Hidizs DH1000 DAC/Amp Review


Introduction:

DAC/Amp solutions are not as common as DAPs, but there is a market for them because of their versatility and compatibility, giving you a high resolution listening experience across different devices, be it from your mobile phone, laptop, or tablet. Since many stream their music out of convenience, this is an optimal solution without trading off sound quality.


For technical specifications and details about the device, hop over here: https://www.hidizs.net/products/dh1000


I suspect that for many audiophiles, the DH1000 presents a product in a category that best fits a use-case scenario where it is a portable/transportable secondary DAC/amp setup e.g. for the office or when travelling overseas, where it is not possible to lug your desktop setup, with great convenience and portability trading off a little for ultimate sound quality.


With that said, the sound of the DH1000 is superb at its price point, and is atypical of a Sabre DACs. The people at Hidizs have tuned this in a very coherent and organic way, and there is no treble stridency or harshness that is commonly associated with ESS Sabre DACs. More on the sound later.


What I like about the device:

1) It is slim and pocketable, about the size of a portable hard disk drive or portable battery charger. One can easily slip it into a messenger sling, backpack or work briefcase. The fact that it looks good is a bonus.

2) It offers you two connections, the more common 3.5mm unbalanced connection, as well as the 2.5mm balanced connection that Astell and Kern and other audio companies have adopted for their products. I personally find that the 2.5mm balanced connection provides a little more drive and resolution that is a notch higher than the regular 3.5mm.

3) It comes bundled with a few cables that allows you to connect to most major sources that run out of USB-C or the previous micro-USB connections. It is literally plug and play, which is lovely and fuss-free for the end user.


Some cons:

1) It’s a fingerprint magnet (with glass sides). I have given up trying to clean it.

2) Could use a nice carry case. I currently carry it in a soft phone case from the budget store.


Sound:

Bass has solid extension down low, and rumble in the sub-bass regions. Midbass hits with impact, with a decay that is not too slow to be draggy but not too quick to lose slam. In spite of this, there is no overdone bloom or bleed into the mids, exhibiting a good sense of control. Going up into the midrange, one perceives fullness and notes have proper weight, yet retains articulacy and clarity. Vocals cut through the mix easily, making vocal lines easily discernible and emotive. Treble is nowhere near harsh and free of sibilance, one that is very well tuned and easy on the ears, however still possessing speed and correct timbre/decay. There is a naturalness to the notes and the way instruments and voices sound, a result of masterful tuning of the dual DAC chips. I would say also that it makes for hours of fatigue free listening, which is important for me.


Staging is not the widest nor deepest, but extends comfortably outwards from your headspace in all axes. For a product at this price point however, I think it is already operating at the best in its class for technicalities. There is a small sphere of sound around the head that forms, creating sufficient air and space around and between instruments. It is easy to follow instrumental lines even in complex arrangements. Imaging is terrific, and one can pinpoint instrument placements with ease within the stage. Voices tend to be centred and presented in front of the listener, lending itself to a very immersive listening experience.


The major difference between the two output options is that generally speaking, the 2.5mm output provides a larger stage with a greater sense of dynamic range and drive, where in comparison the 3.5mm would sound slightly more congested and having a weaker contrast of dynamics. Thus, I would strongly recommend getting cables/IEMs that have a 2.5mm connection to maximise the sound quality you can get out of the DH1000.


Sources:

Macbook Air 13 inch 2015

Google Pixel 3


IEMs/Earbuds:

Venture Electronics (VE) Monks (Cappuccino 2.5mm)

Venture Electronics (VE) Zen 2 (2.5mm)

Kinera Sif (3.5mm)

JVC FD-01 (predecessor of Drop/JVC FD-X1) (3.5mm)


Final comments:

Being familiar with some of my IEMs and how they sound like tonally, I can conclude that as a DAC/amp it plays wonderfully with a wide variety of earphones, giving you a clean and musical sound, with a fabulous treble tuning that gels with almost any earphone. As far as sonics are concerned, at its price range the DH1000 presents superb value for its performance, and offers a plethora of connections that anyone would need.

Introduction:

Not to be confused with Polish company CustomArt’s previous generation of earphones, also named Harmony 8.2, the Harmony is Singapore-based start up Fatfreq’s maiden entry level offering consisting of a single full range BA driver set up set in a universal acrylic shell. What is unique about this particular model is that they collaborated with a local artist to create the faceplates that characterise this model. Also, they are utilising a vented design, which does contribute to a slightly more open sound.

The Harmony is priced at SGD$218.

Fatfreq provided me with the Harmony in return for my honest opinion. I am not personally affiliated with the company in any way, and neither do I receive any monetary incentives for promoting the product.


Technical Specifications:

- Single Balanced Armature with custom tuned bass port
- 20hz to 20khz


Build Quality:

I love the faceplate design, a collaboration with a local artist @sincerelycherise. The layers of depth portraying an image of the seashore is gorgeous, and makes you want to stare at it all day. Even though the acrylic is not perfect by standards of several times more expensive custom IEMs, you would really be nitpicking at this price point to find fault with it. Personally it does not bother me much, and it hardly detracts from the beauty of the faceplate.


Accessories:

The Harmony comes with a sturdy IEM case with foam padded interior. Inside the case you will find a little box of supplied silicone tips of different sizes as well as an ear tip cleaning tool. The bundled stock SPC cable is generic, and for those who might want to consider a performance boost, cable rolling might be an option. However, swapping cables might alter the sound signature subtly, and I find that the stock tuning with the bundled cables hits the spot in terms of tuning.


Sound:

Even though it is a single balanced armature configuration, it is not very sensitive. In fact, when it comes to volume levels you can actually turn it up for it to sound its best. Volume levels match dynamic driver setups which generally seem to like more power. The Harmony has a very pleasing and easily likeable tuning, and plays well with most genres that do not require boosting of specific frequencies to sound best. I would characterise the tuning as a gentle U shape.


Now, it is by no means a boring and flat presentation – there is enough energy up top to keep things interesting, yet not too much to tip the balance into harshness, sibilance or fatigue.


Bass is more mid than sub, which is typical of single BAs, yet remains quick-paced and punchy. Bass heads need not apply though. There is more sub bass presence than you would expect from a mere balanced armature which I suspect is what keeps things tight and fast. Mid bass has satisfying authority, and on most tracks you will not be left wanting.


Mids are more clear than musical, that is, there is a nice clarity but for my personal preferences I’d have liked a little more weight to the notes for some tracks. That being said, however, timbre is pretty much spot on, which is essential to me as a musician. Voices neither sound muddy or thin, but carries enough weight to convey a natural and lifelike quality.


Like I said a few paragraphs earlier, the treble strikes a wonderful balance here. I am particularly sensitive to treble so if you are like me, the Harmony would be just right for you. There is no hardness in the treble tuning, even with a slight peak in the presence region to keep things shimmery. Cymbals sound correct, without splashiness and peaks. If you are a treble head though, you might be disappointed. I love the tuning as it is because it means you can listen to it for hours without fatigue.


The Harmony does not have the last word in resolution – but frankly no one is expecting it to. For this price point though, I would like to suggest that it is probably top of its class. Unless you are a resolution geek or are used to many times more expensive IEMs, the detail that the Harmony churns out is satisfyingly good. I’d just say that you will not be left feeling like you need more detail.



Comparisons:

*do note that all impressions are comparative in nature!


