keeps springing to mid) and a feel of physical substance to the notes that the Elear can’t outdo. If I had to pick just one, I’d probably go with the Cascade – it shares a similar stage size but adds a chunkier feel to the sound without losing detail (once you get used to the presentation), and is usable both as a portable can on things like the daily commute, and a sit at home listening pair, which the open backed Elear can’t do. I wouldn’t like to give up the Elear’s unique sense of dynamism, however, so it wouldn’t be a decision that came without a downside.



Audioquest Nighthawk

As a closed back portable can, the Cascade actually has more in common physically with the older brother of the Nighthawk (the Nightowl), but in terms of sound, the Nighthawk shares more of the Cascade’s sonic DNA. Both headphones share a rich, warm tonality, with a generous bass response and a smooth but surprisingly detailed upper end.

Starting in the bass, the Cascade has slightly more weight and noticeably more punch down low, with the Audioquest model hardly being bass shy, but presenting in a softer and less aggressive manner. Quantity is also higher on the Cascade, but not by a huge amount overall. The Nighthawk is more centred around the mid bass, with the Cascade having a more even spread between mid and sub bass. Detail levels and texture are similar on both models.

Mids are slightly softer and more romantic on the Nighthawks, but a touch more emphasised in comparison to the Cascade due to the lower quantity of bass in the Audioquest model. The Nighthawk does very well at conveying the emotion in a vocal, due to the almost smoky delivery through the midrange. In contrast, the Cascade feels a little crisper and more raw in its delivery, with a more obvious texture to the sound. Guitars sound crunchier and more aggressive on the Cascade, but have a more natural tone on the Nighthawk. Piano sounds equally good, if different, on both. It almost feels like comparing an impressionist painting from one of the old masters (the Nighthawk) and a modern Ultra-HD photograph of the same scene (the Cascade) – the Nighthawk is the more stylised, with the Cascade providing gobs more audible detail and contrast.

The treble is similar on both, erring more towards clear and silky rather than glittering and sparkly. At a push, I’d say the Cascade has the better audible extension, but despite the lack of emphasis, the Nighthawk can also push up into the higher reaches as well when needed. Quantity is definitely higher on the Cascade, with the slightly sharper edge to the notes contributing to a crisper and cleaner feel to the sound, and more overt detail retrieval.

Comfort is won quite easily by the Nighthawk, with the floating headband and super comfortable ear cup construction, plus the more generously sized ear cups. The Cascade is more robust and suitable for portable use, with the Nighthawk feeling fragile and lightweight in comparison to Campfire Audio’s all-metal bruiser. The Nighthawk also leaks like a post-iceberg Titanic in terms of letting sound out, whereas the Cascade is deathly silent. Conversely, the semi-open Nighthawk actually manages to block slightly more external noise out than the Cascade, which lets a surprising amount of noise in even the music isn’t playing.

The Nighthawk has a tuning that isn’t as forward as the Cascade, giving a slightly more spacious air to the sound, and pulling you a few rows further back from the stage as a result. The Cascade sounds more direct and punchy, with the ‘Hawks having a more laid back feel to the presentation. In terms of stage size, the Cascade presents a slightly wider staging, with a more pronounced sense of L/R separation. Dynamics are won easily by the Cascade, which is second only to the Elear for sheer punch and impact on my own personal listening experiences to date.

Overall, these cans exhibit two very different approaches to music reproduction; the Nighthawk is perfect for losing yourself and floating off into beautiful music, and the Cascade is for those times when you want your tunes to suck you in, grab you by the throat and drag you round the room until you agree to start grinning and tapping your feet like an idiot. Both sound absolutely stellar, and are now my two favourite sets of over-ears. If you are a fan of uptempo rock, electronica and a more vivid, Vega-like sound, then the Cascade are an easy choice. If you prefer more laid back and acoustic tracks, or prefer a softer and more tube-like tinge to the sound with the ability to let you drift deep into the music, the Nighthawk would be my suggestion.

I said to Ken Ball when I agreed to review these over-ears that if they managed to knock the Nighthawks off their perch as my all-time #1 over-ear headphone then they’d be doing pretty well – while there are still some things that I’ll choose the Nighthawks for (soul, relaxed acoustic and old vinyl records), if I had to choose just one or of the two, I think the Cascade has just taken the new top spot for me. Congratulations, Mr Ball – I doff my cap to you.



MrSpeakers Aeon Closed

This seemed like a good comparison to make (and I handily happened to have both sets of cans in my possession!). The Aeon Closed has won plenty of accolades as the best closed back headphone of 2017 on various audio sites, and shares the same closed back construction and price point ($799) as the Campfire model.

Starting with build, the Aeon have a metal and carbon fibre build, with a super-thin Nitinol frame and self adjusting leather headband in comparison to the Cascade’s solid metal frame and leather padding. The Aeon feel extremely light in comparison with the Cascade, and sit on the head almost effortlessly, the half moon shaped earpads enclosing the ears neatly and providing more space for the larger ears out there, in comparison to the more compact Cascade ear-slots. As a trade-off, they feel very flimsy in comparison to the Campfire model, feeling better suited to stationary listening and more delicate handling. Comfort is definitely won by the AC, rivalling the Nighthawk for long term wearing comfort.

Accessories are similar, with both coming with top notch carrying cases and a nice but simple display box, and the Aeon providing one tuning pad insert compared to the Cascade’s four. The ALO stock cable is more ergonomic and easier for genuine portable use than the Mr Speakers DUMMER cable that comes with the Aeon, although both are high quality.

Moving on to sound, the two headphones are far more different than similar. The Aeon are a painstakingly neutral and crystal clear sounding headphone, with just a splash of warmth with the foam inserts and enough body not to sound thin. The Cascade are almost the polar opposite, with an exaggerated sense of musicality and far more weight and dynamism to the music. The Aeon are the sort of headphone you listen to when you are trying to unwind and sink into the music, and the Cascade are the headphone you listen to when you want to wind back up and live and breathe the tunes coming in through your ears.

Starting with bass, the Cascade has a much higher amount of both mid and sub bass than the lightweight Aeon. Slam and impact go to the Cascade, with the Aeon exhibiting a great sense of texture and a similar extension down into the deep sub bass, but without a huge amount of physicality to back it up. It almost feels like comparing a dynamic driver IEM with a balanced armature model – the bass on the Aeon is quick, extended and packed with detail, but just lacks the physical sense of body that the Cascade are capable of conveying. This changes slightly when the Aeon are hooked up to some serious desktop or portable amplification (my favourite combo being the ALO CV5), the sound taking on a slightly more bodied and substantial tone in the bass, but still nowhere near as punchy and powerful as the Campfire model.

Mids are slightly cleaner sounding on the Aeon (especially in the sans tuning pad configuration) due to the relative lack of bass. They are thinner and more spacious sounding, lacking some of the physical solidity of the Cascade that is imparted by the titanic bass sitting underneath. The feel is a little more laid back on the Aeon, where despite the leaner note structure, there is less edge to individual notes and a little less dynamism in the sound. The Aeon feel like the more detailed of the two headphones (although there isn’t a huge amount in it), with the cleaner presentation and greater air between the notes making things sound a little crisper, despite the lack of “edge”.

In the treble, the Aeon present a cleaner and crisper tone, with less weight and more airiness to the notes. There is a slightly sharper tint to the tuning (especially without the foam tuning insert), and comparison to the more rounded and weighty treble of the Cascade. Microdetailing and room noise are actually on a similar level between both headphones, but the Aeon presents the information with a greater sense of space and lightness around the notes, making it easier to discern some subtle phrasings and tiny scraps of sonic information against the less full sounding musical background.

In terms of amplification requirements, the Cascade is the easier of the two headphones to drive well, and can generally be run off most sources (mobile phone, DAP etc). The Aeon will generate sufficient volume off most things. although with a sensitivity of around 93dB it can take a lot more of the available volume pot to do so with some devices. Where they differ is that the AEON need a powerful source to sound their best, exhibiting that planar tendency to really come to life with some big current and wattage flowing. The Cascade respond well to amplification too, but don’t actively need it to get close to their full potential, unlike the AC.

Looking at isolation, the Aeon closed are the more isloating of the two headphones, being able to block out external noise more effectively than the Cascade. This doesn’t overly affect the Cascade in portable situations, as the increased bass output in comparison to the Aeon Closed helps mask the background noise more effectively anyway. On the flipside, the Cascade are far better at keeping noise in behind its metal earcups, with practically no leakage out to the nearby listeners – the Aeon is actually noticeably worse in this regard, still not leaking much but being more easily audible when using them in bed next to a sleeping partner, for example.

Lastly, as far as soundstage and separation go, the Aeon has a slight advantage, pushing the sound further out of the head along the X-axis, and pulling musical information further out onto the edges of the sound with hard panned audio cues, giving an impression of a bigger stage. The relative neutrality of the note thickness the Aeon portrays in comparison to the Cascade helps here, carrying enough warmth not to sound dry or analytical but not particularly meaty or thick. This gives the instruments a little more breathing room between them in the soundscape, and makes the Aeon a more “spread out” presentation. Please note that of these headphones are closed back, so the observations are relative to each other – neither will have a huge soundstage in comparison to a true open-backed can.

Overall, these are two headphones that both aim for a musical presentation, but take two very different routes to get there. The Aeon presents clean, crisp tones with a wider staging and a pleasing sense of warmth and purity, whereas the Cascade puts out a thicker, more densely packed sound. You would be splitting hairs in terms of technical capabilities, as both resolve very well for the price bracket, and neither has any major issues or flaws. This is definitely a battle of preferences – if you value portability, bass presence and a thicker, lusher presentation, then the Cascade would be my tip. If you prefer a more neutral and laid back tone with a splash of warmth, and intend to do more listening at home or out and about with a powerful DAP/amp combo, then the Aeon would be the go to here. Both are stellar examples of what can be achieved in the sub-$800 price range, and both are equally worthy of the praise they are receiving.



Specifications

Specifications
Price $799
Driver type 42mm beryllium PVD dynamic driver
Frequency Response 5Hz – 33kHz
Weight 383g
Cable 4ft silver plated copper (SPC) litz cable
Pad type Sheep leather, detachable
Impedance 38Ω
Sensitivity 100 dB SPL / 1mW @ 1kHz
Connectors 2 x push/pull circular connectors (HD800 style)


Overall thoughts
The latest evolution of the Campfire Audio “house sound” is definitely going to be a polarising one. Ken and Co seem to have a clear idea of what tuning they want to achieve with their flagship products, differentiating themselves from the rest of the marketplace with their failure to adhere to the recent audiophile sentiment that “bass is bad”. The Cascade are a headphone tuned to appeal to the soul rather than the brain, making you feel the music rather than analyse it. Could they have dropped the bass tuning down a few dB for a more subjectively balanced sound across the range? Yes, they could. Would it have been such a compelling offering if they had? In my humble opinion, no it wouldn’t.

The Cascade manage to marry a technical proficiency with a big fat slab of musicality that makes the combination both rare and admirable at the same time. These won’t appeal to everyone in the marketplace, but they shouldn’t be written off as “just a basshead can” or for Vega fans only. There is plenty of technical prowess in the presentation, a beautiful sounding midrange and a bass presentation that comes close to standing in front of a proper music venue amp stack on occasion, all wrapped up in a compact and portable package that looks almost as good as it sounds. This isn’t tuned with some nod to the audiophile version of political correctness, and it feels all the better and more enjoyable for that unwillingness to compromise.

Objectively, I think they could have made the holes in the earpads a little bit bigger to accommodate all ear sizes, but as they are detachable, I’m sure that will be an easy upgrade if they wanted to do that at some later point. They could also pad the headband a tiny bit more for better comfort in marathon listening sessions. Neither of these things are issues or dealbreakers for me, and they are certainly comfortable enough for my daily use cases (1-2hr stints, a few times a day). This is just nitpicking, as otherwise the whole Cascade package presents music in such a unique (and uniquely “Campfire”) way that I can do nothing else but be impressed with the musicality and sheer enjoyment they bring to my ears. For people with huge heads, oversized ears or a chronic aversion to bass: you may want to look elsewhere. For everyone else who enjoys listening to music rather than the gear it is played on, these are a stone cold certainty for one of the best choices you can make under $1000 in this hobby at the moment.

Hence, we come to my rating. A 5-star rating across the board is pretty rare, and in the case of a headphone that patently won’t cater to everyone’s tastes, could come across as slightly biased. While I am happy to admit that the Campfire house sound plays beautifully with my own personal listening preferences (see the “About Me” for more details), that isn’t the reason I have given this the hen’s teeth rarity of a full house. It isn’t because I thought it was like an improved version of the Vega (which is my current highest scoring review on the site). No, I have given this the top rating as I genuinely feel that Ken Ball and team have nailed the exact sound they were shooting for, in at a pricepoint that is competitive or better than its peers.

Please bear in mind that a headphone at this price won’t be 2 or 3 times better than a headphone coming it at $250, but even in the heady arena of diminishing returns this is an easy recommendation if you have the cash to consider it. It’s getting boring to write this about Campfire gear, but this is very much another case of “Nicely Done”.

Introduction

I have always been fascinated by bass in music. That’s probably why I always feel a little bit of a fraud when someone calls me an “audiophile”, as my tastes quite often encompass a little more lower end substance than the current fashion for a more lean and mean sound. I can appreciate detail and resolution with the best of them, but for me, it doesn’t mean anything without the ability to make me feel the song. As a result, I’ve always had an interest in picking up some 64 Audio gear and seeing if their famously warm and bassy “house sound” ticked my boxes – taking advantage of the recent end of summer sale, I purchased a set of the U8s after a brief exchange with their very helpful customer service team to try and bottom out which would suit me best out of the 4SE, 6 and 8.

Full disclosure – I wasn’t 100% sure what to expect, as I have tried a few of the current 64 Audio lineup (including the Fourte flagship) at the last two London Canjams. Being honest, I was always left a little underwhelmed by the tuning of everything except the Fourte, and even that didn’t blow me back in my seat with awe. This just goes to show that sometimes a first impression can’t give you all the information you need to really assess whether something will work for you sound-wise (especially in noisy show conditions). I have now spent close to two months with the U8, and my opinions of what the 64 Audio house sound and their unique in-house technology can deliver has been pretty much upended with the U8 growing on me more and more as time goes on. This is a signature that unfolds over time, taking a while for your ears to get accustomed enough to the sound to pick out the subtle nuances that are scattered around like confetti.

Please note – this review was written and originally posted on my blog just prior to the release of the new 64 Audio range. The U8 is still available in their B-Stock section the last time I checked, and should be readily available on the FS boards, so I am posting this review for any interested parties.



Unboxing
For a $1000 set of IEMs, the 64 Audio experience isn’t the most opulent, but there is an elegant simplicity and economy of form to the packaging. The box is adorned with the usual graphics and product picture on the front, and some explanatory text about the company and their proprietary APEX technology on the back. Inside, along with instructions about how to put them in your ears, you find a sealed bag of tips (6 pairs, split half and half between memory foam and silicon), an anti-moisture pellet, one 64 Audio sticker and their 3D printed custom carry case.

The case takes up most of the interior package space, and is probably the best designed example of an IEM case I have come across. Every square inch is crammed with functional space, each IEM shell having its own small compartment to be placed into, with a gap for the attached cables to exit into the main compartment. In the main compartment, a built in cable winder and four “fencepost” style jack holders sit in the middle, allowing you to wind even a thick custom cable like the Effect Audio series tightly and keep everything neat and unbent.

In the lid of the case are the usual wax cleaning tool and shirt clip, both having their own clipped storage space. Overall, it is well thought out, pretty robust and just looks good.

In fact, the only thing that lets down the 64 Audio unboxing experience is the choice of tips – at this price bracket, 6 sets is pretty slim, and the enclosed silicon and foams aren’t actually the best sounding with the U8 – I have found much better synergy with the usual after market options like SpinFit or the foams that came with my Campfire Audio gear. That being said, this is still a very well thought out loadout, the anti-moisture tab showing the “working musician” target audience for the brand. There are other subtle tweaks that mark this out as a monitor designed for stage and studio users, but those will become apparent later on in the review.



Design and ergonomics
As one of 64 Audio’s “U” range of universal IEMs, the U8 shares the same basic shell shape and colour scheme as the rest of the original U range, where the only significat difference between the twin-driver U2 and the former flagship U12 is the depth of the shells. The design of the IEM is vaguely reminiscent of a block of cheese or a Trivial Pursuit quiz piece, having a slight curve to some of the edges but otherwise remaining pretty angular. The geometry has been worked out pretty well, with the IEM nozzle protruding slightly downwards and set at an angle that provides an optimal insertion for my cavernous ears. Nothing too flashy, but once in, the earphones sit very comfortably in the shell of the outer ear with no awkward hotspots or discomfort, and are able to be worn for hours at a stretch with no issues. This is a very good example of functional design – it may look utilitarian rather than eye-catching, but it just works. Kudos to 64 Audio for finding one of the best generic IEM designs I have come across yet outside of the current crop of “pseudo-custom” designs currently hitting the market.

The company is named with reference to the year 1964 (their original moniker was 1964 Ears) where apparently a lot of significant events in the music world occurred. When looking at their design, the firm may as well have been called 1908 Ears, in deference to the legendary Model T Ford that obviously inspired their choice of colour scheme for all of their U models below the U18. Simply put, you can get a universal 64 Audio IEM in any colour you like, as long as it’s black. The only thing that offers a splash of colour on the shells are the metallic gray APEX modules and the 64 Audio logo on each shell, and even those are strictly in the monochrome palette range. If you are looking for a piece of ear jewellery you will need to look into their custom IEM range, but I personally like the refreshing simplicity of the black and white colour scheme.



Audio quality
The U8s are touted as the basshead IEM of the original U-series from 64 Audio, and they don’t disappoint down low. With a whopping 50% of the 8 balanced armatures crammed into the shell casings devoted to either sub or mid bass, the U8 can pump out some seriously meaty bottom end. This is still balanced armature bass, however, so it lacks a little in terms of sheer physical impact, but makes up for it with a rich velvety texture, trading slam for substance. The depth of the bass is quite simply superb, producing a highly detailed and thickly layered sound – if there is lower end detail and texture in a track, the U8 will almost certainly find it. It gives a nice throb to more sub-bass driven genres, and keeps that fairly well balanced against the mid bass to avoid the stereotypical “hump” or “thumb” that a lot of monitors go for, preferring to keep a closer balance between the sub and mid bass ranges.

Despite the low-end emphasis, 64 Audio market this as an earphone that is uncompromised in the mids and treble, and in the main the marketing hype holds true. The mids are smooth and liquid, and not overshadowed by the prominent bass, standing reasonably forward in the mix. The 64 Audio “house sound” is known for its warm tuning and spacious soundstage, and the U8 doesn’t deviate in either of these aspects. Vocals are warm and smooth, sitting a little more forward than neutral, and providing a nice rich undertone to male vocals due to the heavy weight of the bass notes beneath. There is a body and fullness to lower register singing that can be like slipping into a warm bath sometimes, sounding like the aural equivalent of a hot toddy. Fans of a crystal clear or more “reference” midrange can probably turn away now, as while the U8 doesn’t feel particularly coloured in this area, the overall tuning is a little too warm and musical for fans of a true neutral sort of sound.

In terms of detail and resolution, the U8 is no slouch, but definitely not a micro-detail monster. Mid range instruments (guitars, piano etc) all sound clear and nicely defined, the large stage presentation of the U8 allowing each instrument ample room to breathe. Micro-details are present on tracks like “Coco” by Foy Vance, but are not the clearest or most emphasised, showing hints of what the drivers in the U8 are capable of. The emphasis here is far more on tone and substance, giving each note a fully rounded feel and thick presence. Separation is very good considering the warm tone of the monitor – this is due mainly to the size of the staging again, with the APEX module tech allowing the U8 to push music successfully outside of the head in all directions, giving a good 3D representation of better recorded tracks in my collection.

One common criticism I hear of the 64 Audio range is the rolled off treble evident in their models. Personally, I find the treble quite nicely done, with a sweet and clear sound to it and decent enough extension for something so warm. It certainly isn’t for those seeking a crystalline and crunchy top end, and despite the huge soundstage it doesn’t exactly scream “air”, but what is there is strong and smooth as silk. It certainly doesn’t feel overly lacking for me, and balances beautifully with the rest of the sound to give the U8 their uniquely warm and solid character.



Bass
If you are reading a review on the premier basshead IEM from this manufacturer, this is probably the first section you skipped to when you clicked into this writeup. If that is the case, I’ll get straight to it: these IEMs can produce some serious basshead quality low end. They hit hard for an all-BA setup, extend very low with no great loss of power or emphasis as you scrape into single-digit Hz territory, and carry a deliciously meaty texture and complexity that is up there with the best I’ve heard for bass.

To be clear, they still suffer from the limitations of a typical balanced armature setup, trading quickness and texture off against a comparative lack of physical impact and “slam” when put up against dynamic driver powerhouses like the Campfire Audio Vega. To use a very random alcoholic analogy to explain, something like the Vega produces bass with the same sort of punch and thickness you get from a good shot of Sambuca, kicking the back of your throat on the way down with a short, sharp shock and slowly receding as the burn in your chest fades out. The U8 is like a good red wine, full of texture and velvety smoothness, slipping down the gullet with a nice sense of body but fading from the tastebuds a lot quicker, and without that physical shock factor. If you are after a rich sound with texture and nuance, the U8 has you covered in spades, just lacking that eardrum pounding movement of air and feeling of physical impact that is the hallmark of a good dynamic driver.

Getting into the sound, the first test track is “The Crow” from Black Country Communion, off their latest BCCIV album. This track kicks off with a rasping bass riff from the veteran rocker Glenn Hughes, followed shortly afterwards by some thudding drums from Jason (son of John) Bonham that kick the track into high gear. The bass guitar sounds thick and rounded, with plenty of substance and a nice feeling of bite. The drums are suitably meaty too, sounding full and bombastic as the old-school rock band rhythm section tears up the bottom end of the track. As befits a track recorded by people who were about in the golden era of 70s hard rock, there is a bass solo that kicks off mid-tune at the 2:53 mark, and the U8 handles this with aplomb. Each note sounds raspy and ferocious, but remains fully formed and distinct, the quad-driver setup keeping pace with the track without any smearing or muddling in the lower end.

Another good track for texture is one of my favourite reviewing tunes: “Bad Rain” by Slash. The opening bars of kick drum hit with force and a nicely rounded feel to the drum sound, and when the snarling bassline comes out to play, the whole track takes on a thickly layered feel that is just superb. The bass guitar strings sound three dimensional and real, and the edges of the note are rounded out by a little sub-bass thickness and vibration that give some serious solidity to the whole track. The sound of the stings resonating as each note is plucked is easily audible in the layers of sound, adding a supremely textured feel to the whole bassline. I don’t usually wax lyrical about the presentation of this track, but the U8 has absolutely nailed it for my preferences here, striking the right balance between richness, texture and just sheer quantity that really makes the sound on this tune very addictive.

“Hello, It’s Me” by Sister Hazel is up next, and is one of my usual testers for liquidity and overall bass tone. The bass line slinks in, sounding full and thick as it slowly oozes into the track. Like with the Slash track above, there is a rasp at the edge of the bass notes as they are plucked, but the overriding impression is of a rich and thickly liquid sound, filling up the lower end of the track and coating everything like liquid chocolate. This isn’t the most liquid presentation of midbass I’ve heard, but there is a definite fluidity to the sound, moving effortlessly around the track with just the right blend of substance and flexibility.



Switching across to a little more sub-bass driven music, “Heaven” by Emile Sande kicks off with a powerful sub-bass thrumming, the opening bars laying down a heavy sub-bass hum in the inner ear, and triggering a nice little tickle in the eardrum as the subsonic vibrations are felt as well as heard. This is one of the strengths of the U8, with a very capable sub-bass presence for an all-BA setup. Even though the quantity is definitely on the high side, it doesn’t drown the upper bass or lower midrange, just adding extra layering and a little warmth and hum right down low. The drivers in the U8 seem to share the same sort of magic that the old Aurisonics ASG series used to excel at (minus the insane levels of bass impact the 2.5s could produce), only bringing bass out of a track if it is there in the mix, rather than drowning everything you listen to with an omnipresent bass emphasis.

Impact is also decent on this track for a BA setup, the double kick drum and snare that set the rhythm for the tune hitting with a good sense of snap. BA bass is an unusual beast, if you are coming from a dynamic driver setup – the initial punch hits quick and snappy, but the accompanying sense of impact never arrives. The U8 is better than most BA setups I’ve heard in this respect due to the serious sub-bass capability on show, which adds a little of that viscerality to proceedings when it kicks in.

Sticking with more electronic fare, it would be remiss not to throw a bit of Daft Punk into the mix. “Get Lucky” is given the red carpet treatment by the 64 Audio model, the infectious bassline hitting low and heavy throughout the song, dancing nimbly around the jangling guitar and showing no signs of roll off as the notes keep dropping lower and lower. The bass emphasis here is perfect for the track, not overpowering the rest of the frequency ranges, but giving a bass-driven emphasis to the sound that becomes quite infectious. A good sign that an IEM is doing something right is when you find yourself stopping taking notes during a review session and just sitting there tapping your foot or nodding your head to the music, and the U8 manages that on a few occasions with this track.

Surprisingly, another area the U8’s bass capability is highlighted is with classical and classical fusion styles of music. The mixture of sweeping synth work and orchestral cello and violin on “Adagio For Tron” and “Arena” by Daft Punk are both handled extremely well, the cellos in particular sounding rich and vibrant, lending the track a sense of scale and power. “Palladio” by Escala is similarly well dealt with, the subtle detailing on the bowing of the cello playing well against the more driving violin and the deep textures of the rest of the instrumentation to again give a sense of weight and scale to proceedings that really suits this style of music.

Overall, and as you would expect, the bass on show here is a great example of what can be achieved with a balanced armature setup. The 4xBA setup produces a bass that is thick, textured but never overpowering, with a beautifully layered presentation that will dig any hidden detail out of your favourite tracks with ease. One note bass this is not – this is up there with the best overall implementation of bass I have heard on an in-ear monitor, in the same bracket for me as the Aurisonics ASG-2.5 and Campfire Audio Vega. Being picky, a little dash more slam would have been the cherry on the cake, but if that came with a loss of the richly layered and nuanced sound that 64 Audio have made possible in the bass region, then I would probably hesitate about making the change. Overall, this is quality bass for bassheads and non-bassheads alike, giving an almost speaker-like warmth and low end substance to the sound that can become very addictive. This is bass that is built to be enjoyed as well as analysed, and enjoy it I certainly have.



Mids
Despite the pretty heavy bass tilt to this IEM, the midrange is presented very well, with very minimal bleed from the bass, and a clean and warm sound. Vocals feel slightly forward, sitting just behind the bass in terms of stage position, but still providing a “front row” feel to proceedings rather than a more remote feel to the stage. Due to the bass tuning, the midrange is definitely a warm and smooth affair, the voluminous bass below warming the air on the stage considerably. This is balanced out nicely by the soundstage enhancing properties of the APEX technology they use, so the midrange never feels congested or stuffy, and retains its clarity and separation better than you would expect given the overall nature of the sound.

Starting with the vocals, “Black Muddy River” by Gregg Allman paints a haunting melody, Allman’s vocals sounding clear and soulful and sailing effortlessly above the multiple layers of guitar, organ and bass that make up the track. Male vocals in general are well handled by the U8, the hefty bass presence adding a little extra body and warmth at the extremity of the notes for most vocalists, and lending a certain sweetness to the presentation. This track has a beautifully belnded gospel style chorus, and the U8 maintains a nice sense of separation between the competing vocalists, pulling them just far enough apart to be able to track individual voices but not so far apart they lose their sense of cohesion.

Sticking with Gregg Allman, a track from his “Southern Blood” album that is a current favourite is the closing track, “Song For Adam”. This is the last song Allman recorded before he passed away, and the slightly cracked and emotional vocal delivery is one of the more affecting tracks I have heard recently. The U8 conveys that emotion beautifully, keeping Allman’s voice honeyed and smooth throughout, but capturing the raw emotion that is evident throughout. The song is about the untimely death of a friend, and towards the end, Allman actually stops singing for a few lines, obviously overcome by the emotion in the tune (it has later been written that he sang this in memory of his brother’s untimely passing). The U8 express this sense of pain very well, sucking you in to the music and allowing Allman’s pain to bleed out into the very substance of the track. It is always difficult to pin down exactly what makes an IEM “emotional” in terms of vocal delivery, but whatever it is, the U8 does very well here.

Another great purveyor of emotion in music was the King himself, so it comes as no surprise that his recent albums with the Royal Philharmonic also sound good through this setup. The gentle vibrato and hushed chorus of “And The Grass Won’t Pay No Mind” sound engaging and mellow at the same time, the croon of Elvis’ famous voice coming across beautifully, and carrying just enough rasp in the chorus to stop the otherwise smooth and syrupy vocals overpowering the track. “You’ve Lost That Loving Feeling” sounds similarly sublime, the lower key Elvis sings this track in playing to the strengths of the U8 and sounding throaty and full, with the chorus lifting into a euphonic blend of voice and instrumentation as the choir joins in.

Guitar based music is handled pretty well by this particular driver configuration too, carrying plenty of substance. The general smoothness of the overall presentation does mean that the U8 isn’t the last word in crunch and bite where it comes to more uptempo guitar rock, but the rich warmth of the signature does lend a sense of weight to heavier passages of music that actually plays very well with harder rock music. “Shadow Life” by Slash and Myles Kennedy is driven by a frenetic riff, the U8 adding plenty of weight and impact to the sound as it chugs away in your ears. Despite the lack of “edge”, the dual BA drivers in the U8 are more than capable of keeping up with quicker paced music, intricate guitar passages never feeling smeared or blurry as they land in quick succession.



The warmth and weight adds an almost grungy tone to more distorted guitar work, “Growing On You” by The Darkness sounding magnificently sleazy as it winds up, evoking the 80s hair metal essence of bands like Motley Crue. This track also highlights the very good levels of separation the U8 is capable of – the twin guitar intro is ever so slightly offset, finishing a split second later in the right ear than the left ear. The U8 makes this distinction clear, allowing both lines to present clearly in the ears of the listener without sounding divorced from the main body of the sound. “Welcome To The Jungle” by G n’ R also retains excellent separation, with the duelling guitar lines of Izzy and Slash playing without overlap into each ear and highlighting the actual complexity of the track as it goes on. Again, the weight of the midrange helps add a chunky sense of body to the track, bringing out the sleaze in the classic sleaze rock riffing very well.

In terms of detailing, the U8 is a good if not stellar performer in this price bracket (or indeed, the bracket below). The drivers have good clarity, so individual lines of instrumentation are presented nice and clearly, but when it comes to drilling down into the finer details hidden beneath the surface, the U8 certainly wouldn’t be described as a detail monster. The emphasis here is on a smooth and clean presentation, just lacking that final layer of resolution that is apparent in the bass in direct comparison.

Firing up “Coco” by Foy Vance, the micro-detailing in the subtle guitar strums of the intro is audible but not massively apparent, presenting a little further back into the body of the sound rather than on the surface. Similarly for “Palladio” by Escala, the subtle sounds of moving chairs and creaking bows in the opening minute that become more apparent with something like the EE Zeus are buried a lot deeper down in the mix here, which is perhaps unsurprising as the U8 is less than half the price of the EE flagship.

To be clear, the U8 isn’t a sloppy or veiled sounding monitor in the midrange, possessing a very engaging and surprising clear sound to the tuning, and carrying a nicely positioned vocal placement. Other mid range instrumentation like piano and strings sound smooth and rounded, piano and keyboard carrying a slightly stylised but very engaging sound. The 2Cellos/Lang Lang collaboration “Clocks” sounds very good through these IEMs, the piano work of Lang Lang feeling delicate and providing a nice element of light to the more weighty cello work.

Tracks like “Saturate” by The Chemical Brothers sound crisp and full of energy, the heavy synth lines and electronic breaks sounding full bodied as the song winds its way around your eardrums. Synth carries a good sense of weight, having the trailing edges of the notes thickened up like guitar based fare with the underlying echoes of the bass in the sound. The large soundstage works well with this sort of electronica in terms of instrument portrayal, allowing the various electronic sounds to float around the stage, flitting back and forth and twisting on themselves as the mixing engineer intended, without feeling hemmed in or overly artificial.

Lastly, my usual testers for sibilance and mid-range harshness didn’t manage to elicit any obvious discomfort – “Whiskey And You” by Chris Stapleton was raspy in the usual places, but the normally prickly chorus is presented with just enough warmth and honey to smooth over the harsher edges of Stapleton’s voice (I am of the opinion that the audio engineer mastered some of the vocals on this track with a stick blender and a paper shredder). “My Kind Of Love” by Emile Sande fares slightly less well, Sande’s peaky vocals in this track still managing to cut through the high midrange like a knife, but just stopping short of drawing blood in the eardrum. Again, this is another track that has been mastered hot in the vocal range, but the U8 manages to retain enough definition to keep it clear while still smoothing out the worst of the sound.

Overall, considering the sheer quantity of bass that sits beneath this midrange, the team at 64 Audio have done a very good job with the tuning here, keeping the clarity and definition pretty much untouched by the heavyweight foundation it is sitting on. These aren’t the most detailed mids you will ever hear, but they are resolving, weighty and very musical, with a nice shade of warmth throughout, and enough presence to stop the monitor sounding V-shaped. Very nicely done.



Treble
Considering the bass-driven tuning of these IEMs, the general perception is that the U8 doesn’t really do treble. I was pleasantly surprised to find out that isn’t quite true. The high end on the 8-driver model is certainly far from emphasised, exhibiting a slight rolloff in the super high frequency ranges but keeping the same sense of clarity and cohesion as the midrange. This is a treble that isn’t sharp oe emphasised, but is still clearly audible against the backdrop of the mids and bass below it. The U8 has a downward sloping tuning overall, but for me, the treble on offer doesn’t feel overly lacking here, keeping just enough edge to cut through the warmth of the tones underneath and lodge in the mind of the listener without any overly obvious sense of veil.

The actual sound errs towards warm and sweet in the higher ranges, and definitely leans more towards my own personal treble preferences. This isn’t a treble with bags of sparkle or super-crispy detail, but it sings clearly when needed. Actually, the presentation does sound a little unusual, the lack of sparkle in the top end being balanced out by the excellent sense of space and scale of the music that the APEX tech imparts. This means that the treble can be clear and smoothed without sounding overly closed in, or robbing the “air” from the top of the soundstage.

Playing “Starlight” by Slash, the opening guitar licks feel well defined and weighty, carrying enough of the raw-edged dissonance to keep the energy in the track at the right level. Kennedy’s vocals on this track skirt the line between alto and Mickey Mouse in terms of range, and the high wails again sound strong and clear. The edges of the notes feel smooth and polished, giving a very forgiving and almost syrupy sweet tinge to the higher end presentation. Sibilance and harshness will be very difficult to find on this IEM without some seriously bad recordings and a lot of effort, with the U8 presenting some of the most agreeably smooth sound that you can find. Even songs like “Whiskey And You” by the gravel-throated Chris Stapleton are given the honey and molasses treatment when it comes to their sharper passages, so this is definitely not a monitor that is likely to cause fatigue of any sort when listening. As mentioned, this smooth sweetness doesn’t come at the expense of an overly dull or muted sense of stage and air, with the APEX tech still allowing the solid treble notes to give the feeling of plenty of space around them. Overall “height” of the sound in the treble doesn’t feel massively tall, with the presentation being more wide and deep than it is vertical.

The sweetness of the presentation does have one or two minor drawbacks, however. Cymbals and metallic percussion sound a little muted and lacking in emphasis, drifting further back into the soundscape rather than pushing over the top of the sound. More synthetic music can also lack a slight dash of sparkle, with usually glittering keyboard runs in both “Nobody To Love” (Sigma” and “Go” (The Chemical Brothers) sounding a little two-dimensional as they burst across the tracks, in contrast to the weighty and gloriously full bodied bass on the two tunes. Complex hi-hat work on albums like “III” by Chickenfoot and some of my more uptempo rock tunes can feel a little lost in the overall sound as well, with decent speed and clarity but just not quite the same “zing” as a sharper treble reproduction will give.

Overall, this is a treble that is functional and certainly very capable, but its not a milkshake that will bring all the boys to the yard if screaming clarity and edges so sharp you can cut diamond is what you are yearning for. This is best suited for guitar based genres of music like rock and blues, and some classical styles. It will perform well enough with other styles, and has never felt unenjoyable or muted for me no matter what I throw at it, but this particular tuning is designed to complement the mids and treble rather than compete with them, so bear that in mind when looking at what you need from an IEM. Personally, I absolutely love this sort of clear, clean treble presentation, so the U8 have very much landed in the middle of my ideal preference for higher end sound, but I am aware I am a fan of a smoother treble than most card carrying audiophiles, so please near that in mind.



Soundstage, layering and separation
As already outlined, the U8 has a larger than expected soundstage, ably assisted by their in-house pressure relieving technology. When I say larger than expected, I mean larger than expected from an IEM in general, rather than the U8 specifically. The lateral width and depth of the sound is pretty impressive for an in-ear solution, and comfortably ranks up with the most expansive monitors I have heard in any price bracket, despite the overall warmth of the tuning. Staging is somewhere approaching spherical, just feeling slightly wider than it is deep to my ears with the M20 module. I have not heard the M15, but have been reliably informed it adds even more space to the staging at the expense of a little isolation, so could be something to bear in mind of you are a soundstage aficionado.

Separation of individual instruments is helped by this stage sizing, with a good DAP or source able to pull each strand of music sufficiently far apart that it gives the impression of space between the musicians, like you were listening to them play in a small room in front of you. Each instrument has plenty of dark space around it sonically, and this is definitely a strength of the U8 for me. The warmth and power of the lower frequency bands helps to present the notes as quite large in “size” to my ears, so despite the large area they have to work in, you still don’t feel too remote or disconnected from the music being played.

Layering is also something work mentioning, as the U8 is pretty exemplary in some areas here. Specifically, the bass aspect – the quad-BA setup allows the U8 to present bass in a uniquely textured manner, with more layers in a well recorded track than you would find in a Frenchman’s prize onion collection. The detail in each layer as it stacks on top of the next is immense, and easily bests anything else in my collection apart from the Vega when it comes to total complexity of the sound in the sub and mid bass bands. I have emphasised the bass capability here, as when you rise up through the mids and treble, this layering becomes less evident, with the dual-BA setup in both regions not being able to push out the finely stacked details of the lower end. To be clear, both mids and highs are certainly not flat in their presentation, with plenty of prowess here as well, but it just isn’t at the same stellar level as the low end. I’ve never heard spent any serious time with the U12 (or upcoming U12Tia model), but if 64 Audio can pull off the same trick in the higher ranges with the additional driver count that they have achieved in the bass then I understand why some people are so gushing about their former flagship.



Source matching and synergy
64 Audio started life making IEMs under the 1964Ears brand, aiming their products at the stage musician market. As a result, it has been noted by more than one reviewer that their early gear was tuned with stage equipment in mind. This means much higher output impedance on a portable headphone rig (5+ Ohms, normally considerably more) than you get with a typical “audiophile” DAP.

Why is this important, you may ask? It’s important because it affects the impedance curve of the drivers, which in turn affects how they sound. Playing the U8s through a source with a higher OI like the Shanling M2S, you get a bassy but balanced sound, with good resolution and clarity. Switching to the highly resolving Opus #3 from TheBit (with an OI figure under 1 Ohm) and the U8 takes on a darker character, the mid bass gaining a little more quantity and the detailing and perception of clarity taking a slight hit in the mid range and upper end due to the additional warmth, even with the additional resolution of the #3 to balance it out.

While the U8 is very enjoyable with a little more bass (it really does become a true basshead unit), I am leaning more towards something something with a higher impedance (like the M2S or some popular fruit-based mobile phones) if I had to choose just one player to use with the IEM, as it gives a more enjoyably balanced but still warm and smooth sound. Another surprisingly good match is the Sony NW-A36 (or any of their A30 series), with the budget DAP from Sony’s current range providing a little extra width and cleanliness to the sound, playing to the soundstaging strengths of the U8 and pulling a little more out in terms of separation than the warmer and slightly less expansive sound from the M2S, while allowing me to indulge in my inner-basshead at the same time.

A quick note on cable synergy – while I am not a fervent “this wire is on fire!” type of cable advocate, I have found that I get the most preferable sound from my U8 out of my single-ended Effect Audio Leonidas cable as compared to the stock offering. It seems to accentuate the strong points of the IEM and also allow the midrange and highs to breathe a little more in the overall presentation in terms of space and detail retrieval. Please note that I haven’t done any super-scientific A/B comparisons on the cables (I dislike cable swapping at the best of times, so once something is in place after my initial experiments to find a favourite it usually stays there), so my perceptions may be equal parts actual effect, placebo/expectation bias and volume matching, so take this with the veritable kilo of salt if you aren’t a cable believer. The Leonidas also has far better ergonomics and feel than the 64 Audio stock cable, which isn’t poor by any means, but just not quite up to the standard of the $500+ monster from EA.



Apex technology
A few years ago, 64 Audio became the first mainstream IEM manufacturer to partner with Asius Technologies, producing the first set of in-ears with ADEL pressure relieving technology. More recently, the design team at 64 decided to take the same basic principle (reduce the pneumatic pressure generated by the IEMs in the ear canal) and launched their own version, called APEX (Air Pressure EXchange). This takes the form of a small cylindrical plug, inserted into a hole in the IEM shell that sits opposite the sound nozzle on the outer face. There are currently two different modules (the M15 and M20) available from 64, the numbers relating to the amount of sound (in dB) the filter blocks out. The modules also have an effect on the relative bass presence and soundstage properties as they effectively reduce the seal and isolation depending on which module you use, allowing the end user to tweak the sound signature accordingly depending on which filter is in place.

Not being familiar with the effects of the ADEL system apart from a brief exposure to some Empire Ears models at Canjam London I can’t speak to the differences between the two, but as for relieving pressure, the APEX seems to live up to its billing, and allows the U8 to be worn for multiple hours with no listening fatigue or unpleasantness. The APEX technology is also partly responsible for the vast soundstage the U8 is capable of producing, the additional venting creating a more spacious sound in the listener’s ear, almost like an open-backed headphone but with far less loss of isolation from external noise. I haven’t had a chance yet to hear the M15 module (the U8 ships with the M20 as standard), but I am very much looking forward to hearing how the other module is able to tweak the sound signature at some point in the future (and any other modules 64 may have up their collective sleeves going forwards).



Comparisons
Empire Ears Athena VIII (CIEM version)

The Athena is one of the “middle children” of the current EE lineup (as at November 2017), and comes in a little more expensive than the U8 at $1299, compared to the $999 offering price of the 64 Audio model. They both share an 8xBA driver count, with the Athena spreading the load a little more evenly across the spectrum with 2 drivers for the lows, and three each for the mid and high ranges, and utilising a slightly more complex 5-way crossover in comparison to the more usual 3 way system employed on the 8 series model.

In terms of packaging and accessories, the honours are fairly evenly split, with the EE loadout providing a larger but more robust pelican style carry case with a personalised nameplate, and some nice velvet-looking carry bags and for both the case and the IEMs and a cleaning cloth. The 64 Audio loadout is more pocket or bag friendly, but just lacks a little bit of pizzazz in direct comparison to the more high end feel of the EE offering. Fit and comfort isn’t a fair comparison here, as I opted for the CIEM version of the Athena, utilising one of EEs spectacular looking Abalone faceplates to really make the IEM stand out visually, in stark contrast to my “none more black” set of U8s.

Sound wise, the Athena has a slightly higher than neutral bass presence (it’s the most bass-heavy of the current EE Olympus range), but the dual-woofer setup doesn’t compete with the U8 here. The bass feels very present, but slightly “flat” in direct comparison to the ultra-textured U8, with less sub bass presence and a slight mid bass hump as compared to the more evenly distributed U8. Listening to something like “Palladio” by Escala on the 64 Audio model, the brooding cello sweeps that build up as the song gets going feel thicker and more textured, with a heavier sub-bass rumble and rounding to the sound. This is hardly surprising given the stated emphasis of the U8, so while the Athena is certainly not anaemic or bass-light in sound, the U8 is definitely the winner here if you are looking for a monitor with a more emphasised and bass-capable low end.

If bass is the normal playground of the 64 Audio line, the midrange is traditionally the area of strength for Empire Ears, and that is how it plays out here. The Athena presents the mids in a more forward manner, with less warmth but a greater sense of detail and clarity. Where the U8 has a nicely laidback and smooth feel to the sound, the Athena still retains that smoothness, but pushes the sound in front of the bass and has an almost effortless sense of clarity that helps cut through to the detail in a track without artificially sharpening the edges of the sound around it. For guitar and vocal based music, the Athena is the more aggressive and energetic of the two sounds, with a little less warmth in the midrange and a little more edge to the individual notes. Vocals are pushed further forward on the stage, with a greater feeling of clarity in comparison to the more velvety and rounder presentation of the U8. The U8 doesn’t feel veiled in the mids, but once you have adjusted to the Athena’s more forward styling, there is a touch more micro-detailing and clarity apparent around the fringes of the sound in direct comparison to the 64 Audio model. The U8 counters with a sweeter sound to the mids and a touch more weight around the upper bass/lower midrange transition, so this is more a battle of styles than a clear win or loss for either IEM. Listening to “Black Muddy River” from Gregg Allman’s last album, the Athena just has the edge in terms of the vocal delivery and delicacy of the gossamer-like acoustic guitar that is so gently layered in the back of the mix. In comparison, the U8 presents the track in a warmer and more euphonic style, with Allman’s voice a little further back against the instrumentation and the guitars almost fading into nothingness in the edge of the sound.

Treble is similar on both, neither monitor having a particularly emphasised or sparkly top end. The Athena is the crisper of the two in this regard, with a dash more emphasis in the highs and a more even balance between mids and treble in comparison to the slightly attenuated (in volume, not extension) top end of the U8. Clarity and detailing is again edged by the Athena here, just adding in a little extra dash of perceived resolution over the smoother 64 model. Neither model is tuned with any harshness in the upper frequencies, making both a very smooth and crystal clear ride with most of my music collection.

Soundstage is won by the U8, with a larger presentation and more space between the instruments. In fairness, EE do offer the option of an ADEL port (the predecessor to their own APEX tech that was used by 64 Audio up until recently), so this may even the odds somewhat, but I haven’t had the pleasure of spending any time with an ADEL-equipped Empire model as yet, so I can’t confirm that for certain. Layering is a mixed bag, with the U8 comfortably holding the whip hand in the lower end, but passing the torch to the Athena as the frequency ranges climb. Separation feels better to me on the U8, with the additional soundstage size coming in to play here – it is marginal though, with both IEMs being very capable in this regard.

In terms of gear synergy and driving power, the U8 is harder to drive than the Athena by a considerable margin (about 15 volume steps out of 120 on my Sony A36), although neither are in the hard to drive bracket. The U8 is also more susceptible to changes in source output impedance, becoming leaner and cleaner as the OI goes up, whereas the Athena is more stable. Finally, the U8 definitely wins the battle of the background noise if that is something that bothers you, with the Athena inheriting its ability to hiss with most all but the most silent of sources directly from its big brother the Zeus. To be fair, neither IEM produces a level of noise that I feel is noticeable when the music is on, so this is just for the sticklers out there.

Overall, both models are excellent examples of what can be achieved in the $1k IEM bracket, providing tunings that are musical and engaging, without crossing the line into overly analytical or losing sight of the music in pursuit of technical perfection. The fact that both monitors also possess excellent technical aspects is an added bonus. As far as calling an outright winner, I can’t make my mind up – the U8 offers a velvety richness to the sound and sweetness to the tone that is very addictive, and sounds good with almost all genres of music, the additional push down into the sub bass frequencies really rounding out the sound into an almost speaker-like experience. The Athena has a more accomplished midrange and treble, yet still carries enough bass presence and warmth to sound engaging and musical. Overall, if I could only choose one I would probably err towards the Athena for its slightly better technical prowess without sounding analytical, but for day to day listening and just sheer enjoyment of music I can’t fault either IEM.



Campfire Audio Vega

The Vega is the current dynamic driver “flagship” from Campfire Audio, retailing at around $300 more than the U8 at current market prices. It is a single dynamic driver design, and like the U8 isn’t particularly shy when it comes to bass presence. The Vega has a smaller housing design than the U8, with the small Liquidmetal™ housings sitting very nicely in the ear, in contrast to the larger and more CIEM looking trivial pursuit wedge of the 64 Audio model. Comfort is slightly higher on the Vega as a result, but only marginally – build quality also feels a little higher, with the solid alloy shells and the ALO SPC Litz cable that comes with the Vega as standard feeling a little more premium than the acrylic and “standard” 2 pin cabling provided on the U8. The carry case is definitely nicer on the 64 Audio product, however, with the iconic CA fleece-lined carry case being easier on the pocket, but not being able to pack in nearly as much stuff, and nowhere near as neatly.

Moving on to the sound, the bass on the Vega is one of its strong points, carrying a bigger physical impact than the U8, but with less warmth. There feels like there is slightly more mid bass presence overall on the Campfire IEM, with tracks like “Bad Rain” highlighting the visceral sense of power the Vega evokes when the growling bassline kicks in, in comparison to the thicker but more laid back quad-BA setup in the U8. This is a battle of BA vs dynamic driver bass, with the Vega carrying more raw power, and the U8 presenting a more velvety and thickly textured feel to the sound. Both drivers actually have characteristics more often found in the other type of setup, with the Vega’s non-crystalline diamond diaphragm coating carrying a real sense of speed and snap, and the U8 feeling almost dynamic in its slightly slower decay and sense of weightiness.

Both IEMs present bass for the basshead, so preference will play a part here to determine which is best – if you are looking for smooth and enveloping bass, the U8 is your go-to. If you are looking for raw power and the sort of air movement you usually only feel when a high-speed train whooshes past, then the Vega is the choice. As mentioned, in terms of raw quantity, the Vega actually feels “bigger” than the U8, and carries a more raw edge to the sound in this area.

In terms of detail and layering, both IEMs are exceptional down low, with the Vega matching the U8 with a highly layered and resolving low end. It feels less spacious than the U8, but the layers are all still easy to separate, and just feel more “dense” due to the smaller stage size, but never crowded.

The mids on the Vega are a little leaner and less sweet sounding than the U8, with a sharper edge and attack to electric guitar and other sting instruments and a better sense of dynamics, in comparison to the more laid back vibe of the all-BA setup. The U8 presents a thick and laid back layer of sound in this region, whereas the Vega pushes out a more muscular and taut take on the midrange. There is a heightened sense of dynamics and light and shade in comparison to the more even and smooth 64 Audio model, the Vega feeling particularly well suited for more uptempo rock and classical styles of music. It has no trouble keeping pace with the frenetic riffing on some Slash tracks or stuff from the “heavier” artists in my collection without breaking a sweat. In comparison, the U8 presents the guitar chords with less bite but a little more body, sounding thicker and slightly sludgier in direct comparison (rather than sludgier per se).

Finishing off up top, the treble is sharper and less laid back on the Vega, not feeling overly cutting when using the CA foam tips but definitely having more presence than the U8. Cymbals have a sharper sense of splash in more uptempo tracks compared to the more muted fizzle of the U8, and there is a little more sparkle to the overall sound in the higher end. Playing something like “Starlight” (again by Slash), the dissonance of the opening guitar intro and the edginess of the vocals carry more energy with the Vega, sucking the listener right into the heart of the music. This is both a blessing and a curse, as this results in the Vega being the less relaxing of the two IEMs when you are listening to more downtempo or acoustic music, being unable to shed its high-energy persona. The U8 on the other hand is the master of the laid back listening vibe, being the IEM equivalent of Jack Johnson to the Vega’s Dave Lee Roth, so for smooth and chilled out sessions, the tonality of the U8 definitely wins over the high-octane Vega here.

Soundstage is convincingly won by the U8, being larger in all directions than the compact but densely layered Vega. As mentioned, the Vega has the same sense of complexity in its layering that the U8 manages in the bass, but it carries this through the entire sound range, packing in plenty of different slabs of sound one on top of each other without sounding cramped or muddled. Detailing is slightly higher on the Vega, which is a little sharper through the mids and treble and able to reach a little further into the music to pull little micro-scuffs of a guitar string (like in the opening to Foy Vance’s “Coco”) into the ears of the listener. Neither IEM is particularly analytical, but the Vega just has the edge in terms of overall retrieval to my ears here, the lack of warmth in comparison helping the peripheral sonic information in the “room” filter through more clearly.

Overall, as a battle of the basshead IEMs, it really comes down to what you are looking for. The Vega hhas the bigger presence in the lower regions, but balances that out with a higher level of detailing and a sharper, more dynamic sound than the lush and warm sonic tones of the U8. In terms of technical achievement, I think the Vega is the “better” IEM here, and certainly has a far more dynamic sound. The U8 counters with a sweetness to the midrange and overall thickness to the bass without the sheer physical violence of the Vega, so will be more suited to more laid back listening. As with the Athena, if I could choose just one, I’d probably go with the unique sound of the Vega, but for certain genres I definitely prefer the warmer and sweeter overtones of the U8 – either would be an excellent choice for someone looking for a bassy but still clear sounding in-ear in the TOTL price bracket.



Specifications
(from 64 Audio website):

• Impedance: 18Ω @ 1kHz
• Sensitivity: 117dB/mW
• Freq. Response: 10Hz – 20kHz
• Noise Isolation: -20dB with apex m20 module
• Fit: Universal w/foam and silicone tips
• Transducer type: Eight precision balanced armature drivers
• Transducer configuration: 4-low, 2-mid, 2-high
• Quad Bore Design
• Integrated 3-way passive crossover
• Hypoallergenic, hard acrylic shells

Final thoughts
As a first foray into the 64 Audio house sound, the U8 has impressed me a lot more than I ever thought it would. It packs a warm, bassy punch, with excellent detailing in the lower frequencies and a clear and musical midrange. Treble is slightly dark but not overly so, with a smooth tilt to the sound that makes for a very musical overall tuning. These get tagged quite unfairly in my opinion as a “basshead only” IEM, but with the right source, this is a thick and smooth sonic joyride, giving plenty of low end grunt in a very enjoyable downward sloping signature with a great soundstage. Unless you are looking for a lean, mean detail machine, the U8 are a pretty underrated monitor in the mid-to-high end price range in my opinion.

When paired with the right source, these IEMs really thrive, presenting a sound that is rich but not cloying, and carrying a surprising amount of technical excellence in terms of soundstage and layering. Combined with the APEX technology to reduce pressure on your eardrums (and attendant ear fatigue) and the engaging and almost speaker-like sound, these are a set of IEMs that should definitely be higher up the pecking order for audiophiles who are looking for a splash of weight and colour to their music, and aren’t’ obsessed with hearing every little scrap of sonic information at the expense of actual enjoyment or bass presence. These are a basshead IEM that everyone should be able to enjoy, and if nothing else, I think the team at 64 Audio should be applauded for that. Sometimes in this hobby it’s easy to forget what we actually use all this high end gear for – to listen our music collection. Not to analyse it, or bask in the glorious detail, just to listen to the tunes and get swept away in that primal reaction to music that makes everyone take up this hobby in the first place. While it isn’t the most technically compelling IEM in its chosen price bracket, the 64 Audio U8 is definitely something I can enjoy my music with, and I would suggest most people will feel the same.

