Reviews by ngoshawk
LETSHUOER Cadenza 4 ($249): Does Trickledown work? Me thinks so.
4.25
LETSHUOER Cadenza 4
Intro: Following on the heels of the successful Cadenza 12 (a wonderful TOTL), and the S15 (A smooth-sounding IEM), the Cadenza 4 tries to fit into a niche using both (IMO) IEMs as models. A hybrid that uses both DD and two types of BAs (Knowles & Sonion), the company uses the expertise from both models mentioned to fashion a high “low-end” model.
The Cadenza 4 was given to me for review. It is implied that the critter is mine, but may be asked back for any time. This of course bears no bearing upon my review. Plus, I still feel that flipping review units is uncool.
Specs:
In The Box:
Gear Used/Compared:
Cayin N6ii mkii
FiiO CP13
iFi Diablo2
Shanling MG100 ($159)
LETSHUOER S15 ($329)
QoA Aviation ($199)
Music:
Tidal-Jazz, Blues
Qobuz-same w/ Big Band & Norah Jones
Unboxing:
Just like the S15, the unboxing is Empire Ears-like, with a slide-out tray, which contains the IEM cable inside the case. To the right are the three interchangeable jacks (2.5mm bal, 3.5mm se, & 4.4mm bal). But above that, you get to see the Cadenza 4 set in a paperboard-covered soft foam insert (which takes some effort to retrieve).
Below that you have the instruction manual in an envelope along with a warranty card. The tips are stored initially inside the round case, with the cable. But, once the Cadenza 4 is mounted to the cable, you cannot get all of that back into the case comfortably. At least I couldn’t without smashing the tips. A good idea, but in need of a bit of fine-tuning.
That IEM case also seems a bit lower quality than the S15 case. I had a more difficult time screwing the lid back on, and the feel, while good tactility-wise, felt less luxurious.
LETSHUOER includes 6 sets of tips, including a mounted set on the IEM. The two types are vocal and balanced, coming in three different sizes – small, medium, and large.
The balanced tips have longer and thinner stems, making for a well...more balanced approach while restricting openness and the soundstage. The vocal tips are shorter and have thicker stems, enhancing the midrange with a more open sound, while showcasing vocals and adding grunt down low comparatively.
Build/Fit:
The Cadenza 4 is made from a 3D-printed resin, in a typical teardrop shape, with a larger nub to help with fit. A narrow nozzle helps with insertion, and the overall quality is good with three well-fitting parts. The faceplate shines in silver with the LETSHUOER logo in black on both the left and right sides. The Fit of the faceplate seems off, but when you feel for a gap between the shell and faceplate there isn’t one.
The shell fits nearly flush in my average-sized ears, with no discomfort, which led to long listening sessions. Thankfully there is a dedicated sheath for an ear hook, too. This made the cable lay in a much better position behind my ear, even wearing my reading glasses.
There are minor microphonics associated with the cable, but not as much as some in this category. The cable has a clear plastic rectangular cinch, which works quite well above the burnished silver Y-splitter. The two-wire cable contains 392 strands per cable of silver-plated monocrystalline copper.
As many companies are doing, there are three jacks included as mentioned above. Instead of sliding in, complete with a slot and having a screw cover; the Cadenza 4 only has the slide-in part. But I did not worry about it coming loose since the two parts fit together with good pressure.
The cable laid nicely when unwound, but it did take a bit to do so. I found that if you ran your hand down the cable as you unwound it, the shape immediately went straight.
Combine all of this, and I think the Cadenza 4 fits and functions very well.
Technology:
The Cadenza 4 contains a new proprietary 10mm dual-chambered beryllium-coated dynamic driver and 3 BA drivers (a single Sonion with dual Knowles drivers) making for a quad-driver hybrid in-ear monitor.
The 50-micrometer 3D-printed acoustic tube aids in fine-tuning the sound, while an electronic 4-way crossover network finalizes the process. Combined, this makes the Cadenza 4 easy to drive with an impedance of 15Ω @1kHz and a sensitivity rating of 102 db/Vrms.
Sound:
All listening was done on the sources mentioned above in combination to get the most out of determining the synergy of the Cadenza 4.
Summary:
The Cadenza 4 sounds more towards the neutral part of the sound spectrum, with a natural uncolored feel to it, which departs from some of LETSHUOER’s previous offerings. While not bass-shy, it evenly presents both ends to make for that balanced signature. Think “just right” in the realm of Goldilocks
moar:
Subbass goes fairly low, but without the impact that basshead-oriented IEMs may carry. Quality comes across as neutral. An upright bass instrument adds good girth down low, but more in the manner of coexisting with the overall signature as opposed to a foundation of weight. Since it does not reach as low as others, whose slant is for grunt; the quality of that bass must come across well. And it does. I found no bleed into the mids, which could overshadow or smear the connection. Complex pieces represent very good quality on the lows, not barging into the mids as noted. Good layering and texture to the notes help sort all of the above out, keeping the lows in tune.
The midrange comes with the clarity of notes that fits the overall character. Neutral, but allowing for good weight to the notes, which is aided by quick attack and decay; giving an illusion of thicker notes. While this may seem diametrically opposed, it isn’t due to the succinct nature with which those midrange notes promote a natural response. This aids in providing transparency to the notes and the illusion of a weightier note, which I find quite pleasing. Combine this into a natural-sounding timbre, and you get a thoroughly competent mid-range.
One thing I do wish for is a bit more sparkle up top. Coming from me, who does not favor too much in the treble region, this should not be considered a bad thing; only that if the top end had extended more, the overall signature would be presented with a bit more of an open signature; lending space to the whole sound. This should be taken into account only if you prefer a more detailed signature. And here is where that extra bit of extension may have helped define the signature. Bassheads will enjoy this. Those seeking succinct, accurate signatures may not like it so much.
The soundstage comes across as completely average. But in a good way. Layering & Separation is done very well, even with complex pieces. To me, this comes about from the more neutral overall character. This goes to show that even average can come across as excellent. The fault of this? Micro-detail suffers and the precision of notes. But this is not meant to be used as a reference tool; even with the nearer-neutral signature.
Pairings:
I found the Cadenza 4 easy to drive due to the impedance of 15Ω @1kHz and sensitivity of 102 dB/Vrms. While this is true, I found myself raising the volume to make for a more pleasing listen to me. Plus, the better the source, the better the Cadenza 4 seemingly sounded.
Having the sheer power of the iFi Diablo2, the Cadenza 4 sounded “best” of the “turbo” setting, while increasing the volume. “Nitro” provided little headroom with which to play, and using Turbo afforded me excellent control of the volume, per each song.
Clear amplifiers such as the Diablo2, or Cayin N6ii mkii DAP showed that with decent power doing the driving, the signature presents more down low while sending alacrity down the stream (better detail presentation).
Using the 4.4mm bal jack on the N6ii mkii, I found the pairing to be delightfully neutral, which is something I do not usually say when dealing with neutral. The level of details coming forth from the pairing made me appreciate how good the Cayin is, even as it moves into the geriatric section of its life.
Using the FiiO CP13 was an odd treat. Reviewing the CP13 for Headfonics I decided to combine the pair. While cassette tapes are coming back into style, there is no denying that the signature is VERY different from digital. I found the pairing worked well, with plenty of volume to be attained through the FiiO. Not the most detailed of the pairings here, I came away with an appreciation that the two could happily coexist together for a good listen.
Comparisons:
LETSHUOER Cadenza4 ($249) v Shanling MG100 ($159):
Not only have interchangeable jacks become common, interchangeable filters have as well. I did have a strong preference for the bass-oriented filters on the MG100, but the level of detail was still well ahead of the Cadenza 4. I also find the MG100 easier to drive, with a slightly better impedance and sensitivity of 16Ω and 113+/-3 dB @1kHz, respectfully.
That excessive bass does bleed into the mids, but a simple change to the balance filter quells that. Plus, the bleed did not inhibit the overall character of the MG100. The balance filter adds a bit more textural response to the sound as well, plus better detail and clarity.
This will come down to whether you like a more neutral signature or the ability to tailor the IEM to your preferred listening or flavored genre of choice.
LETSHUOER Cadenza4 ($249) v LETSHUOER S15 ($329):
Where the Cadenza 4 goes neutral, the S15 goes smooth and rich. There is no hiding behind the fact that the S15 will not cater to those seeking a reference signature. Maturity, but slower response come about in this signature. To me, this is an excellent choice for jazz with a smooth richness pervading my senses as Red Garland’s “Please Send Me Someone To Love” played. Deep sound from the upright bass is foundational instead of coexisting on the Cadenza 4.
I found the notes to have better texture, but the smooth character overrides this a bit. A thick richness pervades the listen as opposed to a neutral response that is used as a tool rather than engaging. Where the Cadenza 4 allows you to listen, the S15 engages you to relax and enjoy the sound. Quite different.
LETSHUOER Cadenza4 ($249) v QoA Aviation ($199):
Until the Aviation, I had never listened to a model from QoA. Needless to say, I came away with an impression of a decent listen for a good price. From my Headfonics review, the Aviation “...presents a vibrant, smooth character with an even frequency response. A small peak at 3kHz gives resolve to the upper mid-region.
Another fairly steep peak at the 8kHz region (then drop) adds brilliance in the treble region but without too much peakiness or sparkle. The drop after the 8kHz peak makes for a vibrant, but not overly exuberant, signature.”
The Aviation is also the most sensitive of those compared at 118 dB @1kHz and a somewhat high (for an IEM) 39Ω impedance rating. It was as easy to drive as the S15 and MG100, which were both easier than the Cadenza 4 (I cannot explain that, using a volume test of plug-and-play of each model into the iFi Diablo2 without changing volume levels).
There is more bass grunt and girth down low on the Aviation, which does bleed into the midrange. Richness pervaded the mids, with a smooth texture to them, which seems set a bit behind where the Cadenza 4 plays, even if I thought they were “powerfully forward.” This shows that the mids in the Cadenza 4 while more forward, present a more neutral flavor, which to me is more pleasing.
I would state that while the Aviation is a bit more vibrant than the Cadenza 4, it cannot match the level of detail coming out of the MG100.
finale:
I had to stop myself from comparing the Cadenza 4 to the S15 and Cadenza 12 (an extraordinarily good IEM) and judge the 4 on its merit. When doing this, the neutral flavoring comes across as quite competent and appreciated. Many “flavor of the month” IEMs come about with the grace of a used car advertisement in Chicago, aka LOUD!
The Cadenza 4 comes about with an understated accurate neutral tonality to its coloration (or lack of...). I appreciate this aspect and find myself reaching for the Cadenza 4 equally with the S15 when playing jazz. What little microphonics I could hear were easily countered by the sound signature, even if a bit harder to drive than what you might expect. The smooth, forward midrange comes to the front with any good jazz sax solo, making for a wonderful listen.
The combination of jacks affords the user the ability to change signatures a bit, or devices, omitting the need for multiple cables. The focus is then on the sound, where it should be. I find the Cadenza 4 to be a very competent IEM with a good build (which shows 3D printing is much better than even two years ago), looks, and sound to back up those goods.
I thank LETSHUOER for sending the sample and congratulate them on a very competent model.
4.25
LETSHUOER Cadenza 4
Intro: Following on the heels of the successful Cadenza 12 (a wonderful TOTL), and the S15 (A smooth-sounding IEM), the Cadenza 4 tries to fit into a niche using both (IMO) IEMs as models. A hybrid that uses both DD and two types of BAs (Knowles & Sonion), the company uses the expertise from both models mentioned to fashion a high “low-end” model.
The Cadenza 4 was given to me for review. It is implied that the critter is mine, but may be asked back for any time. This of course bears no bearing upon my review. Plus, I still feel that flipping review units is uncool.
Specs:
In The Box:
Gear Used/Compared:
Cayin N6ii mkii
FiiO CP13
iFi Diablo2
Shanling MG100 ($159)
LETSHUOER S15 ($329)
QoA Aviation ($199)
Music:
Tidal-Jazz, Blues
Qobuz-same w/ Big Band & Norah Jones
Unboxing:
Just like the S15, the unboxing is Empire Ears-like, with a slide-out tray, which contains the IEM cable inside the case. To the right are the three interchangeable jacks (2.5mm bal, 3.5mm se, & 4.4mm bal). But above that, you get to see the Cadenza 4 set in a paperboard-covered soft foam insert (which takes some effort to retrieve).
Below that you have the instruction manual in an envelope along with a warranty card. The tips are stored initially inside the round case, with the cable. But, once the Cadenza 4 is mounted to the cable, you cannot get all of that back into the case comfortably. At least I couldn’t without smashing the tips. A good idea, but in need of a bit of fine-tuning.
That IEM case also seems a bit lower quality than the S15 case. I had a more difficult time screwing the lid back on, and the feel, while good tactility-wise, felt less luxurious.
LETSHUOER includes 6 sets of tips, including a mounted set on the IEM. The two types are vocal and balanced, coming in three different sizes – small, medium, and large.
The balanced tips have longer and thinner stems, making for a well...more balanced approach while restricting openness and the soundstage. The vocal tips are shorter and have thicker stems, enhancing the midrange with a more open sound, while showcasing vocals and adding grunt down low comparatively.
Build/Fit:
The Cadenza 4 is made from a 3D-printed resin, in a typical teardrop shape, with a larger nub to help with fit. A narrow nozzle helps with insertion, and the overall quality is good with three well-fitting parts. The faceplate shines in silver with the LETSHUOER logo in black on both the left and right sides. The Fit of the faceplate seems off, but when you feel for a gap between the shell and faceplate there isn’t one.
The shell fits nearly flush in my average-sized ears, with no discomfort, which led to long listening sessions. Thankfully there is a dedicated sheath for an ear hook, too. This made the cable lay in a much better position behind my ear, even wearing my reading glasses.
There are minor microphonics associated with the cable, but not as much as some in this category. The cable has a clear plastic rectangular cinch, which works quite well above the burnished silver Y-splitter. The two-wire cable contains 392 strands per cable of silver-plated monocrystalline copper.
As many companies are doing, there are three jacks included as mentioned above. Instead of sliding in, complete with a slot and having a screw cover; the Cadenza 4 only has the slide-in part. But I did not worry about it coming loose since the two parts fit together with good pressure.
The cable laid nicely when unwound, but it did take a bit to do so. I found that if you ran your hand down the cable as you unwound it, the shape immediately went straight.
Combine all of this, and I think the Cadenza 4 fits and functions very well.
Technology:
The Cadenza 4 contains a new proprietary 10mm dual-chambered beryllium-coated dynamic driver and 3 BA drivers (a single Sonion with dual Knowles drivers) making for a quad-driver hybrid in-ear monitor.
The 50-micrometer 3D-printed acoustic tube aids in fine-tuning the sound, while an electronic 4-way crossover network finalizes the process. Combined, this makes the Cadenza 4 easy to drive with an impedance of 15Ω @1kHz and a sensitivity rating of 102 db/Vrms.
Sound:
All listening was done on the sources mentioned above in combination to get the most out of determining the synergy of the Cadenza 4.
Summary:
The Cadenza 4 sounds more towards the neutral part of the sound spectrum, with a natural uncolored feel to it, which departs from some of LETSHUOER’s previous offerings. While not bass-shy, it evenly presents both ends to make for that balanced signature. Think “just right” in the realm of Goldilocks
moar:
Subbass goes fairly low, but without the impact that basshead-oriented IEMs may carry. Quality comes across as neutral. An upright bass instrument adds good girth down low, but more in the manner of coexisting with the overall signature as opposed to a foundation of weight. Since it does not reach as low as others, whose slant is for grunt; the quality of that bass must come across well. And it does. I found no bleed into the mids, which could overshadow or smear the connection. Complex pieces represent very good quality on the lows, not barging into the mids as noted. Good layering and texture to the notes help sort all of the above out, keeping the lows in tune.
The midrange comes with the clarity of notes that fits the overall character. Neutral, but allowing for good weight to the notes, which is aided by quick attack and decay; giving an illusion of thicker notes. While this may seem diametrically opposed, it isn’t due to the succinct nature with which those midrange notes promote a natural response. This aids in providing transparency to the notes and the illusion of a weightier note, which I find quite pleasing. Combine this into a natural-sounding timbre, and you get a thoroughly competent mid-range.
One thing I do wish for is a bit more sparkle up top. Coming from me, who does not favor too much in the treble region, this should not be considered a bad thing; only that if the top end had extended more, the overall signature would be presented with a bit more of an open signature; lending space to the whole sound. This should be taken into account only if you prefer a more detailed signature. And here is where that extra bit of extension may have helped define the signature. Bassheads will enjoy this. Those seeking succinct, accurate signatures may not like it so much.
The soundstage comes across as completely average. But in a good way. Layering & Separation is done very well, even with complex pieces. To me, this comes about from the more neutral overall character. This goes to show that even average can come across as excellent. The fault of this? Micro-detail suffers and the precision of notes. But this is not meant to be used as a reference tool; even with the nearer-neutral signature.
Pairings:
I found the Cadenza 4 easy to drive due to the impedance of 15Ω @1kHz and sensitivity of 102 dB/Vrms. While this is true, I found myself raising the volume to make for a more pleasing listen to me. Plus, the better the source, the better the Cadenza 4 seemingly sounded.
Having the sheer power of the iFi Diablo2, the Cadenza 4 sounded “best” of the “turbo” setting, while increasing the volume. “Nitro” provided little headroom with which to play, and using Turbo afforded me excellent control of the volume, per each song.
Clear amplifiers such as the Diablo2, or Cayin N6ii mkii DAP showed that with decent power doing the driving, the signature presents more down low while sending alacrity down the stream (better detail presentation).
Using the 4.4mm bal jack on the N6ii mkii, I found the pairing to be delightfully neutral, which is something I do not usually say when dealing with neutral. The level of details coming forth from the pairing made me appreciate how good the Cayin is, even as it moves into the geriatric section of its life.
Using the FiiO CP13 was an odd treat. Reviewing the CP13 for Headfonics I decided to combine the pair. While cassette tapes are coming back into style, there is no denying that the signature is VERY different from digital. I found the pairing worked well, with plenty of volume to be attained through the FiiO. Not the most detailed of the pairings here, I came away with an appreciation that the two could happily coexist together for a good listen.
Comparisons:
LETSHUOER Cadenza4 ($249) v Shanling MG100 ($159):
Not only have interchangeable jacks become common, interchangeable filters have as well. I did have a strong preference for the bass-oriented filters on the MG100, but the level of detail was still well ahead of the Cadenza 4. I also find the MG100 easier to drive, with a slightly better impedance and sensitivity of 16Ω and 113+/-3 dB @1kHz, respectfully.
That excessive bass does bleed into the mids, but a simple change to the balance filter quells that. Plus, the bleed did not inhibit the overall character of the MG100. The balance filter adds a bit more textural response to the sound as well, plus better detail and clarity.
This will come down to whether you like a more neutral signature or the ability to tailor the IEM to your preferred listening or flavored genre of choice.
LETSHUOER Cadenza4 ($249) v LETSHUOER S15 ($329):
Where the Cadenza 4 goes neutral, the S15 goes smooth and rich. There is no hiding behind the fact that the S15 will not cater to those seeking a reference signature. Maturity, but slower response come about in this signature. To me, this is an excellent choice for jazz with a smooth richness pervading my senses as Red Garland’s “Please Send Me Someone To Love” played. Deep sound from the upright bass is foundational instead of coexisting on the Cadenza 4.
I found the notes to have better texture, but the smooth character overrides this a bit. A thick richness pervades the listen as opposed to a neutral response that is used as a tool rather than engaging. Where the Cadenza 4 allows you to listen, the S15 engages you to relax and enjoy the sound. Quite different.
LETSHUOER Cadenza4 ($249) v QoA Aviation ($199):
Until the Aviation, I had never listened to a model from QoA. Needless to say, I came away with an impression of a decent listen for a good price. From my Headfonics review, the Aviation “...presents a vibrant, smooth character with an even frequency response. A small peak at 3kHz gives resolve to the upper mid-region.
Another fairly steep peak at the 8kHz region (then drop) adds brilliance in the treble region but without too much peakiness or sparkle. The drop after the 8kHz peak makes for a vibrant, but not overly exuberant, signature.”
The Aviation is also the most sensitive of those compared at 118 dB @1kHz and a somewhat high (for an IEM) 39Ω impedance rating. It was as easy to drive as the S15 and MG100, which were both easier than the Cadenza 4 (I cannot explain that, using a volume test of plug-and-play of each model into the iFi Diablo2 without changing volume levels).
There is more bass grunt and girth down low on the Aviation, which does bleed into the midrange. Richness pervaded the mids, with a smooth texture to them, which seems set a bit behind where the Cadenza 4 plays, even if I thought they were “powerfully forward.” This shows that the mids in the Cadenza 4 while more forward, present a more neutral flavor, which to me is more pleasing.
I would state that while the Aviation is a bit more vibrant than the Cadenza 4, it cannot match the level of detail coming out of the MG100.
finale:
I had to stop myself from comparing the Cadenza 4 to the S15 and Cadenza 12 (an extraordinarily good IEM) and judge the 4 on its merit. When doing this, the neutral flavoring comes across as quite competent and appreciated. Many “flavor of the month” IEMs come about with the grace of a used car advertisement in Chicago, aka LOUD!
The Cadenza 4 comes about with an understated accurate neutral tonality to its coloration (or lack of...). I appreciate this aspect and find myself reaching for the Cadenza 4 equally with the S15 when playing jazz. What little microphonics I could hear were easily countered by the sound signature, even if a bit harder to drive than what you might expect. The smooth, forward midrange comes to the front with any good jazz sax solo, making for a wonderful listen.
The combination of jacks affords the user the ability to change signatures a bit, or devices, omitting the need for multiple cables. The focus is then on the sound, where it should be. I find the Cadenza 4 to be a very competent IEM with a good build (which shows 3D printing is much better than even two years ago), looks, and sound to back up those goods.
I thank LETSHUOER for sending the sample and congratulate them on a very competent model.
iFi Diablo 2 ($1299)- The devil is in the details?
Diablo 2
Intro: iFi is an innovator. Presenting items that push the boundaries of what we need, the company clearly feels this path is working. I personally own the iDSD Pro and iCAN Pro for my reference desktop setup and still lament selling my OG micro iDSD Black Label. That thing was a beast. An untamed beast, which set the tone for transportable headphone amplifiers in the company stable. The OG Diablo was indeed an upgrade, taming the raw unfettered power of the original, without losing its character.
The Diablo 2 may not feel like a necessary item, especially to those who have ponied up for the first gen. But typical of iFi’s logic, there is enough new inside the Diablo 2 to warrant a look for those who may, while also drawing new customers into the fray.
I thank iFi and Lawrance for the loan of this device. After listening to it for approximately 75 hours, I have come to appreciate the lineage of its grandfather shining through on the grandson. Since it is a loaned unit, once it leaves I shall be reminiscing over my Pro Duo as a coping mechanism.
Caveat, since I am now part of the Headfonics team, my format has changed (for the better), but will add flavor like my blog reviews of old and some formatting from bygone days. Some things never change, nor should they...
Necessary items:
Gear Used/Tested:
FiiO GT3 (350 ohm)
Empire Ears Legend X
Spirit Torino Twin Pulse Beryllium IEM
Earmen Angel ($799)
OG xDSD ($399, priceless)
FiiO K9 Pro ESS ($799)
Centrance HiFi M8 V2 ($749)
Music:
Tidal-Jazz, Eilen Jewell, The Mavericks
Qobuz-Bill Evans, Sam Burckhardt & Lucas Montagnier
Etc
In The Box:
Specs (pulled from Headfonics review of Diablo 2):
Unboxing:
As is typical with iFi, the unboxing is an experience to be had. Sliding off the glossy sleeve, you are met with the iFi logo-laden white box. Lifting the lid off, you are presented with the Diablo 2 wrapped carefully in parchment; tucked into a soft foam cutout.
Lifting the D2 out, you are met with another iFi item, the smile on the cardboard protective cover. Lifting that, you get the case (with the four Inferno wings) on one side, and split equally the power wall wart in one box and all of the adapters/accessories in the other.
Efficient, protected, and inclusive. iFi trademarks.
iFi Audio includes brackets called “wings of Inferno,” which slip into the body's slots (only some of them) acting as stands. This makes for easier access on your desktop when properly placed I go back to my original word for the Black Label: a transportable device. It is still large for portable use, though. Keeping it in your attaché or backpack would work.
The front and rear angled panels give the D2 a certain cutting-edge design to the unit.
The iFi carries the typical company craftsmanship as well, with everything perfectly aligned and functional, without loose jacks or knobs.
The Bluetooth function is selected by pressing a button on the rear panel, which also acts to switch sources between the USB input and the Bluetooth input.
Both panels on the D2 are packed full but have efficient use of space making for easy access to all jacks and functionality buttons. The front carries both 6.35mm single end and 4.4mm bal jacks. To the right is the mode switch that allows the user-selected gain modes (typically x3: normal, turbo, & nitro) and the volume knob.
The volume knob functions smoothly and has a good grip. As is typical of many analog pots, there is an unbalance between channels on the low end. This is alleviated by using the IEMatch switch on the bottom of the D2. You can leave it off (and have a noticeable unbalance), switch to 4.4bal (with a mostly even balance), or 6.35se (same results as 4.4bal) for better (or no) results.
The back panel carries the business ends of connectivity. You’ll notice two ports back there, a 4.4mm balanced connection and a 3.5mm SE connection, which act as both in and out. Until another reviewer pointed this out, it was not widely known to users, since it is not listed in the user manual.
This means that you can use the D2 with two separate components and access the DAC separately. You can then use the amplifier stage separately as well.
Tech Highlights:
The 16-core XMOS processor is pulled from the OG along with iFi Audio’s custom OV series op-amps, and a customized Burr Brown DAC section, which adds the necessary warmth to the sound. The Diablo 2 doesn't include the analog processing modes, XSpace, and XBass II, and it doesn't support digital filters other than Bit Perfect.
Also typical of iFi is the use of parts from the likes of TDK, Panasonic (expensive parts!), and Texas Instruments. If you have never immersed yourself on the page of a product from iFi, I highly recommend it, for the knowledge gained goes well beyond simply showcasing what and whose instruments are used packed inside.
Something called PureWave (fully balanced dual-mono circuitry), negative feedback, and differential mono design also carry over. I will admit that I have not heard the OG Diablo, so some of this will be new to me in this regard. According to their website, “Diablo 2 features PureWave, Servoless DirectDrive, OptimaLoop, and Advanced Jitter Reduction Technology, delivering exceptionally pure, detailed, and emotionally touching sound, these technologies elevate the performance to unparalleled heights, even challenging desktop DAC/amps.”
The visual circuitry changes with the addition of large 220µf capacitors within the circuitry. Rearranging the internals allows for the changes to fit smoothly into the mostly recognizable shape.
Bluetooth 5.4 receiving is another change, as well as the inclusion of an xMEMS capability switch on the front panel. I currently do not have anything capable of xMEMS, so this function will not be discussed.
An addition that continues from some of iFi’s other products is the iEMatch (Headfonics review link) feature that fixes a slight channel imbalance, which is common in analog volume pots at very low levels such as this. It worked, mostly.
The iFi Audio iDSD Diablo 2 runs most digital formats including MQA hardware unfolding. It can handle ‘Bitperfect’ PCM and DSD at up to 768kHz and DSD512.
Qualcomm’s QCC518x BT5.4 receiver handles many codecs including LDAC, aptX (including lossless and Adaptive), SBC, and AAC from transmitting sources such as mobile phones.
The power output rating of 5 watts is a peak rating, which occurs for a split second. Some say that peak power can improve transients and not overall sound quality to mention one caveat.
Having the three gain settings is a nice way to tailor your results for individual headphones and IEMs. You can expect a minimum of 2 watts RMS at 32Ω on the single-ended and the same on the balanced 4.4mm tap at 64Ω which is more than enough to drive most headphones comfortably. Max on the 4.4 is 611mW at 600Ω and 1710mW at 32Ω.
New D2 v OG V1:
The Diablo 2 has an improved power supply and amplifier that increases balanced power output at 32Ω by 50%+. There is also 4 times more output in balanced power compared to the single-ended at 600Ω.
The new model also features a more accurate analog volume pot along with xMEMS, BT Lossless (on available play units, which aren’t many right now), and other options such as the input/output options on the back (USB-C and 4.4bal).
All of this comes at a price increase of $300, though.
You can leave it plugged in when using it at your desk, and there is even an auto-off function, unlike the OG.
Wireless Connectivity:
Bluetooth:
BT5.4 using Qualcomm’s new QCC518x Bluetooth audio chip can support all CODECS including aptX Lossless, aptX Adaptive, aptX, LDACTM, LHDC/HWA, AAC, and SBC.
The connection was straightforward, and the switch on the back allows for easy switching between BT and a wired source. While not quite on par with a wired connection, the sound coming forth was quite good, closing the gap even more.
Wired Connectivity:
USB-DAC:
Connections include a USB-C on the back as well as a 4.4mm balanced in/out connection. The same holds for the 3.5nn single-ended connection on the back. Having the ability to connect two sources simultaneously allows the user to define what they want as the source, twofold. This would be convenient if you dislike changing cable often, as I do.
Add in the USB-C connection, and you could theoretically have three hooked up. I did not try that, though.
Sound Impressions:
All listening impressions were made with the Empire Ears Legend X, Spirit Torino Twin Pulse IEM, FiiO GT3 (350 ohm), ZMF Eikon, and AKG 240DF.
Summary:
As the name implies, the Diablo 2 is not shy about its signature. Running on the brighter, or hotter end of the spectrum, there is (to me) also the traditional iFi warmth and richness in the sound signature as well. Detail retrieval comes across with aplomb, rather than succinctly, making for a vibrant, rich character instead of a detail-driven cacophony of musical notes.
The high gain is also evident, reflecting iFi’s character for driving things into overdrive. Anytime you see “turbo” and “nitro” on the gain settings, it is not for the faint; nor to be made fun of. Through all of this, the clarity comes across as purposeful, instead of staccato-like. You engage within the music, instead of listening to it.
Timbre:
There is no getting away from the name and the sheer power the D2 can deliver. But as stated above, it is purposeful with detail to back the goods up. Richness pervades the tonality, and bass, which can reach low carries good weight without becoming intrusive or overdriven.
As the lows go, so do the highs. Spread evenly, you could be forgiven for thinking the response is near-neutral. Instead, there is an organic, heft to the note caliber, which gives you a naturalness that compliments the even tonality. I keep going back to my iFi Pro Duo for the signature equivalent but with a bit better detail retrieval. Mind you, the Pro duo has that luxurious tube sound, to compliment all involved.
The sparkle up top compliments the grunt down low, without overwhelming the middle range and that organic nature of it.
Staging & Dynamics:
With the excellent transient response, you are kept firmly aware across the FR curve, and there is a good weight to the notes, too. The speed and decay are shortened on most notes, making for a quick attack of sound, but without becoming thin or analytical. The vibrancy of the presentation allows the listener to gauge accurately where all of the instruments are playing and what plane they reside in.
All of this leads to an accuracy of sound, which steps away from the iFi Pro Duo, which is more about the overall presentation. Seemingly, the better the headphones or IEM, the better the response was, and I found myself moving upscale in my collection to see just how far the D2 could persuade pleasing music from.
The soundstage was lifted, but not overly; making for an uplifting presentation, which stretched the height. The width was excellent, and the depth was almost as good. This was not a cubic presentation, but rather a spacious one, which allowed the notes to breathe within the realm of the stage.
I never had a problem with power, either so I am one to give iFi a pass on any of those “transgressions,” with which others speak. Having the ability to run three gain levels allows the listener to use many within their spectrum of listening devices with great pleasure.
Comparisons:
iFi Diablo 2 ($1299) v iFi iDSD/iCAN Pro duo ($2999ish):
Long held as my “reference set,” the duo carries functionality that would still make many others blush. BT, WiFi, tube sound (and adjustability), along with 3D holography adjusting, and a multitude of filters. The ability to change on the fly makes this still one of my all-time favorite setups.
Truthfully, this isn’t really a fair competition when one looks at the price, but when you factor in age it becomes a bit clearer. The D2 is the “latest and greatest” from iFi, while the pair is their gold standard, even if it may be considered the grandfather of the company. And, as we know, if you come for the king, you best not miss.
The D2 while a brash youngster, takes lessons from the elder in showing off a mature presentation, but with an edge. Where the pair goes for an overall fluidity (and tubey goodness), the D2 goes for cutting-edge details with a vibrant character, that still exudes the familial organic sound (a bit).
You can drive both into oblivion, but both still hold their mettle when called upon to do so. Where the D2 dances a quicker-paced, response-oriented signature; the pair exude a maturity that the D2 cannot match. That is if you prefer that signature. As such, the two family members would complement each other very well whether on your desktop or save the D2 for “transportability.”
iFi Diablo 2 ($1299) v EarMen Angel ($799):
EarMen is known for making superb-sounding devices, which put much more expensive gear to shame. Having Auris as a parental company pays off, with trickledown tech, that can make others blush in jealousy. Except if your name happens to be iFi.
The EarMen does not boast the connectivity options of the D2, nor does it do BT, either. It simply connects and plays. And plays well. While not quite as much of a looker as the D2, it is under the skin where the magic lies.
Boasting almost as much power as the D2, you can run your ears to bleeding with the Angel, begging for mercy just as much as the D2. Where the D2 sounds rich, the Angel sounds vibrant. Where the D2 sounds accurate but smooth; the Angel sounds vibrant and detailed.
The Angel does SP/DIF connectivity as well as the D2, for those who may want to utilize either into another amplifier or two-channel system through this connection.
This will come down to whether you want a bit more vibrant, detailed signature (that may sound a bit thin to some) in the Angel, or the versatility and multiple gain settings of the D2 along with as much power.
Me? I’d like both, please.
iFi Diablo 2 ($1299) v iFi xDSD ($399):
There is no denying the familial heritage of the xDSD (and xCAN for that matter). I personally prefer the xDSD since it is a dedicated headphone amplifier. For sheer power, the xDSD is hard to beat in a size v punch comparison. Vibrant in character, but not as much so as the Angel; the xDSD shows off in power and accuracy instead of a mature sound.
With 3D+ and XBass, you can also add grunt down low along with some holography to the sound. But, when it comes to comparison, the D2 dwarfs the older cousin in sheer power and the ability to come across with the richness in signature that may be missing.
iFi Diablo 2 ($1299) v Centrance HiFi M8 V2 ($799):
The pairing of the M8 V2 and the Ampersand almost made me clean out my whole collection of desktop units, and replace all of them with the pair. Almost. Knowing that you could just as easily take the pair with you on the go made them all the more appealing. And that is kind of the point since Centrance started with on-stage gear for musicians.
That precision for musicians’ choice shows through in as detailed a signature as you will find in a portable/desktop setup at the price and beyond. I chose the M8 V2 as a comparison here due to the connectivity options; including BT, and it can hold its own against the D2 with everything, except sheer power.
Where the D2 goes for richness and power, the M8 V2 goes for accuracy and detail, but without thinning the notes. I have yet to find pretty much anything at the price, that can provide a sound as accurate as the Centrance, save maybe the Angel; but with a slight thinning of notes.
The D2 can compete against the more affordable M8 V2 due to connectivity options, and the gain settings, with a bit more power.
finale:
Having not heard the OG Diablo, but enough other iFi products over the years, I do feel that I can make a reasonable judgment as to the D2. If you don’t have a Diablo or iDSD micro–Black Label (I still miss mine...), the Diablo 2 is a powerful DAC/Amp with a hotter sound, decent battery life, and a bet against obsolescence in the future due to the inclusion of Lossless Audio, xMEMS, and the latest BT. You also get plenty of connectivity options, and enough power to run a small city.
But if you already have the Diablo? You may want to wait or purchase one of the iFi dedicated desktop units. Of course, having options is a good thing; and you could get both. Your call.
Diablo 2
Intro: iFi is an innovator. Presenting items that push the boundaries of what we need, the company clearly feels this path is working. I personally own the iDSD Pro and iCAN Pro for my reference desktop setup and still lament selling my OG micro iDSD Black Label. That thing was a beast. An untamed beast, which set the tone for transportable headphone amplifiers in the company stable. The OG Diablo was indeed an upgrade, taming the raw unfettered power of the original, without losing its character.
The Diablo 2 may not feel like a necessary item, especially to those who have ponied up for the first gen. But typical of iFi’s logic, there is enough new inside the Diablo 2 to warrant a look for those who may, while also drawing new customers into the fray.
I thank iFi and Lawrance for the loan of this device. After listening to it for approximately 75 hours, I have come to appreciate the lineage of its grandfather shining through on the grandson. Since it is a loaned unit, once it leaves I shall be reminiscing over my Pro Duo as a coping mechanism.
Caveat, since I am now part of the Headfonics team, my format has changed (for the better), but will add flavor like my blog reviews of old and some formatting from bygone days. Some things never change, nor should they...
Necessary items:
Gear Used/Tested:
FiiO GT3 (350 ohm)
Empire Ears Legend X
Spirit Torino Twin Pulse Beryllium IEM
Earmen Angel ($799)
OG xDSD ($399, priceless)
FiiO K9 Pro ESS ($799)
Centrance HiFi M8 V2 ($749)
Music:
Tidal-Jazz, Eilen Jewell, The Mavericks
Qobuz-Bill Evans, Sam Burckhardt & Lucas Montagnier
Etc
In The Box:
- Diablo 2
- USB-C cable
- USB-C-to-A adapter
- TOSLINK optical adapter
- 3.5mm to 6.3mm headphone adapter
- iTraveller carrying case
- User’s manual
- Inferno wings x4
- 5V iPower 2 charging wal wart
Specs (pulled from Headfonics review of Diablo 2):
- Qualcomm QCC518x 5.4 Bluetooth
- Dual Core Burr Brown chipset
- HI-RES support: 768k, DSD512, full MQA
- Bluetooth formats: aptX lossless, aptX adaptive, aptX, LDAC, LHDC/HWA, AAC, SBC
- Max output power 4.4mm: 19.2V / 611mW @600Ω or 12.87V / 5189mW @ 32Ω
- Max output power 3.5mm: 9.6V / 153mW @600Ω or 8.85V / 2450mW @ 32Ω
- RMS output power 4.4mm: 19.2V / 611mW @600Ω or 7.4V / 1710mW @32Ω or 11.5V / 2060mW @64Ω
- RMS output power 6.35mm: 9.6V / 150mW @600Ω or 8.1V / 2050mW @32Ω or 9.3V / 1360mW @64Ω
- xMEMS: 28Vpp (4.4mm output)
- Line out impedance: ≤ 200Ω
- SNR: ≥114db (A)
- DNR: ≥114db (A)
- THD+N: 0.002% @0DBFS 200kΩ
- Power consumption: Nitro 12W, Turbo 5W, Normal 2W, xMEMS 8W
- Battery: Lithium Polymer 4800mAh-up to 9 hours, and 5 hours to fully charge
- Dimensions: 166 x 85 x 28.5 mm
- Net weight: 455g (1lb)
- Digital inputs: 1x USB-C, 1x S/PDIF (optical/coax), Bluetooth 5.4
- Headphone outputs: 1x balanced 4.4mm / 1x 6.35mm
- Charging port: 1x USB-C
Unboxing:
As is typical with iFi, the unboxing is an experience to be had. Sliding off the glossy sleeve, you are met with the iFi logo-laden white box. Lifting the lid off, you are presented with the Diablo 2 wrapped carefully in parchment; tucked into a soft foam cutout.
Lifting the D2 out, you are met with another iFi item, the smile on the cardboard protective cover. Lifting that, you get the case (with the four Inferno wings) on one side, and split equally the power wall wart in one box and all of the adapters/accessories in the other.
Efficient, protected, and inclusive. iFi trademarks.
Build/Design:
Going a different route has always been part of iFi’s DNA. The D2 is no different. The D2 departs from the more traditional log roll of the previous iterations, going for a slotted rounder shape with angular curves reminiscent of the Zen series.iFi Audio includes brackets called “wings of Inferno,” which slip into the body's slots (only some of them) acting as stands. This makes for easier access on your desktop when properly placed I go back to my original word for the Black Label: a transportable device. It is still large for portable use, though. Keeping it in your attaché or backpack would work.
The front and rear angled panels give the D2 a certain cutting-edge design to the unit.
The iFi carries the typical company craftsmanship as well, with everything perfectly aligned and functional, without loose jacks or knobs.
Controls:
The D2’s button placement and connection positions haven’t changed from the OG. The volume knob and headphone jacks are on the front along with a mode switch for adjusting gain and the additional xMEMS switch. All other connections are on the rear panel. The volume knob also has a lockout switch, so you do not accidentally bump it. This is a new feature and those who have had experience with iFi amplifiers know exactly what that means...The Bluetooth function is selected by pressing a button on the rear panel, which also acts to switch sources between the USB input and the Bluetooth input.
Both panels on the D2 are packed full but have efficient use of space making for easy access to all jacks and functionality buttons. The front carries both 6.35mm single end and 4.4mm bal jacks. To the right is the mode switch that allows the user-selected gain modes (typically x3: normal, turbo, & nitro) and the volume knob.
The volume knob functions smoothly and has a good grip. As is typical of many analog pots, there is an unbalance between channels on the low end. This is alleviated by using the IEMatch switch on the bottom of the D2. You can leave it off (and have a noticeable unbalance), switch to 4.4bal (with a mostly even balance), or 6.35se (same results as 4.4bal) for better (or no) results.
The back panel carries the business ends of connectivity. You’ll notice two ports back there, a 4.4mm balanced connection and a 3.5mm SE connection, which act as both in and out. Until another reviewer pointed this out, it was not widely known to users, since it is not listed in the user manual.
This means that you can use the D2 with two separate components and access the DAC separately. You can then use the amplifier stage separately as well.