Campfire Comet (Single BA) $299

The Comet is Campfire Audio’s entry level offering, one that is beautifully machined and also looks like a work of art, but would appeal to those who dig an industrial, machined aesthetic. Being a single balanced armature as well and priced close to the Harmony, it would make a worthy competitor.


The Comet’s midrange seems a little hollower sounding, and stage is not as expansive as the Harmony. The stage seems a little more centred and smaller – feels more in the head. There is less treble clarity but focuses on midbass and low mids. Cymbal work sounds a little recessed. The bass on the Comet is less defined and less realistic, with a ‘slower’ feel overall. However, the Comet packs more of a punch with greater impact so depending on genre you might prefer the Comet’s presentation. There is also a general sense of greater air and space around the instruments on the Harmony than the Comet, with greater definition of instrument sounds and note edges.



Jomo Haka (Single BA) $499

Jomo Audio is another local company who have already built a name for themselves. The Haka is also their entry level offering featuring a single BA.


The Haka’s presentation is even smaller than the Comet, with an emphasis on the midrange. Staging is small, and compared to the Harmony the sound appears a little veiled. There is a sense that there is a lack of clarity across the board. The treble here again like the Comet, sounds recessed compared to the Harmony, perhaps tuned to reduce fatigue for long listening sessions. However, I much preferred the sound of the others to the Haka, unfortunately.


Fitear F111 (Single BA) $699

The F111 was my daily driver some years back, and it still remains one of my favourite treble tunings in an earphone.


Like any of the other single BAs, bass extension is not a strong suit, with some emphasis on the midbass. However, timbre is pretty much spot on, where the F111 would tilt gently to the warmer side of things and the Harmony tilts gently to the less warm side – I would characterise both as having very very good/accurate timbre though. If you do not do a side by side comparison you’d be hard pressed to find the more accurate one. What the F111 lags behind the Harmony in is the area of resolution and detail. Even though the driver configuration is the same, the Harmony presents detail more effortlessly with focus, and the F111 sounds just a little hazy in comparison. Staging is more height than width, and falls a little short of the Harmony which has slightly less height but more than makes up for it with more width and stereo separation.


Kinera Sif (Single Dynamic) $69

Priced at a fraction of the Harmony, I find the Kinera Sif punching way above its price point, but falling short of the Harmony’s balance and timbral accuracy. Compared to the Harmony, the Sif’s mids sit a little further back, with even thinner notes. The Sif also has a harder treble which may be fatiguing after a while, and some upper midrange peakiness that may be annoying to some. The bass on the Sif is also a little more boomy, and on some tracks there may be some bleeding into the mids. Overall, both tuning and technicalities considered, the Harmony sits a few notches comfortably above the Sif.


Like the Harmony, I really dig the Sif’s aesthetics. Even though it is a simple plastic shell, with the Kinera brand emblazoned it exudes a simple elegance. The Harmony however would appeal even more to the aesthetically inclined with its semi custom art design on the faceplates.


Conclusion
Audition one if you have the chance. At its price point and as an entry level offering, the Harmony presents incredible value. In the market right now, the Harmony stands in my opinion as one of the best single BA earphones you can get your hands on.

ADV.Sound graciously sent me a set of the EVO X for review, in return for my honest opinion.

I've had some experience with bluetooth earphones, and generally I do not have a great impression of them because they typically sound very generic and bass heavy, with a lack of clarity and a very forward, in-your-face kind of sound signature. The Evo X defies that stereotype

The packaging is fairly utilitarian but comes well accessorised. It comes with a nice zipper carrying case, and a short micro usb cable is included for charging, as well as extra foam and silicone tips for tip rolling.

What sets the Evo X apart for me is the quality of the sound. All other bluetooth earphones I've tried so far does not even come close (Jabra, Jaybird etc. and partly because of that I gave up on bluetooth earphones. However, I relented and decided to give the Evo X a chance, and I'm glad I did.

Bass
The bass has a slight but very tastefully tuned midbass bump - which is really nice because when outdoors it compensates for the lack of bass in a noisy environment. Even though it is not the most linear it adds a nice rhythmic feel to the music. The mid bass bump is also not overly emphasised, lending itself to nice texturing of the bass and impact, albeit a little softer in character.

Mids
Mids come through crystal clear with good definition and weight. Voices are very nicely rendered and there is pretty accurate reproduction of timbre. Norah Jones was quite lifelike and detailed, unlike any other bluetooth earphone I have heard. There was also a good sense of space surrounding vocals, whereas most other Bluetooth earphones will sound either congested or too forward sounding in order that the midrange can cut through the mix.

Treble
Treble is also well articulated and only slightly rolled off in the higher registers. Even then, what strikes me most is the bell-like clarity that cuts across the frequency spectrum, as well as the quality of the instrumental separation. The treble is slightly rolled off but because of that it also makes it less fatiguing and easily listenable over long periods.

The only problem I had with the Evo X is getting a secure fit all the time. Sometimes it tends to loosen while I am moving, but I suspect this may be due to my ear anatomy. Foam eartips allow me to secure it better but the tradeoff is slightly added bass and slightly less well articulated treble. I would suggest that if you intend to use this for sports or outdoor activities, unless you are able to get a secure fit, use the foam eartips.

All in all, I feel that ADV.Sound has produced an excellent product with the Evo X - this should appeal to the audiophiles who do not want to sacrifice sound quality in a bluetooth every day solution, or even for sport fanatics who like to listen to music while they enjoy sports and train. Well done ADV.Sound!

Before I begin the review, I would like to take the opportunity to thank Dan and team at Periodic Audio for allowing me to review their debut IEM lineup. As a budding reviewer, I really do appreciate the opportunity given. The IEMs will be sent back to Periodic Audio after the review. Because I can only post one review for each item at a time, the same opening paragraphs will be repeated for all three IEMs, with only the review on sound differing.


A short preamble before the review proper: Periodic Audio takes an interesting approach to their design philosophy. I will not bore you with details here – you can find all you need to know about their company and approach on their very neatly designed website, periodicaudio.com.


Two things that I found most novel in terms of design and engineering choices, which is reflected in their company name, is firstly, their choice of driver material is based off certain elements on the periodic table. Their opening lineup includes Mg (Magnesium driver), Ti (Titanium driver) and Be (Beryllium driver), which is their current top-of-the-line offering. Beryllium seems to be a popular choice of material for hifi, which I recall the popular Focal Utopia headphones also utilizes.

Secondly, Dan and team have chosen to use a polycarbonate shell for the IEM housing, which purportedly reduces resonance drastically. I was skeptical at first, but after my initial impressions which I will go into later, I realized that it sounds like they are on to something.


Packaging and Accessories:

The packaging comes in a utilitarian white cardboard box, and in it contains the IEMs, as well as a selection of tips including silicone and complys in small Ziploc packs, stuffed inside the yellow gold metal container with the Periodic Audio logo emblazoned on the top shell. They have also generously included an in-flight adapter as well as a 3.5mm to 6.35mm (1/4”) adaptor. Some may raise an issue with the quality of the packaging, but personally I can see that Periodic Audio has chosen to focus on the quality of the product and accessories, which they clearly delivered on.


Design:

All 3 Periodic IEMs sport the same outer shell and housing, with the differentiating factor being the piece that covers the back of the IEM indicating the type of metal used. The Mg has a shinier silver back plate; the Ti has a slightly darker hue, a gunmetal type tint back plate; and the Be being the easiest to spot among the pack, having a darkish golden back plate that is quite aesthetically pleasing. The polycarbonate shell feels tougher and harder than it sounds, and is a deep black. What is also interesting is that there are no L/R indicators on the shells or the strain reliefs, but the guys at Periodic have opted to colour-code the earpiece filters. The left earpiece has a blue filter, and the right has a red filter. The only downside about this is when trying to identify them in an environment that may have little light – it might be difficult to tell the difference then. I had no issues during the day though.