Empire Ears Athena – the goddess of Olympus


This review was originally posted on the UK blog I contribute to (https://audioprimate.blog) and has been reposted here for the good people of Head-Fi.

Ratings
Price (as of Dec 2017): $1299
Website: Empire Ears



Introduction


For those who aren’t familiar with the current “big players” in the international Custom In-Ear Monitor industry, the Athena is (at time of writing) the third placed model in the Empire Ears “Olympus” line of in-ear monitors, sporting 8 balanced armatures per side, a custom moulded acrylic shell and a pricetag north of $1000.

Empire Ears themselves are currently one of the big players in the CIEM field, having evolved from co-owner Jack Vang’s previous company Earwerkz to join with the hearing-aid manufacturing arm of the Vang family business (Savvitek) to take their production and design capabilities to the next level. They have a fairly large roster of stage musicians and other sound professionals on their books already, and are pretty well respected throughout the industry for the quality of their designs and the technical capabilities of their higher end models.

I came across the Athena on my trip to CanJam London earlier this year, and was impressed enough after working through most of the Empire Ears range on their stall (plus the new “prototype” models they had there that day that are now starting to surface at shows like PortaFest in Japan) to order a set. The potent combination of a slightly thicker and meatier sound than the super-resolving Zeus (which I already own) and the trademark EE clarity in the mids and treble painted a very musical picture in my ears, and I wanted to be able to spend some proper time with the EE “middle child”.

This review was originally intended to be posted a few weeks after receiving them, but unfortunately due to a combination of circumstances, this has turned into a more “long term” assessment than I was originally anticipating. That is far from a bad thing, as it has allowed me to really get to grips with the tuning and extract maximum enjoyment from these seriously underrated 8-driver earpieces.

This review is an evolution of my initial impressions, so will share some paragraphs with my previous postings, amended or just flat out rewritten as needed.



Unboxing and aesthetics
As the Athena shares an identical loadout and presentation, the unboxing section of this review has been shamelessly lifted from my recent Zeus-XR writeup – if you have already read that, please skip on to the sonics section below.

For those who haven’t, I’m happy to report for fans of a good unboxing, this is about as high end as it gets, short of coming with its own butler. The IEMs come in a classy cardboard box with fold-over magnetic fastener, embossed with the Empire Ears Logo (in silver, rather than the gold of the Zeus). Opening the box, you will find another box – in this case, a personalised Empire Aegis case (think large Peli or S3 and you’re 90% there) with a metallic faceplate on the front, again sporting the Empire winged logo and the name of the recipient (or any other custom message you want to put on there).

Also nestling in the package are a branded black microfibre polishing cloth (for keeping that all important shine on your ear jewellery), a velvet-style soft carrying pouch big enough to fit your precious cargo and a cable in and a larger black fabric bag, this time big enough to fit the Aegis case in. As with the polishing cloth, the two bags both sport the same classy silver branding prominently, leaving you in no doubt which firm’s product you are handling.

Completing the package and nestled safely inside the precision cut foam inserts inside the carry case are the IEMs themselves, a standard Plastics One style braided CIEM cable and the ubiquitous cleaning tool/brush from getting ear-goo out of the sound bores.

For a custom IEM this is a nicely considered load-out, and the high quality feel and well thought out extras completing the package lend a very nice sense of quality to proceedings. Nothing too flashy, nothing superfluous, but what is provided is obviously of a high standard and sets the tone for what is to come.

Moving on to the IEMs themselves, I opted for a solid purple shell and an abalone faceplate, after being mightily impressed by the look of the abalone shells on the Canjam demo models. In person, they look even better than the rendering from the jazzy design tool on Empire Ears’ website, with a smooth gloss finish and impeccable build quality throughout. The shells are smooth, light and pretty low profile for an 8-driver IEM but still feel sturdy, and are free of any imperfections or air bubbles as far as I can see. The join between the faceplate and the main IEM body is also flawless, with a silky smooth transition and no seam or grain to be felt on the polished shell at all. These IEMs really are an example of how to produce a custom acrylic shell right, looking and feeling top notch.



General impressions
The Athena are not at first listen a particularly flashy IEM, with a nicely agile but solid sounding lower end and a clean rather than sparkling treble. There is a nice sense of balance to the sound, without any immediate “wow” factor that usually kicks in with a more typical V shaped signature, or with something that carries more emphasis in one particular frequency range. There is something appealing about the warmth and balance of the presentation that becomes immediately apparent, so these are far from unappealing at first listen, but this is definitely a design that grows on you over time, rather than burning bright and then fading as the novelty wears off. It is also a tuning that your brain needs time to adjust to in order to appreciate the nuance and detail hidden behind the bigger and bolder “flavour” that immediately hits your ear.

The overall tonality is a little warm, with a little lift in the bass (centred around the mid bass rather than sub-frequencies) and an emphasis on vocals. Treble is as clear as a tee-totaller’s skin, presenting a nicely smooth but detailed upper end devoid of any nasty treble peaks or harshness. The warmth of the sound and slight push in the mids means that these aren’t an overly airy monitor, but they do give a good sense of width along the x-axis, and decent depth. The presentation is compact and solid rather than ethereal and floaty, with a very grounded feel to the sound, rather than a massive sense of space in the upper echelons.



Bass
In terms of bass, the Athena has a bit more presence than the Zeus, with a nice sense of dynamism to the sound. The balance tilts more towards mid-bass than sub, with a slight hump (or “thumb”) in the middle of the mid-bass frequency range to lift it slightly above neutral in quantity. There is enough bass quantity to be considered musical, but certainly not enough to be considered a bass-heavy monitor. Being an all-BA affair, the impact is never going to match up with the volume of air that a dynamic driver can move, but there is a nice sense of urgency and snap to the lower end, and bags of texture and detail. Like most balanced armature setups, the Athena don’t carry a huge “slam factor” when it comes to moving air in and out of your eardrum, but the snappiness and speed of the bass does provide a nice feeling of punch on my harder hitting test tracks, in particular the kick drum.

The sub-bass is capable but not outstanding, producing a faint rumble in the true depths rather than a earth-shaking roar. As with its big brother, drum sounds are rendered beautifully, with good imaging and a highly realistic tone – between the Athena and Zeus, I would say that Empire Ears have nailed the most realistic tom-tom sound reproduction I’ve yet heard (a very niche award, to be fair, but worth noting).

The style of presentation is smooth, but not 100% liquid, straddling the line quite effectively between a textured and chalky feeling BA style bass and a looser and slightly wetter feeling dynamic driver. Listening to “Hello, It’s Me” by Sister Hazel, the chocolate goodness of the main bassline oozes in to the track, not quite flowing freely, but adding a nicely dense layer of viscosity to the sound as the bassline fills up the track.

“Bad Rain” by Slash is my hallmark for quality bass texture, with a snarling bass riff at the 20 second mark that should come with a leash and a collar. The Athena is all about the texture and the snap, painting a slightly lean but menacing picture in the ears, allowing the listener to hear the individual bass guitar strings vibrating as the rasping rhythm fires through. Detail levels are high, and the layering is also very good for a dual-BA setup – it doesn’t quite approach the millefeuille-esque number of sonic layers something like the Campfire Vega or 64 Audio U8 can kick out down low, but this is certainly not a one-note or squashed together presentation by any means.

Giving the dual-bass drivers something a bit smoother to get stuck into, “Get Lucky” from Daft Punk hits all the right marks sonically, the slinky bassline dropping and dropping, only losing a smidgeon of presence as it scrapes right down into the floor of the track. It is smooth and velvety, giving the track plenty of foundation without sounding overpowering, and lending a pleasant warmth to proceedings. This isn’t a sound that will have bassheads purring with delight, but there is enough quantity and weight to the notes to stop this being described as strictly neutral or thin, with a nice sense of body that should satisfy all but the most ardent fans of brain melting vibrations.

More sub-bass laden tracks like “Heaven” by Emile Sande or “Why So Serious” from the Dar Knight soundtrack fare less well on the Athena, producing a small tickle in the eardrum in the really low passages, rather than the all encompassing thrum that both tracks demand. It’s the one subjective area of weakness here, so if you listen exclusively to sub-bass driven genres, then this probably won’t be your go to IEM of choice – for most modern rock and guitar or piano based fare, the bass is certainly more then adequate in both quantity and quality to keep a smile on your face as you work through your music collection.



Mids
Much like the old Aurisonics ASG series, mids are something that Empire Ears have become reknowned for. The Athena doesn’t deviate from that, serving up a nice steaming dollop of sound in this frequency band that is fairly forward, highly resolving and just plain great sounding. On first listen, the mids don’t scream detailing, but as you listen, plenty of nuance and audio plankton presents itself as the songs unfold. Ironically, despite being the most obvious area of expertise that the Athena exhibits, it is the one that has taken my brain the longest to completely tune into. Like its older sibling the Zeus, this is a midrange that rewards the time and effort you take to get used to its specific style of presentation.

Clarity and smoothness are the order of the day, with a weighty presence to electric guitar and rock music in general, and enough bite to keep things interesting where the track calls for it. For me, the vocals sit slightly in front of the other mid-band instrumentation (as they would on stage), and apart from a sense of resolution which isn’t normally available in the sort of dive-bar music venues I frequent, there is a nice “live” feel to the presentation for traditional guitar or band based music. The overall note presentation errs on the side of thickness, presenting a fairly large audio image in my ears. There is a good sense of weight and a nice undercurrent of warmth running through it. There are no audible spikes in the male or female vocal ranges, both carrying a similar sense of presence and smoothness to my ears.

Listening to someone like Beth Hart is a pure pleasure on these IEMs, “Mother Maria” sounding raw and emotional in its delivery, each breathless line of lyric sounding like the singer is literally whispering them into a microphone positioned a few inches above your forehead. Mavis Staples is another pleasure, the larger than usual vocal imaging bringing the veteran soul singer’s voice right up close and personal, allowing you to bask in the rich texture of the quieter phrases as well as the more powerful moments.

“Love and Trust” by Ms Staples also helps me identify the ability of a monitor to separate mid range instrumentation and vocals, possessing a multi-layered gospel chorus and overlapping electric and acoustic guitars all operating in roughly the same sonic space. The Athena does well with this track, allowing you to identify the various singers in the chorus line pretty cleanly without detracting from the wonderful blending of the sound, and laying both guitar lines cleanly over the top without blurring the edges. Due to the warmth of the tuning, it never feels like there is a massive sense of space or artificial separation between these layers, so this isn’t the most overtly technical sounding IEM you will find in this price range. That being said, once you have clicked with the tuning, there is ample resolution and clarity to be had in all but the most cluttered of tracks.

Looking for sibilance and sharpness, I ran a little Chris Stapleton and Emile Sande through their paces. Stapleton’s famously ear shredding chorus on “Whiskey and You” passed my eardrums without incident, and the first few tracks from Sande’s debut album did much the same. Rather than blunting or smoothing over any rough edges, the more “natural” clarity and resolution of the Athena allows harsher tracks to play without artificially enhancing their sharper edges, making this a very smooth and buttery listening experience for most things I have thrown at it to date.

Rock tracks play out particularly well on the Athena, with a nice sense of heft to electric guitar riffs and a good sense of dynamism and attack. This is more of a smooth and substantial feeling sound rather than crunchy and aggressive, but what the Athena occasionally lacks in perceived “edge” it more than makes up for with solidity and detail. Listening to something like “Blame It On My Youth” by Mr Big from the golden era of 80s rock supergroups, the opening chords are full of distorted detail, Paul Gilbert’s harmonic-driven guitar onslaught hitting with solidity and shredding when needed.

Piano based tunes fare equally well, the warm tone of the IEMs lending a very euphonic tinge to the music. “Natural Blues” by Moby sounds absolutely superb, the simple piano phrases blending well with the bluesy vocal and the solid bassline to paint a very enjoyable presentation. This aren’t the most hyper-accurate of IEMs in terms of tonality or timbre (if you are looking for that, the Zeus would be your logical port of call in the current EE range), but they portray a reasonably accurate tone on most instruments, just adding a splash of colouring where needed to bring a nice sense of musicality to the overall sound.

To round out the tour of musical instruments living in the midrange, I threw a bit of brass into the rotation from a recent find, Trombone Shorty. The smooth funk of “Here Come The Girls” sounds like the lovechild of James Brown and John Legend, velvety vocals mixing with Shorty’s classic trombone licks to get my feet tapping like an impatient 5-year old waiting in line for the toilets. Again, the tone is wonderfully smooth and natural sounding, and while I don’t have a huge amount of experience listening to the real thing, the brass section sounds solid and organic rather than harsh or metallic.

If I had to sum up the mid-range presentation, I’d say that while it is almost certainly the star of the show, it comes across more like Nile Rogers than Miley Cyrus. The Athena is content to let you bask in the cool and super-smooth excellence of its delivery without hitting you over the head with obvious attention-grabbers or resorting to disrobing certain frequency ranges just to keep your attention. Creamy, smooth but resolving at the same time, the Athena hits just the right balance to be considered a true mid-range expert in this price bracket.



Treble
The treble on the Athena is a little less emphasised than on their big brother the Zeus, and in fact remind me a little of the Audioquest Nighthawk in execution. There is no sharpening or artificial emphasis to accentuate micro-detail – it is still there in the sound, but just feels a little less apparent until your brain adjusts to the signature. These aren’t a headphone for those fans of screaming crystalline crunch and blistering heat, but if you like your high end non-fatiguing and clear as a bell, you will be on to a winner here. I genuinely think you would have more chance of finding Lord Lucan than you would of finding bothersome treble peaks on all but the harshest recorded tracks, but at the same time the treble doesn’t feel blunt (once you have adjusted to it). It just sits slightly behind the more prominent mids and rings clean and clear throughout the range, sitting squarely in my ideal tuning bracket for most IEMs, so is definitely a winner for my preferences.

As you would expect, perceived extension isn’t huge – the warmth and thickness of the presentation lead to a lack of air in the top end, and a de-emphasised higher register. Instead, the sound is presented in a clear and almost “rounded” manner, with a jet black background (depending on the source) surrounding each individual note.

This presentation actually works quite well for some electronic tracks, “Go” from The Chemical Brothers sounding full and energetic in the top end as the swirling synths in the chorus kick in to overdrive. The hi-hat on this track epitomises the overall treble presentation for me, hitting crisply but fading out almost immediately, the decay being kept short and muted and killing a little of the natural “splash” you associate with cymbals.

Kicking over to my preferred geetar-screech rock, “Starlight” by Slash and Myles Kennedy is up next. The guitarwork in this track is deliberately dissonant to begin with, and the Athena keeps this firmly in the realms of smooth and solid rather than accentuating the jagged edges of Mr Hudson’s work. There is a nice sense of crunch to the high notes, so the edges certainly feel defined, but again it feels solid and clean rather than sparkly or overly sharp. Personally, this works well for me, but if you are looking for an IEM with more treble emphasis then you may want to look at other models in the EE lineup before the Athena.

The comparative lack of air in the higher registers lends the sound an almost “closed in” feeling in the top end, giving the higher notes a ceiling to work beneath and deaden themselves on rather than let them reverberate off into a cavernous concert hall. Again, preference will play a key role here, but I think it works well with the other tuning choices to give that final dash of solidity and roundness to the sound.

Separation, layering and soundstage
The 8 driver setup of the BA are certainly technically capable, pushing a little wider than the periphery of your head in both directions and also exhibiting a good amount of depth in the Z-axis. The stage is slightly more oval to my ears than round, but there is still a good sense of scale for something tuned so warm. This warmth does bring the instruments a little closer together than something like the U8 or Andromeda, but it feels natural for this sort of sonic presentation, and contributes to the quite cohesive feel of the soundstage, which feels more like a live concert stage in some respects rather than a studio recording room. The staging feels solid rather than cavernous, keeping each instrument well placed in its own physical space but locating the players closer together on the stage (think small dive bar stage rather than Sydney Opera House).

Layering is good, stacking each different strand of music quite densely on top of the next while still keeping them discernible. Again, the warmth of the tuning and the stage size limit the overall effect somewhat, but the Athena are definitely a capable monitor in this regard, keeping multiple strands of music cohesive but still packing in plenty of texture and nuance. This is not a tuning built for hyper-detailed or hyper-analytical listening, evoking more of a feeling of soul and cohesion to the music you listen to rather than dissecting it. Overall, the Athena has a solidly packed but still nicely separated sound, laid out on a realistic feeling stage – both elements work in harmony with the tuning to evoke a very musical but still technically proficient and real-feeling sound.



Synergy and hiss
The Athena comes as stock with a nice stock braided cable in black, looking very much like an upgraded version of the standard “Plastics One” cable used across the CIEM industry. The eagle eyed among you will notice that it isn’t that cable that features in the pictures above. While the stock cable was perfectly fine for listening, as I am now running an Effect Audio Ares II+ on my Zeus-XR, I happened to have a perfectly good Whiplash Audio SPC upgrade cable that came with the EE flagship just sitting around unused. After some serious battling to get the stock cables removed (what do EE use to fit them into the sockets – a rocket launcher?!) I tried this cable out with the Athena to see if there was any appreciable sound difference. I must admit I’m very much on the fence on the benefits of cables in general, but have noticed a more pleasing tonality to the Zeus-XR with the Ares II+, and also prefer the sound of the Athena with the SPC upgrade. For me, it adds a shade more emphasis up top for an added perception of clarity, while still keeping the warmth and body of the baseline tuning, so balances out the sound a little better for my personal preferences.

The Athena are a mildly warm sounding monitor, but I actually found them pairing very well with one of my warmer sources (the Echobox Explorer) so far. The Opus #3 also runs very nicely with these, adding a little more perceived clarity and separation at the expense of a little body to the sound. The other source I found particularly enjoyable is the LG V30, with LG’s latest audiophile flagship handling the Athena with a sonically black background and great sense of energy. This combo packs plenty of dynamism behind the solid midrange landscape and allows the technical capability of the drivers to shine. It is marginally behind the Opus #3 in terms of separation between instruments, but otherwise comfortably holds its own and adds a little extra body down low.

I have tried the Athena with a few balanced sources (using both an 8-core SPC cable and the Ares II+ I use with the Zeus, and I didn’t notice any drastic sonic improvements, over and above the actual implementation of the balanced output compared to the single ended out in some instances (the Aune M1S). The Athena are an IEM that don’t require a vast reserve of power to hit full headroom, so don’t need to be driven balanced, unless the balanced out on your source is drastically better than the single ended option. In fact, the Athena could probably be driven just by holding the end of your IEM cable close enough to your amp for it to pick up the residual electromagnetic waves it’s that easy. So while it will scale well with the quality of amplification on offer, it certainly doesn’t need any more output juice than even the most puny of DAPs can provide.

The final note in this section is on hiss. Yes, the Athena hiss. Yes, it’s almost in the same order of magnitude as the Zeus-XR (to my ears). No, once the music starts it doesn’t bother me in the slightest, and with some sources won’t be audible at all. If you have a particularly “hissy” source, that probably won’t pair too well with these IEMs if you are sensitive to that sort of thing. For most people, it certainly won’t be an issue. One random note – much like the Zeus, the Athena don’t seem to particularly like the “Current Mode Amplification” technology that Questyle use. While I never had a chance to run the Athena with the QP2R I had on loan for a few months, the CMA400i desktop unit I now have shares the same underlying amplification trickery, and this particular pairing seems to generate less “magic” than other sources I have, with a greater than average helping of ssssss-ing in the background. I don’t know if this will carry over to the QP2R, but all I can say is that both the QP2R and CMA400i sound superb with most of my other in-ear gear but markedly average with my two Empire Ears IEMs, so take that as you will.



Comparisons
64 Audio U8 (w/ M20 APEX module)
The Athena comes in a little more expensive than the U8 at $1299, compared to the $999 offering price of the 64 Audio model (when it was on sale – it has recently been removed from the 64 Audio site as part of their “line refresh” as of December 2017). They both share an 8xBA driver count, with the U8 packing half its total driver complement into a quad-low setup, using two each for the mid and high ranges, and utilising a slightly more traditional 3-way crossover in comparison to the more complex 5-way system employed on the Athena.

In terms of packaging and accessories, the honours are fairly evenly split. The 64 Audio loadout is more pocket or bag friendly, but just lacks a little bit of pizzazz in direct comparison to the more high end feel of the EE offering. Fit, aesthetics and comfort aren’t a fair comparison here, as I opted for the CIEM version of the Athena, utilising one of EEs spectacular looking Abalone faceplates to really make the IEM stand out visually, in stark contrast to my “none more black” set of U8s, which look cool in a functional Henry Ford Model T kind of way, but don’t really set the heart pumping or caress the inside of the ears like a good custom fit.

Sound wise, in the lows the Athena’s slightly higher than neutral bass presence doesn’t really compete with the U8 and its quad-woofer setup here. The bass still feels present, but slightly “flat” in direct comparison to the ultra-textured 64 Audio model, with less sub bass presence and a slight emphasis on midbass in direct comparison to the more evenly distributed U8 (although the U8 has more bass across the board, it is more evenly balanced between the two areas). Listening to something like “Palladio” by Escala on the 64 Audio model, the brooding cello sweeps that build up as the song gets going feel thicker and more textured, with a heavier sub-bass rumble and rounding to the sound. This is hardly surprising given the U8 is the basshead model of the 64 Audio series, so while the Athena is certainly not anaemic or bass-light in sound, the U8 is definitely the winner here if you are looking for a monitor with a more emphasised and bass-capable low end.

If bass is the normal playground of the 64 Audio line, the midrange is traditionally the area of strength for Empire Ears, and that is how it plays out here. Where the U8 has a nicely laidback and smooth feel to the sound in this area, the Athena matches that smoothness, but pushes the sound further forward in front of the bass and has an almost effortless sense of clarity in direct comparison. For guitar and vocal based music, the Athena is the more aggressive and energetic of the two sounds, with comparatively less warmth in the midrange and a little more edge to the individual notes.

Vocals are pushed further forward on the stage, with a greater feeling of clarity in comparison to the more velvety and rounder presentation of the U8. The U8 certainly doesn’t feel veiled in the mids, but once you have adjusted to the Athena’s more forward styling, there is a touch more micro-detailing and clarity apparent around the fringes of the sound in direct comparison to the 64 Audio model. The U8 counters with a sweeter tinge to the sound and a touch more weight around the upper bass/lower midrange transition, so this is more a battle of styles than a clear win or loss for either IEM. Listening to “Black Muddy River” from Gregg Allman’s last album, the Athena just has the edge in terms of the vocal delivery and delicacy of the gossamer-like acoustic guitar that is so gently layered in the back of the mix. In comparison, the U8 presents the track in a warmer and more euphonic style, with Allman’s voice a little further back against the instrumentation and the guitars almost fading into nothingness in the edge of the sound.

Treble is similar on both, neither monitor having a particularly emphasised or sparkly top end. The Athena is the crisper of the two in this regard, with a dash more emphasis in the highs and a more even balance between mids and treble in comparison to the slightly attenuated (in volume, not extension) top end of the U8. Clarity and detailing is again edged by the Athena here, just adding in a little extra dash of perceived resolution over the smoother 64 model. Neither model is tuned with any harshness in the upper frequencies, making both a very smooth and crystal clear ride with most of my music collection.

Soundstage is won by the U8, with a larger presentation and more space between the instruments. In fairness, EE do offer the option of an ADEL port (the predecessor to their own APEX tech that was used by 64 Audio up until recently), so this may even the odds somewhat, but I haven’t had the pleasure of spending any time with an ADEL-equipped Empire model as yet, so I can’t confirm that for certain. Layering is a mixed bag, with the U8 comfortably holding the whip hand in the lower end, but passing the torch to the Athena once you leave the bass-ment. Separation feels a touch better to me on the U8, with the additional soundstage size coming in to play here – it is marginal though, with both IEMs being very capable in this regard.

In terms of gear synergy and driving power, the U8 is harder to drive than the Athena by a considerable margin (about 15 volume steps out of 120 on my Sony A36), although neither are in the hard to drive bracket. The U8 is also more susceptible to changes in source output impedance, becoming leaner and cleaner as the OI goes up, whereas the Athena is more stable. Finally, the U8 definitely wins the battle of the background noise if that is something that bothers you, with the Athena inheriting its ability to hiss with almost all but the most silent of sources directly from its big brother the Zeus. To be fair, neither IEM produces a level of noise that I feel is noticeable when the music is on, so this is just for the sticklers out there.

Overall, both models are excellent examples of what can be achieved in the $1k IEM bracket, providing tunings that are musical and engaging, without crossing the line into overly analytical or losing sight of the music in pursuit of technical perfection. The fact that both monitors also possess excellent technical aspects is an added bonus. As far as calling an outright winner, I can’t make my mind up – the U8 offers a velvety richness to the sound and sweetness to the tone that is very addictive, and sounds good with almost all genres of music, the additional push down into the sub bass frequencies really rounding out the sound into an almost speaker-like experience. The Athena has a more accomplished midrange and treble, yet still carries enough bass presence and warmth to sound engaging and musical. Overall, if I could only choose one I would probably err towards the Athena for its slightly better technical prowess without sounding analytical, but for day to day listening and just sheer enjoyment of music I can’t fault either IEM.



Campfire Audio Andromeda
The Andromeda is the current co-flagship of the acclaimed Campfire Audio range, sporting 5 balanced armature drivers in comparison to the Athena’s 8, but utilising a proprietary resonating chamber (called TAEC technology) to achieve its excellent high end extension and staging. They are priced at around £1099 at time of writing, so slightly cheaper than the Athena.

Starting with the bass, the Athena has more quantity than the Andromeda, which is north of neutral but not overly reknowned for its bass volume. Quality is again similar, both IEMs producing good texture and detail in the lower end, with the Andromeda sounding a little less forward and bodied than the warmer and more “in your face” style of the Athena. To be fair, neither IEM could be considered a basshead tuning, so please take this in context, but the Athena definitely feels like it delivers more substance in the low end, possibly at the expense of a little of the tautness and control that the Andromeda shows in this regard. Sub bass is won by the Athena, with a little more overall impact in this region than the Andromeda.

Moving to the mid-range, this is definitely a battle of different styles, with the Athena presenting a much more forward sound in the vocal ranges, pushing the singer right to the front of the stage and halfway over the front row. As explained in the main body of this review, this can take a little getting used to at first – in comparison, the more neutral positioning and “cooler air” of the Andromeda staging leads to the Andro initially seeming like the more detailed and clearer monitor. Once the brain kicks in to the Athena signature, there is less of an obvious difference, but the Athena still feels less expansive and spread out than the Andro. Guitars have a crunchier and more crystalline tone on the Andromeda, feeling slightly more organic on the Athena. The resolution of both monitors here is excellent, with the Athena providing more body and emphasis in the midrange in comparison to the more neutral but still exceptional sounding Andromeda.

Treble is presented very differently on both IEMs, with the Athena putting out a clear and clean treble, but lacking in air and sparkle in comparison to the more soaring and spacious Andromeda. The Andromeda also has the better perceived extension here, the space around the notes in the rafters giving the impression of a much higher “ceiling” for the sound. Neither monitor is prone to sibilance with most tracks, with the Athena being the slightly smoother and more forgiving of the two in this regard.

Accessories and loadout is better on the Empire IEM, with their carrying case and various bags and cloths giving a slightly more luxurious feel than the standard Campfire presentation, with the exception of the SPC Litz cable provided with the Andro. Build quality is a draw, with the high quality acrylic CIEM manufacture looking flawless on the Empire gear, and standing up well to the iconic all-metal Andromeda design. Comfort and isolation wouldn’t be fair to compare, as the Athena is a CIEM and the Andromeda is a universal model with a famously polarising angular design, which either fits like a glove or feels like sticking a modern art sculpture into your inner ear (fortunately, I’m in the former category).

Separation and layering are a mixed bag, with the warmer and more forward Athena still doing an excellent job of peeling the sound back into layers around the listener, but sometimes lacking the more airy and widescreen style presentation of the Andromeda and the additional space between instruments on the soundstage that provides.

The Athena is actually one of the only IEMs in my collection easier to drive than the Andromeda, and hisses marginally less on my less forgiving sources, which was surprising. The Andro are hands down the easiest to drive but least forgiving of hissy sources of any piece of audio gear I have heard on my audio journey so far, so if the hiss on the EE model bothers you, I would suggest that the Andro may not be your cup of tea in that regard.

Overall, these are two very different IEM tunings, neither of which comes out as a clear winner. If you like your sound crystal clear and spacious while hovering around the musical/neutral border, I would suggest the Andromeda. If you prefer a more forward midrange and slightly warmer and more musical slant to proceedings, the Athena will be the winner here. with both IEMs providing bags of resolution, detail and texture, neither would be a bad choice in this price bracket.



JH Audio / Astell & Kern Angie (V1)
The Angie is one of the original “Siren Series” models from the universal IEM series launched by Jerry Harvey Audio and the reknowned DAP manufacturer Astell & Kern. Like the Athena, it is an 8-driver all balanced armature affair, packing in two bass drivers, two for the midrange and JH Audio’s proprietary quad-high driver setup (called soundrIVe). It also packs in the phase alignment waveguides that the JH series of IEM are famous for, called Freqphase. When originally launched, the Angie retailed at around the $1099 mark, and the second “Full Metal Jacket” series version with the all metal housing still holds a similar price.

Like the Athena, it is positioned below the flagship models, but also like the Athena, it is certainly capable of locking horns with many IEMs in that sort of category from other manufacturers. Starting with the build end ergonomics, the Angie is one of the largest IEMs (custom or otherwise) I have come across, with a universal shell that is actually bigger than the full-CIEM version of the Athena. It shares a similar build quality and aesthetics, with a full carbon fibre weave shell and black and red faceplates that look absolutely superb. Fit wise, the Athena win the battle (as you would expect), with the Angie sitting very comfortably in the bowl of my ear, but protruding out by about half a cm on either side, making them look a little like Frankenbolts.

In terms of comfort, the JH Audio model are actually surprisingly ergonomic, and provide a similar level of insertion / seal with their ultra long nozzle as the Athena CIEM. Both models can be worn for hours without too much issue, and both feel pretty pleasant in the ear, with the Athena just edging the comfort battle due to their custom moulded nature.

Moving on to sound, the Athena has a similar sort of tuning to the Angie, being marginally more warm in tone but sharing a similar forwardness in the midrange. The Angie have a tunable bass capable of being varied by up to 10dB (centred around the 60Hz band), and at my “default” setting on the tuning cable of between 2 and 3pm on the dials, they have slightly more mid-bass presence than the Athena. The JH model exhibits more of a mid bass “hump” than the Athena, with a little more overall volume in that region, trading off some of the snap that the Athena is capable of for a slightly meatier impact and longer lingering aftereffect. Listening to something like “Bad Rain”, the Angie has a slightly heavier boom to the kick drum, and a slightly “wetter” feel to the bassline as it kicks in, with texture detail pretty even between the two.

Sub bass extension and overall presence is similar on both IEMs, with the Angie having a little more quantity and rumble, but both staying in the same ballpark. Both IEMs handle the drop down into sub bass well, Daft Punk’s “Get Lucky” being equally well handled as the bassline scrapes along the floor. As the frequencies keep dropping, both monitors start to lose body and emphasis, presenting a sub bass that has a little rumble but no massive sense of presence. Neither monitor would be my go-to if I was looking for something to excel with sub-bass driven genres, but for rock and guitar or orchestra based instruments (my day to day listening), both monitors are firmly in their comfort zone.

Moving on to the midrange, both the Angie and the Athena share a forward slant to their tuning, with both presenting a detailed and emotive mid range, especially for vocals. It is difficult to call between the two IEMs, with the Athena presenting the vocals in a slightly denser and more concentrated manner to my ears, with the Angie just feeling a slight bit more diffuse. Vocals are the star of the show in both presentations, artists like Beth Hart and Foy Vance coming through with a sense of emotion that lesser monitors can sometimes fail to capture. There really is little to split the two IEMs in the midrange, both faring very well with electric and acoustic guitar-led tunes, having enough crunch to keep them exciting but both erring on the side of body and roundness rather than presenting any jaggedness or raw edges. Sibilance isn’t really an issue with either IEM either, both being rather forgiving to all but the most harshly recorded tracks. Detail levels are similarly high on both IEMs, with the Angie having slightly more “overt” detail retrieval when it comes to picking up the finer micro-detail around scuffed guitar notes and room noises, but sharing a similar sense of clarity to the Athena otherwise.

It really does take a microscope to split these two IEMs in this area for me, with the most discernible difference to my ears is the slightly wider sense of separation in the X axis on the Athena, and the slightly deeper and more 3D feeling instrument positioning on the Angie.

Lastly, the treble is an area where I would say the Angie has a slight lead, using half of its 8-BA layout to provide plenty of detailing and a nice sense of airiness and extension. The Athena feels a little blacker and more closed in as you climb into the upper echelons, presenting a thicker but not hyper sharp treble that is certainly more than capable but not quite as delicate as the JH Audio model. Neither feel hugely sparkly or razor sharp, both being bested by something like the Campfire Audio Andromeda in this particular regard, but in both cases it suits the rest of the tuning for the monitor.

In terms of power requirements, the Angie is considerably harder to drive than the Athena, requiring 10 to 12 additional clicks (out of 75) on my LG V30 to attain the same volume levels as the Athena. The Angie also hiss considerably less than the Athena on my noisier sources, maintaining a blacker background with things like the Hifiman Supermini.

These two IEMs have far more similarities than differences, being vocal-centred and forgiving takes on a technically proficient but musical sound. Or in other words, they both sound great without any massive leaning towards bass or treble, and they push the vocals just far enough forward and pack them with just enough detail to really capture the listener. These IEMs slot perfectly into most rock and acoustic genres, so much so that I can’t split these two out into one clear winner, with both having subtle but appreciable differences in longer listening sessions that will suit slightly different genres of music better for my personal tastes. If the ability to alter the bass output matters to you, and you aren’t worried by the huge shell size compared to similar 8 driver models on the market, then the Angie may be your thing – if you are looking for a smaller, slimmer design with a slightly more solid feel to the midrange and similarly superb vocals, the Athena will be your go to.



Empire Ears Zeus-XR (CIEM)
The Zeus-XR is the current flagship of the Empire Ears Olympus range (as of late December ’17), and is widely acknowledged as one of the most technically proficient IEMs currently on the market in the TOTL bracket. It has almost double the number of balanced armatures providing the sound as the Athena, with a whopping 14-BA setup, and a tuneable sound signature (by means of a switch on the faceplate) which switches between 7 or 8 crossovers to give two unique flavours to the sound. It currently retails for around $2400 without the ADEL module.

For the purposes of this comparison, I mainly used the XIV setting on the Zeus, as this shares a more similar tuning ethos – I also used the Athena with the Whiplash SPC cable that came with the Zeus, as this presented a slightly clearer and more enjoyable sound to my ears than the Athena stock cable (marginally, not massively). Sonically, the two IEMs are cut from the same cloth, with the Athena presenting a slightly more musical take on what the Zeus can achieve, at the cost of a small percentage of the absolute clarity and resolution the 14-driver flagship is capable of.

Starting with the bass, the Athena sounds slightly more emphasised in the low end than the Zeus, although neither stray anywhere near basshead territory. The speed and detailing are similar through both IEMs, sharing a similar resolution, and the Athena also shares the Zeus’ uncanny ability to resolve drum sounds as realistically as anything I have ever heard. Moving up to the midrange, the XIV has a similarly forward tuning as the Athena, and is highly resolving, but feels just a fraction in front of the Athena when compared directly. Through a good source, the Zeus just feels like it is squeezing a tiny bit more texture out of the notes, and presents it with a touch more clarity. As anyone who is familiar with top-end in ear monitors will be familiar with, this really is in the realms of diminishing returns, but noticeable nonetheless.

The treble is slightly less of a struggle, with the Zeus pulling ahead in quality and detail retrieval, but keeping a similar sort of tonality to the Athena, just presenting a little more of the good stuff. In fact, the additional capability up top is probably the major differentiator between these two IEMs, diffusing some of the warmth that is more prevalent in the presentation of the Athena and presenting a slightly cleaner but still musical take on things. When the switch on the Zeus is flicked to the R (for “Reference”) setting, this becomes more obvious, feeling like someone has opened the door in a stuffy room and let some cooling air in to the Zeus’ signature.

In terms of separation and layering, the Zeus-XR is the more capable IEM, the extra little nuances of detail here and there and the less warm background allowing the music to be presented with more pinpoint accuracy than the already excellent Athena. The Athena goes for a more smooth and laid-back vibe in comparison, with the Zeus just melting away a little more of the fat around the notes to present everything in crystal clarity.

Overall, this was a far closer battle than I first expected (or my ears tell me when listening separately). Both IEMs are obviously tuned with the same aim, and unless you are shooting for the absolute best, the Athena will satisfy all but the most ridiculous demands for detail retrieval and overall sound quality – however, if you are willing to stump up the extra c. $1k, the Zeus will take you a few small steps further up the audio mountain, and also allow you to tweak the sound slightly between a cooler and more reference signature (the R setting) and the more mid forward and warmer XIV configuration. Personally, I’m very glad I own them both.



Final thoughts
Having the privilege of writing about audio gear in this price bracket can be a double edged sword sometimes. When you are looking at something manufactured with this level of complexity, it is almost a given that all the performers will be technically excellent in multiple ways, so it is more a case of identifying if the excellence works for you and your preferences, rather than identifying if something is subjectively good or bad. Sometimes a piece of gear just “clicks”, and other times it grows on you like middle-aged spread, just chipping away unnoticed until it’s part of your listening status quo, and you can’t imagine yourself without it.

Where it comes to the Athena, they hit me with an enjoyable signature almost from the off, but after spending a good few months with them, it is the extra bits and pieces hidden in the background that have really come to make me appreciate one of the unsung heroes of the Empire Ears line. There is clarity and resolution in spades if you know where to look for it. It isn’t the overt micro-detail that usually comes with accentuating the 5k region (or other areas of the frequency range to enhance or sharpen the sound) that is the most common way to build a “revealing” monitor in this sort of price bracket. The resolution and clarity from the Athena comes from the purity and cleanliness of the note presentation, and the highly capable layering and separation of space between the instruments. Nothing is overly sharpened, but it has just enough room to breathe despite the warmness of the staging to present the macro detail a little more cleanly in your ears, allowing you to rebuild the music in your head and “catch” little phrasings and instrumentation noises that can otherwise get drowned in the sound. To be clear, this won’t be the most hyper-resolving sound you will ever hear (for that, you should really be looking at the big brother of the EE range, the Zeus), but it will allow a surprising amount of insight in to the music for a signature so outwardly smooth and warm in presentation.

Perception is an interesting thing – for fans of the EE lineup, the Athena is considered very much a “mid-range” monitor, being more expensive than the highly regarded Spartan and sitting way below the pinnacle of the series (the Zeus). This seems to lead to people skipping over this model in favour of one end of the scale or the other, but in my opinion this is an IEM that can (and should) be considered alongside some of the giants of the $1k price bracket like the Campfire Andromeda and the JH Audio Angie as a fine technical performer, with the requisite splash of that unique EE “house sound” to make it stand out from the crowd. It is a monitor that is musical rather than neutral, balanced rather than exaggerated and just damn fine sounding. If I didn’t already own the Zeus, I would quite easily think this was a TOTL effort from the manufacturer, rather than the third model in their pecking order, such is the sense of accomplishment with the tuning.

For the price, these may not be the most neutral or “audiophile sounding” monitors out there (although they certainly aren’t lacking for technical prowess), but sometimes musicality is just more enjoyable than absolute technicality – it’s a line Campfire Audio tread well with their flagships, and having heard the Zeus-XR and now the Athena, I would say it’s something that Empire Ears can also do extremely well too. The Athena just miss out on the full 5 stars in the Audio Quality bracket due to the slight lack of air up top and the relatively subdued subbass, but that is purely subjective, and certainly doesn’t stop me considering them in the same sort of performance bracket as the highly lauded Andromeda. Value for money is similar – while $1299 is very competitive for an 8-driver IEM in this quality bracket, the existence of things like the Andro just stop the Athena from bagging the full house. It’s a well trodden line, but at this sort of price bracket the quality of sound really is subject to the law of diminishing returns. The Athena won’t be twice as good as a $600 iem (which is already pretty rareified air for all but the most hardcore audiophiles), but if you are looking for a musical but resolving IEM with plenty of soul and truly top notch build quality, the Athena is an easy recommendation.

Introduction
Anyone with more than a passing interest in high-end in ear audio gear costing more than $100 will most likely have heard of Campfire Audio’s jolly green giant and co-flagship of their current range. After reviewing some of their newer models (and being suitably impressed with all of them), I was finally able to get my hands on a pair in a trade deal with another Head-Fi member. I have owned these for the last few months, and after spending far too much time listening to them and not enough time writing about them, I decided to remedy that with this review. The views and (quite possibly misguided) opinions expressed here are entirely my own, and I received no financial incentive for writing them.

About me: I'm a fairly recent convert to audiophilia but a long time music fan, also aspiring to be a reasonably inept drummer in my spare time. I listen to at least 2 hours of music a day – generally prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. I have a most of my library to FLAC and 320kbps MP3, and do my other listening other listening through Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body to it. My ideal tuning for most IEMs and headphones tends towards a musical and slightly dark presentation, although I am not treble sensitive in general. Please take all views expressed in my posts with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story.

Note - This review was originally posted on a UK audio blog

Spoiler: here

https://audioprimate.blog/

and is now being reposted here for the good people of Head-Fi.



Unboxing and aesthetics
As with all Campfire Audio products, the packaging is a simple but classy affair, with the Andromeda coming in a small cardboard box slightly larger than the semi-hard carrying case the IEMs are stored in. In keeping with their naming convention, the packaging has an intricate background of stars on the box and surrounding the main branding, giving a nice insight into the attention to detail evident throughout.

Opening the box uncovers the standard Campfire Audio fur lined carry case, sitting snugly in the box and resting on a small removable floor section, underneath which the selection of tips, standard CIEM style cleaning tool and the ubiquitous Campfire Audio lapel pin can be found. The tip selection is good, with three pairs of Campfire’s own foam tips, three sets of silicon tips with a reasonably wide bore and a pack of three SpinFit tips in different sizes. One of ALO Audio’s SPC litz upgrade cables and an earwax cleaning tool completes the package, and while this isn’t the most comprehensive or ostentatious load-out at this particular price bracket, all the pieces included are well thought out, adding a nice layer of class to proceedings.



Comfort
The Andromeda has an unusual geometrical design, utilising as many unexpected angles as an M.C. Escher drawing to give what is actually a fairly generic style CIEM shape the Max Headroom treatment and turn it into a work of industrial art. I have read comments from HF users who both love and hate the angular design, and I have to say I am on the fence about it. With the correct tips, I don’t find the shells uncomfortable or sharp to wear for extended periods, and they fill the bowl of the ear very well, but there is something about the sharp metal edges that just gives a little reminder every now and again that you have something stuck in the holes around the side of your head. For those who are put off by the lack of curves on the inner or outer face, please try before you dismiss these, as the fit should be more than comfortable enough for all but the smallest ear canals.

Disregarding the polarising angles, the Andromeda design is very good in terms of stability and isolation, fixing itself securely in the outer ear and remaining pretty immovable when used with the stock SPC Litz memory wire. It isn’t an IEM that requires frequent readjustment, or fiddling to find the perfect insertion depth, as the internal geometry of the nozzle design angles it more or less perfectly into my inner ear. Granted, I have ear canals you could probably park a Mini Cooper in without too many attempts, but this is still a nicely thought out design in that respect.



Audio quality
This is usually the section where I give a brief overview of the relative sonic strengths and weaknesses of the item in question, before moving on to explore these in more detail. It’s made a little more difficult in the case of the Andromeda, as (without wishing to over-hype it) it doesn’t really have any glaring weaknesses. The sound produced by the 5xBA setup from the Portland manufacturer is beautifully balanced, tonally accurate and superbly clear. This isn’t a reference monitor per se, but if what you are looking for is something with a natural sound, then the Andromeda has that in spades. All three frequency ranges balance each other out well, with a slight emphasis on mid range clarity and a sense of airiness and sparkle in the high end. The note weight isn’t huge, but there isn’t any noticeable lack of body that usually accompanies IEMs tuned for clarity or detail retrieval, the Andro managing to present an nicely weighted but still highly resolving sound, spaced out across a larger than average soundstage. Mids and treble are neither forward or recessed, sitting in the middle of the soundscape. Simply put, this is a tuning to listen to music with – not to listen to the individual notes or passages (although the technical capabilities are certainly there to let you do that), but just to sit down and let yourself get swept away in the sound.



Bass
Delving a little deeper, the first test track up is “Mean To Me” by Mr Big. This song is recorded “live in the studio”, and kicks off at a furious pace another track, highlighting the resolution and texture of the Andromeda in the lower ranges. On smoother monitors, Billy Sheehan’s bass can almost be too fast to distinguish individual notes, but the all-BA Andro has no issue here. The bass is also distorted around the edges in the actual recording to sound like it was driven through a Marshall stack, and the Andro excels here, making each note rasp and growl without blending together as they fire through your ears at high speed. The lighter weight to the bass tuning here helps, treading a nice balance between texture and body to deliver a crisp but still impactful sound.

Looking for more texture, “Bad Rain” by Slash and Myles Kennedy is up next, as this is one of my all time favourites testers for low end texture, underpinned by a deep bass line that crawls around the bottom end of the frequency range and growls like a hungry wolf outside a butcher’s shop window. The Andromeda handles the track with aplomb, the bass lines reaching down deep without losing their power, the rasp of the bass guitar strings vibrating against the fretboard clearly audible as the track kicks into life. This track also has a punchy kick drum accompaniment, and the Campfire drivers don’t disappoint here, not quite kicking out as much boom as something like the Vega, but still providing a nice layer of BA-style physicality.

Listening to something a little smoother, the Andromeda’s more neutral leanings become a little more apparent. “Drift Away” by Dobie Grey is an old school soul classic, driven by a chocolate smooth and voluminous bass line that sounds like liquid velvet. The Andromeda handles this well, but definitely adds more more emphasis on the detail of the bassline at the expense of a little smoothness and body, coming across as almost dry or slightly chalky in its presentation. It is still high quality bass, but just presented with less liquidity. “Hello, It’s Me” by Sister Hazel sounds similar, the huge and viscous bassline that dominates the opening of the track sounding more dry and solid rather than liquid and oozing as it builds into the main body of the song.

Switching emphasis to sub-bass highlights one of the areas that the Andromeda is weaker in, with the drivers extending down into sub territory, but losing a little volume and quantity the further they go. Listening to something like “Heaven” by Emile Sande is usually a head-shaking experience on more bass-tilted in-ears, with the sub bass foundation throbbing away throughout the song and balancing out Sande’s crystalline vocals and sharp snare and cymbal percussion in the higher registers. The Andro does manage to put out a little tickle in the sub registers, but it is merely a whisper compared to something like the 64 Audio U8 or Vega in this regard. If your music catalogue contains a lot of sub-driven music, the Andromeda probably wouldn’t be my number one suggestion, just lacking enough body to really provide the foundation for these type of tracks that they require.

Overall, bass quality is high, with the focus firmly on quality over quantity, and a slightly north of neutral presentation that emphasises speed and definition over body or slam. Unless you are looking for an out and out bass monster, this tuning is enjoyable enough for all but the most demanding sub-bass driven tracks, so it is yet another case of “nicely done” for Ken Ball and his tuning team here.



Mids
Moving into the mid-range, the real character of the Andromeda starts to reveal itself, with a smooth but detailed tonality and crystal clear resolution. This is a tuning that shines a spotlight on the subtle detail in a track, but manages to do so in such a way that it still remains in balance with the “bigger picture”, allowing the listener to hear right through the recording with ease.

Starting with a little Foy Vance and his latest album “The Wild Swan”, the Belfast troubadour’s voice is superbly rendered, capturing the gravel and soul in his unique style and placing it bang in the middle of the stage. The vocals are neither forward or recessed, allowing the singer to express himself without dominating the landscape. The gravelly crack in the back of the singer’s throat in tracks like “Casanova” paint extra layers of texture on to the sound, blending well with the more gospel style chorus lines

Staying with Vance, “Bangor Town” highlights the clarity of the Andromeda’s mid-range, the sounds of fingernails scraping against heavy-gauge guitar strings and the subtle vibrato in the acoustic guitar notes all sounding crystal clear in the ear. Unlike the bass, this level of detail and texture doesn’t come at the expense of the body of each note, with the Andromeda painting a thicker and more robust musical picture here. Notes feel more full bodied and rounded, carrying a little more gravity than the bass. This isn’t to say that the midrange feels overly thick or congested, but there is a definite sense of physicality to the sound that adds a nicely organic dimension to temper the more analytical leanings and capabilities of the drivers. This is one of those rare tunings that can hit you over the head with the body of a note, and let you appreciate the fine grain of the baseball bat as it bounces off your noggin at the same time.

Guitars are well handled by this sort of presentation, with plenty of crunch and speed to handle heavier rock tracks, along with the resolution to hear the individual scuffs of each string in quieter passages. “Blame It On My Youth” by Mr Big blasts through my ears without pausing for breath, the harmonic heavy and distorted guitar lines screaming with more bite than a sack full of dentures. The edges of each note are crisp and punchy, giving the necessary energy to Gilbert’s guitar work without sounding too dissonant or aggressive. “Shadow Life” by Slash is similarly breezy and well-executed, the main riff hitting with weight and definition, stopping on a sixpence as the quick-fire riffs interchange and sounding suitably sleazy and raucous when required. The presentation here isn’t overly thick, but there is enough body to the notes to avoid the guitar work sounding thin or reedy, holding its ground against the helium fuelled vocals and quick fire drums in splendid coherence.

Trying a little more orchestral music, “Palladio” and “Kashmir” by the string quartet Escala are up next. Starting with Palladio, the texture of the strings is rich and detailed, the soundstage dimensions enabling the full sweep of instruments as the track gets into full flow. The subtle noise of chairs and stands being adjusted at the start of the track is clear if not over emphasised, highlighting the unfussy presentation of fine detail without loss of balance that the Andro excels at. The harpsichord in the middle of the track is delicate and shimmering, the notes feeling almost gossamer like as they tinkle over the meatier strings bowing beneath. This was the first track that almost sounded sharp using the Kombi tips and my Echobox Explorer - foam provides a smoother tonality for that particular DAP/IEM combo here.

Moving on to their collaboration with Slash, “Kashmir” is a unique blend of chugging guitar and heavy string refrains, and carries a solid weight. The Andro manages the wall of mid range sound beautifully, the strings feeling textured and rich against the more jagged guitar licks that make up the main body of the track. Again, the sound feels clear and highly resolved, the quin-driver setup of the Andromeda making it easy to pull different strands and textures out of the sound without any effort.

Piano is another instrument that sounds true to life with the Campfire, having a satisfying body to the individual notes and a very coherent presentation. It just sounds real. Listening to something like “Speeding Cars” by Walking On Cars, the haunting piano refrain that opens the track just hangs in the air behind the singer like you had a baby grand piano sitting right in the back of your skull. Electronic keyboards also sound good, “Go” by the Chemical Brothers kicking into the chorus at around the 2 minute mark with a swoosh of old-skool synth that carries you along with the track, lifting the listener up into the euphoric chorus.

Finally, my two usual testers for midrange harshness and sibilance “Whiskey And You” by Chris Stapleton and “Starlight” by Slash) are up for assessment. Both tracks sound angular and raw when required, but neither stray across the boundary into harshness or dissonance that they are easily capable of on harsher IEMs. This isn’t due to any smoothing or lack of detail in the range, Stapleton’s gravelly roar sounding as powerful as ever, but not scratching at the eardrums in the process. Similarly with the deliberately harmonic-driver Starlight, the Andro copes both with the stratospheric warblings of Myles Kennedy and the distinctive guitar refrain without making the listener leave their comfortable audio place, and just lets them bask in the full sonic glory of the track.

Overall, despite only having one driver allocated to this specific frequency band, the midrange is an exceptionally accomplished piece of tuning, presenting body and detail in equal measure. It has a natural clarity that is quite rare, and offers the sort of insight into tracks that makes you want to utter the classic audiophile mantra “I’m hearing things I have never heard before” on some of your favourite tracks.



Treble
This is where the rubber really meets the road with the unique technology that Ken Ball and company have crammed into the angular green shells of the Andromeda. The catchy acronym they use is TAEC, which stands for Tuned Acoustic Expansion Chamber, effectively a tubeless resonator box in the nozzle of the IEM that is designed to blend the outputs of the high frequency drivers and bounce them around in a 3D-printed chamber before delivering them to the ears of the listener. Campfire claim that this helps provide the airy, extended treble that the Andro is known for, and I have to say that whatever it is doing, it seems to work as advertised.

The treble on the Andro is a crisp, sparkling affair, full of air and space up top and bags of definition. It doesn't feel hot or over-emphasised, but just cuts through the body of the midrange sitting underneath and opens out the sound nicely as it rises into the rafters. Cymbals were the first thing I noticed that benefit from the treble presentation, sounding crisp and decaying with a natural sparkle and shimmer. “Right Now” by Van Halen if a great example, with Alex Van Halen's constant cymbal crashes floating over the the top of the piano driven power ballad like a metallic canopy and adding a real crispness to the sound.

Sticking with Van Halen, “When It's Love” sounds fantastic, the layered synthesiser opening and driving hi-hat work sounding expansive and filling the upper end of the stage with an all encompassing wall of sound without making it feel closed off. Switching up to more electronic fare, “Go” by The Chemical Brothers kicks off with a similarly large synth driven sound, the stage again feeling tall and wide, and the sweeping keyboard run that precedes the chorus giving a genuine unison if starting well outside the ear as it fizzes across the stage from left to right. This is a tuning that is almost tailor made for this sort of synth heavy electronic music, giving a big and bold presentation without going too heavy on the sharpness, but still feeling crisp and sparkly.

Despite the treble emphasis, the Andromeda is not a harsh monitor, and is pretty forgiving of most of my spicier recordings. “Whiskey And You” by Chris Stapleton passes through without unduly bothering my eardrums with its problematic chorus (although it did sail close), and Emile Sande and her hotter-than-a-chilli-eating-contest-in-hell mastering on “My Kind Of Love” only mildly irritate. This is treble for the purists and the proletariat alike, bringing out the best elements of the higher frequencies without alienating the more “consumer friendly” audience. Guitar solos shimmer and wail, harmonics hang in the background like fine mist, and everything north of the midrange gets served up with a king sized dollop of sparkle and brilliance. I could keep writing ad nauseam on the capabilities of the unusual technology baked in to the brilliant green IEM shells, but suffice to say that if you are a fan of clean, sparkling treble, you won’t find much on the market that can do it better than the Andromeda.