Tech Highlights:
The 16-core XMOS processor is pulled from the OG along with iFi Audio’s custom OV series op-amps, and a customized Burr Brown DAC section, which adds the necessary warmth to the sound. The Diablo 2 doesn't include the analog processing modes, XSpace, and XBass II, and it doesn't support digital filters other than Bit Perfect.
Also typical of iFi is the use of parts from the likes of TDK, Panasonic (expensive parts!), and Texas Instruments. If you have never immersed yourself on the page of a product from iFi, I highly recommend it, for the knowledge gained goes well beyond simply showcasing what and whose instruments are used packed inside.
Something called PureWave (fully balanced dual-mono circuitry), negative feedback, and differential mono design also carry over. I will admit that I have not heard the OG Diablo, so some of this will be new to me in this regard. According to their website, “Diablo 2 features PureWave, Servoless DirectDrive, OptimaLoop, and Advanced Jitter Reduction Technology, delivering exceptionally pure, detailed, and emotionally touching sound, these technologies elevate the performance to unparalleled heights, even challenging desktop DAC/amps.”
The visual circuitry changes with the addition of large 220µf capacitors within the circuitry. Rearranging the internals allows for the changes to fit smoothly into the mostly recognizable shape.
Bluetooth 5.4 receiving is another change, as well as the inclusion of an xMEMS capability switch on the front panel. I currently do not have anything capable of xMEMS, so this function will not be discussed.
An addition that continues from some of iFi’s other products is the iEMatch (Headfonics review link) feature that fixes a slight channel imbalance, which is common in analog volume pots at very low levels such as this. It worked, mostly.
The iFi Audio iDSD Diablo 2 runs most digital formats including MQA hardware unfolding. It can handle ‘Bitperfect’ PCM and DSD at up to 768kHz and DSD512.
Qualcomm’s QCC518x BT5.4 receiver handles many codecs including LDAC, aptX (including lossless and Adaptive), SBC, and AAC from transmitting sources such as mobile phones.
Amplification:
iFi keeps their specs closer to the vest than most, and for good reason. Measurements of power should only be a guide, not gospel. I have heard plenty of so-called “low-power” amplifiers that would kick much more expensive units’ arses to the curb in comparison.The power output rating of 5 watts is a peak rating, which occurs for a split second. Some say that peak power can improve transients and not overall sound quality to mention one caveat.
Having the three gain settings is a nice way to tailor your results for individual headphones and IEMs. You can expect a minimum of 2 watts RMS at 32Ω on the single-ended and the same on the balanced 4.4mm tap at 64Ω which is more than enough to drive most headphones comfortably. Max on the 4.4 is 611mW at 600Ω and 1710mW at 32Ω.
New D2 v OG V1:
The Diablo 2 has an improved power supply and amplifier that increases balanced power output at 32Ω by 50%+. There is also 4 times more output in balanced power compared to the single-ended at 600Ω.
The new model also features a more accurate analog volume pot along with xMEMS, BT Lossless (on available play units, which aren’t many right now), and other options such as the input/output options on the back (USB-C and 4.4bal).
All of this comes at a price increase of $300, though.
Battery Life:
Rated for 8 hours, you will most likely get 5-6 hours depending upon volume and gain settings from the 4800mAh Lithium-Polymer battery. An included 5-volt BC v1.2 compliant charger can handle a rate of 1.9mA which translates into a few hours to charge the battery. I did read somewhere that it can take up to five hours for a full charge.You can leave it plugged in when using it at your desk, and there is even an auto-off function, unlike the OG.
Wireless Connectivity:
Bluetooth:
BT5.4 using Qualcomm’s new QCC518x Bluetooth audio chip can support all CODECS including aptX Lossless, aptX Adaptive, aptX, LDACTM, LHDC/HWA, AAC, and SBC.
The connection was straightforward, and the switch on the back allows for easy switching between BT and a wired source. While not quite on par with a wired connection, the sound coming forth was quite good, closing the gap even more.
Wired Connectivity:
USB-DAC:
Connections include a USB-C on the back as well as a 4.4mm balanced in/out connection. The same holds for the 3.5nn single-ended connection on the back. Having the ability to connect two sources simultaneously allows the user to define what they want as the source, twofold. This would be convenient if you dislike changing cable often, as I do.
Add in the USB-C connection, and you could theoretically have three hooked up. I did not try that, though.
Sound Impressions:
All listening impressions were made with the Empire Ears Legend X, Spirit Torino Twin Pulse IEM, FiiO GT3 (350 ohm), ZMF Eikon, and AKG 240DF.
Summary:
As the name implies, the Diablo 2 is not shy about its signature. Running on the brighter, or hotter end of the spectrum, there is (to me) also the traditional iFi warmth and richness in the sound signature as well. Detail retrieval comes across with aplomb, rather than succinctly, making for a vibrant, rich character instead of a detail-driven cacophony of musical notes.
The high gain is also evident, reflecting iFi’s character for driving things into overdrive. Anytime you see “turbo” and “nitro” on the gain settings, it is not for the faint; nor to be made fun of. Through all of this, the clarity comes across as purposeful, instead of staccato-like. You engage within the music, instead of listening to it.
Timbre:
There is no getting away from the name and the sheer power the D2 can deliver. But as stated above, it is purposeful with detail to back the goods up. Richness pervades the tonality, and bass, which can reach low carries good weight without becoming intrusive or overdriven.
As the lows go, so do the highs. Spread evenly, you could be forgiven for thinking the response is near-neutral. Instead, there is an organic, heft to the note caliber, which gives you a naturalness that compliments the even tonality. I keep going back to my iFi Pro Duo for the signature equivalent but with a bit better detail retrieval. Mind you, the Pro duo has that luxurious tube sound, to compliment all involved.
The sparkle up top compliments the grunt down low, without overwhelming the middle range and that organic nature of it.
Staging & Dynamics:
With the excellent transient response, you are kept firmly aware across the FR curve, and there is a good weight to the notes, too. The speed and decay are shortened on most notes, making for a quick attack of sound, but without becoming thin or analytical. The vibrancy of the presentation allows the listener to gauge accurately where all of the instruments are playing and what plane they reside in.
All of this leads to an accuracy of sound, which steps away from the iFi Pro Duo, which is more about the overall presentation. Seemingly, the better the headphones or IEM, the better the response was, and I found myself moving upscale in my collection to see just how far the D2 could persuade pleasing music from.
The soundstage was lifted, but not overly; making for an uplifting presentation, which stretched the height. The width was excellent, and the depth was almost as good. This was not a cubic presentation, but rather a spacious one, which allowed the notes to breathe within the realm of the stage.
I never had a problem with power, either so I am one to give iFi a pass on any of those “transgressions,” with which others speak. Having the ability to run three gain levels allows the listener to use many within their spectrum of listening devices with great pleasure.
Comparisons:
iFi Diablo 2 ($1299) v iFi iDSD/iCAN Pro duo ($2999ish):
Long held as my “reference set,” the duo carries functionality that would still make many others blush. BT, WiFi, tube sound (and adjustability), along with 3D holography adjusting, and a multitude of filters. The ability to change on the fly makes this still one of my all-time favorite setups.
Truthfully, this isn’t really a fair competition when one looks at the price, but when you factor in age it becomes a bit clearer. The D2 is the “latest and greatest” from iFi, while the pair is their gold standard, even if it may be considered the grandfather of the company. And, as we know, if you come for the king, you best not miss.
The D2 while a brash youngster, takes lessons from the elder in showing off a mature presentation, but with an edge. Where the pair goes for an overall fluidity (and tubey goodness), the D2 goes for cutting-edge details with a vibrant character, that still exudes the familial organic sound (a bit).
You can drive both into oblivion, but both still hold their mettle when called upon to do so. Where the D2 dances a quicker-paced, response-oriented signature; the pair exude a maturity that the D2 cannot match. That is if you prefer that signature. As such, the two family members would complement each other very well whether on your desktop or save the D2 for “transportability.”
iFi Diablo 2 ($1299) v EarMen Angel ($799):
EarMen is known for making superb-sounding devices, which put much more expensive gear to shame. Having Auris as a parental company pays off, with trickledown tech, that can make others blush in jealousy. Except if your name happens to be iFi.
The EarMen does not boast the connectivity options of the D2, nor does it do BT, either. It simply connects and plays. And plays well. While not quite as much of a looker as the D2, it is under the skin where the magic lies.
Boasting almost as much power as the D2, you can run your ears to bleeding with the Angel, begging for mercy just as much as the D2. Where the D2 sounds rich, the Angel sounds vibrant. Where the D2 sounds accurate but smooth; the Angel sounds vibrant and detailed.
The Angel does SP/DIF connectivity as well as the D2, for those who may want to utilize either into another amplifier or two-channel system through this connection.
This will come down to whether you want a bit more vibrant, detailed signature (that may sound a bit thin to some) in the Angel, or the versatility and multiple gain settings of the D2 along with as much power.
Me? I’d like both, please.
iFi Diablo 2 ($1299) v iFi xDSD ($399):
There is no denying the familial heritage of the xDSD (and xCAN for that matter). I personally prefer the xDSD since it is a dedicated headphone amplifier. For sheer power, the xDSD is hard to beat in a size v punch comparison. Vibrant in character, but not as much so as the Angel; the xDSD shows off in power and accuracy instead of a mature sound.
With 3D+ and XBass, you can also add grunt down low along with some holography to the sound. But, when it comes to comparison, the D2 dwarfs the older cousin in sheer power and the ability to come across with the richness in signature that may be missing.
iFi Diablo 2 ($1299) v Centrance HiFi M8 V2 ($799):
The pairing of the M8 V2 and the Ampersand almost made me clean out my whole collection of desktop units, and replace all of them with the pair. Almost. Knowing that you could just as easily take the pair with you on the go made them all the more appealing. And that is kind of the point since Centrance started with on-stage gear for musicians.
That precision for musicians’ choice shows through in as detailed a signature as you will find in a portable/desktop setup at the price and beyond. I chose the M8 V2 as a comparison here due to the connectivity options; including BT, and it can hold its own against the D2 with everything, except sheer power.
Where the D2 goes for richness and power, the M8 V2 goes for accuracy and detail, but without thinning the notes. I have yet to find pretty much anything at the price, that can provide a sound as accurate as the Centrance, save maybe the Angel; but with a slight thinning of notes.
The D2 can compete against the more affordable M8 V2 due to connectivity options, and the gain settings, with a bit more power.
finale:
Having not heard the OG Diablo, but enough other iFi products over the years, I do feel that I can make a reasonable judgment as to the D2. If you don’t have a Diablo or iDSD micro–Black Label (I still miss mine...), the Diablo 2 is a powerful DAC/Amp with a hotter sound, decent battery life, and a bet against obsolescence in the future due to the inclusion of Lossless Audio, xMEMS, and the latest BT. You also get plenty of connectivity options, and enough power to run a small city.
But if you already have the Diablo? You may want to wait or purchase one of the iFi dedicated desktop units. Of course, having options is a good thing; and you could get both. Your call.
iFi GO Pod ($299): iFi lets us use our IEMs in a new light
GO Pod
Intro:
I am a fan of iFi. I have owned many of their products, and still own the iDSD/iCAN Pro models. Other models I have liked, and there are some I have not. When offered a review sample of the GO Pod, I accepted Lawrance’s gracious offer. What follows are my own words, for good or ill, and I thank Lawrance & iFi for the opportunity to try something new from them.
Specs:
DAC: Cirrus Logic Master-HiFi 32-bit DAC
Bluetooth Chipset: Qualcomm QCC5144 Bluetooth 5.2 (Snapdragon)
Supported Codecs: LDAC, LHDC/HWA, aptX Adaptive, aptX HD, aptX LL, aptX, ACC, SBC
Sampling Rate Support: Max. 24bit-96kHz
SNR: 32Ω ≥ 129dB (A) / 300Ω ≥ 132dB (A)
THD+N: ≤0.002% (1kHz/32Ω)
Auto Impedance Detection: 16Ω / 32Ω / 64Ω / 300Ω
Output Power: 120mW@32Ω; 4V@300Ω 16Ω: ≥0.98V/60mW 32Ω: ≥1.96V/120mW 64Ω: ≥2.77V/120mW 300Ω: ≥4.0V/53mW
Battery Capacity: 180 mAh Each Adapter + 1500 mAh Case
Battery Life: Up to 37 hours
Features: TWS Mirroring, Snapdragon Sound, IPX5, MMCX/2-pin, Qi Wireless Charging 5V/1A or 5V/2A + USB-C Fast Charging, cVc Mics, Single GO pod Mode & more.
Case Dimensions & Total Weight: Approx. 116 x 76 x 38.5 mm (4.6″ x 3″ x 1.5″), 126g
Ear Hook Dimensions & Total Weight: Approx. 43.5 x 16.4 x 9.5 mm (1.7″ x 0.6″ x 0.4″), 12g
MSRP: $399 ($299) USD/GBP
In The Box (complete IEM kit):
GO Pod
Charging case (W/ mood lighting)
Ear loops: 0.78mm, MMCX, Pentaconn ear
USB charging cable
Quickstart card
Instruction card
Gear Used:
Spirit Torino IEM Twin Pulse (2-pin)
Campfire Audio Solaris2020 (MMCX)
Campfire Audio Supermoon (Custom, MMCX)
iPhone 13 Pro Max
Unboxing:
ifi has a history of efficient, yet protective packaging and the GO Pod is no different. Truth be told, many of us keep the boxes in case we sell the item or move, or just like looking at the box.
A white sleeve covers the traditional white box, with the GO Pod’s prominently placed in near-life size on the front. One side showcases the large, cool case. The other side carries the internal circuitry wizardry, while the back shows the traditional specs and usage quick guide.
Sliding the sleeve off the traditional ifi logo in silver highlights the top. Removing the top, you are met with the case and the GO Pod inside with one of the three ear hook adapters. Underneath the case, you will find the other two types of adapters (I wish the T2 had been included for my UE Live...), wrapped around a post, and the USB charging cable next to the hooks. Underneath that lift-out section are the quick start guide, legal verbiage, and instruction sheet. Elegantly simple.
Build/Fit/Function:
The GO Pod system is two pieces, the main driving unit, and the ear hook connectivity piece in 0.78mm 2-pin, MMCX, T2, or Pentaconn arrangement. The set I have contains all but the T2, so my UE Live will not get to play along. The technicals of the driving unit will be covered below.
ifi is known for stellar construction no matter what the unit might be. The GO Pod follows this nicely, with more plastic than their other designs. But for good reason. This is an on-the-go BT receiver, which will most likely face tougher conditions than say the company headphone amplifiers. The GO Pod is water resistant as a result.
The unit is also on the larger size. I had trouble wearing it for the first hour, with the ear hook digging into the upper portion of my ear on the back size. I would have liked a more pliable shape, but understand the need for protective measures. The unit ended up sitting vertically behind my ear. I still had a fair bit of discomfort, but considered it barely acceptable for 1–2-hour sessions, IEM dependent (more on that below).
The connection to the driver unit is 0.78mm 2-pin, and to be honest a pain to connect. Inset rather deeply (for protective purposes), you must be very precise when connecting the ear hook of your choice. Numerous times I had to carefully hunt for the proper location, so I did not bend the pins or have only one connect before realizing it was mismatched. This is a design flaw to me, which needs addressing with a shallower hole. Once connected, the fit between the hook and driver was very good, though.
The GO Pod carries a lot of plastic, but it is well-constructed. An IPX5 rating gives you sweat protection, but do not expect waterproofness. Since I used my CFA Supermoon and UE Live, I did not chance any precipitation while using the GO Pod.
Not all is rosy in the fit department as mentioned, though. I found that wearing the GO Pod for anything longer than an hour or two was not pleasant due to the unflexing shape of the ear hook. It is not bendable. I understand why iFi did this, but it is too narrow for the vast majority of ears on this planet. As such, I rate the on-ear fit as poor. Add in that the “brains” part hangs behind the ear and that makes for a large bulbous object hanging from behind your ear.
Thankfully the sound makes up for this.
Functions are listed in the picture below, and are intuitive, once you use the GO Pods once or twice. I do wish all BT TWS devices used the same patterns for continuity’s sake, but the ifi works just fine.
I did have some issues with pairing, but the suggestion from my phone to “Forget Device” and reconnect was easy and took very little extra time. It was no big deal to me. Once I became acclimated to the location of the unit, I was able to use my hand to “hold” the sides of the GO Pod, and then actuate whichever function I desired.
Since the unit is larger, this did and does aid in accessing the controls. I do wish for a bit different tactility on the two buttons, though.
App:
The ifi-Gaia app is essentially worthless except for firmware updates, and two filter choices. To update firmware, you must still go to the ifi website and download the files. Then you can access them inside the app. Upon opening the app and connecting the GO Pods, I was prompted to go to the settings button at the bottom for the update. Once in settings though, the “Software Updates” showed 0 available. When clicking upon that, the “Select Update File” button was grayed out. I did click on it, which took me to another sub-menu, where there was nothing listed. I then touched the folder button in the top right, and the updated files were found there.
By clicking on the file, I was taken to an informational menu, with a grayed-out “Start” button. From there, updating was successful.
Technology:
Touted as “The first device in the world to support Hi-Res 96kHz/24bits with LDAC and Qualcomm Snapdragon Sound Bluetooth codecs on TWS,” the GO Pod comes with high aspirations. As we know ifi usually aims high and hits the target. aptX, AAC, and SBC codecs are supported as well.
Qualcomm’s 24-bit Snapdragon is TOTL, and with LDAC codec, wants to hit that top rung.
Space limitations of such a device mean that the “all-in-one” typical system comes with compromises. The proximity of each circuit to another comes with drawbacks such as signal infiltration, which can hinder audio quality. Much like a tube amplifier, which has an external power source “block” (think Woo Audio, etc), ifi designs each sub-component separately, then optimizes them all together. This promotes isolation of each required component but ensures all work together. This is not unlike what the Klipsch Bespoke T10 does with its motherboard. And it works.
Qualcomm’s top-tier QCC5144 module drives the BT 5.2 for the most current set-up available. The quad cores also help to minimize battery drain, a known BT issue with some. Qualcomm’s QC5100 TrueWireless Mirroring also sends a distinct signal to each channel (L & R). This allows the bud with the strongest connection to the BT source to act as the receiver. The other bud, then “mirrors” the signal. If the user moves locations (proximity to BT source), the GO Pod automatically detects this and changes to the bud with the strongest signal.
To minimize pre-echos and ringing artifacts, the DAC is designed with proprietary digital interpolation filters that support five digital filter responses. These user-selectable settings offer a degree of personal sonic tailoring. The iOS app only shows two filter choices, but latency can be tailored to enhance the gaming effect.
Not giving all control to the Qualcomm chip (even though it is excellent), the GO pod incorporates two Cirrus Logic MasterHIFI chips (one in the left pod, the other in the right). The 32-bit hi-res DAC chip is dedicated to single-channel digital-to-analogue signal conversion in the GO pod’s circuit design. This combines with a jitter-eradicating precision clock to deliver ultra-low distortion and high dynamic range. Put this all together and you get typical ifi quality.
With a power output of 120mW into 32 ohms, the balanced amplifier also automatically detects the IEM impedance; balancing the necessary power (read volume level) across four impedances; 16 ohms, 32 ohms, 64 ohms, and 300 ohms.
A built-in microphone, which utilizes Qualcomm’s cVc noise suppression technology, helps isolate your voice on phone calls, minimizing outside interference. A single mic takes care of business.
As you can see, ifi has done its homework.
Case:
Yes, the case deserves a special section. This has to be one of the coolest cases I have seen, BT or otherwise. The hard plastic case can easily sit on your desk plugged in, or be taken with you in your backpack or attaché case.
A 1500mAH rechargeable battery is built into the charging case, and a pair of GO pods will play for up to seven hours on a single charge. The case provides multiple recharges (up to 30 hours) to enable up to 35 hours (37 on the literature, and verified by me) of playing time. The case supports both Qi wireless charging and USB-C fast charging. The Qi ring is on the bottom, so you can still access the buds.
Opening the case, you are met with a superb blue-lit look, reminiscent of your lit footwell in your vehicle of choice. The partitions on each side are big enough to keep an IEM connected while charging, which is a nice thought. The lights on the side of the case denote how much “charging power” is left going from 1-4 temporary blinking lights.
The case is large, though, and not very conducive to carrying in anything outside of an attaché or book bag. The case also houses all of the different ear hook connections and the charging cable, so that is a nice tradeoff. Wireless charging is a plus, as well.
Sound:
Summary:
It is always hard to gauge sound qualities in something such as this since it depends so heavily upon the IEM connected to it. The best DAC will get out of the way, and let the source/IEM combination play their cards. Happily, the GO Pod does this.
While using the CFA Supermoon, the GO Pod provided enough energy, but it was obvious that the Supermoon needed more for its full benefit. Switching to the Solaris 2020, the volume level was turned down quickly, since it is much easier to drive. The IEM Spirit Torino split the difference. Regardless, there was plenty of power to drive the IEMs to ear-splitting levels.
moar:
As stated, this is a hard aspect to judge, since many factors come into play. A good DAC/amp will get out of the way, and the GO Pod did just that while providing plenty of power, to go along with the clean, detailed sound.
I cannot say I had a favorite pairing since each was different. The custom Supermoon was harder to get in and out, due to the shape, but the Solaris 2020 and Spirit Torino were as easy as a “regular” IEM.
Bass reached low and accurate levels in all three, with the excellent detail coming through in the Supermoon, while the deeper more guttural reach of the Solaris2020 shone. The GO Pod did provide a more detailed sound, due to the better DAC involved, but hooking the pods up to a dedicated DAP would make it even better.
Top-end reach matched whatever IEM was hooked, with the Solaris2020 providing me with silky-smooth listening, even if a bit rounded off. The details from the Supermoon sounded the “best,” but not quite as driven, due to the need for increased power. Again, the Spirit Torino was along for the ride, seemingly content to be the middle child, so to speak.
The above pairings show that while the three might not have been meant for such a device, the ifi could easily give your flagship-level IEMs a wireless choice.
finale:
The ifi GO Pod came to me with good aspirations, and after my lengthy testing I came away with the appreciation I knew it had garnered from others; and my respect. It is a solution to something, that we may not have known we needed (except for the other competitors), but provided me with a very good option for my portable listening. While I may not always take high-end IEMs along for this, knowing I can make it all the more worthwhile.
If ifi can solve the horrendous fit issues by making a bendable ear hook, this would be darn near perfect. Until then, I can still recommend it but know fit is an issue for me, along with the neglected app.
Regardless, the GO Pod provides the user with a viable option for portable listening that may suit your bill. I thank Lawrance and ifi for the review sample. This is one, which will see much use.
GO Pod
Intro:
I am a fan of iFi. I have owned many of their products, and still own the iDSD/iCAN Pro models. Other models I have liked, and there are some I have not. When offered a review sample of the GO Pod, I accepted Lawrance’s gracious offer. What follows are my own words, for good or ill, and I thank Lawrance & iFi for the opportunity to try something new from them.
Specs:
DAC: Cirrus Logic Master-HiFi 32-bit DAC
Bluetooth Chipset: Qualcomm QCC5144 Bluetooth 5.2 (Snapdragon)
Supported Codecs: LDAC, LHDC/HWA, aptX Adaptive, aptX HD, aptX LL, aptX, ACC, SBC
Sampling Rate Support: Max. 24bit-96kHz
SNR: 32Ω ≥ 129dB (A) / 300Ω ≥ 132dB (A)
THD+N: ≤0.002% (1kHz/32Ω)
Auto Impedance Detection: 16Ω / 32Ω / 64Ω / 300Ω
Output Power: 120mW@32Ω; 4V@300Ω 16Ω: ≥0.98V/60mW 32Ω: ≥1.96V/120mW 64Ω: ≥2.77V/120mW 300Ω: ≥4.0V/53mW
Battery Capacity: 180 mAh Each Adapter + 1500 mAh Case
Battery Life: Up to 37 hours
Features: TWS Mirroring, Snapdragon Sound, IPX5, MMCX/2-pin, Qi Wireless Charging 5V/1A or 5V/2A + USB-C Fast Charging, cVc Mics, Single GO pod Mode & more.
Case Dimensions & Total Weight: Approx. 116 x 76 x 38.5 mm (4.6″ x 3″ x 1.5″), 126g
Ear Hook Dimensions & Total Weight: Approx. 43.5 x 16.4 x 9.5 mm (1.7″ x 0.6″ x 0.4″), 12g
MSRP: $399 ($299) USD/GBP
In The Box (complete IEM kit):
GO Pod
Charging case (W/ mood lighting)
Ear loops: 0.78mm, MMCX, Pentaconn ear
USB charging cable
Quickstart card
Instruction card
Gear Used:
Spirit Torino IEM Twin Pulse (2-pin)
Campfire Audio Solaris2020 (MMCX)
Campfire Audio Supermoon (Custom, MMCX)
iPhone 13 Pro Max
Unboxing:
ifi has a history of efficient, yet protective packaging and the GO Pod is no different. Truth be told, many of us keep the boxes in case we sell the item or move, or just like looking at the box.
A white sleeve covers the traditional white box, with the GO Pod’s prominently placed in near-life size on the front. One side showcases the large, cool case. The other side carries the internal circuitry wizardry, while the back shows the traditional specs and usage quick guide.
Sliding the sleeve off the traditional ifi logo in silver highlights the top. Removing the top, you are met with the case and the GO Pod inside with one of the three ear hook adapters. Underneath the case, you will find the other two types of adapters (I wish the T2 had been included for my UE Live...), wrapped around a post, and the USB charging cable next to the hooks. Underneath that lift-out section are the quick start guide, legal verbiage, and instruction sheet. Elegantly simple.
Build/Fit/Function:
The GO Pod system is two pieces, the main driving unit, and the ear hook connectivity piece in 0.78mm 2-pin, MMCX, T2, or Pentaconn arrangement. The set I have contains all but the T2, so my UE Live will not get to play along. The technicals of the driving unit will be covered below.
ifi is known for stellar construction no matter what the unit might be. The GO Pod follows this nicely, with more plastic than their other designs. But for good reason. This is an on-the-go BT receiver, which will most likely face tougher conditions than say the company headphone amplifiers. The GO Pod is water resistant as a result.
The unit is also on the larger size. I had trouble wearing it for the first hour, with the ear hook digging into the upper portion of my ear on the back size. I would have liked a more pliable shape, but understand the need for protective measures. The unit ended up sitting vertically behind my ear. I still had a fair bit of discomfort, but considered it barely acceptable for 1–2-hour sessions, IEM dependent (more on that below).
The connection to the driver unit is 0.78mm 2-pin, and to be honest a pain to connect. Inset rather deeply (for protective purposes), you must be very precise when connecting the ear hook of your choice. Numerous times I had to carefully hunt for the proper location, so I did not bend the pins or have only one connect before realizing it was mismatched. This is a design flaw to me, which needs addressing with a shallower hole. Once connected, the fit between the hook and driver was very good, though.
The GO Pod carries a lot of plastic, but it is well-constructed. An IPX5 rating gives you sweat protection, but do not expect waterproofness. Since I used my CFA Supermoon and UE Live, I did not chance any precipitation while using the GO Pod.
Not all is rosy in the fit department as mentioned, though. I found that wearing the GO Pod for anything longer than an hour or two was not pleasant due to the unflexing shape of the ear hook. It is not bendable. I understand why iFi did this, but it is too narrow for the vast majority of ears on this planet. As such, I rate the on-ear fit as poor. Add in that the “brains” part hangs behind the ear and that makes for a large bulbous object hanging from behind your ear.
Thankfully the sound makes up for this.
Functions are listed in the picture below, and are intuitive, once you use the GO Pods once or twice. I do wish all BT TWS devices used the same patterns for continuity’s sake, but the ifi works just fine.
I did have some issues with pairing, but the suggestion from my phone to “Forget Device” and reconnect was easy and took very little extra time. It was no big deal to me. Once I became acclimated to the location of the unit, I was able to use my hand to “hold” the sides of the GO Pod, and then actuate whichever function I desired.
Since the unit is larger, this did and does aid in accessing the controls. I do wish for a bit different tactility on the two buttons, though.
App:
The ifi-Gaia app is essentially worthless except for firmware updates, and two filter choices. To update firmware, you must still go to the ifi website and download the files. Then you can access them inside the app. Upon opening the app and connecting the GO Pods, I was prompted to go to the settings button at the bottom for the update. Once in settings though, the “Software Updates” showed 0 available. When clicking upon that, the “Select Update File” button was grayed out. I did click on it, which took me to another sub-menu, where there was nothing listed. I then touched the folder button in the top right, and the updated files were found there.
By clicking on the file, I was taken to an informational menu, with a grayed-out “Start” button. From there, updating was successful.
Technology:
Touted as “The first device in the world to support Hi-Res 96kHz/24bits with LDAC and Qualcomm Snapdragon Sound Bluetooth codecs on TWS,” the GO Pod comes with high aspirations. As we know ifi usually aims high and hits the target. aptX, AAC, and SBC codecs are supported as well.
Qualcomm’s 24-bit Snapdragon is TOTL, and with LDAC codec, wants to hit that top rung.
Space limitations of such a device mean that the “all-in-one” typical system comes with compromises. The proximity of each circuit to another comes with drawbacks such as signal infiltration, which can hinder audio quality. Much like a tube amplifier, which has an external power source “block” (think Woo Audio, etc), ifi designs each sub-component separately, then optimizes them all together. This promotes isolation of each required component but ensures all work together. This is not unlike what the Klipsch Bespoke T10 does with its motherboard. And it works.
Qualcomm’s top-tier QCC5144 module drives the BT 5.2 for the most current set-up available. The quad cores also help to minimize battery drain, a known BT issue with some. Qualcomm’s QC5100 TrueWireless Mirroring also sends a distinct signal to each channel (L & R). This allows the bud with the strongest connection to the BT source to act as the receiver. The other bud, then “mirrors” the signal. If the user moves locations (proximity to BT source), the GO Pod automatically detects this and changes to the bud with the strongest signal.
To minimize pre-echos and ringing artifacts, the DAC is designed with proprietary digital interpolation filters that support five digital filter responses. These user-selectable settings offer a degree of personal sonic tailoring. The iOS app only shows two filter choices, but latency can be tailored to enhance the gaming effect.
Not giving all control to the Qualcomm chip (even though it is excellent), the GO pod incorporates two Cirrus Logic MasterHIFI chips (one in the left pod, the other in the right). The 32-bit hi-res DAC chip is dedicated to single-channel digital-to-analogue signal conversion in the GO pod’s circuit design. This combines with a jitter-eradicating precision clock to deliver ultra-low distortion and high dynamic range. Put this all together and you get typical ifi quality.
With a power output of 120mW into 32 ohms, the balanced amplifier also automatically detects the IEM impedance; balancing the necessary power (read volume level) across four impedances; 16 ohms, 32 ohms, 64 ohms, and 300 ohms.
A built-in microphone, which utilizes Qualcomm’s cVc noise suppression technology, helps isolate your voice on phone calls, minimizing outside interference. A single mic takes care of business.
As you can see, ifi has done its homework.
Case:
Yes, the case deserves a special section. This has to be one of the coolest cases I have seen, BT or otherwise. The hard plastic case can easily sit on your desk plugged in, or be taken with you in your backpack or attaché case.
A 1500mAH rechargeable battery is built into the charging case, and a pair of GO pods will play for up to seven hours on a single charge. The case provides multiple recharges (up to 30 hours) to enable up to 35 hours (37 on the literature, and verified by me) of playing time. The case supports both Qi wireless charging and USB-C fast charging. The Qi ring is on the bottom, so you can still access the buds.
Opening the case, you are met with a superb blue-lit look, reminiscent of your lit footwell in your vehicle of choice. The partitions on each side are big enough to keep an IEM connected while charging, which is a nice thought. The lights on the side of the case denote how much “charging power” is left going from 1-4 temporary blinking lights.
The case is large, though, and not very conducive to carrying in anything outside of an attaché or book bag. The case also houses all of the different ear hook connections and the charging cable, so that is a nice tradeoff. Wireless charging is a plus, as well.
Sound:
Summary:
It is always hard to gauge sound qualities in something such as this since it depends so heavily upon the IEM connected to it. The best DAC will get out of the way, and let the source/IEM combination play their cards. Happily, the GO Pod does this.
While using the CFA Supermoon, the GO Pod provided enough energy, but it was obvious that the Supermoon needed more for its full benefit. Switching to the Solaris 2020, the volume level was turned down quickly, since it is much easier to drive. The IEM Spirit Torino split the difference. Regardless, there was plenty of power to drive the IEMs to ear-splitting levels.
moar:
As stated, this is a hard aspect to judge, since many factors come into play. A good DAC/amp will get out of the way, and the GO Pod did just that while providing plenty of power, to go along with the clean, detailed sound.
I cannot say I had a favorite pairing since each was different. The custom Supermoon was harder to get in and out, due to the shape, but the Solaris 2020 and Spirit Torino were as easy as a “regular” IEM.
Bass reached low and accurate levels in all three, with the excellent detail coming through in the Supermoon, while the deeper more guttural reach of the Solaris2020 shone. The GO Pod did provide a more detailed sound, due to the better DAC involved, but hooking the pods up to a dedicated DAP would make it even better.
Top-end reach matched whatever IEM was hooked, with the Solaris2020 providing me with silky-smooth listening, even if a bit rounded off. The details from the Supermoon sounded the “best,” but not quite as driven, due to the need for increased power. Again, the Spirit Torino was along for the ride, seemingly content to be the middle child, so to speak.
The above pairings show that while the three might not have been meant for such a device, the ifi could easily give your flagship-level IEMs a wireless choice.
finale:
The ifi GO Pod came to me with good aspirations, and after my lengthy testing I came away with the appreciation I knew it had garnered from others; and my respect. It is a solution to something, that we may not have known we needed (except for the other competitors), but provided me with a very good option for my portable listening. While I may not always take high-end IEMs along for this, knowing I can make it all the more worthwhile.
If ifi can solve the horrendous fit issues by making a bendable ear hook, this would be darn near perfect. Until then, I can still recommend it but know fit is an issue for me, along with the neglected app.
Regardless, the GO Pod provides the user with a viable option for portable listening that may suit your bill. I thank Lawrance and ifi for the review sample. This is one, which will see much use.
Kefine Klanar ($119): A new kid on the planar block.
Klanar
Audio46
HiFiGo
*Discounted to $89USD currently
Intro:
The Klanar is a new planar IEM from Kefine, Dongguan Kefine Electronics Technology, CO; Ltd. Using a 14.5mm “driver” with your choice of 3.5mm se or 4.4bal, it enters the ultra-competitive sub-$150usd market with high hopes.
The unit was sent to me pre-launch for an honest assessment. The words are mine and mine alone. I thank Kefine for the sample and know it may be asked to be returned at any time. Unless specified, it is mine to keep. The unit is now on sale.
Specs:
Transducer type: Planar wired IEM
Transducer size: 14.5mm
Frequency response: 20Hz-40kHz
Sensitivity: 105dB+/-3dB
Impedance: 16ohm
Connector: 0.78mm 2-pin, covered
Cable length: 1.2M
In The Box:
Klanar
Case
7 sets of silicon tips (UV-large hole, silicon-bass in s, m, l)
Velcro cinch wrap
Dual wrap cable
Gear Used:
Astell & Kern AK120 Titan
Music
Jazz
David Bowie
B.B. King
Unboxing:
A white sliding sleeve shows the Klanar is slightly larger-than-life size on the front and the measurements on the back. Sliding the sleeve off, you are met with a plain black box. Taking the top off showcases the IEM on top, with the cable attached, and wound through medium-soft foam to the case on the bottom half.
Inside the case is the rest of the cable along with a plastic bag of tips. The case is longer than deep and tall; and as a result, winding of the wire with IEM attached results in longer loops. Otherwise, the case is hard to zip closed. The zipper is hard enough, without that happening. Another 1/2'’ of height in the case would have made for a much easier-to-use case, without having to worry about smashing either the cable, tip, or IEM.
Build/Finish/Fit:
Since the Klanar uses a rather large driver in the 14.5mm planar unit, you would rightly expect the unit to be large. The Klanar isn’t. Stemming from a thinly shaped (0.2mm in some places) 5-axis CNC machined single-piece aluminum shell, the Klanar is not only light at 12.5g per earbud but small in shape. Fit as a result was quite good, with the longer nozzle inserting deep into my canal.
Two vent holes on the inner sides allow for air dispersion, with a tasteful-looking flat faceplate, laden with the simple Kefine name on it. Understated elegance. A longer hard plastic bent towards the back allows for the cable to exit the earbud higher, and the memory plastic sheath then takes effect. Although this arrangement made for a bit higher bend on my ear, the supple cable laid nicely behind my ear.
The materials look well-made and above cheaper plastic IEMs, which may adorn this price point. The cable color of black and copper (two wires in each), adds to the mature look. Subdued might be a better word. The dark color of cable and IEM help keep that theme.
Slight microphonics are heard through the cable, but only when moving quite a bit or actually thumping on the cable. That cable is a four-wire variety with 54 cores in each. Two wires (the black casing ones) are 0.05mm silver-plated Litz copper, while the other two are OFC copper of the same size and number. The cable was of good length, but another 6” (15cm) would not hurt for pocket use.
The Klanar fit flush into my ear, which was nice, and added to the excellent isolation using the stock medium bass tips.
Technology:
The Klanar uses a 14.5mm planar driver, with a PET composite diaphragm for speedy response. An N55 magnet rounds out the closed driver unit. As mentioned above, the CNC machined single aluminum piece not only makes for a lightweight shell but a smaller one, too. This definitely aids in the fit. With a sensitivity of 105 dB and a lower impedance of 16 Ohms, the Klanar is also easy to drive.
Sound:
Summary:
The Klanar is promoted as natural and balanced. Acoustic instruments are supposed to sound lifelike as a result. And mostly they do. Jazz piano, sax, or bass sound like you are present in the club. Bass is of good quality, with decent quality; but not as much deep extension as the literature promotes. The bass provides good weight to the notes, but I would not call it authoritative. Smooth mids and a good treble extension make for a pleasantly smooth signature, without much effort. All of the above is tip and depth insertion dependent, but generally within the same sphere of reference.
moar:
Promoted as one of if not the smallest planar IEM units on the market, I could wear the Klanar for hours without bother. Isolation was tip dependent, but very good, which gave me a better grasp of the sound signature.
The bass does have good weight, but it cannot compete with a dynamic driver of the same price range for sheer punch. That weight also translates into an accurate representation of instruments in the low range. I found upright bass’ to be quite good in which to listen as part of jazz recording solos. While sub bass was lacking overall, the sound was good due to the smooth presentation and enough detail to keep me involved.
The mids come across as detailed and pushed slightly forward, but not upward. Piano notes along with sax came across as realistic and natural, if not completely organic. The smooth character while presenting good detail and clarity also lacked a bit of note weight. Not enough to really bother me, but piano solos took on an almost isolated texture, which was good for the solo, but slightly disconnected. It really did not bother me, though.
The treble hit my sweet spot, without any harshness and that continued smooth character. The definition of cymbal hits was lacking, but if I had my preference, it would be for a treble, which does not grate on me. Cymbal crest hits seem almost digital-sounding and reserved. Detail was lacking, but here it is better to look at the whole, instead of the parts.
The soundstage was fairly wide with an out-of-head experience and good height; but not great. Depth seemed a bit lacking as well, making for a wider, shallower stage. Not bad, and good for instrumental pieces, which take up a large stage, but with not as much depth as I would have liked. As a result, instrumentation was good, with separation better. Working together this made for a smooth character, but lacking a bit of definition in overall signature.
The smooth timbre of the Klanar makes for a natural-sounding planar IEM. This provided me with a nice mellow characteristic only punctuated by the occasional lapse in the upper mid and lower treble area. The definition was left a bit wanting there as a result.
finale:
Kefine is a new start-up IEM manufacturer in the heart of the Shenzhen region of China. As a result, there are a multitude of other brands close at hand. This provides plenty of competition for the brand, and there are other planar IEMs out with which to compete.
I found the Klanar to be acceptable, but unspectacular in any area. The smooth character makes for an almost niche-defined style of listening. Jazz sounds good but with the shortcomings mentioned above. I did not mind knowing the unit’s price.
If you are looking for a detail-oriented IEM, you should look elsewhere. It isn’t that there is a lack of details present, but the focus is elsewhere, instead. There is enough vibrancy to the smooth character to make up for the lack of detailed sound, but do not expect top-tier clarity. That isn’t in the cards.
The Klanar is hard to define. It is affordable (but in a brutally packed price bracket). It is very well built (as are most nowadays). The fit is excellent and flush without bother. The smoothness of sound did draw me in somewhat, but I feel that really isn’t enough for most genres. This is good for jazz, or female vocal music, which relies upon smoothness for character. But that may not be enough. You will have to decide.
Thank you again to Kefine for the review sample of the Klanar. It can be found at the links above, but you will want to compare it to others in the price range. You may end up with others. Or you may end up with the Klanar. It is your choice.
Klanar
Audio46
HiFiGo
*Discounted to $89USD currently
Intro:
The Klanar is a new planar IEM from Kefine, Dongguan Kefine Electronics Technology, CO; Ltd. Using a 14.5mm “driver” with your choice of 3.5mm se or 4.4bal, it enters the ultra-competitive sub-$150usd market with high hopes.
The unit was sent to me pre-launch for an honest assessment. The words are mine and mine alone. I thank Kefine for the sample and know it may be asked to be returned at any time. Unless specified, it is mine to keep. The unit is now on sale.