The housing itself is also a vented design, and the vent can be found at the top of the earpiece.

My only niggle with the IEM design probably has to be the cable. The cable seems run-of-the-mill, and does not feel sturdy enough to endure daily abuse. It also has some cable memory, tends to get tangled easily and is also not very compliant during coiling and storing.





Comfort and Seal:

I found all 3 IEMs to fit well and fit quickly, with very decent levels of isolation when I’m out and about during the day. This is with the default silicone tips. Once they are in, they also do not move about easily, and I find that they sit snugly in my ears. The IEMs can be worn both over ear and on ear, but when worn with the cable dangling downwards I tend to get microphonics. This is largely a non-issue when the cable is worn over ear though.


Sound:

Sources used – Onkyo DP-X1A, Sony A15

Looking at the frequency graph as well as the short description accompanying it on the Ti product page, one would expect the Ti to be aggressive and harshly v-shaped. I am someone who is quite averse to v-shaped signatures. This was exactly what I was expecting and I was very surprised to find that it was not even half as bad as I thought. It was a very clean signature with significant heft in the bass regions, as well as a well extended treble without peaks or sibilance, which is something that I am impressed with, being someone who is acutely sensitive to the treble domains. I would not disagree that it is a v-shaped signature with a clear focus on the two extremes but as a mids lover I found this surprisingly easy to listen to.


Bass:

You get a very similar tuning with the Mg but the bass of the Ti is definitely further north of neutral, and gives noticeably more kick than the Mg. It extends well down below, and with songs that have some real sub bass action going on you're really going to feel it. Of course it's not so linear, with a greater emphasis on the mid bass but clearly this is not one of your average and ubiquitous Beats-styled earphones with just bass and little else. The midbass is tuned in such a way that it is heavy, yes, but only insofar as giving you all the texturing and rumble that is conveyed through a slightly more romantic decay, yet without the sense of bloom and muddiness that most other IEMs end up sounding. The turn of pace is just speedy enough to hit the next note before you feel like the bass is dragging you down. What results is a very immersive bass experience with a lot of fine detailing, and what really hit me was how tactile it felt.


Mids:

There is great clarity in the mids, and without any bleeding from the Low frequencies what you get is a very clean tonality and good resolution. Vocal lovers might be somewhat disappointed here though, if you are looking for warmth. I noted earlier that the bass is a tad boosted in the mid bass, which does lend itself to some body in the midrange, but its core signature still remains a v-shape. The mids are in no way recessed, mind you, just that it lacks the thickness of note and warmth that characterises more mid centric IEMs. What you get is a very clean tone with great detail, but what some might consider on the dry or analytical side. I would also say that compared with the Mg, the Ti has more detail and resolves midrange notes a little more capably. Instrumental timbre is also reproduced fairly accurately, and has good bite and crunch, especially with electric guitars and synthesised tones.


Treble:

The treble is fast, clear and extended. I felt less fatigue than I expected going by the frequency graph of the Ti. The treble is quick footed with lightning fast decays, resulting in a very detailed rendering of cymbal heavy tracks. I could pick out the individual crashes and shimmers that I usually would not pay attention to, and even then I could not detect sibilance or any semblance of harsh peaks that could irritate listeners during longer listening sessions. This speaks highly of the expert tuning of the treble. I particularly enjoyed Snarky Puppy and instrumental jazz on the Ti.


Staging/Imaging/Separation:

With the Mg as a baseline reference, the Ti provides a slightly wider stage with increased resolving ability. Imagine facing the semi-circle of the Mg's stage, but having a little more width that extends further left and right, with its ends going slightly behind the ears. It lacks ultimate z-axis detail and depth to sound truly holographic, but is a euphonic tuning nonetheless. Separation is still top notch and reminiscent of the Mg, where individual instruments are clearly delineated in the stereo field. Imaging is again good in its price tier but may not be the best because of how depth is not as well portrayed as width and height.


Matching:

Again, the Ti, like the Mg, would pair well with darker/warmer sources. While a cleaner and brighter source might appeal to trebleheads, the majority of listeners may have early onset of fatigue with less synergistic pairings. I picked the Sony A15 over the DP-X1A pairing for a better resultant tonal match. I'm not too sure if the bass levels are heavy enough for bassheads, not being a basshead myself, but I would definitely recommend using the Ti for bass heavy and/or more treble indulgent genres like electronica, metal, and instrumental jazz type music.

Conclusion:

Periodic Audio has served up a potent combination of IEMs suited to different budgets and tastes in its entrance to the audiophile market. One can hardly go wrong with either the Mg, Ti or the Be. For my personal preferences I’d pick the Be any day, because I’m biased toward a musical tuning that has focus on engaging mids and quality bass. But if one is on a budget, the Mg comes with a high recommendation. I find the Ti more of a specialist – if you love rock or metal, or genres that tend more toward a v-shaped tonal profile then the Ti would be perfect. Well done, Dan and team at Periodic Audio!

Before I begin the review, I would like to take the opportunity to thank Dan and team at Periodic Audio for allowing me to review their debut IEM lineup.
Because I can only post one review for one item at a time, the same opening paragraphs will be used for all three IEMs, with only the part on sound differing.

A short preamble before the review proper: Periodic Audio takes an interesting approach to their design philosophy. I will not bore you with details here – you can find all you need to know about their company and approach on their very neatly designed website, periodicaudio.com.


Two things that I found most novel in terms of design and engineering choices, which is reflected in their company name, is that firstly, their choice of driver material is based off certain elements on the periodic table. Their opening lineup includes Mg (Magnesium driver), Ti (Titanium driver) and Be (Beryllium driver), which is their current top of the line offering. Beryllium seems to be a popular choice of material for hifi, which I recall the popular Focal Utopia headphones also utilizes.

Secondly, Dan and team have chosen to use a polycarbonate shell for the IEM housing, which purportedly reduces resonance drastically. I was skeptical at first, but after my initial impressions which I will go into later, I realized that it sounds like they are on to something.


Packaging and Accessories:

The packaging comes in a utilitarian white cardboard box, and in it contains the IEMs, as well as a selection of tips including silicone and complys in small Ziploc packs, stuffed inside the yellow gold metal container with the Periodic Audio logo emblazoned on the top shell. They have also generously included a in flight adapter as well as a 3.5mm to 6.35mm (1/4”) adaptor. Some may raise an issue with the quality of the packaging, but personally I can see that Periodic Audio has chosen to focus on the quality of the product and accessories, which they clearly delivered.


Design:

All 3 Periodic IEMs sport the same outer shell and housing, with the differentiating factor being the piece that covers the back of the IEM indicating the type of metal used. The Mg has a shinier silver back plate; the Ti has a darker hue, gunmetal type tint back plate; and the Be being the easiest to spot among the pack, having a darkish golden back plate that is quite aesthetically pleasing. The polycarbonate shell feels tougher and harder than it sounds, and is a deep black. What is also interesting is that there are no L/R indicators on the shells or the strain reliefs, but the guys at Periodic have opted to colour code the earpiece filters. The left earpiece has a blue filter, and the right has a red filter. The only downside about this is when trying to identify them in an environment that may have little light – it might be difficult to tell the difference then. I had no issues during the day though.