Separation and imaging
The Andromeda has a very spacious stage for an in ear monitor, giving a sense of scale to the sound that pushes out of the ear in all directions. Absolute left/right width doesn’t feel super-stretched, as there is also ample depth to the sound to bring the imaging firmly into the very over-used “holographic” territory, packing substance as well as spread. Imaging is precise, helped by the clarity of the presentation and the only-slightly-thicker-than-neutral note weight, planting the various musicians around the soundstage with a very clear sense of where the notes are coming from, and where in the soundstage the instruments are planted. Overall, this is another area where the tuning of the Andro excels, painting a picture where all the elements can clearly be followed by the listener, allowing for complex passages to be digested as easily as some two-bar blues.



Notes on synergy and hiss
The Andromeda is a very source-sensitive IEM, with an response curve that is highly susceptible to changes in output impedance. In real terms, this means that the higher the OI of your source, the leaner and drier the Andromeda will most likely sound, gaining bass and body as the OI drops. This allows for some element of tuning, but on the flipside definitely makes the Andro an IEM that can pick favourites. It also has a tendency to hiss more than an angry cat with a hangover, so added to the change in response, those sensitive to background noise will need to find something with a blacker than usual background to mitigate the ssssssss noise that will otherwise start emanating from the Campfire flagship.

The Echobox Explorer is a good example of a source that accentuates the leaner and meaner traits of the Andro, putting out a lower than expected bass presence and sharpening the treble slightly over other DAPs I have used. This makes the Andromeda sound a little more analytical, taking some of the warmth and natural timbre out of the sound and replacing it with a little more subtle detailing and a leaner texture. For my personal preferences, this isn’t the best of pairing, and while it certainly doesn’t sound bad, it doesn’t really make the most of the Andromeda’s natural sound.

In contrast, a good pairing is the Opus #3 from TheBit – with a very low OI, the #3 exhibits pretty much no hiss, with slightly more bass presence than the Explorer and marginally less sharpness in the treble. Despite the additional warmth, detail feels slightly higher than the Explorer, but sound is a little more bodied as well. Sound stage also feels notably larger. This is a very good pairing, only bested by the QP2R out of all my sources.

Speaking of the QP2R, this was the source I felt really took the Andro to the limit of its capabilities (with my current sonic setup at least). The warm and dynamic sound of the Questyle meshes beautifully with the clear and natural sonics of the Andromeda to maximise the potential of both units. Detail and clarity is emphasised, while still retaining the body and musicality of the underlying notes. Hiss isn’t too much of an issue, and overall, the combination just seems to bring the best out of both partners, presenting a vibrant and engaging sound with bags of detail and a sensational feeling of balance. As far as personal audio “end game” matchups go, I would definitely suggest these two as a contender for that crown for fans of the basic Andromeda sound.



Comparisons
IMR Acoustics R1 – The R1 is the first model being launched by IMR Acoustics, the new company set up by for Trinity Audio head designer Bob James. They are a hybrid dynamic and ceramic driver IEM, expected to retail at around the £600 mark once released. I have chosen this comparison due to the similar approach to tuning shown in both models, with an emphasis on tone and organic reproduction of sound.

Starting with the bass, the Andromeda has significantly less presence vs the R1 using the purple filters, with the IMR model carrying a fair bit more weight in the sub and mid bass ranges. The notes are also thicker on the R1, with the Andro carrying as much or more overt detail at each interval as the sound rises through the mid and treble ranges, but in a slightly thinner presentation. The lack of bass weight gives the Andromeda a more neutral feel to the presentation, with the notes swooping round a stage with more fell of air due to the sizing. With regards to clarity, the Andro pulls ahead slightly due to the lightness of its notes, but in contrast the R1 presenting a more convincing sense of depth with its weightier presentation as music pans around the stage (a good track to highlight this is “We Found Love” by 2Cellos, which has a swooping cello run around the 1.50 mark in the left ear that feels a little more fleshed out on the R1).

Opening the ports on the IMR model makes things a little more competitive in regards to air and space in the soundstage as the bass pressure levers off slightly, allowing the midrange a little more freedom to move. The Andro is still ahead in this regard, although the gap is comparatively smaller, with the Andro just feeling a shade more clear and refined.

Build quality is again similar between the two, with the unique industrial design of the Andomeda just nudging ahead of the R1 – as this is a pre-production model, the final article may be a little closer overall. IN terms of comfort, both IEMs sit in the ear well and provide good levels of isolation, with the Andromeda providing slightly more due to its sealed aluminium shell compared to the ported and vented design on the R1.

In terms of power requirements, the Andromeda is considerably easier to drive, requiring less power to reach a good listening volume. It is more sensitive to impedance of the source, giving slightly different levels of bass and treble depending on the DAP/source being used. The Andromeda also hisses significantly more than the practically jet black R1 on most of my music sources.

Overall, the Andromeda provides a more balanced and refined sound than the R1, which you would expect at approximately twice the price. Both IEMs share a nicely musical take on sound reproduction, and while lower, the R1 certainly doesn’t feel a million miles away from the Andro in terms of overall quality, and is certainly pretty close in terms of sheer enjoyment factor.



64 Audio U8 (universal, M20 APEX module) – the U8 is a “middle child” model of 64 Audio’s current range, sporting 8 balanced armature drivers and their proprietary APEX pressure relieving technology. It is priced in the same bracket as the Andromeda, and shares a similarly musical tilt to the tuning.

Starting with the bass, the U8 has a heavier emphasis on the low end, as you would expect with 4 (!) of its 8 balanced armatures dedicated to the lower frequency range. Technically, the two IEMs are similarly capable when it comes to bass texture and detail, with the U8 nudging ahead in terms of absolute quantity and depth of sound, holding strong as it drops into thrumming sub-bass, in comparison to the Andromeda’s good but not head-shaking sub bass extension. Layering in the deepest bass recesses is also slightly better and more nuanced on the U8, which is again to be expected with the number of drivers in play. Physical impact is also won by the U8, providing far more “oomph” and rumble than the Andromeda.

Moving to the mid-range, the Andro delivers a slightly crisper and crunchier sound, at the expense of a little bit of the body that the U8 delivers. Listening to the crunching guitars of “Bad Rain” by Slash, the Andro gives just a hair more detailing on the individual notes making up the chord, with the U8 countering with a less detailed but chunkier sound, filling more of the space between the notes. Listening to orchestral instruments helps highlight the difference between the two quite well – the opening cello on “We Found Love” by 2Cellos has a vibrato on the phrase that starts about the 20 second mark, as the cellist wrings the expression out of the notes. On the Andromeda, it feels more crisply defined, almost leaving you with a picture of the cellist’s fingers vibrating against the neck of the instrument. The U8 still captures the emotion of the phrase, but the details feel less sharp and more full bodied. This body helps the U8 fill out the deeper sections of this track better than the more neutral Andromeda, trading off absolute definition for more physical presence. In terms of detail and clarity, both IEMs have very good resolving capabilities, but the Andromeda gives a slightly higher level of micro-detailing due in part to its less warm presentation and lack of bass emphasis.

Lastly, the treble is an area where the Andromeda has a clear advantage in terms of air and sparkle, feeling sharp and crisp in comparison to the darker sounding and more smooth U8. Detail levels are perceptibly higher in the high ranges on the Campfire model, with the warmer tuning of the U8 still retrieving plenty of audio information, just presenting it in a less crystalline fashion. Neither have harsh treble, but for lovers of the higher frequencies, the TAEC tech in the Andromeda is hard to beat here.

In terms of soundstage, both IEMs are pretty similar, with the spacious Andromeda going toe to toe with the marginally larger feeling U8 in terms of overall size and depth. Both IEMs give a solid and 3 dimensional image. The Andromeda are a little easier to drive than the U8, but as a payoff they hiss considerably more than the U8 with its practically jet-black background. Separation is slightly better on the Andromeda, due to the comparatively thinner weight of each note, allowing a little more room to breathe between each instrument.

Build quality is won by the Campfire model with its unique industrial design and all-metal build, but comfort goes to the 64 Audio middle child, its longer stems and more rounded shell shape making it easier to wear for extended listening, and the APEX tech minimising audio fatigue and any associated effects of pressure build up in the ears. Accessories are a draw, with the 64 Audio model having a better case, but the Campfire package including a better stock cable and more usable tip selection.

One final point to note – both of these IEMs are sensitive to the output impedance of the source being used. It is common knowledge that the 64 Audio “U” line has mainly been tuned with stage gear in mind, which usually packs a far higher OI (5+ ohms) than current audiophile daps (which usually come in at under 1 ohm). This means that using the U8 on a higher OI source like the Shanling M2s yields a cleaner, more balanced sound as it flattens out some of the bass emphasis. The Andro is similarly easily affected, so please note that the comparison described above may not be exactly what you hear, depending on the setup you are using, as the tuning on both models can be quite significantly affected by your player. For reference, I prefer using the U8 with something like the M2S to balance out the sound and eke out a bit more clarity, and the Andro with something like the Opus #3, to make the sound as full bodied as possible.

Overall, this comparison was a lot closer than I initially expected, the U8 providing a very stern challenge in terms of sheer musicality, and definitively holding the cards in the bass areas but losing out as you climb further up the spectrum. It comes down to what you are looking for in the tuning here – the U8 is a warm and bassy sound with good clarity but isn’t a detail monster, with the Andro presenting a more neutral sound but with a crisper and more detailed edge, and a more balanced tuning overall. The Andro just nudges this one for me in absolute terms, but in terms of preference, I could possibly swing the other way.



Empire Ears Athena-VIII (CIEM) – the Athena are another “middle child” model, sitting towards the upper end of the Empire Ears lineup, with only the Apollo and Zeus models higher up the pecking order in terms of both driver count and pricing. The Athena sport 8 balanced armature drivers in a 2-low, 3-mid, 3-high configuration using 5 crossovers. They are prices at around $1299 at time of writing, so slightly more expensive than the Andromeda.

The Athena are another musical sounding IEM, having a more forward midrange and beefier bass emphasis at the expense of some top end “fizz” in direct comparison to the Andromeda.

Starting with the bass, the Athena has more quantity than the Andromeda, being the bassiest of the non-Savage line currently in production by Empire. Quality is again similar, both IEMs producing good texture and detail in the lower end, with the Andromeda sounding a little less forward and bodied than the warmer and more “in your face” style of the Athena. To be fair, neither IEM could be considered a basshead tuning, so please take this in context, but the Athena definitely feels like it delivers more substance in the low end, possibly at the expense of a little of the tautness and control that the Andromeda shows in this regard. Sub bass is won by the Athena, with a little more overall impact in this region than the Andromeda.

Moving to the mid-range, this is definitely a battle of different styles, with the Athena presenting a much more forward sound in the vocal ranges, pushing the singer right to the front of the stage and halfway over the front row. Mixed with the warmish tuning, this can take a little getting used to at first in comparison to the more neutral positioning and “cooler air” of the Andromeda staging, with the Andro initially seeming like the more detailed and clearer monitor. Once the brain kicks in to the Athena signature, there is plenty of clarity and detail to be found, but it feels less expansive and spread out than the Andromeda. Guitars have a crunchier and more crystalline tone on the Andromeda, feeling slightly more organic on the Athena. The resolution of both monitors here is excellent, with the Athena providing more body and emphasis in the midrange in comparison to the more neutral but still exceptional sounding Andromeda.

Treble is presented very differently on both IEMs, with the Athena putting out a clear and clean treble, but lacking in air and sparkle in comparison to the more soaring and spacious Andromeda. The Andromeda also has the better perceived extension here, the space around the notes in the rafters giving the impression of a much higher “ceiling” for the sound. Neither monitor is prone to sibilance with most tracks, with the Athena being the slightly smoother and more forgiving of the two in this regard.

Accessories and loadout is better on the Empire IEM, with their carrying case and various bags and cloths giving a slightly more luxurious feel than the standard Campfire presentation, with the exception of the SPC Litz cable provided with the Andro. Build quality is a draw, with the high quality acrylic CIEM manufacture looking flawless on the Empire gear, and standing up well to the iconic all-metal Andromeda design. Comfort and isolation wouldn’t be fair to compare, as the Athena is a CIEM and the Andromeda is a universal model.

Separation and layering are a mixed bag, with the warmer and more forward Athena still doing an excellent job of peeling the sound back into layers around the listener, but sometimes lacking the more airy and widescreen style presentation of the Andromeda and the additional space between instruments on the soundstage that provides.

The Athena is actually one of the only IEMs in my collection easier to drive than the Andromeda, and hisses marginally less on my less forgiving sources, which was surprising.

Overall, these are two very different IEM tunings, neither of which comes out as a clear winner. If you like your sound crystal clear and spacious while hovering around the musical/neutral border, I would suggest the Andromeda. If you prefer a more forward midrange and slightly warmer and more musical slant to proceedings, the Athena will be the winner here. with both IEMs providing bags of resolution, detail and texture, neither would be a bad choice in this price bracket.



Empire Ears Zeus-XR (CIEM) – this is the current 14 BA flagship of the Empire Audio range (in fact, dual flagship, as it has a tunable crossover which imitates either the Zeus-R or Zeus-XIV models through a hardware switch on the shell). The Zeus-XR is approximately twice as expensive as the Andromeda at time of writing.

In terms of the bass, the Andro presents a slightly more organic and warmer overall sound, with a little more heft in the mid-bass and similar extension but a shade less body in the sub bass region. Both offer excellent texture and control, being two excellent examples of a well-tuned balanced armature bass – compared to a high end dynamic driver like the Vega they can lack a bit of impact and physicality, but neither can be described as anaemic or bass-light, both treading on territory that sits just a little north of neutral. For me, it depends what genre I am listening to as to which I think is “better”, with both tunings suiting slightly different styles of music. In terms of overall quality I think the Zeus just shades it, but that is as much preference as a definite night and day differential.

Mids are an interesting comparison, with the Zeus’ famous mid-forward sound coming up against the silky smoothness of the Andromeda. This is an area that is too difficult to call, with the Andromeda carrying a little more weight, but the Zeus feeling slightly airier and more resolving. Both IEMs have excellent clarity, and can really evoke the emotion in a vocal line when needed. At this level, it is very difficult to pull the two apart, and these truly are two of the best midranges in the game at the moment (in my opinion, of course – the usual caveats about personal taste and the subjective nature of sound apply).

Moving up to treble, this is again another example of different styles but similar excellence, with the Andromeda feeling cavernous and airy up top, and the XR showing a laser-like focus and clarity, but a little less “sparkle”, having a cleaner and less diffuse tone. Again, both are at the top of the tree in execution and quality, with the Zeus carrying a little more weight and feeling a little sharper on occasion, and the Andromeda giving a real “out of head” experience and sparkle to the higher treble reproduction.

In terms of accessories, the Zeus has a slightly upgraded accessory pack in comparison to the Athena as it includes a Whiplash SPC upgrade cable, so is a clear winner over the Campfire model here. As mentioned in the Athena comparion, it is unfair to compare isolation or comfort between this CIEM version and the universal Andromeda.

Overall, despite the difference in cost, these are two of the best operators in the higher end of personal audio at the moment, and for many, personal preference about the sound they are after will be as important as the technicalities of the IEMs at this sort of level. For my money, the Andromeda has a more immediately enjoyable sound, but the Zeus in both configurations just pulls clear in terms of clarity and overall resolution, showing a higher level of detailing while still retaining an emotional connection to the music, so would just get the nod if I had to pick only one.



Unique Melody Miracle V2 – the Miracle V2 is a 6-driver model from Chinese manufacturer Unique Melody, and retail for a similar price to the Campfire model. They aren’t the flagship model from the current UM lineup, but are very well regarded.

Compared to the Andromeda, the Miracle are tuned slightly thinner in the mids, giving a sharper edge to guitars and stringed instruments, but they are tuned a fair bit heavier in the lower frequencies, giving a bigger sub and low mid bass presence. The overall sound doesn’t feel quite as “fleshed out” as the Andro, and also has a slightly narrower staging in comparison to the Campfire model. It almost feels like the Andromeda is slightly larger in all three dimensions in terms of the sonic image, with slightly larger sounding notes.

Starting with the bass, “Palladio” by Escala is very well handled by the Miracle, the thick weight of bass adding nice undertones to track in comparison to the lighter and more delicate Andromeda. Violins feel slightly less emphasised but more tonally accurate on the Andro, the presentation giving more air to the track, where the Miracle V2 feels richer and more velvety. The Andromeda lacks a bit of viscerality compared to the almost DD bass of the Miracle, but again sounds the more balanced and organic.

Moving through to the midrange, high string notes feel more delicate and ethereal on the Campfire, whereas the Miracle feels a little sharper and thinner ins direct comparison. Firing up “Starlight” bu Slash, the Andro is better able to handle the intro, giving a less harsh tone but still presenting a nice crispness to the hi-hat compared to the mute truncated Miracle. Myles Kennedy's voice sounds more organic, with a bit more warmth and weight and a more forward stage positioning. In terms of midrange detail, the Andro feels a little more resolving, but not by a massive margin. There is a mid range spike in the Miracle tuning tat can sometimes rear its head, adding a sense of artificial detail and harshness on occasion.

Treble is won by the Andromeda, producing an airier and more sparkling sound up top, in comparison to the darker and more subdued Miracle. The UM just lacks the headroom and space of the Campfire model, so unless you are looking for a darker tuned IEM, this is one area the Miracle definitively falls behind.

In terms of driveability, the Andromeda is less demanding, but has an equally dark background to the UM model. Overall, the Miracle sharpens the sound into more of a V, with a thick and dry bass but thinner mids, and presenting a deep but narrow stage in comparison. The Miracle does isolate better than the Andromeda, with almost custom levels of sound blocking, but is more tip dependent.

Final thoughts on this pair up are that this is an interesting battle - the Miracle V2 pins its flag to the mast of a rich and dense sound, eschewing space and sparkle for a meatier and more aggressive sound - if the Andromeda is a sparkling champagne, the Miracle is more of a punchy red wine, satisfying if you are in the mood for that sort of sound but just lacking the final bit of refinement if you are looking for that true "high end" experience. The Andro for a convincing win for me here.



Specifications
Specifications
Price $1099
Frequency Response 10Hz-28kHz
Sensitivity 115 dB SPL/MW
Impedance 12.8 Ohms @ 1kHz
Included features 2xBA (lows), 1xBA (mids), 2xBA (highs, with TAEC tubeless resonator technology)
Included cable 3.5mm TRS ALO Audio silver-plated copper litz (MMCX)


Conclusions
If you haven’t already guessed by now, the Andromeda is definitely an IEM I am impressed with. It is a truly musical experience, wrapped in a unique all-metal shell and packing some seriously innovative tuning technology. It also disproves the myth that more=better where it comes to driver counts in IEM design, taking a positively paltry (in TOTL terms) 5 balanced armature drivers and producing a smoothly cohesive, finely balanced and just flat out impressive sound signature. There is just very little to dislike in all aspects of the tuning. Yes, it could have a little more bass presence (but CA have the Vega for that), it could have a bit more weight through the midrange, and it could possibly wear a little easier in the ear, but these would all probably take more away from the finely balanced sound than they would bring.

It is always difficult to write a review this glowing without drifting into hyperbole, but the Andromeda simply doesn’t have that much to complain about. Unless you are a fan of a hyper-analytical or bass-heavy sound, the Andro will probably have something in its arsenal to make you smile, and sound damn good while it’s doing so. As with all "TOTL" models, once you reach this rarefied atmosphere it is as much about tuning and preference as raw physical capability, and this is definitely very much in the realm of diminishing returns compared to models in the $300-$500 bracket, but to steal the end quote from one of my previous Campfire Audio reviews – this is just far too “Nicely Done” to complain. A super all-rounder from Ken Ball & Co, and highly recommended if you are in the market for something in this sort of price bracket.

Pros:
Price: £660 (amazon.co.uk)





Acknowledgment
This review was originally posted on my blog (well, not mine exactly, but I do write on it from time to time!).

I picked up the Ella on a well known online auction site recently after hearing two of their predecessors (the Mo-Fi and the Lola). I have always been curious about the benefits of planar magnetic technology in over-ear headphones, but was always wary of the additional power requirements needed to properly drive them as most of my listening is done on portable sources and I am not a massive fan of amp-stacking. On discovering the Ella packed an upgraded version of the built amp tech used in their first generation Mo-Fi model, it seemed like a perfect set of headphones to finally dip my toe in the water properly with a set of planar magnetic cans and see what all the fuss was about.

About me: recent convert to audiophilia but a long time music fan, also aspiring to be a reasonably inept drummer. Listen to at least 2 hours of music a day – prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. Recently started converted my library to FLAC and 320kbps MP3, and do most of my other listening through Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body to it. My ideal tuning for most IEMs and headphones tends towards a musical and slightly dark presentation, although I am not treble sensitive in general. Please take all views expressed below with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story.



Introduction
Blue Microphones will be a familiar name to anyone who has used a hobbyist or studio recording microphone in the last twenty or so years, making their name as a quality purveyor of all things microphonic. About 18 months ago, the company decided to branch out into products that produced sound, as well as recorded it, and the Blue Mo-Fi was born. With a unique headband mechanism, an onboard amp (designed for the project by the people at Fiio) to ensure the drivers could be properly driven and a refreshing focus on sonic quality in the £250 price bracket, the Mo-Fi and its immediate successor the Lola became quite a hit with the audiophile crowd, garnering excellent reviews for the sound quality and general confusion about the Cyberman-esque headband mechanism.

Fast forward twelve months and the second wave of Blue headphones has now surfaced, comprising of an updated dynamic driver model (the Sadie), a Bluetooth model utilising a quad dynamic driver setup for onboard noise cancelling, and the current flagship of the range, the Ella. The Ella also has the distinction of being the only planar magnetic model in the current lineup. Sporting an all-new amp designed in house and dual-sided 50mm x 50mm drivers, the Ella is positioned squarely for a tilt at the mid and higher end headphone bracket, enabling the user to get the benefits of planar technology without needing to lug an extra amplifier around. It is an interesting proposition – to find out if the magicians at Blue have succeeded in cracking the planar magnetic market, read on…



Unboxing
As standard across the Blue headphone range, the Ella come in a large square presentation box with a lid that covers ¾ of the box underneath. Lifting the lid off, the headphones sit in a formed plastic base attached to the base of the box itself, sitting vertically in a presentation box style. It’s a nice initial impression, and looks quite unusual compared to the usual style of having headphones embedded horizontally in foam cutouts or locked away in a hard carry case.

Lifting the headphones out of their base, a clearly marked tab saying “Lift here” allows you access to the various accessories underneath. The loadout for this price bracket is reasonable, with a nicely designed 1.2mm fabric cable (terminated in 3.5mm connector and carrying a microphone and inline controls), a longer 3 metre cable for use with your home audio setup. A 3.5mm to 6.3mm adaptor and a very plush velour style soft carry pouch to keep the Ellas comfortable. Unfortunately there is no hard case included, which would have been a nice option as the design of the headband precludes use of most of the generic over-ear headphone cases. The accessory package is finished off with the usual raft of warranty booklets and a small instruction manual showing how the onboard amplifier works.

Overall, the presentation is unusual, very well thought out and suitably high end – nothing mind blowing, but a very solid effort. The presentation case style of the base also doubles as a headphone stand if you wish to keep the Ella out on display, which is a nice touch.



Comfort and design
The design of these headphones will be very polarizing for most people, with an unusual series of hinge and bracket style joints making up the headband, and taking inspiration from the suspension on a Formula One car to handle the adjustment and weight distribution. Blue claim this design allows for a perfect seal around the ear, giving better bass response and less sound leakage. In practice, the headband, while unusual looking, does actually distribute the weight of the headphones quite evenly and comfortably across the skull, and once adjusted, sit nicely in place with the cups keeping a solid seal around the ears.

They even look pretty cool while doing this, sporting a cyberpunk look that will definitely turn a few heads as people try and work out if you are a Martian, a movie extra or just a madman walking down the street with a steel beartrap strapped to your head. The more OCD audiophiles out there may also not like the lack of symmetry that usually occurs on the dual hinged crown section of the headband, with one hinge usually locking down flat and the other remaining bent. This makes no difference to the comfort, with a plump and well cushioned headband ensuring that the pressure is always spread across the top of the wearer’s head and never particularly onerous. The padding on the earcups is also soft and plush, and apart from a tendency to generate a little heat when worn for extended periods, they otherwise sit perfectly still and comfortable for hours at a time.

All of the above is fine for stationary listening, but the sheer weight of the headphones (461g) and the unusual angles of the headband mechanism mean that the rock solid clamp these exert when sitting does become a little more wobbly when worn out and about. The clamping force is perfectly fine (and would probably become quite uncomfortable if ratcheted up any more), but I find that in motion, the headphones tend to destabilise themselves with any serious movement up or down, so required readjustment on a few occasions when I wore them walking around the local city centre one lunchtime. In my opinion, these are very much an indoor headphone rather than a commuter can.

One other notable feature of the Ella is the acoustic tuning of the earcups, with Blue modelling the interior of the cups on high-end speaker cabinets to maximise the soundstage. In practice, this does seem to have an effect on the sound, with the oversized earcups allowing a larger than usual sense of stage and airiness for a closed ear can.

Overall, the design touches on the Ella are well thought out and are as well executed as they are unusual. Even the onboard amplifier (itself a rarity in non-bluetooth headphones) has its own unique touch, with the headband automatically cutting off the power to the amp circuit when the headphones are taken off the wearer’s head, and the Blue logos on each earcup lighting up with a white LED when the amp is in use (very cool in a dark room). The Ella are proof that style doesn’t have to come at the expense of substance, with a unique take on the over-ear headphone that is more than just a gimmick.

In fact, the only thing I can think of that detracts from the overall feeling of quality is the amp switching mechanism – this is triggered by turning a small circular dial that surrounds the cable entry jack into the headphone, and the connection is very indistinct, with far too much play between the different modes. In fact, it is even possible to “click” the switch in but not fully engage the next amp stage, leading to some interesting audio artefacts, and occasionally a loss of volume in one of the channels until the amp switch is fully engaged. After my initial worry that I had blown something in the headphones, I managed to repeat the above quite regularly, and while you quickly learn how to feel when the amp has engaged correctly (apart from the obvious), it is the one area that the Blue team can certainly do better on next time, especially considering the price bracket the Ella are inhabiting. It also feels like the only area of the ‘phone that may be prone to QC issues over time, if the “play” in the switcher loosens any further – definitely a work-on for the engineers if they ever make a second generation of this particular can.



Audio quality
Moving past the various design decisions and unusual combination of technology that makes up Blue’s current flagship, one thing is reassuringly familiar – whoever tunes the cans at the Blue Microphones HQ certainly knows how to put together a good sounding set of headphones. The Ella are one of those rare beasts that manage to combine an almost neutral frequency response with a sense of musicality more usually found in far more coloured sound tunings. The sound is beautifully pure from the lowest of the sub-bass all the way up to the crystal clear highs, with an excellent grasp of 3D placement and depth to the sound that belies its closed-back design. There is a sense of effortless enjoyment that comes with listening to these headphones that is easy to describe but very difficult to pull off – this is a sound that can pull you in deep into the music you are listening to, keeping the detail levels high enough to do their planar magnetic heritage proud, while still remaining easy enough on the ear to let the music take you where it needs to.

Overall, the sound is refreshingly balanced, with a slightly leaner than expected (for a planar) bass, a nicely forward and smooth midrange and good extension and shimmer in the top end that stays on the side of crystal clear rather than aggressively sparkly. I can honestly say that these are one of the most enjoyably tuned headphones (in or over-ear) I have listened to in the last 12 months, with just enough of everything (detail, texture, slam and all the other descriptors you can possibly think of) to make it a true all rounder.

Bass
Starting with the bass, the Ella present a lower frequency response that is pretty even and surprisingly close to neutral, with an emphasis on texture and tonality over outright weight. The onboard amplifier does offer a slight mid-bass boost (the “ON+” mode), but this comes with an added portion of warmth in the higher bass and lower mid frequencies that can cloud some of the impressive clarity the Ella is capable of. It is a nice option to have, but for me it works best as advertised on the Blue literature, adding a bit of warmth to old vinyl recordings played through my main hi-fi system rather than on more recent tracks, where any bump to bass would be better served by some judicious parametric EQ instead. Unless otherwise noted, any further sonic impressions will be based around the standard amplifier (“ON”) setting.

Flicking through my usual test tracks, “Bad Rain” by Slash comes up first. The bass riff that gives the song its snarling character is well served by the presentation of the Ella, kicking in around the 20 second mark and giving a raw and rasping texture to the sound that remains audible as the main riff fires up over the top of it. The bass is barely north of neutral in quantity, present enough to prevent the song sounding anaemic but not overpowering. Texture is also the overriding impression left when the next test track comes up (“Hello, It’s Me” by Sister Hazel). This song has a gloriously velvety bassline underpinning the jangling guitar and smooth vocals, and the Ella presents this almost perfectly, the bass guitar licks slinking around the lower end of the soundscape and filling up the gaps while still keeping a sense of reality and fine detail. A useful tester on detail retrieval for me in this frequency range is the bass lick that slowly climbs from the 13 second mark in the track – through the Ella, the stings can clearly be heard vibrating after each pluck, adding a feeling of texture and realism to the main body of the note without losing the all-important substance. This is a driver that can pull some serious detail from the lower registers when needed. Completing my current trinity of texture-based testers (try saying that after a few beverages), “Palladio” by Escala puts some cello and strings into the mix, all of which the Ella handles in the same effortless manner. The orchestral sweep of the opening bars hits with real power, notes rasping and echoing into nothingness as the atmosphere in the track build. In fact, all my classical/fusion tracks sound excellent on these cans, the blend of dynamism and detail really working well with more orchestral styles of music.

Switching from texture to presence, “Heaven” by Emile Sande is my go-to benchmark for sub bass and punch, with “Why So Serious” from The Dark night soundtrack the test case for the extremes of frequency response. On these two tracks, the sub-bass on the Ella is reasonably well extended if not absolutely subterranean, with a decent level of sound pressure to fill the lower end of the music as required. Even with the “ON+” engaged these will never stray too far into basshead territory, with the extra presence feeling more centred in the higher sub and lower mid bass ranges to me. It certainly doesn’t feel lacking to me – as a former owner of the Aurisonics ASG-2.5 portable bass ear blending units I am partial to a little emphasis in the lower end of the scale, and the Ella does enough to satisfy my particular tastes without ever excelling in terms of sheer quantity. Moving up through the mid-bass there is a small but noticeable hump in the otherwise linear extension, adding just enough body to the sound to stop it feeling too analytical in the higher frequency ranges. Again, the emphasis is on detail over body, with the notes sounding neither thick or thin, sitting a little like Little Red Riding Hood’s final choice as “just right” for most styles of music.

In terms of speed, the planar tech used in these headphones is certainly no slouch, keeping the notes firing through without muddling the sound in the most dense and congested of tracks. Kick drums explode into hearing with the right amount of boom, and fade naturally into the background just as quickly, the dynamic shifts being handled well by the 50mmx50mm driver array. Percussion sounds punchy and direct, giving a good level of physical impact in more intense tracks – again, this isn’t a set of headphones that will shake the fillings from your teeth with brute force, but they certainly present enough slam to bring the music to life.

If I had to categorise the overall bass presentation, I would say “enjoyably neutral” is a good place to settle, with the drivers being able to fill up the soundscape with richly textured bass velvet when needed, and tap dance nimbly through lighter tracks without leaving any undue warmth in the air. It isn’t my usual favourite presentation, but I can’t help but enjoy what the team at Blue have done here – the addition of the “ON+” mode for just a little more of everything at the expense of a little fuzzy warmth further up is also a nice touch.



Mids
The Ella are refreshingly mid-centric compared to a lot of headphones I have heard to date, with no major dip in the frequency range to emphasise either the bass or the treble. I am a fan of a forward midrange (a la the old Aurisonics ASG series “house sound”), and the tuning of the Ella really allows vocals to shine. It isn’t overly thick in terms of note weight, but like the bass there is just enough body behind the sharper edges of the notes to give substance to the detail.

Putting some Jack Savoretti into the queue, his cover of Dylan’s haunting “Nobody ‘Cept You” sounds beautifully accomplished, the singer’s uniquely gravelly presentation revelling in the textured approach of the Ella without sandpapering the ears of the listener in the process. At some points, it almost sounds like the microphone is actually only a few feet away from the ears of the listener at eye level, with the softly strumming acoustic guitar coming from a little further back and lower down in the soundscape, mirroring where it would come from if you were actually stood face to face with the artist in the recording room. This is a good example of one of the major plus points I have found with these headphones – the spatial positioning and imagery is top notch, giving each sound a rounded and three dimensional feel to it that allows the listener to sink more effectively INTO the music, rather than just observing an interpretation of it from outside.

“Mother Maria” by Slash is up next, and takes full advantage of the imaging capabilities, layering Maria Hart’s breathless and emotional vocals over the Spanish guitar style acoustic refrain and Slash’s more electric noodlings on the track, the vocals pouring in straight through the centre of your forehead like liquid silk, flanked on either side by crisply defined and effortlessly musical guitar. The nuances and inflections in the singer’s voice are captured excellently, lending a real emotional heft to the delivery. I mentioned the old Aurisonics “house sound” for vocals earlier, and this is a headphone that comes close to matching the prowess Dale Lott and his team in Nashville used to show for portraying singers in the best possible light. Vocals sound sweet and soulful, with male vocals showing up just as strongly as their female counterparts, again full of soul and texture while retaining a smoothness and liquidity that is very addictive.

“Virginia” by Whiskey Myers is another favourite track of mine for testing out vocal response, and the Ella sails through it without pause, Cody Cannon’s voice sounding both powerful and delicate at the same time, sitting nicely above the acoustic and electric guitar (a common theme here) without feeling too separated from the body of the music. “Coco” by Foy Vance passes through my ears just as effortlessly – in fact, the vocals are so beautifully smooth and liquid that I failed to take any useful notes in three different attempts to listen to the track, getting swept away in the song each time and landing a few tracks further down the album, In short, I would be very surprised if any vocal lovers found major fault with the tuning of the Ella – it is just THAT good (IMHO anyway).

Tonality on other mid-range instruments is similarly adept, guitars (both acoustic and electric) sounding clean and clear and possessing that rounded sound and ring of truth that makes them feel almost live in presentation. Detail levels are high (as you would expect from a planar magnetic driver in this price bracket), the tiny micro details of the scuffed guitar intro and background noise in “Coco” presenting with ease in the listener’s mind. The acoustic guitar lick around 20 seconds in to “Everybody Knows She’s Mine” by Blackberry Smoke also passes the listening test, sitting clean and clear above the chugging electric refrain underneath it rather than smearing into the main riff like it has a tendency to do on less resolving headphones or IEMs.

Electric guitar in general is well presented, chugging with authority on tracks like “Dubai Blues” by Chickenfoot and providing a nice crunchy texture to heavier rock fare, the ability of the drivers to resolve texture giving each riff a nice clean “edge”. Throwing multiple Slash tracks at the Ella, the frenetic guitar work “World On Fire” comes crashing through with the right amount of energy to set the song alight, “Shadow Life” following suit in a blaze of heavy riffing and stop start rhythm that never feels rushed or congested. Staying with Mr Hudson and his guitar, the twin guitar lines of “Welcome To The Jungle” by G N’ R (who else?) are well separated and articulate, highlighting the complexity of the interplay between Slash and Izzy through the song (a very underrated track from a technical point of view) without taking the listener out of the glorious 1990’s sleaze-rock vibe that always follows the song into your ears like one of their famlously persistent groupies.

Overall, the midrange feels like the star of the show here, with an engaging 3D feel to the sound and highlight on vocals and guitar that make this a very good choice for listeners of those particular genres. That isn’t to say that things like piano are poorly represented, as the Ella nails the tone and timbre of a grand piano (and to a lesser extent more synth based tones) in a similar manner to the excellent handling of rockier fare, but there is just something special for me about listening to some of my favourite rock tracks on these. A very accomplished piece of tuning here.



Treble
The treble tuning keeps in line with the midrange and bass, tastefully just a little outside of a truly neutral sound, steering more toward clarity rather than excessive sparkle. The notes are pure and clean, feeling more like a draught of ice-cold spring water hitting the ears than a glass of finely sparkling fizz. This is squarely in line with my ideal sonic preference for treble, so please bear that in mind when reading on, as the Ella have pretty much landed dead centre on my wish-list of tuning choices here.

That isn’t to say that the treble feels as impeccable to me as the midrange, as there is a slight edge to certain notes that I occasionally notice. Hitting up my first treble test track, “Starlight” by Slash and Myles Kennedy sits right on the border between clear and harsh, the dissonant high notes of the intro cutting into the brain and stopping just short of unpleasantness, but certainly containing enough energy to capture the attention. Kennedy’s vocals are a different story, the stratospheric falsetto he uses throughout the song sounding impeccably smooth and exhilarating without ever grating. I don’t think it is fair to say that these ‘phones will play particularly nicely with tracks that are prone to sibilance in certain treble bands, but they certainly don’t accentuate it as far as I can hear. This may be something to consider for people with particular sensitivity to certain frequencies, but as mentioned, isn’t a concern for me.

One of my other test tracks for uncomfortable sibilance or harshness is “Whiskey And You” by Chris Stapleton, the vocals on this country ode to broken relationships and booze quite often cutting as deep into the listener’s ears as the lyrics. With the Ella, the gravelly sandblasting of the chorus is again just on the right side of the line for me, giving a rawness to the track without making it unbearably hot or spiky. The sounds of the room Stapleton is singing in are also a high point on this track, with the Ella setting up the singer on his stool right in the middle of my forehead, bouncing tiny echoes off the walls into the outer edges of my hearing and setting and almost photographic (and probably totally inaccurate) picture of how the track was recorded in my mind. In fact, the only track I managed to get some high end discomfort out of was “My Kind Of Love” by Emile Sande, with the high notes in the chorus feeling just a little too sharp for my personal preferences.

Moving on, cymbals and other percussion are handled well by the planar drivers, sounding suitably metallic and lingering just long enough on the cymbal crashes not to sound hemmed in, but not overstaying their welcome or overpowering the sound with unrealistic shimmer and pizzazz in the top end. Violins and strings sound shimmery and defined in the higher registers, carrying a nice weight and clarity. Moving into more electronic fare, synths also sound very good, floating in the topmost registers of the soundstage and feeling almost ethereal in their presentation, allowing tracks like “Go” by the Chemical Brothers to breathe and soar into the euphoric chorus. Again, the neutrality of the tuning works well here, with the sharpness of the treble being balanced out nicely by the upper midrange to present a very coherent and convincing sound.

In summary, the treble isn’t the most mind-blowing presentation I’ve ever heard in terms of sparkle, but it presents a nice sense of air and a solid weight to the notes and clarity of sound that just works with the ranges below, retaining the musicality of the overall tuning. If I have to be hyper-critical, it could do with a little bit of smoothing over in the very upper mid/lower treble transition on a few of my tracks, but that is possibly as much to do with the mastering of the music in question as any major shortcoming of the Ella. Very well done.



Soundstage, separation and isolation
The Ella are a closed back headphone, but Blue have managed to buck convention again in a few important areas, with isolation that isn’t quite as good as you would expect and a soundstage that is much better than it should be. Looking at isolation first, the Ella is prone to a little leakage in both directions, with music being able to be heard a couple of metres away (albeit very quietly) with the cans at normal listening volume. External noise isolation is also only decent rather than mind-blowing, with a reasonable reduction in outside noise but nothing class leading, some external chatter on trains or buses and general noise making it through the pads and earcups unless the music is at normal volume. I would say that these aren’t ideal for plane travel unless you like listening loud, and are more suited for stationary or at home listening in most instances, although they do hold up well enough on short public transport trips.

Soundstage, on the other hand, is one of the strong suits of these headphones, presenting a stage that extends a short way outside of the head in all directions despite the closed back nature of the design. This is aided (or defined) in part by the exemplary imaging ability of the Ella, with the soundstage feeling almost spherical in terms of width and depth, and sounds layering themselves neatly from front to back of the stage as well as from left to right in my ears. Added to the highly resolving nature of the drivers and the texture of the notes, this allows for excellent separation between different strands of the music, with chorus lines allowing you to pick out individual voices if you listen out for them, and complex guitar or orchestral passages winding around each other while still presenting as individual strands of music in your mind. Layering (the ability to stack multiple musical parts in the same space on stage) is also impressive, again helped by the detail output and the 3D staging. Overall, this is a very 3D sounding headphone to me, and the first set of cans that has made me jump when listening to certain tracks (like “Patience” from G N’ R) as sounds on the recording actually made me think they were coming from something in the room behind me. I don’t have any experience with higher end planar setups as yet, so this may very well be one of the “common features” associated with the more expensive technology, but it is worth mentioning anyway, as I think it is a major contributing factor to the immersion these headphones are capable of.



Comparisons
Audioquest Nighthawk – the Nighthawk is one of my all time favourite headphones, and has pretty much monopolised my “late night, dark room, glass of something interesting” listening at home when I have a spare hour to really sink into some music. In terms of the tuning, it isn’t a million miles away from the Ella, with more emphasis on a warmer and more organic sound, but a similar approach to clarity of treble and overall resolution. It is based on a biocellulose dynamic driver with some proprietary design tech to minimise resonance and distortion retailing at a couple of hundred dollars less at current RRPs.

In terms of bass, the Nighthawk has a warmer and slightly fuller sounding bass (even over the “On+” setting, showing good resolution but a little less sense of speed than the planar drivers used in the Ella. Extension is slightly better on the Nighthawk, digging deeper and more solidly into true sub bass territory than the cleaner and leaner Blue model. “Bad Rain” by Slash is a a good comparator, the bass riff sounding fuller and a little more fleshed out than the exquisitely textured Ella’s interpretation. Again, this isn’t a basshead ‘phone by any means, but if you value a fatter and more organic sounding bass with only a slight loss in perceived detail retrieval, the Nighthawk will be your go to here, with the Ella working better for people after a more traditionally “neutral” and textured tuning.

Moving up to the mids, the vocals on the Nighthawk feel more laid back in terms of positioning than the mid-forward Ella, and possessing a warmer and more organic tone in comparison to the crystal clear and liquid Blue planar. Crunch and speed is again more emphasised on the Ella, with the Nighthawk taking a weightier and slightly softer around the edges approach, although detail retrieval is similar on both. The Ella can sometimes appear more detailed due to the relative sharpness of the tuning, but listeners of the Nighthawk will know that the drivers are capable of truly excellent resolution once your brain adjusts to the overall tuning and lack of treble emphasis.

Treble is the main point of difference between these two headphones, with the Ella all crisp and jangling and the Nighthawk taking a clear but smooth approach, without any specific emphasis on the high notes. This can initially lead the Nighthawk to sound slightly veiled until your brain burns in, but much like the midrangem all the details are there if you listen out for them, but just not presented in the more emphasised way the Ella manage. In terms of extension, the Ella sound stronger going up into the very high treble, so this will be the headphone to recommend if you prefer a more emphasised but still smooth treble, with a bit more overall crispness to the cymbals and other higher register sound than the more laid back Audioquest. Again, both headphones offer different but very enjoyable takes on treble – for me and my sonic preferences, I prefer the Nighthawk and its smoother blend of clarity and weight, but that doesn’t mean the Ella is anything less than very good in this department either.

Finally, in terms of soundstage, the two headphones are very similar, with the Nighthawk having just a little more spatial width and bigger “feel” to the sound due to its semi open nature – the Ella certainly doesn’t feel outclassed here, and competes very well for a fully closed back can. Both headphones are technically very adept at layering and separation, with the Nighthawk presenting sound in a bigger and more accessible way, but the Ella providing a crisper definition to everything on its slightly smaller sonic image. An honourable draw here, with neither headphone coming out convincingly on top for me.

Overall, these are headphones that share some similarities, but diverge just enough to offer two different and enjoyable musical signatures. My preferences lie with the Nighthawks for extended listening to older classic rock, and the Ella if I’m listening to acoustic and singer/songwriter genres – both are technically excellent, extremely enjoyable and masterfully tuned to bring the listener into the music rather than just throw the notes at them. If I had to choose just one, it would be the Nighthawk, but as it is nailed on as pretty much my ideal tuning in all aspects, the fact the Ella has taken some head time off it over the last few months is testament to just how good I think they are as well. Lovers of a sharper and more emphasised treble but within the bounds of a musical and neutral signature should look seriously at the Ella, though – I haven’t heard anything quite like it so far on my audio journey, and it is definitely a headphone worth investigating.

Audeze Sine – I had the Sine in my possession for a brief time, and managed to lose my comparison notes after moving them on, so this is written purely as a set of impressions from memory so please bear that in mind. The Sine seemed to share a few similarities with the overall neutral yet musical tuning of the Ella, but were definitely a little harder to drive to their full capacity without a powerful source or external amp, losing ground in that respect to the Ella with their onboard amping solution. Soundstage also seemed larger on the Ella in comparison, with the Sine sounding more like a traditional closed back. Detail retrieval feels more apparent on the Ella, with more of a sensation of clarity – the Sine still feel like a very resolving headphone (especially at the price), but just lack a little finality in the treble and higher midranges compared to the Ella. Vocals also feel a little more recessed on the Sine than the Ella.

Finally, in terms of build the Sine are a more portable and comfortable solution, offering far less leakage out and similar to slightly better sonic isolation – they really are a closed can you can use for travelling or portable scenarios, providing you have a stacked DAP/AMP or standalone source with a decent level of power to get the most out of the very capable drivers. In terms of looks, the Sine are far more understated, with the leather effect cups and leather headband giving a very refined and high end feel.

Overall, for my tastes the Ella are the better headphone, but at almost twice the price and lacking the portability and ease of use that the Sine offer, they are aimed at very different markets – fans of a classic planar magnetic sound won’t go far wrong with either of these offerings.



Specifications
Specifications
List Price £675
Frequency Response 20 – 20000 Hz
Type Planar magnetic driver, 50mm x 50mm
Impedance 50 Ohms passive, 10 Ohms active
Amplifier output power 250mW
THD+N <1% (94dB SPL, from 20 Hz to 20 KHz)
SNR >101 dB
Noise <20 uV
Battery capacity 1000mAh
Battery usage Approx. 12hrs use, 3-4 hours to charge


Conclusions
As my first extended foray into Planar Magnetic technology, the Ella have been a resounding success. While the unusual styling and design may not be for everyone, the sound output is truly deserving of the price tag these headphones come with, and makes them a very compelling proposition for at-home or stationary listening from almost any source. They are a little unwieldy and poorly isolated to a be a true “go-to” pair for your everyday commute, but despite the in-built amp, I don’t think that was where Blue was positioning these – they are much better suited to sinking into a long listening session in a chair, allowing yourself to drift into the middle of a good album and keeping the sound clean, clear and foot-tappingly engaging.

The choice to keep the sound neutral, and leave the midrange a little more forward than the usual “audiophile-V” has paid off in spades for me, with the Ella presenting a sound that is immediately enjoyable and just downright musical. Add in the technical capability of the planar drivers strapped to each ear and the ability of this headphone to connect the listener to the music and I would say that the Ella is an outstanding piece of engineering in its current price bracket, and an easy recommendation for all but the most die-hard of bassheads or for those who need portability and isolation above all else.

This review was originally posted on my blog a few weeks ago.

Acknowledgment
These in-ear monitors were made for me by Jack Vang and the team over at Empire Ears in Norcross, Georgia (the American one) as a result of a very lucky entry into their recent Head-Fi giveaway to win a pair of the Zeus-XR and an Effect Audio Leonidas cable. These were the contest prize, and provided without any stipulation or requirement for me to write a review or endorsement. The views expressed here are my honest opinion of the gear received.

About Me
I am a fairly recent convert to audiophilia but a long time music fan, also aspiring to be a reasonably inept drummer in my spare time. I listen to at least 2 hours of music a day – I prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. Recently started converted my library to FLAC and 320kbps MP3, and do most of my other listening through Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body to it. My ideal tuning for most IEMs and headphones tends towards a musical and slightly dark presentation, although I am not treble sensitive in general. Please take all views expressed below with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story.

Introduction
I first heard about Empire Ears about 18 months into my journey into audiophilia – the urge to try every IEM under £300 was fading, I thought I knew what sort of sound signature I preferred and I was slowly looking up the ladder at the more expensive “marquee” audio brands all the seasoned reviewers and Head-Fi forum members often quoted. Being honest, after seeing the price of the Empire flagship (the at the time newly released Zeus-XIV) and living in a country where demoing in-ear headphones isn’t permitted due to hygiene regulations, I figured the closest I would ever get to finding out what they sounded like was reading about it on the internet.

Fast forward a year or two and due to a combination of bloody minded masochism in reading forums about IEMs I’d never likely own and a whopping slice of luck in winning their Zeus-XR giveaway, I found myself inadvertently sitting at the top of the IEM tree with approximately $2400 worth of in-ear monitor in my sweaty palms (along with a nice $800 cable from Effect Audio just to set it off). This in itself would be praiseworthy enough for most people, but this is where the story starts for me in terms of Empire Ears. Despite the fact they were effectively giving away something that is worth about the same as a lot of people’s monthly take home pay packet, the interaction and customer service I received was a breath of fresh air, with Jack @ Empire willing to chat through various mediums (Head-Fi, FB Messenger etc) to help me with the IEM design, giving suggestions on which gear he thought would match well with the Zeus and providing updates to an impatient customer while I was waiting for my prize to be manufactured. It’s a small thing, but it seems to be the norm with this company if you read the various posts on the main audio blogs – the interaction is human, helpful and very down to earth, and impressed me almost as much as the IEMs themselves.

As a background to the few people reading this who don’t know who Empire Ears are, they rose from the ashes of Jack Vang’s previous CIEM manufacturer Earwerkz, when he realised that the rapid growth of the original brand was becoming unsustainable in the company’s previous form. Joining up with his parents’ manufacturing business (Savvitek – handily specialising in hearing aids, amongst other things) allowed Earwerkz to keep up the lead times and customer service that they initially set out to provide, and allow the brand to grow into something a little grander, hence Empire Ears was born. The title of their debut range (the Olympus series) should give some indication of the aspirations for this firm – this is a premium brand, and is looking to produce premium products. Do I think they have succeeded with the Zeus-XR? It won’t come as much of a shock to you to say a resounding yes on that front – if you want to know how, please read on.

Unboxing and aesthetics
With a pricetag high enough to buy you a second hand car (and a half decent one at that) in most countries, expectations are justifiably high that unwrapping the Empire Ears flagship will be a top notch experience. I’m happy to report for those fans of a good unboxing, this is about as high end as it gets, short of coming with its own butler. The IEMs come in a classy cardboard box with fold-over magnetic fastener, embossed with the Empire Ears Logo. Opening the box, you will find another box – in this case, a personalised Empire Aegis case (think large Peli or S3 and you’re 90% there) with a metallic faceplate on the front, again sporting the Empire winged logo and the name of the recipient (or any other custom message you want to put on there).

Also nestling in the package are a branded black microfibre polishing cloth (for keeping that all important shine on your ear jewellery), a velvet-style soft carrying pouch big enough to fit your precious cargo and a cable in and a larger black fabric bag, this time big enough to fit the AEGIS case in. As with the polishing cloth, the two bags both sport the same classy gold branding prominently, leaving you in no doubt which firm’s product you are handling.

Completing the package and nestled safely inside the precision cut foam inserts inside the carry case are the IEMs themselves, an unspecified Whiplash 2-pin braided upgrade cable in a silver colour (composition unspecified, although I remember reading somewhere it is Silver-Plated Copper or SPC for short) and the ubiquitous cleaning tool/brush from getting ear-goo out of the sound bores.

For a custom IEM this is a nicely considered load-out, and the high quality feel and well thought out extras completing the package lend a very nice sense of quality to proceedings. Nothing too flashy, nothing superfluous, but what is provided is obviously of a high standard and sets the tone for what is to come.

Moving on to the IEMs themselves, I opted for a Black and White swirl faceplate, with smoky black translucent shells. In person, they look even better than the rendering from the jazzy design tool on Empire Ears’ website, with a smooth gloss finish and impeccable build quality throughout. The shells are smooth, light but feel sturdy, and are free of any imperfections or air bubbles as far as I can see. The join between the faceplate and the main IEM body is also flawless, with a silky smooth transition and no seam or grain to be felt on the polished shell at all. These IEMs really are an example of how to produce a custom acrylic shell right, looking and feeling top notch.



Comfort
As these are my second pair of CIEMs, I already had a recent set of ear moulds I was pretty happy with the fit on, so was able to use these to build the Zeus-XRs without too much hassle. Jack and his team did ask a few questions when they arrived as the impressions has been “patched” by the previous manufacturer, but after answering those they proceeded with the build and got the IEMs back to me in about 3 weeks including shipping (pretty much bang in line with what is currently quoted on their website).

On testing the fit, I actually find that the Zeus sit a little more comfortably than the original CIEM – whether it is just a quirk of the slightly thicker shell and fuller mould used or just a bit of magic on EE’s part I couldn’t say, but I am certainly more than happy with the seal and the result. Once used to the longer insertion depth of a custom in-ear, I find I can wear them for hours on end with no physical ear fatigue, which is something that can’t be said for a few of my universal in-ears , unfortunately.



Audio quality
This is the section everyone cares about the most in an audio review (and why not – you don’t exactly listen to the box) – how does the gear actually sound? It won’t come as much of a surprise to find out that the Zeus-XR in both crossover configurations sounds absolutely exceptional. This isn’t a sound that smacks you in the face with how good it is the first time you hear it (for me, the only IEMs that have ever truly done that have been the Campfire Audio flagships) – it is more of a sound that creeps up on you over time, the various nuances unfolding in your mind and slowly reshaping your personal baseline for what really good sound is.

If that sounds like a lot of hype, you are probably right – all I know is that after a few weeks of listening to the XRs, going back to anything other than the TOTL monitors in my collection left me wishing for the clarity and pinpoint precision of the Zeus. The resolution these monitors are capable of is simply staggering with a good source, making even ultra-capable IEMs like the AKT8IE Mk2 and Campfire Andromeda sound slightly muted in direct comparison. This isn’t simply boosted treble masquerading as micro detail or resolution, with a healthy dose of listening fatigue afterwards – this is audio that exudes a sense of cleanliness and purity about the execution of each note, without any of the background noise or distortion that usually accompanies it, and absolutely no strain on the ears of the listener after many hours of enjoyment. The sound is smooth but oh-so-clear, and once your brain burns in to the unique signature, it becomes very addictive.

In terms of tuning, the Zeus-XR wears two hats, being able to switch between the older 7-crossover Zeus-XIV setup and the newer 8 crossover configuration used in the Zeus-R with the flick of a small switch on the faceplate of each IEM. Both tunings are very similar, with the “R” setting providing a slightly leaner and more reference sound in comparison to the warmer and meatier sound produced by the XIV setup. In both configurations, the bass is a little raised (very slightly in the case of the R) over dead neutral, with more emphasis on mid rather than sub bass, but still retaining impressive extension down low. The mids are forward, creamy but exceptionally clear, producing bags of micro detail and nuance, and treating both male and female vocals to the sonic equivalent of the red carpet. The vocals are emphasised but not too overcooked, sitting about half way between a neutral and fully forward stage position for me. The treble is again wonderfully clean, with good extension but no massive sense of air, trading that final dash of sparkle for a crystal clarity and good note weight. The overall impression is of a musical sounding but balanced presentation, with decent but not excessive body and note weight and a rounded but still detailed treble.