Specs:
Transducer type: Planar wired IEM
Transducer size: 14.5mm
Frequency response: 20Hz-40kHz
Sensitivity: 105dB+/-3dB
Impedance: 16ohm
Connector: 0.78mm 2-pin, covered
Cable length: 1.2M
In The Box:
Klanar
Case
7 sets of silicon tips (UV-large hole, silicon-bass in s, m, l)
Velcro cinch wrap
Dual wrap cable
Gear Used:
Astell & Kern AK120 Titan
Music
Jazz
David Bowie
B.B. King
Unboxing:
A white sliding sleeve shows the Klanar is slightly larger-than-life size on the front and the measurements on the back. Sliding the sleeve off, you are met with a plain black box. Taking the top off showcases the IEM on top, with the cable attached, and wound through medium-soft foam to the case on the bottom half.
Inside the case is the rest of the cable along with a plastic bag of tips. The case is longer than deep and tall; and as a result, winding of the wire with IEM attached results in longer loops. Otherwise, the case is hard to zip closed. The zipper is hard enough, without that happening. Another 1/2'’ of height in the case would have made for a much easier-to-use case, without having to worry about smashing either the cable, tip, or IEM.
Build/Finish/Fit:
Since the Klanar uses a rather large driver in the 14.5mm planar unit, you would rightly expect the unit to be large. The Klanar isn’t. Stemming from a thinly shaped (0.2mm in some places) 5-axis CNC machined single-piece aluminum shell, the Klanar is not only light at 12.5g per earbud but small in shape. Fit as a result was quite good, with the longer nozzle inserting deep into my canal.
Two vent holes on the inner sides allow for air dispersion, with a tasteful-looking flat faceplate, laden with the simple Kefine name on it. Understated elegance. A longer hard plastic bent towards the back allows for the cable to exit the earbud higher, and the memory plastic sheath then takes effect. Although this arrangement made for a bit higher bend on my ear, the supple cable laid nicely behind my ear.
The materials look well-made and above cheaper plastic IEMs, which may adorn this price point. The cable color of black and copper (two wires in each), adds to the mature look. Subdued might be a better word. The dark color of cable and IEM help keep that theme.
Slight microphonics are heard through the cable, but only when moving quite a bit or actually thumping on the cable. That cable is a four-wire variety with 54 cores in each. Two wires (the black casing ones) are 0.05mm silver-plated Litz copper, while the other two are OFC copper of the same size and number. The cable was of good length, but another 6” (15cm) would not hurt for pocket use.
The Klanar fit flush into my ear, which was nice, and added to the excellent isolation using the stock medium bass tips.
Technology:
The Klanar uses a 14.5mm planar driver, with a PET composite diaphragm for speedy response. An N55 magnet rounds out the closed driver unit. As mentioned above, the CNC machined single aluminum piece not only makes for a lightweight shell but a smaller one, too. This definitely aids in the fit. With a sensitivity of 105 dB and a lower impedance of 16 Ohms, the Klanar is also easy to drive.
Sound:
Summary:
The Klanar is promoted as natural and balanced. Acoustic instruments are supposed to sound lifelike as a result. And mostly they do. Jazz piano, sax, or bass sound like you are present in the club. Bass is of good quality, with decent quality; but not as much deep extension as the literature promotes. The bass provides good weight to the notes, but I would not call it authoritative. Smooth mids and a good treble extension make for a pleasantly smooth signature, without much effort. All of the above is tip and depth insertion dependent, but generally within the same sphere of reference.
moar:
Promoted as one of if not the smallest planar IEM units on the market, I could wear the Klanar for hours without bother. Isolation was tip dependent, but very good, which gave me a better grasp of the sound signature.
The bass does have good weight, but it cannot compete with a dynamic driver of the same price range for sheer punch. That weight also translates into an accurate representation of instruments in the low range. I found upright bass’ to be quite good in which to listen as part of jazz recording solos. While sub bass was lacking overall, the sound was good due to the smooth presentation and enough detail to keep me involved.
The mids come across as detailed and pushed slightly forward, but not upward. Piano notes along with sax came across as realistic and natural, if not completely organic. The smooth character while presenting good detail and clarity also lacked a bit of note weight. Not enough to really bother me, but piano solos took on an almost isolated texture, which was good for the solo, but slightly disconnected. It really did not bother me, though.
The treble hit my sweet spot, without any harshness and that continued smooth character. The definition of cymbal hits was lacking, but if I had my preference, it would be for a treble, which does not grate on me. Cymbal crest hits seem almost digital-sounding and reserved. Detail was lacking, but here it is better to look at the whole, instead of the parts.
The soundstage was fairly wide with an out-of-head experience and good height; but not great. Depth seemed a bit lacking as well, making for a wider, shallower stage. Not bad, and good for instrumental pieces, which take up a large stage, but with not as much depth as I would have liked. As a result, instrumentation was good, with separation better. Working together this made for a smooth character, but lacking a bit of definition in overall signature.
The smooth timbre of the Klanar makes for a natural-sounding planar IEM. This provided me with a nice mellow characteristic only punctuated by the occasional lapse in the upper mid and lower treble area. The definition was left a bit wanting there as a result.
finale:
Kefine is a new start-up IEM manufacturer in the heart of the Shenzhen region of China. As a result, there are a multitude of other brands close at hand. This provides plenty of competition for the brand, and there are other planar IEMs out with which to compete.
I found the Klanar to be acceptable, but unspectacular in any area. The smooth character makes for an almost niche-defined style of listening. Jazz sounds good but with the shortcomings mentioned above. I did not mind knowing the unit’s price.
If you are looking for a detail-oriented IEM, you should look elsewhere. It isn’t that there is a lack of details present, but the focus is elsewhere, instead. There is enough vibrancy to the smooth character to make up for the lack of detailed sound, but do not expect top-tier clarity. That isn’t in the cards.
The Klanar is hard to define. It is affordable (but in a brutally packed price bracket). It is very well built (as are most nowadays). The fit is excellent and flush without bother. The smoothness of sound did draw me in somewhat, but I feel that really isn’t enough for most genres. This is good for jazz, or female vocal music, which relies upon smoothness for character. But that may not be enough. You will have to decide.
Thank you again to Kefine for the review sample of the Klanar. It can be found at the links above, but you will want to compare it to others in the price range. You may end up with others. Or you may end up with the Klanar. It is your choice.
Sivga Nightingale ($229): Sivga enters the planar market in IEMs
3.75, because HF doesn't differentiate closer than 0.5.
Nightingale
Intro:
Sivga is known for gorgeous-looking headphones, with a variety of sound signatures. The recent iterations of Luan and Oriole are stunning at which to look, with a sound that backs up the look. The Nightingale is the company’s first planar IEM, but continues the excellent looks with a hand-finished and polished wood faceplate. Does the sound match the looks? We shall see.
I thank Collin and Sivga for the sample, and continued support. The company is on a roll, and we shall see if the Nightingale matches this.
*As per my standards, the unit was burned in for a minimum of 75 hours. Whether you believe in the potential difference or not isn’t the question. This provides the listener with a potential listening aspect for down-the-road usage after the “new car smell” is gone.
Specs:
Style: In-ear
Driver type: Planar diaphragm
Driver size: φ14.5 mm
Frequency response: 20 Hz – 40K Hz
Sensitivity: 100 dB +/- 3 dB
Impedance: 16Ω+/-15%
Cable length: 1.2 M +/-0.2 M
Plug size: φ4.4 mm
Weight: 15g
In The Box:
Gear Used:
Shanling M6 Pro
Music:
Jazz
Classical, including piano movements
Portugal. The Man
Unboxing:
Sivga also has a reputation for excellent unboxing presentations. The Nightingale is no different, if a bit subdued. Personally, I prefer subdued elegance.
A black square box has a lid, which lifts off to reveal the inside. Other than a gold-laden SIVGA patch and Nightingale (“Night” “Gale/Wind”) with Mandarin script, the box sparkles in gold flecks; reminiscent of the night sky to keep the theme simple.
Removing the lid, you are met with the IEMs, wrapped in plastic stick-on material for protection, and a very nice case below. The top foam is hard to keep the shape, but removing that shows medium compression foam, which helps keep it all in place.
The black & gray crosshatch hard case holds the cable and a nice thin plastic folding tray for the extra tips. Seven sets are included with one already mounted on the Nightingale. Simple and elegant. Almost considered Sivga modus operandi at this point.
Build/Fit/Finish:
There is no denying Sivga’s build quality. There was a hiccup early in the production of some earlier headphones (wood issues), which was quickly addressed. Since then, the company has stayed on top of their QC. The Nightingale is no different.
With a faceplate cut of rare old remnant wood, and hand-polished you get a stunning look to start. The silver rim around it gives an elegant look, but I wonder how a darker bronze color might have looked. This might have continued the understated look. That silver rim accents the glossy black shell (with two ear-facing vent holes). A larger silver nozzle contains a gold spiral-patterned screen for protection, adding to the good looks. A silver rim also accents the jack where the covered 0.78mm 2-pin connection comes into the Nightingale.
The black soft PVC-sheathed cable of four-wire variety comes in 0.23mm 7-core 250D bullet-proof wire in copper. It does not tangle, either. An easy-to-use Y-splitter moves up to keep the Nightingale in place as well.
The teardrop (water droplet reminiscent) shaped shell also helps the user grasp the unit, which as we know can sometimes be an endeavor in itself. I noticed that the silver rim also has an open area right behind it, where the shell curves inward. This can also help the user grasp the unit on ingress & egress.
Technology:
The 14.5mm planar diaphragm is marked by dual magnets in front and behind. Those magnets are made of an iron-boron combination, which reportedly “significantly improves efficiency.” An aluminum coil combines with the composite diaphragm material making for a transparent treble note while purportedly expanding soundstage. The frame circuitry disc lies between the back magnets and the diaphragm, keeping a close eye on the driver.
The dual frames (between magnet and driver) are also CNC-machined magnesium alloy, which gives a speedy, more accurate response to sound input.
The Sound:
Summary:
Anytime a planar is used, there will be benefits and drawbacks. Speed in the notes is mostly good in these models. Bass can be a detriment to those IEMs or headphones not named Audeze. Balancing that act with very good sound, soundstage, and signature can be tough. The Nightingale succeeds more than it does not. The bass is tight and speedy, but there is a 9kHz rise, which can create some sibilance and an unnatural tone in the treble region. Cymbal hits tend to sound digital, without realism as a result. The bass is taut, and the mids are lifted and forward accounting for the noted sound above. The Nightingale is very, very good with classical works, especially piano works. Jazz works well, too. Pop and rock sounded “different” to me.
moar:
As noted in a recent Reddit thread, the FR of the Nightingale is extremely flat, except for the 9kHz jump. This is what I hear as well. Normally a flat FR bodes well for most music across the spectrum. Here not so much, as this leads to a lack of micro-details, even with the planar driver. Definition in the notes does not come across as crisp or well-defined, with a smoother response; that isn’t really all that smooth. The jump in the mid-treble region can hinder some genres such as the aforementioned in Pop and Rock, lending to a less-than-realistic signature.
The mids do come across as the best part, especially in piano works. Female vocals such as on Amado Mio from Pink Martini showcase the talents of the artist, and the supporting instruments do make way, allowing the highlight. But there is some sibilance. Strong, and fairly well defined, but lacking the cutting edge some female songs demand.
The bass is fairly strong, and I suspect foam tips would help here (I do not have any on hand…), lowering the floor; which would help separation even more. The speed and decay of the bass notes are powerful and succinct, but slightly thin due to the rapid response. This is more about reference, than tuning.
The treble as noted above, has that bite at 9kHz, which detracts from the “realism” factor. Timbre is slanted towards thinner as a result. There is sufficient air between notes, but separation suffers a bit due to the thinning. The soundstage is fairly complex with the extra top-end energy, making itself higher than deeper; with good width. I did find the sound to go beyond my ears, which did help with separation.
I can recommend the Nightingale for jazz recordings and piano works. Here is where the Sivga unit shined. The piano notes were strong and natural. Clarity and detail were at their best with works such as the noted ones. I can add that the Nightingale would be good for older recordings, where detail crispness is not of paramount importance. Male vocals were also good, with a warmth to them that added smoothing to the character.
Latin-esque music such as much of Pink Martini’s works sounded accurate, except for the items noted above. I was provided with good energy but of a richer variety than vibrant. Sometimes, a smooth character works in genres such as this, allowing the immersive effect to provide a calmer response. Where other IEMs would provide that “get up and go” energy, the Nightingale posits a calm attitude. Not bad, just different.
finale:
Coming off several very good to excellent headphones from Sivga, I had high hopes for the Nightingale. And for some genres, the Nightingale provides a character, which matches the music well. For others, it does not. This is a dichotomy of sorts, as lately, the IEMs I have had in were very good to excellent across genres. The Nightingale is more specific to the music presented such as piano, jazz, and classical works.
This is almost a brandy-snifter by-the-fire listening device, where you value the calming effect of the song after a hard day. That is not all bad, and neither is the Nightingale for a listening session such as that. It has some very decent good points for the music listed, and your opinion may be quite different for the genres I listed as “OK.” That is kind of the point of these, you like what you like; and my opinion may be different.
I again thank Collin and Sivga for the review sample, I do appreciate it. The company is on a roll, and this small hiccup should not stop them from moving forward.
3.75, because HF doesn't differentiate closer than 0.5.
Nightingale
Intro:
Sivga is known for gorgeous-looking headphones, with a variety of sound signatures. The recent iterations of Luan and Oriole are stunning at which to look, with a sound that backs up the look. The Nightingale is the company’s first planar IEM, but continues the excellent looks with a hand-finished and polished wood faceplate. Does the sound match the looks? We shall see.
I thank Collin and Sivga for the sample, and continued support. The company is on a roll, and we shall see if the Nightingale matches this.
*As per my standards, the unit was burned in for a minimum of 75 hours. Whether you believe in the potential difference or not isn’t the question. This provides the listener with a potential listening aspect for down-the-road usage after the “new car smell” is gone.
Specs:
Style: In-ear
Driver type: Planar diaphragm
Driver size: φ14.5 mm
Frequency response: 20 Hz – 40K Hz
Sensitivity: 100 dB +/- 3 dB
Impedance: 16Ω+/-15%
Cable length: 1.2 M +/-0.2 M
Plug size: φ4.4 mm
Weight: 15g
In The Box:
- 1x SIVGA Nightingale
- 1x Hard carrying case
- 2x Eartip size M
- 2x Eartip size L
- 2x Eartip size S
- 1x Eartip case
Gear Used:
Shanling M6 Pro
Music:
Jazz
Classical, including piano movements
Portugal. The Man
Unboxing:
Sivga also has a reputation for excellent unboxing presentations. The Nightingale is no different, if a bit subdued. Personally, I prefer subdued elegance.
A black square box has a lid, which lifts off to reveal the inside. Other than a gold-laden SIVGA patch and Nightingale (“Night” “Gale/Wind”) with Mandarin script, the box sparkles in gold flecks; reminiscent of the night sky to keep the theme simple.
Removing the lid, you are met with the IEMs, wrapped in plastic stick-on material for protection, and a very nice case below. The top foam is hard to keep the shape, but removing that shows medium compression foam, which helps keep it all in place.
The black & gray crosshatch hard case holds the cable and a nice thin plastic folding tray for the extra tips. Seven sets are included with one already mounted on the Nightingale. Simple and elegant. Almost considered Sivga modus operandi at this point.
Build/Fit/Finish:
There is no denying Sivga’s build quality. There was a hiccup early in the production of some earlier headphones (wood issues), which was quickly addressed. Since then, the company has stayed on top of their QC. The Nightingale is no different.
With a faceplate cut of rare old remnant wood, and hand-polished you get a stunning look to start. The silver rim around it gives an elegant look, but I wonder how a darker bronze color might have looked. This might have continued the understated look. That silver rim accents the glossy black shell (with two ear-facing vent holes). A larger silver nozzle contains a gold spiral-patterned screen for protection, adding to the good looks. A silver rim also accents the jack where the covered 0.78mm 2-pin connection comes into the Nightingale.
The black soft PVC-sheathed cable of four-wire variety comes in 0.23mm 7-core 250D bullet-proof wire in copper. It does not tangle, either. An easy-to-use Y-splitter moves up to keep the Nightingale in place as well.
The teardrop (water droplet reminiscent) shaped shell also helps the user grasp the unit, which as we know can sometimes be an endeavor in itself. I noticed that the silver rim also has an open area right behind it, where the shell curves inward. This can also help the user grasp the unit on ingress & egress.
Technology:
The 14.5mm planar diaphragm is marked by dual magnets in front and behind. Those magnets are made of an iron-boron combination, which reportedly “significantly improves efficiency.” An aluminum coil combines with the composite diaphragm material making for a transparent treble note while purportedly expanding soundstage. The frame circuitry disc lies between the back magnets and the diaphragm, keeping a close eye on the driver.
The dual frames (between magnet and driver) are also CNC-machined magnesium alloy, which gives a speedy, more accurate response to sound input.
The Sound:
Summary:
Anytime a planar is used, there will be benefits and drawbacks. Speed in the notes is mostly good in these models. Bass can be a detriment to those IEMs or headphones not named Audeze. Balancing that act with very good sound, soundstage, and signature can be tough. The Nightingale succeeds more than it does not. The bass is tight and speedy, but there is a 9kHz rise, which can create some sibilance and an unnatural tone in the treble region. Cymbal hits tend to sound digital, without realism as a result. The bass is taut, and the mids are lifted and forward accounting for the noted sound above. The Nightingale is very, very good with classical works, especially piano works. Jazz works well, too. Pop and rock sounded “different” to me.
moar:
As noted in a recent Reddit thread, the FR of the Nightingale is extremely flat, except for the 9kHz jump. This is what I hear as well. Normally a flat FR bodes well for most music across the spectrum. Here not so much, as this leads to a lack of micro-details, even with the planar driver. Definition in the notes does not come across as crisp or well-defined, with a smoother response; that isn’t really all that smooth. The jump in the mid-treble region can hinder some genres such as the aforementioned in Pop and Rock, lending to a less-than-realistic signature.
The mids do come across as the best part, especially in piano works. Female vocals such as on Amado Mio from Pink Martini showcase the talents of the artist, and the supporting instruments do make way, allowing the highlight. But there is some sibilance. Strong, and fairly well defined, but lacking the cutting edge some female songs demand.
The bass is fairly strong, and I suspect foam tips would help here (I do not have any on hand…), lowering the floor; which would help separation even more. The speed and decay of the bass notes are powerful and succinct, but slightly thin due to the rapid response. This is more about reference, than tuning.
The treble as noted above, has that bite at 9kHz, which detracts from the “realism” factor. Timbre is slanted towards thinner as a result. There is sufficient air between notes, but separation suffers a bit due to the thinning. The soundstage is fairly complex with the extra top-end energy, making itself higher than deeper; with good width. I did find the sound to go beyond my ears, which did help with separation.
I can recommend the Nightingale for jazz recordings and piano works. Here is where the Sivga unit shined. The piano notes were strong and natural. Clarity and detail were at their best with works such as the noted ones. I can add that the Nightingale would be good for older recordings, where detail crispness is not of paramount importance. Male vocals were also good, with a warmth to them that added smoothing to the character.
Latin-esque music such as much of Pink Martini’s works sounded accurate, except for the items noted above. I was provided with good energy but of a richer variety than vibrant. Sometimes, a smooth character works in genres such as this, allowing the immersive effect to provide a calmer response. Where other IEMs would provide that “get up and go” energy, the Nightingale posits a calm attitude. Not bad, just different.
finale:
Coming off several very good to excellent headphones from Sivga, I had high hopes for the Nightingale. And for some genres, the Nightingale provides a character, which matches the music well. For others, it does not. This is a dichotomy of sorts, as lately, the IEMs I have had in were very good to excellent across genres. The Nightingale is more specific to the music presented such as piano, jazz, and classical works.
This is almost a brandy-snifter by-the-fire listening device, where you value the calming effect of the song after a hard day. That is not all bad, and neither is the Nightingale for a listening session such as that. It has some very decent good points for the music listed, and your opinion may be quite different for the genres I listed as “OK.” That is kind of the point of these, you like what you like; and my opinion may be different.
I again thank Collin and Sivga for the review sample, I do appreciate it. The company is on a roll, and this small hiccup should not stop them from moving forward.
Astell & Kern CA1000T ($2299): Nutube sounds adds to a legend
CA1000T
Intro:
While sitting at T.H.E. Show, in June a gentleman came up to the booth where will and I were sitting. I had just returned from my room with the outstanding CA1000, in preparation for returning it to our contact, Jason. As I was packing it up, I said, “I’m just packing this up, but if you want to hear this outstanding piece, I can remove it.” He replied,” actually I’m here to pick it up.” It was indeed Jason. In gushing over the CA1000, I mentioned how if I were to only have one device, which could be considered a DAP, a headphone amp and a streamer, it would be the CA1000. He then mentioned, “I can send you the CA1000T, if you like.” I said, “yes please.”
This review follows on the heels of the outstanding CA1000, which as stated above (is the truth) is an outstanding device. I thank Jason & Astell & Kern for the item, and upon finishing my time, the unit will be sent back (unfortunately).
CA1000 review
Specs:
General:
[Mid] Unbalanced 4Vrms / Balanced 8Vrms (Condition No Load),
[High] Unbalanced 6Vrms / Balanced 12Vrms (Condition No Load),
[Super] Unbalanced 8Vrms / Balanced 15Vrms (Condition No Load)
Audio Specs:
±0.080dB (Condition: 20Hz~70kHz) RCA / ±0.008dB (Condition: 20Hz~70kHz) XLR
Storage:
In The Box:
ACRO CA1000T
USB-C charging cable
Owner’s manual
Screen protectors
Filter Response:
Technology:
One of the biggest differences between the CA1000 and the CA1000T are the Twin Triode KORG Nutube tubes (x2). Similar to the ones used in the Cayin C9, the A&K incorporates a system where you can run anywhere from full tube goodness, to full solid state. Keeping the channels separate also means the balanced sound can travel its own path instead of combining, then separating via a balanced transformer, thus keeping the circuits separate and without additional “conditioning.” An additional switch on the top-front (far right), brings up the sub-menu used to change the state of amplification, giving the user quick access. Much like DAP’s can be switched between dual DAC’s or Class A/AB using a switch, the A&K incorporates the touchscreen for help in deciding what level of tube or solid state (hybrid) you would like to use. This is only available for the headphone jacks on the front. The CA1000T offers a complete balanced circuit that separates left and right channels with two vacuum tubes via the dual DAC’s, creating a more natural and softer sound in the tube state. Those DAC’s by the way are the newest ESS, the dual ES9039MPRO promoting a more voluminous and vivid sound. MQA stereo hardware is incorporated into the chip as well. The roadmap below guides you through the usage of chips, OPAMP’s and Nutubes all the way to whichever end process you choose. The OPAMP’s used are A&K’s own design for enhanced, deeper bass response as well as clear highs. Combine all of the above at you get a max of 15Vrms regardless of output option.
The OP AMP mode (bottom left on sub-menu circle) puts Astell&Kern's AMP technology to use, delivering extreme clarity and dynamic sound, while TUBE AMP mode (bottom right on sub-menu circle) provides a uniquely warm and musical sound. HYBRID AMP mode (five options between OP AMP & Tube Amp, getting progressively more “tubish” as you go clockwise around the sub-menu circle), which is a first for digital audio players, enhances the resolution and clarity of the existing TUBE AMP mode to express more musical detail (the closer you are to solid state). Each of the five hybrid options does enhance musical detail, but the closer you get to the full tube sound, the less this is evident as one would expect.
As we know, while tubes sound fabulous to most of us, they are prone to external pressures from bumping and shocks. This gives off unwanted vibrational aspects to the sound we hear, essentially ruining the tube experience if not isolated. A&K has thought of that as well. To minimize and isolate this potential structural problem, both sides of the vacuum tube are fixed with flexible silicon covers minimizing shocks; while a magnetic force is used to physically separate it from the PCB. This offers greater stability and isolation when the tube is operational.
A&K’s Teraton Alpha provides patents, which essentially minimize distractions in any part of the working power unit to provide noise reduction when the device is in use, regardless of the source or option used (OP AMP or Nutube). This is also better audio wiring, which improves the crosstalk (mainly on the amp parts); a complete mute of unused channels (such as when in Nutube or solid-state mode), keeping noise levels at the lowest level while listening; and a silver plating shield can, which prevents various noise and electromagnetic interference from affecting the audio block.
Another nice feature is the “Crossfeed” widget, accessed from the dropdown menu in OS. In a headphone environment in which the left and right channels are clearly separated, ear fatigue may increase during prolonged listening. When you turn on Crossfeed, the experience of crisp, but comfortable sound begins (less long-term fatigue). Crossfeed mixes parts of the original signal from one channel and sends that signal to the opposite channel with a time difference to center the sound image, much like balanced or a holographic sound. Crossfeed can be changed in “Settings” (slider-based), with options such as Shelf Cutoff, Shelf Gain, and Mixer Level, allowing you to change the settings according to your listening preferences. You can even make your own custom settings as well.
A&K’s UI is a custom Google OS, with a familiar layout to the CA1000, but this time around, it is almost painfully slow. Especially when you use a third-party app such as Tidal or Qobuz (must be downloaded to a computer, then the .atk file dropped onto the A&K, then installed), located under “Services,” in the main Settings layout. The screen layout is quite good though, with easily manipulated sub-menus and options. Just slow. I also found that when I used Tidal, the volume knob sometimes failed to register quickly, causing me to scroll repeatedly to raise the volume. This was while charging, and I will investigate this further.
“ReplayGain,” which is also accessed via the dropdown menu from the top of the OS, automatically adjusts the volume of each song; matching volume levels between songs to the level you have set. This works across sources as well, ridding us of the annoying volume jump between different sources.
Coming with Roon Ready as well as MQA authorization, and AK’s File Drop (wireless transfer); the CA1000T supports native DSD512 up to 32bit, 768kHz; should you have that format. LDAC and aptxHD also gives you the latest formats from those source codes as well.
*A note about potential issues: while the unit was well packed, it came without the protective box, and assorted items. Only the CA1000T was sent, and it is fairly obvious from the looks that this unit has been handled by reviewers repeatedly. My hope is that they treated this well, but it does show signs of prior “heavy use,” to put it politely; along with the normal shipping company's "safe handling." To me, this is not any indication that A&K bears responsibility, and if this were my unit, it would be treated with the utmost care. As a result, the volume wheel stuck in high humidity situations coupled with the previous mentioned handling.
Physical Layout & Form:
On the front side (L to R): 1-3.5mm TRS output; 1-2.5mm TRRS, balanced output; 1-4.4mm Pentaconn, balanced output; and a 6.35mm TRS output.
The back:
The CA1000T shares the same shell as the CA1000, with only the front & back panels (top actually) changed according to the included items. Also changed is a gold-accented inner volume ring in stainless steel, which they say gives a more luxurious look. Gold and black together do look good. If you are familiar with the CA1000, then you should have little issue with the layout and functioning. The only other change is the aforementioned “Astell&Kern” logo on the top center, which shows the amp color use and decoding color. A nice change, which I likened to the colors used to accent the Tone2 Pro from Khadas, under the control wheel (another fabulous unit).
The black (Rich Gray) color gives the unit a stealthy look and the highlighted logo on top lends a sense of purpose, especially when formats change. Compared side by side, the CA1000T looks more sinister, subdued and ready to hold a spot hidden on your desk; only to jump out when in use. While I like the black (better), the silver of the CA1000 shows off the angular surface more to me. Where the CA1000T is subdued, the CA1000 is curvaceously angular. Pick your poison.
Functionally speaking, you will have little issue, even if you are not familiar with the CA1000. Remember though, that third party apps such as Qobuz or Spotify must be downloaded onto an SD card, then installed from the card. I did that for Qobuz on the CA1000, but not the CA1000T, sticking with Tidal and SD cards, Tidal mainly.
I also used the RCA outs to my Yamaha small system, much like I did the CA1000 with the A-301, with no issues. I could have hooked the CA1000T into the excellent little Schiit Modi 2 Uber via optical S/PDIF, but saw no need; since the A&K DAC section was superior. Needless to say, that the performance digitally would have been of a cleaner nature when hooking up as a streamer. If I was to keep this (unfortunately not...), I would hook the CA1000T into my two-channel for streaming via optical and BT a set of powered speakers as well. An unfortunate aspect of my gear being packed away.
Sound:
Summary:
Whether utilized as a streamer, headphone amplifier or pre-amp; the CA1000T excels in the same way the CA1000 did. Except here you have the new ESS chips running the show as well as the Korg Nutubes with which to vary your source sound. My preference was straight Nutube listening, but the benefit of solid state cannot be understated: it is superb, and right up there with the best sources I have ever reviewed. Another reviewer stated that if he were to have one source to use as a headphone amp, streamer and pre-amp; the CA1000T would be it. This is exactly what I said about the CA1000, and repeat here.
moar:
*The SS/Hybrid/Nutube options are not available on the RCA connections I used. I am unsure of the others on the backside, due to a lack of testing.
There is no getting around the flexibility of the CA1000T with regard to changing the source sound you hear. Solid state allows the music to shine through unencumbered by anything. Isolation is excellent, and a black background is not only an expectation or demand; but reality. Crystalline in nature, with a decidedly excellent weight to the notes allows the music to shine based upon the engineer’s requirements. No hindering of sound is had. I do find that even though the sound is clear sonically, there is a slight volume drop going between solid state and full Nutube. Mids, while not suffering seem a bit behind the overall scheme in SS mode as well. Nutube pushes the mids forward for good or ill, and you can tailor that by going into the Hybrid mode.
Pretty much any skewing of sound can be had by going SS or Nutube, along with the five Hybrid choices with progressively more tube input going clockwise in choice. My second favorite choice was what I will call “setting one,” which is the first of the Hybrid settings, skewing more towards SS. The Nutube certainly still had a small effect, adding mids from the wonderful tubes to make a tube-like sound, which also presented excellent clarity and detail. Bass was taut and reached deeper due to the input, with a slight smoothing of character along with the mid-exuberance.
The best of both worlds was mid-Hybrid, with the SS still allowed to show off its clarity, while the Nutube added depth to the bass, and thickness to the mids, which for me were pushed a bit too far forward. This seemed odd, until I realized it was the excellent clarity, which seemed to bother me. I prefer a richer, warmer signature, which was provided in full-Nutube mode.
Each time you initiate Nutube mode from the settings, a red circle works its way around the sub-menu while the tubes pre-heat. Once done, you can indeed hear when the tubes kick in. A nice feature here is still in place as well. Double tap the screen from off, with the Amp sub-menu up and you return to that sub-menu. Yes, this is like a Smartphone, but having the ability to quickly change the SS/Nutube settings this way is a nice touch. Of course, hitting the on/off button will do that as well.
finale:
The A&K ACRO CA1000T is expensive. Even taken into consideration against other streaming devices of such character. But those other expensive streamers are really only a one trick pony. “Stream or die!,” they say. Meanwhile, the CA1000T turns into a DAP, much to the astonishment of the other top tier DAP’s. “What is this sorcery?!,” they say. Without a bother, the CA1000T, then hooks into the KANN MAX or my aged AK120 Titan, becoming a headphone amplifier. “Blasphemey!,” the well-known headphone amplifiers shout from their perch. The CA1000T then hooks into your two-channel as a pre-amp for whatever source you want injected into the soul of it. “WHaaaa?!?!,” the others shout, as they cower away knowing they cannot compete.
The CA1000T then uses its final trick to the nodding approval of your fine 50-year-old tube amplifier as it switches on the Nutube. For you see, that ancient wisdom coming forth from your Dynaco or McIntosh or other such sort knows. They see the ability to all of the above, with extraordinary abilities as a positive, not a single-tricked item, with added gizmos to show off. They know that the CA1000T is of the sort, that it can hold its place in any of those situations, without diminishing the results. Without jading those results, because the performance is less than others in whatever category is complaining. The A&K ACRO CA1000T gets it.
Many are tired of having a multitude of devices with which to care and use so that we get our “value” out of them. The A&K understands that it is expensive, but challenges you to add up all you have spent on individual items in the categories listed above, and understand that while those items are good to excellent; it can do all of that in one device. I personally would bet (and know) that the cost of all of those far surpasses the cost of the CA1000T, and one could arguably state that the A&K is a bargain. I dare you to use this argument with your significant other (or your own mind), saying you are saving money and getting rid of pieces as a result. To me, this is the true beauty of the CA1000T: they took the excellence of the CA1000 and improved upon it, making it a very noteworthy addition to the market, and one you should most definitely consider in any of the situations I listed above. It excels in them all.
I finish this while listening to Nat King Cole’s “L.O.V.E” on my Meze 99Classics with the excellent DDHiFi BC150B 4.4bal and the small Yamaha system of which I inserted the CA1000T. It is superb, and I would gladly pare my units down to make room for this in any situation. Especially if they could sort out a faster OS. To me, that is the only “major” flaw, and needs addressing to make the CA1000T near-perfect. Your opinion of course may differ, but it is well worth a hard, serious look to make that differentiation.
Thank you, Jason and A&K for the chance to hear the “upgrade” to the model I loved in the CA1000. The CA1000T is worth it.
CA1000T
Intro:
While sitting at T.H.E. Show, in June a gentleman came up to the booth where will and I were sitting. I had just returned from my room with the outstanding CA1000, in preparation for returning it to our contact, Jason. As I was packing it up, I said, “I’m just packing this up, but if you want to hear this outstanding piece, I can remove it.” He replied,” actually I’m here to pick it up.” It was indeed Jason. In gushing over the CA1000, I mentioned how if I were to only have one device, which could be considered a DAP, a headphone amp and a streamer, it would be the CA1000. He then mentioned, “I can send you the CA1000T, if you like.” I said, “yes please.”
This review follows on the heels of the outstanding CA1000, which as stated above (is the truth) is an outstanding device. I thank Jason & Astell & Kern for the item, and upon finishing my time, the unit will be sent back (unfortunately).
CA1000 review
Specs:
General:
- Model: ACRO CA1000T
- Body Color: Rich Gray (Black)
- Body Material: Aluminum
- Display: 4.1 inch 720 x 1280 touch screen
- Supported Audio Formats: WAV, FLAC, WMA, MP3, OGG, APE, AAC, ALAC, AIFF, DFF, DSF, MQA
- Sample rate: PCM : 8kHz ~ 768kHz (8/16/24/32bits per Sample)
DSD Native: DSD64(1bit 2.8MHz), Stereo / DSD128(1bit 5.6MHz), Stereo / DSD256(1bit 11.2MHz), DSD512(1bit, 22.4MHz) Stereo - Output Level (Headphone Out):
[Mid] Unbalanced 4Vrms / Balanced 8Vrms (Condition No Load),
[High] Unbalanced 6Vrms / Balanced 12Vrms (Condition No Load),
[Super] Unbalanced 8Vrms / Balanced 15Vrms (Condition No Load)
- Output Level (RCA Out): 2Vrms (Condition No Load)
- Output Level (XLR Out): 4Vrms (Condition No Load)
- Recommended headphone impedance: 32 ohm – 600 ohm
- CPU: Quad-Core
- DAC: ESS ES9039MPRO x2 (Dual-DAC)
- Vacuum Tube: KORG Nutube 6P1 x2
- Decoding: Support up to 32bit / 768kHz Bit to Bit playback
- Headphone Outputs: Unbalanced (3.5mm, 6.35mm) / Balanced (2.5mm, 4.4mm)
- Analog Inputs: 4.4mm x1
- Analog Outputs: XLR (Stereo pair) x1, RCA (Stereo pair) x1
- Digital Inputs: Coaxial x1, Optical x1, USB(Type-C) x1
- Digital Outputs: Optical(3.5mm) x1, USB(Type-C) x1
- Wi-Fi: 802.11 a/b/g/n/ac (2.4/5GHz)
- Bluetooth: V5.0 (A2DP, AVRCP, Qualcomm® aptX™ HD, LDAC)
- Dimensions: 4.12"(104.9mm)[W] x 1.77"(45mm)[H] x 6.13"(155.8mm)[D]
- Weight: about 34.56oz (980g)
- Feature Enhancements: Firmware upgrade supported (OTA)
- Operating Temperature: 0℃ ~ + 40℃ (32℉~ 104℉)
Audio Specs:
- Frequency Response: ±0.031dB (Condition: 20Hz~20kHz) Unbalanced / ±0.029dB (Condition: 20Hz~20kHz) Balanced /
±0.080dB (Condition: 20Hz~70kHz) RCA / ±0.008dB (Condition: 20Hz~70kHz) XLR
- S/N: 108dB @ 1kHz, Unbalanced / 112dB @ 1kHz, Balanced / 121dB @ 1kHz, RCA / 128dB @ 1kHz, XLR
- Crosstalk: -115dB @ 1kHz, Unbalanced / -112dB @ 1kHz, Balanced / -138dB @ 1kHz, RCA / -145dB @ 1kHz, XLR
- THD+N: 0.004% @ 1kHz, Unbalanced / 0.002% @ 1kHz, Balanced / 0.0005% @ 1kHz, RCA / 0.0003% @ 1kHz, XLR
- IMD SMPTE: 0.0007% 800Hz 10kHz (4:1) Unbalanced / 0.0007% 800Hz 10kHz (4:1) Balanced /0.0007% 800Hz 10kHz (4:1) RCA / /0.0007% 800Hz 10kHz (4:1) XLR
- Output Impedance: 3.5mm, 6.35mm (1ohm) / 2.5mm, 4.4mm (2ohm) / RCA (4ohm) / XLR (9ohm)
Clock Jitter: 25ps (Typ)
Reference Clock Jitter: 70ps
Storage:
- Built-in Memory: 256GB [NAND]
- External Memory: microSD x1 (Max. 1TB)
- Capacity: 10,100mAh 3.8V Li-Polymer
- Charge Time: about 5hours (9V / 3A PD2.0 Fast Charging)
- Playback Time: about 11hours (Standard: FLAC, 16bit, 44.1kHz, Unbalanced, Vol.40, LCD Off, OP AMP, Low Gain)
- Supported OS: Windows 10, 11(32/64bit), MAC OS X 10.7 and up
In The Box:
ACRO CA1000T
USB-C charging cable
Owner’s manual
Screen protectors
Filter Response:
- Minimum phase (Default): Low latency, Minimal pre ringing and low passband ripple
- Linear Phase Apodizing: Full Image rejection by FS/2 to avoid any aliasing, with smooth roll-off starting before 20k
- Linear Phase Fast Roll-Off: Most Common filter with clean suppression and high rejection, best for music with high transients. Provides crisp clean highs
- Linear Phase Slow Roll-Off: Low group delay and symmetrical inputs response. Less ringing than Linear phase fast roll off. Punchier bass than LPFR, with clean highs
- Minimum Phase Fast Roll-Off: Minimal Pre-Ringing, preferred for Imaging and soundstage. No aliasing in frequency domain. Stronger bass than Linear Phase, clean highs
- Minimum Phase Slow Roll-Off: Non Symetrical filter designed to minimize pre ringing. Strong punchy bass with good transient attacks
- Minimum Phase Slow Roll-Off: Low Dispersion Provides a nice balance of the low latency of Minimum phase filters and the Low Dispersion of Linear Phase filters. Minimal pre-ringing is added to achieve the low dispersion in the audio band
Technology:
One of the biggest differences between the CA1000 and the CA1000T are the Twin Triode KORG Nutube tubes (x2). Similar to the ones used in the Cayin C9, the A&K incorporates a system where you can run anywhere from full tube goodness, to full solid state. Keeping the channels separate also means the balanced sound can travel its own path instead of combining, then separating via a balanced transformer, thus keeping the circuits separate and without additional “conditioning.” An additional switch on the top-front (far right), brings up the sub-menu used to change the state of amplification, giving the user quick access. Much like DAP’s can be switched between dual DAC’s or Class A/AB using a switch, the A&K incorporates the touchscreen for help in deciding what level of tube or solid state (hybrid) you would like to use. This is only available for the headphone jacks on the front. The CA1000T offers a complete balanced circuit that separates left and right channels with two vacuum tubes via the dual DAC’s, creating a more natural and softer sound in the tube state. Those DAC’s by the way are the newest ESS, the dual ES9039MPRO promoting a more voluminous and vivid sound. MQA stereo hardware is incorporated into the chip as well. The roadmap below guides you through the usage of chips, OPAMP’s and Nutubes all the way to whichever end process you choose. The OPAMP’s used are A&K’s own design for enhanced, deeper bass response as well as clear highs. Combine all of the above at you get a max of 15Vrms regardless of output option.
The OP AMP mode (bottom left on sub-menu circle) puts Astell&Kern's AMP technology to use, delivering extreme clarity and dynamic sound, while TUBE AMP mode (bottom right on sub-menu circle) provides a uniquely warm and musical sound. HYBRID AMP mode (five options between OP AMP & Tube Amp, getting progressively more “tubish” as you go clockwise around the sub-menu circle), which is a first for digital audio players, enhances the resolution and clarity of the existing TUBE AMP mode to express more musical detail (the closer you are to solid state). Each of the five hybrid options does enhance musical detail, but the closer you get to the full tube sound, the less this is evident as one would expect.
As we know, while tubes sound fabulous to most of us, they are prone to external pressures from bumping and shocks. This gives off unwanted vibrational aspects to the sound we hear, essentially ruining the tube experience if not isolated. A&K has thought of that as well. To minimize and isolate this potential structural problem, both sides of the vacuum tube are fixed with flexible silicon covers minimizing shocks; while a magnetic force is used to physically separate it from the PCB. This offers greater stability and isolation when the tube is operational.
A&K’s Teraton Alpha provides patents, which essentially minimize distractions in any part of the working power unit to provide noise reduction when the device is in use, regardless of the source or option used (OP AMP or Nutube). This is also better audio wiring, which improves the crosstalk (mainly on the amp parts); a complete mute of unused channels (such as when in Nutube or solid-state mode), keeping noise levels at the lowest level while listening; and a silver plating shield can, which prevents various noise and electromagnetic interference from affecting the audio block.