My only niggle with the IEM design might be the cable. The cable seems run of the mill, and does not feel sturdy enough to endure daily abuse. It has some cable memory, tends to get tangled easily and is also not very compliant during coiling and storing.





Comfort and Seal:

I found all 3 IEMs to fit well and fit quickly, with very decent levels of isolation when I’m out and about during the day. This is with the default silicone tips. Once they are in, they also do not move about easily, and I find that they sit snugly in my ears.


Sound:

Sources used – Onkyo DP-X1A, Sony A15

Being the most budget friendly option at 99USD, one might be tempted not to expect very much. I would like to proffer that the Mg holds the greatest value proposition in the lineup. It was the first model I tried, and I recall being impressed upon my initial listen. What immediately stood out was the clarity of the separation (and by extension the quality and extension of the treble), as well as the quality and quantity of bass, and this is something that all 3 models seem to really excel in. Tonally the Mg is pretty much neutral and clean, with a hint of a cold tilt in the mids which causes it to feel slightly laid back in the vocals.


Bass:

The low end is snappy but also hits with satisfying impact and punch. What I love most about my bass is that it needs to be tight but also produce good rumble and texture. Most IEMs either hit hard with a lot of midbass, or extend low with a lot of texture but lacks kick. The Mg ticks all the boxes in my checklist for a fantastic bass experience. Besides being snappy I can also easily hear a lot of texture and tactility in the bass response. What is so excellent about it is that when it feels like it is getting too rich and lush it moves to the next note – it never gets muddy or slow because it is just quick enough but you get all the accompanying texture and rumble. A lot of bass information is also conveyed, such as the timbre of the bass drum or the tone of the bassist’s notes, all of which I suspect is helped by the separation, which I will talk about later.


Mids:

The mids are focused front and center, but can tend to sound a hint on the thin side in terms of note thickness. This seems to be the only ‘weakness’ of sorts in terms of the tuning, however, this boils down to personal preference. The Mg’s mids lends itself to a slightly more analytical sound, which provides plenty of clarity, but tonally it sounds a little colder than what some might consider natural. However, I must also acknowledge that this may also be a result of my bias, because I tend to zoom in on mids and like my vocals to be a tad warm sounding. With all that said, it is only slightly colder, and this is also with reference to the other models in the lineup. Many would find that the mids are perfectly fine depending on one’s personal yardstick for vocal timbre.




Treble:

One other defining factor of the Periodic Audio lineup is the speed, definition and extension of the treble across all three models. For the Mg I felt that it had a quick decay and brilliant shimmer, resulting in plenty of treble micro-detailing. I could pick out each hit in rapid successive crashes of complex cymbal work – and the amazing thing is that it is neither harsh nor sibilant. This is remarkable because I consider myself to be very sensitive to treble, and looking at the graphs Periodic has provided I was mentally preparing myself to have some issues with the Mg and the Ti, but like most acknowledge, data and frequency graphs only tell half of the story. How they actually sound really pleasantly surprised me when I found that the treble was clearly one of its strong suits. With that said, the treble, in line with the mids, may also leave some feeling like it tilts toward a colder tonal profile, and not have the very brassy tone that some might desire.


Staging/Imaging/Separation:


Staging is decent on all three axes, with a little more width than depth or height. Even though some may consider the Mg on the intimate sounding side, its strength in separation leaves the listener never feeling like the music is congested or muddy, and this is most perceptibly demonstrated in complex instrumental arrangements, when one can pick out any one melodic or harmonic line and follow it easily. Imaging is average, and one can place instruments within the space of the stereo image thrown. The audio field is roughly a semi-circle extending a little from the sides of your ears reaching out to the space in front of your eyes. The separation and layering, nevertheless, for the Mg’s price range, is clearly outstanding, and makes for an almost irresistible value proposition.

Conclusion:
Periodic Audio has served up a potent combination of IEMs suited to different budgets and tastes in its entrance to the audiophile market. One can hardly go wrong with either the Mg, Ti or the Be. For my personal preferences I’d pick the Be any day, because I’m biased toward a musical tuning that has focus on engaging mids and quality bass. But if one is on a budget, the Mg comes with a high recommendation. I find the Ti more of a specialist – if you love rock or metal, or genres that tend more toward a v-shaped tonal profile then the Ti would be perfect. Well done, Dan and team at Periodic Audio!

Before I begin the review, I would like to take the opportunity to thank Dan and team at Periodic Audio for allowing me to review their debut IEM lineup. Because I can only post one review for each item at a time, the same opening paragraphs will be repeated for all three IEMs, with only the review on sound differing.


A short preamble before the review proper: Periodic Audio takes an interesting approach to their design philosophy. I will not bore you with details here – you can find all you need to know about their company and approach on their very neatly designed website, periodicaudio.com.


Two things that I found most novel in terms of design and engineering choices, which is reflected in their company name, is that firstly, their choice of driver material is based off certain elements on the periodic table. Their opening lineup includes Mg (Magnesium driver), Ti (Titanium driver) and Be (Beryllium driver), which is their current top of the line offering. Beryllium seems to be a popular choice of material for hifi, which I recall the popular Focal Utopia headphones also utilizes.

Secondly, Dan and team have chosen to use a polycarbonate shell for the IEM housing, which purportedly reduces resonance drastically. I was skeptical at first, but after my initial impressions which I will go into later, I realized that it sounds like they are on to something.


Packaging and Accessories:

The packaging comes in a utilitarian white cardboard box, and in it contains the IEMs, as well as a selection of tips including silicone and complys in small Ziploc packs, stuffed inside the yellow gold metal container with the Periodic Audio logo emblazoned on the top shell. They have also generously included a in flight adapter as well as a 3.5mm to 6.35mm (1/4”) adaptor. Some may raise an issue with the quality of the packaging, but personally I can see that Periodic Audio has chosen to focus on the quality of the product and accessories, which they clearly delivered.



Design:

All 3 Periodic IEMs sport the same outer shell and housing, with the differentiating factor being the piece that covers the back of the IEM indicating the type of metal used. The Mg has a shinier silver back plate; the Ti has a darker hue, gunmetal type tint back plate; and the Be being the easiest to spot among the pack, having a darkish golden back plate that is quite aesthetically pleasing. The polycarbonate shell feels tougher and harder than it sounds, and is a deep black. What is also interesting is that there are no L/R indicators on the shells or the strain reliefs, but the guys at Periodic have opted to colour code the earpiece filters. The left earpiece has a blue filter, and the right has a red filter. The only downside about this is when trying to identify them in an environment that may have little light – it might be difficult to tell the difference then. I had no issues during the day though.

My only niggle with the IEM design might be the cable. The cable seems run of the mill, and does not feel sturdy enough to endure daily abuse. It has some cable memory, tends to get tangled easily and is also not very compliant during coiling and storing.





Comfort and Seal:

I found all 3 IEMs to fit well and fit quickly, with very decent levels of isolation when I’m out and about during the day. This is with the default silicone tips. Once they are in, they also do not move about easily, and I find that they sit snugly in my ears.


Sound:

Sources used – Onkyo DP-X1A, Sony A15

The moment I first listened to the Be, I knew that it was something special. Not merely because it is the most expensive one in the lineup, but more so because of its absorbing sound signature. The Be marries a wholly musical tuning with good technicalities and lifelike imaging, resulting in a immersive and engaging listening experience. The hallmark separation and clarity, together with a powerfully but tightly controlled bass remains distinctive. However, unlike the Mg and the Ti, the Be has a comparatively thicker midrange that brings a slightly warmer tilt to the overall tonality, which is very pleasant, especially for a stickler for timbre like myself. I found that the Be came the closest in accurately replicating the timbre of instruments and voices.