Bass
Delving into the bass first, this is the area the Zeus is weakest in for my personal taste. Admittedly, it is a little like pointing out that Mike Tyson had a weaker left handed knockout than his right rather than an actual flaw, but still, when you are this close to total perfection it almost feels wrong not to at least try and be objective. The bass on offer is solid and textured, with excellent detail and good speed, keeping up with Slipknot style bass drum barrages without any major effort and retaining excellent texture and control all the while. There is a decent bass extension down into sub bass frequencies with a slight roll-off in terms of strength in the really low registers and a steady rise in strength and quantity up into the mid bass, having a slight but not drastic emphasis in the XIV setting and a more linear transition in the Reference mode. It feels nimble and slick, but not overly liquid (possibly just in comparison to the midrange), keeping a nice fluidity to the sound without becoming overly lush or wet. Impact is decent for an all-BA setup, and while it doesn’t have the visceral impact that comes with the air movement a top end dynamic driver can generate, it is still pretty punchy.

Kicking in to my playlist, “You’ve Lost That Loving Feeling” by Elvis Presley and the Royal Philharmonic is up first. The surprisingly bassy intro feels velvety and nuanced, with a nice solidity of presentation. It isn’t the thickest or most prominent rendition, but still drives the song forward nicely, rendering kick drum still hits with authority. In fact, drum “tone” is one of the first things that really stood out for me listening to the Zeus – as an amateur drummer (of admittedly little repute), the sound of stick on drum head sounds almost too realistic, giving the best rendition of how an actual drumkit sounds up close that I have heard. The only thing lacking is the raw power and air movement that a dynamic driver can produce (I’m looking at you, CA Vega), but in all other aspects it is scarily lifelike.

Staying with drum sounds, “Enter Sandman” and “Sad But True” by Metallica fire through the Zeus next without breaking stride. Percussion sounds aggressive and visceral, with a sharp bite to the snare drum hits, retaining just enough body (a common theme here) to the sound to avoid losing impact. The very unique Metallica drum “sound” can sometimes swallow up quieter passages in their music on warmer monitors, but here it remains clearly defined and separate, allowing the tracks to breathe properly, emphasising precision over raw power.



Moving on, “Hello, It’s Me” by Sister Hazel, I usually use this song for testing bass liquidity and texture, and the Zeus certainly doesn’t disappoint here. The underpinning baseline practically slinks out of the earpieces, filling up the lower end of the track with a muscular but still lithe rendition, plenty of texture and agility along with just a hint of smoothness to pad out the edges. With some monitors this track can feel like liquid chocolate, but to keep on the food analogies, the Zeus feel more like a chocolate fondant: crisp and textured on the edges, with a molten liquid core sitting just under the surface and occasionally bubbling out. The rasp of the strings on the bass guitar as they vibrate feel almost too real, adding some bite to the bouncing bassline without detracting from the sense of body in the notes. It’s a difficult line to tread, with most monitors I hear going too far one way or the other, but here the tuning of the Zeus is pretty much spot on for my tastes.

Working through my last staple test track for bass bite and bark, “Bad Rain” by Slash and Myles Kennedy kicks in with its customary menace, the growling texture of the off-left bass guitar appearing at the 20 second mark and practically letting you see the low-gauge strings on the bass player’s rig vibrate as the riff comes to life. Unlike Sister Hazel, this track leans a little more towards texture than body, just lacking a final piece of solidity to really knock it out of the park down below. The bass digs as low as it needs to without ever sounding weak, but this is definitely a track that prefers the XIV configuration to really come to life. I find the R feels just a little too clinical and lean for the almost punk-rock leanings of this type of song.

Switching it up to some more electronic fare in a search for sub-bass, “Heaven” by Emile Sande presents a lower end that is present but never skull crushing, giving a little tickle in the frontal lobe rather than the sort of seismic event behind the ears that occurs when you play it through the AKT8IE or Vega. The rest of the percussion is crisp and dynamic, the subtle clicks behind the main snare drum pattern adding rhythmic complexity to Sande’s EDM anthem and layering in nicely to the driving beat.

“Omen” by The Prodigy sounds crisp and crunchy, just lacking the final touch of sub bass heft to really kick the song into overdrive. Detailing and texture are top class, even highlighting the background crackling in one of the samples used, which was a new experience for my ears (and a long-loved audiophile cliché, but true nonetheless). This is another track that definitely benefits from the XIV configuration, the extra dash of thickness and low end oomph adding just a touch more of the requisite aggression and menace to Flint’s growling and Howlett’s grungy synth refrains. Switching to “Thunder” off the same album provides a more driving and potent sense of bass, with the song centring more on the mid bass rather than the deeper reaches. It serves as a good reminder that the Zeus is certainly bass capable, placing a very solid foundation for the distorted guitars and twisted vocals to sit on.



Mids
If there was one preconception I had about the Zeus, it was that the midrange was where the magic was supposed to happen. I’m happy to say, the popular rumours are correct, with both the R and XIV crossover variants producing a solid, ultra-resolving and downright impressive mid-range sound. Starting with the XIV, the mids are forward and slightly warm in tone, pushing forward into the listener’s ears like the guitarist and singer are perched just in front of you in the studio, or leaning over the crowd in a small venue. There is a thickness and weight to the presentation that gives the music a feeling of solidity, without crowding the stage or blurring the lines between each note. It is this sense of resolution that is for me the real beauty of the Zeus, able to keep the body and soul of a passage of music while still putting all the little nuances out on display.

In comparison, the R setting takes a little of the warmth out of the room in the bass/midrange transition, and pushes the singer a little further back towards the main body of the music. By definition, this is the more “reference” of the tunings, with a more neutral balance between the bass, mids and treble. It also aids the feeling of airiness, giving the staging a little more black space around the instrumentation to my ears. My preference between the two is definitely the XIV, as the extra warmth and weight of the guitars and vocals in most of my tracks is simply a joy to listen to in this configuration. The R also holds it own with some of my more complex or contemplative music, so the fact that you get both tunings in one IEM shell is an added bonus.

Firing through some tester tracks, the first up is “Hello, It’s Me” by Sister Hazel; the silky richness in Ken Block’s voice is unmistakeable, the XIV sitting the vocalist just behind the ears and pushing his deeper-than-a-double-stacked-Chicago-pizza delivery right out the front of your forehead. This track has a prominent bassline, so the ability to pull the baritone vocals above the underpinning rhythm track is crucial to really mastering the track, and is something the Zeus has no problem with.

In search of more vocal impressions, the next track in line is “Beautiful Wreck” by Shawn Mullins – Mullins’ throaty vocals are the star of the show here, with a rich texture to the lower notes that accentuates his almost-spoken delivery, surrounding it with the instrumentation in a small but perfectly formed 3D stage. The intimacy and forwardness of the mid range presentation comes to the fore here, giving weight to the sound and making me picture the singer performing in the corner stage of some small roadside bar. No idea why, but enjoyable nonetheless.



Having ticked off the delivery of vocals, the next checkpoint on my mid range journey is “Whiskey and You” by Chris Stapleton, which is one of my usual testers for harshness or sibilance in this region. I’m happy to report that the usually hot bridge section of the song came through as smooth as buttered baby oil on an ice rink, but with no loss of detail or texture. The raspiness of Stapleton’s voice is accurately portrayed, but without treading into sibilance or harshness, while still leaving the grit in the vocal delivery. I couldn’t find any vocal shredding on my other guaranteed vocal rapier (“My Kind Of Love” by Emile Sande) either, with the Zeus representing the harshness in the vocal delivery but not letting it dominate the whole sound.

For a vocal centric IEM, Mavis Staples is a great test of just how good it is at conveying texture and emotion, her breathless delivery carrying subtly voiced inflections, a gravelly power and soaring smoothness, often in the same track. Slapping some tracks into rotation through the XR, every little nuance of the legendary singer’s delivery is carried straight from the studio mic into the brain of the listener, blending seamlessly with the gospel style chorus lines and floating just behind the eyeballs, like the sound was being poured directly into the skull. Individual voices in the chorus line are easy to identify, all possessing their own unique place in the recording while not detracting from the cohesive delivery. In fact, Staples sounds so good through the Zeus that I have happily let the whole of her latest album “Living On A High Note” drift through my ears in its entirety at least twice before I started taking any useful notes.

So, having established the vocal credentials of the EE flagship, how does it deal with the rest of the mid-band inhabitants like guitar and keys? Pretty damn well, is the answer. Listening to “Coco” by Foy Vance, the intro drifts in with subtlety, layering the hardly audible skids of fingers on frets into the sound without distracting from the main body. There are micro details presented without any unnatural “edge” or emphasis, the overall smoothness of the tuning still yielding the most minute of audible artefacts up to the listener without any effort. It takes a while to get used to this mellow clarity, but once you do, you realise exactly how much detail is being revealed without any need to resort to tuning trickery. This keeps the sound non fatiguing and natural, but still allows guitar and acoustic instruments their full range of expression. In fact, the smooth detail adds a nice roundness to the notes on most guitar based music, packing enough definition to avoid sounding blunt or veiled (in fact, the Zeus in both configurations are the clearest sounding monitors I own), but not having as many jagged edges as other monitors that use a bump in the relevant frequency range to sharpen the lines in the sound unnaturally.

Looking to see how the Zeus handled more chugging guitar fare (my staple audio diet when I’m not feeling mellow), a little bit of Slash and some Darkness were next through the test playlist. “Growing On Me” is one track I actually found I prefer the R setting on, the thickly mixed and overlapped twin guitar line that drives the song forward resolving a little more tightly in-ear without the slight bump in mid range warmth the XIV setting offers. This is one of the things that makes the Zeus so accomplished – unlike a traditional filter IEM where the signatures are broadly different and as a result less finely honed, both tunings on the Zeus are similar takes on the same theme, but still allow a little room for adjustment to get the ideal sonic “fit” for different tracks and gear. Slash was an easy win for the XIV, the crunchy layers of the guitar lead and rhythm that build up in the into to “Ghost” growling and snarling with distorted definition, kicking the energy of the track in to overdrive and getting my foot tapping along to the music every time. To be fair, this isn’t the most aggressive or high-energy midrange I’ve heard for rock music, but it certainly has more than enough life and speed to handle my music catalogue, and adds a layer of refinement to the chug of many of my favourite tracks that I can’t get with a lot of other gear.

Piano and stringed instruments also sound refined and clear, following the same natural but detailed presentation that helps the guitar based tunes shine. Tracks like “Natural Blues” from Moby and “Everybody Knows She’s Mine” by Blackberry Smoke just have a “rightness” to the sound of hammer hitting string on the piano notes, and the thickness of the midrange adds a nice sense of emotional heft to piano ballads and more honky tonk tracks. The piano presentation feels quite a lot like the drums to me in terms of realism, and the “just there” feeling it evokes is again one of the reasons the Zeus impresses me so much with the work its 14 driver setup is capable of, churning away behind the scenes to bring the recording studio directly into your ears, without colouration or interpretation.

In summary, the mids on this multi-BA beast of an IEM are truly one of the best around, and any music that doesn’t completely skip any involvement with this area of the soundscape will benefit hugely from the tuning and capability on offer here.



Treble
The treble in the Empire Ears flagship model (as of writing in August 2017) is as already mentioned a full bodied and clear sounding affair, emphasising clarity over outright crispness and purity of tone over sparkle or airiness. Anyone who has read my previous reviews will know that this is a treble tuning that resonates with me on multiple levels, so unsurprisingly this IEM works for me in a major way when it comes to the higher reaches of the sound. Extension is good but not absolutely stellar, remaining strong up into the higher echelons of the audible frequency spectrum, but lacking some of the effortlessness that something like the Campfire Andromeda can portray when moving around in the super-high soundscape. For me, the Zeus is a tight, focused blast of crystal clear water to the ears, filling the room in the sound with beautiful purity but not leaving a lot of empty space around it. It has height, but there isn’t a sense of open space above, just a sense of blackness and the ringing purity of the note that took you there.

Kicking into the first of a few test tracks, “Starlight” by Slash and Myles Kennedy sounds absolutely magnificent, the dissonant intro guitar harmonics and Kennedy’s falsetto-on-steroids delivery throughout most of the track hitting hard and clear without harshness or any lack of body. The cymbals on this track feel clean and crisply defined, if a little short in the overall decay, hitting with a tssk and muting off just as quickly. As with the other frequencies, the detail is there in spades, but presented in a nicely muted fashion rather than sharpened to an edge and jammed into the side of your ear.

For more electronic sounds, the tuning can actually work quite well – the splashy high vocal notes and synth breaks in the periphery of “Nobody To Love” by Sigma hang in the top half of the soundscape like some sort of ghostly echo, adding a layer of sophistication to the otherwise 100% “club banger” vibe of the track. “Children” by Escala also highlights the beauty of the top end sound, the banks of high keyboard and sparkling synth giving the top end of the track a solidity and presence that meshes brilliantly with the solidly planted foundation of stringed instrumentation that underpin the sound, and the violin that runs through it. In fact, orchestral instruments are beautifully rendered on the Zeus in either configuration, the delicate violin work on “Chi Mai” (another Escala track) carrying both texture and beauty as they fill the soundstage.

Trying to be impartial, while it certainly sounds good, it doesn’t sound quite as epic as it could with EDM, where the emphasis on bass and treble to carry most of the musical information in that genre negating the significant advantage the Zeus gains in the midrange over most of the competition. The treble presentation is slightly less airy than would be personally preferable to really capture the sparkling synth lines of something like “Go” by The Chemical Brothers in their best light. I should point out that for me, this is mostly a good thing – as mentioned, I prefer my treble clean and clear as a mountain spring rather than sharp and glittering (with a hint of hidden roughness) like an apology diamond. On the flip side, the staging on this track sweeps broadly from left to right with the keyboard fills that litter the chorus, giving a very good sense of space in the X axis, so for every “could do better” I come across on this IEM, there always seems to be a “I wonder if someone can do that any better” moment.



Soundstage, imaging and separation
The Zeus has an adequate if not massive soundstage, extending a little outside the head in both directions on the X-axis without stretching too far away from the ears. It trades off absolute width in comparison to other IEMs in the $1k+ club with an enviable sense of depth, producing a stage that is almost perfectly spherical, and solid feeling rather than diffuse. It also has reasonable if not breathtaking height, again in line with the expansion in the other two dimensions.

A good track to highlight the positional ability of the 14-driver configurations is “Cold Black Heart” by Shawn Mullins – it with a bongo drum style percussion coming in from behind the listener on both sides of the stage that joins with the more traditional drum beat in centre stage to form a powerful rhythmic pulse that drives the song along, the layers of jangling guitar and Mullins’ crooning attaching to the topmost edges of the beats. Drum sounds feel particularly realistic and perfectly spaced out to match the dimensions of a kit on this track, panning across the X-axis as the different drums are used, and the sound of hands hitting bongo skins singing just as true as the audible feel of the drum head impacts of the kick drum. As a (very poor) amateur drummer, this realism is quite uncanny, the almost live sensation and exact placement of each impact bringing into focus how stylised some of my other IEMs actually sound in direct comparison.

Moving on to “Sometimes We Cry” by Tom Jones and Van Morrison, this track starts with a velvety bassline and some subtle finger picked guitar, and opens up into a duet between Van the Man and Jones the Voice, replete with room noise, two of the best voices in recent music history and some great backing. One of the defining characteristics of this track is the position of the two singers in the stage, with Jones occupying a slot just to the right of the centre and Van Morrison occupying the left-centre area. With the Zeus, it feels as if both singers are singing directly at you from their respective positions, leaving a strong mental imprint of the veteran crooners standing shoulder to shoulder in the studio and belting out their best take into the mic stand stood between them. The only IEM I have heard that has given me that strong an audio image of the artists’ positioning was the JH Audio Angie, so for me this is definitely on another tier to other IEMs in my collection in that regard. Holographic is a very overused term in audio reviewing, but I feel in this instance it is quite appropriate for this track.

Another highlight for me was listening to “Burning Love” from the Elvis and the Royal Philharmonic collaboration album – the string introduction that opens the track slowly snaps into focus, emphasising the clarity of the presentation as the volume builds. The layers of the orchestral backing throughout the track are excellent in terms of positioning, the dueling banks of violins positioning themselves in the upper left quadrant of the stage, with deep choral voices coming in from low down on stage right and Presley hunka hunka’ing his way around the middle ground while jangling guitar kicks off on the right and some stand up bass starts filling the left hand side of the soundscape.

In terms of separation, Metallica usually present a good challenge to most IEMs, with some album tracks sounding like they were recorded in a bucket and mixed with a stick blender. Despite this, the Zeus still manages to retain excellent separation and spatial cues for the more delicate passages in tracks like “The Unforgiven” or “One”, which can get swallowed in the muted kick drum recording and thick rhythm guitar in warmer monitors. Hetfields’ voice carries enough gravel to fill a medium sized quarry, but always retains its own space in the recording rather than blending into the mid-ground guitar. This is an IEM that can be forgiving when it needs to be, using the detail and imaging capabilities it has to make the best of less than sparkling recordings, rather than putting them through the shredder for all to see.

A final note on the overall prowess in these areas comes from listening to the “Mosely Shoals” album by Ocean Colour Scene. For those who aren’t familiar from this classic of the 90’s Britpop era, it has a fantastically mellow vibe to the whole album, being deliberately recorded on old school recording equipment from the 60s and 70s. The high quality analogue presentation really shines through, with fantastic timbre across the board. Guitars are hard panned left and right, feeling like the speakers for each guitar are facing directly into the relevant ear. Separation without detachment from the musical content of the song is sometimes difficult, but the Zeus manages it without any fuss, the coherent centre image of drums and vocals pinning the track firmly down around the other floating instrumentation on the soundstage.



Tonality and dynamics
When I started rewriting this review for the third (or maybe fourth) time, I realised that even after pouring my brain out on to the screen regarding the tuning and technical proficiency, I hadn’t covered one of the other areas that make the Zeus stand out – the tonality. I’ve already mentioned the natural edge to the sound and the coherence of the drivers, but technical prowess only goes so far for me if the end result is too “stylised”, so the thing that brings it all together is the sense of realism that can be achieved with the right setup.

Listening to “Scars” by James Bay, for instance, the palm muted opening chords and Bay’s half-whispered croons reverberate nicely into the ear, building as the heavy drum kicks in into something sweeping and powerful, bringing the regret and sadness in the lyrics into the atmosphere of the track. It’s always an eye opening moment when an IEM manages to capture the essence of a track and transport you there into the moment, and in this track the Zeus certainly do that.

“Virginia” by Whiskey Myers is a dense and smooth sounding recording with usually benefits from a warmer monitor in my opinion. The mix of Cody Cannon’s booze soaked voice and the intertwining country-style slide and acoustic guitars bathe the listener in the aural equivalent of a relaxing bath when done right. The Zeus doesn’t disappoint, bringing the vocals up front and centre and filling the lower end of the spectrum out enough to keep the laid back vibe and smoothness rolling on while the good ol’ boys on the geetars do their work. It isn’t so much the detail or the crispness of the sound that impresses here, it is just that is has that ring of authenticity that makes it sound real. Guitars sound like you hear them in a poorly lit music club, drums bang like you know they should, handclaps sound like the applause you have heard in a million different situations in the real world. It all just feels tonally right. The Zeus is capable of letting you hear the fingers moving on a fretboard, but it doesn’t do that by amplifying the band of sound that detail lives in until it is louder than its surrounding, it does it simply by being clear enough to present the whole picture, and letting the brain do the rest.

Listening to a track like “S.O.B” by Nathaniel Rateliff where the underpinning rhythm of the track is made up of a room full of hand claps and finger clicks and some foot stomping bass drum really helps underline just how natural this set of in-ears can sound. While I haven’t spent enough time around things like a viola to tell the difference between real and almost right, a clapping hand is something most people should be more than familiar with in the flesh, unless they have had a REALLY tragic upbringing. The same with a stomping foot. Here the Zeus in both configurations just lets you imagine you are standing there in the room, listening to every nuance almost as it was recorded.

Finally, the playlist for this section comes to “Castles In The Sand” by Thunder – not the best mastered track in my collection, but the Zeus does carry a nice sense of weight to the drums and the dynamic shifts in the song are rendered beautifully. One of the principal songwriters in this band is the drummer, and this is definitely captured in the overall presentation, the ebb and flow between swinging powerchords and quieter acoustic passages never sounding flat or forced. Guitars are clean and bluesy, and Danny Bowes’ voice sounds genuinely impassioned as he sings a song about missed chances and regret. Again, small things, but these just help highlight that despite the attention to (and reproduction of) detail across the board, the Zeus are just as capable of reproducing the underlying “soul” of a piece of music as well, and capture the shades of light and dark that can make music so enthralling.



Sensitivity and DAP pairings
One thing I had heard before listening to the Zeus was that they hiss. A lot. Having spent a few months with them now, I can confirm that yes, they do hiss with certain sources. Yes, on some noisier DAPs it is pretty loud (comparatively). Personally, I’m not overly sensitive to audible hiss, so it doesn’t both me, but for tracks mastered before the loudness wars, the quietness of the background can accentuate the one obvious negative of the Zeus setup on certain rigs – this unfortunately is something you can’t get away from.

I’m not remotely bothered by this in all honesty, and as soon as the music starts with 99% of my collection, the hissing disappears anyway. I have tried the Zeus-XR in both configurations with a few different DAPs I have had at my disposal, and while in the main they retain their base tuning and sound, I have noticed a little variance in synergy, which I will attempt to outline below:

Questyle QP2R – this provides a beautiful sounding pairing, the weight of the QP2R blending well with the detail of the XR to provide a thick yet crystal clear sound, and a very musical presentation. Curiously, the unusual amplification tech packed into the Questyle actually affects the sound of the Zeus more markedly than other DAPs I have tried, as it audibly (to me, anyway) lessens the difference between the XIV and R modes when switching between them, tilting the sound more towards the thicker XIV presentation, and only providing a slight boost in airiness and more “reference” style mids when the R mode is engaged, as opposed to the more marked changes on other similar tier DAP models. Overall, I’d still say the pairing was good, but not ideal if you want the full benefit of the two different signatures. Hiss is noticeable but light, and can be heard to engage as the amp circuit kicks in if there is no music playing.

Opus #3 – this is a more analytical and uncoloured sound than the QP2R for me, and plays beautifully with the Zeus in both modes, showing a clear difference between them and allowing the full resolution of the IEMs to be brought to bear without providing a sound that is overly sterile or too far towards analytical. Minimal to no hiss on either balanced or single ended as far as I could tell, with a nicely black background that allows the full resolution of the R mode to become apparent.

Hifiman Supermini – far from ideal pairing for me, as while the tonality is actually quite well suited to the natural sound of the Zeus in XIV mode, the powerful output of the Supermini actually pumps out the most audible hiss for me, so much so that even I can pick it up during tracks. As I’ve mentioned in previous writeups, the Supermini could make two plastic cups and a piece of string hiss, so pairing it with super-sensitive IEMs isn’t the best idea.

Echobox Explorer – this is another DAP with a pretty powerful output circuit, but does have surprisingly good synergy with the Zeus (I prefer the XIV setting with this DAP). The Explorer has a slightly warm and almost tubey style sound coming from the Burr-Brown DAC chip, and is capable of thickly weighted notes that carry good detail, much like the QP2R. This marries up well with the base tuning of the XIV, providing a full bodied sound that can still utilise the Zeus’ superior resolution and clarity to provide a sonic image that isn’t too dense or cloying, while still feels supremely musical. While it can’t beet the QP2R for out and out musicality, the Explorer comes pretty close, and allows the XR to behave far more normally with the crossover switch. In terms of hiss, it is audible with no music playing but not hugely distracting, and again can be heard when the amp kicks into life.



IEM Comparisons
Trinity Phantom Hunter – this is another flagship, but this time sitting in a much lower price bracket (£500) compared to the £2k+ the Zeus-XR retails at. It is a little of an unfair comparison, but I have included it as the Hunter is tuned to be an absolute detail monster in its price class, so does provide an interesting reference point to the Empire Ears double-flagship. In terms of the bass, the Hunter’s single 8mm dynamic driver (with dual voice coils) is definitely capable of more volume, with a variety of different tuning filters available to tune the bass from “slightly anaemic” to “Why are my fillings melting?!”, depending on preference. Due to the tuning of the Hunter and the unusual acoustic chambering technology used in the titanium shells, the bass is more akin to an all-BA setup, so keeps up quite well on speed compared to the double-armatured lower end in the Olympus model. It is a little more midbass focused on the heavier filters than the Zeus, which has more of a balance between mid and sub bass to my ears. Quality is taken by the Zeus, unless you are looking for a real bass cannon – it just has more balance and snap in the lower end, and a higher level of detail retrieval which complements the overall sound a little better than the more neutral sounding filters on the Trinity model.

Moving on to the midrange, and this is where the differences in approach (and quality) become apparent. The Hunter is tuned with a pretty brutal spike in the high mids to accentuate detail, and plenty of heat further up in the treble to go along with it. This can work beautifully on sparse acoustic numbers, with the almost diffuse 3D presentation and ultra-revealing nature of the midrange allowing some super-high levels of micro-detailing. The flipside is the almost unpleasant sharpness on some more busy tracks, with most of the filters unable to tame the heat. In contrast, the Zeus provides a more forward midrange in both configurations, with considerably more warmth and natural timbre to the sound than the very cold and analytical Hunter. The Zeus is also capable of the same or higher levels of detail retrieval, but manages to do this while remaining smooth and natural throughout the frequency, relying on the capability of the driver and crossover network to produce a clean and resolving sound, rather than a boost in the relevant frequency band.

Treble is similar, with the Hunter providing a brutally sharp at times treble, with plenty of energy and fizz, some remarkable positional cues and staging, but just too much heat up top in comparison to the more clear and weighty Zeus. For fans of a hyper-analytical sound signature, the Hunter will be more aligned to their preferences, and certainly isn’t a bad IEM once properly amped and filtered, but the price difference does show here, with the Zeus able to retain the detailing without the sharpness for an overall more enjoyable (if far more expensive) tuning.

In terms of build and ergonomics, this is actually a draw, as the Hunter is made from titanium, and has a small and uber-ergonomic shell design, competing on comfort and almost on isolation with the full-CIEM Zeus. Also, soundstage is quite well matched, with the Hunter providing a slightly more diffuse but very positionally accurate soundstage, compared to the dense but hyper-real Zeus positioning. Overall, a convincing win for the Zeus, as the price tag would imply.



Campfire Audio Andromeda – this is one of the current co-flagships of the highly acclaimed Campfire Audio range, and has one of my favourite tunings on an IEM. It bears quite a few similarities to the Zeus in both configurations, presenting music with a natural and musical tonality and emphasising clarity over hyper-definition. The Andro has slightly more mid-bass presence, and is more prone to swings in sound signature with different sources due to the impedance curve, so sounds a little thicker in the low end on my Shanling M2S than the XR, which holds a more consistent sound on various differing sources. Both IEMs are very easy to drive, and tend to hiss with all but the blackest of sources.

In terms of the bass, the Andro presents a slightly more organic and warmer overall sound, with a little more heft in the mid-bass and similar extension but a shade less body in the sub bass region. Both offer excellent texture and control, being two excellent examples of a well-tuned balanced armature bass – compared to a high end dynamic driver like the Vega they can lack a bit of impact and physicality, but neither can be described as anaemic or bass-light, both treading on territory that sits just a little north of neutral. For me, it depends what genre I am listening to as to which I think is “better”, with both tunings suiting slightly different styles of music. In terms of overall quality I think the Zeus just shades it, but that is as much preference as a definite night and day differential.

Mids are an interesting comparison, with the Zeus’ famous mid-forward sound coming up against the silky smoothness of the Andromeda. This is an area that is too difficult to call, with the Andromeda carrying a little more weight, but the Zeus feeling slightly airier and more resolving. Both IEMs have excellent clarity, and can really evoke the emotion in a vocal line when needed. At this level, it is very difficult to pull the two apart, and these truly are two of the best midranges in the game at the moment (in my opinion, of course – the usual caveats about personal taste and the subjective nature of sound apply).

Moving up to treble, this is again another example of different styles but similar excellence, with the Andromeda feeling cavernous and airy up top, and the XR showing a laser-like focus and clarity, but a little less “sparkle”, having a cleaner and less diffuse tone. Again, both are at the top of the tree in execution and quality, with the Zeus carrying a little more weight and feeling a little sharper on occasion, and the Andromeda giving a real “out of head” experience and sparkle to the higher treble reproduction.

Overall, despite the difference in cost, these are two of the best operators in the higher end of personal audio at the moment, and for many, personal preference about the sound they are after will be as important as the technicalities of the IEMs at this sort of level. For my money, the Andromeda has a more immediately enjoyable sound, but the Zeus in both configurations just pulls clear in terms of clarity and overall resolution, while still retaining an emotional connection to the music.



Empire Ears Athena (CIEM) – the Athena is a recent addition to my collection, and was ordered at Canjam London as I was looking for a more everyday carry version of the Empire Ears house sound to wander around with day to day, rather than toting the Zeus everywhere with me. It sits third in the “pecking order” of EE IEMs, below both the Apollo and Zeus models, and sports an 8xBA design and a pricetag that is just over half what the Zeus-XR currently retails for. There are still two BA drivers taking care of the bass, but in comparison to the Zeus it has exactly half the number of drivers to reproduce the mid-range and higher frequency output.

For the purposes of this comparison, I mainly used the XIV setting on the Zeus, as this shares a more similar tuning ethos – I also used the Athena with the Whiplash SPC cable that came with the Zeus, as this presented a slightly clearer and more enjoyable sound to my ears than the Athena stock cable (marginally, not massively). Sonically, the two IEMs are cut from the same cloth, with the Athena presenting a slightly more musical take on what the Zeus can achieve, at the cost of a tiny percentage of the absolute clarity and resolution the 14-driver flagship is capable of.

Starting with the bass, the Athena sounds slightly more emphasised in the low end than the Zeus, although neither could be described as basshead monitors. The speed and detailing are similar through both IEMs, sharing a similar resolution, and the Athena also shares the Zeus’ uncanny ability to resolve drum sounds as realistically as anything I have ever heard. Moving up to the midrange, the Athena has a similarly forward tuning as the XIV, and is highly resolving, but feels just a fraction behind the Zeus when compared directly. Through a good source, the Zeus just feels like it is squeezing a tiny bit more texture out of the notes, and presents it with a touch more clarity. This really is in the realms of diminishing returns.

The treble is slightly less of a struggle, with the Zeus pulling ahead slightly in quality and detail retrieval, but keeping a similar sort of tonality to the Athena, just presenting a little more of the good stuff. In fact, the additional capability up top is probably the major differentiator between these two IEMs, diffusing some of the warmth that is more prevalent in the presentation of the Athena and presenting a slightly cleaner but still musical take on things. When the switch is flicked to the R setting, this becomes more obvious, feeling like someone has opened the door in a stuffy room and let some cooling air in.

In terms of separation and layering, the Zeus-XR is the more capable IEM here, the extra little nuances of detail here and there and the less warm background allowing the music to be presented with more pinpoint accuracy than the already excellent Athena.

Overall, this was a far closer battle than I first expected (or my ears tell me when listening separately). Both IEMs are obviously tuned with the same aim, and unless you are shooting for the absolute best, the Athena will satisfy all but the most ridiculous demands for detail retrieval and overall sound quality – however, if you are willing to stump up the extra c. $1k, the Zeus will take you a few small steps further up the audio mountain, and also allow you to tweak the sound slightly between a cooler and more reference signature and the more mid forward and warmer XIV configuration. Personally, I’m very glad I own them both.



Astell & Kern AKT8IE Mk2 – this is an unusual comparison, but the sonic signatures aren’t that far apart (if not identical), and this is currently the flagship in-ear produced by Beyerdynamic (in its Xelento variant), so I thought it was worth including.

Sonically, the AKT8IE is a bassier take on the musically neutral sound the Zeus strives for, carrying a good balance and emotion through the mid and high ranges, but fleshing out the mid and sub bass with a little more weight, thanks to the Tesla-tech single dynamic driver used to produce the sound. The Mk2 has fixed some of the original issues people had with the tuning of the Mk1 version, namely a lack of treble presence (not detail, as it was always a very capable driver, you just couldn’t hear it). In terms of detail retrieval, the miniaturised Tesla technology does push a lot of detail into the sound, falling just a little short of the Zeus’ exemplary resolution. I do find the T8IE to have a slightly warmer and airier sound than the Zeus, thanks to the boosted lower end.

In terms of bass, the dynamic driver is not massively quick, but does capture a lot of texture and detail, and adds this to a good physical slam factor to make this more of a basshead friendly in-ear than the more restrained Zeus. Moving through to the midrange, the Zeus is more forward than the T8IE, pushing the singer and instrumentation closer to the listener than the more recessed feeling midrange the A&K exhibits in direct comparison. Both mid ranges have good detail levels, with the Zeus again just pulling ahead, despite having a thicker note weight and slightly fuller sound through the midrange. The T8IE sounds a little sharper and more crunchy with electric guitar, with the Zeus carrying more solidity to the sound in response. Both midranges are capable of capturing emotion in both male and female vocals, portraying artists like Elvis and Chris Stapleton in all their glory. Stapleton actually provides the only moment approaching sibilance or harshness with the T8IE, which feels a little more “raw” in the vocal ranges of his track “Whiskey And You” than the thicker and more rich sounding Zeus.

Coming to the treble, the Zeus pulls a little clear here in both configurations, a stronger treble emphasis helping to highlight the micro-details in the high ranges with a little more ease than the more laid back (in comparison) T8IE. Neither treble is anything less than top notch (the Mk2 version of the A&K model seemingly having fixed the “missing” higher end in the tuning revision), but the Zeus simply has slightly more presence and a crystal clarity that help accentuate the good stuff.

Soundstage is similar on both, the T8IE feeling a little further back in terms of stage positioning due to the less forward mids, but keeping a similar width to the Zeus. Depth seems slightly better on the Zeus, but that is more of an impression rather than an empirical measurement. Separation is better on the Zeus through the midrange, due to the higher bass presence on the T8IE warming the stage a little in the transition between bass and mids for me.

In terms of packaging and design, both are flagship level presentations, with the A&K providing both a balanced and unbalanced cable (their attempt at a Linum BaX style thin cable, which is excellent) and a large variety of bespoke silicon tips and Comply wax guards in various sizes. Despite the fact my Zeus-XR is a custom IEM, comfort is actually won by the AKT8IE, which has the most comfortable teardrop/pebble style design I have come across for an in-ear, and sits in the concha with no irritation for hours on end once you have a good seal. This isn’t to say the Zeus is uncomfortable (it isn’t), but compared to the deep insertion into the inner ear a CIEM requires, the T8IE just sits unobtrusively in the outer bowl of the ear. As a result, isolation is definitely better on the Zeus.

Overall, these are both monitors near the top of their game, packing in nicely emotional midrange presentations and good technical capabilities. For half the price, the A&K is definitely a contender for the $1k top flight, but like the Andromeda comparison above, the Zeus just has a little more under the bonnet to push ahead in a few technical areas, and has a simply beautiful midrange tuning that makes it the winner for me if I could only keep one.



Campfire Audio Vega – another unusual comparison, but the Vega is the defacto “flagship” in terms of pricing in the Campfire Audio line, and is rightfully acknowledged as one of the best (if a little divisive) of the crop of universal IEMs currently on the market at time of writing. This comparison is a battle of power over precision, with the single diamond(like) dynamic driver of the Vega bringing a sense of weight any dynamics to the music that offers something completely different to the more precise and ultra-resolving Zeus in either configuration.

The overall signature of the Vega is a punchy, all-forward sound, with a large bass presence and physical weight to the sound. Despite the bass punch on show, the mids and highs are also projected forwards, leaving a stage that is no more than average size but extremely well separated and layered. In comparison, the Zeus presents a bigger and broader 3D image to the sound, spreading out further in all directions and leaving a more apparent sense of space between each note.

In terms of bass, the Vega produces a sound that most IEMs wouldn’t be able to generate with a nuclear powerpack attached, throwing slabs of air out through the nozzle into the listener’s ear like a belt fed machine gun. This is a monitor that can satisfy the basshead cravings for all but the most extreme of bassheads, and it shows. Compared to the Zeus, the Vega feels thicker, heavier and carries a fair bit more quantity. In terms of speed and quality, the diamond driver tech used by Campfire is actually pretty quick for a dynamic, keeping pace with the Zeus’ more nimble all-BA setup through most of my complex tracks. While not lacking in texture or detail, the Zeus just edges ahead here in these areas, presenting a bit less volume and a lot less slam in exchange for a more easily heard texture and definition to the low-end notes. The only area where this isn’t true is in the sub-bass, with the Vega having a stronger presence in the sub frequencies compared to the more subdued Zeus.

Moving through to the mids, the Zeus feels a shade more forward, and carries more obvious clarity than the fuller sound generated by the Vega. Both driver setups are technically very capable in terms of detail retrieval, but I feel the Zeus has a clearer edge here when pulling apart more complex passages of music, especially in the R configuration. In direct comparison to the Vega, the Zeus actually sounds a little thin in the midrange, which should tell you everything you need to know about exactly how much body the Vega imparts to the sound (helped by a healthy dollop of bass thickness down below).

In the treble, the Zeus feels a little smoother but clearer than the Vega, with the weight from the bass and midranges of the CA model adding a similar sense of heft to the high frequencies that can warm the water a little in terms of perceived resolution. The Vega actually carries a little “edge” to the higher end send that helps cut through the weight, but in comparison, the smooth detail of the Zeus just seems a shade cleaner and clearer in both definition and delivery. Both are similarly capable when it comes to extension into the rafters, with the slight crispness in the treble of the Vega adding a little more of a metallic “pop” to cymbal crashes, in comparison to the more muted but detailed Zeus presentation. In fairness, calling the Zeus more detailed in the treble in comparison to the Vega is like pointing out the Bugatti Veyron is quicker than a Lamborghini Murcielago – they are both exceptional, and most normal people would bite your hand off to own either model, and so it is with these two IEMS.

Rounding things out, soundstage is a deeper, wider and more 3D affair on the Zeus compared to the more compact and densely layered Vega. Separation is actually not far apart on both, but the comparative extra space on the Zeus soundstage makes this easier to pick up by the listener (for me, anyway). In terms of driving power, the Zeus is considerably easier to drive to a workable volume than the Vega, but both monitors can scale exceptionally well with better source gear, the Vega being able to take more out and out power from high end portable amps or desktop rigs than the more sensitive Zeus. In terms of hiss, the Vega just doesn’t hiss with my current gear, in comparison to the low level hiss that the Zeus can exhibit on some of my lineup. Dynamics are won by the Vega, with an ability to render light and shade in terms of dynamics in a passage of music that I have yet to hear bettered – again, like the treble, the Zeus is no slouch here, but just comes up against the out and out master for me in this current area out of the gear I’ve heard.

Build and ergonomics are a draw for me, the comfort of the CIEM Zeus being balanced by the easier insertion and use of the Vega, with a similar comfort level due to the low profile design of the Vega shells. The Vega lacks the customisation options and true higher end “tweaking” options of the Zeus, but the build is excellent, the design eyecatching and the comfort nothing to sniff at, so I feel it’s honours even in these areas.

Overall, these are two very different approaches to tuning, with the Vega presenting a thick, muscular sound that positively fizzes with energy, in comparison to the more rounded, detailed take provided by the Zeus. If I had to choose one to keep I would probably pick the Zeus-XR (even at roughly twice the price of the Vega, which would be a consideration for most sensible people), but both are aimed at evoking very different reactions. The Vega provides a weight and solidity to the sound that sucks me so far into orchestral or rock music it takes a map to find my way back out again, while the Zeus presents music (and details within the music) in such a beautifully clean and pure manner than I find myself listening to albums on repeat time and again without ever feeling the need to disconnect myself from the music. Neither IEM can do what the other can in that aspect, but that is as a direct result of their excellence in the other area, so it is as much about the mood you want to achieve when listening to them as the music itself when choosing which one to use. Much like the Athena comparison above, I’m very glad I own both of these particular IEMs.



Specifications
Specifications
Price $2399
Frequency Response 10 – 23000 Hz
Sensitivity 103 dB/mV
Impedance 16 Ohms
Socket type 2-pin
Included cable Whiplash braided SPC (no model name)


Conclusions
At the vangaurd of technical development with it’s capability to switch between 14 driver flagship configurations, the Zeus-XR comes with a high pricetag and very high expectations. I’m glad to say, in the world of ever diminishing audio returns, the Empire Ears team have produced something very special. Both tuning variations produce music of the highest clarity, without sounding forced or artificial, squeezing every last drop of resolution out of both the source and the music itself and laying it into a beautifully natural tapestry of sound. From the snappy but textured bass, through the rich and ultra-resolving midrange and into the smooth waters of the crystal clear treble, this is a monitor that doesn’t really put a foot wrong. Yes, you could petition for more bass, but at the same time it never feels bass-light or anaemic. You could ask for a wider or airier soundstage, if switching to the R setting isn’t enough to satisfy those cravings, but that still isn’t worth swapping for that glorious vocal presentation. You could even ask for a touch more bite and sparkle in the treble, but that would take more away than it adds (in my opinion), and detract from the beautifully balanced but clear high end. Nothing I can think of to add or detract would make this monitor any less appealing by its absence – this is quite simply a beautiful piece of audio tuning. In fact, two beautiful pieces of audio tuning, as both the “R” and “XIV” crossover modes have their own strengths and weaknesses, but still both feel wonderfully right when you are listening to them.

When I spoke to Dean Vang at Canjam London and asked him how he managed to get the coherence the Zeus manages over both the 7 and 8 crossover setup, he just remarked that he tunes the IEM for how a singer or musician would want it to sound – as close to natural as possible, no more or less. It’s a simple ethos, but seems to be remarkably astute, as this is what makes the Zeus so compelling and special to me. I’ve tried my best to be impartial, and to find flaws (as evidenced in the previous paragraph), but even with my cynical reviewer’s hat on, it is difficult to pick holes in something this enjoyable, and this accomplished.

As these were a competition prize, it’s easy for me to say they are worth the money, but for me, if cash is no object and you are looking for something that is truly exceptional and at the current pinnacle of what an IEM manufacturer can do with some acrylic, a double-handful of crossovers and 14 balanced armature drivers, the Zeus is a god amongst mortals.

Rhapsodio Galaxy V2 – another single dynamic all-star constellation

Pros: Excellent detail retrieval and driver speed, crisp punchy sound, fantastic texture, sound superb with guitar based music


Cons: Housings can get a little heavy, a slightly thicker midrange and bass would be ideal, can be a little sharp on occasion




Acknowledgment
These IEMs were very kindly loaned to me for a few weeks by a fellow UK Head-Fi’er (@TheUKMrT) for the purposes of this review, and to compare to my Campfire Audio single dynamic driver models. Many thanks for the loaner, Paul – it’s been an enjoyable few weeks!

This review was originally posted on Audio Primate here:
https://audioprimate.blog/2017/05/0...nother-single-dynamic-all-star-constellation/https://audioprimate.blog/2017/05/0...nother-single-dynamic-all-star-constellation/

About me: recent convert to audiophilia but a long time music fan, also aspiring to be a reasonably inept drummer. Listen to at least 2 hours of music a day – prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. Recently started converted my library to FLAC and 320kbps MP3, and do most of my other listening through Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body to it. My ideal tuning for most IEMs and headphones tends towards a musical and slightly dark presentation, although I am not treble sensitive in general. Please take all views expressed below with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story.



Introduction
Rhapsodio are a Hong Kong based audio manufacturer specialising in IEMs and after-market cables, with a well-respected audiophile at the helm (the ubiquitous Sammy, who will be well known to anyone who attends any of the various CanJam events or other notable audio conventions). They are one of the few CIEM/IEM manufacturers to have both a TOTL all-BA flagship (the Solar) and a single dynamic driver TOTL flagship as well (the Galaxy). Sammy has been quoted previously as saying he prefers single DD setups due to the tuning possibilities and overall coherence of the sound, and uses his own proprietary dynamic driver tech (the UltraMag driver) to get the best sound possible. I haven’t heard the Solar as yet, but the Galaxy is definitely punching in the flagship bracket – my time with the Galaxy was both a refreshing change and a timely reminder of what exactly can be achieved from one small dynamic driver with the right tuning and design.



Unboxing and aesthetics
The Galaxy are an unusual looking IEM, with a solid metal constructions and a vaguely rhomboid design reminiscent of a cross between a Jerry Harvey Siren Series model (without the brain-tickling stem length) and a pair of metal ball-bearings. The machining feels solid and weighty, with enough heft to feel like a serious piece of gear without feeling like you have a pair of Frankenbolts in your ears. Coupled with the heavy duty after-market cable these usually ship with (the Rhapsodio Pandora Dwarf, although the review set also came with the SG 2.98 from Rhapsodio’s cable line), these are a very good looking set of IEMs. The one area that could use a bit more polish is the actual branding – the dark silvery surface is polished to a mirror like sheen, but doesn’t actually carry any branding at all, with the only indication this is a Rhapsodio product coming from the mildly incongruous circular sticker (yes, a sticker) applied to each ear on the inner face of the IEM. While that looks quite cool at a distance, given the close proximity to the skin of the listener, I imagine they may start looking a little more worn over time and eventually come off, so for the future I wouldn’t mind seeing Sammy and his team looking at a more permanent method of brand awareness.

In terms of the overall packaging, the Galaxy V2 again feels top notch, with a solid hardboard box in black and adorned with a simple company logo opening up to reveal a mini-attache case nestled in some protective foam. Opening the attache case (a serious step up in both visual and practical terms from most normal CIEM cases for permanent storage, even if it is more back-packable than pocketable), the IEM sits nestled inside in a heavy foam padding, with separate sections for tips and cables as well. The usual loadout of accessories for something in this price bracket are all present and accounted for, without any major surprises. Overall, simple but functional outer box and a great looking and earthquake proof steel case make this a package deserving of the price tag.



Comfort
Once you have settled on a suitable set of tips, comfort is very good with these IEMs. I personally use foam tips, using the same style as come with my Campfire Audio gear, which I find is a good tradeoff between the ultimate isolation of Comply and the durability of the harder foam brands. The smoothed curves on the inner face of the IEM and the unusual shape allow for a close fit in the bowl of the ear – the IEM is too deep to sit fully flush with your ear for in-bed listening, but it sits securely enough for stationary listening or use while out and about. The shells are slightly too heavy to recommend doing any serious exercise wearing them, as the weight would eventually unseat them, but I’m sure there aren’t too many people who would take an £800 IEM on a 10 mile run, so that isn’t much of a black mark in my book. The nozzle length is just long enough to get a good fit without causing fatigue for me (I have very wide ear canals), and overall the Galaxy feel very snug and comfy in my ears for extended listening.

One area that can be a little more cumbersome is with the included cable – I have used both their included copper upgrade cable and a similar silver cable, and the thick braiding and relative stiffness on both cables makes this a little less flexible for everyday wear, with the silver cable in particular feeling very heavy over the top of the ear. Neither cable had anything in the way of appreciable microphonics, however, with the the extra weight to the cables helping deaden any contact noise, Overall, a decent fit and good comfort without any major issues.



Audio quality
On first listen, I will admit that the Rhapsodio took a little getting used to. Coming from the rich smoothness of the recent Campfire Audio dynamic drivers (Lyra II and Vega), firing up the Galaxy was like a splash of cold sharp water into the ears. Cold, crunchy treble and a lean and angular sound greeted my ears, with a little more bass than true neutral, but definitely weighted more towards texture than physicality. After a few days of listening (and the requisite “brain burn-in” as my ears adjusted to the sound), the Galaxy opened up for me, giving a presentation that is textured but not overly thick, and clear and crystalline rather than smooth and warm. The treble is sharp and detailed, with a great sense of crunch and energy as it moves down through to the midrange, playing very nicely with guitar based music and orchestral pieces. The bass is just thick enough to stop the sound feeling cold, with a nice sense of speed and a raspy texture that helps accentuate detail. Overall, a very different signature than I have been used to listening to recently, but very enjoyable with the right music once you adjust.



Bass
The lower frequency range is a nicely taut affair, with a decent if not overly heavy sense of body and good sense of speed from the UltraMag dynamic driver technology. This certainly isn’t bass that will make a hardcore basshead weak at the knees, but there is certainly enough there to start the foot tapping or head bobbing with the right track.

Starting on ny usual breakdown tracks, “Bad Rain” by Slash and Myles Kennedy kicks off proceedings, the snarling guitar intro underpinned by a crisp and thudding kick drum beat and opening into the snarling rasp of the bassline with a sense of menace. The bass notes sound textures and raw, hitting low and allowing the listener to hear the sound of the strings vibrating in between notes, which can be lost on some less capable drivers. Switching out to “Hello, It’s Me” by Sister Hazel, the texture and rasp is still present in the bassline, with the usually chocolate-smooth bassline still filling the lower end of the song with presence, but with a more dry and physical feel to the sound. Again, the drums kick with good impact and snap in this track, imparting a sense of energy to the snare hits and bass beats and pushing the track along with plenty of energy.

Moving to more electronic music, “Get Lucky” from Daft Punk highlights the excellent extension of the driver into sub-bass territory, with the cavernous bassline scraping around on the floor of my ears, hitting every low note with definition and again bringing good energy to the track. Once more, texture is the order of the day over sheer quantity, but the track certainly not lacking in bass, showing that the Rhapsodio driver is more than capable of kicking out some serious low end when called for. Going in search of more sub-bass, “Heaven” by Emile Sande highlights where the bass starts to thin out, with the usually voluminous rumble that starts the track generating only a light tickle rather than a real head-shaking throb in the inner ear. It still feels solid and detailed like the mid-bass, but definitely isn’t a tuning designed for sub-bass fanatics.

In summary, the bass is textured and nimble, thick enough to be enjoyable but lean enough to keep all the detail on the surface rather than buried in the body of the sound. If this IEM were a boxer, it would probably sit quite nicely at super-middleweight, packing plenty of punch and possessing a decent blend of power and precision to worry all but the serious heavyweight contenders. As long as you aren’t looking for the last word in slam or mid-bass quantity, the Galaxy present a nicely tuned and very detailed lower end that works very well with rock and guitar based music, and anything without too much sub-bass emphasis.



Mids
The midrange follows on from the bass in terms of texture and definition, presenting a lean and muscular sound with plenty of edge. Guitars chug with a frosty crispness that wouldn’t be out of place on a Canadian beer commercial featuring the world’s favourite Belgian martial artist, crunching and slashing through the musical foreground. The sound isn’t overly full or warm, staying just on the right side of neutral for my preferences, able to carry a song without sounding thin but leaving plenty of space between instruments. Listening to “Welcome To The Jungle” by Guns N’ Roses highlights the snarling energy the drivers are capable of, riff after riff landing in jagged one-twos and the twin on-beat/off-beat guitar rhythms the band are so fond of sitting on either side of the listeners head without getting mixed in the middle. You can clearly hear both Izzy and Slash duelling with each other in each ear in between each soaring chorus, with the notes sounding positively electric. This track also highlights a possible weakness, with the sharpness of the sound becoming almost unpleasant in some sections of the song and feeling slightly “etched” in my ears. To be clear, this IEM isn’t sibilant for me, and the sharpness never actually becomes unpleasant, but it is definitely about as far as I want to go with an IEM tuning in this regard.

In terms of tonality, the Galaxy excels with both electric and acoustic guitars, the acoustic elements ringing out clearly into the black background and the more electric riffs hitting hard and fast in the foreground of the sound. The midrange feels neither recessed or forward, sitting nicely in balance with the bass and treble frequency ranges.

Concentrating more on vocals, Foy Vance comes up next, with “Coco” and “Upbeat Feelgood” both sounding exceptional on the Galaxy. The opening guitar scuffs are easily audible on “Coco”, with Vance’s mixture of velvet and gravel coming through like a well mixed Irish Coffee straight into your ear, the nuance in the singer’s voice carrying across well and transporting the listener easily into the heart of the music. Sticking with velvety singers, “High Note” by Mavis Staples is also excellently rendered, the tom tom hits sounding real and true and the wonderful gospel chorus of this track blending well with the silky strumming of the acoustic guitar to paint a beautiful background to Staples’ impassioned vocals. The positioning of the singers in the wall of choral sound is also top notch, with individual voices popping out on the left and right without distracting from the overall effect of the chorus line. Piano also sounds very true to life on this IEM, with a realistic timbre and crisp presentation.

Overall detailing level in the midrange is high, with plenty of micro-detailing revealing itself naturally through the slightly leaner sound signature allied to the high separation levels the driver is capable of. This is a little too musical to feel truly analytical, but the Galaxy definitely doesn’t feel lacking in either resolution or clarity, digging plenty of information out of the landscape without distracting the listener from the main body of the song – in my opinion, the tuning here strikes a very good balance, which isn’t the easiest thing to do. Sometimes the emphasis on retrieval and texture can leave the impression of a slight graininess to the sound, but that is very fleeting in most cases, and very track dependant.



Treble
If the bass and mid ranges are characterised by a light to medium thickness and muscular sound, the treble is definitely the lean and mean sibling. It flows into the ears like a blast of artic wind, sharp and cold and carrying a sense of detail that cuts into the nice warm surroundings like a freshly minted snowflake. As mentioned in the midrange, the Galaxy isn’t a sibilant listen for me (unless the track is riddled with it – it certainly isn’t a serial smoother of rough edges), but it does carry a crispness and crunch that throws detail into sharp relief and can become mildly fatiguing for me on long listening sessions with certain genres of music. I should point out that I am sensitive to treble that borders the high-mid / lower treble “hot zones”, so for listeners who aren’t bothered in those particular sonic ranges this probably won’t be an issue.

Kicking straight into my usual test tracks, “Starlight” by Slash and Myles Kennedy is up first, the dissonant guitar intro sounding crystalline and beautiful without bringing any wincing, the high notes of Kennedy’s voice sounding pure and soaring over the simple bass guitar and guitar licks that sit underneath. The texture and gravel in the singer’s throat comes through clearly here, hitting the back of your eardrums with precision. The cymbals in this track are quite muted in comparison, with a fairly natural emphasis but not overly long decay, hitting with authority and then fading out just as quickly rather than splashing around.

After handling the rapier, I pull out the sonic sandpaper and pop some Chris Stapleton into rotation to test for sibilance. While still being one of my favourite songs at time of writing, “Whiskey And You” from his debut album has a section near the chorus that takes the beautiful room sounds and smokiness of the singer’s voice throughout the rest of the song and pushes them through the aural equivalent of an office paper shredder on the wrong gear, the mastering prodding at the listener’s ear with a scalpel on certain lines. The Galaxy is good but not great with this track, just flirting with unpleasantness at the 1:46 and 3:06 marks in the track but climbing back out of the red zone just in time. The rest of the track is sublime, however, with the room echo and small micro-details from the simply recorded track all living where they should in the periphery of the listener’s ears.