Another nice feature is the “Crossfeed” widget, accessed from the dropdown menu in OS. In a headphone environment in which the left and right channels are clearly separated, ear fatigue may increase during prolonged listening. When you turn on Crossfeed, the experience of crisp, but comfortable sound begins (less long-term fatigue). Crossfeed mixes parts of the original signal from one channel and sends that signal to the opposite channel with a time difference to center the sound image, much like balanced or a holographic sound. Crossfeed can be changed in “Settings” (slider-based), with options such as Shelf Cutoff, Shelf Gain, and Mixer Level, allowing you to change the settings according to your listening preferences. You can even make your own custom settings as well.
A&K’s UI is a custom Google OS, with a familiar layout to the CA1000, but this time around, it is almost painfully slow. Especially when you use a third-party app such as Tidal or Qobuz (must be downloaded to a computer, then the .atk file dropped onto the A&K, then installed), located under “Services,” in the main Settings layout. The screen layout is quite good though, with easily manipulated sub-menus and options. Just slow. I also found that when I used Tidal, the volume knob sometimes failed to register quickly, causing me to scroll repeatedly to raise the volume. This was while charging, and I will investigate this further.
“ReplayGain,” which is also accessed via the dropdown menu from the top of the OS, automatically adjusts the volume of each song; matching volume levels between songs to the level you have set. This works across sources as well, ridding us of the annoying volume jump between different sources.
Coming with Roon Ready as well as MQA authorization, and AK’s File Drop (wireless transfer); the CA1000T supports native DSD512 up to 32bit, 768kHz; should you have that format. LDAC and aptxHD also gives you the latest formats from those source codes as well.
*A note about potential issues: while the unit was well packed, it came without the protective box, and assorted items. Only the CA1000T was sent, and it is fairly obvious from the looks that this unit has been handled by reviewers repeatedly. My hope is that they treated this well, but it does show signs of prior “heavy use,” to put it politely; along with the normal shipping company's "safe handling." To me, this is not any indication that A&K bears responsibility, and if this were my unit, it would be treated with the utmost care. As a result, the volume wheel stuck in high humidity situations coupled with the previous mentioned handling.
Physical Layout & Form:
On the front side (L to R): 1-3.5mm TRS output; 1-2.5mm TRRS, balanced output; 1-4.4mm Pentaconn, balanced output; and a 6.35mm TRS output.
The back:
- 2x mini-XLR outputs, balanced output, used with a set of monitor speakers
- 1x stereo RCA output, single-ended output, to connect another amplifier, or a set of speakers or into a system to be used such as my Yamaha CRX-E150 (it is all I have out currently due to the move)
- 1x coaxial in, to use the CA1000 T as a DAC
- 1x optical in, used as a DAC as well
- 1x 4.4mm Pentaconn In, for a balanced DAC when using the A&K as a headphone amp
- 2x USB-C, one for charging, one for DATA – USB3.1 compliant
- 1x micro-SD port to expand the internal storage to 1Tb, plus 256Gb of internal memory
- a 4.1” 720×1280 touch screen, the same found on some of the brand’s DAP
- 5x control buttons, power on/off, previous, play/pause, next, AMP (to switch between the three modes mentioned above)
- an illuminated Astell&Kern logo indicating the playback/amp mode (at the top, above the screen when lowered)- [Playback mode]: 16bit-red, 24bit-green, 32bit-blue, DSD-purple; [Amp mode]: OP AMP: red, Tube Amp: orange, Hybrid Amp: blue green
The CA1000T shares the same shell as the CA1000, with only the front & back panels (top actually) changed according to the included items. Also changed is a gold-accented inner volume ring in stainless steel, which they say gives a more luxurious look. Gold and black together do look good. If you are familiar with the CA1000, then you should have little issue with the layout and functioning. The only other change is the aforementioned “Astell&Kern” logo on the top center, which shows the amp color use and decoding color. A nice change, which I likened to the colors used to accent the Tone2 Pro from Khadas, under the control wheel (another fabulous unit).
The black (Rich Gray) color gives the unit a stealthy look and the highlighted logo on top lends a sense of purpose, especially when formats change. Compared side by side, the CA1000T looks more sinister, subdued and ready to hold a spot hidden on your desk; only to jump out when in use. While I like the black (better), the silver of the CA1000 shows off the angular surface more to me. Where the CA1000T is subdued, the CA1000 is curvaceously angular. Pick your poison.
Functionally speaking, you will have little issue, even if you are not familiar with the CA1000. Remember though, that third party apps such as Qobuz or Spotify must be downloaded onto an SD card, then installed from the card. I did that for Qobuz on the CA1000, but not the CA1000T, sticking with Tidal and SD cards, Tidal mainly.
I also used the RCA outs to my Yamaha small system, much like I did the CA1000 with the A-301, with no issues. I could have hooked the CA1000T into the excellent little Schiit Modi 2 Uber via optical S/PDIF, but saw no need; since the A&K DAC section was superior. Needless to say, that the performance digitally would have been of a cleaner nature when hooking up as a streamer. If I was to keep this (unfortunately not...), I would hook the CA1000T into my two-channel for streaming via optical and BT a set of powered speakers as well. An unfortunate aspect of my gear being packed away.
Sound:
Summary:
Whether utilized as a streamer, headphone amplifier or pre-amp; the CA1000T excels in the same way the CA1000 did. Except here you have the new ESS chips running the show as well as the Korg Nutubes with which to vary your source sound. My preference was straight Nutube listening, but the benefit of solid state cannot be understated: it is superb, and right up there with the best sources I have ever reviewed. Another reviewer stated that if he were to have one source to use as a headphone amp, streamer and pre-amp; the CA1000T would be it. This is exactly what I said about the CA1000, and repeat here.
moar:
*The SS/Hybrid/Nutube options are not available on the RCA connections I used. I am unsure of the others on the backside, due to a lack of testing.
There is no getting around the flexibility of the CA1000T with regard to changing the source sound you hear. Solid state allows the music to shine through unencumbered by anything. Isolation is excellent, and a black background is not only an expectation or demand; but reality. Crystalline in nature, with a decidedly excellent weight to the notes allows the music to shine based upon the engineer’s requirements. No hindering of sound is had. I do find that even though the sound is clear sonically, there is a slight volume drop going between solid state and full Nutube. Mids, while not suffering seem a bit behind the overall scheme in SS mode as well. Nutube pushes the mids forward for good or ill, and you can tailor that by going into the Hybrid mode.
Pretty much any skewing of sound can be had by going SS or Nutube, along with the five Hybrid choices with progressively more tube input going clockwise in choice. My second favorite choice was what I will call “setting one,” which is the first of the Hybrid settings, skewing more towards SS. The Nutube certainly still had a small effect, adding mids from the wonderful tubes to make a tube-like sound, which also presented excellent clarity and detail. Bass was taut and reached deeper due to the input, with a slight smoothing of character along with the mid-exuberance.
The best of both worlds was mid-Hybrid, with the SS still allowed to show off its clarity, while the Nutube added depth to the bass, and thickness to the mids, which for me were pushed a bit too far forward. This seemed odd, until I realized it was the excellent clarity, which seemed to bother me. I prefer a richer, warmer signature, which was provided in full-Nutube mode.
Each time you initiate Nutube mode from the settings, a red circle works its way around the sub-menu while the tubes pre-heat. Once done, you can indeed hear when the tubes kick in. A nice feature here is still in place as well. Double tap the screen from off, with the Amp sub-menu up and you return to that sub-menu. Yes, this is like a Smartphone, but having the ability to quickly change the SS/Nutube settings this way is a nice touch. Of course, hitting the on/off button will do that as well.
finale:
The A&K ACRO CA1000T is expensive. Even taken into consideration against other streaming devices of such character. But those other expensive streamers are really only a one trick pony. “Stream or die!,” they say. Meanwhile, the CA1000T turns into a DAP, much to the astonishment of the other top tier DAP’s. “What is this sorcery?!,” they say. Without a bother, the CA1000T, then hooks into the KANN MAX or my aged AK120 Titan, becoming a headphone amplifier. “Blasphemey!,” the well-known headphone amplifiers shout from their perch. The CA1000T then hooks into your two-channel as a pre-amp for whatever source you want injected into the soul of it. “WHaaaa?!?!,” the others shout, as they cower away knowing they cannot compete.
The CA1000T then uses its final trick to the nodding approval of your fine 50-year-old tube amplifier as it switches on the Nutube. For you see, that ancient wisdom coming forth from your Dynaco or McIntosh or other such sort knows. They see the ability to all of the above, with extraordinary abilities as a positive, not a single-tricked item, with added gizmos to show off. They know that the CA1000T is of the sort, that it can hold its place in any of those situations, without diminishing the results. Without jading those results, because the performance is less than others in whatever category is complaining. The A&K ACRO CA1000T gets it.
Many are tired of having a multitude of devices with which to care and use so that we get our “value” out of them. The A&K understands that it is expensive, but challenges you to add up all you have spent on individual items in the categories listed above, and understand that while those items are good to excellent; it can do all of that in one device. I personally would bet (and know) that the cost of all of those far surpasses the cost of the CA1000T, and one could arguably state that the A&K is a bargain. I dare you to use this argument with your significant other (or your own mind), saying you are saving money and getting rid of pieces as a result. To me, this is the true beauty of the CA1000T: they took the excellence of the CA1000 and improved upon it, making it a very noteworthy addition to the market, and one you should most definitely consider in any of the situations I listed above. It excels in them all.
I finish this while listening to Nat King Cole’s “L.O.V.E” on my Meze 99Classics with the excellent DDHiFi BC150B 4.4bal and the small Yamaha system of which I inserted the CA1000T. It is superb, and I would gladly pare my units down to make room for this in any situation. Especially if they could sort out a faster OS. To me, that is the only “major” flaw, and needs addressing to make the CA1000T near-perfect. Your opinion of course may differ, but it is well worth a hard, serious look to make that differentiation.
Thank you, Jason and A&K for the chance to hear the “upgrade” to the model I loved in the CA1000. The CA1000T is worth it.
Strayngs
I give mine 4.5stars too….my negative half star is that Roon stops quite a bit on this guy. You actually have to reselect your device in Roon to start playing again. This is the only device that happens with Roon in my home. Otherwise….in every other way I love this thing! I have zero regrets buying it!
Letshuoer Cadenza 12 ($2300): Is this worthy of the name flagship? Yes. Yes it is.
Cadenza 12
Intro:
When Will messaged me that he had what he considered to be one of the most resolving, thoroughly satisfying sounds he had heard in quite some time from an IEM, I let him go on for a bit. He then mentioned it was the Letshuoer Cadenza 12...I let that sink in...he talked some more, and I listened. My mind wandered to a previous model I had reviewed from the previous company (before the name change), the Tape. Some liked it, some loved it’s cassette-like looks and marveled at what was one of the first piezo’s out. I was at the opposite end. I will openly admit that I really, REALLY did not like the Tape. It’s sizzle up top, and lack of dynamics from my perspective made me wonder how the other reviewers could stand it. Then it occurred to me (like a Whack-A-Mole game), that my tastes differed from others and I could understand why some liked it. I’ll put this politely, I really did not like the Tape.
So as Will was expounding upon why the Cadenza 12 jumped to the top of his list, I appreciated his insight, for we usually agree on what we like and dislike; but come from two different favored sound signatures. So, after Will’s time, and review here on eCoustics, the unit was sent to me. He asked that I withhold judgement until I had a thorough listen. I trust his judgement, and his review creds, so I did. What follows are glowing words for the Cadenza 12 (C12), and astonishment at what I would personally call the “rebirth” of a company that now gets it. Astounding, indeed.
This unit will be sent to the next lucky reviewer when my time is up, and all I can say is that I will be sad for it to go. Very sad.
Specs:
In The Box:
Gear used/Compared:
Astell & Kern CA1000T
Shanling M6 Pro
Empire Ears Legend X
UE Live (Custom)
Songs:
Dark Side of the Moon
Tidal Jazz
Massive Attack
Pink Martini
Unboxing:
Once one hits a certain price point, there is an expectation of an unboxing event. A production really. The C12 does not disappoint. Coming in a mirrored silver sleeve, the unboxing is indeed an event from the beginning. Taking off the sleeve, a clamshell-like box clad in black reveals itself. A magnetic clasp holds the top in place. Once opened you are presented with an opaque cover sheet laden with the logo. Lifting that you discover the square case in one third, the IEM’s themselves in another, and a sterling Letshuoer dog, their mascot. This mascot doubles as a stand for your IEM when on your desktop for all to see. It is a heavy piece as well so mind where you place it.
Lifting the lower part where the IEM resides in soft foam, you are met with a paperboard wrapped sleeve around the dividers mentioned below. Under that you find slots for the three types of tips in s, m, l of Vocal, Bass & Balanced types. I favored the bass, and in medium size, which is one size smaller than I usually use due to the shape of my canal. As a result, seal and isolation were VERY good as a result.
Another reviewer noted setting aside 30 minutes for the unboxing. I cannot disagree, since time spent exploring is part of the overall experience. I will note that the soft layer of felt over the foam inserts looks quite cheap, and does not stay in place. To me this belies the overall expectations and involvement. A positive of the box is that Letshuoer included a flexible insert, so you can arrange the inside to accommodate many IEM’s or DAP’s (or dongles). This is good thinking and one could easily tuck this into your suitcase when traveling. A well thought out plan, and one I hope more manufacturers incorporate, instead of throwaway or simple cardboard. Investing a few pennies more per unit means a change in a couple of dollars. So be it.
I will mention that the felt cover of which I spoke above would become so much of an annoyance to me that it would end up in the trash receptacle. Opening the box, or removing anything from the case means that piece constantly moved; especially taking the logo stand out and accessing the tips. Throw it away...
The paperwork on the other hand is all premium and amongst the best I have seen in any flagship.
Technology:
The C12 is a hybrid IEM utilizing a single 10mm dynamic diver and eleven balanced armatures per ear. The dynamic driver uses an LSS Kevlar diaphragm for increased rigidity while reducing weight. Letshuoer feels that the C12 benefits from the higher performance driver in addition to the balanced armatures (ba’s).
The ba’s are a mix of Sonion and Knowles models. The Sonion are used for the mid-bass and midrange drivers, along with super-tweeters that are paired with the Knowles tweeters. In essence, the Sonion surround the Knowles frequency-wise. The six-way crossover and five handmade sound bores ensure that all those drivers remain in-phase and work together seamlessly focusing on the merits of each driver within their respective range.
Letshuoer could have gone for less expensive (but still very high quality) off-the-shelf drivers from both vendors (like many do, to the detriment of those models...) but instead decided to invest in custom drivers that took much longer to engineer and test.
Form/Fit/Build:
There is no denying two things about the C12: 1. It looks superb in the mirrored finish, and 2. It is big. To me this is not the largest IEM I have tried, but it is close. Tip rolling therefore makes it a necessity for proper fit. The nub on the conche becomes annoyingly blunt after longer sessions of two plus hours, and I find myself adjusting the unit near-constantly to avoid that.
Using the medium bass tips, helped to alleviate the conche pressure, but I could still feel it. The shell itself is gorgeous (but fingerprint prone...) due to the mirrored finish, laden with the “Letshuoer” name. I will say that between Will and myself, the faceplate is showing scratches, so a thicker or tougher coating might help.
In typical teardrop shape, there is a single small vent hole on the inside top of the shell, right next to the Phillips head screw; which gives access to the shell. Swooping toward one’s ear, the shape melds well with the fairly wide screened nozzle. A bit wider than I prefer, but when you consider all of the sound tubes and drivers, it can be excused. Thankfully there is a nice lip, which helps hold tips in place. The backside of the shell also carries (in faint lettering, which is near impossible to read) an “L” or “R” along with the model and serial numbers. My feeling is that Letshuoer wanted to give you the information, but not highlight that lettering too much.
The cable comes in 2-pin 0.78mm variety with a unique 4-pin attachment for the jacks. Included are 2.5bal, 3.5se and 4.4bal. What makes this unique is that the jack housing screws off (onto the cable), then you can pull the jack itself off. I would be careful doing so, and I could not achieve a tight fit when attaching the jack to the inserts. Orientation is paramount as well, to allow the screw on jack cover to mate properly. I novel idea, but with a couple of quirks. Build of the cable is fabulous and it comes stock with 204-strands of 6N Monocrystalline Copper and Silver in a hybrid weave configuration to reduce impedance and improve signal integrity. The hybrid cable is sturdy and well-built, despite being a little tough to work with (besides the attaching of jack tips) and not so forgiving at times. Above the Y-splitter, the wires are visible in shrink wrapped silicon. Below, the cable is shod in the same, but with a form-fitting cloth cover giving it that extra stiffness.
I would rate the overall quality of the IEM and cable as “nearly” worthy of a flagship moniker. Improvements would make this top of the class.
Sound:
Summary:
Going back to my ongoing discussion with Will, I appreciated what he said, and mostly agreed. Bass (especially using the bass tips of foam/silicon mix) reaches deep and well under control. There is good grunt, but controlled leading into sumptuous mids. Taylor Swift’s voice sound superb inside my head, and is clean, crisp and detailed. Pushed slightly forward and up to me, this is the highlight. Treble notes follow naturally with good reach and clarity; lending to a more smooth character than sheer quality. The C12 is different enough from others in this range that it can be considered based upon its pleasantly vibrant character and feel.
moar:
Bass while not reaching the nether regions of my Legend X nonetheless exist on quality. Note weight and dynamics rule the roost here instead of sheer quantity. I would call it engaging rather than having that eviscerating quality of sheer subwoofer power like the LX. As a result, there is a smooth push into the mids. The engagement of the low end could be attributed to a slightly slower decay, which to me mimics going deeper. A false sense of depth, kept well under control. The dynamic driver of common 10mm size does its job without overpowering or embarrassing the signature.
Those mids come is sweetly and with a vibrant smoothness not unlike the UE Live. Other have noted that the bass is their favorite part. For me it is the mids, which seems odd to me since I prefer the low end. Female vocals sound sweet and defined, but without becoming piercing. Lending to that smooth character there is still plenty of definition in the layer as conga drums and piano come across with that vibrant tonality such as on “No Hay Problema” from Pink Martini. A song such as this demands accurate representation, but also that sumptuousness Latin music is known for. The C12 does not disappoint.
Others have found the treble to be a bit short on quality, but with my upper hearing deficiencies, I appreciated the near-tamed response. I found the C12 represented cymbal hits accurately but with a bit of grain in the lower treble. This did not bother me, as there was not the added sparkle sometimes associated with the upper end as a cover for the less than tight control.
Rolling this all together, I find the soundstage to be taller than wide, with very good depth as well. Think of sitting near the mid-back point in a tall narrower venue. Still excellent seating and placing of sound, just not as wide as others in this range. To me this helps with dynamics. There can be more focus on the layers here instead of placement. The results come out the same, but the increased dynamics result in excellent sound. Once “Safe From Harm” by Massive Attack comes on, my senses face a cacophony of emotions and I reach for the volume knob...to turn it up.
Comparisons:
Letshuoer Cadenza 12 ($2200) v Empire Ears Legend X ($2300):
My unabashed love for the Legend X has been written about many times. The bass is (still) superb passed only by the LX EVO and Fir Audio M4/M5 & Elemental models. Adding the Eletech Socrates makes this my reference point for all comers. If there is one aspect, I would find lacking, it is overall clarity and detail. To me, this does suffer a bit from that marvelous bass response. The C12 does better here with more detail present, but keeping that “warmer” signature. Parenthetically speaking, because the LX is warmer while the C12 helps necessitate the warmer signature through excellent responsive mids and the treble note of which I spoke above. I still prefer the LX, but the C12 makes a worthy effort.
Letshuoer Cadenza 12 ($2200) v UE Live ($2400, Custom):
The UE Live was my first custom followed by the CFA Supermoon and UE Drop. Fit is very good, since this is oriented towards performers. The first difference to me is in the details. There is no comparison to me, the Live wins. The C12 is good. Very good. But it suffers from the multiple driver count to me, and trying to please many users (and genres). The UE Live is purpose-built for one thing: communicating as much information to the user (performer) as possible with the least number of distractions. As such, this really is not a fair comparison. That said, the C12 comes across with a more velvet-like signature, without becoming too warm or rich. Not as reference as the Live, but also with excellent dynamics and note weight. Where the Live might come across as “thin” due to the need to pass information along, the C12 adds a thicker signature. Both come across as very good, but from very different perspectives.
finale:
Going back to my opening, I came at the C12 with some trepidation, even with Will’s knowledgeable opinion. It is not that I didn’t trust him, it was the bad memory of the “other” one. But I also understood that Will does not throw platitudes and accolades around without warrant. So it was that I waited.
And what I heard from the off was a worthy candidate and then addition to the flagship moniker. The bass hits fairly hard, and with good character. The mids come across without offense, and the treble note hits my sweet spot (as in not offensive). With the proper tip, the Cadenza 12 is an excellent monitor for the price and should be considered in that near-rarified air of top-class IEM’s. Is it the best? No, but it wasn’t meant to be. This is an exercise in revitalization. And Letshuoer has largely succeeded. This is a very fine unit, just pitch that felt cover.
Cadenza 12
Intro:
When Will messaged me that he had what he considered to be one of the most resolving, thoroughly satisfying sounds he had heard in quite some time from an IEM, I let him go on for a bit. He then mentioned it was the Letshuoer Cadenza 12...I let that sink in...he talked some more, and I listened. My mind wandered to a previous model I had reviewed from the previous company (before the name change), the Tape. Some liked it, some loved it’s cassette-like looks and marveled at what was one of the first piezo’s out. I was at the opposite end. I will openly admit that I really, REALLY did not like the Tape. It’s sizzle up top, and lack of dynamics from my perspective made me wonder how the other reviewers could stand it. Then it occurred to me (like a Whack-A-Mole game), that my tastes differed from others and I could understand why some liked it. I’ll put this politely, I really did not like the Tape.
So as Will was expounding upon why the Cadenza 12 jumped to the top of his list, I appreciated his insight, for we usually agree on what we like and dislike; but come from two different favored sound signatures. So, after Will’s time, and review here on eCoustics, the unit was sent to me. He asked that I withhold judgement until I had a thorough listen. I trust his judgement, and his review creds, so I did. What follows are glowing words for the Cadenza 12 (C12), and astonishment at what I would personally call the “rebirth” of a company that now gets it. Astounding, indeed.
This unit will be sent to the next lucky reviewer when my time is up, and all I can say is that I will be sad for it to go. Very sad.
Specs:
In The Box:
Gear used/Compared:
Astell & Kern CA1000T
Shanling M6 Pro
Empire Ears Legend X
UE Live (Custom)
Songs:
Dark Side of the Moon
Tidal Jazz
Massive Attack
Pink Martini
Unboxing:
Once one hits a certain price point, there is an expectation of an unboxing event. A production really. The C12 does not disappoint. Coming in a mirrored silver sleeve, the unboxing is indeed an event from the beginning. Taking off the sleeve, a clamshell-like box clad in black reveals itself. A magnetic clasp holds the top in place. Once opened you are presented with an opaque cover sheet laden with the logo. Lifting that you discover the square case in one third, the IEM’s themselves in another, and a sterling Letshuoer dog, their mascot. This mascot doubles as a stand for your IEM when on your desktop for all to see. It is a heavy piece as well so mind where you place it.
Lifting the lower part where the IEM resides in soft foam, you are met with a paperboard wrapped sleeve around the dividers mentioned below. Under that you find slots for the three types of tips in s, m, l of Vocal, Bass & Balanced types. I favored the bass, and in medium size, which is one size smaller than I usually use due to the shape of my canal. As a result, seal and isolation were VERY good as a result.
Another reviewer noted setting aside 30 minutes for the unboxing. I cannot disagree, since time spent exploring is part of the overall experience. I will note that the soft layer of felt over the foam inserts looks quite cheap, and does not stay in place. To me this belies the overall expectations and involvement. A positive of the box is that Letshuoer included a flexible insert, so you can arrange the inside to accommodate many IEM’s or DAP’s (or dongles). This is good thinking and one could easily tuck this into your suitcase when traveling. A well thought out plan, and one I hope more manufacturers incorporate, instead of throwaway or simple cardboard. Investing a few pennies more per unit means a change in a couple of dollars. So be it.
I will mention that the felt cover of which I spoke above would become so much of an annoyance to me that it would end up in the trash receptacle. Opening the box, or removing anything from the case means that piece constantly moved; especially taking the logo stand out and accessing the tips. Throw it away...
The paperwork on the other hand is all premium and amongst the best I have seen in any flagship.
Technology:
The C12 is a hybrid IEM utilizing a single 10mm dynamic diver and eleven balanced armatures per ear. The dynamic driver uses an LSS Kevlar diaphragm for increased rigidity while reducing weight. Letshuoer feels that the C12 benefits from the higher performance driver in addition to the balanced armatures (ba’s).
The ba’s are a mix of Sonion and Knowles models. The Sonion are used for the mid-bass and midrange drivers, along with super-tweeters that are paired with the Knowles tweeters. In essence, the Sonion surround the Knowles frequency-wise. The six-way crossover and five handmade sound bores ensure that all those drivers remain in-phase and work together seamlessly focusing on the merits of each driver within their respective range.
Letshuoer could have gone for less expensive (but still very high quality) off-the-shelf drivers from both vendors (like many do, to the detriment of those models...) but instead decided to invest in custom drivers that took much longer to engineer and test.
Form/Fit/Build:
There is no denying two things about the C12: 1. It looks superb in the mirrored finish, and 2. It is big. To me this is not the largest IEM I have tried, but it is close. Tip rolling therefore makes it a necessity for proper fit. The nub on the conche becomes annoyingly blunt after longer sessions of two plus hours, and I find myself adjusting the unit near-constantly to avoid that.
Using the medium bass tips, helped to alleviate the conche pressure, but I could still feel it. The shell itself is gorgeous (but fingerprint prone...) due to the mirrored finish, laden with the “Letshuoer” name. I will say that between Will and myself, the faceplate is showing scratches, so a thicker or tougher coating might help.
In typical teardrop shape, there is a single small vent hole on the inside top of the shell, right next to the Phillips head screw; which gives access to the shell. Swooping toward one’s ear, the shape melds well with the fairly wide screened nozzle. A bit wider than I prefer, but when you consider all of the sound tubes and drivers, it can be excused. Thankfully there is a nice lip, which helps hold tips in place. The backside of the shell also carries (in faint lettering, which is near impossible to read) an “L” or “R” along with the model and serial numbers. My feeling is that Letshuoer wanted to give you the information, but not highlight that lettering too much.
The cable comes in 2-pin 0.78mm variety with a unique 4-pin attachment for the jacks. Included are 2.5bal, 3.5se and 4.4bal. What makes this unique is that the jack housing screws off (onto the cable), then you can pull the jack itself off. I would be careful doing so, and I could not achieve a tight fit when attaching the jack to the inserts. Orientation is paramount as well, to allow the screw on jack cover to mate properly. I novel idea, but with a couple of quirks. Build of the cable is fabulous and it comes stock with 204-strands of 6N Monocrystalline Copper and Silver in a hybrid weave configuration to reduce impedance and improve signal integrity. The hybrid cable is sturdy and well-built, despite being a little tough to work with (besides the attaching of jack tips) and not so forgiving at times. Above the Y-splitter, the wires are visible in shrink wrapped silicon. Below, the cable is shod in the same, but with a form-fitting cloth cover giving it that extra stiffness.
I would rate the overall quality of the IEM and cable as “nearly” worthy of a flagship moniker. Improvements would make this top of the class.
Sound:
Summary:
Going back to my ongoing discussion with Will, I appreciated what he said, and mostly agreed. Bass (especially using the bass tips of foam/silicon mix) reaches deep and well under control. There is good grunt, but controlled leading into sumptuous mids. Taylor Swift’s voice sound superb inside my head, and is clean, crisp and detailed. Pushed slightly forward and up to me, this is the highlight. Treble notes follow naturally with good reach and clarity; lending to a more smooth character than sheer quality. The C12 is different enough from others in this range that it can be considered based upon its pleasantly vibrant character and feel.
moar:
Bass while not reaching the nether regions of my Legend X nonetheless exist on quality. Note weight and dynamics rule the roost here instead of sheer quantity. I would call it engaging rather than having that eviscerating quality of sheer subwoofer power like the LX. As a result, there is a smooth push into the mids. The engagement of the low end could be attributed to a slightly slower decay, which to me mimics going deeper. A false sense of depth, kept well under control. The dynamic driver of common 10mm size does its job without overpowering or embarrassing the signature.
Those mids come is sweetly and with a vibrant smoothness not unlike the UE Live. Other have noted that the bass is their favorite part. For me it is the mids, which seems odd to me since I prefer the low end. Female vocals sound sweet and defined, but without becoming piercing. Lending to that smooth character there is still plenty of definition in the layer as conga drums and piano come across with that vibrant tonality such as on “No Hay Problema” from Pink Martini. A song such as this demands accurate representation, but also that sumptuousness Latin music is known for. The C12 does not disappoint.
Others have found the treble to be a bit short on quality, but with my upper hearing deficiencies, I appreciated the near-tamed response. I found the C12 represented cymbal hits accurately but with a bit of grain in the lower treble. This did not bother me, as there was not the added sparkle sometimes associated with the upper end as a cover for the less than tight control.
Rolling this all together, I find the soundstage to be taller than wide, with very good depth as well. Think of sitting near the mid-back point in a tall narrower venue. Still excellent seating and placing of sound, just not as wide as others in this range. To me this helps with dynamics. There can be more focus on the layers here instead of placement. The results come out the same, but the increased dynamics result in excellent sound. Once “Safe From Harm” by Massive Attack comes on, my senses face a cacophony of emotions and I reach for the volume knob...to turn it up.
Comparisons:
Letshuoer Cadenza 12 ($2200) v Empire Ears Legend X ($2300):
My unabashed love for the Legend X has been written about many times. The bass is (still) superb passed only by the LX EVO and Fir Audio M4/M5 & Elemental models. Adding the Eletech Socrates makes this my reference point for all comers. If there is one aspect, I would find lacking, it is overall clarity and detail. To me, this does suffer a bit from that marvelous bass response. The C12 does better here with more detail present, but keeping that “warmer” signature. Parenthetically speaking, because the LX is warmer while the C12 helps necessitate the warmer signature through excellent responsive mids and the treble note of which I spoke above. I still prefer the LX, but the C12 makes a worthy effort.
Letshuoer Cadenza 12 ($2200) v UE Live ($2400, Custom):
The UE Live was my first custom followed by the CFA Supermoon and UE Drop. Fit is very good, since this is oriented towards performers. The first difference to me is in the details. There is no comparison to me, the Live wins. The C12 is good. Very good. But it suffers from the multiple driver count to me, and trying to please many users (and genres). The UE Live is purpose-built for one thing: communicating as much information to the user (performer) as possible with the least number of distractions. As such, this really is not a fair comparison. That said, the C12 comes across with a more velvet-like signature, without becoming too warm or rich. Not as reference as the Live, but also with excellent dynamics and note weight. Where the Live might come across as “thin” due to the need to pass information along, the C12 adds a thicker signature. Both come across as very good, but from very different perspectives.
finale:
Going back to my opening, I came at the C12 with some trepidation, even with Will’s knowledgeable opinion. It is not that I didn’t trust him, it was the bad memory of the “other” one. But I also understood that Will does not throw platitudes and accolades around without warrant. So it was that I waited.
And what I heard from the off was a worthy candidate and then addition to the flagship moniker. The bass hits fairly hard, and with good character. The mids come across without offense, and the treble note hits my sweet spot (as in not offensive). With the proper tip, the Cadenza 12 is an excellent monitor for the price and should be considered in that near-rarified air of top-class IEM’s. Is it the best? No, but it wasn’t meant to be. This is an exercise in revitalization. And Letshuoer has largely succeeded. This is a very fine unit, just pitch that felt cover.
Sivga Luan ($299): The latest from a company that knows gorgeous.
Luan
Intro:
The Luan is the latest from Sivga, who are known for outstanding build quality and stellar looks. And they have mostly succeeded with the sound as well. I consider the Robin (SV021) & Oriole to be very fine models from the closed-back department, and the SV023 to represent a very fine open-back model. Looks are superb on the models, and the Luan follows suit in that department. With a seemingly standard 50mm dynamic driver (dd) for a headphone, the Luan had better excel in the sound department to succeed. Early impressions are that the Luan can.
The sample was sent to me by Sivga for review purposes, and no influence was had in the writing of this. All they ask is for an honest evaluation. The headphone is mine to keep, unless asked back for. Plus, flipping this is still really, really, REALLY uncool and unethical as well.
Specs:
In The Box:
Gear Used/Compared:
Astell & Kern CA1000T
Shanling M6 Pro
Meze 99 Classic (yes, closed back...)
Songs:
Tidal & Qobuz feed-
Jazz, Ziggy, The Mavericks, David Grisman Quintet
Unboxing:
Sivga has always had the unboxing aspect down pat. The Luan continues this tradition with a simple, straightforward, quality black box. The lid lifts off like a candy jar to unveil the tan leather carrying case, nestled in a soft foam insert. A cloth bag inside the case holds the cable, while the headphone snuggles in the confines of the contoured case.
A handle on the zipper of good length and feel provides added good looks, while allowing the user to carry the case in such a manner, or help with the zipper. I have always appreciated that the case is narrower where the headband lies, so that one can grip the case easily.
Typical subdues, quality Sivga unboxing experience.
Build/Fit/Form/Functions:
By now, most of know that Sivga provides top class quality, and craftsmanship for their wares. The Luan carries this tradition on, with excellent looks in either Mahogany color or black hand carved shells. CNC machined aluminum parts round out the rest in delicate looking, but sturdy material. That delicate nature carries over into the headband like the arches of a fine bridge. Double rails are flexible, but due to the shape hold the ear cups in place with very adequate clamping pressure. Plus, those sumptuous velvet-lined pads caress your cranial matter with a very good size as well as depth. Sometime the thicker pads, while soft give way too much, crushing onto the cups, or creating an overly hot condition. With the Luan, the pads crush just enough to provide excellent seal and comfort. That double rail headband also carries the sub-headband with it, made from leather as well on top and velvet on the side, which contacts our heads. A double suspension system, which can be adjusted well. Yes, many other headphones carry this system as well, but at this price the construction is impeccable.
Those fluffy pads flare out on the contact side making them wider than where the cup joins the shell. The perforated insides of the cups also flare out as well, yielding a larger chamber for the sound to fill. More on that in sound impressions, but my seat of the pants feeling is that there is an expansion of the sound as a result. I also feel that those pads might be a smidge too big due to the flare. I have no problem with them contacting my ear, but they do carry over just short of my jaw line. The headphone is so light though, that it doesn’t really matter. A slight oval shape also helps to fit most ears when properly worn. One reviewer stated, the Luan is absurdly great,” comfort-wise. I cannot disagree with that statement.
The cable comes in a single ended 3.5mm, with a 6.35mm jack adapter as well. Single ended 3.5mm jacks attach the cable to each cup. I have a 4.4mm bal cable from DDHiFi for my Meze 99 Classics, which I will try as well, since they will fit.
The leather case is again of stellar quality, and shaped like a buttock down low. I cannot hide my snickering when I say that, but it serves the purpose perfectly. Plus, that narrower area up top allows you to quickly grab the loaded case, unlike some other manufacturers overly-large cases.
Technology:
The 50mm dynamic driver has nickel coating at the edge of the diaphragm as well as a macromolecule of organic carbon fiber composite. This set up not only helps to absorb unwanted modulations, but makes for a speedy delivery of the sound; something many dd’s are not known for. Light weight and elasticity of the driver also allow for good speed in the sound. The open back allows for an expansive stage, while the driver provides good reach down low, and treble notes not normally associated with dd’s. A copper clad aluminum coil also helps aid in signature response, while (to me) providing a certain amount of warmth to the tune. An oversize magnet of NdFeB sized at 24.5mm assures the detail is passed along accurately and with excellent speed.
Sound:
Summary:
If you had told me that the Luan cost $299USD, after I had listened, I would have said one of two things: 1. Fabulous! Or 2. You are joking, right? Right?! Not only is the Luan amongst the most comfortable headphones I have ever tested, but the sound pierces the lower end of mid-fi with a sound, that while fairly neutral comes across with a mid-tonality that might be too far forward for some, and a bass that is a bit light; but made up for with wonderful detail. It seems that many manufacturers have the sound-thing down, and differences appear as their house tuning, or open v closed, or planar v dd. The Luan blurs those lines as well, with bass that is tight and fast, but does not reach as low as I would prefer. This is countered excellently by the superb mids, and clarity wrought from the emphasis here. Treble can run a bit hot, but rarely did I reach for the volume knob to turn the music down on a song, which carried such weight up top that bothered me. A rarity to me.
moar:
Another review mentioned that this unit will not be for bassheads. I guess begrudgingly, I would admit to being a near-basshead, lathering myself in the stellar bass from my Empire Ears Legend X. The Luan in no way matches that, but because the bass is taut and in control, the succinctness with which it presents the low end makes me nary miss the Legend X. On Massive Attacks “Safe From Harm” the bass line sets the stage and holds its own on the Luan. Something like the Campfire Audio Cascade would be sublime here, but the Luan shows its mettle by fast attack and a delay, which makes for the tautness of which I speak. I find no bleed into the mids, either; which aids in that near neutral sound of which I speak.
Those mids are superb for female vocals. Using the aforementioned song, the female voice sounds succinct and under control. Realism is a word I would use here, and combined with the male support vocal makes for a very nice vocal treatment. Male voices do lie slightly behind the female, but both a pushed forward due to the presence in those mids. I will add that hiss sounds such as “S” or soft “C’s” can come across with a bit of harshness, but not like others I have heard. Sharp snare hits or cymbal hits can carry that same sonic quality, but this really did not bother me, especially in concert with the overall sound signature.
Normally with something such as the Luan, the treble becomes too bitey for my tastes, and are a result of not only a V-shaped signature, but also to keep the overall presence in check. The Luan can be a bit hot for me, but not to the point of those multi-BA IEM’s, which seem to be coming back in as flavor of the month. I do not like a treble, which is too hot, and to me the mids help to keep that under control, mostly. A brighter song will cause me to lower the volume, but that seems to be song dependent.
This brings up an interesting note. Another reviewer stated that the Luan can play well across genres, and I agree. He goes on to say that while the ensuing sound may not be the best emanating from the Luan, it is inoffensive in presentation. While the Luan does not need much power to drive it, in fact the amount really does not change the signature, some genre such as jazz and pop do sound a bit better to me. This could also be one to use with EDM, and tame the upper end for when you simply want to listen, without the pumping up session. Conversely, Ziggy Marley on “Dragonfly” comes across as wonderfully musical through the Astell&Kern CA1000T and the Luan. Sometimes this song can become too much for me, and I am left wanting to raise the volume. Not here, as I can raise the volume without bother.
Soundstage is deeper than high, and a width of a slightly out of head experience. You can certainly tell it is an open-back headphone, but not so wide as to lose thickness in note or become too airy. This to me also plays into the feeling of overall sound quality, without becoming boring, or too harsh either.
Combined with the build, the Luan sound adds to its repertoire of goodness across many genres.
Comparisons:
Sivga Luan ($299) v Meze 99Classic ($309):
Yes, this is an open v closed, but a natural comparison not only due to the price, but most consider the 99C the benchmark at this price. I was able to find a mint condition 99C used (along with a couple of other gems), and have since added the excellent DDHiFi BC150B in 4.4bal for the cable. And yes, I tried the cable on both.
To me, the presentation of the 99C completely satiates ones need at this price, or well beyond. Details that a closed-back has no right of presenting, and a fit that is superb. Throw in the excellent build, and you can see why used variant are quickly snatched up. This is still a superb headphone. Where the Luan bests (to me) the 99C is in the presentation within space. The Luan give a bit more space for the instruments to breathe, as it should with the open back. But the two would be excellent compliments to each other and for the price of a mid-fi headphone you could easily justify having both. Your need for open and closed would be taken care of as well.
I do find the 99C reaches a bit deeper with slightly better control (which says more about how the Luan handles the low end than not). The Luan on the other hand would be just about perfect in this range if the mids were held back slightly. I find the Luan to be slightly richer in presentation as well; which says a lot for how Sivga has done their research. The lower treble is a little untamed on the Luan, but countered with better detail; and this makes for a tough decision.
I end this by going back and forth between the two on The Maverick’s “Things I Cannot Change.” The 99C comes across as a bit harsh, but slightly easier to drive. Switching to the Luan, I have to raise the volume knob to match the sensation (a comparison done by ear...). I appreciate both headphones on this song, and it highlights the difference perfectly. The 99C has better depth of sound down low, while coming across as a bit harsher in the mids. The Luan lacks the oomph down low, but even with the forward mids, sound more palatable to my tastes.
finale:
Sivga has it going form them. Getting past a couple of speedbumps has given way to open highway, with the top down and the desert surrounding them on a fine Spring day. The Luan comes across as thoroughly musical, even if the mids are a bit too forward for me. That can of course be EQ’d out should you desire. Bass can be dialed in as well. Mind you these are minor quibbles surrounding a $300 headphone. Yes, we should judge cost in our purchases, but when something such as the Luan comes along and you come away stating, that this is a damn fine headphone at the price, you can fully realize that this may be quite the bargain.
The Sivga Luan is a very good headphone, especially at the $300USD price. As such, this to me is yet another winner from their stable, melding excellent build quality with sound I find quite pleasing. As such, this should definitely be on your list if you are looking for an entry-level open-back headphone.
Luan
Intro:
The Luan is the latest from Sivga, who are known for outstanding build quality and stellar looks. And they have mostly succeeded with the sound as well. I consider the Robin (SV021) & Oriole to be very fine models from the closed-back department, and the SV023 to represent a very fine open-back model. Looks are superb on the models, and the Luan follows suit in that department. With a seemingly standard 50mm dynamic driver (dd) for a headphone, the Luan had better excel in the sound department to succeed. Early impressions are that the Luan can.