Bass:

The bass is still weighted and slightly emphasized but what sets it apart from its titanium and magnesium brothers is how effortlessly it maintains its tautness and grip-like control. It seems to reach the lowest recesses a hint more ably than the Ti but it is not clearly noticeable with casual listening. It is heavier than the Mg, and punches similarly to the Ti, but exceeds the Ti in quality and speed. The Be gives a punchy, weighty and highly musical bass experience, thoroughly in line with what I expect from a quality bass presentation. I love it!




Mids:

The cold tilt of the Mg is gone, and in its place a warmer tone created from thicker midrange notes fills out any deficiencies in this range perceived from the previous models. There is some magic in the tuning here because this mid weightiness does not compromise on clarity and resolution, but conveys a very lifelike and powerful midrange. This is especially so for the reproduction of vocals and instruments such as strings and brasses. I have to make a note here that plucked strings are incredibly and convincingly realistic. Unlike the Ti, the mids are less centered in front of your face, but rather more centered in a 3D axis closer to your face. While this may seem strange, the presentation of audio space is actually more balanced in terms of all 3 axes, which I will elaborate more about on the section on soundstage. Backing vocals sound excellent here, with harmony lines clearly delineated but in a layered way. This is because they pan out to the left and right: not in a simple wide planed way, but rather curves in around the headspace, as if the backup vocalists were singing from the left and right spaces beside your ears. There is obviously a greater focus on delivering a more powerful vocal experience in the Be compared to the others, and I can safely say Periodic has delivered on this front.


Treble:

Treble extends well and is crisp, with great speed and resonates with bell-like clarity. What this translates to is defined, singular strikes on the most complex band arrangements, even with rapidly successive cymbal work. There is neither sibilance nor harsh peaks here as well, yet like the Mg and Ti, the treble tonality here generally veers towards slightly cold.


Staging/Imaging/Separation:

In terms of resolution, the Be naturally comes up top. On very high quality recordings it is easy to hear the intakes of breath and little nuances conveyed by the singer. Of course it will not compare favourably with IEMs that well exceed its price tier, but I could comfortably say it is competitive with earphones costing below $1k. The stage is most immersive out of the 3 models in the lineup, and throws out a spherical space. This spherical space is more width and height than depth, but depth is still great. It does not, say, extend far behind the listener’s neck, but is still rather convincing. The main vocalist is somewhere around the centre of the sphere, and instruments are imaged quite precisely within the 3D field. Bass tends to emanate from the bottom back, and instruments and backup vocals fill the spaces around the ears. Separation is top notch while retaining solid layering of instruments. While the presentation of spatial depth could still be even better, it is holographic enough to be quite immersive – this is mostly contributed by the excellent timbre and realism that the Be produces.


*note – I also managed to find time to listen to the Be out of the Schiit Fulla 2 which is my office setup, and I found that the Fulla 2 presents a superb synergistic match with the Be. It retains good technicalities while sounding very musical, akin to marrying the merits of pairing it with both the Onkyo DP-X1A and the Sony A15.

Conclusion:

Periodic Audio has served up a potent combination of IEMs suited to different budgets and tastes in its entrance to the audiophile market. One can hardly go wrong with either the Mg, Ti or the Be. For my personal preferences I’d pick the Be any day, because I’m biased toward a musical tuning that has focus on engaging mids and quality bass. But if one is on a budget, the Mg comes with a high recommendation. I find the Ti more of a specialist – if you love rock or metal, or genres that tend more toward a v-shaped tonal profile then the Ti would be perfect. Well done, Dan and team at Periodic Audio!

Before I begin the review, I would like to thank Advanced Sound for providing this review set of M4s for free in exchange for my honest opinion and review. As a budding reviewer, I really appreciate the opportunity given, because most of the reviews are done up by more senior members with a lot more reviewing experience. I am in no way affiliated with the company.
 
For this review I shall not dwell too much on packaging and accessories or design, but the bulk of my review will revolve around the M4’s sound as well as how ear tip rolling changes its sound. 
 
 


 
 
 
 
Packaging and Accessories:
For the price that Advanced Sound is asking, the package is superb. It comes in a standard cardboard case, with a carry case for the M4 IEMs, a shirt clip, as well as a whole selection of silicone tips for users to play with. A set of foam tips come default on the M4 IEMs.
 
Design:
The M4 housing itself is beautiful to look at, and is very meticulously finished. It is made out of a matte aluminium and feels incredibly lightweight and easy to handle. Advanced says that it is sandblasted and diamond cut - sounds pretty complex for an IEM at its price range, and feels incredibly premium, which belies its price range. It shows that a lot of effort and thought was put into something as simple as the design. It is a solid design choice and is aesthetically appealing, at least to me. The cable feels extremely durable to work with, and very much tangle proof in my day to day use. I had no issues whatsoever in coiling and unravelling the cable during use.
 

 
DAP used: Sony A15 and Onkyo DP-X1A
 
*note that the comparisons in sound will be between 1) comply tips, 2) standard silicones, 3) double flanged silicones
 
Sound:
(with comply tips)
Bass hits fast with quick turn of pace, but yet retaining good extension and weight, typical of a dynamic driver bass moving air. Bass lovers who love texture and slam might not fancy the fairly speedy decay but I feel that this is very good bass – not sluggish but tight with impact. Tuning is tasteful and definitely without bloat, yet hits with sufficient impact when the track calls for it. If one is picky, the only downside might perhaps be that the bass notes tend to be slightly rounded off its edges, or what some might call a little soft in character. I personally feel this is necessarily because it fits right in to the general tuning of the M4. It is mildly north of neutral, but very satisfyingly musical in tuning.
 
Mids have great separation and clarity, but compared to other mid-centric IEMs may sound just a touch cool/thin on low volumes. Synergy with different DAPs may yield varying results here. However, it is somewhat reminiscent of the Etymotic cleanness/clarity (I really enjoyed auditioning the ER4XR, and prefer it over the SR), and there is a good sense of space as well. At softer volumes it may sound the slightest bit hollow, but general listening volumes will have the mids begin to fill out with a little more body. There is none of the typical midrange bass bleed that commonly afflicts IEMs in this price range, thankfully.
 
Treble is even throughout the FR and extends fairly well, it is just sparkly enough to be musical, and not be sibilant or have grating peaks. This is uncommon for IEMs at this price range, which usually tend toward either extremes of recessed or overly peaky/fatiguing treble or a pronounced V-shaped curve. I feel that the treble evenness and clarity also contributes to good air around instruments and decent resolution. If one were to be picky, the treble perhaps could have improved timbre – decay seems a tad too quick compared to real cymbal crashes.
 
Staging is decent in all three axes, with better depth and height than width, but coupled with great separation and clarity it is very enjoyable to listen to, and you would be hard pressed to feel like the music is congested. Most of the time there is great detail retrieval and realism, even though staging may feel intimate sometimes, depending on tracks. Imaging is also decent at this price class, with fairly clear positioning cues. Think of a small recording studio and not a concert hall or stadium feel. Performance here in terms of resolution and clarity however is definitely top of its price class at $39.99.
 