Trying out some electronic music, “Saturate” by The Chemical Brothers has a nice swirl to the synth runs and a delicate feel to the higher notes which contrasts well with the heavy drum and breakbeat backbone. Moving to more orchestral fare, the high violins and chimes of “Requiem For A Tower” and “Palladio” by Escala sound exceptional, the sound feeling laser-sharp in its delivery and cutting through the soundscape straight into the brain. The Galaxy copes very well with a lot of modern classical and fusion recordings, with various soundtracks I have in my collection (Hans Zimmer, Trevor Rabin etc) all sucking the listener in admirably, the texture of the mid and lower ranges helping accentuate the sharper top end of the tuning to give a great sense of engagement and dynamics to the sound.

Overall treble extension feels good on the Galaxy, extending well past my (probably limited) hearing without any loss of strength, unlike the more anaemic sub-bass. The general character of the treble for me leans more towards open and airy with a crystalline sparkle rather than clean and clear – something like the Vega or Lyra II present treble like a smooth cool glass of spring water, the Galaxy feels more like crunching your way through an icecube, with an altogether colder and occasionally sharper feel.



Soundstage and separation
The Galaxy has a good but not outrageous soundstage, sitting nicely outside my ears on the X-axis, with a more oval presentation – to me, the sound almost feels like it is arranged in a U shape with my head at the base of the U, with good forward extension on the edges of the sound to present a feeling like you are a couple of rows back from the stagefront, almost “in the pit”. Height is again decent but not stellar.

Separation is very good on the Galaxy, with the highly detailed driver and the not overly thick signature able to keep multiple sonic strands clearly defined. This is especially noticeable in guitar based tracks – “Kashmir” by Escala ft. Slash has multiple instruments playing in similar sonic ranges throughout the track, and an element of “double tracking” in the main guitar riff, which the Galaxy takes in its stride with ease, keeping just enough distance between all the threads to allow them all to register individually in the ear. In terms of layering (the 3D “stacking” of different layers of sound) the Galaxy is less impressive, but certainly no slouch, presenting the sound in very closely packed layers rather than a fully blown-out engineering diagram (to my ears, anyway).



Comparisons
Campfire Audio Vega – the Vega is the current darling and co-flagship of the highly acclaimed Campfire Audio range, sporting a metal shell and single dynamic driver like the Galaxy. In terms of sound, the Galaxy has a leaner and crisper sound than the Vega, with a more emphasised bass presence and weight to notes. The Vega feels slightly warmer in tone than the cool and crispy Galaxy, with a much more emphasised physical impact in the lower registers. Bass extension is won by the Vega, which while possessing only a little better actual extension to my ears, stays strong a lot further down into the sub-bass than the comparatively lighter Rhapsodio effort. “Heaven” by Emile Sande is a good track to quantify the difference between the two, with the Galaxy painting a nice sense of rumble across the inner ear as the into kicks in, but the Vega really rattling the furniture behind your eyeballs at the same volume. In the midrange, the Galaxy again sounds colder and leaner than the Vega, with a similarly level of clarity and resolution. The Galaxy actually feels more resolving than the Vega to my ears on some tracks, but this is mainly due to the thinner sound allowing the brain to pick out the different strands of music more easily – on closer listen, the Vega spits out the same level of detailing across the board, but the meatier musicality blends it all a little closer together on initial playback.

Moving up to treble, the Galaxy definitely feels more “etched” than the Vega, with a cleaner and crisper sounding treble that flirts on the edge of sharpness but doesn’t get sibilant for me in my usual hotspots around the higher mid-range and lower treble. Again, the Vega wins on actual weight, with a more solid feel to hi-hat percussion but less sense of air and sparkle. Soundstage is similar in size between the two, with the Galaxy feeling slightly wider to my ears due to the extra space between the edge of each note, but the Vega presenting a more real and “3D” feeling stage for me. Separation is a draw, with the presentation edging towards the Galaxy but the Vega still keeping everything neatly segmented if you want to pick out a particular instrument in the crowd.

Looking at build and ergonomics, this is a close battle, but for me it is edged by the Vega. The shells are lighter and better designed, fitting more easily in the ear without the constant danger of dislodgement I feel with the weightier Rhapsodio earpieces. The Rhapsodio feel more like a handmade piece of high quality jewellery, whereas the Vega look like a highly engineered piece of technology. With regards to cabling, the excellent ALO SPC Litz cable that comes as standard with the Campfire models is usually head and shoulders above most included cables I have seen yet, but in this case, the Rhapsodio copper litz cable beats it in both ergonomics and aesthetics, being a high end after-market cable in its own right.

Overall, these two IEMs present two very different approaches – the Galaxy emphasising edge and attack at the (relative) expense of overall thickness, the Vega feeling more muscular and energetic, with a denser feel to the sound. For particularly complex musical passages, the Galaxy is probably easier to follow the individual strands of the music, but loses some of the Vega’s engagement and sheer musical magic as a result. For fans of a more analytical and clean signature bordering on neutral, the Galaxy will probably win out here – for people looking for a little more body and soul to their music without sacrificing on technicality or detail, the Vega will pull ahead. If I had to choose just one, I would go with the Vega for my personal preferences, as I feel the unique tuning it offers is just that bit more enjoyable across all sectors than the more clinical Galaxy, but if I could only listen to the Rhapsodio IEM for the rest of my life, I wouldn’t feel unhappy.



Campfire Audio Lyra II – The Lyra II are the second high-end dynamic driver in the Campfire Audio range, with the same shell design as the flagship Vega model, but a different beryllium driver diaphragm. In terms of build and ergonomics, the Lyra II shares a slight advantage to the Galaxy (in line with the Vega), just losing out with the more pocketable but far less sturdy Campfire carry case in comparison to Rhapsodio’s far more solid metal mini-attache case.

Sound wise, the Lyra II presents a smoother and fuller sound than the Galaxy, but in a slightly more laid back fashion than the more energetic Vega. Bass-wise, the models are far more evenly matched, with the Lyra II having a shade more substance to the mid and sub-bass, but being far closer in overall tuning. Drum sounds are a little more realistic on the Lyra II, with tom-toms carrying a more authentic weight in comparison to the more emphasised Galaxy. In the mids, the Galaxy again come across as more lean and neutral than the Lyra II, but again to a lesser degree than the Vega. The vocals carry more sharpness and edge in the Rhapsodio tuning, with the Lyra II managing to add a dash of velvet to both male and female singers that makes for a more relaxing overall listen than the crisper Galaxy. In the treble, both are reasonably extended, but the Lyra II is far more laid back than the crystalline Galaxy, so will definitely lose out to fans of a sharper and more present treble, gaining ground with people who prefer their higher end sounds clear and smooth rather than hot and crunchy.

In terms of detail, both have good clarity and presentation of micro-detailing, but the Galaxy feels like the more resolving of the two due to its overall tuning. Staging is again a little wider on the Galaxy, but feels more solid and 3D on the Lyra II, with a more realistic “feel” to the presentation compared to the more hyper-real Rhapsodio.

Overall, these two IEMs aren’t that far away in tuning, but serve very different listening purposes for me – for singer/songwriter and more laid back acoustic or downtempo music, the velvety smoothness and rich sound of the Lyra II is excellent (and even tops the Vega for me with some genres). For more guitar-heavy rock music or uptempo electronica, the crisper and more aggressive Galaxy adds an extra dash of crunch and detail that really brings some tracks to life in direct comparison. Not as simple as the straight win for the Vega above, so I would say the honours are definitely even in this case, with me probably edging towards the Galaxy if I could only have one.



Specifications
Specifications
Price $1450
Frequency Response 10 – 23000 Hz
Sensitivity 103 dB/mV
Impedance 16 Ohms
Socket type 2-pin
Included cable Rhapsodio Pandora Dwarf 6N OCC Litz Copper cable
Conclusions
Writing this review was a timely reminder of “brain burn in”, or how quickly we adjust to a particular sound signature. On first listen, the Galaxy felt like they may be a little too sharp for my preference, with a crystalline brittleness to the high range and just too much sharpness through the high mids to really engage my preferences. Fast forward a couple of weeks, and the about-turn on my opinions is almost complete – while I still have moments where the Galaxy is just a tad too frosty for me, the beautiful texture and nicely judged weight in the lower ranges and the energetic and crispy highs have made me a convert, bringing a sense of life and electricity to some of my music that I wouldn’t have appreciated by sticking to my “usual” tunings. They are marketed as a TOTL single dynamic driver, and in comparison to the other top end DD units I have heard to date, they are definitely worthy of a place on the top table. Crisp, dynamic sound with bags of detail, a nice presentation (both sonically and aesthetically) and a good overall package make the Galaxy V2 an easy recommendation for those who aren’t after the last word in body or bass, but prefer a sharper and leaner take on things with just enough musicality to keep the soul of the song alive. As highlighted by my comparisons above, this isn’t my personal endgame (if there is such a thing), but I can easily seeing it ticking enough boxes at its current retail price to make a lot of users more than happy.

 
RHA CL1 – initial impressions
 
Reid Heath Audio are a Scotland-based manufacturer who will be familiar to iFans, with their T10i and T20i all-metal IEMs being prominently displayed in Apple stores across the UK. Their products have been firmly aimed at the “consumer” end of the market, with models like the MA750 and the T-series occupying the very competitive pricing sectors between £50 and £200. As part of their recent world tour, I had the chance to hear their first foray into the more serious audiophile end of the market with their new CL1 Ceramic IEM, a hybrid DD/piezoelectric tweeter design encased in a fully ceramic housing and requiring more amplification than the average iDevice to get the most out of the included technology.
 

 
Tech specs
 
Driver type: Single DD + piezoelectric wideband driver
Frequency range: 16Hz – 45kHz
Impedance: 150 Ohms
Sensitivity: 89dB
Weight (w/o cable): 14g
 
 

 
Unboxing
 
As the current “flagship” in the RHA line, the CL1 comes in packaging that wouldn’t look out of place being wrapped around a popular fruit based audio product (handy, as one of their main retail distributors is said fruity merchant). The box is a large and sturdy black affair, with a good picture of the beautiful ceramic housings on the front and some serious technical breakdowns scattered around the remaining sides. Sliding the cover off, and you are presented with a hard carboard box which opens in “book” style to reveal a booklet about the CL1 on the inner front cover and reveals the IEMs, nestling in a thick black foam cutout. The initial impression screams quality and attention to detail, with the CL1 feeling like it demands every penny of its c. £350 pricetag.
 
Pulling the foam layer out that the IEMs rest in reveals the remainder of the contents – further booklets containing info and the warranty card (both in nice black cardboard boxes), a standard RHA zippered carry case (about the same size and shape as a man’s wallet) and the two cable options (balanced and unbalanced) sitting in their own little chambers. Completing the loadout is a 6.3mm stereo adapter, sat in a bed of foam like the IEMs. Again, quality appears to be the order of the day here – opening the carry case to reveal the generous tip load out (all packaged individually in their own shrink wrap bags) also reveals a thin metal credit-card sized sheet built to hold all the tips once unpacked, ensuring that you can carry the full array of earplugs with you in the carry case at all times in some form of order. Overall, the packaging is well thought out, premium quality and gives a very good impression of the care and attention that has gone into this aspect of the product.
 

 
Build quality and ergonomics
 
The CL1 are moulded from a ceramic compound, which is harder and less resonant than their normal metal shells according to the supporting literature. The ceramic material feels exceptional to touch, with a super-smooth and glassy finish to the grey/black exterior that makes the IEMs look almost like ear-jewellery as opposed to audio gear. The finish is also top-notch, with everything looking smooth and precise, with the logo neatly etched onto the outer shell in an understated and classy way.
 
The design of the shell follows their T10 and T20 models, with a small coffee-bean shape and a slightly angled metal nozzle, designed for over-ear wear. In practice, the CL1 fits into my ears as well as anything I have tried or owned, with a nice sense of solidity once in place and allowing me to get a great seal with the provided Comply tips. The cabling does come with RHA’s take on memory wire for the over-ear sections, which I’m not usually a fan of, but the plastic jacketed implementation on offer here does its job well, not interfering with my glasses when I wear them and keeping the IEMs seated firmly at all times. Moving further down the cable, the build quality and overall aesthetic effect is fantastic, with both cables having a multi-braid design with a flexible plastic sheathing to give a flexible, non tangling cable (for me, anyway) that sits nicely, exhibits practically no microphonics and looks like a top-end aftermarket cable. I am not a massive believer or disbeliever in the power of cables as they affect sonic quality (I am sadly too poor to spend much money investigating this either!), but if RHA ever brought out a range of cables with standardised connectors rather than their own sMMCX variant, I would certainly consider purchasing one for my other MMCX iems.
 

 
Sound quality
 
Test gear:
LG G5 (with HiFi Plus 32-bit Sabre DAC add-on)
Hifiman Supermini / Megamini
RHA Dacamp L1
Fiio X7 (with AM2 module)
Test tracks (mainly 320kbps MP3 or FLAC/Tidal HiFi):
Nathaniel Rateliff & The Night Sweats – S.O.B. / Wasting Time
Blackberry Smoke – The Whipporwill (album)
Slash – Shadow Life / Bad Rain (my reference tracks for bass impact and attack, guitar “crunch”)
James Bay – The Chaos & The Calm
Sister Hazel – Hello, It’s Me (bass tone)
Chris Stapleton – Whiskey And You
Elvis – various
Leon Bridges – Coming Home (album)
Foy Vance – The Wild Swan
Daft Punk – Random Access Memories (album)
Aerosmith – The Definitive Aerosmith
Mavis Staples – Livin’ On A High Note
Twin Atlantic – The Great Divide / GLA
The Darkness – Permission To Land
Led Zeppelin – Mothership
Shawn Mullins – Soul’s Core
Sammy Hagar & The Circle – At Your Convenience (live album for audience sounds)
 

 
General impressions on the sound signature
 
The CL1 is billed as an IEM that needs amplification, and (barring the Pinnacle P1), this is the first IEM I have tried that definitely does need the help of a sturdy amplification system to bring out its true qualities. Like listening to music on a mobile phone or Sony EU-limited DAP? Not with this set of in-ears. Once you have properly boosted the signal coming in through the cabling, the true character of the IEM comes to the fore. The tuning RHA have gone for on their flagship is a sharply defined and unforgiving sound, with a slight hint of warmth in the bass which gives a little substance to the lower end but does nothing to blunt the scalpel-edge of the higher midrange and treble. Despite the obvious technicality, the treble tuning is a bit of a curate’s egg for me, being too sharp and piercing to be enjoyable for extended listening. As a listener with a natural preference for smooth and clear tuning over fizz and shimmer up top, that isn’t surprising in itself, but even treble-heads will find this a little bright in its current incarnation. To be able to listen for any length of time, I used the excellent Dacamp L1 that came with the tour package to cut between 2 and 3 dB from the treble to bring it within the bounds of listenability for me. Most comments that follow in the below sections are based on a treble reduction of 2 dB, so please bear that in mind.
 

 
Difference between single ended and balanced operation
 
Due to some serious issues between my PC and the Dacamp (and a non-functioning OTG cable for my USB-C toting phone which I am waiting to replace), I was only able to briefly test out the balanced operation compared to the single ended sound through the Dacamp, as after one three hour listening session my PC decided to give up the ghost and cease working with the Dacamp again. I don’t feel this is long enough to offer any concrete opinions on any major differences between the two modes of operation – opinion seems to be split on the benefits this offers, and to me, there seemed to be a little extra thickness to the sound, but that may just as easily have been expectation bias as anything more concrete so I will have to leave that to the other reviewers on our little world tour – for simplicity’s sake, please assume that the impressions below relate to single ended operation.
 

 
Highs
 
The first thing you notice with the treble is the crispness and definition of the higher frequencies, with a soaring presentation and practically limitless extension as it works up through the range. Like its younger brother the CL750, I truly believe that the CL1 is an IEM that can produce sounds only dogs can hear if it happens to be there in the music, with an effortlessness to the really high range that leaves you with no doubt that the piezoelectric driver tech is just getting started where your hearing finishes. Sense of location and “room sound” is exceptional with this IEM, with the drivers giving you an excellent feeling of being sat nearby when listening to acoustic guitars or singers, picking up on the imperceptible audio cues in the sound to flesh it out in your head nicely. In fact, the only IEM I can remember hearing with a similar effect is the Vibro Labs Maya, so in this aspect, the CL1s are definitely impressive.
 
Listening to “Starlight” by Slash, the dissonance of the opening guitar motif is just inside comfortable, sounding edgy and defined. Myles Kennedy’s falsetto also comes across hot but enjoyable, with a thin but crystal clear definition to the chorus. Strangely, the power in the high vocals seems to overshadow the percussion in this song, which “tssk” crisply but then seem to evaporate into nothingness rather than decaying more naturally.
 
Going hunting for harshness (as opposed to sharpness), Chris Stapleton gives my eardrums the usual indicators, with the sound sans EQ giving a touch too much rawness to be enjoyable for any length of time. The texture of the singer’s voice feels almost hyper-emphasised, with the chorus drilling into my inner ear and taking me out of the soulful vibe the rest of the song inhabits. There is a leanness to the highs that emphasises detail and texture, but without the accompanying body, it becomes too sharp for my personal tastes, crossing the line into audio anorexia in an attempt to have the most defined sonic cheekbones on the market. Using the Dacamp EQ does help, but in doing so, it takes a little of the glorious air and openness out of the sound at the same time.
 
Switching to some electronic music, the results are better, with “Nobody To Love” by Sigma and “Go” by the Chemical Brothers benefitting from the sharply defined sounds to give an airy and engaging upper end to the respective tracks.
 

 
Mids
 
Again, texture and definition are the order of the day here, with a rasping detail to vocals and beautiful if thin sound to acoustic guitar and strings that can be quite compelling with the right track. The vocals sound a little overshadowed by the comparatively warmer and chunkier lower end and the rapier-like high end, so sit a little further back in my ears in something approximating a U shape for me. With the right acoustic or simple orchestral music, the quality of the dual-driver setup can really be brought out, with “The Trooper” by 2Cellos and “Saint Is A Sinner” by Slash sounding delicate and textured, shimmering through the earpieces with energy and life.
 
The leanness of the sound can tend to leave the overall presentation feeling a little analytical in the vocals, without enough body to the sound to really drive home the emotional connection the texture and detail are reaching for. Similarly, electric guitars give more crunch than an explosion in a breakfast cereal factory, but don’t have the accompanying “whoompf” of physical impact to go along with the pyrotechnics. Technically, the midrange is detailed and carries good energy, but could do with a little more body. One flaw that is apparent for me is in a similar vein to the CL750, with a spike in the higher-midrange through to the lower treble that can make some male singers sound unpleasantly harsh and seems to cloud some detail from the higher ranges. On a badly mastered or sibilant track these can be downright painful, turning a nice session of ear massage into open-skull brain surgery at the drop of a hat. The fact that both new models exhibit the same tuning indicates to me that either it is a “side-effect” of the new driver tech they haven’t smoothed out yet, or a deliberate tuning decision. The spike can be supressed by judicious use of EQ, which tells me that the IEM should be capable of a smoother ride, so the choice to bake so much of a jump in the frequency range into the basic tuning is a little confusing to me.
 

 
Bass
 
The bass is a reasonably lean but textured affair, with a little lift above neutral but no massive feeling of body or presence. Kicking off with one of my favourite tracks for mid-bass texture, “Bad Rain” by Slash highlights the capability of the driver in certain areas, exhibiting good extension all the way down into the borderlands of the sub-bass region. It also sports a texture you could strike a match one like Clint Eastwood’s stubble, all definition and snarling cool but not a massive amount of body, just enough to rise above flat without warming the sound too much.
 
Looking for liquidity and smoothness, “Hello, It’s Me” by Sister Hazel is up next. The wideband DD shows good speed and control with this track, giving a great rasp to the vibrating bass guitar strings. On IEMs like the Campfire Vega, this track can sound like someone pouring molten chocolate into your ears – with the CL1, the sensation is less molten chocolate and more warm milk chocolate milkshake in terms of filling the soundscape, keeping a nice sense of liquidity but painting everything with a thin layer of bass rather than a more viscous coating.
 
Switching to electronica, “Nobody To Love” by Sigma has a crisp and bouncy bassline presence, but needs a little bass boost from tone controls on the Dacamp to really command the track. The normally thrumming sub-bass sounds more polite and restrained, highlighting not so much a lack of extension into the sub frequencies as a similar lack of real “meat” to the sound, in keeping with the mid-bass. Trying “Heaven” by Émile Sande, which opens with a solid sub-bass rumble and pins it to the foundations of the track, the CL1 is again polite rather than throbbing, the sub-bass not quite filling the soundscape like it should. Moving up through the frequency range, the rest of the bass is crisp and defined, however, with a decent kick to the drums and good overall feeling of speed.
 
Overall, the bass is a lean, mean creature on this IEM, with plenty of detail but just lacking a couple of lbs around the middle and lower portions to really hammer home the quality. For people who value a leaner “audiophile” style bass, this will probably be close to perfect, but for my personal preferences, it is just a little too much rasp and not enough thud to help me engage with non-acoustic styles of music.
 

 
Soundstage/separation
 
The soundstage on the CL1 is a decent size, extending outside my ears in all directions in a nicely spherical arrangement, with as much depth as width. Helped by the supersonic extension, direction cues are very good with this IEM, with a precise sense of placement of instruments across the soundstage to my ears. In terms of separation, the technical prowess and overall sharpness of the sound in the higher registers helps to keep the instruments nicely distanced, with multiple strands of guitar or keyboard riffs winding around each other without blending together, allowing the listener to quite easily pick them apart with minimal effort.
 

 
Tip and cable choice
 
The CL1 ships with two of their proprietary sMMCX cables as standard, one in “standard” 3.5mm TRS configuration using OFC copper, and one using silver cabling and using a 4-pin balanced connector for use with the new Dacamp. Both cables are gloriously thick and supple, making the usually stellar looking ALO Litz cabling from my Campfire Audio IEMs look positively anorexic and stiff in comparison. The finish on both cables is top-notch, with solid metal on the Y-split and cable jacks, and a well-implemented memory wire earhook that sits nicely behind the ears without the need for too much moulding. The cables are high quality and beautiful looking, with minimal microphonics and an overall impression of quality that will happily hold up against plenty of after-market options without looking inferior. If it wasn’t for the bespoke sMMCX termination, I would say these are the best stock cables I have come across yet, pushing ALO/Campfire Audio hard in overall quality and sonic capability.
 
Tips are the standard RHA fare, with multiple dual-density silicon options, some dual flanged silicon and a smattering of Comply Tx tips. For my personal preference, the dual-density silicon fitted beautifully but did nothing to alleviate the excess treble present in the base IEM tunings, so I found the best synergy with the Comply Tx-comfort series tips that are included. The “Waxguard” covering takes a little edge off the highs, still leaving it with plenty of crunch and bite but taming it just enough in tandem with some heavy EQ from the Dacamp for my personal preferences and also allowing the best seal in my ears.
 

 
Power requirements / DAP synergy
 
At 150 Ohms and 87dB sensitivity, there is no doubt about the fact that the CL1 is definitely an IEM that requires amplification to sound good. It even says so on the front of the box. That isn’t to say that the CL1s can’t be run from a more modest setup – my LG G5 manages to get passable volume out of them at close to full tilt on Neutron Player. What it doesn’t get is the proper sense of dynamics and fullness to the sound that the Cl1 is actually capable of. Putting additional power through these IEMs helps fill out the sound in the mid-range, and retains the extension on the treble but helps smooth out the sharpness to listenable levels. Without gas, the sound signature sounds thinner and almost shrill with certain music – with am more sturdy source, the “true” signature comes out, the treble settles down and the midrange comes fully out to play. As you would imagine, the RHA Dacamp L1 pairs well with these IEMs (in fact, due to their proprietary sMMCX connectors, this is currently the only option if you wish to run the CL1s in balanced mode to take full advantage of the extra horsepower), with the CL1s singing properly on the “High” gain setting without sounding forced or overloaded.
 
Another surprisingly synergistic combination is provided by the new Hifiman Supermini, with the higher than usual voltage output of the tiny DAP bridging some of the power gap between standard phone/DAP outputs and the beefier Dacamp L1 and producing a more nicely rounded and pleasing sound out of the CL1s. The little brother of the new Hifiman range (the Megamini) also does surprisingly well here too, requiring a good few more volume steps to reach the same output but again sounding a little fuller and less harsh than the G5, sitting between the phone and the Supermini.
Fiio X7 – like its little brother the CL750, I didn’t find the pairing with the AM2 module on high gain to be particularly pleasing for my ears, even with the extra power from the “mid-range” amp module. The tonality of the music sounding a little too etched for me – for my ears, this isn’t a pairing that goes together particularly well.
 
 

Overall conclusions
 
Like its younger sibling the CL750, I think the CL1 is more a sign of the potential capability of the driver tech that RHA are debuting here rather than the finished article. It provides excellent high end extension and superb crispness and definition, but then overcooks it a little further down the scale and buries some of that crystalline beauty in the hot and harsh lower treble/high midrange. The bass is textured and capable, with a little warmth but not quite enough body for my personal preferences – without the midrange spike, they would blend much better with the rest of the frequency ranges to give a nice coldness and analytical spin on the sound overall, with just a hint of substance. As it is, they aren’t thick enough to warm the lower end enough to overcome the more recessed midrange. This isn’t to say this is a bad IEM if you like crystal clear and icy cold detail, with a king size serving of heat. For some people, this will provide the sort of sound that is more commonly brought up when discussing things like the HD800, with the undeniable ability of the tweeter bringing something different to the party than most current “flagship” offerings. As a flagship, the beautiful build and top notch cable and packaging are certainly befitting of the tag, and if RHA can take a healthy dose of sharpness out of the high mids and send the bass on a strict gym regimen to pack on some weight, they could have a real contender on their hands. In its current form however, it is a little too lean and a lot too sharp for my personal tastes – I look forward to seeing where RHA go with this technology, however, as I don’t think the story is quite over yet.

 
RHA CL750 – initial impressions
 
Reid Heath Audio are a Scotland-based manufacturer who will be familiar to iFans, with their T10i and T20i all-metal IEMs being prominently displayed in Apple stores across the UK. Their products have been firmly aimed at the “consumer” end of the market, with models like the MA750 and the T-series occupying the very competitive pricing sectors between £50 and £200. As part of their recent world tour (thanks to @glassmonkey for arranging the UK "leg" and the RHA team for getting the gear out on loan), I had the chance to hear their first foray into the more serious audiophile end of the market with their new CL1 Ceramic IEM, a hybrid DD/piezoelectric tweeter design encased in a fully ceramic housing and requiring more amplification than the average mobile phone or low-end DAP to get the most out of the included technology. While developing the dynamic driver for their new hybrid flagship, RHA discovered that with a little  tweaking, the dynamic driver could produce a very good full-range sound in its own right, hence the release of the younger (and cheaper) brother in the new range, the CL750. A high impedance/low sensitivity “budget” IEM seems a little unusual – if you want to see how it stacks up against its competitors, read on.
 

 
Tech specs
 
Driver: CL Ultra-wideband Dynamic driver
Sensitivity: 89dB
Impedance: 150 Ohms
Frequency range: 16 - 45,000 Hz
Max power: 50mW
Weight: 35g
Cable: 1.35m braided OFC
 

 
Unboxing
 
The CL750 certainly comes in some impressive packaging for a £99 product, the black box looking large and classy. A blown-up picture of the CL750 shell adorns the front, along with the ubiquitious “HiRes Audio” logo (note that 45kHz extension). The rear of the box carries an engineering blow-out of the internal workings of the driver, with a few notable points highlighted and a frequency chart nestling towards the bottom right. Opening the package, the inner box slides out to present the CL750 shells sat proudly in a thick foam insert, which pulls up to reveal RHA’s zippered carry case, which is about the size of a small wallet (without the money, sadly) and the instruction manuals and warranty details. The usual generous load-out of RHA and Comply tips are safely held inside the carry case, along with a metal cut-out to store the tips once they have been removed from their individually sealed packets. As this is a fixed-cable model, there aren’t any other notable accessories apart from a clothing clip. Overall, the impression is of a serious and costly piece of electronics rather than a “budget-conscious” option, so it’s definitely a good start.
 

 
Build quality and ergonomics
 
The CL750 is a solid feeling piece of gear, weighing in at a hefty 35 grams all told. This is due to the thicker than average braided cabling and the all-metal construction – the shell of the IEM is stainless steel, the main body of the IEM being made from one solid metal disc with an inner ear section that slopes inwards as it approaches the nozzle, looking like someone has attached an inverted funnel to the main housing. The cabling is fixed to the outer IEM shell with a solid see-through strain-relief, a thin portion of memory-plastic helping the cable to fall neatly behind each ear (the CL750s are designed for over-ear wear only).
 
In terms of comfort, the small puck shape and nicely designed inner-ear surfacing allows for a very ergonomic fit in my large ear canals, with the CL750 sliding solidly into place in my inner ear and the over-ear guides locking the IEM into place for extended listening sessions without any discomofort or readjustment required. The cabling is also worthy of mention, with a good combination of soft and supple outer sheath (in a transparent rubbery sheath over the visible oxygen-free copper wiring underneath) joining at the solid metal Y-split to form a tightly braided lower section, which behaves with zero microphonics and excellent softness. At first glance, the cable looks like an expensive after-market replacement, with only the fixed entry to the IEM shells giving it away – visually and functionally, it definitely screams quality.
 
The cable is terminated in a nice sold metal 3.5mm TRS jack (no microphone option on here – the power requirements to driver these IEMs properly would probably make that impossible in any case). The jack does appear to have a threaded section at the end to attach another adapter (6.3mm?), but nothing like this is included in the package so that is presumably designed for more “aftermarket” modification.
 

 
Sound quality
 
Test gear:
Hifiman Supermini / Megamini
RHA Dacamp L1 (balanced and unbalanced)
Fiio X7 (with AM2 module)
 
Test tracks (mainly 320kbps MP3 or FLAC/Tidal HiFi):
Nathaniel Rateliff & The Night Sweats – S.O.B. / Wasting Time
Blackberry Smoke – The Whipporwill (album)
Slash – Shadow Life / Bad Rain (my reference tracks for bass impact and attack, guitar “crunch”)
James Bay – The Chaos & The Calm
Sister Hazel – Hello, It’s Me (bass tone)
Chris Stapleton – Whiskey And You
Elvis – various
Leon Bridges – Coming Home (album)
Foy Vance – The Wild Swan
Daft Punk – Random Access Memories (album)
Aerosmith – The Definitive Aerosmith
Mavis Staples – Livin’ On A High Note
Twin Atlantic – The Great Divide / GLA
The Darkness – Permission To Land
Led Zeppelin – Mothership
Shawn Mullins – Soul’s Core
Sammy Hagar & The Circle – At Your Convenience (live album for audience sounds)
 

 
General impressions on the sound signature
 
The CL750 has a nicely balanced basic tuning through the bass and lower mid-range, with good sub-bass extension,  a decent amount of body and a nice tonality. Moving through the vocal ranges into the lower treble, it starts getting a little “hot” for my tastes, with a sharpness around the top end of the vocal ranges that can make some tracks a little harsh for extended listening. Despite this spike, the vocals and lower mids can sound a little recessed to me compared to the higher bass and treble volumes, leaving an overall impression of a “V” shaped sound in my head.  Once you are through the troublesome vocal region the harshness subsides, and the IEM actually extends well into the realm of canine enjoyment, topping out at the 45kHz mark according to the manufacturer’s promotional literature. Using RHA’s Dacamp L1 (also part of the touring gear), setting the treble reduction at the maximum permitted setting of -3dB does help tame the harshness somewhat, although this still sits firmly on the edge of enjoyable for me with some of my sibilance tester tracks, and in some cases remains more than I can handle for any extended listening. In terms of texture and detailing, the CL750 definitely has the chops to compete with (and exceed) a lot of the other IEMs that sit around this price range, so if you are a fan of a bright signature and can handle the extra heat RHA have decided to bake in to the default tuning, this may well be the IEM for you.
 
In order to tone down the treble enough to make this review possible/enjoyable, unless otherwise stated below, the following impressions are based on using the provided Comply Tx200 foam tips and a -3dB treble reduction through the Dacamp L1.
 

 
Highs
 
With a stated extension so high only dogs and animals using echolocation are interested in it (and only Mariah Carey records in it), you would imagine treble would be a major strength of the CL750. In the main, you would be right. Starting at the top, the treble has near limitless extension, holding clear and crisp all the way past my hearing range with a nice sense of energy and cutting edge to it.  It holds on to the screaming high notes of the dissonant guitar solos and intro in “Starlight” by Slash without any effort, laying out the higher guitar harmonics like a surgeon arranging their scalpels before a particularly tricky operation. Unfortunately, as you travel further down into the lower treble/high mid-range, the downside of this treble tuning rears its head, with a very punchy “spike” in proceedings that starts just as most singers clear their throat and only stops a few kHz further up the scale. This does have an unusual effect of the sound, crisping everything up nicely but actually losing some of the beautiful extension in the listener’s ear as the higher sounds can be dominated by the lower (and far louder) treble frequencies underneath it. Cymbals are a good example – there is a lovely crisp “tssk” sound to the initial hit, but they then seem to vanish into my ears without trace rather than splashing nicely into nothingness, usually overrun by whatever is going on underneath them. For my tastes, these are definitely an IEM I would need to EQ in order to enjoy properly, as the tuning is just a little too harsh for me to listen to on the types of music I enjoy. The flipside of that is that for tracks I am able to engage with, the crispness and crunch the IEM can bring in the higher registers is truly impressive.
 
It should be noted that micro-details in this frequency range are very well presented, with the clarity of the driver bringing a lot of fine detail out of the background into the main listening experience. Location cues (often driven by frequencies that sit above the usual human hearing range) are also easy to pick out due to the exemplary extension of the drivers.
 

 
Mids
 
Moving down into the mid-range, the texture that the CL Dynamic transducer can put out is pretty enjoyable, with male singers sounding raw and emotive, the fine nuances of their vocal inflections coming to the fore of the sound like you were running your ear over a piece of very expensive certificate paper or card. For voices like Otis Redding or Shawn Mullins, the sound is beautiful, with a gravelly undertone that highlights the imperfections in the voice and paradoxically highlights how well the driver makes this sound. Spinning up “Mama Told Me Not To Come” by Tom Jones and Stereophonics lead singer Kelly Jones, the junior Jones’ voice sounds like velvet gravel, and Tom’s soaring voice sounds just as magnificent as always. This sadly serves to highlight the sharpness present when the vocals reach just a bit higher, with the female backing singers and their higher-pitched lines teetering on the verge of harshness, and sounding a little thin in comparison (to be fair, an elephant could probably sound thin in comparison to Tom Jones, but you get my point).
 
Instruments fare better with the tuning on display, with a nice tonality on piano and guitar, and saxophone and other wind instruments sounding clear and clean. Electric guitar is crunchy and energetic, bordering on too aggressive without the -3dB EQ alteration. The sound isn’t massively thick, with a leaner note presentation and sharp edging to the sound that brings the sound back towards a more neutral or treble-centric overall sound rather than a warm and smooth style tuning. Acoustic guitar sounds very nice through these, with the strumming intro of “Mother Maria” by Slash and Beth Hart translating beautifully against the breathy sounds of Beth Hart singing the main refrain.
 
Flipping across to some more electronic fare, “Go” by The Chemical Brothers sounds surprisingly good, the rapped vocals coming through clearly and the swirling synths giving an appropriately euphoric backdrop to proceedings. “Feel The Love” also sounds very good, the Hammond organ refrain and the short, punchy synth riff kicking things off both build nicely into the main body of the song. John Newman’s vocals can sound a little quiet compared to the backing, however, making me want to pump the volume more to correct the “dip” in the V shape. To be fair, if you like more synthesiser based fare, the definition and edginess of the tuning will probably work very well for you here, with even the curtailed hi-hats adding rather than detracting from the presentation.
 

 
Bass
The bass on offer here is tight, deep and definitely north of neutral. It isn’t a basshead tuning by any stretch of the imagination, but the solidity of the bass and slight emphasis on the mid-bass region gives a nice warmth and substance to the lower reaches of the soundscape which contrasts with the more starkly neutral sound on offer higher up the scale. There is a nice presence and extension to the sub-bass without being overwhelming, and it is certainly more than enough to handle tracks like “Heaven“ by Emile Sande with ease, providing a nice low-level thrum and sense of physicality to go along with Sande’s crystal clear vocals. Playing the Random Access Memories album by Daft Punk is also a success, with the liquid basslines dropping right down to the floor of the tracks without losing much in the way of power or presence.
 
Trying my more traditional bass testers, “Bad Rain” by Slash is full of texture and definition, the tightness of the bass notes giving a muscular backing to the track, letting the listener feel the twang of the strings as they vibrate. “Hello, It’s Me” by Sister Hazel is also handled well, with the creamy bassline underpinning the song having just enough body to fill the lower end of the track like it should, while retaining a leanness and definition to the sound that again brings out the texture in the listener’s ear. It isn’t as gloriously smooth and velvety as some other IEMs I have heard, but the song doesn’t suffer due to the more dry and detailed interpretation. Dry is probably a good word to describe how I hear the bass on these IEMs, with the drivers presenting bags of detail and timbre in the lower end to define the sound, without an overwhelming amount of body or substance behind it. Comparing the CL750 to more heavyweight bass cannons like the ASG 2.5 or Campfire Vega, it is like a men’s health model in a room full of bodybuilders – plenty of strength and lean definition, but just lacking the additional “mass” to push it into the next category up. For people who aren’t after a bass bazooka, this tuning works very well, and is probably the strongest area of the signature for me.
 

 
Soundstage/separation
 
The CL750 gives a nice sense of location and placement of instruments, presenting in my head as a perfect sphere of sound that pushes just outside the limits of my head in all directions. Not a spectacular staging in terms of width, but it definitely has above average depth in this price bracket for me. The clarity of the driver also helps with separation, with multi-layered tracks like “Shelter Me” by Cinderella pulling the music into multiple distinct layers without too much effort. This isn’t the most clinical IEM on the market (as you would expect given the pricing) so don’t expect JH Angie/Campfire Vega levels of definition and staging, but for the price, this definitely exceeds expectations.
 

 
Tip choice
 
Tips are the standard RHA fare, with multiple dual-density silicon options, some dual flanged silicon and a smattering of Comply Tx tips. For my personal preference, the dual-density silicon fitted beautifully but were a tad on the bright side, so I found the best synergy with the Comply Tx-comfort series tips that are included. The “Waxguard” covering takes a little edge off the treble, still leaving it with plenty of crunch and bite but taking just enough off along to allow the treble reduction on the Dacamp to do the rest for my personal preferences and also allowing the best seal in my ears.
 

 
Power requirements / DAP synergy
 
At 150 Ohms and 89dB sensitivity, there is no getting around the fact that the CL750 needs amplification to sound its best. You can get an acceptable listening volume from a mobile phone (my LG G5 managed it at pretty much close to full volume output), but the design of the drivers demands that if you want to really enjoy what they bring to the table, extra juice is definitely a requirement.
Running the CL750s through my various sources, a surprisingly synergistic combination is provided by the new Hifiman Supermini, with the higher than usual voltage output of the tiny DAP bridging some of the power gap between standard phone/DAP outputs and the beefier Dacamp L1 to produce a good approximation of the sound form the L1. The little brother of the new Hifiman range (the Megamini) also does surprisingly well here too, requiring a good few more volume steps to reach the same output but again sounding a little fuller and less harsh than the G5, sitting between the phone and the Supermini.
 
Firing the CL750s straight from the Fiio X7 on high gain mode (AM2 “mid power” module), the sound surprisingly still felt a little thin, so this wasn’t an ideal match for me personally.
 

 
Overall conclusion
 
If the information I have read is correct, the CL750 was born out of a discovery the RHA engineering team made when looking at wideband drivers for their flagship hybrid IEM design. That rings true for me, as this IEM feels like something that has been discovered more than designed. It has bags of detail for the price range, but requires a small power pack to drive it. It has great texture and warmth in the lower end, but an unpleasant sharpness to some vocals that wouldn’t be out of place in a razor-blade factory. If you have the requisite gear to drive the wideband dynamic at the core of this IEM, you will likely not be looking at a fixed-cable £100 IEM to run off it. If you are looking for a quality IEM in the £100 price bracket, you are unlikely to get the most out of this piece of engineering with lower level (or less expensive) source gear. Certain things have been done extremely well (the ergonomic design, the beautiful cabling, the fantastic detail retrieval), but to me this feels more like an evolutionary stage in development than the final solution for this particular driver. If RHA can pour some water over the screaming heat in the high-mids/lower treble and allow the super-highs to really shine like they should, they could go somewhere with the technology. I am still a little confused what exact market they are going for, as selling an IEM for £100 that needs a £400 amp to really perform seems like a little bit of a disconnect in terms of the “use case”. This is one of the reasons for the low overall score I have given on this review - for me and my personal preferences, while I can appreciate some of the technicalities on display, the CL750 is too hot to be enjoyable for my ears, and a little too power hungry to appreciate properly without reaching for my “serious” gear, which reduces the likelihood I would use it as I would most likely reach for one of my more expensive in-ears at the same time. Major treble heads, people who don't suffer from the same particular sensitivity in the higher mids/low treble as I do and those who are happy stacking their DAPs might have a different experience, but as of right now, this is an IEM with plenty of potential but not quite the execution for my tastes.

 
Campfire Audio Dorado – initial impressions
 
I have recently been lucky enough to get the chance to hear the three newest models from the Campfire Audio IEM range (the Lyra II, the Dorado and the Vega). After spending some quality time with the Lyra II and the Vega, The Dorado was my last port of call on my mini-tour around the sound signatures of the latest Ken Ball creations. Both of the dynamic driver IEMs made quite an impression on me, so I was very keen to see what sort of added benefits a pair of balanced armatures from the Jupiter/Andromeda setup could offer to the already excellent Campfire DD capabilities.
 
Disclaimer – the Dorado were provided to me free of charge by Campfire Audio for the duration of this review solely for the purpose of listening and writing up my honest and unbiased impressions. If I want to keep them afterwards, I will need to purchase them off Campfire Audio.
 
About me: been into music since I was old enough to walk, and now been into the audio gear scene for a couple of years. I’m in my late 30s, a long time rock music fan and aspiring to be a reasonably inept drummer. Listen to at least 2 hours of music a day on my commute to work – prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. Converted most of my library to FLAC and 320kbps MP3, and do most of my other listening through Spotify or Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body to it. Please take all views expressed below with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story.
 

 
Tech specs
 
Frequency – 5 Hz to 27 kHz
Sensitivity – 107 dB SPL/mW
Impedance – 15 Ohms @ 1kHz
Driver – single 8.5mm beryllium PVD dynamic driver and dual HF Balanced Armature drivers with TAEC technology
Housing – Liquidmetal alloy
Connection type – MMCX
 

 
Unboxing
(If you have read my review for the Lyra II or Vega, feel free to skip straight to the sound section – the Dorado shares both identical packaging and shell design to the other two IEMs, so some sections are pretty much identical)
 
The Dorado follows the usual Campfire Audio presentation style, coming in a small box just marginally bigger than the hard leather carry case it contains. The box is a dark burgundy colour, with silver constellations patterned on the outside and a nice picture of the IEMs on the front. There is also a brief description of the technology inside and the Campfire branding, but no major graphs or specifications. The box opens up to show a nice black leather carry case inside, with the usual Campfire Audio embossed logo and zippered closure. Removing the carry case, there is a false floor on the box, underneath which the various loadout of eartips (foam, silicon and Spinfit in various sizes) and a Campfire Audio pin are nestled, along with a cleaning tool, warranty card and small booklet with more technical information on your purchase and instructions on how to use them for those people unfamiliar with operating high tech ear-gear. Opening the carry case completes the gear list, containing the IEMs and silver litz cable, some Velcro cable ties and two small velour bags to keep the heads of the IEMs from clunking into each other when they are stored, all nestled in the fluffy fake wool interior of the case.
 
The accessory package is simple but comprehensive, with the beautifully designed carry case and the well thought out cable and tip selection giving a premium feel to proceedings, proving that you don’t need to inundate the buyer with technical data or hundreds of add-ons in order to give a high-end unboxing experience. The small footprint of the outer packaging also has more practical use, as it makes it far easier to store than the usual foam filled presentation boxes you tend to get with other IEMs in this sort of price bracket.
 

 
Build quality and ergonomics
 
In contrast to their all-BA lineup (Nova, Andromeda and Jupiter), the Portland-based manufacturer have decided to go with a Liquidmetal™ alloy housing for the Dorado rather than machined aluminium, with a smaller footprint and more curvy appearance than the aluminium models, and echoing the new shell design of the Lyra II and Vega models, with a longer nozzle being the only difference over the two single driver models.
 
The use of Liquidmetal is an interesting but logical choice for the high-end IEM market – the substance is actually an amorphous alloy rather than a literal “liquid metal” (such as Mercury), but it brings various qualities to the table that normal metal shells find difficult to match. It is lighter and stronger than titanium, extremely durable and resistant to both corrosion and wear and has a glass-like melting point due to its densely packed atomic structure that allows it to be moulded almost like plastic while hot. For a company known for its finely honed internal tuning structures and excellent shell designs, this is a logical evolution, allowing production of high volumes of complex casings with greater ease than traditional metals. In practice, the shells are light, very strong and give the feel of a piece of machinery designed to last. The only major difference in design is the accommodation of the patented Campfire TAEC (Tuned Acoustic Expansion Chamber) to provide a tubeless resonating chamber for the BA drivers to fire into, to allow for greater expansion and airiness in the treble. This chamber is housed in the nozzle of the IEM, which necessitates it having a neck almost twice as long as the other two new models. This may sound like a lot, but this only leaves the IEMs sitting a little further outside your ears – for my personal ear anatomy, I’m not able to get a deep insertion without an awkward seal, so using foam tips, the IEMs protrude slightly further out of my ears than the more flush fitting Vega and Lyra II in order to get a good “plug” with the surface of my ear canal. The foam tips and shell shape make this comfortable, but it feels less secure and a little more awkward than the other two models. If you have ear canals that can get a good seal with a deeper insertion, this issue should go away slightly, so I don’t consider this a major dealbreaker, although a shallow nozzle  and deeper body on future hybrids would certainly be my preference.
 
Campfire Audio also deviate from the norm with the connectors, using a standard MMCX style socket but bolstering the connection points with a custom beryllium copper fixing, which they claim is more robust than the usual brass connectors found on most IEMs. This should lead to increased longevity of the connector over multiple cable connections and disconnections. In use, the cable clicks into the housing with a very solid sounding thud, and seems to be pretty locked in, with less play or wobble than most other MMCX style IEMs I have used. A few weeks is obviously nowhere near long enough to test the claims of the manufacturer about how long the connectors will last, but initial impressions definitely don’t give me any cause to doubt Campfire’s marketing copy here.
 
When mentioning build and ergonomics, the Silver Litz cable included as standard with the Dorado is befitting of a product in this price bracket, and is also sold as a standalone item on the ALO Audio site for $149, which should give you some indication of the comparative quality. When looking at IEMs that have just been acquired, some may feel the need to break out a more expensive “upgrade” cable to get the most out of the sonic capabilities – I am neither a believer or disbeliever when it comes to cable theory, and don’t have any more expensive MMCX cables in my inventory to try with the Dorado, but in terms of quality and sound I am certainly not left with the feeling that these NEED upgrading out of the box to unlock the potential in the IEMs. The only gripes I have are with the memory wire portions around the ears, which I always feel don’t play brilliantly with the rotating connection offered by an MMCX connector, and the L-shaped plug at the end. While the L-plug is a nice and sturdy example of this type of connector, I find the pin just slightly too short to fit comfortably into the audio jack of my phone with a thick third party phone cover fitted, due to the circumference of the connector housing where it meets the pin – one possible area for improvement in an otherwise excellent design.
 
Overall, a good but not stellar start – the metal housings and quality of construction and accessories are both top notch, but the necessary extension of the IEM nozzle to accommodate the TAEC chamber that provides the sparkling highs brings a tradeoff in wearing comfort that make these stick a little further out of the ear than I would like. For people with different ear anatomy or narrower canals (to get a good seal with smaller tips) then this will be less of an issue, so it certainly isn’t a major design problem.
 

 
Sound quality
 
Test gear:
LG G5 (with HiFi Plus 32-bit Sabre DAC add-on)
Hifiman Supermini
Fiio X7 (with AM2 module)
RHA Dacamp L1 (unbalanced)
 
Test tracks (mainly 320kbps MP3 or FLAC/Tidal HiFi):
Nathaniel Rateliff & The Night Sweats – S.O.B. / Wasting Time
Blackberry Smoke – The Whipporwill (album)
Slash – Shadow Life / Bad Rain (my reference tracks for bass impact and attack, guitar “crunch”)
James Bay – The Chaos & The Calm
Sister Hazel – Hello, It’s Me (bass tone)
Chris Stapleton – Whiskey And You
Elvis – various
Leon Bridges – Coming Home (album)
Foy Vance – The Wild Swan
Daft Punk – Random Access Memories (album)
Aerosmith – The Definitive Aerosmith
Mavis Staples – Livin’ On A High Note
Twin Atlantic – The Great Divide / GLA
The Darkness – Permission To Land
Led Zeppelin – Mothership
Shawn Mullins – Soul’s Core
Sammy Hagar & The Circle – At Your Convenience (live album for audience sounds)
 

 
General impressions on the sound signature
 
As the first “hybrid” (dynamic driver and balanced armature) model of the Campfire Audio range, the Dorado follows the well trodden route taken by most hybrids, with a mildly V-shaped signature. The single beryllium dynamic driver from the Lyra II deals with the bass and some of the midrange, with the dual-BA array from the Jupiter and Andromeda models taking care of the higher frequencies. The bass is thick and solid, giving a great sense of substance to the lower frequencies and remaining pretty well balanced between mid and sub-bass. The midrange is actually more W-shaped than V-shaped, with a vocal ranges being lifted slightly further forward in the overall presentation to stand closer to level with the emphasised bass and treble, with the lower and higher midrange sitting slightly further back overall. This takes some of the trademark thickness of the Vega or Lyra II away in the mid-range instrumentation, giving the impression that the bass is a little more emphasised that it actually is on some tracks. The highs are notably more “shimmery” than the Vega, with a nice feeling of air and extension and an openness to the sound that is different from the more solid sounding Vega or the more relaxed Lyra II. This is another different tuning from the technical gurus at Campfire, and fits very nicely with electronica and some more orchestral music.
 

 
Highs
 
As the only hybrid model currently available in Campfire’s lineup, the Dorado has the benefit of the dual-BA tweeters and tuning chamber tech from the Jupiter and Andromeda, to bolster the sound coming from the 8.5mm dynamic driver and takes full advantage of these to produce a very clean and airy sounding treble, with fantastic extension (27kHz is quoted on the spec sheet) and a crispness and definition that really brings electronic music to life. The treble carries a decent weight to notes, not quite as “solid” as its older sibling the Vega but still giving a decent sense of body in the higher registers. I haven’t heard the Andromeda or Jupiter (yet!) so I can’t make a direct comparison here, but the overall impression is of slightly more air and the difficult to define but easier to hear “sparkle” on the real high frequencies. In terms of extension, the Dorado holds firm right up in the top of my hearing range, with plenty of apparent extension and no obvious roll-off in the higher registers.
 
Pushing through my normal test playlist, “Starlight” by Slash and Myles Kennedy is up first. Listening to the guitar harmonics on the intro gives a nice sense of emphasis on the high notes without bringing any harshness into the mix, providing a thin and sharp rapier of treble that cuts through the background noise with ease but doesn’t leave a mark on your eardrum in the process. Kennedy’s falsetto is also equally well handled, soaring up into the rafters with its trademark blend of helium and gravel with a beautiful clarity and smoothness to the sound. Trying my usual “go to” tracks for screechiness and sibilance draws a blank, with plenty of emphasis on the troublesome frequencies, but the sonic heat and unpleasantness that some drivers can emphasise being traded for a smooth and clean edge to the sound. “Whiskey And You” by Chris Stapleton is a good example of this, with the raw sound of his voice on the chorus bringing all the nuance of his booze-fuelled roar without any of the harsh edges.
Percussion is crisp and metallic in the cymbal and hi-hat, sitting quite high up in the soundscape and splashing nicely across the top of the sound. Cymbals decay pretty quickly, so are on the polite rather than overbearing side for me, but the airiness of the sound does give a nice sense of reality to each hit. In terms of detail and “room sound”, the Dorado is capable of plenty of micro-detailing, which is more apparent in the treble register rather than the midrange due to the tuning. The good extension on the BA drivers also gives the sound a nice 3D feel and sense of space to my ears.
 
Switching over to some electronica, the BA drivers come into their element, with tracks from the likes of The Prodigy, Sigma and The Chemical Brothers all sounding larger than life and suitably euphoric with the synth-driven melodies floating around the listener’s ears effortlessly. “Go” from the Chemical Brothers sounds particularly good through these IEMs, with the huge bass presence being sweetened by the sparkling keyboard lines and synth sounds to balance the sound into one very accomplished slab of modern dance music.  
Compared to the Vega, the Dorado offers a more delicate and shimmering take on treble presentation, sacrificing a little note weight and feeling of solidity for a sense of sparkle and space that plays very well with certain genres of music.
 

 
Mids
 
As this is somewhere between a V and W shaped tuning, the midrange is subjectively the weakest area of the frequency response for me in comparison to the other two (in context, this is more like winning silver at the Olympics rather than gold as opposed to actually being bad). The tuning here is still pretty accomplished, with a lift in the vocal ranges bringing male and female voices further forward in the soundscape compared to the other mid-range instrumentation, helping keep them on par with the fizz of the treble and the slam of the bass without sinking into the background. Either side of the vocals, the sound slides a little further backwards into the central downstrokes of the “W”, pulling guitars and piano into the middle ground behind the singer. This is only really noticeable in comparison with either of its fraternal brothers (Lyra II or Vega) from the new range, where the slight recession and accompanying loss of presence and thickness can be heard in direct comparison. For fans of music that relies primarily on bass or treble, with a smattering of vocals thrown in, this will pass unnoticed, but for fans of more guitar based fare this will be easier to pick out.
 
In terms of vocals, the Dorado carries the signature smoothness and emotive delivery that has become one of Campfire’s hallmarks, handling both male and female singers equally well. The presentation is smooth and grain-free, allowing the texture in Otis Redding’s voice to come through nicely on “Sitting On The Dock Of The Bay” without losing the distinctive silky smoothness of his delivery. Listening to “Mother Maria” by Slash and Beth Hart, the singer’s voice sounds husky and breathless, little inflections into the microphone filling the background of the sound and leaving the image of the singer leaning forward to sing right down into the top of your skull. Acoustic guitars are also dealt with very well by the Dorado, with the thinner and crisper sound of the strings sounding clean and defined, providing a nice counterpoint to the emotion of the vocals. Switching to more electric guitar based fare, the riffs still chug away with energy and crispness, but lack a little of the extra thickness that both the Lyra II and Vega can provide to really fill out the sound. In comparison to something like the Ibasso IT03, the Dorado still has a nice weight to the midrange, but it is definitely the most lean through the middle of the three new models.
 