The sample was sent to me by Sivga for review purposes, and no influence was had in the writing of this. All they ask is for an honest evaluation. The headphone is mine to keep, unless asked back for. Plus, flipping this is still really, really, REALLY uncool and unethical as well.
Specs:
In The Box:
Gear Used/Compared:
Astell & Kern CA1000T
Shanling M6 Pro
Meze 99 Classic (yes, closed back...)
Songs:
Tidal & Qobuz feed-
Jazz, Ziggy, The Mavericks, David Grisman Quintet
Unboxing:
Sivga has always had the unboxing aspect down pat. The Luan continues this tradition with a simple, straightforward, quality black box. The lid lifts off like a candy jar to unveil the tan leather carrying case, nestled in a soft foam insert. A cloth bag inside the case holds the cable, while the headphone snuggles in the confines of the contoured case.
A handle on the zipper of good length and feel provides added good looks, while allowing the user to carry the case in such a manner, or help with the zipper. I have always appreciated that the case is narrower where the headband lies, so that one can grip the case easily.
Typical subdues, quality Sivga unboxing experience.
Build/Fit/Form/Functions:
By now, most of know that Sivga provides top class quality, and craftsmanship for their wares. The Luan carries this tradition on, with excellent looks in either Mahogany color or black hand carved shells. CNC machined aluminum parts round out the rest in delicate looking, but sturdy material. That delicate nature carries over into the headband like the arches of a fine bridge. Double rails are flexible, but due to the shape hold the ear cups in place with very adequate clamping pressure. Plus, those sumptuous velvet-lined pads caress your cranial matter with a very good size as well as depth. Sometime the thicker pads, while soft give way too much, crushing onto the cups, or creating an overly hot condition. With the Luan, the pads crush just enough to provide excellent seal and comfort. That double rail headband also carries the sub-headband with it, made from leather as well on top and velvet on the side, which contacts our heads. A double suspension system, which can be adjusted well. Yes, many other headphones carry this system as well, but at this price the construction is impeccable.
Those fluffy pads flare out on the contact side making them wider than where the cup joins the shell. The perforated insides of the cups also flare out as well, yielding a larger chamber for the sound to fill. More on that in sound impressions, but my seat of the pants feeling is that there is an expansion of the sound as a result. I also feel that those pads might be a smidge too big due to the flare. I have no problem with them contacting my ear, but they do carry over just short of my jaw line. The headphone is so light though, that it doesn’t really matter. A slight oval shape also helps to fit most ears when properly worn. One reviewer stated, the Luan is absurdly great,” comfort-wise. I cannot disagree with that statement.
The cable comes in a single ended 3.5mm, with a 6.35mm jack adapter as well. Single ended 3.5mm jacks attach the cable to each cup. I have a 4.4mm bal cable from DDHiFi for my Meze 99 Classics, which I will try as well, since they will fit.
The leather case is again of stellar quality, and shaped like a buttock down low. I cannot hide my snickering when I say that, but it serves the purpose perfectly. Plus, that narrower area up top allows you to quickly grab the loaded case, unlike some other manufacturers overly-large cases.
Technology:
The 50mm dynamic driver has nickel coating at the edge of the diaphragm as well as a macromolecule of organic carbon fiber composite. This set up not only helps to absorb unwanted modulations, but makes for a speedy delivery of the sound; something many dd’s are not known for. Light weight and elasticity of the driver also allow for good speed in the sound. The open back allows for an expansive stage, while the driver provides good reach down low, and treble notes not normally associated with dd’s. A copper clad aluminum coil also helps aid in signature response, while (to me) providing a certain amount of warmth to the tune. An oversize magnet of NdFeB sized at 24.5mm assures the detail is passed along accurately and with excellent speed.
Sound:
Summary:
If you had told me that the Luan cost $299USD, after I had listened, I would have said one of two things: 1. Fabulous! Or 2. You are joking, right? Right?! Not only is the Luan amongst the most comfortable headphones I have ever tested, but the sound pierces the lower end of mid-fi with a sound, that while fairly neutral comes across with a mid-tonality that might be too far forward for some, and a bass that is a bit light; but made up for with wonderful detail. It seems that many manufacturers have the sound-thing down, and differences appear as their house tuning, or open v closed, or planar v dd. The Luan blurs those lines as well, with bass that is tight and fast, but does not reach as low as I would prefer. This is countered excellently by the superb mids, and clarity wrought from the emphasis here. Treble can run a bit hot, but rarely did I reach for the volume knob to turn the music down on a song, which carried such weight up top that bothered me. A rarity to me.
moar:
Another review mentioned that this unit will not be for bassheads. I guess begrudgingly, I would admit to being a near-basshead, lathering myself in the stellar bass from my Empire Ears Legend X. The Luan in no way matches that, but because the bass is taut and in control, the succinctness with which it presents the low end makes me nary miss the Legend X. On Massive Attacks “Safe From Harm” the bass line sets the stage and holds its own on the Luan. Something like the Campfire Audio Cascade would be sublime here, but the Luan shows its mettle by fast attack and a delay, which makes for the tautness of which I speak. I find no bleed into the mids, either; which aids in that near neutral sound of which I speak.
Those mids are superb for female vocals. Using the aforementioned song, the female voice sounds succinct and under control. Realism is a word I would use here, and combined with the male support vocal makes for a very nice vocal treatment. Male voices do lie slightly behind the female, but both a pushed forward due to the presence in those mids. I will add that hiss sounds such as “S” or soft “C’s” can come across with a bit of harshness, but not like others I have heard. Sharp snare hits or cymbal hits can carry that same sonic quality, but this really did not bother me, especially in concert with the overall sound signature.
Normally with something such as the Luan, the treble becomes too bitey for my tastes, and are a result of not only a V-shaped signature, but also to keep the overall presence in check. The Luan can be a bit hot for me, but not to the point of those multi-BA IEM’s, which seem to be coming back in as flavor of the month. I do not like a treble, which is too hot, and to me the mids help to keep that under control, mostly. A brighter song will cause me to lower the volume, but that seems to be song dependent.
This brings up an interesting note. Another reviewer stated that the Luan can play well across genres, and I agree. He goes on to say that while the ensuing sound may not be the best emanating from the Luan, it is inoffensive in presentation. While the Luan does not need much power to drive it, in fact the amount really does not change the signature, some genre such as jazz and pop do sound a bit better to me. This could also be one to use with EDM, and tame the upper end for when you simply want to listen, without the pumping up session. Conversely, Ziggy Marley on “Dragonfly” comes across as wonderfully musical through the Astell&Kern CA1000T and the Luan. Sometimes this song can become too much for me, and I am left wanting to raise the volume. Not here, as I can raise the volume without bother.
Soundstage is deeper than high, and a width of a slightly out of head experience. You can certainly tell it is an open-back headphone, but not so wide as to lose thickness in note or become too airy. This to me also plays into the feeling of overall sound quality, without becoming boring, or too harsh either.
Combined with the build, the Luan sound adds to its repertoire of goodness across many genres.
Comparisons:
Sivga Luan ($299) v Meze 99Classic ($309):
Yes, this is an open v closed, but a natural comparison not only due to the price, but most consider the 99C the benchmark at this price. I was able to find a mint condition 99C used (along with a couple of other gems), and have since added the excellent DDHiFi BC150B in 4.4bal for the cable. And yes, I tried the cable on both.
To me, the presentation of the 99C completely satiates ones need at this price, or well beyond. Details that a closed-back has no right of presenting, and a fit that is superb. Throw in the excellent build, and you can see why used variant are quickly snatched up. This is still a superb headphone. Where the Luan bests (to me) the 99C is in the presentation within space. The Luan give a bit more space for the instruments to breathe, as it should with the open back. But the two would be excellent compliments to each other and for the price of a mid-fi headphone you could easily justify having both. Your need for open and closed would be taken care of as well.
I do find the 99C reaches a bit deeper with slightly better control (which says more about how the Luan handles the low end than not). The Luan on the other hand would be just about perfect in this range if the mids were held back slightly. I find the Luan to be slightly richer in presentation as well; which says a lot for how Sivga has done their research. The lower treble is a little untamed on the Luan, but countered with better detail; and this makes for a tough decision.
I end this by going back and forth between the two on The Maverick’s “Things I Cannot Change.” The 99C comes across as a bit harsh, but slightly easier to drive. Switching to the Luan, I have to raise the volume knob to match the sensation (a comparison done by ear...). I appreciate both headphones on this song, and it highlights the difference perfectly. The 99C has better depth of sound down low, while coming across as a bit harsher in the mids. The Luan lacks the oomph down low, but even with the forward mids, sound more palatable to my tastes.
finale:
Sivga has it going form them. Getting past a couple of speedbumps has given way to open highway, with the top down and the desert surrounding them on a fine Spring day. The Luan comes across as thoroughly musical, even if the mids are a bit too forward for me. That can of course be EQ’d out should you desire. Bass can be dialed in as well. Mind you these are minor quibbles surrounding a $300 headphone. Yes, we should judge cost in our purchases, but when something such as the Luan comes along and you come away stating, that this is a damn fine headphone at the price, you can fully realize that this may be quite the bargain.
The Sivga Luan is a very good headphone, especially at the $300USD price. As such, this to me is yet another winner from their stable, melding excellent build quality with sound I find quite pleasing. As such, this should definitely be on your list if you are looking for an entry-level open-back headphone.
BQEYZ Winter ($239): The End Of It All?
Winter
Intro:
This culminates the seasonal cycle for BQEYZ, and that makes me sort of sad. But, the end of one run means something else is hopefully in the works. With each seasonal iteration, the sound was different. Some liked certain models, while disdaining others. Some thought each iteration while different yes, improved on the previous “season.” A third camp of listeners see each model clearly and could be held up on their own merits. I will say that I like all of the four iterations, and would be hard pressed to pick a favorite. That said, the interchangeable filters of the Fall move gently up on my list here.
You never had to worry about construction quality either, as all were of a build like they should be: top notch as well as good looking. This may be the finale, but I hope another line continues for BQEYX. I thank Elle for the sample, and continue to marvel at what this manufacturer produces.
Specs:
Driver: 12mm dynamic driver and 11.6mm PZT bone conduction
Impedance: 38Ω
Sensitivity: 113dB
Frequency: 5-40KHz
Cable Length: 1.2m
Connector Type: 0.78mm-2 Pin
Plug Type: 2.5/3.5/4.4mm available
In The Box:
BQEYZ
1.2m cable (3.5mm)
6 sets of silicon tips (s, m, l) in Atmosphere & Reference
Cleaning tool
Zippered case
Songs:
Jazz from Qobuz/Tidal
Massive Attack
Ziggy Marley
Jimmy Buffett on cassette (we are rewind)
Comparisons:
BQEYZ Autumn
Thieaudio Legacy 5
Unboxing:
Simple small packaging greeted me, with a tasteful near-midnight purple color. Specs on the back sleeve give a brief note of what is to come. Sliding the sleeve off, you find the Winter IEM’s nestled in soft foam on top, and a cover over the whole inner box. Open to the IEM’s, you can touch the gems within. Taking the cover off you find the excellent zippered case on the bottom half complete with the sets of tips mounted in a metal plate, and cleaning tool inside. Simple. Complete, with no unnecessary frills.
Build/Fit/Finish:
Traditionally known for excellent build qualities as well as fit, the Winter does not disappoint. While the nub on the inner shell seems longer than others I have tried, it does not bother me nearly as much as others which follow the same path. Harder, more angular edges between the faceplate and shell mean that grasping the IEM is easier as well. A singular vent hole on the inside lower side is the only break from the flowing look.
The Summer & Spring faceplates I likened to an ocean or breeze of air, what with the flowing pattern. Here though, the swoop on the black faceplate means an impending storm to me. You have most likely seen those dark winter storm clouds rolling in to bring heavy winter snows. Seeing that color of cloud in the sky, one knows you may as well settle in for the long haul, as this storm will bring copious amounts of that white jewel precipitation. Living up north, it is an excited expectation, if properly prepared.
The swoop on the faceplate help define the shape of the shell as well. Almost teardrop-like, there is a decidedly pointed bottom side, swooping forward, echoed by the green ring of emerald color; itself of stellar understated beauty. One not need be a diamond to show beauty.
The 49-core single crystal copper plated silver cable carries a tighter braid above the Y-splitter, while looseness carries the portion below in 4-strand braided fashion. Ending in a BQEYZ logo laden jack, in your choice of 2.5mm bal, 3.5mm se or 4.4mm bal rounds out the cable. The jack is longer as well, allowing a firm grasp for insertion & removal without becoming so long as to potentially bend (I have never bent a jack in my life).
Fit with the proper tip is top notch as well, but that nub did bother me a bit after longer sessions greater than two hours. A simple readjusting took care of that. Using a smaller Comply foam tip, the insertion depth was greater, allowing me better fit, isolation and fullness of sound.
As usual, the Winter follows the path set forth by the previous seasons, giving the user a thoroughly good-looking unit, with very good to excellent fit and finish as well.
Technology:
Bone conduction is not all that new, and some of the finest IEM’s I have heard and reviewed carry this tech. One only need think of Fir Audio and their “Element” models to understand how absolutely good this technology can sound. This technology, like a good piezo or planar has trickled down into the “more affordable” market of in-ears, and this can make for some interesting competition. With a large 11.6mm PZT bone conduction (bc) unit, BQEYZ is not messing about. Combine that with the larger-than-normal 12mm dynamic driver (dd) and you should be able to get a larger sound signature from the combination.
Here though, the bone conduction is used to compensate for the lack of mids and treble sounds coming out of the dd. The larger dd can carry its merits down low without having to worry about the upper end, since the bc accommodates that area of the sound spectrum. That bc is even designed in-house by BQEYZ, giving further credence to the development, instead of pawning that aspect to another company.
Sound:
Summary:
Succinct tight bass rides the wave of very good clarity when the song presents itself this way. I find the bass reaches low, but can bleed a bit into the mids; which is typical of a dd. Nonetheless, it is intoxicating, and the mids come across as full of verve and detail, giving way to a treble reach, which is not only pleasant but inviting. It can be a bit too sparkly when the song derides this aspect, which gives me pause due to my high treble intolerance. Soundstage affords the whole song to pervade the senses, with a good cubic feeling, but not cavernous. As a result, the presentation is full, and tied together without becoming too thin of note, save for the extended treble reach mentioned.
moar:
As previously mentioned, I like all iterations of the seasons, but for different reasons. The interchanging of filters on the Autumn lends a note of different colored leaves to the song. The Spring is sublime in presentation, and the Summer exudes a warm noted day to the senses. The Winter seems to be the tie that binds all together, and does so with aplomb. Not especially technically proficient, but involving instead, the Winter makes me want for cold days with snow falling and a nice Bailey-filled coffee as I look out upon the lake and snow falling.
On a song such as “No Hay Problema” by Pink Martini, there is the succinctness of which I mentioned, and the level of detail follows the staccato notes of piano and support conga drums. There is sufficient detail here in the song, and even with the sharper tones, enough delay in the bass to aid in giving a thicker texture to the song than it might purvey. Flowing deeper than others in this range thanks to the dd, the sub bass is full and draws you in with just enough rumble to give a foundational aspect that I appreciate. One could always EQ in more (I find no need...).
The mids come across with a warmth, but a revealing warmth to them that seems antithesis. Usually a warmth exudes a thicker, smoother texture; but on the Winter there certainly is the warmth, but the texture alludes to a precise nature in both female and male vocals, which is due to the bone conduction. Here the pairing of dd and bc works in concert to bring the best of both together. Even with the slight bleed into the mids from down low, the bc affords the smoothness to overlay without issue the duo vocals from Massive Attacks “Safe From Harm;” which presents a cacophony of euphoric musicality to the senses.
It is here though, that the treble note of which I speak can become a bit too much. On “S” and “C” sounds, there is that bit of bite, which bothers me just a bit. It could be the recording as well, but the Winter does seem to exacerbate that a bit. Nonetheless, the way mids meld into the upper end gives tribute to the BQEYZ engineers and their tuning of the EST Bone Conduction driver. I fully approve, especially since the synthesis between the bc and dd is so good. This would be a case of going against the driver war. It is not needed...
Soundstage is good and wide, but not amphitheater-wide. Pretty much cubic to me, with a bit more height provides me with very good placing of instruments and the note struck from all involved. Layering does falter a bit but not enough to make a jumbled mess. There is still very good detail, and the bc provides very good clarity to the overall sound signature. I find that even with the “limitations” listed above, I can comfortably turn the volume up on this, where on others using the same songs, I cannot. That to me means most of you will have no problem, since there is a high probability, you have better ears than me...
Comparisons:
BQEYZ Winter ($239) v BQEYZ Autumn ($199):
The Fall is a single 13mm dd with changeable filters (Bass, Normal, Treble). Until the Winter, this was my favorite of the seasonal BQEYZ offerings. I love single dd’s, and the changing of filters allowed me to tailor the sound a bit more. The treble tuning was indeed too hot for my tastes, and the normal too boring (smooth?). The bass tuning module allowed my music to reach even deeper, and without becoming harsh on the other end. I simply preferred this sound signature to the others...
...until the Winter came around. This is now my favorite of the seasons, with tuning, which fits me almost perfectly. Deep reaching bass, and the EST BC presents a wonderfully musical mid-section, smoothly moving towards the top, without issue. That said, much the way I mentioned the two Legacy versions above, the Autumn & Winter fall into the same listening patterns. If I want a smoother character, the Bass Filter of the Autumn and single dd provide me with what I want. If I still want that smooth characteristic of tune, but with better clarity, the Winter fills that “void.”
BQEYZ Winter ($239) v Thieaudio Legacy 5 ($249):
The Legacy 5 is a five-driver unit (single dd, 4 ba; 2-Sonion, 2-Bellsing), which gives me a more reference tuning but without becoming boring. To me that more neutral tuning presents details better than the Winter, but with less involvement. With the Winter, you feel the music. With the Legacy 5, you hear the music. Both a good, and the approach is good either way. I rotate between the Legacy 5 and Legacy 2 (and VE BIE Pro) as the units I wear when I mow. If the mowing is tough like this summer and it reminds me of mowing dirt, I wear the Legacy 5 because that hearing of the music guides me better. This may or may not make sense...if I were to wear the Winter while mowing under the same circumstances, I would probably come away with both anger and tears, since the music involved me so much. With the Legacy 5, that level of detail lets me finish the job in a very sensible manner.
finale:
The Winter brings to an end, the highly musical, but underappreciated line from BQEYZ to me. They may not garner the same levels of fan base as others from the Far East, but to me, the marque should definitely be in that same category of fan-favorites. Presenting a line just above entry level is tough. Many (most?) state point blank, “is this one much, MUCH better than my affordable unit?” To which I would answer, yes. Yes, it is. To me, the Winter culminates the line with the best (to me) sound in the range yet.
Musical such as I listen to “After Hours,” from Dizzy Gillespie, Sonny Stitt & Sonny Rollins makes me reach for the volume, and turn the song up when using the Winter. Those sax solos can melt one’s knees, and melt other IEM’s, which may not be up to the task as the volume goes north. Not the Winter, for it presents that cool natured smoothness as it should sound” with a realism that makes me strut like a cool cat wearing Ray Bans. But I will never be that cool, and the Winter will have to suffice to present me that way in my own little world.
The Winter is worth a serious look against its competition since the sound is different enough (note comparison above) to present you with a viable option. Many in this category simply regurgitate their version of a sound; which can be similar to the others. Not BQEYZ and the Winter. It is different enough to be worth nothing less than a good listen, even if only for comparative purposes.
I again thank Elle & BQEYZ for the Winter (and all of the Seasons!). This is a fabulous line of IEM’s, and I cannot wait to find out what their next project is.
Cheers all.
AliExpress: https://vi.aliexpress.com/item/1005004967936559.html?gatewayAdapt=glo2vnm
Linsoul: https://www.linsoul.com/products/bqeyz-winter
Winter
Intro:
This culminates the seasonal cycle for BQEYZ, and that makes me sort of sad. But, the end of one run means something else is hopefully in the works. With each seasonal iteration, the sound was different. Some liked certain models, while disdaining others. Some thought each iteration while different yes, improved on the previous “season.” A third camp of listeners see each model clearly and could be held up on their own merits. I will say that I like all of the four iterations, and would be hard pressed to pick a favorite. That said, the interchangeable filters of the Fall move gently up on my list here.
You never had to worry about construction quality either, as all were of a build like they should be: top notch as well as good looking. This may be the finale, but I hope another line continues for BQEYX. I thank Elle for the sample, and continue to marvel at what this manufacturer produces.
Specs:
Driver: 12mm dynamic driver and 11.6mm PZT bone conduction
Impedance: 38Ω
Sensitivity: 113dB
Frequency: 5-40KHz
Cable Length: 1.2m
Connector Type: 0.78mm-2 Pin
Plug Type: 2.5/3.5/4.4mm available
In The Box:
BQEYZ
1.2m cable (3.5mm)
6 sets of silicon tips (s, m, l) in Atmosphere & Reference
Cleaning tool
Zippered case
Songs:
Jazz from Qobuz/Tidal
Massive Attack
Ziggy Marley
Jimmy Buffett on cassette (we are rewind)
Comparisons:
BQEYZ Autumn
Thieaudio Legacy 5
Unboxing:
Simple small packaging greeted me, with a tasteful near-midnight purple color. Specs on the back sleeve give a brief note of what is to come. Sliding the sleeve off, you find the Winter IEM’s nestled in soft foam on top, and a cover over the whole inner box. Open to the IEM’s, you can touch the gems within. Taking the cover off you find the excellent zippered case on the bottom half complete with the sets of tips mounted in a metal plate, and cleaning tool inside. Simple. Complete, with no unnecessary frills.
Build/Fit/Finish:
Traditionally known for excellent build qualities as well as fit, the Winter does not disappoint. While the nub on the inner shell seems longer than others I have tried, it does not bother me nearly as much as others which follow the same path. Harder, more angular edges between the faceplate and shell mean that grasping the IEM is easier as well. A singular vent hole on the inside lower side is the only break from the flowing look.
The Summer & Spring faceplates I likened to an ocean or breeze of air, what with the flowing pattern. Here though, the swoop on the black faceplate means an impending storm to me. You have most likely seen those dark winter storm clouds rolling in to bring heavy winter snows. Seeing that color of cloud in the sky, one knows you may as well settle in for the long haul, as this storm will bring copious amounts of that white jewel precipitation. Living up north, it is an excited expectation, if properly prepared.
The swoop on the faceplate help define the shape of the shell as well. Almost teardrop-like, there is a decidedly pointed bottom side, swooping forward, echoed by the green ring of emerald color; itself of stellar understated beauty. One not need be a diamond to show beauty.
The 49-core single crystal copper plated silver cable carries a tighter braid above the Y-splitter, while looseness carries the portion below in 4-strand braided fashion. Ending in a BQEYZ logo laden jack, in your choice of 2.5mm bal, 3.5mm se or 4.4mm bal rounds out the cable. The jack is longer as well, allowing a firm grasp for insertion & removal without becoming so long as to potentially bend (I have never bent a jack in my life).
Fit with the proper tip is top notch as well, but that nub did bother me a bit after longer sessions greater than two hours. A simple readjusting took care of that. Using a smaller Comply foam tip, the insertion depth was greater, allowing me better fit, isolation and fullness of sound.
As usual, the Winter follows the path set forth by the previous seasons, giving the user a thoroughly good-looking unit, with very good to excellent fit and finish as well.
Technology:
Bone conduction is not all that new, and some of the finest IEM’s I have heard and reviewed carry this tech. One only need think of Fir Audio and their “Element” models to understand how absolutely good this technology can sound. This technology, like a good piezo or planar has trickled down into the “more affordable” market of in-ears, and this can make for some interesting competition. With a large 11.6mm PZT bone conduction (bc) unit, BQEYZ is not messing about. Combine that with the larger-than-normal 12mm dynamic driver (dd) and you should be able to get a larger sound signature from the combination.
Here though, the bone conduction is used to compensate for the lack of mids and treble sounds coming out of the dd. The larger dd can carry its merits down low without having to worry about the upper end, since the bc accommodates that area of the sound spectrum. That bc is even designed in-house by BQEYZ, giving further credence to the development, instead of pawning that aspect to another company.
Sound:
Summary:
Succinct tight bass rides the wave of very good clarity when the song presents itself this way. I find the bass reaches low, but can bleed a bit into the mids; which is typical of a dd. Nonetheless, it is intoxicating, and the mids come across as full of verve and detail, giving way to a treble reach, which is not only pleasant but inviting. It can be a bit too sparkly when the song derides this aspect, which gives me pause due to my high treble intolerance. Soundstage affords the whole song to pervade the senses, with a good cubic feeling, but not cavernous. As a result, the presentation is full, and tied together without becoming too thin of note, save for the extended treble reach mentioned.
moar:
As previously mentioned, I like all iterations of the seasons, but for different reasons. The interchanging of filters on the Autumn lends a note of different colored leaves to the song. The Spring is sublime in presentation, and the Summer exudes a warm noted day to the senses. The Winter seems to be the tie that binds all together, and does so with aplomb. Not especially technically proficient, but involving instead, the Winter makes me want for cold days with snow falling and a nice Bailey-filled coffee as I look out upon the lake and snow falling.
On a song such as “No Hay Problema” by Pink Martini, there is the succinctness of which I mentioned, and the level of detail follows the staccato notes of piano and support conga drums. There is sufficient detail here in the song, and even with the sharper tones, enough delay in the bass to aid in giving a thicker texture to the song than it might purvey. Flowing deeper than others in this range thanks to the dd, the sub bass is full and draws you in with just enough rumble to give a foundational aspect that I appreciate. One could always EQ in more (I find no need...).
The mids come across with a warmth, but a revealing warmth to them that seems antithesis. Usually a warmth exudes a thicker, smoother texture; but on the Winter there certainly is the warmth, but the texture alludes to a precise nature in both female and male vocals, which is due to the bone conduction. Here the pairing of dd and bc works in concert to bring the best of both together. Even with the slight bleed into the mids from down low, the bc affords the smoothness to overlay without issue the duo vocals from Massive Attacks “Safe From Harm;” which presents a cacophony of euphoric musicality to the senses.
It is here though, that the treble note of which I speak can become a bit too much. On “S” and “C” sounds, there is that bit of bite, which bothers me just a bit. It could be the recording as well, but the Winter does seem to exacerbate that a bit. Nonetheless, the way mids meld into the upper end gives tribute to the BQEYZ engineers and their tuning of the EST Bone Conduction driver. I fully approve, especially since the synthesis between the bc and dd is so good. This would be a case of going against the driver war. It is not needed...
Soundstage is good and wide, but not amphitheater-wide. Pretty much cubic to me, with a bit more height provides me with very good placing of instruments and the note struck from all involved. Layering does falter a bit but not enough to make a jumbled mess. There is still very good detail, and the bc provides very good clarity to the overall sound signature. I find that even with the “limitations” listed above, I can comfortably turn the volume up on this, where on others using the same songs, I cannot. That to me means most of you will have no problem, since there is a high probability, you have better ears than me...
Comparisons:
BQEYZ Winter ($239) v BQEYZ Autumn ($199):
The Fall is a single 13mm dd with changeable filters (Bass, Normal, Treble). Until the Winter, this was my favorite of the seasonal BQEYZ offerings. I love single dd’s, and the changing of filters allowed me to tailor the sound a bit more. The treble tuning was indeed too hot for my tastes, and the normal too boring (smooth?). The bass tuning module allowed my music to reach even deeper, and without becoming harsh on the other end. I simply preferred this sound signature to the others...
...until the Winter came around. This is now my favorite of the seasons, with tuning, which fits me almost perfectly. Deep reaching bass, and the EST BC presents a wonderfully musical mid-section, smoothly moving towards the top, without issue. That said, much the way I mentioned the two Legacy versions above, the Autumn & Winter fall into the same listening patterns. If I want a smoother character, the Bass Filter of the Autumn and single dd provide me with what I want. If I still want that smooth characteristic of tune, but with better clarity, the Winter fills that “void.”
BQEYZ Winter ($239) v Thieaudio Legacy 5 ($249):
The Legacy 5 is a five-driver unit (single dd, 4 ba; 2-Sonion, 2-Bellsing), which gives me a more reference tuning but without becoming boring. To me that more neutral tuning presents details better than the Winter, but with less involvement. With the Winter, you feel the music. With the Legacy 5, you hear the music. Both a good, and the approach is good either way. I rotate between the Legacy 5 and Legacy 2 (and VE BIE Pro) as the units I wear when I mow. If the mowing is tough like this summer and it reminds me of mowing dirt, I wear the Legacy 5 because that hearing of the music guides me better. This may or may not make sense...if I were to wear the Winter while mowing under the same circumstances, I would probably come away with both anger and tears, since the music involved me so much. With the Legacy 5, that level of detail lets me finish the job in a very sensible manner.
finale:
The Winter brings to an end, the highly musical, but underappreciated line from BQEYZ to me. They may not garner the same levels of fan base as others from the Far East, but to me, the marque should definitely be in that same category of fan-favorites. Presenting a line just above entry level is tough. Many (most?) state point blank, “is this one much, MUCH better than my affordable unit?” To which I would answer, yes. Yes, it is. To me, the Winter culminates the line with the best (to me) sound in the range yet.
Musical such as I listen to “After Hours,” from Dizzy Gillespie, Sonny Stitt & Sonny Rollins makes me reach for the volume, and turn the song up when using the Winter. Those sax solos can melt one’s knees, and melt other IEM’s, which may not be up to the task as the volume goes north. Not the Winter, for it presents that cool natured smoothness as it should sound” with a realism that makes me strut like a cool cat wearing Ray Bans. But I will never be that cool, and the Winter will have to suffice to present me that way in my own little world.
The Winter is worth a serious look against its competition since the sound is different enough (note comparison above) to present you with a viable option. Many in this category simply regurgitate their version of a sound; which can be similar to the others. Not BQEYZ and the Winter. It is different enough to be worth nothing less than a good listen, even if only for comparative purposes.
I again thank Elle & BQEYZ for the Winter (and all of the Seasons!). This is a fabulous line of IEM’s, and I cannot wait to find out what their next project is.
Cheers all.
AliExpress: https://vi.aliexpress.com/item/1005004967936559.html?gatewayAdapt=glo2vnm
Linsoul: https://www.linsoul.com/products/bqeyz-winter
Sharppain
These hit far above its price. And they scale greatly with good sources like Fiio Q5s, Hiby RS6, Mojo2. The soundstage, according to me is bigger than described here - they sound biiiig, bigger than Senn 6series.
ngoshawk
Good to know. It could be that I was coming off a couple of headphone reviews and unintentionally compared the soundstage to them. I do like the changeable filters of the Autumn, but the Winter just hits me right. And yes, a good source certainly helps.
Cheers.
Cheers.
T10 Bespoke, by EAR Micro, featuring Klipsch Audio pt2: Published before Pt. 1…
Purchase/Information here:T10
Those initial three-and-a-half hours of listening set the tone for what was to follow. Playing with all of the settings I could, Bears T10 performed without issue in that initial listen. This was the rudimentary app version, while the one on mine is fully updated and is actually a new app. Since Bear’s were burned in with well over 400 hours, I can state the following with good authority: The T10 is one of the best TWS/IEM’s I have heard. Period. Get tip selection right (they help with that), and bass is deep & luxurious. Vocals come across with sublime pleasure, complimented by a treble note, that reaches high, but not like some with a grating texture to it. None of that was heard here. The T10 fit my listening style almost precisely as I would like. If this was after only 3.5hrs, what would six months bring?
When one takes a chance on producing something different, there is a decent probability it will fail. Or be scoffed at, and chastised. Or both. One need only look at the internal combustion engine or possibly some other technological advancement of that stature. But given time, and the proper caressing, that product can succeed and be fruitful. It might even be different enough to turn heads. Those heads who might have given a sneer in the beginning. I would put the T10 in that same category. Melding sound and wireless (TWS) technology is one thing, but going WAY beyond that with what Ear Micro & Co have done is a big chance to take. And one I think is worth it, based upon me living with the T10 for the past six months.
It also takes a community, a village (vendors who produce other parts of the T10) to properly pull something off, and over my many visits to the Ear Micro “factory” in Westport, I found the level of detail and standards are high. Very high. If one component (of that village) falls short or is not of the quality needed, then the whole process slows. I have talked to Bear (and Troy, CTO) extensively about their trials and tribulations, and wranglings needed to successfully pull this one-of-a-kind (so far) product off. An affable gent until things go wrong, the passion with which the company wants to succeed is very obvious by the travel to shows and venues entertaining their wares to customers. Some at CanJam NY this year were “intrigued” by the T10, and wish they had more time with it. Well...you should seriously find time to spend more time with the product, the praise is warranted.
The ability to change pretty much any of the components within is not only a genuine positive, but environmentally aware as well. Instead of pitching your TWS buds once the battery wears out (it does happen) or breaking of a part (God forbid...), you can send them back to the shop for upgrades or replacement. You decide you want more internal memory? That can be done. You want to change the colors? You can, for a cost of course. But the point is that all of these parts work together to form what could be the next direction in “Ear Computers,” much the way Google Glasses are becoming an all-inclusive option. The T10 goes beyond that with not only touch sensitivity, but gesture movement AND the ability to utilize mouth movement or “ticks” for specific purposes. Constant upgrades can make this technology real, and accessible. Yes, if you are willing to pay, but consider this like adding a EC mod to your Toyota Tacoma or Subaru WRX. You want more? You can do that.
And so it is, that I came to be the lucky one to spend time with the T10, including many upgrades to the App (some due to other issues, beyond Ear Micros control, some normal upgrades), and the inclusion of a parametric EQ for Android use (75% of the world is Android). Customizable EQ’s on both iOS and Android make it so that you can set the EQ INDIVIDUALLY per each song. So, when you go back to play that song again, the EQ automatically returns to your song’s settings. The Android version comes with a Parametric EQ, which works quite well.
The Technology
The model I have specs out at roughly $3750, and the brethren to mine are posted on the T10 site along with al other iterations.
From the site:
Stream music in full 96/24 high-resolution (no separate hi-res player required)
• Connect to and control nearly any other connected device (full IFTTT integration on board)
• Open platform: Runs the Bragi OS for hearables with Nano a.i. on board
• Capable of downloading and running hearables apps that extend and enhance functionality
• Built in 9-axis gyroscope for positional and momentum feeds movement data to connected apps
• Fully programmable Voice/Touch/Non-verbal Mouth/Head-motion control interfaces (patented)
• Twin Cadence Hi-Fi DSP’s for incredible personalized audio tuning and enhancement capabilities
• Stunningly clear telephony, plus ability to run apps that enable secure voice-activated walkie-talky communication to selected individuals or groups without the need to dial or conference
• Bionic ears are badass. Forward-thinking companies around the world are busy dreaming up
exciting and incredible new use cases for ear computers. With T-10’s you can tap directly into the early stages of Singularity–the frontier where man and machine converge to become one
*From Part One:
“Since the unit will only be used with the customers Smartphone (at this time), Bluetooth technology is paramount. Going straight to the top, ear micro invested in Sony’s LDAC codec as their main source, going up to 24bit/96kHz (24bit/192kHz on the upcoming T20). As part of this, Sony caught wind and wanted to know more about the unit. Collaboration between the two was the outcome, lending a nice backdrop to the product. With 64mb of available RAM, the processing speed of the ARM M4 is about as fast as you can get. Additional external memory will also be available on the T20, which is limited only by the micro-SD card used by the customer.”
A single balanced armature based off of the cult-classic Klipsch X10 is highly modified. Using a single BA allows for the diminutive size of the ear bud, helping to make it the smallest out (less than 1 cubic centimeter!!), that has similar features. Sometimes, when using a single dynamic driver, you give up clarity and details for increased bass presence. Sometimes, when using a single balanced armature, you give up bass to the benefit of clarity and detail retrieval. The T10 throws all of that out the window, with intricate computer designed sound tubes (Klipsch), enhancing the sound qualities to how Ear Micro envisions a TOTL should sound. The design of sound tubes is as much a part of the ear bud design as proper placement of your speakers in a dedicated listening room. It is of paramount importance and I am glad more manufacturers are taking this seriously. The T10 got it right with the design, implementation of the sound tubes and the tuning of the BA.
Sound:
There is no denying that the T10 is small. Diminutive. Miniscule. This is the smallest ear bud I have tried, short of the bullet shaped Lypertek Bevi, and even those are larger than the X10, which the T10 is “based” upon. Once acclimated to the small size, and placement of touch sensitive areas, ease of use was straightforward. I am not the most accurate gent, tactility-wise so I still suffered a bit, but those with better dexterity will have no problems.
Connecting the T10 to the app, I clicked on ANC, and was met with a black background, which had some residual hiss. Once the music started, the hiss was gone. Ear Micro posits this as the best ANC out, and can go as high as a -38dB reduction of outside noise. Based upon my Jeep ride, and subsequent listening, I can confirm this is right at the top regarding ANC treatment and listening. There was no degradation of sound quality either once ANC was turned on. I found this to be a pleasant surprise based upon listening to other manufacturers TWS buds.
The proper tip is a must, more so than many I have tried, but it is worth the effort. First trying the size 4’s, which is normally the size I take, I found the bass lacking, and isolation was average. Bear & Troy suggested going down a size to the 3’s, and that sealed the deal, literally. Bass hit hard, with good authority and thump. Not boomy or bloated at all, but fairly fast and very accurate. The combination of “just right” speed and deeper reach makes this an excellent bud for those who like the lower sound spectrum. Bass on jazz tunes, which rely upon the upright bass to flow work especially well. There is good authoritative thump coming from “Sandu,” by the Ramsey Lewis Trio, which sounds superb. The xylophone plays its part moving into the mids section with aplomb. No bleed from low to mids was to be had. I really appreciated that the sound emanating from the song was not bloated, or overly preponderant like can happen with the upright bass.
The mids simply shine, with excellent detail retrieval and a clarity right up there with the best TWS OR IEM’s I have heard. Having Sony’s LDAC on tap certainly helps, and the vocals of Freddy Mercury on “Don’t Stop Me Know,” are sublime. He has such a range in his voice (3 octaves, rumors of four!), that lesser headphones and speakers can leave the user wanting more. Not here. The T10 presents vocals in a smooth manner, but without that boring slant often heard with a smoothness inside the song. Vocals on Qobuz’ version of Jamiroquai’s “Virtual Insanity” come across with a sublime taste to them that exudes a smooth character, while matching the songs coolness factor.
Treble hits fairly high and tight, without becoming grating or piercing as mentioned, two things which really bother me up top. Using the EQ, you can extend that range nicely, especially on Android with the parametric equalizer (jealous iOS user, here...). I find that treble note reaches my peak performance of not too high, and not too polite (thin). On songs which contain female vocals of reach, the sound is moving, with excellent transients incorporated, which does not overwhelm the voice; such as Kimiko Kasai’s “Bye Bye Blackbird.” Sometimes those quick hits of cymbal or snare drums can overpower the intended focus, in this case female vocals. Not so on the T10 as the sound comes across as clean with excellent detail retrieval.
Soundstage is spacious with excellent weight to the notes as well. Pat Benatar’s lustful voice on “We Belong” ties together that wonderful treble note of which I spoke last paragraph along with soundstage. Excellent weight of note allows a full space, but without becoming encumbered in too much density. Her voice is of such character that with a lighter treatment to the spatial awareness, she could become piercing. The T10 carries the vocal weight extremely well in space allowing the song to envelop you with a completeness I very much appreciate.
The level of clarity and detail pulled out from any song is quite astounding, especially knowing this is a dedicated BT bud. Klipsch’s own engineers found that there was little difference between the T10 and a comparative wired headphone. That says something right there. There is also sufficient space for the music to breathe, but not become thin. The layered textures come across with aplomb and little fuss. One could easily see that spaciousness met with a thin sound, but the T10 comes across with good depth and a thickness to the notes, which not only bely their size; but also, the fact this is a BT bud.
While getting a peer fit for some custom UE IEM’s and their facility in Irvine, CA before T.H.E. Show this year, Tiago who was also present at the show last year tried the T10. He point blank said the T10 was very, very good. Coming from one who listening to the best UE products regularly says quite a bit about the effort Ear Micro and Klipsch have gone to, making the T10 an audiophile-worthy product.
Other uses:
For typical phone use, the T10 works extremely well, isolating out noise allowing the user to focus on the incoming voice. I lit up our Ninja blender on a phone conversation with our son for giggles one time, and he said that while he definitely heard the Ninja, it did not come at the cost of hearing my voice. Not perfect, but it goes to show that Ear Micro has taken the completeness of experience seriously.
Head gestures worked well, after sorting some software updates. The complexity of the technology in totality here was bound to be not only complicated, but getting all the parts to work together smoothy was a tedious task, I am sure. The outcome is a functioning unit, which allows you to function almost autonomously with the device. Voice tasks were handled without difficulty. Customizing these to your own voice took some effort, but with each update to the Bragi OS allowed more accuracy and isolating for my voice. At the current time, the preface “Hey Ear Micro” must be used, but that will be dealt with in a future update I am told. While somewhat rudimentary, the ability to update or upGRADE shows that Ear Micro & Klipsch takes the overall functionality and experience seriously. Let’s put it this way: if you have used a wireless headphone or TWS application, you have used Bragi OS, so the familiarity with the system is appreciated.
Add in that you can upgrade memory along with some future features (as mentioned above), and you really do have the future of BT ear buds in your ears. Using the term ear computer is not without purpose, and my time has shown that to be true, mostly. I say mostly because the tie together of a whole host of different companies and technologies makes the overall project not only ambitious, but akin to building a house using materials and vendors spread completely across the country. Yes, it can and is done; but not without some hiccups or missteps; minor that they be.