(with standard silicone tips)
Bass retains its speed and extension, but loses some presence and slam. Mids are still clear, but with the silicones again a little of that weight and presence is traded off for a more spacious presentation and a greater treble tilt. Treble is where there is most difference – there is definitely more sparkle and presence in the top end, and greater articulation. I hear more energy in the attack and more cymbal detail. It is interesting because I am sensitive to treble, but Advanced has managed to tune it in such a way that it doesn’t get sibilant. With the silicones, staging gains in height and a little bit of air. Separation and clarity are still outstanding, and perceptibly even more so than with foams.
 
(with double flanged silicone tips)
What might be of interest is that the double flanged silicones seem to sit somewhere in between the foams and the silicones in terms of tuning. Bass is not as heavy as the foams but retains more impact and texture than the silicone. Mids have less weight than the foams but a little more presence than the silicones. Treble is more articulate than with the foams but less aggressive than with the silicones. The double flanges sound the slightest bit more 'open' than the foams.
 
Considering my listening preferences, I’d probably stick with the foam option for everyday listening, with the double flanges in a tight second place for clarity and because I’m highly sensitive to treble. What I find most beneficial is that with Advanced providing an ample supply of silicone tips in the package, consumers get an opportunity to further ‘tune’ the sound a little with the tips depending on listener preference, which is really great because different users may use it with different kinds of gear to find the best synergy.
 
Conclusion:
Prior to my review, reading other users’ impressions left me expecting a heavily treble oriented IEM. To my pleasant surprise, I found the tuning fairly balanced, tilting towards a gentle U shape, and depending on tips, users can have a choice of further fine-tuning the sound to match their preferences. Kudos to Advanced Sound for a fantastic offering in this price range!
 

 

For the purposes of this review I will refer to the iDSD Micro Black Label as the BL
Thanks and appreciation goes out to iFi Audio for organizing this tour – it is a privilege to be given this opportunity to review the BL. This unit will be returned after 1 week to be passed on to the next reviewer in the tour.
 
 
 
Preamble:
This is my second official review on Head-Fi, so I would gladly welcome any suggestions for improvement, or tips on what I could include so that it would be more helpful for other Head-Fi’ers in evaluating gear for purchase. I thought a bit about how to structure this review because I generally find it challenging to review DACs as compared to headphones or earphones. This is because it is not as easy to generalize a DAC’s characteristics and sonic qualities as compared to a headphone (or earphone), and they might sound slightly different with various pairings. I think that the most useful way to pin down a DAC’s sonic performance is to compare how it performs with different headphones and also comparing it with other DACs.
 
I value timbre and tonality, then resolution and soundstaging (depth and realism over plain width). My listening preferences tend toward neutral but slightly dark, and I appreciate good low-end extension, texture and slam. I’m a vocal lover so the midrange is very important to me – mids need to have clarity but retain a level of musicality so that it is engaging and not sound congested or too analytical/hollow. I’m highly sensitive to treble, and harsh/uneven/forward treble can fatigue me easily. However, I appreciate high quality treble e.g. tonal correctness vis-à-vis real instruments as I know them (cymbal/violin tones) without any glare or peaks. High quality gear tends to tick most of these boxes easily.
 
Packaging and Accessories:
The BL comes in a standard white box, and includes –
1)   felt pouch for the BL
2)   female USB A to female USB B cable
3)   3.5mm to 3.5mm adaptor
4)   rubber pad (presumably for putting under the BL on a tabletop)
5)   USB A male to USB B male adaptor
6)   Two black rubber bands (for stacking the BL)
7)   3.5mm to 6.35mm jack
8)   Standard manual that explains the jacks and switches that can be found on the BL
 
Design and Build:
The BL is solidly built, and beautifully finished. I personally love the metallic black finish, and aesthetically I prefer it to its predecessor in silver. It is a compact design, and at times I still wonder how iFi has packed all that functionality into its chassis. I wouldn’t exactly call it portable but it is definitely transportable, especially if you are one who usually carries a small bag around e.g. a messenger or backpack (like I do). The volume knob allows you to do very fine adjustments, which can be very useful, and is quite smooth but retains enough traction for accuracy and to avoid accidental volume changes. The only gripe I have about the layout here is that when toggling the 3D switch I have the tendency of accidentally pushing the volume knob as well, because of my fat thumbs. People who have leaner digits or greater finger dexterity should have no worries though.
 
The XBass and 3D switches feel sturdy and have a nice tactile feel when flipped. There are switches at the bottom of the BL, one for toggling between using it as DAC/Amp and as DAC only, and IEMatch, for toggling in use with highly sensitive earphones. There are 3 other switches at the side of the BL, one for power mode, one for polarity and the last for sound filters. I find that the 3.5mm input jack and the 6.35mm output jack is well placed for portable use, because that means that you can stack and still place the BL in an upright position in your back with those jacks facing up, allowing for fairly convenient volume manipulation on-the-go.
 
 
 
 
Gear used:
Concero HD
Schiit Lyr (Philips 6DJ8 tubes)
Onkyo DP-X1
Sony A15
Sennheiser HD650
Hifiman HE400S
Earwerkz (now Empire Ears) Legend Omega
Aurisonics Rockets
 
Some of the tracks I used:
1) Don’t Know Why – Norah Jones 24/192
2) Spanish Harlem – Rebecca Pidgeon DSD128
3) Tchaikovsky’s Serenade for Strings in C Major, Op. 48: II. Valse: Moderato – Tempo di valse – LSO String Ensemble 24/96
4) Photograph – Ed Sheeran 16/44.1
5) Birds – Coldplay 16/44.1
6) What About Me – Snarky Puppy 16/44.1
 
*note that I may not always comment specifically for each track in my review, but I am open to requests if you need specific information.
 
Sound:
Well here comes the most important part. I am running Audirvana+ on a 2011 Macbook Air 13”. Settings on the BL are usually on ‘Normal’ mode with IEMatch off unless specified.
 
The first setup sees the Sony A15 as DAC, with line out into the BL, paired with the Aurisonics Rockets. The second setup uses the Onkyo DP-X1 as transport, feeding the BL with USB into the HD650. Then, comparisons 1 and 2 pit the BL against the Concero HD, which is a widely praised DAC and my desktop driver, albeit with less functionality than the BL but priced higher ($549 for the BL and $850 for the Concero HD), through the HE400S and the HD650. In the comparisons I usually kept the bass and 3D switches off in order to give a fairer comparison, and added comments about their selective use.
 
Comparison 3 tries to pin down the performance of the BL in driving custom monitors (BA drivers), in contrast to my usual DAP, the Onkyo DP-X1.
 
 
Sony A15 (Line Out) > BL > Aurisonics Rockets (and HD650)
 
 

 
I remembered that I had the line out jack for the A15, and added this setup because I considered that this is actually a transportable option. Besides, iFi does provide 2 black bands for those who might want to stack the BL with their DAPs. It may not be convenient for many but the sound quality may change your mind. This is desktop quality sound, available on-the-go.
 
I volume-matched the A15 with and without the BL as accurately as I could, and I loved what I heard. Even with the XBass and 3D switches off, the audible difference is already significant. Comparing ‘Don’t Know Why’ by Norah Jones with and without the BL, there are immediate gains in air, space, and imaging, with greater vocal presence and resolution. Norah Jones’ voice is more focused; instrument placement increase in definition and clarity, and soundstage also gains some width and air.
 
With the XBass toggled on, the midbass is pleasantly elevated to give a little more slam, decay and texture. By texture I mean that the bass can be ‘felt’ more – a little bit more tactile. The caveat is that not everyone might like this difference, because it may be a little too much north of neutral for some. Without also toggling the 3D switch on, the presentation turns a little dark.
 