 
Bass
 
The Vega is commonly seen as the “bass monster” of the new range, but for me, the Dorado can actually feel bassier on certain tracks. This is mainly due to the V/W shape of the sound, with the more recessed elements of the midrange leaving the bass feeling bigger in comparison. The bass sinks deep and carries all of the impressive weight of the other two new models, showing good speed and definition for a dynamic driver and providing plenty of physical “slam” to go along with the precision and the power.
 
Starting with more Slash, “Bad Rain” kicks hard in the lower registers, the rasping bassline that underpins proceedings carrying plenty of weight, and feeling crisp and textured as it thuds away. Like the other two new models, there is a fairly even balance between sub and mid bass, and a heavy “weight” to the sound that feels substantial and authoritative as it builds the foundations of each track. Despite the weight, the bass is agile and quick for a dynamic driver, without any feeling of sloppiness or boom to the sound. Picking out the bass guitar of “Hello, It’s Me” by Sister Hazel, the Dorado handles the smooth and velvety bassline easily, providing a nice edge of texture as the guitar strings vibrate and fingers slide up and down the fretboard to go along with the chocolatey smoothness of the underpinning riff. Percussion sounds also come across well on this track, with the simple kick drum pattern providing a sharp impact without blending or overpowering the rest of the lower range. There is a sense of physicality to the drum impacts that add something a little extra to the sound over an all-BA setup, with the movement of air in the ear canal bringing a level of realism to percussion that is quite absorbing.
 
Putting some Daft Punk on rotation, the balance throughout the bass is apparent, with the downstrokes of the bass in the early part of the song (around the 15 second mark) not losing any power or definition as it flirts with sub-bass. Flipping over to “Heaven” by Emile Sande, the sub-bass makes a nice thrumming sound in my ears as the sound kicks in, sitting nicely below the thumping kick drum and making my eyes wobble ever so slightly with the perceived vibration when the volume is cranked up. This is an IEM equally at home with mid or sub bass heavy tunes, holding a nice line between the two and extending low enough to highlight the relevant frequencies where needed. Picking another track a fellow head-fi’er asked me to check out recently for another IEM comparison, “On My Level” by Wiz Khalifa positively pulses, giving the impression of listening to a proper set of over-ears or a floor standing speaker on occasion with the physical sensation of the sub-bass humming in the ear. In summary, the Dorado has a full, physical and meaty bass, balanced nicely between mid and sub bass and definitely holding enough presence to keep all but the most insane bass-heads happy, without blurring or colouring the rest of the signature too far. Like the Lyra II and Vega, this is another very nicely tuned lower end, and should keep the lilely target audience for this IEM (electronica listeners) very happy.
 

 
Soundstage/separation
 
The Dorado has a decent-sized soundstage, not spectacular in width but carrying sound a little outside the confines of the listener’s head from left and right and having a decent sense of depth to provide a more believable sense of space. In terms of separation, the Dorado has no problem keeping the boundaries of each instrument intact, with spatial cues firing off around the audio landscape and allowing for multiple guitar lines or percussion to be tracked with little effort from the listener. The overall impression of the sound is slightly less forward than the Vega or Lyra II due to the dips around the vocals in the midrange – this can occasionally be noticed on multi-instrumental tracks with plenty of “centre-stage” sound and a heavy vocal line – it doesn’t sound muddled, but in contrast to the exemplary separation and staging of the Vega, the vocals can sit a little in front of the other mid-band sounds on occasion.
 

 
Tip and cable choice
 
As with the other new models in the range, foam tips are recommended for the Dorado, and given the more unusual shape of the stem on this model, this is definitely the best fit for me, with various silicon and combination-style tips from my collection all struggling to get an ideal seal or sound. I have actually found myself needing to move up one size to the largest tips on offer to get a good seal in my ear canals, but once that was done, the seal was ideal. These are slightly less comfortable and secure than the Lyra II or Vega for me personally, but not an uncomfortable fitting IEM overall. In line with the other Campfire IEMs I have heard, the included Litz cable is of sufficient quality for me not to think about resorting to a third-party solution.
 

 
Power requirements
 
Like most Campfire IEMs, the Dorado are pretty easy to drive off most sources, with a nominal sensitivity of 107 dB and resistance of 15 Ohms. They sit comfortably around the 60 mark on the Fiio X7 for me, with plenty of headroom for further juice if needed. They will also play nicely off my mobile phone, although despite the volume, the dynamic capabilities of the drivers are a little lost (as expected).
Much like the Vega, the Dorado benefit from a quality source chain, singing more sweetly with a mid or higher tier DAP / AMP combo if given the chance. I don’t think these will ever sound “bad”, but spending $1000 on a set of IEMs just to listen to them through your phone is not really making the most of their unique capabilities. Putting them to work with the Fiio X7 (AM2) or an afternoon with the new RHA Dacamp L1 on medium gain definitely seems to bring a little more out of the drivers in terms of separation and tightness to my ears, with the quality dynamic driver responding well to the extra voltage.
 

 
Comparisons
 
Campfire Audio Vega – this is the current co-flagship in the Campfire Audio range, sitting at the top of the price tree at $1299, just about the Dorado and Andromeda.In terms of signature, the Dorado is more of a traditional V or W shape than the Vega, with a relatively more laid back mid range, a thick bass and great airy treble. In comparison to the Vega, the bass feels a little more boosted in comparison to the lower midrange, giving a bassier “feel”, even if the volume of output is actually pretty similar. The bass descends just as deep on the Vega, but feels more crisp and controlled in direct comparison, with the Dorado’s own excellent bass presentation sounding a little boomy when listened to in tandem with the exceptional lower end tuning of the Vega. Moving through to the mids, the Vega sounds less laid back and more forward and energetic throughout the range, with a unique “all forward” presentation style that manages to keep the sound in balance while giving emphasis in each frequency range. In direct comparison, the lower and higher midrange of the Dorado don’t sound as thick or textured as the Vega, tailing off on either end of the vocals and leaning more towards the “V” shaped landscape familiar to most audiophiles. Moving on to the treble, the Dorado has an airier and more “sparkly” feeling treble, the dual-BA tweeters taking up most of the workload in tandem with Campfire’s patented TAEC technology (Tuned Acoustic Expansion Chamber) to provide an airier sound to the high notes, with a good feeling of space. It loses out a bit on note weight in the higher range as a result, but for fans of a more traditional BA style high end tuning, this may appeal more than the more grounded and solid feeling treble of the Vega, with more of a sense of “fizz” to proceedings. In terms of driving power, the Dorado feel easier to drive than the Vega, but only by a small amount (probably due to the comparative bass “boost”. Overall, the Dorado provide a more “fun” and V/W shaped tuning, pushing bass and treble more to the forefront, and losing a bit of richness in the midrange as a result. Both are definitely up there in term of overall signature, with the Vega just edging it for me personally due to its better balance and richer sounding mid-range, with slightly better micro-detailing apparent through the middle of the sonic spectrum as well. For fans of a crisper and less rich sound or an airier high-end, the Dorado rightly deserves to be talked about in a similar bracket to the Vega purely on technical achievement. The only area where there is clear daylight between the two models for me is fit, with the Dorado’s giraffe-like stems causing my very wide but apparently not incredibly deep ear canals a bit more difficulty getting a good seal then the more ergonomic barrel design of the Vega.
 

 
Ibasso IT03 – the IT03 is another triple-hybrid IEM, and the first in-ear offering from the well-respected DAP manufacturer. It currently retails at about ¼ of the price of the Campfire IEM at c. $250, but has had plenty of comparisons with IEMs in far higher pricing brackets, so I thought it was worth including here. Like the Dorado, it comes with one single dynamic driver (slightly larger, at 9.2mm compared to the Dorado’s 8.5mm effort) and two BA drivers for the higher end sounds. In terms of overall packaging and presentation, the Ibasso definitely holds its own, with a high quality cable and multiple tips and a leather carry pouch. In terms of accessories, the included ALO cabling feels better constructed and higher end than the more supple but tangle prone Ibasso cabling, and the carry case is har and more practical, but these are only small considerations. Fit is definitely won by the Ibasso, which sports a “semi-custom” shell design to fit very ergonomically in my ears, and also helps to block a little more ambient noise than the slightly more awkward fitting but smaller Liquidmetal shells of the Dorado. Moving on to sound, the IT03 is a leaner and more neutral tuning than the V/W of the Dorado, with just an extra helping of sub-bass making it deviate from a more or less flattish signature. The bass is more tilted towards sub and mid frequencies on the IT03, and loses a little thickness and substance compared to the more weighty Dorado as it moves up through the mid-bass. Extension and speed are similar, with both drivers feeling quick and punchy, adding definition and speed to match the physical impact. In terms of mid-range, the IT03 sounds sharper and more etched than the Dorado, with a less weighty presentation across the board. Vocals are similar on both, with the IT03 coming across with a leaner tone in comparison, with less of the full and smooth sound of the Dorado. Detailing levels aren’t a million miles away on both IEMs, with the Dorado shading the contest in terms of overall clarity to my ears, despite the additional note thickness – the leaner presentation of the IT03 makes surface detailing more stark in contrast to the musical background but not necessarily resolving everything with the same clarity as the Dorado. Moving on to treble, the IT03 has a crunchier tuning, with a thinner (but not thin) note weight and a crisper feel. Airiness is similar on both IEMs, just being shaded by the IT03 due to the more neutral signature and less chunky sound. Again, detail levels are high on both, with the dual-BA setup from the Andromeda and Jupiter models allowing the Dorado to best the IT03 again in terms of overall clarity. In terms of driving power, the Dorado is easier to drive. Overall, this is a closer contest than the pricetag indicates, with the IT03 holding its own in multiple areas and definitely managing to give the Dorado a bloody nose before going down swinging. For my ears the Dorado pulls ahead with its superior sense of weight and fullness, sacrificing some of the clear and clean neutrality of the IT03 for a more engaging and substantial sound. If you are on a tighter budget, the IT03 will certainly provide about 85-90% of the overall Dorado performance for about 25% of the price, but if you have the cash, the Dorado is the better option for me.
 

 
RHA CL1 Ceramic – the CL1 Ceramic is a new IEM from RHA, which has just been released and is currently on “tour” with various Head-Fi’ers around the globe (including myself). The CL1 is in a lower price bracket than the Dorado at approximately $400-$425 at current RRP. It contains a single wideband dynamic driver and one ceramic plate driver in a hybrid configuration, with a ceramic housing similar in composition to the original Campfire Lyra. In terms of presentation and accessories, the CL1 Ceramic is definitely aimed at the higher end of the market, with multiple tip options, an excellent presentation and two very high grade cables (actually eclipsing the ALO Litz cable of the Dorado in terms of build quality and thickness/feel). Ergonomics are also won by the CL1, with a small pebble-shaped shell that fits very nicely in the inner ear, and a nice over-ear memory wire arrangement on the cables that keep things very comfortable and secure. In terms of driveability, the CL1 requires an amp to sound good, with an impedance of 150 Ohms and sensitivity of 89dB, so is considerably harder to drive and less “portable” without the right amplification stack. In terms of sound, the Dorado has a fuller bass (both sub and mid), with similar speed and a slightly lower “feel” in terms of extension than the CL1, which has a bass presence that is just a little north of neutral in comparison. Midrange is also fuller on the Dorado, with a more lush feel to the vocals compared to the leaner sounding CL1. Detail levels are similar on both, with the Dorado providing the same level of detail as the analytical sounding CL1 despite the thicker overall sound. Separation and soundstaging are similar, with the CL1 being able to keep pace with the Dorado Treble is thinner and crispier on the CL1, with a near-limitless extension on the spec sheet translating to a crisp and sparkly overall sound in the higher registers in comparison to the Dorado’s clear and clean treble. The CL1 can feel a little crystalline in comparison, which fans of a crunchy and sharp treble may prefer. Overall, despite the cost differentiation, the Dorado is a clear winner again for me in terms of signature, and for the fact that it doesn’t require an amp to realise its full potential in terms of sound(which will add another few hundred dollars to the overall cost of the CL1). The CL1 will appeal more towards people who like a thin and razor-edged sound signature with a hint of bass and texture in the lower end, as opposed to the more traditional V/W shape of the Dorado and the fuller and more textured sound.
 

 
LZ-A4 – the LZ-A4 are the latest iteration of the LZ series of IEMs from the mysterious Chinese designer (known only as Mr LZ). They are a triple driver hybrid with a single DD and two custom made balanced armatures, with adjustable tuning filters in two different locations on the IEM shell, giving a total of 18 different configurations to affect the frequency response. These are way below the Dorado’s RRP, coming in at around $200 or less including shipping at the moment. Like the IT03 above, they are a very accomplished set of in-ears, and currently riding a well deserved wave of praise on the forums here, so I have included them for context. In terms of build and presentation, the A4 have an all metal shell resembling a car turbo, and are a fair bit bigger than the svelte Dorado (nozzle excluded). The packaging, while decent, is also a cut under the polish on the Dorado in my opinion, although certainly good enough for the price bracket. In terms of ergonomics, the large and pretty heavy housings on the A4 can be worn up or down, but sit a little looser in my ears than the Dorado when using silicon tips. The cable is a good example of an MMCX cable with low microphonics and a nice build, but again, a little notch below the ALO Litz that comes with the Dorado. In terms of sound, comparing all 18 signatures would take all day, so I have based my comparisons on my favourite two filter settings (Red back filter and either black or green front filters). The Dorado is easier to drive than the A4, requiring less power to hit good listening volumes.
 
Starting with the bass, the Dorado has a fuller and thicker bass presence, compared to the more subdued and lean (in comparison) sounding bass on the A4. Both drivers produce great extension and levels of sub-bass, with the A4 sounding more like the IT03 in terms of overall presentation there compared to the Dorado. Speed and definition are similar, with the Dorado just sounding a little crisper around the edges of the bass notes with its custom beryllium dynamic driver. Mid range can be brought forward or back on the A4 depending on the filters, but with the green filters vocals feel slightly more emphasised than the Dorado, and the black filters are roughly the same. The overall tone is again slightly less full, but still very nuanced – the impression of detail retrieval on the A4 far exceeds its price tag, and doesn’t leave the listener feeling short changed. Where the edges around the vocals are slightly further back on the Dorado, the A4 is comparatively more flat in presentation, leaving everything sounding very coherent. Moving up to the treble, the A4 has a crystal clear tone and excellent extension – it can sound thinner or thicker depending on the filters, but it gives a similar crispness to the excellent Dorado twin-BA setup with the green filters, with the Dorado just sounding slightly more “sparkling”. In terms of soundstage, the A4 has one of the biggest soundstages I have heard in an IEM outside of the old Aurisonics range, and is markedly wider and deeper than the tighter “sphere” the Dorado produces. It still retains great cohesion, and separation and placement of instruments feel similar on both IEMs. Overall, the A4 has a slightly wider and less sparkling sound than the Dorado, with noticeably less bass and overall fullness to the sound. The detail levels sound similar, with the Dorado pulling ahead in overall resolution, but not by a noticeable margin to my ears for normal “non-critical” listening. Like the IT03, the fact that a $200 IEM can come close to the Dorado says more about the prowess of the A4 than any fault of the Dorado – to be clear, the Dorado is definitely a tier up from the A4 overall, with just a little more clarity, more bass and body, and wins for me in terms of overall preference, but for the relative price difference, that isn’t surprising.
 

 
Overall conclusions
 
After hearing the two very different takes on single dynamic driver tunings in the recent Campfire Audio releases, I was unsure where exactly they were going to head with the more traditional “triple hybrid” sound. Instead of retreading the usual “warm and smooth” or “fun and energetic” V shaped tunings prevalent in the market at the moment, they have taken a little detour and come up with something different, treading the line between full and textured and light and sparkly. The excellent bass foundation brings life and substance to the music, and the dual-BA setup adds a little sparkle to proceedings that the more energetic Vega and the more subdued Lyra II both miss in comparison. The vocal prominence helps with coherence, giving the sound more body in the certain areas that would otherwise be neglected in a true “V” shaped tuning. This lift in the midrange is also ironically my one bone of contention with these IEMs, with the additional “beef” in the voices highlighting the more recessed instrumentation around them on more busy tracks. This is very much nitpicking rather than an actual concern, and it certainly hasn’t stopped me enjoying these IEMs immensely in the time I have had with them, but for my preferences, this is what costs the Dorado its full complement of 5 stars. Another Campfire IEM, another unique tuning in their range – this is an excellent, full bodied sound that will appeal most to fans of electronic music, or people who want the body and slam of a TOTL dynamic driver with a dash of the sparkle and airiness that is commonly written about from their all-BA flagship the Andromeda. Like the Vega, this IEM won’t be everything to everyone (especially at the $1k price mark), and for fans of a mid-centric (rather than vocal-centric) sound, the dips in the range may lead them elsewhere, but for most people, this will be an excellent and very engaging listen. It has great build quality, reasonable ergonomics (that long stem won’t be for everyone, but works well enough for me) and the standard high-quality Campfire accessories. With IEMs in this price bracket, it is as much about personal listening preference as accomplishment, but these IEMs can certainly rub shoulders with the much-lauded Vega without feeling any sense of technical inadequacy. Overall, a well though, technically capable and more importantly enjoyable sound. For Ken and his team, it is yet another case of “Nicely Done”.

 

 
Astell & Kern AKT8IE Mk1 – initial impressions
 
If you spend enough time browsing the pages of Head-Fi, Astell & Kern is a name you will eventually come across. The Korea-based manufacturer have made their name (or in fact made their new name from their former days as iRiver) producing high-end digital audio players (DAPs) with high-end specifications and even higher-end pricing. The brand is synonymous with two things – quality sound, and a pretty large price tag to go along with it. Recently, the company has been branching out into both the over and in ear headphone market, collaborating with some of the biggest names in the industry like Final Audio Design and Jerry Harvey Audio to bring an “A&K tuned” version of some of their flagship products to market for use with their players. While doing some research on the current crop of “Top Of The Line” single dynamic driver headphones on the market for another review, I was surprised to discover that Beyerdynamic had decided to make a single-DD version of their Tesla driver technology, and even more surprised to find out that it was actually a “new” product exclusive to Astell & Kern. Doing some more digging, the initial opinions seemed to indicate that the Tesla tech in the driver was more than capable of being considered TOTL-worthy, so I decided to take a chance and picked up a pair on the For Sale boards to compare. The opinions below are based on the first version of the product – A&K have since released a second generation of this IEM, but opinion seems to be divided on whether the two have any sonic difference.
 

 
Tech specs
 
Transducer type - Dynamic, moving-coil
Operating principle - Closed
Frequency response – 8Hz to 48kHz
Impedance – 16 Ohms
Total harmonic distortion - <0.2 %
Power handling capacity - 10mW
Nominal sound pressure level - 109dB SPL
Cables - Two cables: One for balanced-mode use, one for unbalanced-use 1.30 m, two-sided, detachable
Connector - MMCX at earphones/ 3.5 mm 3-pole jack plug on unbalanced cable / 2.5 mm 4-pole jack plug on balanced cable
Weight - 7g / 0.25oz per pair (without cable)
 


 
Unboxing
 
As befits a luxury “lifestyle” brand like Astell & Kern, the unboxing experience is definitely a premium affair. The IEMs arrive in a jet black hardboard box, with a slip on sleeve (also in black) over the top with a classy picture of the IEMs and some discreet information and logos on the front, and further technical specifications and information on the history behind Beyerdynamic on the back. Sliding the cover off, the box underneath is a solid hard cardboard container, opening like a jewellery box to reveal the warranty and instruction manuals in a little container on the inside of the cover and the IEMs and cable sat in the top of the box. The IEMs are nestled in a velour insert, and the cables are individually wrapperd and hidden behind a small cardboard flap (again, all black – are you noticing a theme yet?). Keeping with the jewellery box theme, the rest of the contents are actually hidden in a drawer underneath the main section, accessed by pulling out a discreet fabric ribbon. Once you have got the second container out, you are met with more black velour, holding the IEM carry case (a hard case in black leather), various IEM silicon tips in differing sizes, a nice Beyerdynamic cable clip and a box of Comply Tx series isolation tips (which in a nice touch, are provided in a black box with glossy black writing). As far as accessories go, this is quite an impressive loadout, with cables for both balanced (2.5mm) and unbalanced (3.5mm) use, enough tips to ensure at least one pair should fit and a carry case that is small enough to be practical but still look impressive with its leather finish. Overall, the packaging screams quality, and doesn’t look out of price holding something that retails for as much as this IEM currently does (c. $1000 new). Despite being luxurious, the understated black-on-black colour scheme help keep this tasteful – of course, the box doesn’t play music, but it is a very nice touch.
 

 
Build quality and ergonomics
 
The AKT8IE have an unusual shell design, with an irregular pebble-like shape which is intended to sit in the outer bowl of the ear. The housing material looks like a cross between metal and ceramic, and gives a beautifully machined appearance to the IEMs, with a level of fit and finish that befits something in this price range. The shells themselves feel sturdy but light, and fit extremely well in my ears due to the smoothed edges, providing an excellent fit for extended periods of wear without any discomfort or need for readjustment. I do have very large ear canals, so this may differ slightly for those with smaller ears, but I have found these to be among the most comfortably designed shells I have inserted into my ears. The included cables are solid but not spectacular, with  nice right-angles termination on both the 3.5mm single ended and the 2.5mm balanced cables, but a flimsy feeling plastic jacketed wire, which doesn't scream "premium" in the same way that the shell design does. The fact that two cables are provided is a major plus point if you have a balanced player that can utilise it, but considering the finish on the rest of the product, the cables feel like they belong to a different IEM in comparison.
 
Another thing that should be mentioned are the bespoke silicone tips provided - they are twice the size of "normal" IEM tips, and help provide a good seal when the IEM is sat in the bowl of the ears. There are also Comply foams provided if the silicone doesn't work, but considering the unusual oval shape of the IEM barrel, I found the best overall sonic results came with the stock silicone tips - they are nicely thought out and provided in enough sizes (5 in total) to work very well. Overall, this is a well designed and extremely good looking piece of gear in my opinion, and definitely looks like a premium item.
 

 
Sound quality
 
Test gear:
LG G5 (with HiFi Plus 32-bit Sabre DAC add-on)
Hifiman Supermini
Fiio X7 (with AM2 module)
Microsoft Surface Pro 2 (straight from the output jack) and with iFi iCan SE
Test tracks (mainly 320kbps MP3 or FLAC/Tidal HiFi):
Nathaniel Rateliff & The Night Sweats – S.O.B. / Wasting Time
Blackberry Smoke – The Whipporwill (album)
Slash – Shadow Life / Bad Rain (my reference tracks for bass impact and attack, guitar “crunch”)
James Bay – The Chaos & The Calm
Sister Hazel – Hello, It’s Me (bass tone)
Chris Stapleton – Whiskey And You
Elvis – various
Leon Bridges – Coming Home (album)
Foy Vance – The Wild Swan
Daft Punk – Random Access Memories (album)
Aerosmith – The Definitive Aerosmith
Mavis Staples – Livin’ On A High Note
Twin Atlantic – The Great Divide / GLA
The Darkness – Permission To Land
Led Zeppelin – Mothership
Shawn Mullins – Soul’s Core
Sammy Hagar & The Circle – At Your Convenience (live album for audience sounds)
 

 
General impressions on the sound signature
 
The AKT8IE gives a bassy and slightly warm sound on first listen, with the lower frequency range being very well represented by the miniaturised version of the Tesla driver technology from their flagship over-ear headphones being used. The lower end is definitely emphasised, with a nice blend between sub and mid bass and no major “humps” in the signature. While it can initially seem that the bass can dominate the sound signature, on further listening it becomes apparent that this is actually a very detailed IEM, with the midrange and treble both presenting plenty of texture and micro-detail, albeit in a far more delicate way than the more overt bass. The midrange is a beautifully textured thing, pushed slightly forward into the listener’s ear to balance out the bass and able to give a nice sense of emotion to vocal delivery. Treble is actually pretty well extended (up to 48kHz according to the driver specs), but it sits comparatively further back in the overall soundscape than the mids or bass, generating a finely detailed but clear and laid back treble sound. That isn’t to say treble is lacking, as there can be a nice sense of air and shimmer on some tracks, but it definitely isn’t emphasised so is something that creeps up on you rather than smacking you around the face. The overall vibe given off by these headphones is something that is warm and relaxing, with plenty of detail in the background to enjoy if you are looking for it and a smoothness to the tuning to drift away with if you aren’t.
 

 
Highs
 
Starting with the high ranges, the AKT8IE sets its stall out early. You might expect an IEM with a stated extension of over 40kHz to be all about the treble, but in fact the Beyerdynamic / A&K collaboration is actually pretty reticent when it comes to showing its wares up top. The treble is a delicate, shimmering affair, sitting further back in the soundscape than the midrange or bass, and presenting with a laid back and smooth sound that massages the earlobes rather than shredding them. Despite the laid back nature, the AKT8IE definitely doesn’t lack in detail or extension, with the treble sailing up into the higher reaches of my hearing without any apparent effort, just a little less loudly than the rest of the sound.
 
Playing the first of my staple treble testers, “Starlight” by Slash, Myles Kennedy’s voice takes on a smoother and more liquid sound compared to the more razor-edged delivery of other IEMs I have heard. The high notes of his impeccable vocal delivery still hit just as high and clear, but leave less “bite” behind in the sonic after-image. The dissonant guitar soloing in the track is also rendered well, with a sense of deliberation and finesse to the notes, highlighting the musicianship on display. Needless to say, sibilance is not a consideration with this type of tuning, with small micro-detailing and “edges” of high notes coming through quietly but cleanly around the main notes, and no hint of harshness being displayed by the Tesla driver as it goes about its business. Putting that to the test, “Whiskey And You” by Chris Stapleton is another hit, the AKT8IE smoothing out the gravelly harshness of the chorus while keeping the texture and emotion in Stapleton’s voice very much present – in fact, whiskey is probably a good analogy to describe the treble delivery, with the AKT8IE slipping down your ears like a fine aged malt, subtle in flavour but packed with complexity just under the surface and lacking the rougher edges of lesser drinks.
 
Percussion is rendered well, if not overly energetically – cymbals decay nicely, but can come across as slightly soft, the shimmering edge of the crash dissipating quickly into the background of the song rather than sitting crisply in the foreground. Overall, the treble is quiet but if you listen, it packs in a great level of detail like breathing patterns and room noise, all without any grain or harshness. In tandem with the extension, this paints a silky, almost gossamer-like delicacy over the sound – the T8 can handle mid-tempo rock music quite easily, but can sound a little too relaxed for really aggressive music if you value crunch over clarity. One other aspect of the buttery-smooth treble is the sort of forgiveness it shows to poorly recorded tracks – I’m sure even the Pope would struggle to turn the other cheek quite as well as the AKT8IEs on some of my more shoddily recorded MP3 files.
 

 
Mids
 
The midrange comes a little more forward in the ear than the higher frequencies, with a slight tinge of warmness to vocals and guitar sound that leaves a sweet aftertaste in the ear without becoming overly cloying on long listening sessions. Like the treble, the sound is finely textured, with plenty of detailing in the strumming of a guitar or the sound of fingers on strings or creaking of a piano stool in the periphery of the audio. The detailing isn’t ever shoved front and centre by the Tesla driver, rather presenting in an almost “Where’s Wally” crowd-scene fashion, leaving clues in a finely rendered canvas of other similar detailing, allowing your brain to pick it out if you concentrate but otherwise leaving it sitting in the background for you to just appreciate the attention to detail in the overall sonic picture.
Playing some Foy Vance, the handling of the vocals (both male and female) immediately draws the attention, the slight warmth and great texture to the sound playing well with the slightly warm overall tone to bring a sweetness to the gravel in his voice. “Casanova” plays his gruff crooning against the gospel style chorus brilliantly, with the singer’s voice carrying just the right amount of roughness and emotion to be engaging without sounding harsh, and the backing singers sounding like poured honey in the higher mid-range registers as they join in with the guitar, fiddle and accordion on the hoedown style chorus. This again highlights the resolving capabilities of the driver, as each strand in the busy midrange have just enough of their own identity and positioning in the sound to make you appreciate each one, without getting muddied in the body of the overall song.
 
Switching to some more aggressive rock, “Juneau” by Funeral For A Friend shows a nice thickness to the sound, bolstered by the heavy bass presence. The spiky guitar work here sounds defined but the warm and laid back sound does sap a little of the energy from the delivery, with the driver keeping pace with the speed of the guitar lines, but the overall sweetness of the tuning taking a little “edge” off the more aggressive riffing. This works well for some heavy guitar based music, with “Welcome To The Jungle” by Guns N’ Roses benefitting from the smooth and chunky sound to bring an appropriate level of sleaziness to the famous riff, and the detailing of the sound allowing you to follow both duelling guitars a little easier due to the less “up front” aggression of the sound. In terms of guitar crunch, the AKT8IE does a reasonable job, providing more of a thick-edged chug to the sound rather than the sort of laser-cut edging to guitar work the Campfire Audio Vega is capable of, but for certain types of music it does “suit” the sound slightly better than the Vega’s more energetic delivery. “Growing On Me” by The Darkness is another good example, with the smooth grunginess of the main guitar sound allowing you to focus easily on the two slightly differing sounds coming from each ear, without losing the drive at the heart of the song.
 
Trying some of my staple electronica, “Go” by The Chemical Brothers sounds epic, with the vocals bouncing along on the huge bassline underneath and the swooping synths panning in from the left in the chorus to sound suitably joyous. They can occasionally slide further back in the sound compared to the bass compared to other IEMs I own, so this may suit fans of more bass-heavy styles without too much mid-range detailing. Orchestral music also benefits from the creaminess and detailing of the sound, multiple cello and violin segments sounding beautifully blended and full of texture, sweeping nicely around the listener’s ear with a sense of richness and grandeur.
 
Overall, the midrange is smooth and highly detailed in a gently presented way, which can either be enjoyed by listening out for the familiar “micro-sounds” you know well from your favourite recordings or just cranking the volume a bit and letting it all wash over you. It adds good body to most rock music, and gives a very good sense of emotional connection with vocals. Not the most energetic tuning you will ever hear, but for sinking into a track, very nicely done.
 

 
Bass
 
The bass on the AKT8IE is definitely north of neutral, not quite packing the same sort of impact and volume as the Campfire Audio Vega (another TOTL single dynamic driver contender), but still giving more in terms of volume than a strictly “reference” tuning, and occasionally flirting with being an almost basshead style tuning depending on the track. There is a nice distribution between sub and mid bass frequencies, adding a good low level rumble into the mix on more electronic tracks and helping add some lower end foundation to more traditional guitar based music. In terms of texture, “Bad Rain” by Slash sounds smooth and deep, the flanged bass notes hitting dark and low with a solid texture to the vibrating bass guitar strings which does just enough to “rough up” the smoothness of the sound in the listener’s mind, keeping the underlying menace of the track intact.
 
Dropping a little Daft Punk into the rotation, “Get Lucky” sounds effortlessly deep, the smooth and buttery bassline dropping down through the floor of the track without ever losing emphasis and highlighting the smoothness and clarity of the bass the Tesla driver is capable of. Carrying on the bass workout, “C.L.U.” from the Tron Legacy: Reconfigured soundtrack (again by Daft Punk) builds beautifully from the deep cello strings that kick the track off, through the orchestral percussion and into the electronica-laden chorus, just tickling the back of the listener’s eardrum with the impact of the kettle drums and the sub-bass laden synth that fills out the bottom of the sound. “Heaven” by Emile Sande is handled similarly well, with the sub-bass soaked intro carrying genuine rumble, and playing nicely against the driving kick-drum and snare percussion that fire the track into life.
 
As far as speed goes, the AKT8IE are certainly no slouch, the single dynamic driver keeping pace with more complex tracks without losing itself or muddying the sound. The decay of the note (i.e. how long it lingers in the ear before disappearing) isn’t as quick as some all-BA headphones I have heard, but this actually contributes to the overall smoothness of the sound, leaving a slight “softness” to the bass notes while still keeping the delivery tight and accurate.
 
Speaking of percussion, the driver carries a nice weight of impact on kick drums and other percussive sounds, the single dynamic driver giving the telltale puff of air into the inner ear on more energetic bass-drum heavy tracks. This isn’t the most “slamming” IEM I have ever heard, but it definitely carries a level of physicality you wouldn’t necessarily expect considering the more laid back tonality of the upper ranges.
 
Overall, the sound is thick, smooth but still carries enough texture and detail to avoid sounding bloated or flabby, and has enough speed to carry the most complex tracks without drowning itself in its own bass. For fans of super-lean signatures this will probably have too much bass, but for the average audiophile or music fan, the nicely boosted lower end adds substance and texture to the sound without muddying the waters – I personally think the tuning is very well done here.
 

 
Soundstage/separation
 
Soundstage is quite sizeable on these IEMs, with a solid presentation in all directions outside of my head, with a good sense of height as well as the usual horizontal width. Not the largest I have ever heard, but definitely larger than normal (if there is such a thing at this sort of price bracket). Separation is very similar to the treble, being very detailed if you listen out for it, and quite capable of keeping each instrument in an orchestra separated like a crack Hollywood divorce lawyer, no matter what else is going on around them. The sound isn’t as aggressively layered as something like the Vega, but again, the information is there is you relax and listen out for it, with the edges still clearly defined and the spacing across the stage being excellently presented on tracks I know well. Playing Leon Bridges’ debut album is a joy, with the various instruments occupying their usual positions in my head, coming in clearly from multiple different angles to join the singer’s echoing voice in centre stage. Busier music doesn’t seem to bother the AKT8IE driver either, with multiple strands resolving themselves as clearly as a simple vocal and guitar track, never feeling confused or crowded to my ears.
 

 
Tip and cable choice
 
Tip choice is quite interesting here, as the AKT8IE has an oval shaped sound bore in a similar styling to the Sennheaiser IE800. It is supplied with Comply Tx tips and its own bespoke tips, but the unusual bore shape mean that most other after-market solutions won’t provide a decent seal in the ear due to the deformation of the “core” of the tip. The silicone tips provided are actually designed with this in mind and have a much wider bowl, allowing them to push outwards against the wider portion of your ear canal to provide an excellent seal. Astell & Kern provide five sets of these tips in different sizes, so most ear types should be pretty much catered for. For those who don’t get on with the silicone option, there are Comply foams provided in three different sizes to ensure a good seal should be achievable for all but the most awkward of ear canals. As a personal preference, I usually go with Comply but I find the silicone provide a better resolution of the high end frequencies, and allow more of the delicate detail to resolve itself in the ear than with the more treble-damping Complys.
 
With regards to the cable, there are two provided as standard, in both 2.5mm TRRS balanced configuration and “normal” 3.5mm single-ended termination as well. Both cables are slim and slightly rubbery, providing average microphonics and fit compared to most aftermarket cabling, but not looking too out of place. Both provide good sound, although I found a marginal sonic improvement when switching to a Campfire Audio/ALO SPC Litz cable that comes as stock with their IEM range, so have been using that for the majority of the review. I am neither a cable believer or disbeliever, but the deep concha-style fit of the AKT8s in my ears actually suits the memory wire and lack of microphonics on the ALO cable better than the stock.
 

 
Power requirements
 
The AKT8IE should be reasonably easy to drive at 16 Ohms and 109dB sensitivity, and I don’t find too much difficulty in getting decent volume from all of my usual portable sources. The quality of the drivers does appreciate a higher-end source, and play particularly well with both the Hifiman Supermini (with its higher than usual output power and voltage swing) and the Fiio X7 AM2 module. You certainly won’t need to carry a portably powerstation around to make these IEMs sing, but you will appreciate both a good source and good quality files when you do listen.
 

 
Comparisons
 
Campfire Audio Vega – the Vega is one of the TOTL offerings from the Campfire Audio stable, currently retailing for $1299 and powered by a single non-crystalline dynamic driver, so is one of the few single dynamic driver “flagship” IEMs currently on the market alongside the AKT8IE and the Rhapsodio Galaxy. In terms of packaging, the Vega comes with a very slick but minimalist approach to packaging, compared to the more ostentatious approach from Astell & Kern. Both IEMs offer a similar accessory package (including leather hard case), with the only major difference being that the AKT8IE comes with both balanced and unbalanced cables, compared to the one higher quality SPC Litz cable of the Vega. If packaging matters, the AKT8IE will definitely turn more heads than the unassuming Campfire box. Moving on to the build and ergonomics, the Vega is made from a solid metal alloy (known as Liquidmetal), and is similar in size to the Byerdynamic design, with a more traditional “in-ear” fit. In terms of ergonomics they are similar, with the Vega offering slightly higher isolation for me, although that will be dependant on ear anatomy as much as anything else. Moving through to the sound, the AKT8IE is a more laid back tuning than the Vega, with a slightly less present but warmer sounding bass and less treble energy in comparison. Starting with the bass, the Vega exhibits slightly more presence than the already bassy AKT8IE, with a more even distribution between mid and sub bass. The bass hits slightly harder and feels more crisply defined than the Vega, with the AKT8IE feeling far from sloppy but definitely less nimble on more uptempo tracks in direct comparison, and exhibiting slightly less physical “slam” or viscerality compared to the single 8.5mm driver used by the Vega. The Vega also feels like it stays more clearly defined in the lower end compared to the smoother presentation of the Astell & Kern IEM, never feeling like it is crowding or colouring the track. Moving through to the mids, both IEMs feels roughly similar, with the AKT8IE giving slightly less thickness to the music, leaving the notes sounding a little more delicate and fragile. Both IEMs are very good at conveying emotion in a vocal track, but the Vega take a slight edge here, with an additional layer of crispness to the vocal delivery that engages the listener more than the softer and more laid back delivery from the AKT8IE. Detail levels are too close to call, with the AKT8IE presenting high levels of detail with the right source, but layering them further back in the background of the soundscape, whereas the Vega extracts every detail from a track and lays them out a little more openly for the listener to appreciate. Treble tuning is where these two IEMs diverge, with the more laid back and almost rolled off sounding higher end of the AKT8UE differing markedly to the crisper and more present signature of the Vega. The lower emphasis on treble for the Beyerdynamic / A&K product allows a more relaxing and laid back feel to the music, and actually manages to give a greater sense of air with the high range it does produce due to the excellent actual extension, rather than the perceived extension (for me, anyway). In terms of power, the Vega requires slightly less volume steps on my various pieces of gear to produce the same volume as the A&K/Beyerdynamic collaboration. In summary, both IEMs provide a bassy and emotional sound, with the Vega sounding crisper and more energetic, with more presence up top and a more balanced sound. The AKT8IE gives a slightly thinner feeling midrange and more delicate but less prominent treble, leaving it sounding more soothing with acoustic music and less energetic tracks but losing out to the lively and more forward and balanced overall sound on the Vega. The differences stated above are all small, and both IEMs are at the summit of the in-ear monitors I have heard to date in terms of clarity and overall presentation of the music, and would both find a use from me for different types of music. Personally, if I had to choose just one, I would plump for the Vega, with the more engaging sound and slightly more emotional vocal delivery winning for me over the laid-back beauty of the AKT8IE. These are fine margins, however, and both IEMs certainly produce a sound that will keep the listener enthralled with the right source and music.
 
Campfire Audio Lyra II – this is another bassy single dynamic driver I have recently had the pleasure of spending some time with, using Campfire Audio’s 8.5mm beryllium dynamic driver in a solid Liquidmetal housing. As mentioned, if packaging matters, the AKT8IE will definitely turn more heads than the unassuming Campfire box. Moving on to the build and ergonomics, the Lyra II is made out of an alloy material called Liquidmetal, and feels similarly solid and as well built as the AKT8IE, with a slightly more conventional but less ergonomic fit for my ears, but slightly higher sound isolation. Moving through to the sound, the Lyra II provides a similar tuning to the AKT8IE, exhibiting a nice  warmth to the bass and slightly less emphasised treble. In terms of bass, the AKT8IE has slightly more overall presence to my ears, with a still pretty well balanced but more lower-midbass centred sound, and more sub-bass capability. The bass is more omnipresent on the AKT8IE than the more controlled tuning of the Lyra II, which can sound less warm with music that lacks any bass frequencies. In terms of extension, the Lyra II extends down as low as the AKT8IE, and exhibits similar speed, but feels just a tad sharper compared to the slightly softer bass on the Astell & Kern model. Looking at the midrange, the AKT8IE is slightly more forward than the Lyra II, with the vocalist feeling slightly closer to the eardrum. In terms of raw emotion, both are excellent at wringing out all the feeling from a track, but the AKT8IE feels slightly more laid back in the process due to the slightly softer presentation. Details are similar, with the AKT8IE seeming to have the slight edge in resolution and overall clarity, highlighting the softer guitar accents and other microdetails in a song very well in comparison but pulling them a little further back into the musical landscape so making it less easy to spot on first listen. Treble tuning is similar on both, with the AKT8IE being even less forward than the Lyra II but again, seeming just a tad more detailed and airy. In terms of power, the Lyra II is slightly easier to drive than the A&K/Beyerdynamic collaboration. Overall, the AKT8IE feel slightly more refined, and provide a laid back but detailed stroll through the musical landscape in comparison to the Lyra II’s thicker note weight and more muscular jog – in a straight shootout, I couldn’t call it conclusively between the pair of IEMs, with the AKs probably just nudging it overall if I had to choose just one and price was not a consideration – in terms of value, there certainly isn’t anywhere near $300 worth of sonic difference between these.
 

 
Overall conclusions
 
Until recently, I hadn’t heard any IEMs in the $1000 or more price bracket, apart from some very brief listening time at Canjam London earlier this year. Fast forward a few months , and I have been very fortunate to be able to spend a few weeks with three different headphones in this sort of price range, and been thoroughly impressed by each one. The sound from the AKT8IE is a beautiful blend of bass presence, smooth and emotive delivery in the midrange and a soft yet sparkly treble that carries plenty of fine detail. This isn’t the sort of sound that grabs you by the throat and beats you into attentive submission, this is the sort of finely honed presentation that lays everything out in front of you and asks you to pick what you want to from the music, not caring if you just want to drift away into it rather than analysing or dissecting its component parts. There are certain genres it excels at (slower tempo guitar-based rock music, acoustic and singer/songwriter genres and sweeping orchestral music) and others it lacks a bit of bite to really blow you away with, but honestly, there isn’t anything I have heard that sounds bad with this IEM. I like to think of it as the difference between watching a John Woo “bullet time” film and one of the battle scenes from Saving Private Ryan, where the John Woo approach would be something like the Vega (all hyper-realism and every detail slowed down and shoved in front of you to digest as it passes by) and the WW2 beach landing scene being the AKT8IE (stuff going on everywhere, but all equally balanced in the background, allowing you to focus on the main action at hand and just bask in the glory of all the bullets flying around behind the characters as they paint their picture). The capability in this Tesla technology is something a little special for a single dynamic driver, and I think that it could probably be tuned any way the engineers wanted if a sharper and more aggressive treble or more lively mids were required. In terms of ratings, considering the price, these produce a great sound, but miss out on the final half star due to their laid back nature – at this price, I consider the slightly more passive nature a little lacking compared to IEMs like the Campfire Vega, which is more compelling across all genres than the more picky AKT8IE. That being said, if I am in the mood to just bang on some mellow tunes and drift into musical reverie, these IEMs are almost hypnotic in their delivery, and have me reaching for them more often than other things I own for late night music sessions. At this sort of price bracket, technical proficiency is a given, so it is more about the sort of tuning you are after, and if you are after smooth and beautifully fine details, you can’t go far wrong with these.

 
Campfire Audio Vega – initial impressions
 
As you will know if you read my recent review on the Lyra II, I have recently been lucky enough to get the chance to hear the three newest models from the Campfire Audio IEM range (the Lyra II, the Dorado and the Vega). After spending some quality time with the Lyra II, the Vega was the logical next choice for another story around the Campfire as another dynamic driver offering. Considering how much I enjoyed the Lyra II, I was very keen to hear exactly how much improvement the engineers at Campfire could make with their new uncrystallised diamond diaphragm on their dynamic driver technology, and to see if this IEM is rightly deserving of its current “TOTL” tag.
 
Disclaimer – the Vega were provided to me free of charge by Campfire Audio on a loaner basis for the duration of this review solely for the purpose of listening and writing up my honest and unbiased impressions. If I want to keep them afterwards, I will need to purchase them off Campfire Audio.
 
About me: been into music since I was old enough to walk, and now been into the audio gear scene for a couple of years. I’m in my late 30s, a long time rock music fan and aspiring to be a reasonably inept drummer. Listen to at least 2 hours of music a day on my commute to work – prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. Converted most of my library to FLAC and 320kbps MP3, and do most of my other listening through Spotify or Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body to it. Please take all views expressed below with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story.
 

 
Tech specs
 
Frequency – 5 Hz to 22 kHz
Sensitivity – 102 dB SPL/mW
Impedance – 17.5 Ohms @ 1kHz
Driver – single 8.5mm ADLC non-cystalline diamond-carbon dynamic driver
Housing – Liquidmetal alloy
Connection type – MMCX
 

 
Unboxing
(If you have read my review for the Lyra II, feel free to skip straight to the sound section – the Vega shares both identical packaging and shell design to the Lyra II, so some sections are pretty much identical to the Lyra II writeup)
 
The Vega follows the usual Campfire Audio presentation style, coming in a small box just marginally bigger than the hard leather carry case it contains. The box is a dark burgundy colour, with silver constellations patterned on the outside and a nice picture of the IEMs on the front. There is also a brief description of the technology inside and the Campfire branding, but no major graphs or specifications. The box opens up to show a nice black leather carry case inside, with the usual Campfire Audio embossed logo and zippered closure. Removing the carry case, there is a false floor on the box, underneath which the various loadout of eartips (foam, silicon and Spinfit in various sizes) and a Campfire Audio pin are nestled, along with a cleaning tool, warranty card and small booklet with more technical information on your purchase and instructions on how to use them for those people unfamiliar with operating high tech ear-gear. Opening the carry case completes the gear list, containing the IEMs and silver litz cable, some Velcro cable ties and two small velour bags to keep the heads of the IEMs from clunking into each other when they are stored, all nestled in the fluffy fake wool interior of the case.
 
The accessory package is simple but comprehensive, with the beautifully designed carry case and the well thought out cable and tip selection giving a premium feel to proceedings, proving that you don’t need to inundate the buyer with technical data or hundreds of add-ons in order to give a high-end unboxing experience. The small footprint of the outer packaging also has more practical use, as it makes it far easier to store than the usual foam filled presentation boxes you tend to get with other IEMs in this sort of price bracket.
 

 
Build quality and ergonomics
 
In contrast to their other co-flagship IEM the Andromeda, the Portland-based manufacturer have decided to go with a Liquidmetal™ alloy housing for the Vega rather than machined aluminium, with a smaller footprint and more curvy appearance than the Andromeda, and echoing the new shell design of the Lyra II and Dorado models.
 
The use of Liquidmetal is an interesting but logical choice for the high-end IEM market – the substance is actually an amorphous alloy rather than a literal “liquid metal” (such as Mercury), but it brings various qualities to the table that normal metal shells find difficult to match. It is lighter and stronger than titanium, extremely durable and resistant to both corrosion and wear and has a glass-like melting point due to its densely packed atomic structure that allows it to be moulded almost like plastic while hot. For a company known for its finely honed internal tuning structures and excellent shell designs, this is a logical evolution, allowing production of high volumes of complex casings with greater ease than traditional metals. In practice, the shells are light, very strong and fit beautifully in the ear, giving the feel of a piece of machinery designed to last.
 
Campfire Audio also deviate from the norm with the connectors, using a standard MMCX style socket but bolstering the connection points with a custom beryllium copper fixing, which they claim is more robust than the usual brass connectors found on most IEMs. This should lead to increased longevity of the connector over multiple cable connections and disconnections. In use, the cable clicks into the housing with a very solid sounding thud, and seems to be pretty locked in, with less play or wobble than most other MMCX style IEMs I have used. A few weeks is obviously nowhere near long enough to test the claims of the manufacturer about how long the connectors will last, but initial impressions definitely don’t give me any cause to doubt Campfire’s marketing copy here.
 
When mentioning build and ergonomics, the Silver Litz cable included as standard with the Vega is befitting of a top of the line product, and is also sold as a standalone item on the ALO Audio site for $149, which should give you some indication of the comparative quality. When looking at IEMs in this price bracket, some may feel the need to break out a more expensive “upgrade” cable to get the most out of the sonic capabilities – I am neither a believer or disbeliever when it comes to cable theory, and don’t have any more expensive MMCX cables in my inventory to try with the Vega, but in terms of quality and sound I am certainly not left with the feeling that these NEED upgrading out of the box to unlock the potential in the IEMs. The only gripes I have are with the memory wire portions around the ears, which I always feel don’t play brilliantly with the rotating connection offered by an MMCX connector, and the L-shaped plug at the end. While the L-plug is a nice and sturdy example of this type of connector, I find the pin just slightly too short to fit comfortably into the audio jack of my phone with a thick third party phone cover fitted, due to the circumference of the connector housing where it meets the pin – one possible area for improvement in an otherwise excellent design.
 
Overall, the unusual metallic build, ergonomic and light shape and excellent cable give a very strong impression of quality – a pretty good start.
 

 
Sound quality
 
Test gear:
LG G5 (with HiFi Plus 32-bit Sabre DAC add-on)
Hifiman Supermini
Fiio X7 (with AM2 module)
Microsoft Surface Pro 2 (straight from the output jack) and with iFi iCan SE
 
Test tracks (mainly 320kbps MP3 or FLAC/Tidal HiFi):
Nathaniel Rateliff & The Night Sweats – S.O.B. / Wasting Time
Blackberry Smoke – The Whipporwill (album)
Slash – Shadow Life / Bad Rain (my reference tracks for bass impact and attack, guitar “crunch”)
James Bay – The Chaos & The Calm
Sister Hazel – Hello, It’s Me (bass tone)
Chris Stapleton – Whiskey And You
Elvis – various
Leon Bridges – Coming Home (album)
Foy Vance – The Wild Swan
Daft Punk – Random Access Memories (album)
Aerosmith – The Definitive Aerosmith
Mavis Staples – Livin’ On A High Note
Twin Atlantic – The Great Divide / GLA
The Darkness – Permission To Land
Led Zeppelin – Mothership
Shawn Mullins – Soul’s Core
Sammy Hagar & The Circle – At Your Convenience (live album for audience sounds)
 

 
General impressions on the sound signature
 
When you think of a TOTL earphone, you imagine something with crystal clarity, endless extension and great grasp of detail and timing. One thing you don’t necessarily imagine coming with that TOTL tag is enough bass to blow a hole in the side of your head the size of Kanye West’s ego. If the thought of that offends you, feel free to stop reading now – the Vega is one seriously bass-capable IEM, with enough low end grunt to satisfy most basshead listeners. It is also an IEM for fans of a forward and vocal-centric midrange, to keep the mid-kids happy. Treble junkie? The Vega has you covered there as well, with a sweet and crunchy top end that doesn’t shy away from being crisp when it needs to be and clear when it doesn’t. Confused? I was – the tuning on offer here seems to be forward in all three categories (to my ears anyway), with more bass than you ever thought you could need but which never clouds or warms the song unnecessarily and always stays clear of fraternising with the mid-range. It has a clear and emotionally charged vocal delivery and instrument portrayal that has bags of definition and detail, topped off with a smooth but extended and highly detailed upper frequency response, with no audible roll-off or tapering.
 
The team at Campfire have managed all this with one unusual single dynamic driver, bringing what would normally be the defining characteristic of three completely different headphones together to form one overall signature that feels forward in all ranges but doesn’t crowd the listener or the stage, and still manages to be balanced while doing it. Reading the above, the Vega should probably fit into the “neutral” bracket, but it just doesn’t feel right for something with this much bass and mid-range punch for that tag to apply. In short, this tuning is not quite like anything I have heard before, and is very skilfully done to bring the best out of all parts of the sonic spectrum you are listening to in order to achieve a musical balance that is quite addictive. Kudos to Ken Ball and his team in Portland for that – no small feat, but a very welcome one.
 
 

 
Highs
 
Starting with the highs, the Vega produces a clear and strong treble with goof note weight and great extension through the usual listening ranges. It isn’t overly “sparkly” compared to some all-BA IEMs I have heard, but doesn’t roll off through the spectrum, presenting the high notes with crispness and authority. In terms of airiness, it presents a nice sense of space between each instrument, but doesn’t feel overly “airy” as such (if you can understand the difference). I think of a typically airy IEM as creating the sound in my ears as if I was listening to it in a massive auditorium, where you are aware of the walls being very very far away. With the Vega, you can hear the gaps between each note, but the feel is more like you are standing in a concert played in an open field, where the notes drift off into the space rather than echoing back off a distant surface. Make sense? No? Well, tough – that’s the way it sounds to me anyway.
 
Moving back to less ethereal comparisons, playing some of my usual comparison tracks through the Vega yielded some unsurprising results. “Starlight” by Slash and Myles Kennedy was first up, the helium-infused vocals reaching up into the stratosphere with a thickness that I don’t usually hear, squeezing every drop of treble out of Kennedy’s vocal delivery without adding any grain or harshness. The dissonant guitar opening is always a good indicator of how an IEM handles treble in my “uncomfort” zone, but again, this sounds thick and full, delivering the highs with a level of detail and substance that is again unusual for me. Going on a final hunt for sibilance, “Whiskey And You” by Chris Stapleton again failed to turn up any unpleasantness, the booze-fuelled song (about booze) sounding raw and gravelly, without sandpapering my delicate eardrums as Stapleton’s voice practically chainsaws its way through the second chorus. Delivering texture without harshness is a difficult trick to pull off, but the Vega has it in spades here.
 
Switching to percussion, cymbals and other metallic instruments sound crisp and very realistic, shimmering just long enough in the ear to leave a sense of presence without sounding too tizzy or dominating the upper echelons of the music. Listening to the Adiemus collaboration, the mix of chimes, flutes and other high stringed instrumentation used sound crystal clear and positively glow against the audio background, cutting through the track without sounding hot or over-emphasised. In fact, this tuning reminds me of the clarity and lack of distortion achieved by the Audioquest Nighthawks, but with an added dose of presence and crispness that really sets it a notch above in my ears. Treble is always defined, never too aggressive or overdone and just right for my personal sonic preferences. A very good start.
 

 
Mids
 
Drifting down from the treble, the midrange is clean, crisp and energetic, with a forward vocal presentation. Voices are rendered with excellent detail, the responsiveness of the driver allowing a real sense of feeling to come through when listening to more heartfelt tracks, and raising the hairs on my arm on more than one occasion with a phrase or inflection from the singer that really caught my ear. Quantifying how the IEM captures “emotion” is something I am certainly not qualified to do, but much like the soul, it is something I believe is there in music, whether we can see it on not – the Vega are certainly more adept than most at exposing it to the metaphorical light. Listening to “And The Grass Won’t Pay No Mind” by Elvis and the Royal Philharmonic, Presley’s soft crooning explodes with real angst when the strained chorus kicks into life, making you believe in the words he is singing and seeming to convey what the singer was thinking as he pronounces the words. “You’ve Lost That Loving Feeling” from the same album showcases the same vocal prowess, with the huge bassline (yes, you heard that right – check the track out) never encroaching on another impassioned vocal, blending together perfectly with the gospel style backing chorus to give the impression of actually being at a live performance, the sound surrounding the air around you and lifting you up into the heart of the song.
Strings and other orchestral instruments are handled beautifully by the Vega, with the soaring string into to “Burning Love” from the same album building into the body of the song with authority, each violin and cello singing out clearly around the vocals and bass, with plenty of texture and definition. More traditional orchestral music also sounds great – playing the first Adiemus album by the composer Karl Jenkins is an enthralling experience, the strings sounding rich and delicate at the same time, complementing the lilting harmonies of Miriam Stockley drifting through the track and captivating the attention with the beautiful phrasing of Jenkins’ imaginary language all the songs are sung in. This album really highlights the capability of the Vega to marry the epic bass substance of the timpani and drums with clear and crystalline flute and vocal lines, the mid range and treble acting like a cooling splash of water on the ears over the rumble of the world-music inspired rhythms while still remaining coherent.
 