Head movement worked as well, functioning as expected. I did get some funny looks in the airport as I used my movements to fast forward to the next song, or the beginning of the existing song. It was worth the quizzical looks. While it was in Vegas, I almost gave a maniacal laugh as well, but thought better since I wanted to get home.
Comparisons:
Instead of listing the models compared up top like I normally do, I will address these one at a time.
The closest BT earbud I have regarding fit would be the MUCH less costly UE Drop Custom. Coming in at roughly 12% ($400) the price, you get the custom model, without dedicated ANC. UE determined that since it is a custom you do not need it. While that is mostly correct, my flights to and from LA for T.H.E. Show proved otherwise. I purposely chose to bring those two sets only. The Drop was decent, but did not provide me nearly enough “ANC” to make listening enjoyable on the plane.
The T10 worked superbly as I expected with the -38dB of noise cancellation tech. Those gnomes and elves I noticed in the shop had done their magic, and I was able to enjoy everything from soft jazz to hard hitting Jeff Beck solos on the plane. I will openly admit to laughing at the other’s flying who wore their bulky BT headphones. Call it vanity on my part, but the T10 was well ahead of the BT headphone I wore as well, the Sony WH-1000XM5, who’s ANC is widely regarded as the best around. It was close, and the closed nature of the Sony’s helped, but the T10 bested even that.
As for sound quality using the ANC, Bear mentioned that most ANC technologies work by adding emphasis and extra “help” down low, which raises the bass quantity at the cost of overall sound quality, isolating out the lower sounds or rumbling. Only the Sony comes close to minimizing that aspect. The T10 works on the outside both actively and passively, instead of adding emphasis in any one set of frequencies. Thus, the T10’s ANC does not influence the sound coming out while ANC is engaged. It works. Going back to my flight, I purposely switched between Transparency & ANC mode to gauge the difference in audio quality. While it was hard under the circumstances, ANC on did not hinder the audio quality. I replicated these functions while typing out a report for one of the rooms from T.H.E. Show while waiting for my plane to KC in a noisy Las Vegas airport area, which had seven gates. I smiled knowing the sound was almost beyond my level of comprehension to tell the difference between ANC on and off.
Comparing the T10 to something equivalent price-wise is almost a moot point, since my go to Empire Ears Legend X is the closest, I have, with the Eletech Socrates cable. The sound is very different and of course the Legend X is my go-to for IEM’s since it fits my listening preferences perfectly. Moving to my go-to headphone, the Audeze LCD-3 with WyWires Red balanced cable, is also a bit pointless, except for the sound qualities. I know the LCD-3 is an older model, but it is still the standard bearer for me and my favored sound signature. While the LCD-3 provides a fuller signature, and a more spacious sound due to the open back, it is again a very different comparison. To me, this just goes to show how much effort has been put in to making the T10 not only functional but also sound like an audiophile piece of kit as well.
Sustainability:
I mentioned that the T10 is a very upgradable unit as well. If you want more memory, it can be done. When the battery wears out (which should be a long, long time from now) you can have it replaced. If one of the shell pieces fails (not bloody likely) or you simply want to change, it can be done. The T10 is to me the first BT earbud with replaceable parts, and parts, which can be repaired/upgraded as well. Knowing that, the environmental impact of the unit drops since you would simply not throw it away like cheaper BT ear buds once the battery wears out or case battery wears out.
Downsides:
There is no getting around the price of admission here, but when you total up our audiophile items of purchase, it becomes more feasible. To me, the charger needs the ability to work better as a portable charger. Not wanting to take to large box with me, nor the rubberized insert from inside the box, I was left with the actual charging port (gorgeous as well) and a very nice Klipsch cable. It was kind of a bother making sure the case was set properly while charging at night. With effort, I managed to make sure the case charged.
Battery life. I mention this only because I was able to get close to the 8.75-hour mark. I never went over. I was able to maintain a complete charge from the case for a total of over 25 hours, which for an audiophile piece such as this is good. Compared to BT headphones, which can regularly go over 75 hours now, there is still a big difference. But compared to similar BT TWS buds, and that difference shrinks.
Size. The unit is small, which works very well for having it in ear, and for activity. Bear implored me to wear it while I was mowing as well. Not wanting to lose the better part of two grand while on my riding mower with a bumpy yard, I thought better of that. That diminutive size means there is an adjustment period for contacting the different parts of the shell for functionality. While the touch connectivity worked very, very well; I found myself hitting the wrong parts or doing the wrong sequence often. This is on me, but something to consider nonetheless. That said, the increasing functionality of voice commands and ability to communicate those desires without touch more than makes up for my lack of dexterity. Since learning the limitations of voice commands, I have yet to have a falter.
finale:
So where are we after living with the T10 for six months? I feel like I have been on a trial living arrangement learning the intricacies of my mate to ensure we are lifetime compatible. I am happy to say, that after close communication with Ear Micro of updates and developments, I am. To think that this one device has made me re-evaluate my listening purpose and choices over the last six months is almost inconceivable. Over the course of that time, I have gone through upgrades to the unit, adjustments and similar tasks in order to make the unit complete. And since the latest software update, the unit has functioned perfectly. Whenever I go anywhere, and only one unit can go with me, it is the T10. I do worry about the cost, but knowing that those who really will purchase this unit do not worry about that, I quit worrying.
This is an expensive unit. And one, which many will scoff at and make fun of. So be it, but the market for this product is most likely not for them. It is a bespoke item, much like a custom carved knife is. Or a pistol, which was handmade for the customer. This is not an everyday purchase for those of us in the audiophile world, and Ear Micro & Klipsch know this. One look at the Fleur de Glace Violette (https://t10bespoke.com/products/fleur-de-glace-violette) and its near-$40k price and you realize that this is for the owner of that yacht who frequents Monte Carlo for the Monaco GP. I will admit that it was kind of a rush holding the Fleur in my hand knowing the cost. But I also know that someone will eagerly purchase that unit knowing it is a one-of-a-kind unit. There isn’t another one close to that on the planet. Nor the custom Superman one (great story behind it). My “pedestrian” model does carry with it other carbon patterns “similar” to the ones on T10 site, so even it is unique on the planet. And to me, that is the real beauty besides the stellar audio quality: you will have a unique product from a company that cares about the individual customer as well as taking care of that customer long-term. Bear told me he has answered his phone at 0300, for customers in Saudi Arabia who have had questions. That is customer service.
If I had to “settle” for a single unit overall, and all of my other headphones and BT buds, and IEM’s go away (just go with it), the T10 would be my easy choice. I care about the audio quality and the functionalities built in, and updateable aspect of the T10, and see the vision of where they hope to proceed. To have an item, which easily competes with the Google Glasses, but with audio attached makes this an easy choice. Expensive, but worth a definite listen. OK, I would also keep my LCD-3’s as well...
Look for Bear and the T10 at Can Jam June 24/25 in Chicago. It will be worth a listen; I do not doubt that.
I close this review listening to The Mavericks and “Recuerdos.” Such a sensuous song, and the volume naturally goes up using the voice commands seamlessly. This is a truly stunning looking and sounding unit.
Purchase/Information here:T10
Those initial three-and-a-half hours of listening set the tone for what was to follow. Playing with all of the settings I could, Bears T10 performed without issue in that initial listen. This was the rudimentary app version, while the one on mine is fully updated and is actually a new app. Since Bear’s were burned in with well over 400 hours, I can state the following with good authority: The T10 is one of the best TWS/IEM’s I have heard. Period. Get tip selection right (they help with that), and bass is deep & luxurious. Vocals come across with sublime pleasure, complimented by a treble note, that reaches high, but not like some with a grating texture to it. None of that was heard here. The T10 fit my listening style almost precisely as I would like. If this was after only 3.5hrs, what would six months bring?
When one takes a chance on producing something different, there is a decent probability it will fail. Or be scoffed at, and chastised. Or both. One need only look at the internal combustion engine or possibly some other technological advancement of that stature. But given time, and the proper caressing, that product can succeed and be fruitful. It might even be different enough to turn heads. Those heads who might have given a sneer in the beginning. I would put the T10 in that same category. Melding sound and wireless (TWS) technology is one thing, but going WAY beyond that with what Ear Micro & Co have done is a big chance to take. And one I think is worth it, based upon me living with the T10 for the past six months.
It also takes a community, a village (vendors who produce other parts of the T10) to properly pull something off, and over my many visits to the Ear Micro “factory” in Westport, I found the level of detail and standards are high. Very high. If one component (of that village) falls short or is not of the quality needed, then the whole process slows. I have talked to Bear (and Troy, CTO) extensively about their trials and tribulations, and wranglings needed to successfully pull this one-of-a-kind (so far) product off. An affable gent until things go wrong, the passion with which the company wants to succeed is very obvious by the travel to shows and venues entertaining their wares to customers. Some at CanJam NY this year were “intrigued” by the T10, and wish they had more time with it. Well...you should seriously find time to spend more time with the product, the praise is warranted.
The ability to change pretty much any of the components within is not only a genuine positive, but environmentally aware as well. Instead of pitching your TWS buds once the battery wears out (it does happen) or breaking of a part (God forbid...), you can send them back to the shop for upgrades or replacement. You decide you want more internal memory? That can be done. You want to change the colors? You can, for a cost of course. But the point is that all of these parts work together to form what could be the next direction in “Ear Computers,” much the way Google Glasses are becoming an all-inclusive option. The T10 goes beyond that with not only touch sensitivity, but gesture movement AND the ability to utilize mouth movement or “ticks” for specific purposes. Constant upgrades can make this technology real, and accessible. Yes, if you are willing to pay, but consider this like adding a EC mod to your Toyota Tacoma or Subaru WRX. You want more? You can do that.
And so it is, that I came to be the lucky one to spend time with the T10, including many upgrades to the App (some due to other issues, beyond Ear Micros control, some normal upgrades), and the inclusion of a parametric EQ for Android use (75% of the world is Android). Customizable EQ’s on both iOS and Android make it so that you can set the EQ INDIVIDUALLY per each song. So, when you go back to play that song again, the EQ automatically returns to your song’s settings. The Android version comes with a Parametric EQ, which works quite well.
The Technology
The model I have specs out at roughly $3750, and the brethren to mine are posted on the T10 site along with al other iterations.
From the site:
Stream music in full 96/24 high-resolution (no separate hi-res player required)
• Connect to and control nearly any other connected device (full IFTTT integration on board)
• Open platform: Runs the Bragi OS for hearables with Nano a.i. on board
• Capable of downloading and running hearables apps that extend and enhance functionality
• Built in 9-axis gyroscope for positional and momentum feeds movement data to connected apps
• Fully programmable Voice/Touch/Non-verbal Mouth/Head-motion control interfaces (patented)
• Twin Cadence Hi-Fi DSP’s for incredible personalized audio tuning and enhancement capabilities
• Stunningly clear telephony, plus ability to run apps that enable secure voice-activated walkie-talky communication to selected individuals or groups without the need to dial or conference
• Bionic ears are badass. Forward-thinking companies around the world are busy dreaming up
exciting and incredible new use cases for ear computers. With T-10’s you can tap directly into the early stages of Singularity–the frontier where man and machine converge to become one
*From Part One:
“Since the unit will only be used with the customers Smartphone (at this time), Bluetooth technology is paramount. Going straight to the top, ear micro invested in Sony’s LDAC codec as their main source, going up to 24bit/96kHz (24bit/192kHz on the upcoming T20). As part of this, Sony caught wind and wanted to know more about the unit. Collaboration between the two was the outcome, lending a nice backdrop to the product. With 64mb of available RAM, the processing speed of the ARM M4 is about as fast as you can get. Additional external memory will also be available on the T20, which is limited only by the micro-SD card used by the customer.”
A single balanced armature based off of the cult-classic Klipsch X10 is highly modified. Using a single BA allows for the diminutive size of the ear bud, helping to make it the smallest out (less than 1 cubic centimeter!!), that has similar features. Sometimes, when using a single dynamic driver, you give up clarity and details for increased bass presence. Sometimes, when using a single balanced armature, you give up bass to the benefit of clarity and detail retrieval. The T10 throws all of that out the window, with intricate computer designed sound tubes (Klipsch), enhancing the sound qualities to how Ear Micro envisions a TOTL should sound. The design of sound tubes is as much a part of the ear bud design as proper placement of your speakers in a dedicated listening room. It is of paramount importance and I am glad more manufacturers are taking this seriously. The T10 got it right with the design, implementation of the sound tubes and the tuning of the BA.
Sound:
There is no denying that the T10 is small. Diminutive. Miniscule. This is the smallest ear bud I have tried, short of the bullet shaped Lypertek Bevi, and even those are larger than the X10, which the T10 is “based” upon. Once acclimated to the small size, and placement of touch sensitive areas, ease of use was straightforward. I am not the most accurate gent, tactility-wise so I still suffered a bit, but those with better dexterity will have no problems.
Connecting the T10 to the app, I clicked on ANC, and was met with a black background, which had some residual hiss. Once the music started, the hiss was gone. Ear Micro posits this as the best ANC out, and can go as high as a -38dB reduction of outside noise. Based upon my Jeep ride, and subsequent listening, I can confirm this is right at the top regarding ANC treatment and listening. There was no degradation of sound quality either once ANC was turned on. I found this to be a pleasant surprise based upon listening to other manufacturers TWS buds.
The proper tip is a must, more so than many I have tried, but it is worth the effort. First trying the size 4’s, which is normally the size I take, I found the bass lacking, and isolation was average. Bear & Troy suggested going down a size to the 3’s, and that sealed the deal, literally. Bass hit hard, with good authority and thump. Not boomy or bloated at all, but fairly fast and very accurate. The combination of “just right” speed and deeper reach makes this an excellent bud for those who like the lower sound spectrum. Bass on jazz tunes, which rely upon the upright bass to flow work especially well. There is good authoritative thump coming from “Sandu,” by the Ramsey Lewis Trio, which sounds superb. The xylophone plays its part moving into the mids section with aplomb. No bleed from low to mids was to be had. I really appreciated that the sound emanating from the song was not bloated, or overly preponderant like can happen with the upright bass.
The mids simply shine, with excellent detail retrieval and a clarity right up there with the best TWS OR IEM’s I have heard. Having Sony’s LDAC on tap certainly helps, and the vocals of Freddy Mercury on “Don’t Stop Me Know,” are sublime. He has such a range in his voice (3 octaves, rumors of four!), that lesser headphones and speakers can leave the user wanting more. Not here. The T10 presents vocals in a smooth manner, but without that boring slant often heard with a smoothness inside the song. Vocals on Qobuz’ version of Jamiroquai’s “Virtual Insanity” come across with a sublime taste to them that exudes a smooth character, while matching the songs coolness factor.
Treble hits fairly high and tight, without becoming grating or piercing as mentioned, two things which really bother me up top. Using the EQ, you can extend that range nicely, especially on Android with the parametric equalizer (jealous iOS user, here...). I find that treble note reaches my peak performance of not too high, and not too polite (thin). On songs which contain female vocals of reach, the sound is moving, with excellent transients incorporated, which does not overwhelm the voice; such as Kimiko Kasai’s “Bye Bye Blackbird.” Sometimes those quick hits of cymbal or snare drums can overpower the intended focus, in this case female vocals. Not so on the T10 as the sound comes across as clean with excellent detail retrieval.
Soundstage is spacious with excellent weight to the notes as well. Pat Benatar’s lustful voice on “We Belong” ties together that wonderful treble note of which I spoke last paragraph along with soundstage. Excellent weight of note allows a full space, but without becoming encumbered in too much density. Her voice is of such character that with a lighter treatment to the spatial awareness, she could become piercing. The T10 carries the vocal weight extremely well in space allowing the song to envelop you with a completeness I very much appreciate.
The level of clarity and detail pulled out from any song is quite astounding, especially knowing this is a dedicated BT bud. Klipsch’s own engineers found that there was little difference between the T10 and a comparative wired headphone. That says something right there. There is also sufficient space for the music to breathe, but not become thin. The layered textures come across with aplomb and little fuss. One could easily see that spaciousness met with a thin sound, but the T10 comes across with good depth and a thickness to the notes, which not only bely their size; but also, the fact this is a BT bud.
While getting a peer fit for some custom UE IEM’s and their facility in Irvine, CA before T.H.E. Show this year, Tiago who was also present at the show last year tried the T10. He point blank said the T10 was very, very good. Coming from one who listening to the best UE products regularly says quite a bit about the effort Ear Micro and Klipsch have gone to, making the T10 an audiophile-worthy product.
Other uses:
For typical phone use, the T10 works extremely well, isolating out noise allowing the user to focus on the incoming voice. I lit up our Ninja blender on a phone conversation with our son for giggles one time, and he said that while he definitely heard the Ninja, it did not come at the cost of hearing my voice. Not perfect, but it goes to show that Ear Micro has taken the completeness of experience seriously.
Head gestures worked well, after sorting some software updates. The complexity of the technology in totality here was bound to be not only complicated, but getting all the parts to work together smoothy was a tedious task, I am sure. The outcome is a functioning unit, which allows you to function almost autonomously with the device. Voice tasks were handled without difficulty. Customizing these to your own voice took some effort, but with each update to the Bragi OS allowed more accuracy and isolating for my voice. At the current time, the preface “Hey Ear Micro” must be used, but that will be dealt with in a future update I am told. While somewhat rudimentary, the ability to update or upGRADE shows that Ear Micro & Klipsch takes the overall functionality and experience seriously. Let’s put it this way: if you have used a wireless headphone or TWS application, you have used Bragi OS, so the familiarity with the system is appreciated.
Add in that you can upgrade memory along with some future features (as mentioned above), and you really do have the future of BT ear buds in your ears. Using the term ear computer is not without purpose, and my time has shown that to be true, mostly. I say mostly because the tie together of a whole host of different companies and technologies makes the overall project not only ambitious, but akin to building a house using materials and vendors spread completely across the country. Yes, it can and is done; but not without some hiccups or missteps; minor that they be.
Head movement worked as well, functioning as expected. I did get some funny looks in the airport as I used my movements to fast forward to the next song, or the beginning of the existing song. It was worth the quizzical looks. While it was in Vegas, I almost gave a maniacal laugh as well, but thought better since I wanted to get home.
Comparisons:
Instead of listing the models compared up top like I normally do, I will address these one at a time.
The closest BT earbud I have regarding fit would be the MUCH less costly UE Drop Custom. Coming in at roughly 12% ($400) the price, you get the custom model, without dedicated ANC. UE determined that since it is a custom you do not need it. While that is mostly correct, my flights to and from LA for T.H.E. Show proved otherwise. I purposely chose to bring those two sets only. The Drop was decent, but did not provide me nearly enough “ANC” to make listening enjoyable on the plane.
The T10 worked superbly as I expected with the -38dB of noise cancellation tech. Those gnomes and elves I noticed in the shop had done their magic, and I was able to enjoy everything from soft jazz to hard hitting Jeff Beck solos on the plane. I will openly admit to laughing at the other’s flying who wore their bulky BT headphones. Call it vanity on my part, but the T10 was well ahead of the BT headphone I wore as well, the Sony WH-1000XM5, who’s ANC is widely regarded as the best around. It was close, and the closed nature of the Sony’s helped, but the T10 bested even that.
As for sound quality using the ANC, Bear mentioned that most ANC technologies work by adding emphasis and extra “help” down low, which raises the bass quantity at the cost of overall sound quality, isolating out the lower sounds or rumbling. Only the Sony comes close to minimizing that aspect. The T10 works on the outside both actively and passively, instead of adding emphasis in any one set of frequencies. Thus, the T10’s ANC does not influence the sound coming out while ANC is engaged. It works. Going back to my flight, I purposely switched between Transparency & ANC mode to gauge the difference in audio quality. While it was hard under the circumstances, ANC on did not hinder the audio quality. I replicated these functions while typing out a report for one of the rooms from T.H.E. Show while waiting for my plane to KC in a noisy Las Vegas airport area, which had seven gates. I smiled knowing the sound was almost beyond my level of comprehension to tell the difference between ANC on and off.
Comparing the T10 to something equivalent price-wise is almost a moot point, since my go to Empire Ears Legend X is the closest, I have, with the Eletech Socrates cable. The sound is very different and of course the Legend X is my go-to for IEM’s since it fits my listening preferences perfectly. Moving to my go-to headphone, the Audeze LCD-3 with WyWires Red balanced cable, is also a bit pointless, except for the sound qualities. I know the LCD-3 is an older model, but it is still the standard bearer for me and my favored sound signature. While the LCD-3 provides a fuller signature, and a more spacious sound due to the open back, it is again a very different comparison. To me, this just goes to show how much effort has been put in to making the T10 not only functional but also sound like an audiophile piece of kit as well.
Sustainability:
I mentioned that the T10 is a very upgradable unit as well. If you want more memory, it can be done. When the battery wears out (which should be a long, long time from now) you can have it replaced. If one of the shell pieces fails (not bloody likely) or you simply want to change, it can be done. The T10 is to me the first BT earbud with replaceable parts, and parts, which can be repaired/upgraded as well. Knowing that, the environmental impact of the unit drops since you would simply not throw it away like cheaper BT ear buds once the battery wears out or case battery wears out.
Downsides:
There is no getting around the price of admission here, but when you total up our audiophile items of purchase, it becomes more feasible. To me, the charger needs the ability to work better as a portable charger. Not wanting to take to large box with me, nor the rubberized insert from inside the box, I was left with the actual charging port (gorgeous as well) and a very nice Klipsch cable. It was kind of a bother making sure the case was set properly while charging at night. With effort, I managed to make sure the case charged.
Battery life. I mention this only because I was able to get close to the 8.75-hour mark. I never went over. I was able to maintain a complete charge from the case for a total of over 25 hours, which for an audiophile piece such as this is good. Compared to BT headphones, which can regularly go over 75 hours now, there is still a big difference. But compared to similar BT TWS buds, and that difference shrinks.
Size. The unit is small, which works very well for having it in ear, and for activity. Bear implored me to wear it while I was mowing as well. Not wanting to lose the better part of two grand while on my riding mower with a bumpy yard, I thought better of that. That diminutive size means there is an adjustment period for contacting the different parts of the shell for functionality. While the touch connectivity worked very, very well; I found myself hitting the wrong parts or doing the wrong sequence often. This is on me, but something to consider nonetheless. That said, the increasing functionality of voice commands and ability to communicate those desires without touch more than makes up for my lack of dexterity. Since learning the limitations of voice commands, I have yet to have a falter.
finale:
So where are we after living with the T10 for six months? I feel like I have been on a trial living arrangement learning the intricacies of my mate to ensure we are lifetime compatible. I am happy to say, that after close communication with Ear Micro of updates and developments, I am. To think that this one device has made me re-evaluate my listening purpose and choices over the last six months is almost inconceivable. Over the course of that time, I have gone through upgrades to the unit, adjustments and similar tasks in order to make the unit complete. And since the latest software update, the unit has functioned perfectly. Whenever I go anywhere, and only one unit can go with me, it is the T10. I do worry about the cost, but knowing that those who really will purchase this unit do not worry about that, I quit worrying.
This is an expensive unit. And one, which many will scoff at and make fun of. So be it, but the market for this product is most likely not for them. It is a bespoke item, much like a custom carved knife is. Or a pistol, which was handmade for the customer. This is not an everyday purchase for those of us in the audiophile world, and Ear Micro & Klipsch know this. One look at the Fleur de Glace Violette (https://t10bespoke.com/products/fleur-de-glace-violette) and its near-$40k price and you realize that this is for the owner of that yacht who frequents Monte Carlo for the Monaco GP. I will admit that it was kind of a rush holding the Fleur in my hand knowing the cost. But I also know that someone will eagerly purchase that unit knowing it is a one-of-a-kind unit. There isn’t another one close to that on the planet. Nor the custom Superman one (great story behind it). My “pedestrian” model does carry with it other carbon patterns “similar” to the ones on T10 site, so even it is unique on the planet. And to me, that is the real beauty besides the stellar audio quality: you will have a unique product from a company that cares about the individual customer as well as taking care of that customer long-term. Bear told me he has answered his phone at 0300, for customers in Saudi Arabia who have had questions. That is customer service.
If I had to “settle” for a single unit overall, and all of my other headphones and BT buds, and IEM’s go away (just go with it), the T10 would be my easy choice. I care about the audio quality and the functionalities built in, and updateable aspect of the T10, and see the vision of where they hope to proceed. To have an item, which easily competes with the Google Glasses, but with audio attached makes this an easy choice. Expensive, but worth a definite listen. OK, I would also keep my LCD-3’s as well...
Look for Bear and the T10 at Can Jam June 24/25 in Chicago. It will be worth a listen; I do not doubt that.
I close this review listening to The Mavericks and “Recuerdos.” Such a sensuous song, and the volume naturally goes up using the voice commands seamlessly. This is a truly stunning looking and sounding unit.
NickleCo
@Earbones $3k-$4k is byfar not expensive (in the grand scheme of things) but i doubt anyone will but this at that configuration especially to the target market. I'm looking at this product as how the designers of the product sees it which is in the $12k-$40k range. Sure by the end of the day everything is a vanity purchase (i mean look at my previous and current iem collection), i really didn't have to spend so much in audio but its just my vanity saying that this particular item looks good/cool.
Oh and a funny thing lol, a few years back while i was still active in the hobby i was quite close to buying a ra-c-cu because it intrigued me (took a bunch of people to discourage me buying it). I usually buy stuff blindly hence why i bought and sold a bunch of stuff.
Oh and a funny thing lol, a few years back while i was still active in the hobby i was quite close to buying a ra-c-cu because it intrigued me (took a bunch of people to discourage me buying it). I usually buy stuff blindly hence why i bought and sold a bunch of stuff.
SREHR56
eBay link to my units unfortunately for sale...........superb item, just cash strapped due to an unexpected issue...........https://www.ebay.com/itm/266346163977
UM U-Free TWS ($349): Why should everyone else have all the TWS fun?
Free
Intro: After seeing the news about release of Unique Melody’s first TWS earbud, I was very interested. My first flagship model was the Mason V2. I still have it, and value it for a sound, which to me defines clarity and details, while not being overly analytical. I had a Mentor V3, which while good, very good was a hard fit. The cable was exceptional, but not of good fit either. I sold it to a gent who loves it, but kept the Mason V2. I hold the marque in high esteem as do others, and as a result, the Free seemed worth a serious look. Andrew was kind enough to arrange a review sample from UM, and what follows are my own words. A hint, though...the Free can hold its own against the competition.
Specs:
In The Box:
U-Free
Charging cable (short)
Case (set up for wireless charging as well)
Tips (6 sets, including UM’s own 6-hole design)
Intro guide
Warranty card
Songs:
Qobuz (from my playlist, including jazz, some 80’s pop & U2)
Tidal (ditto)
Gear Used/Compared:
iPhone 13 Pro Max
Shanling M6 Pro
Campfire Orbit
UE Drop (Custom)
Beyerdynamic Free Byrd
Unboxing:
The Free comes in a simple square box of diminutive size., wrapped with a paperboard informative sleeve. Sliding the sleeve off reveals the small white box, with a lid, which opens like a ring box. Inside you will find two information pictures, which help with insertion as well as a QR code for instruction. Under the small flap is the Free inside its case in either tan or black. The black looks killer, but the tan is more subdued, which I appreciate as well.
The top ¼ has two rectangular boxes, containing the included tips and short charging cord, respectively. The tips are all clear, and silicon, with three sets of “normal” type and UM’s in-house 6-hole design, which are purported to enhance clarity and detail. I tried both, but came away with a preference. Find out below.
Technology:
“Qualcomm® QCC5144 24bit/96kHz high resolution audio, aptX™ adaptive codec lets you hear extreme detail.” From the UM Free page linked above.
For some reason, 10mm dynamic drivers are the norm. Much like 2.4L four cylinders rule the roost for many car manufacturers. The difference is how those drivers are treated by the individual manufacturers. Some use coatings, some use special diaphragms for a quick speedy response, while others use the sound tubes to generate their chosen flavors. UM went the coating route, with carbon nano coating along with a neat trick: Bone Conduction in Silver Palladium. My first encounter with bone conduction bass tuning was in the Fir Audio “Element” series. I fell for them and still consider the three amongst my top IEM’s reviewed, ever. Intoxicating bass was the result, with a detailed clarity to boot. What’s not to like.
UM does use bone conduction along with the single dynamic driver, but the piezoelectric bone conduction unit is as much about clarity and detail as head thumping bass. To me, they have succeeded. Giving the Free an almost holographic VR sound environment is the result, and with bass, which is not too overpowering. While technologically advanced, the Free will not set the curve for technology, but it is not meant to either.
Form/Fit/Functions:
Built in a rather bulbous fashion, the Free reminds me of Sony’s WF-1000XM4, shape-wise at least. A somewhat large faceplate, laden with a gold “swoosh,” gives that face the look of having a Ying-Yang effect. The large face also allows for the touch controls to be easily accessed. While sensitive, the large face makes it easier than not. The in-ear side is where the resemblance goes further. All of the electronics and tubing need to be somewhere and that bulbous shape helps here. Two gold plated charging spots share the inner space along with the “intelligent ear detection” aspect, which allows the Free to know when you remove the unit, pausing the music. Start of the music happens upon reentry. I had no problem with this, but lag was a bit slow.
A microphone port adorns the bottom of each TWS bud, and call quality with the Qualcomm clear voice capture (cVc) was good when I used it. Isolation from unwanted distractions was very good as well, especially with the four modes of operation the Free has. Those can be toggled through in the app, or touch-basis, and include HiFi (for best audio quality), Dynamic ANC on (best ANC, which can be adjusted by a slider in the app), ambient sound mode (allows partial background noise to come through, and voice assistant mode (for use with listening and communication). Those four options are really meant for sound mode, but I found functioned somewhat in calls as well. cVc does isolate out background and unwanted noises, focusing on the vocal presentation of your call; which is now pretty much a non-discussion point since most TWS buds’ function quite well with calls.
The nozzle is quite short, and there has been some discussion on the HeadFi thread regarding this. It seems we either see the Etymotic version of having a nozzle, which inserts into your brain, or a super-short nozzle, which does allow for less ear discomfort, reportedly. But a happy medium could be found, and here I think the Free was too short. Some mentioned that even with the included silicon’s, slippage was had. Some switched to their preferred tip for better isolation, no slipping and best of all increased audio quality to their ears. I would like to try a foam tip on the Free to see how that works. I have had good luck with the stock Sony foam tip on the 1000XM4, and wonder if that would help here.
Overall, I would say the Free is on the “too large” size for many to find a comfortable medium, which is a shame since the sound is quite good. That said, with a proper tip, you can get good isolation.
Functions:
The earbuds have what to me are fairly unique combinations of touches, at least between the buds. The right bud controls play/pause (single tap), previous/FF track (TRIPLE tap) and answer/decline phone calls (double tap). The left bud controls “mode” as in which setting the Free are in from HiFi to Hearing (single tap). You can block the touches if you desire, such as a situation where constant interactions might occur. A Gaming mode cuts latency making for a more accurate sight/hearing interaction. It is a pretty basic unit function-wise as is the App.
App:
Many have mentioned the lack of an Android app, which to me is not acceptable, since almost 3/4 of all Smartphones worldwide are Android-based OS. As mentioned above, functions can be controlled from the app to change ANC/listening setting as well as latency for gaming mode. There is also a five-band graphic equalizer that can be used in a rudimentary amount of existing genre, as well as a customized option. I found that increasing any of the frequencies to a 6dB push caused distortion to be heard. I never EQ my earbuds anyway, as I prefer to work with the ANC/HiFi options instead.
A feature under settings is called “Audio Curation,” which as near as I can tell tailors each of the Ambient & Hearing modes to Low, Medium, Normal & High. HiFi & ANC are left alone when toggled into their respective settings. This can be done under playback, idle and calls, allowing you to “tailor” how the buds respond when those three listening modes are activated (playback, idle & call). This is a nice feature, and I could see the user changing Ambient or Hearing modes on a noisy commute vs a run in the neighborhood. You can of course defeat all three of the curations as well.
Updating of the app is fairly archaic as well at this time, relying upon “file transfer” under settings, and then “About Earbuds.” Not the most intuitive, but it works. Updates were fairly quick as well.
Battery:
Wireless charging is a positive, and many now come with that capability. This makes for easy charging on your desk (and there are many ingenious solutions for multiple wireless charging “ports”), so you can ensure there is enough for your commute.
From the UM Free site:
Battery life (noise cancelation on) ≈7+14h(earbuds + charging case)
Battery life (noise cancelation off) ≈8+16h(earbuds + charging case)
The totals of 21-24 hours is on the leaner side, but remember this is an earbud, so limitations can occur. A quick charge of 15 minutes can give you an additional two or so hours, which helps. I find that many of the top flagship TWS buds from companies, which may not normally make these all suffer from par to sub-par battery life. The trials and tribulations of competing with companies that specialize in TWS buds. Hopefully future upgrades can occur. That said, I can verify the numbers listed above, and the App has a handy battery meter below each bud. I do wish it would show percentage, but that is the scientist in me...
Sound:
Summary:
The Free comes with high hopes, and is somewhat an exploratory model for UM; and for the most part succeeds. I found bass was somewhat taut and reached fairly deep with the right tip. Using the 6-hole, increased clarity and detail to me, but at the cost of thickness in note. Mids and treble excelled with the 6-hole, and vocal treatment (whether male or female) came across as clear and crisp, placed well within the song, and not too forward. Soundstage comes across like a single dynamic driver, but one with decent space between instruments and notes. This is a fine first attempt, and my hope is that UM continue to test and update this model.
moar:
Once you have the rip tip attached, isolation is better than average, but the short nozzle and bulbous inner side makes it tough to attain an excellent seal. Small foam tips worked best for me, and I usually use medium or large foam tips on other IEM’s. Medium would work, but combined with the wide diameter nozzle, found the small a better fit.
Bass comes across as somewhat reaching but with good tactical feel. I think the holographic effect plays here, and helps the bass stay mostly taut and controlled. There is a bit of rumble, but it never overpowers the control down low, nor bleed into the mids; which are prominent. In HiFi mode is where I had the best sound signature, and the texture of bass notes was full & weighty. Not bulbous either, but with good girth giving a solid feel to songs such as “Swingin’” from The Mavericks through the upright bass. I could feel the bass, thanks to the bone conduction, but not as prominently as on the Fir models (which do cost up to 10x the cost, mind you...). I find the feel and sound down low to be perfectly acceptable and on par with the Sony, while bettering the Senn.
Mids to me carry the show, with good push forward, but in presence, not an in-your-face mode. Giving the mids full stage to show their wares, the vocals come across as full and weighted, but without becoming drippy or sappy. On “Things I Cannot Change,” also from The Mavericks, the vocals coming from their melancholy together works well, and I did not find myself reaching to turn the volume down. Instead, I reached to turn it up. Acoustic guitar work comes across as tight and full, placed well within the song, as does the percussion in the mid-range. The guitar solo about ¾ the way through comes across as clean, crisp and well placed, showing that while the mids seem to be the most prominent, they do not supersede the whole show.
Treble notes such as cymbal strikes and high notes come across with authority and accuracy. No analytical sound comes forth from cymbal strikes, nor the high notes of piano works, such as Sonny Stitt, Sonny Rollins & Dizzy Gillespie’s seminal “After Hours” from the fabulous album “Sonny Side Up.” The piano work lays a soulful foundation, especially with those high notes early in the song. Then the individual solos simply close the door; giving me excellent transients, without becoming harsh or intolerable like some can at high volume.
Soundstage is wider and taller than deeper, but there is still very good spatial awareness to it, lending very good placement of instruments as well. Stage is better using HiFi mode than ANC, and to be honest the ANC mode only dulled the outside noise. Much of that is down to fit, in my opinion, and a deeper insertion is needed to take care of isolation. The Free would work on a commute, but I find the Sony, Senn & Beyer are all better in this regard.
Comparison:
UM Free ($349) v Campfire Orbit ($249):
The Orbit is Campfire Audio’s first TWS, and many of us think it is an experimental tease as to what might happen at CFA. I surely hope so, for it does have good points. Wireless charging, CFA’s prominent bass line, and good battery life. Where it falls short to me is in overall sound character. It seems just there, and no more. Maybe they are seeing how it goes, then take their typical chance in tuning. I hope so, for there is potential. As for comparing, the Free sounds much better to me. Fuller in signature, and clarity. Bass is about even, but better fit means that department goes to the Orbit. This will come down to signature choice: safe and efficient: Orbit; overall tonality with good clarity: Free.
UM Free ($349) v UE Drop (Custom, $399):
This custom came about as a result of T.H.E. Show last summer, and I still use this regularly. No ANC? No problem, it is not needed with the custom shell. Bass seems a bit light compared to the Free, but has even better detail and clarity to the tuning. This could be the trickle-down effect from their other models, and I can feel the family resemblance based upon the Custom UE Live I have as well. The Drop to me is overall better, but lacks a bit of character. It may be too clean of a sound, and could use a bit more bass for my tastes.
UM Free ($349) v Beyerdynamic Free Byrd ($199, sale...That’s a STEAL!):
This will be from memory, as I left the Free Byrd at home and I am away at our place up north. I was immediately impressed with the Free Byrd upon arrival, from functionality to sound quality. I placed this in the category with the B&W and Sony models, along with my favorite, the M&D MW08. Less expensive, and with Beyer’s history behind it, this is a winner to me. But it does lack some tactility in controls, which some have mentioned as being too sensitive. Others have mentioned that fit is about like the UM model. I would disagree on that last point, as I could achieve a good seal with the right tip, and the nozzle was a smidge longer. Both have nozzles, which are too short to me, hindering overall sound qualities. At the sale price, it would be hard to pass up the Free Byrd, and should be given a look.
finale:
The UM Free is their first attempt at a TWS earbud. And it mostly succeeds. I find the sound to be typically fresh UM, with very good clarity piled on top of excellent TWS detail. Notice I said “TWS detail.” That was on purpose, but the Free along with several other notable TWS buds are helping to blur the line between IEM & TWS earbud in sound quality. The Free is on par with the best TWS buds out in terms of detail retrieval to me, but this does not make it the center point. Where others focus solely on clarity & detail, the Free allows the detail retrieval to combine with other top aspects such as soundstage and bass response. If you want an overly clarity-driven model, look elsewhere. The Free combines detail, clarity, thickness of note, and a texture not often found in TWS buds, including some of those top models mentioned above. If UM can sort the nozzle out (make it longer, please!), then this may be considered in the same breath as those top marques. And at the price, it could easily justify its place among the best out currently.
Free
Intro: After seeing the news about release of Unique Melody’s first TWS earbud, I was very interested. My first flagship model was the Mason V2. I still have it, and value it for a sound, which to me defines clarity and details, while not being overly analytical. I had a Mentor V3, which while good, very good was a hard fit. The cable was exceptional, but not of good fit either. I sold it to a gent who loves it, but kept the Mason V2. I hold the marque in high esteem as do others, and as a result, the Free seemed worth a serious look. Andrew was kind enough to arrange a review sample from UM, and what follows are my own words. A hint, though...the Free can hold its own against the competition.
Specs:
In The Box:
U-Free
Charging cable (short)
Case (set up for wireless charging as well)
Tips (6 sets, including UM’s own 6-hole design)
Intro guide
Warranty card
Songs:
Qobuz (from my playlist, including jazz, some 80’s pop & U2)
Tidal (ditto)
Gear Used/Compared:
iPhone 13 Pro Max
Shanling M6 Pro
Campfire Orbit
UE Drop (Custom)
Beyerdynamic Free Byrd
Unboxing:
The Free comes in a simple square box of diminutive size., wrapped with a paperboard informative sleeve. Sliding the sleeve off reveals the small white box, with a lid, which opens like a ring box. Inside you will find two information pictures, which help with insertion as well as a QR code for instruction. Under the small flap is the Free inside its case in either tan or black. The black looks killer, but the tan is more subdued, which I appreciate as well.
The top ¼ has two rectangular boxes, containing the included tips and short charging cord, respectively. The tips are all clear, and silicon, with three sets of “normal” type and UM’s in-house 6-hole design, which are purported to enhance clarity and detail. I tried both, but came away with a preference. Find out below.
Technology:
“Qualcomm® QCC5144 24bit/96kHz high resolution audio, aptX™ adaptive codec lets you hear extreme detail.” From the UM Free page linked above.
For some reason, 10mm dynamic drivers are the norm. Much like 2.4L four cylinders rule the roost for many car manufacturers. The difference is how those drivers are treated by the individual manufacturers. Some use coatings, some use special diaphragms for a quick speedy response, while others use the sound tubes to generate their chosen flavors. UM went the coating route, with carbon nano coating along with a neat trick: Bone Conduction in Silver Palladium. My first encounter with bone conduction bass tuning was in the Fir Audio “Element” series. I fell for them and still consider the three amongst my top IEM’s reviewed, ever. Intoxicating bass was the result, with a detailed clarity to boot. What’s not to like.
UM does use bone conduction along with the single dynamic driver, but the piezoelectric bone conduction unit is as much about clarity and detail as head thumping bass. To me, they have succeeded. Giving the Free an almost holographic VR sound environment is the result, and with bass, which is not too overpowering. While technologically advanced, the Free will not set the curve for technology, but it is not meant to either.
Form/Fit/Functions:
Built in a rather bulbous fashion, the Free reminds me of Sony’s WF-1000XM4, shape-wise at least. A somewhat large faceplate, laden with a gold “swoosh,” gives that face the look of having a Ying-Yang effect. The large face also allows for the touch controls to be easily accessed. While sensitive, the large face makes it easier than not. The in-ear side is where the resemblance goes further. All of the electronics and tubing need to be somewhere and that bulbous shape helps here. Two gold plated charging spots share the inner space along with the “intelligent ear detection” aspect, which allows the Free to know when you remove the unit, pausing the music. Start of the music happens upon reentry. I had no problem with this, but lag was a bit slow.