I loved the presentation with both the XBass and 3D switches turned on. The 3D switch re-balances the tonality of only the XBass switch by giving the music a treble lift. But that is an understatement. In this setup the 3D switch seems to provide a more ‘open’ sounding presentation. Vocals become a bit more forward and engaging without losing transparency. The soundstage increases in height, fills up the imaginary area somewhere above your forehead, along with a tad more width. The presentation also gains a lot more air and instruments have more breathing room and are nicely separated. The treble moves from the sonic background to a place where it suddenly has a little more sparkle and clarity.
 
The result? Greater immersion into the music with excellent resolution, transparency, and musicality. Switching back to the A15 alone causes the music to sound compressed and somewhat claustrophobic. Given that the A15 has a small footprint, I would actually seriously consider this portable stack as a serious rig that gives you desktop class performance that you can actually carry around in a messenger bag.
 
(I tried this stack with the HD650 just for kicks, of course with power mode on “Normal” and IEMatch “Off”. Turning the XBass on put the thump into the low end of the HD650s, however, it might not always be tasteful depending on track and preference. In many cases it changes the HD650s bass from being heard to being felt, working well as a result. I also toggle the 3D effect on simultaneously, and for most tracks, again, most noticeably makes the stage taller and more immersive, and adds air in the vocals and slightly more instrument definition. Imaging improves, together with a greater sense of realism. Even on a track with heavy cymbal work, tonality is never compromised, and with the HD650 the presentation still maintains its coherence and cohesiveness. However, as I note later (heads up), I suspect that more treble oriented cans might not synergize tonally as well with this pairing. I am really enjoying how a (trans)portable stack can drive HD650s properly.)
 
 
Onkyo DP-X1 > BL > HD650
 
The HD650s are the stuff of legend, and are well known for their audio quality. In fact, Massdrop recently ran a drop in collaboration with Sennheiser for the HD6XX, which basically replicates the sound signature of the HD650s. The HD650s are known to be slightly dark with a musical and lush midrange presentation, with the ability to scale up with better sources and amps.
 
As tracks are playing I experimented with the BL’s power settings. I found that the “Turbo” drove the HD650s better than in “Normal” mode, but with the drawback of not having much volume control headroom – in between being too soft with channel imbalance or too loud for any listening comfort. In comparison to “Normal”, I found “Turbo” to provide slightly better control in the bass, and midrange notes were very slightly thicker. However, I ended up doing most of the listening in “Normal” mode for the reasons stated above.
 
Compared to my memory of the non-Black Label iDSD Micro, generally the BL improves on its predecessor by providing a tighter grip on the bass, retaining midrange accuracy but having somewhat thicker notes lending itself to a more ‘musical’/engaging vocal presentation, for lack of a more appropriate term. Treble reproduction is remarkably accurate without giving in to any harshness or glare (perfect for someone like me), and maintains clarity without erring on the side of being clinical. Extension on both ends is very good, and detailing and resolution is top of its class in this price range.
 
The pairing with the HD650 is a fine combination, and makes for a pleasurable listening experience. Because the HD650 is slightly dark, it pairs well with the BL’s neutrality and clarity to provide immersion into the music. The BL’s 3D switch, again, gives tracks a slight treble lift (and more), and also required tuning down the volume knob a notch when applied. However, the net gains seem more track dependent than with the Rockets (on some tracks it worked wonders for soundstage and imaging, but on others recessed/thinned out the mids and did weird things to the imaging – became too diffuse), I would say that the 3D function/crossfeed is generally very well implemented, and worked well for most tracks that have decent mixing and mastering. I would imagine that with neutral or more treble oriented headphones or earphones this boost may not work as well, and might even in fact cause an overemphasis on treble reproduction.
 
 
Comparison 1:
BL > Lyr > HE400S
Concero HD > Lyr > HE400S
 
My HE400S is grill modded and Focus A pad swapped, which helps improve its inherent staging qualities and bass extension. The comparison is done with the switches on the BL off, and set to “Preamplifier” mode. To be honest, when I first swapped out the Concero for the BL on the HE400S, I was a little shocked at its performance –the tonality was quite similar, and technically it is pretty close. In fact it was so close I was hard pressed to tell the difference at first listen, and it was only after critical listening that I managed to sieve out some small differences. This speaks volumes of what iFi has managed to achieve with the BL, when you get a DAC that competes easily with higher priced DACs in the sub $1k category.
 
The Concero HD gets the edge for macrodynamics – bass slams a little harder and the presentation is slightly more energetic. The Concero HD low-end extension also reaches just a step lower than the BL. However, the BL’s bass is hardly far behind, albeit comparatively quicker and faintly lighter.
Midrange/vocal resolution and clarity is top notch on both DACs, and I cannot pick them apart. For vocal-centric music both DACs present a highly immersive performance, drawing you into the music. Cymbal work comparatively sounds very slightly tizzier/hotter on the BL, but I’m really nit picking here, and so the Concero gets the nod for a slightly more natural treble timbre. The Concero HD also seems to extend a hair more than the BL but my ears are not as good with treble extension so take this last comment with a pinch of salt.
Staging is a touch wider on the Concero, but seems a touch deeper on the BL. Imaging and separation brings both DACs neck to neck.
I suspect that this result has also got to do with the pairing of the headphone’s sonic qualities, and in this case, the pairing of the Concero HD and the HE400S is more synergistic for my preferences. I conclude that this is a very impressive showing by the BL as DAC.
 
 
Comparison 2:
BL > Lyr > HD650
Concero HD > Lyr > HD650
 
Results are mostly similar to the HE400S, however, an interesting point of deviation worth noting is that I prefer the treble tonally on the BL with the HD650 over the Concero HD. This leads me to conclude that it has to do with DAC/headphone pairing when it comes to tonality. It also squares with what I have learnt in my personal audio journey, that synergy between your gear is the most important thing – getting the most expensive gear is not as important, because upstream gear may not play nice tonally with your current gear.
 
 
Comparison 3:
Onkyo DP-X1 > Legend Omega (Balanced)
Onkyo DP-X1 (line out) > BL > Legend Omega
 
Well, what can I say – naturally as a compact desktop level DAC/Amp offering the BL in SE trounces the Onkyo in balanced, even though the Onkyo does put up very decent competition, and performance is close.
 
Power mode is on “Eco” and IEMatch is at “Ultra Sensitivity” – that leaves ample room for the volume pot, even though comfortable listening levels for me hover at around the 9 to 11 o’clock markings on the knob.
 
With Norah Jones through the BL, her voice is slightly more focused with a bit more resolution and clarity. Imaging also gains a little more precision and definition, with some added air in the presentation. Because the Legend Omega is slightly dark in presentation, using the XBass on added too much bloom and decay to the bass for my liking. However, the 3D switch provided pleasing results. The treble gains precision and detail, and with the lift in treble the presentation also gains some air. Again, soundstage most noticeably gains height and a sense of “openness” (similarly, height and a smidgen more width). Notes are a little cleaner and more defined. However, the only thing I noticed is that the mids, although with some improved resolution, seemed to have taken a small step back in presence and is relatively less engaging than just with the Onkyo’s balanced out. On further listening I suspect my mind may be playing tricks on me as it adjusts to a larger stage presented through CIEMs. Somehow in my audio experiences midrange quality and soundstage spaciousness seem inversely proportional most of the time (i.e. the thicker and realistic the midrange, the smaller the stage; the thinner and hollower the midrange, the larger the stage). Of course this is a generalized observation based on the select gear that I’ve had the opportunity to listen to.
 