Switching up to more traditional rock fare, the jangling guitars of “What Do You Do To Me” by Don Broco ring out clearly, the sound of fingers sliding up and down the fretboard on the nylon-stringed Spanish guitar refrain melding into the sound without causing distraction, and not diverting attention from the more crushing riffs that kick in when the chorus appears, the heavyweight midrange (bolstered by the outstanding heft of the bass performance and the clear and solid treble foundation sitting above it) really adding crunch to the guitar work. Putting some Slash through its paces again, “Shadow Life” and “World On Fire” both absolutely roar with this IEM, the quick downtuned rhythm of the former firing through the musical foreground, thick slabs of riff landing one after the other like blows in a heavyweight world title fight and being shrugged off just as quickly. The combination of weight and note speed is something that really shows up on more complex or intricate tracks, and makes the Vega an excellent IEM for fans of rock or metal, allowing the songs to have some of the “turned up to 11” wall of noise of a Motorhead amp-stack while still retaining the definition and clarity of a piece of chamber music, never veering towards congestion or muddiness. A perfect example of this is “Everybody Knows She’s Mine” by Blackberry Smoke – the opening guitar sounds thick and honky-tonk meaty, with the acoustic riff that kicks in over the top being crisply layered on top of the chunky bar room blues riffing and capturing just as much attention in the ear as the thicker slabs of sound it is sitting on. That isn’t to say that the Vega can’t do delicate, with the subtle guitar noodling of “Noam Chomsky” by Foy Vance playing off against the subdued horn section and the jazz style stand-up bass throughout the song without feeling overpowered by the other instruments or Vance’s gravelly roar of a voice.
 
Piano and synth are unsurprisingly dealt with in a similar manner to guitar, with a realistic timbre and tone, making any piano-based electronica absolutely sing. Kicking “Go” by The Chemical Brothers into high gear, the presentation is crisp, clear and captivating, with the euphoric chorus being done full justice by the delivery of the Vega’s driver. In truth, there is very little the Vega doesn’t excel at in the midrange, with texture and micro-detail being presented alongside energy and emotion to provide an almost perfect package. I say almost – the presentation of the mids is always engaging, sometimes so much that it can seem a little too forward for more relaxed or acoustic songs, dragging you fully into the music rather than let you float alongside it with your brain in low gear. It is a small nit to pick, but in much the same way you probably wouldn’t go to a live gig to relax with your head on a pillow, the Vega can have that same effect sometimes.
 

 
Bass
 
As a former owner of the Aurisonics ASG-2.5, I am pretty familiar with sticking an IEM in my ears that could probably turn my brain into soup and vibrate my fillings out of my head. I certainly never expected to be hearing the same level of bass authority (and sheer volume) from something being talked about as a “Top Of The Line” contender among the current batch of flagship universal IEMs on the market. The bass will probably be the most divisive (and perversely the most enjoyable) thing that people discuss when talking about the Vega as a “TOTL” in-ear (where mega-bass doesn’t usually get considered as a true audiophile tuning trait) – it is powerful, physical, rumbles like an elephant with indigestion and slams like a WWE wrestler. It extends down to a very believable 5Hz threshold, and holds equally strong as it rises from the deepest sub-bass to the top end of the mid-bass, avoiding the dreaded mid-bass “thumb” that can dominate the lower end of some tunings. All this is achieved without the bass bleeding into the midrange or dominating the sound, which is the real trick here – IEMs with this sort of bass artillery don’t usually feel so well balanced, with the mid-range and treble holding ground easily against the onslaught from the 8.5mm of uncrystallised diamond that Campfire have sprinkled onto the driver diaphragm. This alone makes the signature unusual, allowing the rest of the frequency range to provide the detail and sparkle, served up with a steaming heap of bass to wash it down with.
 
In terms of texture, the driver technology provides a richly detailed lower end soundscape, sharply defining each note in the listener’s ear and blending the rasping vibrations of the bass guitar notes into the overall smoothness of the delivery to add substance and a physical dimension to the musical foundation. Listening to “September In Seattle” by Shawn Mullins, the honky-tonk style bassline bounces around the track, thickening out the sound nicely without drowning out the subtle crooning of Mullins or the gospel chorus. Switching to “Bad Rain” by Slash, the familiar rasp of the bass guitar gives the song a thick, raw feeling of menace, playing beautifully against the main guitar riff and blending with the thudding impact of the drums to give a sense of fullness to the notes that feels almost palpable. My other favourite for bass texture is “Hello, It’s Me” by Sister Hazel, which is a great mixture of texture and smoothness when done right. The Vega certainly have no issue “doing it right”, with the vibration of the bass guitar strings feeling so clear you can almost picture them in your head as the plectrum hits them, tickling the outer edges of your eardrum as the smooth and velvety bassline slowly fills the space around the instruments with the riff that drives the song along.
 
Flipping genres to electronica, “Nobody To Love” by Sigma highlights the sub-bass chops on display, with the occasionally anaemic sounding track taking on a real sense of life and impact with the thrumming sub-bass foundation underpinning the main piano refrain and adding a good sense of punch to the drums. “Heaven” by Emile Sande gets the same sort of treatment, the opening hum of sub-sound feeling like a passing juggernaut on the road as the rumble builds in your ears. It truly is very difficult to describe the bass the Vega produces without resorting to various clichés or hyperbole, but for once, the bass just is THAT good that only the well-worn superlatives will apply. It is super-quick, defined, never sloppy, textured and so well done that it just seems to bring each track to life without over-cooking it or drowning it in bass. There is more bass presence here than fans of a neutral or lean sound will be used to (or indeed look for in an IEM) so this may not be the holy grail for everyone, but the speed and definition produced by the driver manage to keep the bass under control so well that I suspect even fans of more “audiophile” tunings like the HD800 could be beguiled by the power and majesty on display here. Again, hyperbole, but again, probably true.
 
In summary, when taken in context with the rest of the frequency range, this IEM has the best bass I have heard, beating the ASG-2.5 and the Cardas A8 for speed, texture and just sheer enjoyability. I freely admit I haven’t heard many IEMs in this price bracket, so please take my views with the obligatory pinch of salt, but this is truly a great piece of tuning by Ken and his team, and brings a welcome does of bass-driven musicality to the TOTL table.
 

 
Soundstage/separation
 
Soundstage is an “out of head” experience, not huge by any means but pushing outwards from the ears by a small margin in all directions, and being more spherical than oval when listening for front to back stage depth. The solidity of the musical presentation is suited by the size of the staging, or possibly even defined by it, with the whole soundscape feeling quite “real” and solid (a common theme), and varying in size depending on the recording. Fans of an arena-sized sound may not be impressed by the comparative “smallness” of the Vega on some tracks, but the organic nature of the sound more than makes up for that for me. Separation is top notch, with the diamond driver providing layer after layer of cleanly defined notes, stacking them like a world champion Tetris player in perfect order in your ears, allowing you to pull apart any strand of the music you want to concentrate on with ease. The driver also copes easily with complex passages of music, packing a Tardis-like amount of information into the sound in some more orchestral passages from bands like Nightwish without sign of strain or congestion.
 

 
Tip and cable choice
 
The recommendation from the Campfire Audio founder Ken Ball is to run these IEMs with foam ear-tips, and like with the Lyra II, after trying various other configurations (single flange silicone, SpinFit and other assorted goodies from my tip collection), I have come to the unsurprising conclusion that he knows what he is talking about. The overall sound and comfort offered by the included foam tips seems just about right for my personal tastes and ear anatomy, so for once there has been no need to resort to external help (not even Comply tips added anything major to the seal). A close second is a hybrid tip from Trinity Audio (the Kombi), which adds a little in treble sharpness to the mix while retaining the same basic overall signature due to the foam / silicon mix. Close, but not quite as  enjoyable as the foams for me. The cable is a similar story as the foamies, being of sufficient quality for me not to think about resorting to a third-party solution. In the interest of “science”, I have run these balanced using a cheap Fiio balanced cable I have from the Hifiman Supermini, but the difference wasn’t drastic enough for me to be audibly worth it from that source, as the single ended output was able to drive them sufficiently loud with its high voltage output – I may retest this if I get a balanced amp section for my Fiio X7 at some point, however, to see if a more powerful balanced out makes any difference.
 

 
Power requirements
 
The specs on the Campfire Audio website indicate that these should be reasonably easy IEMs to drive, and I haven’t had any issues with that in practice. As with the Lyra II, my comfortable listening volume sitting just above the half way mark on my LG G5 and in the 50s on the Fiio X7 (AM2, low gain). The diamonds used in the driver coating do seem to glitter with some extra power behind them, so where possible I run them from the Hifiman Supermini (with its powerful single-ended output) or in high gain and slightly lower volume setting on the Fiio X7. As you would imagine, the technical capabilities of this IEM really benefit from a decent source chain, so they will definitely scale with the capabilities of your DAP or amp if given the chance. Playing these through my LG G5 (without the HiFiPlus module) is still a great sounding combination, but just serves to remind me what the gear is capable of when driven properly.
 

 
Comparisons
 
Astell & Kern / Beyerdynamic AKT8IE – this is another bassy single dynamic driver I have recently acquired, based around a miniature version of Beyerdynamic’s reknowned Tesla driver technology and sitting in the TOTL bracket for dynamic drivers at time of writing. This is the “Mark 1” version of the IEM, which is purported by some so be slightly more bassy than the latest “Mark 2” revision, just for clarity. Original retail for the Mk1 was around the $1000 mark, although these can now be had cheaper on the second hand market (like mine). In terms of presentation, the Astell & Kern packaging is definitely a high-end affair, with a large multi-sectioned hardboard box and multiple areas to unbox, compared to the slick but minimalist approach of Campfire. If packaging matters, the AKT8IE will definitely turn more heads than the unassuming Campfire box. Moving on to the build and ergonomics, the AKT8IE is made out of an unspecified material that looks like a cross between metal and ceramic (and is probably neither) – they are a “concha-fit” style IEM, so are designed to fit in the outer bowl of the ear rather than inserting further in. For my own physiology, they provide a shallow but secure fit, and are actually more comfortable than the Vega in that aspect, but do provide less isolation as a result. Moving through to the sound, the AKT8IE is a more laid back tuning than the Vega, with a slightly less present but warmer sounding bass and less treble energy in comparison. Starting with the bass, the AKT8IE is no slouch, providing a good amount of mid and sub-bass, with the weighting slightly more towards the lower end of the midbass to my ears compared to the more even bass throughout the spectrum on the Vega. The bass feels softer and less crisply defined than the Vega, still far from sloppy but feeling less nimble on more uptempo tracks in direct comparison and exhibiting slightly less physical “slam” or viscerality. It can also sometimes feel like it is starting to overshadow the lower midrange on particularly bassy tracks, where the Vega stays more clearly defined and never feels like it is crowding or colouring the track. Moving through to the mids, the AKT8IE feels roughly similar to the Vega, roughly the same in terms of forward positioning on most tracks but slightly less thick in overall note weight, leaving the notes sounding a little more delicate and fragile. Both IEMs are very good at conveying emotion in a vocal track, but the Vega take a slight edge here, with an additional layer of crispness to the vocal delivery that engages the listener more than the softer and more laid back delivery from the AKT8IE. Detail levels are too close to call, with the AKT8IE presenting high levels of detail with the right source, but layering them further back in the background of the soundscape, whereas the Vega extracts every detail from a track and lays them out a little more openly for the listener to appreciate. Treble tuning is where these two IEMs diverge, with the AKT8IE exhibiting a more laid back and almost rolled off sounding higher end (it isn’t, with a stated top end extension of 48 kHz), compared to the crisper and more present signature of the Vega. The lower emphasis on treble for the Beyerdynamic / A&K product allows a more relaxing and laid back feel to the music, and actually manages to give a greater sense of air with the high range it does produce due to the excellent actual extension, rather than the perceived extension (for me, anyway). In terms of power, the Vega requires slightly less volume steps on my various pieces of gear to produce the same volume as the A&K/Beyerdynamic collaboration. In summary, both IEMs provide a bassy and emotional sound, with the Vega sounding crisper and more energetic, with more presence up top and a more balanced sound. The AKT8IE gives a slightly thinner feeling midrange and more delicate but less prominent treble, leaving it sounding more soothing with acoustic music and less energetic tracks but losing out to the lively and more forward and balanced overall sound on the Vega. The differences stated above are all small, and both IEMs are at the summit of the in-ear monitors I have heard to date in terms of clarity and overall presentation of the music, and would both find a use from me for different types of music. Personally, if I had to choose just one, I would plump for the Vega, with the more engaging sound and slightly more emotional vocal delivery winning for me over the laid-back beauty of the AKT8IE. These are fine margins, however, and both IEMs certainly produce a sound that will keep the listener enthralled with the right source and music. One point to note – I compared the AKT8IE using a spare Campfire Audio SPC Litz cable from the Lyra II review I have just finished. This appears to me to bring slightly more out of the IEM than the stock cable in terms of treble, but that is just a perception rather than a measured fact – in either case, the comparisons above are based on using this cable on both IEMs.
 
Campfire Audio Dorado – this is another new IEM from Campfire Audio, sitting just below the Andromeda in their pricing structure at $999. It is the only hybrid IEM currently on offer in their lineup, utilising the same 8.5mm beryllium dynamic driver from the Lyra II in conjunction with the dual high-frequency balanced armature drivers used in the Jupiter and Andromeda. In terms of signature, the Dorado is more of a traditional V or W shape than the Vega, with a relatively more laid back mid range, a thick bass and great airy treble. The only thing stopping it from being a traditional V shaped tuning is a lift in the vocal region which brings the vocals further forward. In comparison to the Vega, the bass feels a little more boosted in comparison to the lower midrange, giving a bassier “feel”, even if the volume of output is actually pretty similar. The bass descends just as deep as the Vega, but feels a little boomier in direct comparison, losing out slightly to the technical prowess and snappiness of the diamond driver in the Vega. Moving through to the mids, there is a more laid back feel to guitar and instrumentation, sitting a little further back in the sound compared to the vocals, which have been brought forward to almost mirror the Vega’s forward style, sitting just a shade further back overall. In direct comparison, the lower and higher midrange don’t sound as thick or textured as the Vega, tailing off on either end of the vocals and leaning more towards the “V” shaped landscape familiar to most audiophiles. Moving on to the treble, the Dorado has an airier and more “sparkly” feeling treble, the dual-BA tweeters taking up most of the workload in tandem with Campfire’s patented TAEC technology (Tuned Acoustic Expansion Chamber) to provide an airier sound to the high notes, with a good feeling of space. It loses out a bit on note weight in the higher range as a result, but for fans of a more traditional BA style high end tuning, this may appeal more than the more grounded and solid feeling treble of the Vega, with more of a sense of “fizz” to proceedings. In terms of driving power, the Dorado are easier to drive than the Vega, but only by a small amount (probably due to the comparative bass “boost”. Overall, the Dorado provide a more “fun” and V/W shaped tuning, pushing bass and treble more to the forefront, and losing a bit of richness in the midrange as a result. Both are definitely up there in term of overall signature, with the Vega just edging it for me personally due to its better balance and richer sounding mid-range, with slightly better micro-detailing apparent through the middle of the sonic spectrum as well. For fans of a crisper and less rich sound or an airier high-end, the Dorado may well prove to be the sleeper hit of the new Campfire range, however, and rightly deserves to be talked about in a similar bracket to the Vega purely on technical achievement. The only area where there is clear daylight between the two models for me is fit, with the Dorado’s giraffe-like stems causing my very wide but apparently not incredibly deep ear canals a bot more difficulty getting a good seal then the more ergonomic barrel design of the Vega.
 
Campfire Audio Lyra II – the Lyra II is the “other” new dynamic driver IEM in the 2016 Campfire Audio range, priced at just over half the Vega’s  total cost at $699 and sharing the name and housing shape with its predecessor the Lyra, the original dynamic driver offering from the campfire stable. It shares an identically shaped housing and also uses a single 8.5mm dynamic driver like the Vega, but uses a beryllium driver rather than the more exotic diamond driver in the flagship model, which contributes the only major difference to these two pairs of IEMs. So, is the price difference of $600 worth it? Looking at the bass frequencies first, there is a notable difference between the Vega and Lyra II, with the Vega producing considerably more bass than the Lyra II, with more emphasised sub-bass and a tighter overall delivery (not by much, however). The Vega just has the edge in terms of speed as well, compared to the textured and thick but comparatively more laid back bass on the Lyra II. Switching to mids, both IEMs are well matched in terms of emotion, with the Vega just adding an extra layer of micro-detail and expression to the sound – the difference is more subtle than vast, but the slightly more energetic signature is more engaging (I find it “pulls” me into the song more), but as a result it loses some of the soothing nature of the silky midrange on the Lyra II. Put simply, the Lyra II is an IEM you can relax with, the Vega is an IEM that gets your pulse racing. Highs are definitively more forward on the Vega – it is actually rated slightly lower in terms of “final” extension, topping out at 22kHz, but the treble isn’t pushed back into the soundscape like the Lyra II, which shares a similar level of forwardness in the bass and midranges but scales back the treble to provide a smooth and less emphasised top end. As a result, music that relies on cymbals and other percussion sounds crisper on the Vega, and it brings an extra layer of crunch to guitar heavy music over the similarly weighty Lyra II. Micro-details and dynamics are noticeably better on the Vega (although again, the margins we are talking about are small rather than glaring), and the separation and layering is noticeably better on some tracks, the “wall of sound” carrying more positional detail as it smashes you with music. Listening to “Freak On A Leash” by Korn gives a good example of the difference between the two IEMs, with the Lyra II handling the drop at the 2 and a half minute mark with aplomb, but the Vega managing to keep pace with the Lyra II and making the hairs on my arms stand up every time. Finally, the Vega appears to be easier to drive than the Lyra II from all of my sources.
 

 
Overall conclusions
 
Being honest, when I got the chance to listen to the Vega, I wasn’t sure if the jump from mid-fi to a true “TOTL” contender would be worth the increased price tag over something like the Lyra II (which at $699 is already in a price bracket that most non-audiophiles would consider crazy for a pair of in-ear headphones). Add to that the universal law of diminishing returns and my natural scepticism over anything that gathers as much hype as is currently surrounding the Vega, and I was almost hoping for this to be an unimpressive but competent listen, so I could pat my wallet with a sigh of relief and carry on as I was, blissful in the knowledge that the extra cash outlay wasn’t worth it for the marginal imrovements. Sadly for my wallet (and future listening habits), the Vega has taken a shiny Liquidmetal hammer to my preconceptions, and produced hands down the best sound I have heard so far from an in-ear monitor. Is it perfect? Not if you consider perfect to mean “everything to everybody” – it will have too much bass for some, not enough sparkle or extreme treble for others, and the midrange will be too thick or too forward for certain people. For the vast majority, the musical balancing act that Campfire Audio have pulled off with their new shell and driver technology is something that will get close enough to perfect to make them happy, and bring a sense of life and joy to their music collections that is sometimes breathtaking. Could I ask for anything to be done differently? In all honesty, yes – the beautiful energy of the Vega doesn’t suit every single type of music, and can sometimes make relaxing into a song harder than with other high-end IEMs I have been using recently like the Lyra II or the AKT8IE. That is a small price to pay for something so compelling and musical, though – hype or not, this is a great example of a top of the line sound in a top of the line casing, and if the rest of the TOTL bracket sounds like this, I can finally understand why so many Head-Fi’ers are now poor. In summary – stellar bass, detailed and emotionally involving midrange and crystal clear treble, all in the same IEM. Truly a package worthy of its flagship status, and just a great sounding headphone. In the words of the firm themselves: Nicely Done.

 

 
Campfire Audio Lyra II – initial impressions
 
When I first started writing reviews on this site, it was as a way of trying to pull the thoughts running through my head about the gear I was listening to and try to make some order out of them, as much for my benefit as for anyone reading them. For me, trying to understand what I like and dislike about something as primal and emotional as music is a lot more difficult that it first seems. If someone asks me what my favourite meat is, I would say chicken, but if someone asked me why I liked chicken, trying to describe the flavour without saying “it tastes like chicken” I actually find pretty tough. When I first heard the Nova from Campfire Audio, it took me a while to describe the sound, but what I liked about the sound came a lot more easily – the unique almost vinyl-esque tuning drew my attention into the music, rather than how it was making it, and gave me a real appreciation of the tuning expertise that was used to make it sound so “real”. Fast forward a few more months, and after a few random PM exchanges with Ken Ball @ Campfire Audio, I have been very lucky to get the chance to hear the three newest models from their IEM range (the Lyra II, the Dorado and the Vega). Given the positive press their previous flagship the Andromeda has garnered  and my previous experience with the Nova, I was very interested to hear the sort of tuning the Campfire team could come up with using their new liquid metal housings and bespoke dynamic driver arrangements, and whether they could address some of the personal issues I had with the Nova’s signature without losing that unique feel to their “house” sound. First up, the Lyra II.
 
Disclaimer – the Lyra II were provided to me free of charge by Campfire Audio on a loaner basis for the duration of this review solely for the purpose of listening and writing up my honest and unbiased impressions. If I want to keep them afterwards, I will need to purchase them off Campfire Audio (at time of publishing, I am seriously considering it).
 
About me: been into music since I was old enough to walk, and now been into the audio gear scene for a couple of years. I’m in my late 30s, a long time rock music fan and aspiring to be a reasonably inept drummer. Listen to at least 2 hours of music a day on my commute to work – prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. Converted most of my library to FLAC and 320kbps MP3, and do most of my other listening through Spotify or Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body to it. Please take all views expressed below with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story.
 

 
Tech specs
 
Frequency – 10 Hz to 28 kHz
Sensitivity – 102 dB SPL/mW
Impedance – 17 Ohms @ 1kHz
Driver – single 8.5mm Beryllium PVD driver
Housing – Liquidmetal alloy
Connection type – MMCX
 

 
Unboxing
 
The Lyra II follows the usual Campfire Audio presentation style, coming in a small box just marginally bigger than the hard leather carry case it contains. The box is a dark burgundy colour, with silver constellations patterned on the outside and a nice picture of the IEMs on the front. There is also a brief description of the technology inside and the Campfire branding, but no major graphs or specifications. The box opens up to show a nice black leather carry case inside, with the usual Campfire Audio embossed logo and zippered closure. Removing the carry case, there is a false floor on the box, underneath which the various loadout of eartips (foam, silicon and Spinfit in various sizes) and a Campfire Audio pin are nestled, along with a cleaning tool, warranty card and small booklet with more technical information on your purchase and instructions on how to use them for those people unfamiliar with operating high tech ear-gear. Opening the carry case completes the gear list, containing the IEMs and silver litz cable, some Velcro cable ties and two small velour bags to keep the heads of the IEMs from clunking into each other when they are stored, all nestled in the fluffy fake wool interior of the case.
 
The accessory package is simple but comprehensive, with the beautifully designed carry case and the well thought out cable and tip selection giving a premium feel to proceedings, proving that you don’t need to inundate the buyer with technical data or hundreds of add-ons in order to give a high-end unboxing experience. The small footprint of the outer packaging also has more practical use, as it makes it far easier to store than the usual foam filled presentation boxes you tend to get with other IEMs in this sort of price bracket.
 

 
Build quality and ergonomics
 
The Lyra was the first dynamic driver IEM produced by Campfire Audio, and came with a unique ceramic housing (as opposed to the machined aluminium used on the other items from their original lineup). For the sequel, the Portland-based manufacturer have decided to go with a Liquidmetal™ alloy housing, maintaining the smoothed off curves of the original Lyra, but reducing the size and weight compared to the aluminium models considerably.
 
The use of Liquidmetal is an interesting but logical choice for the high-end IEM market – the substance is actually an amorphous alloy rather than a literal “liquid metal” (such as Mercury), but it brings various qualities to the table that normal metal shells find difficult to match. It is lighter and stronger than titanium, extremely durable and resistant to both corrosion and wear and has a glass-like melting point due to its densely packed atomic structure that allows it to be moulded almost like plastic while hot. For a company known for its finely honed internal tuning structures and excellent shell designs, this is a logical evolution, allowing production of high volumes of complex casings with greater ease than traditional metals. In practice, the shells are light, very strong and fit beautifully in the ear, giving the feel of a piece of machinery designed to last.
 
Campfire Audio also deviate from the norm with the connectors, using a standard MMCX style socket but bolstering the connection points with a custom beryllium copper fixing, which they claim is more robust than the usual brass connectors found on most IEMs. This should lead to increased longevity of the connector over multiple cable connections and disconnections. In use, the cable clicks into the housing with a very solid sounding thud, and seems to be pretty locked in, with less play or wobble than most other MMCX style IEMs I have used. A few weeks is obviously nowhere near long enough to test the claims of the manufacturer about how long the connectors will last, but initial impressions definitely don’t give me any cause to doubt Campfire’s marketing copy here.
 
When mentioning build and ergonomics, the Silver Litz cable included as standard with the Lyra II is definitely worthy of mention, with a quality of build and design that goes above the usual “standard CIEM” style cables included with most IEMs. The cable is sold as a standalone item on the ALO Audio site for $149, so this should give you some indication of the overall quality – while some may feel the need to break out a more expensive “upgrade” cable to complement an IEM in this price bracket, the tightly braided and minimally microphonic cable definitely makes that more of a “nice to have” than an absolute necessity. The only gripes I have are with the memory wire portions around the ears, which I always feel don’t play brilliantly with the rotating connection offered by an MMCX connector, and the L-shaped plug at the end. While the L-plug is a nice and sturdy example of this type of connector, I find the pin just slightly too short to fit comfortably into the audio jack of my phone with a thick third party phone cover fitted, due to the circumference of the connector housing where it meets the pin – one possible area for improvement in an otherwise excellent design.
Overall, the unusual metallic build, ergonomic and light shape and excellent cable give a very strong impression of quality – a pretty good start.
 

 
Sound quality
 
Test gear:
LG G5 (with HiFi Plus 32-bit Sabre DAC add-on)
Hifiman Supermini
Fiio X7 (with AM2 module)
Microsoft Surface Pro 2 (straight from the output jack) and with iFi iCan SE
Test tracks (mainly 320kbps MP3 or FLAC/Tidal HiFi):
Nathaniel Rateliff & The Night Sweats – S.O.B. / Wasting Time
Blackberry Smoke – The Whipporwill (album)
Slash – Shadow Life / Bad Rain (my reference tracks for bass impact and attack, guitar “crunch”)
Otis Redding – Sitting On The Dock Of The Bay (vocal tone)
Sister Hazel – Hello, It’s Me (bass tone)
Chris Stapleton – Whiskey And You
Elvis – various
Leon Bridges – Coming Home (album)
Foy Vance – The Wild Swan
Daft Punk – Random Access Memories (album)
Aerosmith – The Definitive Aerosmith
Mavis Staples – Livin’ On A High Note
Twin Atlantic – The Great Divide / GLA
The Darkness – Permission To Land
Led Zeppelin – Mothership
Shawn Mullins – Soul’s Core
Sammy Hagar & The Circle – At Your Convenience (live album for audience sounds)
 

 
General impressions on the sound signature
 
The original Lyra was widely touted as a very bassy and not particularly bright earphone, but with the Vega taking the top slot in the current Campfire Audio lineup for the bassy dynamic driver sound, where exactly does the Lyra II fit? It actually fits very nicely alongside the Vega in the range, with a warm smooth sound, sporting a less emphasised treble and a clear and engaging tonality. It is surprisingly well balanced, with a nice thickness to the bass, an intimate and emotive vocal presentation and excellent separation and layering through the midrange into the lower treble. In terms of extension the Lyra II actually does stretch reasonably well into the upper treble with a nominal top end around 28kHz, but with comparatively less emphasis on this element of the spectrum than the midrange or bass, the highs can come across as a little smooth or rolled off at times. The technical capability of the Beryllium PVD driver keeps the sound feeling very coherent and full throughout, giving a good level of impact and weight to more uptempo songs and a great smokiness and clarity to vocal delivery. Overall, above neutral bass, forward mids and a smooth clear treble – these IEMs are actually reminiscent of one of my favourite pair of over-ear ‘phones, the Audioquest Nighthawk. The ‘Hawks are a slightly polarising headphone, but for those who have heard (and like) that signature, that should be endorsement enough, and should explain my generally positive comments below.
 

 
Highs
 
The treble is arguably the weakest area of the frequency response on these IEMs, and certainly won’t be the “go to” tuning for people looking for Grado or HD800 style “sizzle” in the top end. For me, the treble is beautifully presented and sits just inside my personal preference for a darker but still crystal clear and uncrowded top end. Cymbals fizz but die away quite quickly, with hi-hat and other metallic percussion still audibly present in a track but sitting more into the background of the sound than front and centre at the top of the soundstage. Starting with my sibilance/screechiness testers, “Whiskey and You” by Chris Stapleton has enough of the usual harshness of the vocal delivery to sound like the same song, but is smooth and rounded enough to slide smoothly through my earholes down into the brain without disturbing any of the audio furniture along the way. “Starlight” by Slash and Myles Kennedy sounds as helium-filled and rapier-like as usual, but again steers clearly away from any shrillness in the sound and presents Kennedy’s falsetto with authority and weight. I suspect the only way you could find sibilance with this IEM would be with an audio magnifying glass and some truly awful experimental opera consisting of fat people screaming the letter “S” over and over again – certainly nothing in my music collection has ever come close.
 
The overall treble signature is slightly recessed compared to the mids and bass, but is smooth and has a nice level of clarity – to think of a suitable analogy, it carries the same sort of clean and clear sound as ringing a bell, rather than the screaming wail of a rock guitar. The overall note weight in the highs (something I was a fan of on another recent IEM I have heard, the IT03) is substantial here, with a solidity that I personally prefer over the more traditional “sparkle” that people sometimes refer to. Despite the lack of high treble emphasis, the sound is still reasonably spacious – this doesn’t give a huge amount of air to most recordings, but the higher ranges still feel like they have room to breathe and don’t sound congested or too dark to me. Comparing to notes and less reliable audio memory of the Nova (which I no longer have in my possession), the Lyra II gives the feeling of having a little more headroom on the stage for the user to appreciate the cymbals and high notes, leaving a slightly brighter (but still not bright) impression than its metallic younger brother. Think low-ceilinged music bar rather than orchestra venue and you would be on the right lines there.
 
Despite the more muted nature of the treble, room sounds and other spatial cues are audible on the periphery of the sound – as a lot of the spatial information our ears process occurs above 16kHz, this would seem to back up the stated frequency extension on the original technical specs. Personally I haven’t tested the absolute limits of my own hearing (I am depressingly average in that regard on the sine sweeps I have previously done), but suspect due to many years of loud rock concerts it fails a fair way from the upper limit anyway.  
 
As originally stated, this won’t be ideal for people with a preference for super-crisp and sharper treble presentation, but if you are looking for something a little smoother and more laid-back which can still carry all the necessary information into your ear, the Lyra II will certainly appeal.
 

 
Mids
 
Moving into the midrange, one of the main strengths of this IEM starts to shine through – vocals. This IEM can really handle male and female vocals, bringing a beautiful smoothness and weight to the delivery without losing any of the underlying texture in raspier voice, and capturing the emotions of the singer very well. Feeding the Lyra II some Chris Stapleton, the gritty tones of his “Traveller” album sound just as raw as normal, but with an added layer of honey added to paper over the rougher edges as it hits your eardrums (I do love the album, but am of the belief that it was mixed and mastered in the middle of a building site by a deaf person using a brick). This type of slightly sweet vocal tuning can easily become cloying or syrupy, but this is very nicely implemented here, with the vocals still retaining enough bite and space to avoid getting clogged up in the rest of the sound while still retaining the trademark smoothness. Listening to Otis Redding, the reeds in his voice can still clearly be heard, but the already buttery-smooth overtones of “Try A Little Tenderness” sound like someone has taken his throat for a gentle massage just prior to hitting the recording studio. The Lyra II – the audio equivalent of cough syrup for vocalists.
 
Switching to instrumentation, guitar based fare sounds great through these IEMs, with a nice thickness to the notes and crunch to rock guitar that ticks my personal preference boxes very nicely. The sound is thickly layered here, giving the impression of a solid wall of sound coming towards you with more complex guitar tracks without getting muddy or confused. Listening to “Growing On Me” by The Darkness, the twin guitar lines drift left and right in the soundscape with a slight but discernible delay between the both (as it should be) – while the “lag” between the two competing sounds is clearer on some of my other gear (like the all-BA Vibro Aria), there is still enough separation there to fill the background of my mind with a nice sense of detail. Despite the smoothness it imparts to vocals, this is still an IEM that can deal with weighty guitar riffs without smoothing the edges. Plugging “World On Fire” by Slash into my ears, the crunching riff plows its way through the track with enough bite to keep the listener on their toes, with a slight tradeoff in the razor-cut edging to the notes that some of my other IEMs can provide being counterbalanced nicely with a greater sense of weight to the riff that has got my foot tapping as I’m writing this.
 
Trying some electronica, “Go” by The Chemical Brothers sounds good, the rhythm of the hi-hats playing well against the driving bassline without getting lost in the sound, and the euphoric synth-laden chorus sounding a little muted in comparison to the bass and midrange underpin, but still present enough to be enjoyable. Piano based tracks (both electronic and acoustic) fare better, with a nice natural timbre to the sound that sounds almost live in some instances. For lovers of electronica, these may not tick all the boxes for certain sub-genres, but still have enough overall competence to avoid me reaching for another set of IEMs if one of my favourite Prodigy tracks appears on a random playlist.
 
In terms of placement, the midrange on the Lyra II is reasonably intimate and forward, not crowding the listener too much but definitely taking a step forward compared to the more laid back treble, but not overstepping past the bass. The overall shape is a little reminiscent of the bass and vocal driven tunings Aurisonics used to be famous for, and to my ears is subtly enough done to differentiate from the “usual” V shaped offerings out there at the moment and still sound pretty damn good in the process.
 

 
Bass
 
The bass on the Lyra II is a solid, meaty affair, with a nice balance between mid-bass chocolatiness (yes, that is a word) and sub bass rumble. They play very well with stringed bass instruments, the nice extension into the deep lower registers allowing both texture and rumble to present in equal measure. In terms of extension, these are rated down to 10kHz and do seem to be reasonably bottomless, handling “Get Lucky” by Daft Punk with authority, the bass dropping right down through the spectrum without dissipating. Putting “Heaven” by Emile Sande through the mix, the sub-bass driven synth riff that kicks the song off layers very nicely into the vocals, playing off the solid and punchy boom of the bass drum to create the effect of sonic ripples running through the soundscape and add a nice level of physical substance to the tune. The playoff between drum and rumble highlights the nice balance across the bass range, with possibly slightly more mid-bass emphasis than sub, but nowhere near enough for me to hear a hump or “thumb” in the usual bass ranges typical of more V shaped tunings. In terms of overall presence, while this is still nicely balanced, there is definitely more bass than a strictly neutral offering, the bottom end sounding thick and full, but still retaining good detailing and not encroaching on the rest of the frequency spectrum.
 
Putting my two favourite bass test tracks through the Lyra II, it handles both well. “Hello, It’s Me” by Sister Hazel takes full advantage of the aforementioned chocolatiness (seriously, look it up), the fluid basslines kicking the song off with velvety smoothness and a dash of texture and rasp floating in the mix from the bass strings vibrating like chunks in a chocolate McFlurry. “Bad Rain” by Slash and Myles Kennedy is dispatched easily as well, the snarling bass riff that kicks in around the 22 second mark reaching deep and growling at the listener with real attitude, bolstered by the visceral boom of the bass drums provided by the beryllium driver to give a solid foundation for the track to really grab the listener.
 
Percussion and drum sounds definitely benefit from the fact they are being produced by a dynamic driver, with the Campfire-designed driver proving very proficient at generating a level of slam and visceral roar that can sometimes border on basshead-lite in terms of the way it moves air against my eardrum. Ironically, it’s a semi-acoustic track that really makes me feel this, with James Bay’s rendition of “FourFiveSeconds” from the BBC Live Lounge sessions album making the entire track shake with the impact of one very well recorded bass drum that underpins the gentle guitar riff running through the song. Despite the impact, the dynamic driver used here never feels slow or sluggish, and while it may lack a picosecond in terms of response compared to an all-BA setup used in similarly priced offerings from companies such as Noble, the speed is more than quick enough to handle most complex tracks with the same level of ease, with the added slam a dynamic driver can bring.
 

 
Soundstage/separation
 
The Lyra II has a decent if not huge soundstage, extending a little outside the head in both directions along the X axis and having a small but pretty much circular overall soundstage shape. Placement within that staging feels pretty accurate, with “Better Man” by Leon Bridges allowing me to place the Hammond organ in the back right of the studio and the saxophone hovering on the rear left behind the front and centre vocal. Separation is very good, but doesn’t leave the crispest impression sometimes due to the actual thickness of the notes in some passages. That being said, I have yet to find anything that make the Lyra II sound congested or smeared, so the thickness definitely adds to the overall  solidity of the signature rather than obscuring anything. Playing “Burning Love” by Elvis and the Royal Philharmonic Orchestra off their recent collaboration allows the sound to envelop the listener, with instruments jumping out on either side of the staging while still remaining part of the overall orchestral sound.
 

 
Tip and cable choice
 
The recommendation from the Campfire Audio founder Ken Ball is to run these IEMs with foam ear-tips, and after trying various other configurations (single flange silicone, SpinFit and other assorted goodies from my tip collection), I have come to the unsurprising conclusion that he knows what he is talking about. The overall sound and comfort offered by the included foam tips seems just about right for my personal tastes and ear anatomy, so for once there has been no need to resort to external help (not even Comply tips added anything major to the seal). The cable is a similar story, being of sufficient quality for me not to think about resorting to a third-party solution.
 

 
Isolation
 
​​The Lyra II is a vented dynamic driver so won't have the greatest sound blocking capability you will ever hear, but the small solid alloy shells and the solid seal provided by the foam tips in the box allow for this to be used quite comfortably on public transport or in the middle of a particularly nasty family row without much sound leaking in from the outside. Certainly enough to get you run over if you cross the road without looking with these in, so you have been warned.
 

 
Power requirements
 
The specification on the Lyra II imply they are easy to drive, and hold true in the real world, with my comfortable listening volume sitting at around 60% on my LG G5 and in the 50s on the Fiio X7 (AM2, low gain). The driver used is capable of some great dynamics so does seem to appreciate a powerful source and the benefits that can bring in that regard, but are more than capable of being driven from any of the usual mobile sources you may have to hand without any issue.
 
In terms of DAPs I have used, the Lyra II sounds good just straight from my LG G5 without HifiPlus module, but plugging it into the Hifiman Supermini and Fiio X7 really allowed the extra power and detail on tap to shine through. It won’t radically alter the sound you are hearing, but this is definitely an IEM that can scale with more powerful and resolving gear.
 

 
Comparisons
 
Vibro Labs Aria –  the Aria is a quad-armature IEM from Vibro Labs, currently priced at $499, which is a few hundred dollars cheaper than the current RRP of $699 for the Lyra II. The Aria is tuned for an unusual U-shaped sound with good extension at both ends, a decent midrange and high levels of detail. These IEMs really opened my eyes to “other” tunings apart from the standard audiophile V shape and more mid-forward IEMs I had previously been used to, and offer an interesting contrast to the Lyra II with its more organic and rolled off top end. Looking at the packaging first, the Aria comes in a more traditional CIEM style package, shipping in a clear Peli case with the Vibro Labs branding, with the IEMs and cable held safely in a laser-cut velour insert. The IEMs also come with some Comply foam tips and a standard Westone-style 2-pin cable. The Campfire packaging looks a little more premium, with slightly more in the way of accessories and a more practical but slightly less robust carrying case. Isolation and comfort are similar on both, with both fitting snugly into my ears and providing a good seal with foam tips. The Aria housings are considerably bigger than the small and light Liquidmetal housings used on the Lyra II, and sport a huge bore size, so if you have smaller ears or ear canals, the Campfire IEM may be more comfortable for longer term wear (or wear when lying down). Moving on to the music, the Lyra II has a higher overall bass presence than the Aria, specifically more thickness and traditional bass “slam” in the lower end that is more typical of the classic dynamic driver sound. In terms of low-end extension, the Lyra II surprisingly goes almost as low as the sub-bass focussed Aria, with a thicker and slightly more textured feel to the bass without losing anything in terms of detail. The speed of the dual-BA driver just about has the edge on the slightly slower feeling beryllium dynamic driver used in the Campfire product, but it doesn’t feel like a massive gap. Overall, the bass from the Lyra is more “present” in most tracks, with the greater emphasis on sub-bass leading to a cleaner and less emphasised lower end sound on the Aria. Moving to the midrange, the overall thickness felt in the bass also makes its presence felt for the Lyra II here, with a beautifully rich and textured midrange compared to the more dry but equally emotional sounding Aria. The mids on the Aria are actually more neutral than recessed, but definitely feel further backwards in the mix and leaner than the more organic and full sounding Lyra II. Treble is very different between the two IEMs, with the Lyra II sporting a clear but slightly rolled off feeling treble tuning, compared to the light and airy Aria – fans of treble extension will certainly favour the Aria here. In actual fact, for most music, the Lyra II is equally as capable of rendering clean and clear higher frequencies, but just layers them further back in the soundscape compared to the more U shaped upward slope of the Aria. In terms of texture, the Lyra II conveys plenty of substance and grit to notes, but with a thicker overall weight than the more dry sound offered by the Aria. They both convey emotion in vocals very well, with the Lyra II pulling slightly ahead due to its more emotive and forward midrange to drag plenty of raw feeling out of the sound. Separation and definition feels leaner on the Aria, but actual prowess is pretty evenly matched for both IEMs. Soundstage-wise, both are reasonably evenly matched, with neither straying too far outside the confines of the listener’s head. These are both very well tuned IEMs for someone looking for a laid back and warm vibe to their music – the Aria has an overall more dry and airy sound, compared to the meatier and more emotional performance given by the Lyra II. These are definitely horses for courses – if you like heavy rock music and singer/songwriter style acoustic guitar, the solidity of the Lyra II will be an easy recommendation, but if you prefer electronic music with a more spacious and dry sound, the Arias won’t disappoint either. For my music collection, the Lyra II works better with my main staples (and preferences), but the Aria is still something I would listen to for certain genres without any hesitation.
 
Noble 5 (universal) – I had the Noble 5 in my possession for a few weeks just prior to receiving the Lyra, so this comparison is from my review notes and general sound impressions – no direct A/B was possible unfortunately. As far as construction goes, the 5U uses the original Noble “fat coffee bean” style shell design, which is noticeably bigger and less comfortable than the super-small housing of the Campfire IEM. The accessory package is similar, with the only main differences being the hard Peli-style case and greater tip selection for the Noble compared to the less bulletproof but more pocketable Campfire carry case and smaller tip loadout. Moving on to sound, the bass on the N5 is centred more around the mid-bass region, and lacks the balance and depth of the Lyra II. The bass on the N5 isn’t bad, but the excellent tuning on the Campfire rounds out the bass more to my liking than the heavy mid-bass “thumb” of the Noble. Texture and detail is well matched on both, with the N5U BA driver giving the impression of slightly more speed than the Lyra at the cost of the more organic feel and natural decay. Midrange is won for my preferences by the Lyra II, with a thicker and richer sound, packing more emotion into the music. There is also a slight peak I can hear in the N5U between the mids and the treble, leaving it feeling quite fatiguing and “hot” on certain tracks, compared to the more laid back and clear treble of the Lyra II. Soundstage is won by the Lyra II, with a larger and more open feel to the music than the more closed in N5U. Detail levels are actually similar, with neither IEM giving an overall impression of being considerably more detailed than the other. Again, different IEMs for different styles of music, but unless you really favour a sharper and more raw sounding high-mid/low treble area or listening 100% to electronic music, the Lyra II can satisfy your basshead cravings as well as the N5U while also giving a smoother and more emotional feel to the music, with a richer and technically proficient sound to match the N5U. For my preferences, the Lyra II wins here by a canter.
 
Astell & Kern / Beyerdynamic AKT8IE – this is another bassy single dynamic driver I have recently acquired, based around a miniature version of Beyerdynamic’s reknowned Tesla driver technology. This is the “Mark 1” version of the IEM, which is purported by some so be slightly more bassy than the latest “Mark 2” revision, just for clarity. Original retail was around the $1000 mark, although these can now be had cheaper on the second hand market (like mine). In terms of presentation, the Astell & Kern packaging is definitely a high-end affair, with a large multi-sectioned hardboard box and multiple areas to unbox, compared to the slick but minimalist approach of Campfire. If packaging matters, the AKT8IE will definitely turn more heads than the unassuming Campfire box. Moving on to the build and ergonomics, the AKT8IE is made out of an unspecified material that looks like a cross between metal and ceramic (and is probably neither) – they are a “concha-fit” style IEM, so are designed to fit in the outer bowl of the ear rather than inserting further in. For my own physiology, they provide a shallow but secure fit, and are actually more comfortable than the Lyra II in that aspect. Due to the unusual oval shape of the IEM barrel and their own bespoke tips needed for the Beyerdynamic product, I find the isolation to be slightly better on the Lyra II, however. Moving through to the sound, the AKT8IE provides a similar tuning to the Lyra II, with a lovely warmth to the bass and slightly rolled off treble. In terms of bass, the AKT8IE has slightly more overall presence to my ears, with a still pretty well balanced but more lower-midbass centred sound, and more sub-bass capability. The bass is more omnipresent than the more controlled tuning of the Lyra II, and can colour some tracks unexpectedly if there is bass in the recording. In terms of extension, the very capable Tesla driver extends down just as low as the Lyra II, and exhibits similar speed, but feels just a tad softer in overall execution to me. Moving through to the mids, the AKT8IE is slightly more forward than the Lyra II, with the vocalist feeling slightly closer to the eardrum. In terms of raw emotion, both are excellent at wringing out all the feeling from a track, but the AKT8IE feels slightly more laid back in the process due to the slightly softer presentation. Details are similar, with the AKT8IE seeming to have the slight edge in resolution and overall clarity, highlighting the softer guitar accents and other microdetails in a song very well but but pulling them a little further back into the musical landscape so making it less easy to spot on first listen. Treble tuning is similar on both, with the AKT8IE being even less forward than the Lyra II but again, seeming just a tad more detailed and airy. In terms of power, the Lyra II is slightly easier to drive than the A&K/Beyerdynamic collaboration. Overall, the AKT8IE feel slightly more refined, and provide a laid back but detailed stroll through the musical landscape in comparison to the Lyra II’s thicker note weight and more muscular jog – in a straight shootout, I couldn’t call it conclusively between the pair of IEMs, with the AKs probably just nudging it overall if I had to choose just one and price was not a consideration – in terms of value, there certainly isn’t anywhere near $300 worth of sonic difference between these.
 
Campfire Audio Vega – the Vega is the current “big brother” of the Campfire range as of late 2016, sitting at the top of the pricing tree at $1299 and sharing the TOTL billing with its all-BA sibling the Andromeda. It shares an identically shaped housing and also uses a single 8.5mm dynamic driver like the Lyra II, but the driver technology and tuning of the Vega is different. Instead of beryllium, the Vega’s driver diaphragm (the thin film that moves to generate the sound) is made out of non-crystalline diamond, and is the first IEM sold commercially to do so according to the Campfire Audio website. As the packaging and ergonomics are identical, it is this driver that differentiates the two IEMs. So, is the price difference of $600 worth it? Looking at the bass frequencies first, there is a notable difference between the Vega and Lyra II, with the Vega producing considerably more bass than the Lyra II. Despite the increase in volume, the Vega’s bass is extremely tight, dipping slightly lower than the Lyra II and having a heavier sub-bass presence. The Vega just has the edge in terms of speed as well, producing an extremely well textured and detailed lower frequency output that will keep fans of both an analytical and basshead signature equally happy. Switching to mids, the Vega is able to keep pace with the vocal delivery of the Lyra II in terms of emotion, and adds an extra layer of micro-detail and expression to the sound – the difference is more subtle than vast, but the slightly more energetic signature is more engaging (I find it “pulls” me into the song more), but as a result it loses some of the soothing nature of the silky midrange on the Lyra II – put simply, the Lyra II is an IEM you can relax with, the Vega is an IEM that gets your pulse racing. Highs are definitively more forward on the Vega – it is actually rated slightly lower in terms of “final” extension, topping out at 22kHz, but the treble isn’t pushed back into the soundscape like the Lyra II, keeping step with the mids and bass in an “all-forward” signature. As a result, music that relies on cymbals and other percussion sounds crisper, and it brings an extra layer of crunch to guitar heavy music while losing none of the weight of the Lyra II. Micro-details and dynamics are noticeably better on the Vega (although again, the margins we are talking about are small rather than glaring), and the separation and layering is noticeably better on some tracks, the “wall of sound” carrying even more positional detail as it smashes you with the added bass weight of each note. Listening to “Freak On A Leash” by Korn gives a good example of the difference between the two IEMs, with the Lyra II handling the drop at the 2 and a half minute mark with aplomb, but the Vega managing to keep pace with the Lyra II and managing to make the hairs on my arms stand up every time. Finally, the Vega is easier to drive than the Lyra II from all of my sources
 
Audioquest Nighthawk – my current “go to” over-ear headphone, and one of my favourite pieces of audio gear, the Nighthawk are tuned very similarly to the Lyra II, with north of neutral bass, great mids and a clear and slightly laid back treble. They also retail in roughly the same price bracket to the Lyra II at present, so are being included to highlight the similarities between the two. Skipping straight to the sound, the Nighthawks have a bass presence that sits somewhere between the Lyra II and the Vega in the current Campfire lineup, with a great extension and good but not great speed from the bio-cellulose drivers. As a semi-open headphone, the bass isn’t quite as hard-hitting or punchy as the Lyra II, with a more diffuse feel to the sub-bass and a greater feeling of space to the lower end sound. Quality and quantity are similar, however, with the Nighthawks providing just a little more in the midbass than the Campfire IEMs. The midranges on the two are again reasonably similar, with the vocals on the Nighthawk sitting slightly further back in the soundscape to my ears, but sharing a similar sense of emotion and clarity, with the Nighthawks sounding even smoother in the vocal range than the Lyra II. Highs are similar on both, being clear and clean but not massively emphasised, with the Nighthawk having a more open and airy feel due to the semi-open design, compared to the more restrained Lyra II. In fact, the staging on the Nighthawks is the major difference, with the sound feeling more spread out than the compact and dense soundstage of the Lyra II, with slightly less weight to the midrange than the heavier notes of the Campfire IEM as a result. Overall, these both produce a sound similar enough for me to feel comfortable to say that a fan of one should be a fan of the other (although sound is such a subjective thing that you can never guarantee that). For a dense, more portable sound, the Lyra II comes out on top – for an airier and slightly cleaner overall signature with a little added bass, the Nighthawk is your go to here, and would be something I would be more likely to turn to for “at home” listening more often than not.
 

 
Overall conclusions
 
A lot of my recent listening in terms of in-ear monitors recently has involved getting used to sound signatures that I hadn’t previously considered I would like, and more often than not discovering that I enjoyed the differences they brought. Picking up the Lyra II, this brought me back to the “core” sonic preferences I enjoy most – punchy but not overblown bass, emotional midrange, great vocals and a smooth and laid-back treble. In fact, emotional is a word I would use to describe these IEMs – they don’t suck you quite as far into the music as the rollercoaster ride their big brother the Vega can manage with the right track, but there is a great feeling of… well, feeling in the music that transcends any specific part of the frequency and allows you to just drift into the track and enjoy it. These are IEMs built for long-time listening sessions, and much like the recent IT03 review I wrote, I have found reviewing these hard as I keep listening to entire albums instead of just the one or two tracks I was aiming for. Being honest, I don’t have too many points of reference for IEMs in this price bracket apart from the ones listed in the comparison section above, but as the middle point in the Campfire Audio range, the Lyra II offer an exceptional tuning, great build quality and a rare quality that just makes them sound “right” for my personal preferences. In terms of ratings, I have given these 4.5 stars as the treble tuning, while almost note-perfect for me, could be considered lacking in something in this price bracket to truly deserve a 5-star rating for people who don't like their treble served under the table. From a personal preference standpoint, these are 5-star sound all the way, but not quite all-encompassing enough to fit all sound preferences, hence the docked half-star.
 
To be clear, there are better technical performers in the current Campfire lineup, but if you are looking for a meaty but smooth sound without the additional treble emphasis (or cost) of the higher end models, these are certainly worth putting on your radar. Personally, despite being overshadowed by the Vega in the current lineup, I haven’t found myself missing much from the Vega when listening to these, and would certainly be happy if these were the only Campfire Audio IEM I had a chance to listen to. Great sound and great build quality – this sequel certainly negotiates the tricky "second album" syndrome and comes out more like The Godfather than the Speed franchise, so really, what more can you ask for?

 

Ibasso IT03 – initial impressions
 
The danger about being a regular reader of a forum like this is the tendency to get swept up in one of the many “next big thing” crazes that flash across the threads here quicker than Usain Bolt running for a bus (and with far more frequency than most of the buses I have ever had the misfortune to rely on). One such IEM that has garnered a lot of praise in a short timeframe is the Ibasso IT03 – after reading about it on the threads and seeing a couple of very favourable reviews from high profile reviewers pop up, I happened to be passing through Singapore (where this particular IEM is now readily available), so decided to succumb to the hype train and pick up a pair to see if the buzz was warranted. Not to give too much away from the review below, but I tried a lot of mid-range and higher end IEMs and headphones in the few days I was in Singapore at a few of the better known Head-Fi haunts there, and despite being by far the cheapest of the IEMs IO listened to, these were the only set I ended up coming home with. To find out why, feel free to read on.
 
About me: newly minted audiophile, late 30s, long time music fan and aspiring to be a reasonably inept drummer. Listen to at least 2 hours of music a day on my commute to work – prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. Recently started converting my library to FLAC and 320kbps MP3, and do most of my other listening through Spotify or Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body to it. Please take all views expressed below with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story.
 