A microphone port adorns the bottom of each TWS bud, and call quality with the Qualcomm clear voice capture (cVc) was good when I used it. Isolation from unwanted distractions was very good as well, especially with the four modes of operation the Free has. Those can be toggled through in the app, or touch-basis, and include HiFi (for best audio quality), Dynamic ANC on (best ANC, which can be adjusted by a slider in the app), ambient sound mode (allows partial background noise to come through, and voice assistant mode (for use with listening and communication). Those four options are really meant for sound mode, but I found functioned somewhat in calls as well. cVc does isolate out background and unwanted noises, focusing on the vocal presentation of your call; which is now pretty much a non-discussion point since most TWS buds’ function quite well with calls.
The nozzle is quite short, and there has been some discussion on the HeadFi thread regarding this. It seems we either see the Etymotic version of having a nozzle, which inserts into your brain, or a super-short nozzle, which does allow for less ear discomfort, reportedly. But a happy medium could be found, and here I think the Free was too short. Some mentioned that even with the included silicon’s, slippage was had. Some switched to their preferred tip for better isolation, no slipping and best of all increased audio quality to their ears. I would like to try a foam tip on the Free to see how that works. I have had good luck with the stock Sony foam tip on the 1000XM4, and wonder if that would help here.
Overall, I would say the Free is on the “too large” size for many to find a comfortable medium, which is a shame since the sound is quite good. That said, with a proper tip, you can get good isolation.
Functions:
The earbuds have what to me are fairly unique combinations of touches, at least between the buds. The right bud controls play/pause (single tap), previous/FF track (TRIPLE tap) and answer/decline phone calls (double tap). The left bud controls “mode” as in which setting the Free are in from HiFi to Hearing (single tap). You can block the touches if you desire, such as a situation where constant interactions might occur. A Gaming mode cuts latency making for a more accurate sight/hearing interaction. It is a pretty basic unit function-wise as is the App.
App:
Many have mentioned the lack of an Android app, which to me is not acceptable, since almost 3/4 of all Smartphones worldwide are Android-based OS. As mentioned above, functions can be controlled from the app to change ANC/listening setting as well as latency for gaming mode. There is also a five-band graphic equalizer that can be used in a rudimentary amount of existing genre, as well as a customized option. I found that increasing any of the frequencies to a 6dB push caused distortion to be heard. I never EQ my earbuds anyway, as I prefer to work with the ANC/HiFi options instead.
A feature under settings is called “Audio Curation,” which as near as I can tell tailors each of the Ambient & Hearing modes to Low, Medium, Normal & High. HiFi & ANC are left alone when toggled into their respective settings. This can be done under playback, idle and calls, allowing you to “tailor” how the buds respond when those three listening modes are activated (playback, idle & call). This is a nice feature, and I could see the user changing Ambient or Hearing modes on a noisy commute vs a run in the neighborhood. You can of course defeat all three of the curations as well.
Updating of the app is fairly archaic as well at this time, relying upon “file transfer” under settings, and then “About Earbuds.” Not the most intuitive, but it works. Updates were fairly quick as well.
Battery:
Wireless charging is a positive, and many now come with that capability. This makes for easy charging on your desk (and there are many ingenious solutions for multiple wireless charging “ports”), so you can ensure there is enough for your commute.
From the UM Free site:
Battery life (noise cancelation on) ≈7+14h(earbuds + charging case)
Battery life (noise cancelation off) ≈8+16h(earbuds + charging case)
The totals of 21-24 hours is on the leaner side, but remember this is an earbud, so limitations can occur. A quick charge of 15 minutes can give you an additional two or so hours, which helps. I find that many of the top flagship TWS buds from companies, which may not normally make these all suffer from par to sub-par battery life. The trials and tribulations of competing with companies that specialize in TWS buds. Hopefully future upgrades can occur. That said, I can verify the numbers listed above, and the App has a handy battery meter below each bud. I do wish it would show percentage, but that is the scientist in me...
Sound:
Summary:
The Free comes with high hopes, and is somewhat an exploratory model for UM; and for the most part succeeds. I found bass was somewhat taut and reached fairly deep with the right tip. Using the 6-hole, increased clarity and detail to me, but at the cost of thickness in note. Mids and treble excelled with the 6-hole, and vocal treatment (whether male or female) came across as clear and crisp, placed well within the song, and not too forward. Soundstage comes across like a single dynamic driver, but one with decent space between instruments and notes. This is a fine first attempt, and my hope is that UM continue to test and update this model.
moar:
Once you have the rip tip attached, isolation is better than average, but the short nozzle and bulbous inner side makes it tough to attain an excellent seal. Small foam tips worked best for me, and I usually use medium or large foam tips on other IEM’s. Medium would work, but combined with the wide diameter nozzle, found the small a better fit.
Bass comes across as somewhat reaching but with good tactical feel. I think the holographic effect plays here, and helps the bass stay mostly taut and controlled. There is a bit of rumble, but it never overpowers the control down low, nor bleed into the mids; which are prominent. In HiFi mode is where I had the best sound signature, and the texture of bass notes was full & weighty. Not bulbous either, but with good girth giving a solid feel to songs such as “Swingin’” from The Mavericks through the upright bass. I could feel the bass, thanks to the bone conduction, but not as prominently as on the Fir models (which do cost up to 10x the cost, mind you...). I find the feel and sound down low to be perfectly acceptable and on par with the Sony, while bettering the Senn.
Mids to me carry the show, with good push forward, but in presence, not an in-your-face mode. Giving the mids full stage to show their wares, the vocals come across as full and weighted, but without becoming drippy or sappy. On “Things I Cannot Change,” also from The Mavericks, the vocals coming from their melancholy together works well, and I did not find myself reaching to turn the volume down. Instead, I reached to turn it up. Acoustic guitar work comes across as tight and full, placed well within the song, as does the percussion in the mid-range. The guitar solo about ¾ the way through comes across as clean, crisp and well placed, showing that while the mids seem to be the most prominent, they do not supersede the whole show.
Treble notes such as cymbal strikes and high notes come across with authority and accuracy. No analytical sound comes forth from cymbal strikes, nor the high notes of piano works, such as Sonny Stitt, Sonny Rollins & Dizzy Gillespie’s seminal “After Hours” from the fabulous album “Sonny Side Up.” The piano work lays a soulful foundation, especially with those high notes early in the song. Then the individual solos simply close the door; giving me excellent transients, without becoming harsh or intolerable like some can at high volume.
Soundstage is wider and taller than deeper, but there is still very good spatial awareness to it, lending very good placement of instruments as well. Stage is better using HiFi mode than ANC, and to be honest the ANC mode only dulled the outside noise. Much of that is down to fit, in my opinion, and a deeper insertion is needed to take care of isolation. The Free would work on a commute, but I find the Sony, Senn & Beyer are all better in this regard.
Comparison:
UM Free ($349) v Campfire Orbit ($249):
The Orbit is Campfire Audio’s first TWS, and many of us think it is an experimental tease as to what might happen at CFA. I surely hope so, for it does have good points. Wireless charging, CFA’s prominent bass line, and good battery life. Where it falls short to me is in overall sound character. It seems just there, and no more. Maybe they are seeing how it goes, then take their typical chance in tuning. I hope so, for there is potential. As for comparing, the Free sounds much better to me. Fuller in signature, and clarity. Bass is about even, but better fit means that department goes to the Orbit. This will come down to signature choice: safe and efficient: Orbit; overall tonality with good clarity: Free.
UM Free ($349) v UE Drop (Custom, $399):
This custom came about as a result of T.H.E. Show last summer, and I still use this regularly. No ANC? No problem, it is not needed with the custom shell. Bass seems a bit light compared to the Free, but has even better detail and clarity to the tuning. This could be the trickle-down effect from their other models, and I can feel the family resemblance based upon the Custom UE Live I have as well. The Drop to me is overall better, but lacks a bit of character. It may be too clean of a sound, and could use a bit more bass for my tastes.
UM Free ($349) v Beyerdynamic Free Byrd ($199, sale...That’s a STEAL!):
This will be from memory, as I left the Free Byrd at home and I am away at our place up north. I was immediately impressed with the Free Byrd upon arrival, from functionality to sound quality. I placed this in the category with the B&W and Sony models, along with my favorite, the M&D MW08. Less expensive, and with Beyer’s history behind it, this is a winner to me. But it does lack some tactility in controls, which some have mentioned as being too sensitive. Others have mentioned that fit is about like the UM model. I would disagree on that last point, as I could achieve a good seal with the right tip, and the nozzle was a smidge longer. Both have nozzles, which are too short to me, hindering overall sound qualities. At the sale price, it would be hard to pass up the Free Byrd, and should be given a look.
finale:
The UM Free is their first attempt at a TWS earbud. And it mostly succeeds. I find the sound to be typically fresh UM, with very good clarity piled on top of excellent TWS detail. Notice I said “TWS detail.” That was on purpose, but the Free along with several other notable TWS buds are helping to blur the line between IEM & TWS earbud in sound quality. The Free is on par with the best TWS buds out in terms of detail retrieval to me, but this does not make it the center point. Where others focus solely on clarity & detail, the Free allows the detail retrieval to combine with other top aspects such as soundstage and bass response. If you want an overly clarity-driven model, look elsewhere. The Free combines detail, clarity, thickness of note, and a texture not often found in TWS buds, including some of those top models mentioned above. If UM can sort the nozzle out (make it longer, please!), then this may be considered in the same breath as those top marques. And at the price, it could easily justify its place among the best out currently.
Attachments
Hanesu
Hi! Nice review! But this is not the first TWS by UM! They have released at least one more model here in Asia, this one: https://www.e-earphone.jp/products/detail/1368479/
UniqueMelody
TWS 30X is a our first try of TWS, but it is not unique enough for us to introduce it worldwide. U-Free is designed, tuned by our senior R&D team which also designed our high-end products. U-Free also shares the same BCD driver as MEST MK2.
Cayin N7 ($1995): The “near-flagship” carries tricks up its yellow sleeve...
Cayin N7
Intro: This sample is part of a North American tour. Andy Kong contacted me to see if I was interested, and of course I said yes. After my time, this unit will be sent to the next reviewer in line. My words for good or ill are mine only, with no affiliate connection what-so-ever.
I have a soft spot for Cayin DAP’s & portable headphone amplifiers. One of my current go-to DAP’s is still the venerable N6ii, running the E01 motherboard. I also have the A01 & T01, but prefer the E01 for its sound, which favors my tastes. I did find this odd, since it only comes in 3.5mm se connectivity. I have not tried the E02, nor do I plan to. My other go-to is an “older” Shanling M6 Pro. I have loved the Shanling “house-sound” since the original M5, which I still own. That said, I will bring in my TOTL neutral DAP, the older Questyle QP2R as well. To me it may just be the finest unencumbered sound out there, new or old. I do also have the Astell & Kern ACRO CA1000, and use it heavily as a DAP and streamer in my office two-channel system, so I will try to provide some comparative aspects there as well.
Over the course of my two weeks, I was able to get over 50 hours of listening. Some longer days, some shorter. I tried to accommodate all listening options as well. Others will have had more time to do that with their personal units.
The N7 retails for a cool $2k, so it is not cheap by any means. Plus, in this day of streamers taking center stage, does one truly need this item? You will have to be the judge of that. Slotted just below the N8i, but with some newer technology, the N7 is different enough not to step on the toes of its older sibling.
Specs:
Gear Used/Tested:
Cayin N6ii (E01)
Questyle QP2R
A&K ACRO CA 1000
Letshuoer Cadenza 12
B&W Px8
BQEYZ Winter
Audeze LCD3
Songs:
Mostly Qobuz & Tidal favorites list (everything from Jazz to U2 to David Grisman)
Unboxing:
Few nail the unboxing aspect every time. Focal comes to mind as one that does, having just finished a review of the excellent Stellia (eCoustics & Head-Fi), which does tend to set the unboxing bar. Cayin has always had nice unboxing experiences as well, but with a bit less bravado. More subtle, but still full of “oooo” moments.
Where others provide overly large boxes, Cayin uses efficiency to protect their wares. The N7 is a prime example of this, coming in a box more fit for a decent pair of IEM’s, except for the quality. The back is laden in gold foil, with black lettering of the specs and important information. Lifting the black rough patterned lid like a nice box of chocolates, you find a black paperboard pouch over with the Cayin mantra of “Never be the Same Again,” in gold. The contents of that pouch are plentiful including the screen protectors with an extra for the back, a very thorough instruction manual, the inspection card and two “HiRes” stickers. Under the pouch is the paperboard covered hard foam insert, which contains the N7. Pulling the insert and N7 out, you find the other accessories including two right angle jacks for 2.5bal to 3.5se and 2.5bal to 4.4bal. All connection options for your headphones are covered with the included jacks, except 6.35mm se.
Directly underneath the N7 lies another box, which contains the superb yellow Dignis case. Dignis is renowned for top quality cases, and this is no different (this one opening on the top, complete with magnetic clasp). The back of the case carries the familiar Cayin triangular shapes, complete with “slots” to see the geo-patterned back of the N7. This case is top notch, and I had no issues with using any of the buttons as some have mentioned on the Head-Fi thread. Tactility was excellent with no erroneous touches or wobbles. Also included in that extra box is a very sturdy USB-C to USB-C charging cable. This can be used for OTG use as well, I believe.
Straightforward, simple yet elegant.
Build/Technology/Function:
*Individual app usage will be detailed below, as well as technological functions/advancements.
Two years ago, I was privy to the excellent Cayin C9 Nutube headphone amplifier. I mentioned that had I the need for a single amplifier, the C9 might very well be it. Some on the threads have stated that they use the combination of the N7 and C9 together, and are thoroughly satisfied. While I agree, the cost of the pair runs right at $4k USD, and I would hope the user is happy. That said, the combination can be used for pretty much anything with the right combination of connections, replacing your two channel systems if needed. BT of course make running powered speakers a breeze as well.
The C9 had impeccable build qualities as does my N6ii. I have gone months without using the N6ii, to come back and note that the battery had drained only 5-10% when powered off (which is normal, but still wonderful to note. Updates are still had, which is excellent support from Cayin. And yes, still being in production certainly helps (Titanium version). The N7 follows these with exemplary build quality as well. I failed to remember that the actual unit was black (with midnight-blue geometric shapes accented on the back) and not yellow due to the excellent case. Slightly smaller than my iPhone 13 Pro Max, but markedly heavier to me, the N7 is not a small critter by any means. I would also recommend the case for everything, except when changing the single SD card (up to 1TB), because with the curved sides it is slippery.
The 5” screen takes up a good portion of the front, as it should. But good working edges are to be had all the way around. I remember the smartphone craze of “borderless” designs, and find the amount given to the edge on the N7 to be quite good, and allows functionality without accidentally changing something.
The gold accented volume knob on top showcases a pattern similar to a Native American sandpainting, and sits well protected, much like the N6ii, but not on the side. Actual movements of the knob were one for one, with no phantom movements, either. The left side holds a single micro-SD card slot, while the right holds the business items, including the usual on/off power bottom (at the top and larger) followed by FF, play/pause, and REW. A sleek, simple design, with easy functionality.
The bottom of the N7 is a veritable functions paradise, not unlike the C9. Some have mentioned that it takes a bit of getting used to the location of all inputs/outputs, but this is not dissimilar to iFi and some of their older wares. The two gold-lined jacks on the bottom right are for the 3.5mm se & 4.4mm bal headphone connections. The bottom left is for use as either a pre-amp or line-out, such as into the C9 or another amplifier. Both 3.5mm se and 4.4mm bal are included again. Under the Pre-Amp/LO options lies an I2S connection for digital use, and to the right of that the USB-C port for either charging or digital use as well such as a DAC from your computer. Digital Coax can be used as well. This is where the potential use for streaming into your two-channel system can come about, which seems to be more the norm these days.
Technology:
As noted in the picture above, the N7 comes with many improvements in technology from previous Cayin DAP’s, but are done without making the others superfluous. Of note first, is that the N7 is a fully discrete model, technology-wise. This means that no unwanted electrical passovers can ruin the flow from one part to the next. Isolation keeps unwanted energy from impeding the audio signal quality. We see this in fine home 2-channel systems, which allows the individual parts to function without interference from other parts. More manufacturers are turning to this design philosophy for the portable market as well. I applaud Cayin for doing this, even if the cost rises a bit to cover the tech involved. The discrete 1-Bit DAC converts digital signals to analogue through a resistor network composed of 128 pcs (4 x32) of high precision thin film resistors and, as quoted by Andy Kong, “a pure DSD DAC, that is designed to natively decode DSD format efficiently.”
Based off of the highly acclaimed Philips TDA1547, 1-bit is a dedicated Switch Capacitor Network chipset using technology from CD players. This technology is still in use in high-end Marantz CD players as an example, which lends further credence to the tech.
From Andy’s excellent explanation behind the tech involved:
“While reviewers and users appreciate 1-bit DAC technologies as natural, smooth, and realistic when compare to their analog experience in the practical world, they are inevitably not as popular as their PCM counterparts. The not-so-impressive measurements have hesitated a lot of vendors to devote their resources to 1-bit DAC. In addition, the existing solutions are far too bulky and consumed too much power for personal audio, so we didn’t have any 1-Bit DSD DAC implementation for DAP or even transportable DAC/Amp. To introduce 1-Bit DAC to our portable users, Cayin designs a micro-miniaturized 1-bit DAC circuit from fully discrete components:
As mentioned previously, 1-bit DAC is very sensitive to the integrity of the incoming digital signals, we have to perform a series of DSP pre-processing including re-clock, de-jitter, and noise shaping. The resulting bit-stream will then be passed to Audio Bridge where all incoming signals will be organized before feeding to the DAC circuit. If the incoming signal is DSD, then it will be pass-through without any conversion. If the incoming signal is PCM, it will be transcoded and upsampled to DSD512. Theoretically, FPGA is a good fit for this job, but the FPGA we adopted for N7 cannot handle (1) and (2) above simultaneously, we need to off-load either (1) or (2) to other options, and after numerous studies and experiments, we decided to add a single chip SRC (Sample Rate Converter). With this design, DSD playback will remain purely software-based DSP in (1) and (2), while PCM playback will go through the single chip SRC plus software DSP in FPGA/MCU.” (https://www.head-fi.org/threads/cay...xplored-frontier.966860/page-24#post-17422765)
The major knock on 1-bit seems to be that it provides the listener with a more laidback, smooth presentation of the sound, versus R2R technology, which purports to be more “mastering-like” in sound. Frankly, I don’t care as long as the critter sounds good to me.
To me, discrete technology is the next logical step in isolating any unwanted electrical interference, and worth the extra cost. Woo Audio has done it with their superb tube amplifiers for a good while, having a whole separate power source. I liken this to when many manufacturers went to purposefully-designed sound chambers in developing their in-ear monitors. Having a consistent chamber, which reproduces sound allows the chamber to be used across multiple models, or between custom & non-custom models. On a larger scale, this is no different than when Japanese cars (and VW) moved to single or a small number of platforms & engines to cut cost in the long run, while still having the ability to develop many different models. Discrete technology allows for any potential sound impurities or outside interference to be isolated or removed as a result.
Many manufacturers are moving towards dual band WIFI as well, giving the user options and in some instances, the 2.4gHz can be a more stable interface (or at least another option). I have found that the lower rate does present issues with some streaming platforms, but having the option is a good idea. I have Starlink at our cabin up north in the boonies, and my solar panel interface (and Arlo cameras) runs strictly off of the 2.4gHz option, so I can use the 5.0gHz for my audio/streaming/computer uses delight. Having the choice is good. Running BT 5.0 on the N7, while not the most current application, still affords excellent connectivity to all devices I tried, and without issue. The ability to run LDAC as well as AAC, UAT & SBC (2-way), gives the user the latest options for sound quality.
The N7 can also run either Class-A amplification, or Class-AB amplification. It used to be that Class-A was meant for high dollar items only, and kind of the Holy Grail of audio component systems. A status symbol, but with the goods to back it up. Many current budget systems run either AB or Class-D amplification, for the cost savings. My current office unit, the versatile Yamaha A-S301 (yes budget, but it meets my needs) is a Class-D. The Shanling M6 Pro DAP can run either A or AB as well. While the N7 is not to be considered in the affordable bracket, it shows that many manufacturers are moving to incorporate both A & AB for consumers. This is a win-win. Hand mounting of the amplification units is done, after matching each channel gain-wise as close as possible. Thus, Cayin insures the parts function as a whole, without distraction, or error.
While the amplification is solid state, the user can still hook the N7 up to the C9, for that NuTube sound, which gives you the ability to tailor your sound, and the many options available between the two. Hence the mere fact that the combination could be all you need in a small apartment (complete with powered speakers).
Quoting Andy again, “The discrete amp circuit of N7 offers Dual Amplification Operation (DAO), a feature that allows users to configure the HeadAmp circuit in class A or class AB and deliver different audio experiences.
Both Class A and Class AB headphone amplification circuits can eliminate the crossover distortion of the output stage satisfactorily, but they perform differently with regard to their harmonic distortion and intermodulation distortion. The difference mainly occurred in the distribution and weight of various harmonic distortions. Even if we are using the same circuit, like N7 or N8ii, changing the operation mode from Class A to Class AB, or vice versa, will deliver a different sound signature and minor deviation in sound quality.
In fact, there is not much difference between the total harmonic distortion (THD) and transient intermodulation distortion of the two Amplification Operation Modes of N7 HeadAmp, but the distribution and weight of each harmonic distortion in different modes are different. With Class A, the proportion of even-order harmonics such as the 2nd and 4th orders are increased, and the proportion of odd-order harmonics such as the 3rd and 5th order is decreased, and that explained why Class A and Class AB sound slightly different when you compare them in a critical audition.” (https://www.head-fi.org/threads/cay...xplored-frontier.966860/page-49#post-17462035)
While the two solid state amplifiers run on the same circuitry, isolating them in the discrete circuitry allows for each to play a part in the sound, independent of the other and without bother from outside (other parts) sources. Many do feel that pure Class-A, while sounding closer to the mastering of the music source, providing a less powerful amp as a result but a smoother signature (but use more power). Class-AB thus provides more power and a different sound (but uses less). Depending upon who you talk to, this can be good or bad. Class-A does take more (battery) power to run, and thus there are listening length differences between A & AB. Cayin has worked to minimize that discrepancy, starting with the C9. To me, this is an insignificant portion of the user experience as some songs demand AB, while other such as jazz (to me) prefer pure Class-A. Class-AB tends to provide a somewhat more dynamic signature to me, and Class-A a slightly warmer and richer, but without becoming drippy or too molasses-like. I switch between the two regularly on my M6 Pro, and did so here as well. The picture below describes what we should hear from the N7.
As per most devices as well, the round lighted button on the bottom shows the format playing by color from red to green to blue to magenta. This is the typical format for users, so familiarity should be easy.
Functions:
Running a customized Android 12.1, with Snapdragon 665, you get the latest snappiest OS for the N7 as well. That said, my N6ii still runs Android 8.1 and functions well. It did take me a bit to familiarize myself with the dropdown menu accessed by swiping down from the top. I do like that there are larger panels for each function on the N7, instead of the thin line item of previous iterations. Access to all usable functions is there, and you can even drag them about for a more personalized option. Other items can be added from the menu, listed below those tiles already present by clicking on the “pencil” to enter edit mode.
As noted above, I had no issues with the excellent case mounted, and tactile feel of all buttons was excellent. There was no “gap” between the case and button, the feeling was snug and secure, but not overly so. The one disadvantage to me is that the micro-SD card cannot be accessed unless the case is off. No bother really, since most of us have music on one card or stream from the device.
I was able to easily log into my Google Play account and download Qobuz, Tidal and the B&W app for use with the Px8’s in the testing. Functioning between apps was fairly quick, but there was some delay once inside both Tidal and Qobuz. This could easily have been the WIFI connection where I was as well. On my home network, the apps functioned as expected, and without much delay. There is also plenty of space to download all of your music apps, and I highly suggest you include your dedicated headphone apps, such as I did with the B&W for fully functionality of the headphones in use.
Sound:
After a long intro, what follows is my sound interpretations based upon the different listening options presented in the N7.
Summary:
The sound emanating from the N7 is as I expected, and hoped. Dynamic, full of energy and vibrancy when called upon, while technically quite proficient on both streaming platforms and internal use (including micro-SD card). This ranks up there with the best DAP’s I have heard, including the vaunted Astell & Kern ACRO CA1000. While not as technically proficient as the CA1000, the sound coming forth was rich, vibrant and accurate, based upon the many options available to the user for fine tuning to your tastes. While not cheap, this shows that DAPs are not dead, and hopefully can still be a huge part of the musical choices presented to us.
moar:
Listening to Ahmad Jamal’s Live version of “Poinciana” I am struck by the succinctness of each piano strike. Accurate and detailed, the supporting upright bass and drums fill the necessary gaps superbly. Timbre is accurate and detailed, providing me with a firsthand account like the front row. Moving to Lenny Kravit’s seminal song, “It Ain’t Over ‘Til It’s Over,” his voice is piercing, but delightful. S-sounds and upper notes are tight, and reach up into the limits of my tolerance. Yet, I still find myself reaching to turn the gold volume know UP, such is the musical experience from the song on Qobuz. Class-A here presents a more-forward signature, with cymbal strikes becoming more prominent and detailed. Class-AB sound fuller, but with less detail and clarity to me. On Class-A, that S-sound from his voice sounds more natural to me, and I leave Class-A on for forthcoming songs. Switching to Tidal for the same song, I find that Qobuz emits a warmer signature on the song than Tidal. I like both music applications and can see the continued use of both, even with the MQA debacle. FLAC is on the way for Tidal, so that seems to be a moot point.
Using the drop down menu to change amplification settings is a breeze, and you can truly change the sound song-by-song, or even within songs. A nice feature to have readily available. On Midnight Oil’s “Beds Are Burning,” I switched back to Class-AB, since to me the drum strikes were too prominent. To me, this song demands a warmer, richer signature (even though I preferred Class-AB here...) to fully engulf my senses in the immersive effect of death and destruction of our planet. A fitting song, less than a week after Earth Day.
Courtesy of the internet
Switching between Tidal and Qobuz, I did find the user interface for Tidal to be more accurate and usable. Tidal continuously showed song progress and time played and left on each song. Qobuz had trouble showing time left on songs. Mind you, this is a minor quibble, and not Cayin’s faults. Many of you won’t care that the time left shows 0:00, but I like knowing. Tactility of Tidal was slightly better as well to me. Those of you with Android phones or DAP’s most likely already know of these limitations.
Coincidentally, the Midnight Oil song listed above sounded better to me on Class-A in Tidal, but Class-AB in Qobuz. Make of that what you want, but having the ability to change on the fly definitely makes this nice to have (and this could be my preference to a warmer, richer sound...). Conversely Nat King Cole’s “L.O.V.E.” sounded better on Class-AB in Tidal to me, but Class-A in Qobuz. I find his pulsating voice can bother my upper end intolerance, and as a result, having the ability to change is a definite positive.
Using the excellent Letshuoer Cadenza 12, I find the combination exquisite. Considering the total cost, it should be. But synergy plays into many combinations and here this duo plays together nicely on the see-saw of audio.
Courtesy of the internet
Connection on BT was seamless, and Using the B&W Px8 allowed me to add another device without issue. While wearing, the connection was easy, and the voice told me confidently, “Second device connected.” Hence, I could easily switch between my phone and the N7 without issue. I found that while I appreciated the quick, seamless connection of the B&W, the sound quality was markedly behind the Cadenza 12, as it should be. While not unpleasant, I was jaded by the quality of the Letshuoer, something I thought would never happen after the Tape IEM. It is good to see the company changing directions and correcting mistakes. A review of them is forthcoming.
Had I listened to the Px8 first, I would be (and really am...) thoroughly satisfied. The combination is very, very good, but without downloading the app* (I have not yet), you lose some options, such as tailoring the ANC. You are stuck with ANC on, or off and Transparency. One annoying aspect of use with the Px8, was that after about 10 minutes, the volume dropped markedly. I can only assume this is the Px8 safeguard volume adjustment. Without the app, I could not defeat that. When pulling down the dropdown menus, the volume dropped as well. I will as a result download the app, along with the Sony app for use with the WH-1000XM5.
*With the app installed, the volume drop was defeated, but without any input from myself. It was magic in other words...
Connection to the Sony WH-1000XM5 was easy as well, once I turned BT off on my phone. Once done, connection was entered easily. Mind you, this was a quick check before bed, and hence more explanation will be had below. The Sony sounded quite good as well, and in some instances, I favor it over the Px8 for wireless headphone use.
What I am finding is that the N7 scales well with whatever listening device you use. But and here is the kicker, that scaling effect can jade you moving from a high-quality IEM such as the Cadenza, to lower-priced but thoroughly satisfying wireless headphones such as the Px8 or WH-1000XM5. Be prepared to allow yourself time to acclimate to each listening tool before making judgment.
When listening to my favorite DAP (portable), the Shanling M6 Pro in comparison, I am presented with a warm, rich signature; with enough detail to keep me interested. On pure sound though, the A&K CA1000 wins hands down to me plus, the ability to incorporate it into a 2-channel system as a streamer makes it a winner. With the Cayin N7 though, the ability to enhance the staging quality (think placement within the cubic space) and imaging complexity of the headphones & IEM’s I used, is also delivered with a very natural tonality. To me, it mimics the M6 Pro in this regard, but more so. I have a soft spot for the Shanling “house sound,” and the N7 is the closest I have come to equaling that signature I love. The ability to drive whatever I threw its way makes the N7 extremely versatile as well. Some have mentioned that it may lack the power to truly drive harder headphones, but I found no issue with my Audeze LCD-3’s.
Excellent soundstage came about across pretty much any IEM or headphone I threw its way, limited only on BT to me and the aforementioned B&W and Sony models. Class-A sounds superb on the Cadenza 12 and the LCD-3’s, almost equally well; except for the sound signature differences of course. That dynamic range of detail and clarity within most listening devices affords the N7 the ability to present an expansive soundstage no matter the device or music. But, with good authority and note weight; and that quality mentioned above. Timbre is rich, but without coloring the sound too much, and to me enhances that spaciousness of soundstage. To me this would be a “just right” soundstage. Not too big, not too small, just about equally present in all dimensions allowing the instruments to be placed accurately and in a supportive manner across the song. It is that expanse, which allows the notes good detail and weight, where a larger stage might yield notes of too thin a character; with too much air between those notes.
Courtesy of the internet
Pairing the N7 with the “pedestrian” BQEYZ Winter allowed me to showcase the N7 working effortlessly with IEMs of all price points. Jazz from Qobuz through the duo sounded crisp and clean, with a solid bass line supporting whatever I sent its way, from “Sonny Side Up,” to Dexter Gordon’s “Three O’clock In The Morning.” I was not left wanting with this duo, and could happily pair them for whatever I saw fit.
Some have mentioned that adding an external amplifier made for a fuller sounding signature, with harder to drive headphones. In other words, to fully drive a headphone. To test this, I paired the N7 with the excellent EarMen Angel using the 4.4bal LO, and my Audeze LCD-3 as the listening source. The music was divine, with the Angel not countering the somewhat warm, rich character of the N7; something I appreciated. I cannot really say if there was more or less detail, only that the extra power from the Angel afforded me to fully drive the LCD-3 with ease, and give the notes a bit better weight to them. Your experience will of course differ most likely depending upon what you pair the N7 with, but many have had good results with the equally excellent C9. It seems Cayin knew what they were doing when they gave us these options.
finale:
My time comes to an end. I have given the N7 50+ hours of my time over the two weeks, prying, probing, changing, listening, and finally settling in with some commonalities, regardless of what music I played. My preference for Class-A over Class-AB was not to be had, since a simple flip for each song afforded me a good, solid listening experience, song-dependent. Some I preferred Class-A. Some Class-AB. I can easily do this on my Shanling M6 Pro, including bringing in dual DAC’s as needed. It seems manufacturers are taking this into consideration, by giving the user more options with each upgrade.
Comparing the N7 to the N6ii seems a bit superfluous, unless you are looking to upgrade. In that regard, I will not make the choice for you. There are many options to tailor the N6ii to your tastes, what with the multiple motherboards, but you are stuck with Android 8.1. The N7’s Android 12 is miles ahead in terms of functionality and use. It works better (as an upgrade should), but is not entirely unfamiliar to those who use the Android platform. As such, you will appreciate the newer OS, but I posit that should not be the reason for the upgrade.
1-bit is another upgrade, which will allow you to isolate your sound from input to output without degradation. Fully-discrete technology is overdue, and I welcome this, even if it drives the cost up a bit. Those with better ears can be the judge as to whether that is worth their cost. In my two-channel system, I can tell the difference with the black background. The black background follows on portable use as well, but as for auditory benefits, better ears can judge.
So, we are left with a “near” flagship DAP, from one of the most respected companies out there. Along with Astell & Kern, and FiiO (iBasso & HiBy as well), Cayin seems to be telling us, we are not going to give up on the DAP, and you should not either. From their flagships to their lower models, you get extremely good performance and units, which will be with us for a good long time. You can easily hook this into your two-channel system as well, taking a bite out of the streaming technology. And in that regard, the N7 is leagues ahead of pretty much everything out there that cost less, or possibly even a bit more. I find that by adding the A&K ACRO CA1000 into my two-channel as a streamer, I am completely satiated with the sound, knowing that there isn’t a streamer this side of $4k that compares. I would put the N7 in that same sphere, and not just for the streaming. The sound, and ability to change settings to your heart’s desire make this a serious contender in the ultra-DAP level. You should consider it if you like Cayin products. You should consider it if you like FiiO or A&K or iBasso products as well. But I will not spend your money for you and you must decide whether that cost is worth it.
I appreciate Andy & Cayin including me on this tour, between Will and myself, we have a great appreciation for the marque, and for the N7. It really is an astounding product, and if you are in the market at this price, please give it a comparison with the others. It will be worth the effort.
Cheers.
Cayin N7
Intro: This sample is part of a North American tour. Andy Kong contacted me to see if I was interested, and of course I said yes. After my time, this unit will be sent to the next reviewer in line. My words for good or ill are mine only, with no affiliate connection what-so-ever.
I have a soft spot for Cayin DAP’s & portable headphone amplifiers. One of my current go-to DAP’s is still the venerable N6ii, running the E01 motherboard. I also have the A01 & T01, but prefer the E01 for its sound, which favors my tastes. I did find this odd, since it only comes in 3.5mm se connectivity. I have not tried the E02, nor do I plan to. My other go-to is an “older” Shanling M6 Pro. I have loved the Shanling “house-sound” since the original M5, which I still own. That said, I will bring in my TOTL neutral DAP, the older Questyle QP2R as well. To me it may just be the finest unencumbered sound out there, new or old. I do also have the Astell & Kern ACRO CA1000, and use it heavily as a DAP and streamer in my office two-channel system, so I will try to provide some comparative aspects there as well.
Over the course of my two weeks, I was able to get over 50 hours of listening. Some longer days, some shorter. I tried to accommodate all listening options as well. Others will have had more time to do that with their personal units.
The N7 retails for a cool $2k, so it is not cheap by any means. Plus, in this day of streamers taking center stage, does one truly need this item? You will have to be the judge of that. Slotted just below the N8i, but with some newer technology, the N7 is different enough not to step on the toes of its older sibling.
Specs:
Gear Used/Tested:
Cayin N6ii (E01)
Questyle QP2R
A&K ACRO CA 1000
Letshuoer Cadenza 12
B&W Px8
BQEYZ Winter
Audeze LCD3
Songs:
Mostly Qobuz & Tidal favorites list (everything from Jazz to U2 to David Grisman)
Unboxing:
Few nail the unboxing aspect every time. Focal comes to mind as one that does, having just finished a review of the excellent Stellia (eCoustics & Head-Fi), which does tend to set the unboxing bar. Cayin has always had nice unboxing experiences as well, but with a bit less bravado. More subtle, but still full of “oooo” moments.
Where others provide overly large boxes, Cayin uses efficiency to protect their wares. The N7 is a prime example of this, coming in a box more fit for a decent pair of IEM’s, except for the quality. The back is laden in gold foil, with black lettering of the specs and important information. Lifting the black rough patterned lid like a nice box of chocolates, you find a black paperboard pouch over with the Cayin mantra of “Never be the Same Again,” in gold. The contents of that pouch are plentiful including the screen protectors with an extra for the back, a very thorough instruction manual, the inspection card and two “HiRes” stickers. Under the pouch is the paperboard covered hard foam insert, which contains the N7. Pulling the insert and N7 out, you find the other accessories including two right angle jacks for 2.5bal to 3.5se and 2.5bal to 4.4bal. All connection options for your headphones are covered with the included jacks, except 6.35mm se.
Directly underneath the N7 lies another box, which contains the superb yellow Dignis case. Dignis is renowned for top quality cases, and this is no different (this one opening on the top, complete with magnetic clasp). The back of the case carries the familiar Cayin triangular shapes, complete with “slots” to see the geo-patterned back of the N7. This case is top notch, and I had no issues with using any of the buttons as some have mentioned on the Head-Fi thread. Tactility was excellent with no erroneous touches or wobbles. Also included in that extra box is a very sturdy USB-C to USB-C charging cable. This can be used for OTG use as well, I believe.
Straightforward, simple yet elegant.
Build/Technology/Function:
*Individual app usage will be detailed below, as well as technological functions/advancements.
Two years ago, I was privy to the excellent Cayin C9 Nutube headphone amplifier. I mentioned that had I the need for a single amplifier, the C9 might very well be it. Some on the threads have stated that they use the combination of the N7 and C9 together, and are thoroughly satisfied. While I agree, the cost of the pair runs right at $4k USD, and I would hope the user is happy. That said, the combination can be used for pretty much anything with the right combination of connections, replacing your two channel systems if needed. BT of course make running powered speakers a breeze as well.
The C9 had impeccable build qualities as does my N6ii. I have gone months without using the N6ii, to come back and note that the battery had drained only 5-10% when powered off (which is normal, but still wonderful to note. Updates are still had, which is excellent support from Cayin. And yes, still being in production certainly helps (Titanium version). The N7 follows these with exemplary build quality as well. I failed to remember that the actual unit was black (with midnight-blue geometric shapes accented on the back) and not yellow due to the excellent case. Slightly smaller than my iPhone 13 Pro Max, but markedly heavier to me, the N7 is not a small critter by any means. I would also recommend the case for everything, except when changing the single SD card (up to 1TB), because with the curved sides it is slippery.
The 5” screen takes up a good portion of the front, as it should. But good working edges are to be had all the way around. I remember the smartphone craze of “borderless” designs, and find the amount given to the edge on the N7 to be quite good, and allows functionality without accidentally changing something.
The gold accented volume knob on top showcases a pattern similar to a Native American sandpainting, and sits well protected, much like the N6ii, but not on the side. Actual movements of the knob were one for one, with no phantom movements, either. The left side holds a single micro-SD card slot, while the right holds the business items, including the usual on/off power bottom (at the top and larger) followed by FF, play/pause, and REW. A sleek, simple design, with easy functionality.
The bottom of the N7 is a veritable functions paradise, not unlike the C9. Some have mentioned that it takes a bit of getting used to the location of all inputs/outputs, but this is not dissimilar to iFi and some of their older wares. The two gold-lined jacks on the bottom right are for the 3.5mm se & 4.4mm bal headphone connections. The bottom left is for use as either a pre-amp or line-out, such as into the C9 or another amplifier. Both 3.5mm se and 4.4mm bal are included again. Under the Pre-Amp/LO options lies an I2S connection for digital use, and to the right of that the USB-C port for either charging or digital use as well such as a DAC from your computer. Digital Coax can be used as well. This is where the potential use for streaming into your two-channel system can come about, which seems to be more the norm these days.
Technology:
As noted in the picture above, the N7 comes with many improvements in technology from previous Cayin DAP’s, but are done without making the others superfluous. Of note first, is that the N7 is a fully discrete model, technology-wise. This means that no unwanted electrical passovers can ruin the flow from one part to the next. Isolation keeps unwanted energy from impeding the audio signal quality. We see this in fine home 2-channel systems, which allows the individual parts to function without interference from other parts. More manufacturers are turning to this design philosophy for the portable market as well. I applaud Cayin for doing this, even if the cost rises a bit to cover the tech involved. The discrete 1-Bit DAC converts digital signals to analogue through a resistor network composed of 128 pcs (4 x32) of high precision thin film resistors and, as quoted by Andy Kong, “a pure DSD DAC, that is designed to natively decode DSD format efficiently.”
Based off of the highly acclaimed Philips TDA1547, 1-bit is a dedicated Switch Capacitor Network chipset using technology from CD players. This technology is still in use in high-end Marantz CD players as an example, which lends further credence to the tech.
From Andy’s excellent explanation behind the tech involved:
“While reviewers and users appreciate 1-bit DAC technologies as natural, smooth, and realistic when compare to their analog experience in the practical world, they are inevitably not as popular as their PCM counterparts. The not-so-impressive measurements have hesitated a lot of vendors to devote their resources to 1-bit DAC. In addition, the existing solutions are far too bulky and consumed too much power for personal audio, so we didn’t have any 1-Bit DSD DAC implementation for DAP or even transportable DAC/Amp. To introduce 1-Bit DAC to our portable users, Cayin designs a micro-miniaturized 1-bit DAC circuit from fully discrete components:
- DSP Pre-processing: Enhance digital audio signal and output L+, L-, R+, and R- digital bitstream for fully balanced decoding.