With only the 3D switch on now, on Coldplay’s “Birds” track, through the BL, bass reaches down low, and has great attack and impact. If I can summarise the sound, two words I would use are ‘control’ and ‘precision’. I hear a lot of detail in individual instrumental and vocal spaces. The increased soundstage height from the 3D switch really helps with the spatial presentation and definition. Bass is well defined and fairly tight without being too analytical. Midrange is clear without losing much musicality, and the treble sits harmoniously with the rest of the spectrum without sacrificing any detail or sparkle. Tonality is pretty spot-on here, and with the detail retrieval and spatial qualities it’s one heck of a listening experience.
 
The 3D switch is really beneficial on most classical tracks because of the increased presence of the HF spectrum and the improvements in air and staging. Most of the time it helps immerse one in the music and allows you to zoom in on any single instrument and passage. The balanced out on the Onkyo alone presents treble in a softer manner, and instruments are not so defined. If I may invoke a visual analogy, its akin to switch from 4k (BL) to 1080p (balanced out). This difference may prove starker (read: more audibly discernible) when applied to classical music than genres like pop, because of the number of instruments at play. I would also add that the BL has better microdynamics e.g. small volume changes in different sections are slightly more audible than just using the balanced out. The BL also hits slightly harder, so in terms of macrodynamics it also has the slight edge. The BL’s ability to render clarity and retrieve detail without losing musicality really allows the listener a fine experience over the Onkyo’s balanced out alone. Here the BL is definitely the better performer, especially so for classical music lovers.
 
Conclusion:
 
The iDSD Micro BL is truly a formidable device with a fantastic DAC and a ton of functionality, suited to the most sensitive of in ear monitors to the most inefficient and demanding of headphones. Its strengths lie in its neutral yet cohesive and very musical tonality, presentation of space and ability to resolve fine detail. Together with the capability of toggling the presentation with the XBass and 3D switches it is incredibly versatile, presenting the listener with a range of options for pairing with different headphones/earphones with varied sound signatures. I personally really dig the 3D switch, and I feel that it is very well implemented. It works wonders with darker sounding headphones with improvements in air and soundstaging (and sounds superb with the HD650). I suspect its effect varies primarily because it is track dependent (and headphone dependent).
 
For audiophiles who do not mind the inconvenience of stacking, I would highly recommend the iDSD Micro BL as a (trans)portable option, paired with a DAP like the Sony A15 it will yield wonderful sonic results. As a DAC/Amp desktop solution for someone looking to enter the world of hi-fi I cannot more heartily recommend it. At $550 I think it has tremendous price to performance value (albeit a little steep if one is only starting out, but worth it), its DAC section easily competing with more expensive DACs in under the $1k range. Its functionality and small footprint is an added bonus. Bravo, iFi Audio, for a most excellent product! 

Sources: LG G5, Onkyo DP-X1
Spinfit tips (stock)
 
When I visited Japan, I felt like a small kid in a free-to-try candy store when I entered the stores of Yodobashi and BIC Camera. They had rows upon rows of earphones available for audition. I had heard a lot about the Ocharaku brand, its unique tornado equalizer driver system, but have not heard their products.
 
Unfortunately for me, the majority of the models had a treble tuning that overwhelmed my ears. Only one model stood out – that was the Co-Donguri Shizuku. First impressions were that there was a little too much bass, but if I could deal with the treble for more than the duration of a song, it held promise. I wanted to grab a pair but at that time I found out only the demo was available and not for sale because it was still yet to be released.
 
Fast forward several months – I got the help of a friend to bring back a pair for me. Coincidentally he managed to get a limited edition version in Amber Orange, purportedly with a sound that was slightly better to his ears than the regular Shizuku. With excitement I got it in my hands once he was back and plugged in.
 
Before I go into the sound, just a few comments about the package and build:
It comes in a simple plastic box, but the great thing is that it comes bundled with Spinfit tips, which can be fairly costly depending on where you are. I find the Spinfits very comfortable to wear and slips in and out of my ears easily. I was also impressed by the cable quality and the solid build of the strain reliefs. The cable is soft and pliable and retains little memory. It looks and feels like a quality cable and belies its pricing. The wood(?) shells are a nice touch, and I have a suspicion that it may sound very slightly different than the usual Shizuku models because of the materials used on the earphone shells.
 
I gave the Amber Orange (AO) about 100 hours of running in before doing any analysis or critical listening, even though it sounded quite good fresh out of the box. The primary discernible differences are that bass got a bit tighter, and there were some improvements in vocal clarity. Imaging also got a little more focused.
 
What strikes me first is the separation and clarity that the AO brings to the table. There is a good sense of air, and what may best describe it is the feeling of openness, almost akin to listening to open cans. In my mind I’ve always maintained that earphones will never be able to replicate the staging of open cans simply because of the nature of the technology used e.g. driver size and ventilation, and I still hold on to that, but surprisingly the AO does come close. The caveat is that when it comes to soundstage, the AO does more width than depth, with average height. Also, the nature and quality of the recording also contributes to the extent of how open sounding they can get. I suspect the openness is possible because of its vented design. It is definitely more challenging for customs or non-vented designs to sound open. Its imaging abilities are outstanding. Coupled with the clarity, the imaging is focused and you can clearly delineate where instruments are placed on the stage or in the song. Most IEMs at this price tier can hardly get this level of clarity, much less the imaging ability. 
 
Let’s start with the bass. One of the things that characterize a dynamic driver bass is the amount of air it moves, as compared to a BA setup. In other words, you can actually “feel” the bass instead of just hearing it. This is what is happening for the AO. What I really like about it is that the bass textures are conveyed to the listener, especially the rumbles and the reverberations. The speed of decay is just about right – not too fast as to lose its weight and impact but not slow enough to make it muddy and bloated. There is good control over bass impact – not overwhelming but enough to make you feel like grooving to the music.
 
The midrange comes across as clean and natural. When I say ‘natural’ I mean that its tonality is quite organic, and vocals do sound close to how they would sound in real life. This is particularly evident in acoustic tracks, where the voices are accompanied sparsely with a guitar or piano. There is also a bell-like clarity that is astonishing at this price. This is no giant killer but it competes at a level a few notches above its price tier. However, one caveat is that the midrange note may be considered on the thin side, which aids its clarity but not suitable for those who like weighty, thick mids.
 
Lastly, the treble is very accurate and has no tendency toward sibilance or fatigue in any way. I get decent extension and correct timbre with a lot of detail, which in my book reflects the quality of its tuning. Less surprise here, since the Ocharaku models have always been quite treble-oriented, even though the AO stands out because it is a model I can actually listen to over an extended period of time – one that I don’t find overly thin, splashy or overwhelming with treble detail. Coupled with its excellent separation, I can hear clearly defined cymbal hits even in rapid succession.
 
Even though from my listening history and preferences I tend to enjoy a touch of warmth in vocals and prefer it to strict accuracy of vocal reproduction, I really feel that the AO is interesting because it is quite accurate without making it sound clinical. I find that the AO is a very special IEM that I will keep for a long time mainly because of its ability to sound out of the head in its soundstage width, and its organic and detailed vocal reproduction. Together with very good bass and accurate but inoffensive treble, the AO is a no-brainer at 4960 yen or about $50 USD. The only problem is that it is incredibly hard to find outside of Japan, so do consider picking one up if you happen to be travelling there!