Tech specs

1. Type ：Triple driver hybrid
2. Driver: Dynamic driver (9.2mm) x 1 , Balanced Armature x 2
3. Freq. Response: 10Hz-30kHz
4. Sensitivity: 105+/-2dB
5. Impedance: 8 ohm
6. Noise Attenuation: -30dB
7. Rated Power: 5mW
8. T.H.D: <1% (at 1kHz /1mW)
9. Plug Size: 3.5mm gold-plated
10. Cable: 1.2m silver-plated copper MMCX cable
11. Weight: 9g without cable

 

 
Unboxing
 
The IT03 comes in a reasonably large black hardboard box, with a grey cardboard sleeve slipped over the top with a nice hi resolution picture of the hardward on the front, and a technical “blow-out” of the inner workings on the rear, along with the key technical specifications. Slipping the sleeve off, you are left with a black jewellery box sized package, which contains the IEMs in a bed of velour on the top and hinges in the middle library-book style to reveal the soft leather carry pouch underneath, and the various selections of tips on three plastic “trays”. The packaging feels slick and expensive, with the careful presentation and high quality accessories leaving a good impression. The attention to detail for a product in this price bracket, and evokes the same sort of “bang for the buck” feeling that the packaging for the recent budget flagship from MEE, the Pinnacle P1 managed to give off. The detailing extends to the cable (a specific silver-plated copper braid, selected for its specific sonic synergy with the IT03) and the real leather carry case, which is soft and feels more like something you would purchase in a decent department store than the usual hard poly-plastic zipper case included in IEMs in this price range. Overall, while the package doesn’t add anything to the overall sound signature, it definitely sets the expectation more in the mid-fi audio tier than the bargain basement retail section, which is a solid start.
 

 
Build quality and ergonomics
 
Slipping the IT03 out of the box, the first thing that strikes you is the stealth colour scheme - as Nigel Tufnell from Spinal Tap might say, “none more black”. The shells of the IEM are a shiny piano black acrylic (hand-finished by Ibasso in a similar way to how a custom IEM is made), with a gold coloured MMCX connector sitting flush with the outer shell and a small grey Ibasso logo on each outer shell being the only deviation from an otherwise perfectly black colour scheme. The overall effect it creates is quite striking, and gives another example of the attention to detail the design of these IEMs exhibits in all aspects. The shell is joined together with a visible seam, but this looks smooth and well engineered, and the whole IEM weighs just enough (9g without cables) to feel solid without too much heft to ruin the ergonomics.
 
Speaking of ergonomics, the shell design itself is noteworthy, with Ibasso going for a “universal custom” fit reminiscent of the older Aurisonics ASG series or the Stagediver universal IEMs. The shell of the IEM is contoured to the inner ear almost like a custom build, with a protrusion at the top of the shell for a “concha lock” which allows the IEM to remain tightly fitted and stable after slotting into the fold of your ear. The IEM is a medium size, so this approach should fit most consumers apart from those with REALLY small ears – reading the literature, Ibasso have modelled the shell shape based on overlapping multiple scans of different ears to find the best “universal” shaping. All I know is that in terms of fit, this is by far the most comfortable and secure fitting IEM I have slipped into my ears yet, with a snug and comfy fit and great sound isolation. I must admit that my first few extended listening sessions did leave my ears a little sore from the unusual contact with the top half of the shell, but after I got used to it, it hasn’t bothered me since.
 
Another noteworthy point in the overall design is the IEM cable itself. Ibasso have apparently gone through multiple iterations of the cable design and material makeup, eventually settling on a high quality silver-plated copper wire in a tightly braided configuration, which sits nicely in use with minimal cable memory or microphonics. The usual MMCX fitting issues occur with the memory wire portions of the cable due to the free rotation of the MMCX connector, but in terms of build quality and design, I haven’t had any problems with connection or any signal dropouts so far in over three weeks of daily use for commuting and exercise, which is more than can be said for some of the previous MMCX IEMs I have had the fortune of hearing or owning. I am not a massive cable believer (or disbeliever), but for those who feel like the first thing they need to do with a new IEM is upgrade the cable then the IT03 may prove to be more difficult to replace quality-wise than the usual stock cables supplied with most other brands.
 

 
Sound quality
 
Test gear:
LG G5 (with HiFi Plus 32-bit Sabre DAC add-on)
Hifiman Supermini / Megamini
Cowon Plenue D
Microsoft Surface Pro 2 (straight from the output jack)
Test tracks (mainly 320kbps MP3 or FLAC/Tidal HiFi):
Nathaniel Rateliff & The Night Sweats – S.O.B. / Wasting Time
Blackberry Smoke – The Whipporwill (album)
Slash – Shadow Life / Bad Rain (my reference tracks for bass impact and attack, guitar “crunch”)
Otis Redding – Sitting On The Dock Of The Bay (vocal tone)
Sister Hazel – Hello, It’s Me (bass tone)
Chris Stapleton – Whiskey And You
Elvis – various
Leon Bridges – Coming Home (album)
Foy Vance – The Wild Swan
Daft Punk – Random Access Memories (album)
Aerosmith – The Definitive Aerosmith
Mavis Staples – Livin’ On A High Note
Twin Atlantic – The Great Divide / GLA
The Darkness – Permission To Land
Led Zeppelin – Mothership
Shawn Mullins – Soul’s Core
 

 
General impressions on the sound signature
 
When you think of a triple-driver hybrid in 2016, there are a few assumptions that slip neatly to mind: a typical dynamic driver mid-bass hump, a warm and mostly V-shaped signature that is on the smoother side of things, with a dash of sparkle up top. The IT03 happily doesn’t fall into this bracket, with a neutral and airy signature through the mid and higher ranges and a deep and extended bass presence, with equal bias between mid and sub-bass to add a nice foundation to the sound without the usual “thumb” that accompanies it. If it wasn’t for the slight warming and impact that the bass brings, you would almost call this a musically neutral tuning, with a good sense of balance across the frequency ranges that isn’t quite analytical but definitely veers away from the typical “fun” tuning you would expect. While the notes carry substance, they still retain the agility and lightness typical of a good balanced armature setup, never too heavy or thick but just carrying enough body to flesh out the music nicely. If I had to categorise this into a sound shape, it would be somewhere between a very shallow “L” shape and a smiley U (again, shallower than a reality TV star’s grasp on third world macro-economics, so think more “Mona Lisa” than the Joker) – in reality, the sound comes across as a dynamic and enticing take on neutral, with a little added spice in the bottom end of the range to give the sound an enjoyable weight to it.
 

 
Highs
 
The IT03 have a reasonably airy treble, with good extension and a nice sense of crispness. This isn’t a hot IEM, but the higher frequencies do carry some sparkle, sharpening up the edge of cymbal hits and guitar strings and adding a good dash of crispness into the mix. Running through my normal gamut of high-tone test tracks, “Starlight” from Slash showcases the capability and extension of the BA driver being used quite nicely, imparting a nice solid weight to Myles Kennedy’s soaring vocals in the track while still retaining most of their cutting edge. The weight to the treble helps to keep the sound on the right side of harshness, giving a nice sense of clarity and fleshing out the further reaches of the sound, making it a clean and fatigue free listening experience for me. There is a good level of micro-detailing present in the highs as well, with the sounds of fingers sliding across the guitar strings and the light creaking of the chair he is sitting on all floating in the periphery of the soundscape on Chris Stapleton’s “Whiskey And You”, playing off the room echoes to suck you quite successfully into the music. Much like “Starlight”, this ode to whiskey and women is one of my other staple tracks for treble, as the so-so mastering usually manages to drag any harshness out of the lower-treble and vocal ranges quite nicely, turning Stapleton’s gravelly pleas into chalkboard-scraping torture on “hotter” IEMs. Again, the IT03 manages to navigate this track without crossing from gritty into piercing when it comes to the chorus, keeping any potential harshness or sibilance firmly pinned down under the surface.
Switching gears to electronica, “Nobody To Love” by Sigma and “Go” by The Chemical Brothers are both dispatched with the same sort of nonchalance that the Ibasso devours more guitar based fare. Synths pop and drift through the soundscape, hi-hats “tsssk” with crispness and definition at the periphery of the sound, and the euphoric choruses and piano refrains all soar with just the right blend of musicality and snap. In terms of overall shape, the treble seems pretty even throughout the scale, with no major emphasis on the lower or higher frequency bands, leaving an impression of space and clarity without pulling the overall impression into more of a V or U shape.
 

 
Mids
 
The midrange is a neutral but not boring affair, with a reasonably intimate but not overwhelming forwardness about it. Texture and detail shine though here, with a great sense of clarity that carries down from the treble, the weight of the notes and the microdetailing blending nicely to provide a dynamic and engaging sound without leaning too far towards either analytical or warm. Vocals sound excellent, with the reverb of the studio microphones and the subtle phrasings of the vocalist all coming across with the main delivery to provide an accurate but emotionally engaging presentation. Listening to “Mother Maria” by Slash, the smoky quality of Beth Hart’s voice and breathless delivery play beautifully against the clear ringing of the acoustic guitar to build a real emotional momentum, pulling the pain and emotion out of the singer’s voice as you get deeper into the track. To be clear, these are very resolving and clear IEMs for their price bracket – the overall detail on offer won’t go blasting down into the individual molecules of the sound like some super high-end IEMs that can dissect a track like a guest neurosurgeon in an episode of House, but will definitely provide enough detail for all but the most demanding and analytical of listeners.
 
Guitars are also very well handled, with the crispness of the sound and the moderate note weight allowing them to chop through the sound with speed and aggression – listening to rock music on these is a very engaging and toe-tapping experience, with riffs presented in a crunchy but clear way and the raw energy of most tracks shining through the presentation almost like a live concert. The spiky and angular mix of acoustic and electric guitars on “What You Do To Me” by Don Broco breezes through the IT03 earpieces with swagger, the IEM handling the interchange between Depeche Mode style indie-rock interludes and thundering guitar riffs without losing any coherency or grip on the overall track. Switching to some more acoustic sounds, the texture and feel of acoustic guitars is well rendered, with Rodrigo and Gabriela coming across with good speed and accuracy without sounding too sterile or artificial, the speed of the BA drivers handling this part of the sound coming to the fore again. Orchestral tracks are similarly well done, with the Royal Philharmonic Orchestra sounding full and vibrant in my ears when listening to their “Burning Love” collaboration with the late Elvis Presley. The detail levels and well-considered note weight here help keep the instruments well separated, giving a sense of fullness to the wall of sound but allowing you to focus and pull out individual instruments if you concentrate.
 
Overall, the midrange is agile, deep enough in body to convey emotion but not too heavy or thick, leaving it perfectly balanced between the weightiness and authority of the bass and the airy clarity of the treble. Neither too forward or to recessed, this works perfectly with the other sound frequencies to provide an engaging and beautifully tuned sound – very well played here, Ibasso.
 

 
Bass
 
This is the area where the custom 9.2mm dynamic driver Ibasso have selected gets to flex its muscles, and it certainly doesn’t disappoint. Straight out of the box, the bass tuning feels warm, full and boomy, with a presence that fills up the lower end of the soundscape with quite an impressive volume of sound. Once you have adjusted to the sound (either through brain or driver burn in, depending on what you believe in), the bass settles down to something still definitely north of neutral but not quite as all-encompassing as first impressions make out. The tuning is equally weighted between mid and sub bass, giving a nice solid layer of sound without the usual mid-bass “hump” common in some more commercial tunings, and a level of punch that is quite impressive. Firing up “Hello, It’s Me” by Sister Hazel, the opening bassline comes through nice and thick, with the firm sub-bass foundation adding a level of heft to the song that other IEMs occasionally miss. The thick and unctuous bass oozes in just the right place, coating the track in smooth and velvety tones, while keeping a nice rasp and texture of the bass strings as they vibrate sitting just above the main frequencies in the mix. This sums up the approach of the IT03 quite nicely – decent levels of volume and authority without sacrificing the fine detail and texture. Listening to the remastered original of “Walk This Way” by Aerosmith is a pure joy on these IEMs, with the drums beating out the familiar rhythm with real verve and the bassline crawling all over the track with the same sort of mobility as Steven Tyler’s rubbery facial expressions. Overall drum impact is quite impressive, with a nice sense of impact and “thud” as the bass drum kicks in, without too quick a decay, leaving the aftershock hanging in the air just long enough to create the sense of solidity and substance this IEM does so well. Kicking my other bass standard into gear, “Bad Rain” by Slash sounds equally mesmerising, with the solid bass drum underpinning the track leading things off nicely and the growling bassline hitting with a real blend of texture and weight when it drops in, snarling like a big cat at feeding time in the local zoo, all menace and contained power. Despite the substance, the detail levels are still maintained, leaving your foot tapping at the same time as you admire the fretwork, which is always a good combination.
 
Firing up my electronic test tracks, “Nobody To Love” kicks off with a positively thrumming sub-bass driven bassline, firing the track on at pace and leaving a rumble in the ear sockets that almost threatens to move further down into your chest at some points. Playing the “Tron: Legacy” soundtrack by Daft Punk, the low-end frequencies and sweeping pseudo-orchestral dance music flows around the listener, immersing you in a wall of vibration and low bass tones as the music builds. These aren’t the bassiest IEMs I have ever heard - as a former owner of the mythical Aurisonics ASG-2.5, there aren’t many in ears I’m likely to listen to that will ever take THAT particular crown unless Shure or Sony decide to bring out a nuclear-powered subwoofer for one of their next flagships. That being said, the carefully considered weighting between mid and sub bass gives the IT03 a thickness and balance to the lower end that I have found very addictive, and has become one of my “preferred” bass tunings if I had to choose just one particular style for all IEMs I could hear from now on. In summary, another well thought out piece of design, adding heft to the sound without skewing too far away from the sense of balance Ibasso were obviously looking for when they originally started putting these IEMs together.
 

 
Soundstage/separation
 
The soundstage on the IT03 is quite impressive for a triple driver setup, with good width outside of the head and a decent sense of height. It feels slightly more oval than spherical to my ears, with the depth from front to back feeling slightly less spacious than the straight left/right comparisons. Separation is also very good, with the crispness and detail of the balanced armature drivers helping to keep each instrument very well defined and individual in the overall sonic landscape. Complex guitar based music is easy to pick apart, with the layers of sound stacked neatly on top of each other and blending just far enough together to feel cohesive. When played super-loud the sound can start to encroach a little and become a bit more blurred, but as that would involve listening to music far louder than I am comfortable with (and I listen reasonably loud) then I don’t see that as a particular issue here.
 

 
Tip and cable choice
 
The IT03 comes with a decent array of tips, which should leave most users able to find a suitable configuration without too much effort. For me, the sound is best through the short wide bore silicon tips (giving a shallower fit and seal), which gives a more neutral and less impactful bass and a smoother and more “diffuse” overall sound. Due to my cavernous ear anatomy, I generally prefer Comply or Spinfit tips to get a full seal, and in this case, Spinfit have provided the best overall sound for my personal tastes – the brain-tickling insertion depth I can achieve with a pair of red-stem ML Spinfits adds a little to the bass impact and slam while keeping the highs sweet and sparkly, whereas the Comply add to the bass in the usual way but can slightly blunt the overall frequency response to my odd shaped ears. Everyone is different when it comes to getting the best tips, and the enclosed tips are pretty good, but if you get the chance then throw a pair of Spinfits on these beauties and see if it works as well for you as it does for me.
 
Having recently taken delivery of my first balanced DAP (the Hifiman Supermini), I picked up a standard Fiio 2.5mm balanced cable (plus adapter from VE) to try out the IT03 in balanced configuration. To my ears, the only major plus point was the increased power, but as the Supermini actually has enough juice to drive 300 ohm headphones without an amp using the single ended output, the overall SQ benefit was negligible. On some tracks the bass did seem a slight touch drier and more controlled, but I suspect that was as much placebo and the effect of using a different cable as anything else. I don’t disbelieve those who say that running these balanced from the right source can be a benefit, but for me personally, the stock cable and single ended operation will be the way forward with my current audio source selection.

Power requirements
 
The IT03 is quite an easy to drive IEM, responding well in terms of volume from most outputs. It does scale quite nicely with more high-fidelity sources, but doesn’t require an outrageous amount of power to sound good, so external amping isn’t a neccessity. That being said, after testing this on a few DAPs in my possession (LG G5 with Hifi Plus, Hifiman Supermini and Cowon Plenue D), my favourite pairing on my current gear is the Hifiman effort, with the additional output power on tap allowing the Hifiman DAP to really get a grip on the dynamics this IEM is capable of.
 

 
Comparisons
 
Vibro Labs Aria –  the Aria is a quad-armature IEM from the new range designed by Luke Pighetti at Vibro Labs (currently consisting of this model and the flagship IEM the Maya). It is priced at $499, and aims for a more U-shaped sound with good extension at both ends and high levels of detail. These have been a personal favourite of mine since discovering their unusual tuning, and provide a good counterpoint to the more conventional neutrality of the IT03. Starting with the packaging and load out, the Aria comes with a more sparse and traditionally CIEM type set of gear, coming in a clear Peli case with the Vibro Labs branding, with the IEMs and cable held safely in a laser-cut velour insert. The IEMs also come with some Comply foam tips and a standard Westone-style 2-pin cable. Compared to the IT03, the Aria lacks a little in panache, but is pretty practical, so it depends here on whether you are a fan of the whole unboxing experience or just want to get on with the important stuff and listen to your music. Isolation and comfort are similar on both, with the IT03 just nudging ahead in terms of total sound isolation due to the more ergonomic and custom style fit. With regards to the music, the tunings do share some similarities, with both having a higher than normal level of sub-bass and good treble extension. In terms of the bass, the Aria provides a deep and bottomless bass sound that is anchored more in sub-bass than mid-bass, with a U shaped slant to the frequency spectrum compared to the more evenly distributed Ibasso. Despite matching (and possible exceeding) the IT03 in extension, the relatively lighter mid-bass presence and all-BA implementation sound a little less full and impactful than the IT03. The Aria gives a smoother and more laid-back overall sound, lacking the sheer air moving power and “slam” of the dynamic driver used by Ibasso. Texture and detail is similar, with the Aria just pulling ahead in terms of detailing and speed due to the well implemented dual-BA, but losing out on power and viscerality as a direct tradeoff. Mids are slightly further back on the Aria than the more neutrally positioned IT03, sitting in the shallow “U” of the sound between the bass and treble drivers (the Aria unusually lacks a dedicated midrange driver). They both convey emotion in vocals very well, and hold similar levels of micro-detailing and nuance just under the surface of the sound. Separation and definition feels slightly sharper on rock guitar with the Aria, with the lower mid-bass foundation leaving the listener more easily able to hear the fine textures in complex guitar riffs. Switching attention to the treble,  the Aria has a greater extension into the high treble than the IT03, and maintains a smooth and clear sound. It is slightly less weighted than the IT03, but adds a great sense of space and sparkle. In terms of soundstage, both are reasonably evenly matched, and separation is close, although can be edged in the midrange by the Aria on some tracks. Overall, both are excellent sounding IEMs tuned for different purposes – the IT03 is a lower cost and more energetic listen, with a greater sense of punch and a more solid bass presence, whereas the Aria has a more laid-back tuning that extends on both ends of the spectrum and brings great texture and detail to the music. In terms of price, as the IT03 is half the price of the Aria with comparable sound quality, it wins in terms of value, but any other recommendation will be purely down to the sort of sound you are after.
 
Noble 5 (universal) – the Noble 5U has been a recent acquisition, and despite the original purchase price being considerably higher, on paper it should be an interesting match up for the IT03 with its more bassy tuning. In practice, while the signatures share some similarities, they are aimed at two slightly different areas of the market so not as close as I had initially expected. Starting with the ergonomics and build, the 5U use the classic Noble shell design, and are shaped like a particularly deep cross between a teardrop and a coffeebean. Fit is slightly less ergonomic than the IT03, with the more generic shell shape and depth of the housing leading these to marginally protrude from the bowl of my ear, compared to the more fitting and snug shape of the Ibasso. Comfort levels are similar, with both IEMs being able to be worn for hours with no major hotspots or issues. The accessory package is also similar, with both presenting a premium experience, with only the classic Peli case provided by Noble and the greater (and more useful) range of tips edging this element in favour of the more expensive IEM in comparison to the very high-end but fiddly leather storage pouch and smaller tip loadout of the Ibasso product. In terms of bass, despite this being the “basshead” IEM of the original Noble lineup, I actually find the bass of the IT03 to be more satisfying and impactful on the majority of my tracks. The bass on the N5U is well done, but carries too much emphasis on mid-bass in comparison to sub-bass for my taste, leaving a slight bassy tilt to the sound that doesn’t sound quite as full or balanced as the IT03 tuning. Texture and detail is similar, with the N5U BA driver rendering notes with slightly more speed at the cost of the more visceral impact and organic tuning compared to the slightly cooler IT03. Both carry good levels of detail and richness, so it is purely down to preference here. Moving through the high mids to the treble, there is a slight peak I can hear in the N5U (presumably to balance out the mid-bass thumb) which can make some of my harsher or more sibilant recordings quite unpleasant, leading to the N5U feeling mildly fatiguing in extended use as a result. Treble definitely goes to the IT03 for my preferences, with a clearer and more extended sound, with no harsh spikes or boost to any of the range, and a clear and clean note weight that opens up the sound in the higher registers nicely compared to the richer but more closed in sound of the Noble. Soundstage is close but is edged by the IT03 in width and height, with the Noble having a marginally deeper “feel” to the music due to the richness of the sound. Detail levels are actually similar, but feel more apparent on the IT03. Overall, these are two very different IEMs in different price brackets – the IT03 is like a fine but easy drinking wine, feeling smooth and velvety while still giving a good feeling of substance – in comparison, the Noble 5 feels more like a full-bodied Rioja, with strong and pungent mid-bass and a sharp and coloured taste that might not be to everyone’s preference but will definitely appeal to certain aficionados. If you are a fan of heavy mid-bass with aggressive treble, the NB5 will be your bag, but for about half the price, the IT03 takes it for me personally, with its blend of substance and clarity and a better overall balance to the sound.
 

 
Overall conclusions
 
Sound is such a subjective medium than when an IEM arrives on the scene as “flavour of the month”, it is always difficult to make an objective assessment if you pick it up while all the hyperbole is still fresh in your brain (the joy of expectation bias). In the case of Ibasso’s first effort, I am happy to say that hype train or not, the IT03 have really blown me away with the quality of sound, fit and craftsmanship that they exhibit. Put simply, this is a pair of IEMs built for the listener to enjoy music, not analyse it (although they carry enough detail and neutrality to allow that). When I first slipped these into my ears in the audio store in Singapore, it felt like sliding into a warm bath filled with your favourite music, the sound enveloping me and immediately bringing a huge grin to my face (probably at the thought of all the money I would be saving not having to go home with a more expensive set of IEMs!). As I have listened over the last few weeks, the sound has grown on me, while the grin still hasn’t faded. There is a sense of energy and immediacy about these that can really drag you into the heart of the music and keep you there for hours – I have lost count of the number of albums I have listened to in their entirety when trying to write these up after listening to my “test” track and realising I was 7 or 8 tracks down the road without having written a single thing. It may not be the most accurate or “reference” sound signature out there, but music just sounds enjoyable through these IEMs, and at the end of day, that is what matters.
 
In the interests of objectivity, after my own addition to the (well deserved) hype around these excellent IEMs, I will state that despite all the positive comments, these probably won’t run rings around the $1k+ TOTL flagships currently doing the rounds (Andromeda, Vega, Zeus-R, K10 etc). They won’t resurrect the dead, they won’t make your souffle stay up in the oven, and they won’t make your teeth whiter in two weeks or less. What they will do is make your music sound damn good, and make you smile while they do it. For the price, you can’t ask for any more than that – these would be well priced at $500 or more compared to the competition, so for me, this is a “bang for your buck” IEM that can’t be faulted in the sub-$250 price bracket. Simply outstanding.

 
Hifiman Supermini and Megamini – initial impressions / comparison
 
I first heard the Hifiman Supermini in demo unit form at the Canjam London 2016, and while being impressed by the fact that the tiny player was apparently able to drive some of their heavy duty over-ears without any additional amp assistance, didn’t pay too much more attention at the time. Fast forward a month or so, and Hifiman were looking for reviewers on Head-Fi to try out their new Supermini and Megamini DAPs for beta testing and review purposes – having recently had the privilege of hearing the Soundmagic M1 Pro on another tour and having a few similar price (and form factor) bracket DAPs like the Cowon Plenue D to compare to, I put my hand up for the review programme and was very lucky to receive both Hifiman units to review. This is my first “proper” exposure to any Hifiman gear outside of a few minutes listening to their DAP and over-ears at Canjam, and the units were sent to me free of charge for a few week audition period (apart from a brief intercession by the remarkably overzealous UK customs officials) in exchange for a frank and unbiased review. As the units share multiple characteristics (and target audience), I have decided to combine the two reviews into one for easier side-by-side comparison for people considering both.
 
About me: reasonably new audiophile (currently in the awkward “teenage” years transitioning from entry level to mid-fi or higher level gear), late 30s, long time music fan and aspiring to be a reasonably inept drummer. Listen to at least 2 hours of music a day on my commute to work – prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. A large portion of my library has now been converted to FLAC or 320kbps MP3, and do most of my other listening through Spotify Extreme or Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body and thickness to it. My ideal tuning for most IEMs and headphones tends towards a musical and slightly dark presentation, although I am not treble sensitive in general. Please take all views expressed below with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story.
 

 
Tech specs
 
 

 
Unboxing / package contents
 
Supermini
The Supermini comes in a small oblong carboard box with the Hifiman logo emblazoned on the front, and a nice “soft touch” finish. Opening the box, the player is presented in a bed of foam, with the included (and as yet unspecified) Hifiman balanced IEMs, micro USB charge cable and screen protectors hidden underneath the main insert in the bottom of the box. The packaging is nicely done, and “fits” the suggested RRP for the Supermini, giving a premium feel and simplicity to the unboxing like some more well known fruit-based brands are famous for. The included extras are suitably well made – a good DAP doesn’t need too many additional items, and the inclusion of a balanced set of IEMs based around their RE-400 and RE-600 models is a very nice touch.
 
Megamini
In comparison, the Megamini arrives in a same-sized box with the logo and lettering in the same place, except this time everything is in soft-touch white instead of black. The Megamini is presented on a similar foam bedding when you slide the lid off the shoebox-style outer, with the charging cable being hidden in the compartment underneath. As this is the lower priced of the two models, a charging cable is the limit of the included accessories, with no additional headphones or screen protectors like on the top end model. Like the Supermini, the overall presentation feels suitably premium, and leaves a good impression of quality on both models.
 

 
Build quality and ergonomics
 
Supermini
The Supermini is a very slick looking device, with a small candy-bar shape reminiscent of one of the original “flat” mobile phone handsets from companies like Motorola back in the late 90s/early 2000s. In terms of size, it is just a touch smaller in height than the Sony A15/A25 series DAPs, being roughly the same in width and depth. The rectangular corners are rounded nicely, with a premium metal finish and nice fit and finish to the glass portion of the front containing the screen. On the front, three unmarked buttons sits raised in a sloping wedge shape to delineate the border between the screen and the rest of the face, and correspond to the on-screen icons that sit directly above them when the screen is active. The rest of the buttons sit down the right hand side of the DAP, with standard volume controls at the top, a “back” button sitting a little way below them and a power button nestling towards the bottom of the case just above a pinhole to access the hardware reset. All buttons are marked with icons on the case itself, and sit pretty well for a right handed user in terms of ergonomics, all being easily reachable with a thumb when the DAP is in hand and having a short but definite range of travel, without any “sponginess”.
 
In fact, the feel and weight of the Supermini does feel pretty spot on in day to day use, feeling balanced and light enough to be properly portable, but still having enough heft to feel like a premium device. The paint job and precision machined edges also add to the premium feel of the device, with the paint sharing similarities with the vapour-deposited metallic finish used by Microsoft on their Surface Pro range of tablets, having a nice matte finish and durable look.
The only other ports are along the bottom edge of the device, with separate colour coded 3.5mm outputs for both single ended (SE) and balanced output, and slots for the micro-SD charging cable and micro-SD storage. Due to the player’s size, there is only one available storage slot, but this does work quite comfortably with my 200Gb Sandisk card (once formatted correctly), so there is room for plenty of Hi-Res audio for all but the most fervent of DSD-buffs. Like the rest of the player, the ports feel well built and finished, so look like they will stand up to daily use without any reliability issues.
 
Megamini
The Megamini is a slightly less premium looking build, being smaller in height by a few mm and also not quite as wide, by roughly the same amount. The body of the DAP is made with a more traditional looking metal finish (presumably still aluminium) with a standard light grey metallic finish. Rather than the rounded angles of the Super, the Mega has more angular corners, with the sides angling outwards from the front to meet in the middle of the “depth” in a triangular shape about 3mm from each sideward edge. This bevelling only appears on the sides of the player, with the top and bottom both having more traditional flat edges. This helps to make the player feel slightly smaller in hand and fractionally lighter feeling than its more expensive counterpart.
 
The main navigation button layout for the mega follows a similar design pattern to the Super, protruding out from the chassis half way down the face of the player where the screen finished. Unlike the Super, the Mega has a four button horizontal layout, with each button clearly marked (from L-R: back, skip backwards/rewind, skip forwards/fast forward, select). The sides are comparatively more barren than the Super, with only the volume buttons on the top of the left hand edge and the power button on the top right hand edge, along with a “reset” pinhole on the bottom right. Completing the layout, there is one micro-SD slot contained in the bottom edge, along with the micro-USB charging port and a standard 3.5mm single ended headphone socket. Like the Super, the Mega has no problems with my 200Gb Sandisk card, so storage shouldn’t be too much of an issue for most users with normal sized libraries.
 
Overall, the Megamini is a light and reasonably sturdy feeling DAP, but lacks a little in fit and finish in direct comparison to the Super (which is only appropriate considering the price difference). It doesn’t look out place when compared to players in its own bracket, but just lacks the finishing touches and polish that bring the Supermini into the same design space as the more mainstream consumer brands like Apple and Samsung.
 

 
User Interface (UI) and usability
 
Supermini
The Supermini has a monochrome screen, set up to look like an old fashioned “dot matrix” grid with black background and bright white pixels. The resolution is reasonable for the small screen, but as a result, the entire interface is text based, with no cover art option available.
On boot-up, the player displays a nice dot-matrix style logo and then loads directly into the menu interface. The menu is presented in list format, with small icons to the left of each option. The layout is basic but very functional, showing the “Now Playing” option at the top of the list, and then cycling through Artist, Albums, Genre, Favourites and then finishing with All Songs and Settings on a separate page (the screen flicks across to a new page when you reach the bottom of any list rather than scrolling down as you go).
The main functions all behave exactly like you expect, with the Supermini doing a good job of consuming the tagging data on my library of files in record time to build a usable database of the various artists and albums on my SD card. This is notably quicker than other DAPs I have used when first building a database, taking only a few minutes to build a database on a 128Gb card I use for my portable Hi-Res players, compared to 10-15 minutes on some other DAPs I have tried recently. It seems like a simple thing, but it does make a nice difference when loading new media for the first time, so the Hifiman team should definitely share their secret with the rest of the DAP manufacturers out there as waiting for a library to load is one of my pet hates.
In the “Settings” menu, the options are as follows:

1. System Version – shows you what version of the firmware you are currently running
2. Repeat – this sets the protocol for albums/artists (either to all songs in an album/category or just to loop the same song over and over)
3. Shuffle – option to turn this on or off
4. Backlight – set the duration of the backlighting on the screen (which is practically irrelevant as this doesn’t appear to alter the brightness of the writing on the screen in any noticeable way)
5. Auto power off – select the time period over which the player will automatically power down. This is very limited as the player doesn’t count playing music as remaining active, so if you set the player to shut down after 5 minutes of inactivity, it will turn off exactly 5 minutes after the last button press, regardless of whether you are in the middle of a song or not. The software is only in beta currently so this will be easy to fix in a firmware update, but in current format it isn’t particularly useful.
6. Screen-lock switch – allows you to lock the player down when the screen is off so it needs to be unlocked with the power button before it can be used. This is useful to avoid any random volume increases or track skips from your pocket.
7. Language – currently able to select between three Asian languages, English and French
8. Updating Database – triggers a reindexing of the SD card currently inserted
9. Reset Settings – returns the player to factory defaults
10. Format SD card – formats an inserted micro SD card into FAT32 format (see suggestions for improvement)

 
The interface is simple, but very intuitive – the learning curve from picking the Supermini up for the first time to becoming a de facto expert on all possible functions is roughly the same amount of time it takes to boil an egg. While it may be lacking the graphical bells and whistles of similar units, there is something classic and just plain useable about the text-only interface, which leaves the user feeling comfortable rather than short-changed. For those with meticulously tagged files containing album cover art this might seem a little basic, but in use I didn’t find this a major issue (I don’t often need to see the cover of an album to identify what I am listening to, unless it’s a Primus album, in which case it always lets me know it’s isn’t just random white noise or a player malfunction).
 
Megamini
Unlike its more expensive sibling, the Megamini has a colour screen, which while being the same size actually appears to be slightly higher in resolution, displaying the text on the screen in a smaller font. It also turns on with a nice (if pixelated) animation of the Hifiman “H” logo, rather than the dot-matrix style fixed “X” logo of the Super. The general layout and menu structure is identical, with the only operational difference being the movement of the “back” button on to the front rank of buttons on the player from the right hand side of the chassis. For a more detailed description of the various menu options, please just refer to the Suoermini description above.
 
The fact that the Megamini has a colour screen does actually bring up quite a major difference – the inclusion of album art on the “Now Playing” screen. The Megamini seems to be reasonably picky about the format of the album art (I am not particularly fussed about having art embedded in my tracks, so I have never done a thorough “audit” of my music library to correctly tag everything) – in my main library card, it picked up about half the relevant album art on indexing. For people who like that, it is a nice touch that the Supermini’s monochrome screen doesn’t offer.
The final point of difference is the “backlight” option on the settings menu – as the Megamini actually uses a backlit screen, the setting makes a noticeable difference whereas it is irrelevant for the jet black visual background of the Supermini.
 
Again, like the Supermini, the Megamini has a simple and basic UI, but the intuitive setup means the learning curve is practically non-existent, and the well thought out design leaves this feeling like a solid and easy to use player rather than a basic one. The addition of a full colour screen and album art actually makes the Megamini feel a little more polished and less stylised compared to its black and white screened sibling.
 

 
Suggested improvements for the UI (both players)
 
The UI for both players is quick, functional and robust, but there are definitely things that can be improved. Suggestions apply to both Hifiman DAPs as the basic menu structure and functionality is identical on both, despite the different “skins”:

1. Implement gapless playback (currently in development for a future firmware release) – I know that the “single threading” used by the players to optimise sound quality and reduce jitter makes this very difficult as the audio quality is optimised by only using one CPU process rather than multiple streams, but it does occasionally jar when listening to live albums to dip in and out of the tracks as they blend together
2. Improve the UI so that when you start a song, it plays FROM THE START, not around 1 second in – again, I imagine this is related to the single threading, but missing a second of your favourite tune every now and again does get mildly annoying when flicking through the DAP and grazing your music collection.
3. Allow onboard playlist generation – the only way you can add songs to a list that I can find is to long-press the “select” button when choosing a track, which then pops up an option to add this to your “Favourites” list. Want separate playlists for the gym/commuting etc? The only option is to build a separate folder on the SD card containing all the files you need in one place and use folder browsing.
4. Implement a search function or alphabetised skipping in the main “Folder Menu” or “Artist / Album” screens. If you have a large SD card full of music (about 170Gb in my case for my in a main “library” card), scrolling all the way through from A is far from ideal. The page scroll speed is pretty quick when the left or right navigation buttons are held, but this still feels a little “manual” and unnecessary given the slickness of the rest of the interface.
5. Expand the SD card compatibility to include formats other than FAT32. The player currently doesn’t support NTFS or exFAT formatted cards, and seems to be a little picky with normal FAT32 cards that haven’t been formatted in a specific way. The player does have a format function which will ensure the card is compatible, but if you already have a card that is good to go, having to reformat it (and fins somewhere to “park” the music data while you do so) can be a little tedious.
6. Allow onboard EQ – while this is less of an issue for the cheaper Megamini, not having the option to tweak any sound settings on either of the players can seem a little limiting when comparing them to competitors in similar price brackets like the Cowon Plenue D or Sony A25.
7. Adjust auto power off to count playing music as “activity” (see description in Supermini interface section above for more details)
8. (Supermini only) – remove the backlight option as it only seems to apply to the Megamini.

 

 
Sound quality
 
Test gear:
 
IEMs – Vibro Labs Aria, Ibasso IT03, 1More Triple Driver IEMs, Hifiman balanced IEMs (as yet unspecified – somewhere between RE-400 and RE-600 in spec from recent reports on the web), Trinity Audio Vyrus
Headphones - Audioquest Nighthawks, Focal Spirit Professional
 
Main test tracks (mainly 320kbps MP3 or FLAC)
Nathaniel Rateliff & The Night Sweats – S.O.B. / Wasting Time
Blackberry Smoke – The Whipporwill (album)
Slash – Shadow Life / Bad Rain (my reference tracks for bass impact and attack, guitar “crunch”)
Slash & Beth Hart – Mother Maria (vocal tone)
Sister Hazel – Hello, It’s Me (bass quantity and quality)
Richie Kotzen – Come On Free (bass tone)
Elvis – various
Leon Bridges – Coming Home (album)
Daft Punk – Random Access Memories (album) / Tron (various versions)
Rodrigo y Gabriela – various
Mavis Staples – Livin’ On A High Note
Don Broco – Automatic
Foy Vance – The Wild Swan
Audioslave - Audioslave
 

 
General impressions on the sound signature
 
When looking at the current “mid-fi” DAP landscape, the pricing seems to be roughly dependent on the perceived competence of the standalone DAC chip being used by the player. Competing efforts by Sabre and Wolfson have dominated the market in recent times, with the Japanese firm AKM picking up some recent traction with their AK4490 in some more recent offerings and Burr-Brown having their own share of the mid to high end market. Hifiman have chosen to go a different way with their player, utilising an unnamed integrated controller chip with onboard DAC (a solutiuon usually shunned for its low quality), basing their pick on the low power consumption of the integrated solution rather than the separate voltage-glugging DAC chips mentioned above. Their approach was to spend time working on the firmware and drivers of their chosen solution to bring the output up to a similar level of their previous flagship DAP the HM901, while keeping the power consumption to a minimum.
 
So, if this is the equivalent of spending two or three years meticulously stripping out and race tuning a Mini Cooper and then entering it into a Formula One race against the high-powered competition, the questions is simple: has it worked? In a word, yes. In the rarified air of the mid-level DAP market, the basic reality is that almost all DAP solutions will sound noticeably better than the entry level audio put out by the low-end players and mobile phone audio solutions most non-audiophiles use, but when compared against each other, the differences are far more difficult to identify. That isn’t to say some DAPs aren’t better than the rest, but the margins for improvement are an order of magnitude or two smaller, so it becomes a lot more difficult to split the merely “good” from the “great”. Whether these are great will depend as much on what you want out of the sound signature of your DAP as what they can actually deliver, but for me the performance the Hifiman team have managed to eke out of the integrated chipset is pretty impressive.
 
Supermini
Translating all the random analogies into sound, the Supermini produces a clear, balanced sound that doesn’t skimp on detail but doesn’t sound overly analytical either. Dynamics are pretty impressive for something the same size as a stack of two or three credit cards, with the high output power allowing the hardware to drive most low and mid impedance IEMs and headphones to a fair portion of their full potential without needing to lug around a separate amp stack. The overall tone of the player leans a little more towards musical rather than technical, pulling together a nice sense of lower end substance and presenting a smooth and slick midrange and treble, with a nice sense of weight and clarity. You won’t be blown away by the finest of micro-details on the Supermini when listening to your Hi-Res collection, but the nice amount of body to the tuning does provide a good sense of energy and engagement for most tracks. These pair excellently with more analytical sounding IEMs to give them a bit of life, with the Ibasso IT03 midrange and treble really coming alive when plugged into the Supermini, and the bass benefitting from the solid foundation provided by the player.
 
Soundstage and imaging are pretty dependent on the IEM being used, so I always find this difficult to separate in terms of what is being provided by the source and what the output gear is producing. The Supermini doesn’t appear to significantly enhance or reduce soundstage or imaging on my Vibro Labs Aria or the Ibasso IT03, but the power on tap does allow both IEMs to be used at “maximum headroom” to really bring out the most in terms of dynamics. One noticeable trait that goes with this player is the enjoyability factor it has been bringing to my music with both the Aria and the IT03 – I have found myself on multiple occasions nodding my head and tapping my feet along to the track being played (slightly embarrassing on a long haul flight), which I can only attribute to sense of dynamism it brings for me.
 
Overall, the sound is clean, clear and carries a decent weight with good but not stellar detail retrieval – I would agree with some of the initial Hifiman marketing descriptions where it can almost be described as “sweet”. It sits just over the border into warm and musical, and plays well with lower resolution files as a result, while making a good fist of the higher resolution formats (including 24/192 compatibility and some DSD capability up to DSD64, which is impressive in this form factor). I have seen some other comments recently which highlight a slight rolloff at either end of the frequency spectrum under measurement, but in day to day use, I don’t notice anything “missing” at the top and bottom of the frequency range with my usual testing tracks, so not a major consideration for me personally.
 
Megamini
The Megamini is definitely cut from the same cloth as the Supermini, with sound quality that sits on a par in most aspects, and can actually sound fractionally better with certain setups, so the above description holds true in most instances.
 
As far as points of difference go, the Megamini has less output power than its super-sibling, but this actually makes it slightly more compatible with more sensitive IEMs in terms of fine tuning the volume and reducing the audible hiss when music isn’t playing (both players are effectively silent once music is being played back for all but the most sensitive of ears/IEMs). The Mega is still more than capable of driving all my gear with good headroom and output “oomph”, only needing a couple more notches on the volume setting in order to achieve a roughly similar output volume. In truth, I would be hard pressed to tell the difference between these players (apart from the telltale hiss) unless they were trying to drive a more power-hungry setup, in which case the Supermini would pull slightly clear. In all other facets, both players are clear, reasonably detailed and pretty “true” to the music while putting a slight warmth through it. The Supermini can occasionally feel like it offers more in terms of separation or dynamics, but I suspect that is a mixture of poor volume matching on my part when comparing A/B, or the additional output power making its presence felt with gear that reacts well to additional voltage.
 

 
Background noise / output power
 
Supermini
As mentioned above, the Supermini can provide plenty of power (somewhere in the region of a 4V “swing” and up to 320mW in balanced mode, although details are scarce on the exact specs as of time of writing this). As I don’t have anything particularly power-hungry in my collection at present, there isn’t anything I own that this DAP needs any help driving. Pairing it with the Audioquest Nighthawk (which scales very well with extra power), the Supermini never feels lacking, allowing the Audioquest gear to really spread its wings in a manner that doesn’t usually happen when driven straight from a mobile phone or my other lower end “standalone” sources. I listen reasonably loud (not ear melting, but a good few volume steps up from my fiancee’s “comfortable” listening zone) and with all my single ended gear, I have been somewhere between 12 and 18 on the 32-step volume scale to hit my personal sweet spot.
 
I have also briefly auditioned the DAP with a few higher impedance / lower sensitivity cans like the Beyerdynamic DT990Pro and the Beyer T70, and I was still able to get a good volume and sense of dynamics out of them at one or two notches below full output for single ended output. Unfortunately there were no Hifiman / 3.5mm TRRS cans easily available at either of the well-known Singapore headphone stores I visited when doing this to see what effect the expected “power bump” from the balanced output would have on the driving ability, and I don’t currently have any balanced cables for my Nighthawks to test out at home.
 
The noise floor on the Supermini is pretty good, but can be prone to slight levels of hiss with very sensitive sources (I can faintly pick some up using the IT03, which is rated at 8 ohms impedance).
 
Megamini
The Megamini has a slightly lower power output than the Supermini, and while still being capable of pushing all my current IEM stockpile in terms of dynamics and “headroom”, was unable to quite match the Supermini when auditioning the heavier hitting 250 ohm Beyerdynamic headphones. It was a close run thing, with the volume setting hovering in the high teens through to early twenties for IEMs but being unable to push above the ceiling to really make the Beyers sing when I tried them out. The bottom line here is that the Megamini should have enough juice to cover most of the mainstream IEMs out there without needing any additional help from an amp stack, but the lack of balanced output (with the additional power it can bring) and lower power output may make that necessary when you start looking at over-ear cans with lower sensitivity or higher impedance. In terms of hiss, there is slightly less with the same IEMs than the Supermini, but it is still not totally silent with my more sensitive IEMs.
 

 
Storage and format support
 
All the main lossy and lossless formats are supported here by both players, with DSD compatibility up to DSD64. There have been a few comments on the forums regarding patchy compatibility with Ogg Vorbis files, but as I don’t have any of my collection in that format (it is split pretty well between various denominations of FLAC or 320kbps MP3 files in the main), I haven’t checked to see for myself.
Neither player seem to have any issues reading and indexing my main “library” 200Gb microSD card, with the indexing speed sitting somewhere between good and very good in practice, indexing a 64Gb card I use to store about 20Gb of my favourite music and review tracks in a few minutes – compared to some DAPs I have heard recently or owned previously, this is quick enough not to become a tedious issue, which is something to commend Hifiman on as all manufacturers are certainly not equal in this regard.
 
One point about large capacity files: if you intend to use either player as your main portable music repository, it will be worth organising the tags in your collection or setting up a logical folder structure before plugging the relevant memory card into either player, as the lack of any form of search functionality can make it quite time consuming and painful to scroll through your entire list of recording artists to find someone in the middle of the alphabet.
 

 
Included IEMs (Supermini)
 
The Supermini comes with as-yet unnamed balanced IEMs which bear a striking resemblance to the RE600 model from Hifiman’s range. As this is a review of the DAPs, I will keep this section short and sweet, but the balanced IEMs are really quite impressive as an “added extra” in terms of sound quality and design. They house a single 6mm dynamic microdriver and are absolutely tiny, being only a fraction bigger than my old Flare Audio R2As, disappearing into my ears when inserted. They are terminated with a Hifiman 3.5mm balanced plug, so I have only tested them on my Supermini, but the sound they produce is very impressive. The bass is lean and textured, with a sparkling and slightly forward midrange and decent extension on the highs. Separation and microdetailing is very good, with a nice sense of space and staging present as well. I haven’t heard any of the other Hifiman IEM range, but for fans of a neutral and detailed signature, these IEMs certainly feel like they punch well above the entry level IEM sound point and would sit comfortably in the $200 price range like their fraternal cousin the RE600 if I had to put a price on them in terms of raw SQ at the moment.
 

 
Comparisons
 
Supermini vs Megamini
​​As you can no doubt infer from the above, this one is almost a dead heat, with both players sharing the same intrinsic DNA and feature set (or lack of, in some cases). The key differentiators for me are the lower power output on the Megamini and the related lowering of hiss on that model with sensitive IEMs as a result. The screen on the Megamini is also more in line with “normal” DAP expectations, being a higher resolution colour screen compared to the monochrome “dot matrix” style used on the Supermini. If you are looking for a DAP to pair solely with very sensitive and low impedance IEMs and cover art is important to you, then the Megamini would be a good option at almost half the price of the Supermini. If you are looking for a DAP with balanced output and a driving capability that far exceeds its competitors in the “super-compact” arena (with approximately 50% extra battery life to boot), then the Supermini is the one you should choose.
 

 
Supermini vs Cowon Plenue D
In the battle of the small form factor DAPs, the battle is reasonably even, with the sleek simplicity of the Supermini stacking up well against the smaller but chunkier Plenue D. The Plenue D is the shorter of the two DAPs by some considerable margin, but that is traded off with an increase in both width and depth compared to the Supermini, with the cigarette packet sized Plenue D feeling chunkier in the hand (and pocket) than the sleek and slimline Supermini. In terms of sound, using the Plenue D in normal play mode (without any of the Jeteffect equaliser options) gives a sound that feels slightly thinner and less dynamic than the warm and clear sheen that the Supermini adds to the music. Switching through the various EQ presets on the Plenue D will get you a reasonable approximation of the Hifiman DAP presentation, but this feels slightly more “artificial” and slightly less clear and detailed as a result.  In terms of driving power, the Plenue D can drive my gear well, having plenty of power as well, so I haven’t had cause to reach for a mobile amp stack yet. Build quality is mostly even, with the smooth glass and metal lines of the Hifiman model holding up well against the slightly less dense feeling but still solid metal and glass parts of the Plenue D. It isn’t a straight slam dunk for the Supermini, and two areas where the Plenue D does offer more for the casual audiophile are the battery life and the EQ affects/general UI. The battery on the Plenue D is rated for around 80 hours of playback, and in my time owning the Plenue, that has seemed pretty accurate, with the player being able to run all afternoon without making a dent in the battery. The Supermini is also good for a mid-fi DAP, with a quoted maximum battery life of around 22 hours and a “real world” usage figure of somewhere around 16 hours before the battery dies, but just can’t quite compare to the stellar battery life of the Plenue D. The “Jeteffects” EQ on the Plenue D is also a major plus for those who like to play with their sound signatures, offering a far higher level of “tailoring” the sound to your personal preferences, and an opportunity for bassheads to really go to town with their multiple BBE and Mach3Bass options to really hulk out the lower end of the soundscape. Personally, I would take the Supermini’s clean sonic signature over the more digitally manipulated output from the Plenue D in most cases, but it would be nice to be given the option by the manufacturer of making a few basics tweaks should the need arise. Overall, the Supermini offers a slightly more compelling sound signature for me than the basic “sound” of the Plenue D, and more punch and dynamics in the sound in tradeoff to the almost infinitely configurable but more artificial sounding Plenue model. The bottom line is that both are excellent performers in their respective price brackets, with the additional cost of the Supermini being somewhat offset by the excellent set of IEMs they ship with to bring the basic “player cost” into line nicely. What you gain in simplicity from the Supermini’s clean and clear UI and presentation (and basic SQ) can be lost with the lack of bells and whistles (gapless playback, EQ, cover art, onboard playlists etc) that the more polished Plenue model provides, so this boils down to whether “pure” SQ and driving power is the main point on your DAP checklist.
 

 
Supermini vs Sony NWZ-A25
On paper, the Supermini should have some stiff competition from the Sony DAP, with the prices being reasonably similar when new (if you include the matching Sony H.ear noise cancelling IEMs into the package to correspond to the balanced IEMs included with the Supermini). In practice, while the A25 does indeed run rings around the Supermini in terms of functionality, the actual SQ is quiote comprehensively won by the Hifiman product. In comparison to the Supermini, the A25 comes across as quite flat and lifeless, lacking the punch and dynamism of sound that the Supermini brings. Surprisingly, it also feels less detailed than the Supermini (probably a side effect of the flatter overall tuning), with the Hifiman feeling both clearer and sharper when played side by side. The Sony does have roughly double the available battery life, but the output power is a fraction of the Supermini, requiring a portable amp to reach the full potential of most of my current gear, which can limit the actual playtime of the hardware to the battery capacity of the amp stack you are using. This lack of output power also limits the portability of the A25 – it has a roughly similar size to the Supermini, but if it can’t be used to drive anything more powerful than some of the Campfire Audio range without help, it quickly loses the practicality of the small form factor. The Sony does come with a few interesting features – the UI is well thought out and easy to use, and the onboard EQ and other DSP tools are reasonably good (although not in the same league as the Cowon Plenue D), and it is also equipped with bluetooth and onboard noise cancelling via its own proprietary range of in-ears (the H.ear series). Again, the limiting factor with the noise cancelling is the need to use Sony’s own earphones – while they are certainly no slouch, they don’t hold up well to anything in my current IEM collection, so negate some of the benefits of using a Hi-Res player as the IEM is not making the best use of the source output. Even given the added functionality (not even mentioning full playlist support and gapless playback on the A25), the difference in the SQ is just too big for me to see past at the moment, with the Supermini just sounding flat out better, and far more capable as an ultra-portable solution to drive most headphones.
 

 
Megamini vs Cowon Plenue D
Like the Supermini, the Megamini stacks up well against the Plenue D in terms of basic sound quality and detail retrieval, with less of a power advantage and the same shortcomings in other areas compared to the more configurable Plenue D such as battery life (the Megamini only approaches around 10 hours of real world usage before the battery is depleted, which is a lot less than the Plenue D). The Megamini is roughly the same cost as the Plenue D at current “street price”, so again the choice will come down to whether you are after a more simplified interface and cleaner and more dynamic basic sound signature, or whether you are a basshead looking for battery life and EQ as the major deciding factors in your purchasing decisions.
 

 
Megamini vs Sony NWZ-A25
At the lower price point, the Megamini is actually an even better proposition against the A25 than its big brother, with the same SQ but still more than enough driving power compared to the anaemic output of the Sony DAP. As with the Supermini, unless you have nothing but super easy to drive IEMs and need the additional software or Bluetooth features, the extra SQ and oomph offered by the Megamini at the lower pricing point make this an easy nod towards Hifiman for me.
 

 
Overall conclusion
 
It has been quite interesting comparing the two DAPs from Hifiman side by side for this review, and has proved to me that price tag is not the only deciding factor when it comes to ascertaining the quality of an audio product. In some ways, the Megamini actually feels like the more polished of the two products, with a colour screen and higher resolution display you would normally associate with a DAP in this price range. In terms of SQ, both players are also neck and neck, with the only differentiators being the balanced output and extra gas in the tank of the Supermini (both in terms of battery life and output power), which ultimately provides more headroom for heavier duty gear. That being said, if you only run your 300+ ohm headphones from your home setup, then the additional horsepower will most likely sit there unused most of the time, so the Megamini comes into its own for people who mainly use IEMs. As alluded to in my opening, DAPs in this price tier are all a marked step above the output capabilities of most mobile phones, but are quite close to each other in overall performance. These aren’t a holy grail product that will immediately make anything you plug into it sound ten times better with clever EQ tricks or mind blowing detail retrieval, but if you are looking for a tiny pocket solution to taking up to 200Gb of your favourite music on the road with you without having to lug a portable power station and a sack of interconnect cables to really enjoy it, these fit the bill admirably.
 
The choice between the models boils down to what you need to use them for – power users or people with lots of balanced gear will opt for the Supermini, while the casual IEM user who wants to get the most out of their 6-driver BA earphone will be more than comfortably looked after by the Megamini. The price difference between the two is also offset nicely by the inclusion of the as yet unnamed balanced earphones with the Supermini, which have drawn favourable comparisons to the RE600 model from Hifiman’s existing range (a $200 IEM in its own right), so add an extra element of value to go along with the boosted power and battery. In the final analysis, both players provide a dynamic and musical presentation without need for external help, a simple but intuitive interface and wide format support, all in a form factor that can be slid into your pocket without any hassle. This represents a strong bid by Hifiman for the ultraportable DAP market, and if they can nail the gapless playback while keeping the single-threading approach intact (and add playlist support), then these will definitely be a very strong contender in their chosen price brackets.
As this is a joint review, I have awarded 4 stars – if I had to categorise them individually, I would award the Megamini 4 and the Supermini a 4.5 for the additional power and balanced options it provides. Neither player is worthy of a straight 5, but on a simple SQ only basis, I haven’t heard anything more engaging or musical in this price range on my Head-Fi journey so far. Well done to the team at Hifiman.