- Audio Bridge: pass-through DSD unaltered, convert PCM to 1-bit bitstream before transmits to DAC circuit
- Discrete 1-Bit DAC: convert digital signal to analog signal through a resistor network composed of 128 pcs (4 x32) high precision Thin Film Resistors
- Power Supply: Sophisticated low-noise highly-isolated supply circuit to support different functions of digital and analog processing separately
As mentioned previously, 1-bit DAC is very sensitive to the integrity of the incoming digital signals, we have to perform a series of DSP pre-processing including re-clock, de-jitter, and noise shaping. The resulting bit-stream will then be passed to Audio Bridge where all incoming signals will be organized before feeding to the DAC circuit. If the incoming signal is DSD, then it will be pass-through without any conversion. If the incoming signal is PCM, it will be transcoded and upsampled to DSD512. Theoretically, FPGA is a good fit for this job, but the FPGA we adopted for N7 cannot handle (1) and (2) above simultaneously, we need to off-load either (1) or (2) to other options, and after numerous studies and experiments, we decided to add a single chip SRC (Sample Rate Converter). With this design, DSD playback will remain purely software-based DSP in (1) and (2), while PCM playback will go through the single chip SRC plus software DSP in FPGA/MCU.” (https://www.head-fi.org/threads/cay...xplored-frontier.966860/page-24#post-17422765)
The major knock on 1-bit seems to be that it provides the listener with a more laidback, smooth presentation of the sound, versus R2R technology, which purports to be more “mastering-like” in sound. Frankly, I don’t care as long as the critter sounds good to me.
To me, discrete technology is the next logical step in isolating any unwanted electrical interference, and worth the extra cost. Woo Audio has done it with their superb tube amplifiers for a good while, having a whole separate power source. I liken this to when many manufacturers went to purposefully-designed sound chambers in developing their in-ear monitors. Having a consistent chamber, which reproduces sound allows the chamber to be used across multiple models, or between custom & non-custom models. On a larger scale, this is no different than when Japanese cars (and VW) moved to single or a small number of platforms & engines to cut cost in the long run, while still having the ability to develop many different models. Discrete technology allows for any potential sound impurities or outside interference to be isolated or removed as a result.
Many manufacturers are moving towards dual band WIFI as well, giving the user options and in some instances, the 2.4gHz can be a more stable interface (or at least another option). I have found that the lower rate does present issues with some streaming platforms, but having the option is a good idea. I have Starlink at our cabin up north in the boonies, and my solar panel interface (and Arlo cameras) runs strictly off of the 2.4gHz option, so I can use the 5.0gHz for my audio/streaming/computer uses delight. Having the choice is good. Running BT 5.0 on the N7, while not the most current application, still affords excellent connectivity to all devices I tried, and without issue. The ability to run LDAC as well as AAC, UAT & SBC (2-way), gives the user the latest options for sound quality.
The N7 can also run either Class-A amplification, or Class-AB amplification. It used to be that Class-A was meant for high dollar items only, and kind of the Holy Grail of audio component systems. A status symbol, but with the goods to back it up. Many current budget systems run either AB or Class-D amplification, for the cost savings. My current office unit, the versatile Yamaha A-S301 (yes budget, but it meets my needs) is a Class-D. The Shanling M6 Pro DAP can run either A or AB as well. While the N7 is not to be considered in the affordable bracket, it shows that many manufacturers are moving to incorporate both A & AB for consumers. This is a win-win. Hand mounting of the amplification units is done, after matching each channel gain-wise as close as possible. Thus, Cayin insures the parts function as a whole, without distraction, or error.
While the amplification is solid state, the user can still hook the N7 up to the C9, for that NuTube sound, which gives you the ability to tailor your sound, and the many options available between the two. Hence the mere fact that the combination could be all you need in a small apartment (complete with powered speakers).
Quoting Andy again, “The discrete amp circuit of N7 offers Dual Amplification Operation (DAO), a feature that allows users to configure the HeadAmp circuit in class A or class AB and deliver different audio experiences.
Both Class A and Class AB headphone amplification circuits can eliminate the crossover distortion of the output stage satisfactorily, but they perform differently with regard to their harmonic distortion and intermodulation distortion. The difference mainly occurred in the distribution and weight of various harmonic distortions. Even if we are using the same circuit, like N7 or N8ii, changing the operation mode from Class A to Class AB, or vice versa, will deliver a different sound signature and minor deviation in sound quality.
In fact, there is not much difference between the total harmonic distortion (THD) and transient intermodulation distortion of the two Amplification Operation Modes of N7 HeadAmp, but the distribution and weight of each harmonic distortion in different modes are different. With Class A, the proportion of even-order harmonics such as the 2nd and 4th orders are increased, and the proportion of odd-order harmonics such as the 3rd and 5th order is decreased, and that explained why Class A and Class AB sound slightly different when you compare them in a critical audition.” (https://www.head-fi.org/threads/cay...xplored-frontier.966860/page-49#post-17462035)
While the two solid state amplifiers run on the same circuitry, isolating them in the discrete circuitry allows for each to play a part in the sound, independent of the other and without bother from outside (other parts) sources. Many do feel that pure Class-A, while sounding closer to the mastering of the music source, providing a less powerful amp as a result but a smoother signature (but use more power). Class-AB thus provides more power and a different sound (but uses less). Depending upon who you talk to, this can be good or bad. Class-A does take more (battery) power to run, and thus there are listening length differences between A & AB. Cayin has worked to minimize that discrepancy, starting with the C9. To me, this is an insignificant portion of the user experience as some songs demand AB, while other such as jazz (to me) prefer pure Class-A. Class-AB tends to provide a somewhat more dynamic signature to me, and Class-A a slightly warmer and richer, but without becoming drippy or too molasses-like. I switch between the two regularly on my M6 Pro, and did so here as well. The picture below describes what we should hear from the N7.
As per most devices as well, the round lighted button on the bottom shows the format playing by color from red to green to blue to magenta. This is the typical format for users, so familiarity should be easy.
Functions:
Running a customized Android 12.1, with Snapdragon 665, you get the latest snappiest OS for the N7 as well. That said, my N6ii still runs Android 8.1 and functions well. It did take me a bit to familiarize myself with the dropdown menu accessed by swiping down from the top. I do like that there are larger panels for each function on the N7, instead of the thin line item of previous iterations. Access to all usable functions is there, and you can even drag them about for a more personalized option. Other items can be added from the menu, listed below those tiles already present by clicking on the “pencil” to enter edit mode.
As noted above, I had no issues with the excellent case mounted, and tactile feel of all buttons was excellent. There was no “gap” between the case and button, the feeling was snug and secure, but not overly so. The one disadvantage to me is that the micro-SD card cannot be accessed unless the case is off. No bother really, since most of us have music on one card or stream from the device.
I was able to easily log into my Google Play account and download Qobuz, Tidal and the B&W app for use with the Px8’s in the testing. Functioning between apps was fairly quick, but there was some delay once inside both Tidal and Qobuz. This could easily have been the WIFI connection where I was as well. On my home network, the apps functioned as expected, and without much delay. There is also plenty of space to download all of your music apps, and I highly suggest you include your dedicated headphone apps, such as I did with the B&W for fully functionality of the headphones in use.
Sound:
After a long intro, what follows is my sound interpretations based upon the different listening options presented in the N7.
Summary:
The sound emanating from the N7 is as I expected, and hoped. Dynamic, full of energy and vibrancy when called upon, while technically quite proficient on both streaming platforms and internal use (including micro-SD card). This ranks up there with the best DAP’s I have heard, including the vaunted Astell & Kern ACRO CA1000. While not as technically proficient as the CA1000, the sound coming forth was rich, vibrant and accurate, based upon the many options available to the user for fine tuning to your tastes. While not cheap, this shows that DAPs are not dead, and hopefully can still be a huge part of the musical choices presented to us.
moar:
Listening to Ahmad Jamal’s Live version of “Poinciana” I am struck by the succinctness of each piano strike. Accurate and detailed, the supporting upright bass and drums fill the necessary gaps superbly. Timbre is accurate and detailed, providing me with a firsthand account like the front row. Moving to Lenny Kravit’s seminal song, “It Ain’t Over ‘Til It’s Over,” his voice is piercing, but delightful. S-sounds and upper notes are tight, and reach up into the limits of my tolerance. Yet, I still find myself reaching to turn the gold volume know UP, such is the musical experience from the song on Qobuz. Class-A here presents a more-forward signature, with cymbal strikes becoming more prominent and detailed. Class-AB sound fuller, but with less detail and clarity to me. On Class-A, that S-sound from his voice sounds more natural to me, and I leave Class-A on for forthcoming songs. Switching to Tidal for the same song, I find that Qobuz emits a warmer signature on the song than Tidal. I like both music applications and can see the continued use of both, even with the MQA debacle. FLAC is on the way for Tidal, so that seems to be a moot point.
Using the drop down menu to change amplification settings is a breeze, and you can truly change the sound song-by-song, or even within songs. A nice feature to have readily available. On Midnight Oil’s “Beds Are Burning,” I switched back to Class-AB, since to me the drum strikes were too prominent. To me, this song demands a warmer, richer signature (even though I preferred Class-AB here...) to fully engulf my senses in the immersive effect of death and destruction of our planet. A fitting song, less than a week after Earth Day.
Courtesy of the internet
Switching between Tidal and Qobuz, I did find the user interface for Tidal to be more accurate and usable. Tidal continuously showed song progress and time played and left on each song. Qobuz had trouble showing time left on songs. Mind you, this is a minor quibble, and not Cayin’s faults. Many of you won’t care that the time left shows 0:00, but I like knowing. Tactility of Tidal was slightly better as well to me. Those of you with Android phones or DAP’s most likely already know of these limitations.
Coincidentally, the Midnight Oil song listed above sounded better to me on Class-A in Tidal, but Class-AB in Qobuz. Make of that what you want, but having the ability to change on the fly definitely makes this nice to have (and this could be my preference to a warmer, richer sound...). Conversely Nat King Cole’s “L.O.V.E.” sounded better on Class-AB in Tidal to me, but Class-A in Qobuz. I find his pulsating voice can bother my upper end intolerance, and as a result, having the ability to change is a definite positive.
Using the excellent Letshuoer Cadenza 12, I find the combination exquisite. Considering the total cost, it should be. But synergy plays into many combinations and here this duo plays together nicely on the see-saw of audio.
Courtesy of the internet
Connection on BT was seamless, and Using the B&W Px8 allowed me to add another device without issue. While wearing, the connection was easy, and the voice told me confidently, “Second device connected.” Hence, I could easily switch between my phone and the N7 without issue. I found that while I appreciated the quick, seamless connection of the B&W, the sound quality was markedly behind the Cadenza 12, as it should be. While not unpleasant, I was jaded by the quality of the Letshuoer, something I thought would never happen after the Tape IEM. It is good to see the company changing directions and correcting mistakes. A review of them is forthcoming.
Had I listened to the Px8 first, I would be (and really am...) thoroughly satisfied. The combination is very, very good, but without downloading the app* (I have not yet), you lose some options, such as tailoring the ANC. You are stuck with ANC on, or off and Transparency. One annoying aspect of use with the Px8, was that after about 10 minutes, the volume dropped markedly. I can only assume this is the Px8 safeguard volume adjustment. Without the app, I could not defeat that. When pulling down the dropdown menus, the volume dropped as well. I will as a result download the app, along with the Sony app for use with the WH-1000XM5.
*With the app installed, the volume drop was defeated, but without any input from myself. It was magic in other words...
Connection to the Sony WH-1000XM5 was easy as well, once I turned BT off on my phone. Once done, connection was entered easily. Mind you, this was a quick check before bed, and hence more explanation will be had below. The Sony sounded quite good as well, and in some instances, I favor it over the Px8 for wireless headphone use.
What I am finding is that the N7 scales well with whatever listening device you use. But and here is the kicker, that scaling effect can jade you moving from a high-quality IEM such as the Cadenza, to lower-priced but thoroughly satisfying wireless headphones such as the Px8 or WH-1000XM5. Be prepared to allow yourself time to acclimate to each listening tool before making judgment.
When listening to my favorite DAP (portable), the Shanling M6 Pro in comparison, I am presented with a warm, rich signature; with enough detail to keep me interested. On pure sound though, the A&K CA1000 wins hands down to me plus, the ability to incorporate it into a 2-channel system as a streamer makes it a winner. With the Cayin N7 though, the ability to enhance the staging quality (think placement within the cubic space) and imaging complexity of the headphones & IEM’s I used, is also delivered with a very natural tonality. To me, it mimics the M6 Pro in this regard, but more so. I have a soft spot for the Shanling “house sound,” and the N7 is the closest I have come to equaling that signature I love. The ability to drive whatever I threw its way makes the N7 extremely versatile as well. Some have mentioned that it may lack the power to truly drive harder headphones, but I found no issue with my Audeze LCD-3’s.
Excellent soundstage came about across pretty much any IEM or headphone I threw its way, limited only on BT to me and the aforementioned B&W and Sony models. Class-A sounds superb on the Cadenza 12 and the LCD-3’s, almost equally well; except for the sound signature differences of course. That dynamic range of detail and clarity within most listening devices affords the N7 the ability to present an expansive soundstage no matter the device or music. But, with good authority and note weight; and that quality mentioned above. Timbre is rich, but without coloring the sound too much, and to me enhances that spaciousness of soundstage. To me this would be a “just right” soundstage. Not too big, not too small, just about equally present in all dimensions allowing the instruments to be placed accurately and in a supportive manner across the song. It is that expanse, which allows the notes good detail and weight, where a larger stage might yield notes of too thin a character; with too much air between those notes.
Courtesy of the internet
Pairing the N7 with the “pedestrian” BQEYZ Winter allowed me to showcase the N7 working effortlessly with IEMs of all price points. Jazz from Qobuz through the duo sounded crisp and clean, with a solid bass line supporting whatever I sent its way, from “Sonny Side Up,” to Dexter Gordon’s “Three O’clock In The Morning.” I was not left wanting with this duo, and could happily pair them for whatever I saw fit.
Some have mentioned that adding an external amplifier made for a fuller sounding signature, with harder to drive headphones. In other words, to fully drive a headphone. To test this, I paired the N7 with the excellent EarMen Angel using the 4.4bal LO, and my Audeze LCD-3 as the listening source. The music was divine, with the Angel not countering the somewhat warm, rich character of the N7; something I appreciated. I cannot really say if there was more or less detail, only that the extra power from the Angel afforded me to fully drive the LCD-3 with ease, and give the notes a bit better weight to them. Your experience will of course differ most likely depending upon what you pair the N7 with, but many have had good results with the equally excellent C9. It seems Cayin knew what they were doing when they gave us these options.
finale:
My time comes to an end. I have given the N7 50+ hours of my time over the two weeks, prying, probing, changing, listening, and finally settling in with some commonalities, regardless of what music I played. My preference for Class-A over Class-AB was not to be had, since a simple flip for each song afforded me a good, solid listening experience, song-dependent. Some I preferred Class-A. Some Class-AB. I can easily do this on my Shanling M6 Pro, including bringing in dual DAC’s as needed. It seems manufacturers are taking this into consideration, by giving the user more options with each upgrade.
Comparing the N7 to the N6ii seems a bit superfluous, unless you are looking to upgrade. In that regard, I will not make the choice for you. There are many options to tailor the N6ii to your tastes, what with the multiple motherboards, but you are stuck with Android 8.1. The N7’s Android 12 is miles ahead in terms of functionality and use. It works better (as an upgrade should), but is not entirely unfamiliar to those who use the Android platform. As such, you will appreciate the newer OS, but I posit that should not be the reason for the upgrade.
1-bit is another upgrade, which will allow you to isolate your sound from input to output without degradation. Fully-discrete technology is overdue, and I welcome this, even if it drives the cost up a bit. Those with better ears can be the judge as to whether that is worth their cost. In my two-channel system, I can tell the difference with the black background. The black background follows on portable use as well, but as for auditory benefits, better ears can judge.
So, we are left with a “near” flagship DAP, from one of the most respected companies out there. Along with Astell & Kern, and FiiO (iBasso & HiBy as well), Cayin seems to be telling us, we are not going to give up on the DAP, and you should not either. From their flagships to their lower models, you get extremely good performance and units, which will be with us for a good long time. You can easily hook this into your two-channel system as well, taking a bite out of the streaming technology. And in that regard, the N7 is leagues ahead of pretty much everything out there that cost less, or possibly even a bit more. I find that by adding the A&K ACRO CA1000 into my two-channel as a streamer, I am completely satiated with the sound, knowing that there isn’t a streamer this side of $4k that compares. I would put the N7 in that same sphere, and not just for the streaming. The sound, and ability to change settings to your heart’s desire make this a serious contender in the ultra-DAP level. You should consider it if you like Cayin products. You should consider it if you like FiiO or A&K or iBasso products as well. But I will not spend your money for you and you must decide whether that cost is worth it.
I appreciate Andy & Cayin including me on this tour, between Will and myself, we have a great appreciation for the marque, and for the N7. It really is an astounding product, and if you are in the market at this price, please give it a comparison with the others. It will be worth the effort.
Cheers.
ngoshawk
Much appreciated!
Cheers.
Cheers.
superkalou
Great DAP ! Thanks for the Review 
ngoshawk
Thank you! Have a great day.
Dunu Vulkan ($379): What’s in a name?
Vulkan
Upon reentering the portable market in earnest, the Dunu Titan 1 was my first purchase. For the price, it sounded quite good. Then Dunu seemed to fall a bit behind other far eastern manufacturers, or so it seemed. With the SA-6, Dunu reentered with vigor. Multiple changeable jacks were included, so all one needed to do was change the jack, not the whole cable. It worked, and we consider the SA-6 as one of the top contenders at the $500 IEM price. It also seemed that Dunu took a step away from the traditional far east sound of a nice bright signature, which carried over into plenty of air between notes. While not a bad signature, it really was not for everyone. That type of signature works wonders for classical or opera music in our opinion, but not so well with other genres.
Celebrating their 20th anniversary soon, Dunu started this road with the models mentioned earlier. Moving upscale, the DN-1000 coaxial hybrid IEM of roughly 10 years ago claimed to be the first hybrid IEM under $1000. While we mentioned that it seemed they had taken a step back and were not heard from for some time, they were working diligently on introducing their new technology into a budget-friendly price. The Vulkan is the latest evolution of their coaxial designs, using their expertise in design and tuning. Priced just under $400, it sits in the middle of their range, between Falcon Pro and EST112 (part of this information was taken from the follow excellent review: https://www.ear-fidelity.com/dunu-vulkan/)
The Vulkan follows this “new” Dunu sound/research with much going for it, including the changeable jack. With gorgeous looks, excellent build and the jacks going for it, there is much to like. Read on for more positive vibes.
Specs:
MODEL: DK-X6 (VULKAN)
NET WEIGHT: 17 g
FREQUENCY RESPONSE: 5 Hz – 40 kHz
IMPEDANCE: 15 Ω at 1 kHz
SENSITIVITY: 109 ± 1 dB at 1 kHz
TOTAL HARMONIC DISTORTION: < 0.3% at 1 kHz
DRIVER UNITS
DYNAMIC DRIVER UNITS [2]:
8 mm Cross-Linked Polyethylene Structural Foam Cell Dome with Soft Independent Surround [1]
8 mm Nanocrystalline Titanium-Coated Diaphragm [1]
BALANCED ARMATURE UNITS [4]:
Knowles Mid-High Driver (×2) [2]
Knowles Dual Supertweeter (×1) [2]
CABLE SPECIFICATIONS
WIRE MATERIAL: 4 Core, High-Purity, Silver-Plated OCC Copper Type 1 Litz (DUW-02S)
LENGTH: 1.2 ± 0.1 m
CABLE CONNECTOR: Patented Catch-Hold MMCX Connector
PLUG CONNECTOR: Patented Q-Lock PLUS Quick-Switch Modular Plug System
INCLUDED PLUG TERMINATIONS:
3.5 mm TRS Single-Ended
2.5 mm TRRS Balanced
4.4 mm TRRRS Balanced
Gear used:
Astell & Kern ACRO CA1000
Songs
Mostly jazz
Female vocals
The Beginning:
Packaging has always been a strong point for Dunu models, and when one spends this kind of money, the presentation melds well at this price. Much useful information is also printed on the box from specifications, to driver type and size; as well as information regarding the cable and accessories included. The cable itself is called the DUW-02S, with the Q-LOCK PLUS system for changing jacks. It’s a four-core, silver-plated OCC copper of type 1 Litz design. MMCX connectivity is used for additional support. The cable lays nicely and is of a softer variety, aiding in no microphonics.
The faceplates are inspired by the Japanese art of Mokume Gane, a 17th-century technology producing complex metal laminates in separate layers. The name translates to “wood grain steel”. This laminate was then used to produce swords and knives like katana, wakizashi, and tanto. You can somewhat feel the separate “layers” on the dark gray/black faceplate and under the right light, is stunning in presentation. A slot on the forward side acts as a vent, completing the look.
The same dark gray/black carries over into the moderately sized shells complete with “Vulkan” and either “L” or “R” on the inside. Thankfully, no fancy ear nubs are found on the inside, affording good insertion depth, even with the wider than “normal” nozzle. A silver screen covers the large nozzle as well. With a shrink wrap sleeve over the business end of the cable, there is a good over ear guide, leading to the understated stunning shell.
The Q-Lock Plus changeable jack system allows the user to utilize three jacks on one cable, alleviating the need for multiple cables. The wizardry inside switches to balanced or single-ended depending upon the connection, whether it be 3.5mm for single ended (TRS), or 2.5 (TRRS) & 4.4 (TRRRS) in balanced mode. One might worry about the complexity or failure rate, but you should not. Built to withstand several hundred to thousands of changes, the jacks hold up very well.
Technology:
The Vulkan utilizes six drivers per shell: four Knowles balanced armatures (2 mid-high & 2 super tweeter) along with one 8 mm Cross-Linked Polyethylene Structural Foam Cell Dome with Soft Independent Surround and one 8 mm Nanocrystalline Titanium-Coated Diaphragm (a co-ax dual dynamic driver). That vent slot (Air Control Impedance System, ACIS) on the faceplate helps alleviate pressure build up, as well as control the bass segments; giving more control over the lower end. Dunu does their testing inhouse, along with design and build so they can control all points except for the actual building of the drivers. This helps to control sound quality from build point to finished product as well.
Sound:
The SA-6 is one of our favorite IEM’s at the $500 price point. Many will be satiated with it to the point of stopping their search. The Vulkan may have the same effect, but at a lower price. With excellent upper reach control, and the dual dynamic drivers caring for the lower, the Vulkan proves its mettle across the sound spectrum.
The bass while not as impactful as some other dual dynamic drivers still holds its place with excellent control of the lower spectrum. Taut and controlled, I do wish for a little longer decay so those tendencies would linger. To me this would give more girth to the bass while not meddling too much into the mids. Nonetheless, the bass can show itself nicely such as on Taylor Swift’s new song Snow On The Beach. From her absolutely highly acclaimed Midnights album, the song enters with a solid bass line, and there is a bit of reverb through the Vulkan. The same holds true on You’re On Your Own, Kid, which makes me believe it is on purpose. Giving excellent tight control here makes that reverb all the more refreshing. Tip choice is paramount to good quality bass, and the Vulkan benefitted from one of my trusty Comply foam tips. Bass became very, very good as a result.
One need not say much about Swift’s vocals. They are divine. And through the Vulkan, there is a certain sumptuousness to it, which makes the musical notes completely believable. Often with multiple balanced armature drivers, there is a tendency to “overproduce” the upper mids leading into the high notes. Thankfully here, there is a certain trueness to her vocals, with no underlying analytical sounds either from the extremes of her vocals or the background instruments. With more drivers, you can run into a “business” of sound, which translates into that analytical sound of which I speak. Not here as her steamy voice comes through with complete realism.
Moving into the upper regions, cymbal clashes, even those made by digital representatives sound realistic as well. There is excellent reach of note, giving very good air to the notes, but not translating to a thinness often accompanied by extension in the treble region. This translates into good weight to the notes across the spectrum as well. Often when treble sounds brittle, or glitzy, it dissuades from the overall signature, making it seem thinner or more brittle. Not here though. The treble gives extension where needed, and spreads the notes out in an even manner, complimenting the taut and controlled bass. The benefit of this? The mids. Female vocals are made for the Vulkan. Trust me.
While the parts listed above give an excellent sound signature, I did find that the reach from the top makes for a bit tedious sound on some songs. Especially those with a preponderance of upper, such as EDM. Sound stage is still excellent in the three dimensions, giving very good placement to the instruments and layering. Height to me dominates the 3D cube, but not to the detriment of width or depth. In fact, that expansion may give a false sense of expansion, with the depth showing through with excellent character on certain songs. Width is beyond my ears, making its resolve to give that 3D shape good shape.
Conclusion:
We are fans of Dunu, counting some of their models as the best or near best in their respective price categories. We wholeheartedly recommend the SA-6 to many who have that money to spend, because with each jack change; you can tailor the signature a bit to fit your music. Dunu in its 20 years has taken that experience of “tinkering” to settle on a fairly unique structure with the changeable jacks, as well as providing an excellent sound foundation to back it up. While not perfect, the Vulkan shows it can certainly fit into the market as Dunu’s low-cost hybrid IEM. We hope that Dunu keeps innovating, going their own way to produce what they think is the best that they can provide. If the models mentioned here are the result, Dunu has followed their heritage line of hybrid driver IEM’s with exemplary fashion. We can highly recommend a listen if you are looking for a fun, engaging sound signature in your next IEM.
Vulkan
Upon reentering the portable market in earnest, the Dunu Titan 1 was my first purchase. For the price, it sounded quite good. Then Dunu seemed to fall a bit behind other far eastern manufacturers, or so it seemed. With the SA-6, Dunu reentered with vigor. Multiple changeable jacks were included, so all one needed to do was change the jack, not the whole cable. It worked, and we consider the SA-6 as one of the top contenders at the $500 IEM price. It also seemed that Dunu took a step away from the traditional far east sound of a nice bright signature, which carried over into plenty of air between notes. While not a bad signature, it really was not for everyone. That type of signature works wonders for classical or opera music in our opinion, but not so well with other genres.
Celebrating their 20th anniversary soon, Dunu started this road with the models mentioned earlier. Moving upscale, the DN-1000 coaxial hybrid IEM of roughly 10 years ago claimed to be the first hybrid IEM under $1000. While we mentioned that it seemed they had taken a step back and were not heard from for some time, they were working diligently on introducing their new technology into a budget-friendly price. The Vulkan is the latest evolution of their coaxial designs, using their expertise in design and tuning. Priced just under $400, it sits in the middle of their range, between Falcon Pro and EST112 (part of this information was taken from the follow excellent review: https://www.ear-fidelity.com/dunu-vulkan/)
The Vulkan follows this “new” Dunu sound/research with much going for it, including the changeable jack. With gorgeous looks, excellent build and the jacks going for it, there is much to like. Read on for more positive vibes.
Specs:
MODEL: DK-X6 (VULKAN)
NET WEIGHT: 17 g
FREQUENCY RESPONSE: 5 Hz – 40 kHz
IMPEDANCE: 15 Ω at 1 kHz
SENSITIVITY: 109 ± 1 dB at 1 kHz
TOTAL HARMONIC DISTORTION: < 0.3% at 1 kHz
DRIVER UNITS
DYNAMIC DRIVER UNITS [2]:
8 mm Cross-Linked Polyethylene Structural Foam Cell Dome with Soft Independent Surround [1]
8 mm Nanocrystalline Titanium-Coated Diaphragm [1]
BALANCED ARMATURE UNITS [4]:
Knowles Mid-High Driver (×2) [2]
Knowles Dual Supertweeter (×1) [2]
CABLE SPECIFICATIONS
WIRE MATERIAL: 4 Core, High-Purity, Silver-Plated OCC Copper Type 1 Litz (DUW-02S)
LENGTH: 1.2 ± 0.1 m
CABLE CONNECTOR: Patented Catch-Hold MMCX Connector
PLUG CONNECTOR: Patented Q-Lock PLUS Quick-Switch Modular Plug System
INCLUDED PLUG TERMINATIONS:
3.5 mm TRS Single-Ended
2.5 mm TRRS Balanced
4.4 mm TRRRS Balanced
Gear used:
Astell & Kern ACRO CA1000
Songs
Mostly jazz
Female vocals
The Beginning:
Packaging has always been a strong point for Dunu models, and when one spends this kind of money, the presentation melds well at this price. Much useful information is also printed on the box from specifications, to driver type and size; as well as information regarding the cable and accessories included. The cable itself is called the DUW-02S, with the Q-LOCK PLUS system for changing jacks. It’s a four-core, silver-plated OCC copper of type 1 Litz design. MMCX connectivity is used for additional support. The cable lays nicely and is of a softer variety, aiding in no microphonics.
The faceplates are inspired by the Japanese art of Mokume Gane, a 17th-century technology producing complex metal laminates in separate layers. The name translates to “wood grain steel”. This laminate was then used to produce swords and knives like katana, wakizashi, and tanto. You can somewhat feel the separate “layers” on the dark gray/black faceplate and under the right light, is stunning in presentation. A slot on the forward side acts as a vent, completing the look.
The same dark gray/black carries over into the moderately sized shells complete with “Vulkan” and either “L” or “R” on the inside. Thankfully, no fancy ear nubs are found on the inside, affording good insertion depth, even with the wider than “normal” nozzle. A silver screen covers the large nozzle as well. With a shrink wrap sleeve over the business end of the cable, there is a good over ear guide, leading to the understated stunning shell.
The Q-Lock Plus changeable jack system allows the user to utilize three jacks on one cable, alleviating the need for multiple cables. The wizardry inside switches to balanced or single-ended depending upon the connection, whether it be 3.5mm for single ended (TRS), or 2.5 (TRRS) & 4.4 (TRRRS) in balanced mode. One might worry about the complexity or failure rate, but you should not. Built to withstand several hundred to thousands of changes, the jacks hold up very well.
Technology:
The Vulkan utilizes six drivers per shell: four Knowles balanced armatures (2 mid-high & 2 super tweeter) along with one 8 mm Cross-Linked Polyethylene Structural Foam Cell Dome with Soft Independent Surround and one 8 mm Nanocrystalline Titanium-Coated Diaphragm (a co-ax dual dynamic driver). That vent slot (Air Control Impedance System, ACIS) on the faceplate helps alleviate pressure build up, as well as control the bass segments; giving more control over the lower end. Dunu does their testing inhouse, along with design and build so they can control all points except for the actual building of the drivers. This helps to control sound quality from build point to finished product as well.
Sound:
The SA-6 is one of our favorite IEM’s at the $500 price point. Many will be satiated with it to the point of stopping their search. The Vulkan may have the same effect, but at a lower price. With excellent upper reach control, and the dual dynamic drivers caring for the lower, the Vulkan proves its mettle across the sound spectrum.
The bass while not as impactful as some other dual dynamic drivers still holds its place with excellent control of the lower spectrum. Taut and controlled, I do wish for a little longer decay so those tendencies would linger. To me this would give more girth to the bass while not meddling too much into the mids. Nonetheless, the bass can show itself nicely such as on Taylor Swift’s new song Snow On The Beach. From her absolutely highly acclaimed Midnights album, the song enters with a solid bass line, and there is a bit of reverb through the Vulkan. The same holds true on You’re On Your Own, Kid, which makes me believe it is on purpose. Giving excellent tight control here makes that reverb all the more refreshing. Tip choice is paramount to good quality bass, and the Vulkan benefitted from one of my trusty Comply foam tips. Bass became very, very good as a result.
One need not say much about Swift’s vocals. They are divine. And through the Vulkan, there is a certain sumptuousness to it, which makes the musical notes completely believable. Often with multiple balanced armature drivers, there is a tendency to “overproduce” the upper mids leading into the high notes. Thankfully here, there is a certain trueness to her vocals, with no underlying analytical sounds either from the extremes of her vocals or the background instruments. With more drivers, you can run into a “business” of sound, which translates into that analytical sound of which I speak. Not here as her steamy voice comes through with complete realism.
Moving into the upper regions, cymbal clashes, even those made by digital representatives sound realistic as well. There is excellent reach of note, giving very good air to the notes, but not translating to a thinness often accompanied by extension in the treble region. This translates into good weight to the notes across the spectrum as well. Often when treble sounds brittle, or glitzy, it dissuades from the overall signature, making it seem thinner or more brittle. Not here though. The treble gives extension where needed, and spreads the notes out in an even manner, complimenting the taut and controlled bass. The benefit of this? The mids. Female vocals are made for the Vulkan. Trust me.
While the parts listed above give an excellent sound signature, I did find that the reach from the top makes for a bit tedious sound on some songs. Especially those with a preponderance of upper, such as EDM. Sound stage is still excellent in the three dimensions, giving very good placement to the instruments and layering. Height to me dominates the 3D cube, but not to the detriment of width or depth. In fact, that expansion may give a false sense of expansion, with the depth showing through with excellent character on certain songs. Width is beyond my ears, making its resolve to give that 3D shape good shape.
Conclusion:
We are fans of Dunu, counting some of their models as the best or near best in their respective price categories. We wholeheartedly recommend the SA-6 to many who have that money to spend, because with each jack change; you can tailor the signature a bit to fit your music. Dunu in its 20 years has taken that experience of “tinkering” to settle on a fairly unique structure with the changeable jacks, as well as providing an excellent sound foundation to back it up. While not perfect, the Vulkan shows it can certainly fit into the market as Dunu’s low-cost hybrid IEM. We hope that Dunu keeps innovating, going their own way to produce what they think is the best that they can provide. If the models mentioned here are the result, Dunu has followed their heritage line of hybrid driver IEM’s with exemplary fashion. We can highly recommend a listen if you are looking for a fun, engaging sound signature in your next IEM.
Ferdinando1968
They are fantastic IEMs, with visceral bass.
Drop x Etymotic ERX ($229): This collaboration works.
The ERX can be purchased here.
Introduction
Etymotic IEM’s are near legendary for their deep fitting nozzle. To the point that some won’t wear them. The design goal here though, is to put the musical emanating from that long nozzle closer to where the experience is: your inner ear. They have a reason for that and describe it as allowing musical purity to come about as a result. Closer to our listening mechanism, the inner ear allows for several benefits. 1. There is less of a chance distorting the music as it travels down your ear canal. 2. You can thus run your volume levels lower since it has a shorter, unencumbered distance with which to travel. And 3. Isolation is markedly better as a result, which help keep the sound signals we are listening to, closer to the original source.
Many will scoff at this, but using the included silicone tips, I found excellent isolation, only minimally hearing the outside noise of Leicester v Brighton & Hove Albion on the tele, as well as the keyboard punching, I was doing on my MBP. This afforded me the opportunity to enjoy Sonny Stitt & his small band up close and personal.
Drop has become near synonymous with taking existing audio units and putting their own twist & tune on them. And, while the wait for those products has dropped time-wise (a turtle used to be faster...), the price drop can make the difference to the consumer. Branching into collaboration, products such as this pays dividends for both company's involved and we as audio users are the beneficiary's.
Build/Specs/Fit
Using the EVO shell design, which Etymotic says is derived from nature, is a natural starting point for the partnership. Most Ety IEM’s are very well received and they have a devout following. This is not the first Ety I have heard and so far with both, the experience has been one of musical sound, with an honest interpretation.
The ERX with specs such as this makes for a recognizably easy IEM to use.
Fairly sensitive, but not overly sensitive makes the ERX a forgiving IEM, listening wise. Even with the long nozzle as well, fit is quite good, bordering on the custom side, but without having to finagle a custom into your ear. A tight-fitting cable affords the user good over ear use without bother either. Such a thin cable might be bothersome to some users, but it is not so tight as to warrant discomfort. Using the tried and true (but less available) T2 connections might put some off when it comes to aftermarket cables, but enough companies are making these connections available to not be a bother. I will say that while fit was very good, the unit still stuck out a bit from my ear, and that cable carried microphonics with it. Soft plastic around the thin cable makes for a sonic carrying device with regard to unwanted noises. The cable also rolls a bit, and has a hard time staying flat. Disappointed yes, but usable regardless. The right angle for the 3.5mm single ended jack is appreciated, keeping the cable out of harm’s way. Overall build is quite good, even the cable so one need not worry about longevity of the total unit.
A longer, rectangular Cordura wrapped semi-hard case affords the user the ability to carry extra tips and possibly a smaller DAP or Dongle/DAC with the ERX. It is nice to see the larger case, but still keep the inside items protected. Tip choice is good as well, with triple, double and single flange silicone in three sizes. A changeable filter and tool are also included. Placing the tips on the nozzle are a bit of a task, what with the long nozzle, but well worth the effort. I was never at a lack of comfort using either tip choice. I settled on the larger size, which afforded me good comfort and isolation.
With only a single balanced armature (BA) to each side, the shell can be kept to a minimum size as well. Even though the unit sticks further out than I would like, I never had an issue with weight or losing the seal.
Sound
Coordination with Drop used to mean selling your wares at a reduced price, but with a wait until a certain number of “obligations” was met with sales numbers. Drop has branched out successfully collaborating with many headphone manufacturers recently with good results. The ERX is no different.
Typically, a single BA lacks a real bass punch. Not here as the ERX has decently deep punch down low. Since it is a BA, we can also expect no bleed into the mids as well. Tight bass control is the result with a speedy attack and slightly slower decay, which gives us the result above, but without being sloppy. A very good foundation to start.
Mids are pushed forward, especially the instruments in that range such as pianos and Congo drums such as on Ray Bryant’s “Cubano Chant.” A thoroughly intoxicating song carries the beat so well, I replay it listening again for any missed attributes. Popping on a song from my Daily Choices from Tidal, “My Delusion” by Jarod James Nichols, affords good insight into the upper range, with very good extension in the treble region, while not becoming shouty or tedious. Followed by “That’s What Love Will Make You Do,” from Marc Broussard & Joe Bonamassa keeps that sparkle up top going. A tight, rich song with excellent guitar licks instilled into it, Broussard’ vocals come across as rich and clear, adding these treble notes (when he reaches) into a smooth, but vibrant character from the ERX.
Soundstage is neither too big nor too small. I would say it has better height than depth and width making for a smaller high-ceilinged venue feel to it. As a result, vertical layering is better distinguishable than separation and instrumentation. Nonetheless, this does not distract from a pleasantly detailed sound all that much. This bodes well for good rock music such as the songs mentioned above as well as multi-genres. Witnessed on “Let’s Go Trippin’” from The Belairs is a good example of the fun factor emanating from the ERX in good clarity and a tightly held song. “Too Much Sake” from Horace Silver allows the spunkiness of the beat to show through with good punch and clarity. Again, the fun factor shows, but could be labeled as “digging it.”
Conclusion
As stated above, Drop is raising their game with these collaborations. I have heard some that do not work well, and others that do. The Drop x Etymotic ERX definitely falls into the latter category. That fun, spunky, detailed sound is a real pleasure in which to listen across many genres. At this price point, you had better stand out from the crowd, and to me the ERX does. We are approaching the price where many will look at this as their end point, unwilling to go higher.
Many will also make this price their daily driver, and potentially only IEM in ownership. Those not familiar with the T2 cable jacks may need some caution. Aftermarket cables using the T2 are somewhat limited at affordable prices, making cable changes a potential issue. Microphonics are mostly kept in check on the stock cable, though. Also, tip selection may be limited due to the long proprietary nozzle, and you may not be able to use your favorite selection as a result. I found the included tips to work, but could not use my favorite foam Comply tips. Upper treble may not be up to snuff for some, but since I have upper treble limitations (they can become grating to me), the ERX never seemed to bother me. Yet, I can still easily recommend the ERX for audition and consideration. This is a very good IEM, regardless of price.
The ERX can be purchased here.
Introduction
Etymotic IEM’s are near legendary for their deep fitting nozzle. To the point that some won’t wear them. The design goal here though, is to put the musical emanating from that long nozzle closer to where the experience is: your inner ear. They have a reason for that and describe it as allowing musical purity to come about as a result. Closer to our listening mechanism, the inner ear allows for several benefits. 1. There is less of a chance distorting the music as it travels down your ear canal. 2. You can thus run your volume levels lower since it has a shorter, unencumbered distance with which to travel. And 3. Isolation is markedly better as a result, which help keep the sound signals we are listening to, closer to the original source.
Many will scoff at this, but using the included silicone tips, I found excellent isolation, only minimally hearing the outside noise of Leicester v Brighton & Hove Albion on the tele, as well as the keyboard punching, I was doing on my MBP. This afforded me the opportunity to enjoy Sonny Stitt & his small band up close and personal.
Drop has become near synonymous with taking existing audio units and putting their own twist & tune on them. And, while the wait for those products has dropped time-wise (a turtle used to be faster...), the price drop can make the difference to the consumer. Branching into collaboration, products such as this pays dividends for both company's involved and we as audio users are the beneficiary's.
Build/Specs/Fit
Using the EVO shell design, which Etymotic says is derived from nature, is a natural starting point for the partnership. Most Ety IEM’s are very well received and they have a devout following. This is not the first Ety I have heard and so far with both, the experience has been one of musical sound, with an honest interpretation.
The ERX with specs such as this makes for a recognizably easy IEM to use.
- Drop + Etymotic
- Frequency Response: 20Hz - 16KHz
- Transducers: Single high-performance balanced armature per channel
- Nominal Impedance: 45 Ohms @ 1kHz
- Sensitivity: 98 dB SPL for a 0.1Vrms input into IEC60318-4 ear simulator @1kHz
- Maximum Output: 120dB SPL
- Cable: 4 ft length, user-replaceable, with Estron T2 connectors
Fairly sensitive, but not overly sensitive makes the ERX a forgiving IEM, listening wise. Even with the long nozzle as well, fit is quite good, bordering on the custom side, but without having to finagle a custom into your ear. A tight-fitting cable affords the user good over ear use without bother either. Such a thin cable might be bothersome to some users, but it is not so tight as to warrant discomfort. Using the tried and true (but less available) T2 connections might put some off when it comes to aftermarket cables, but enough companies are making these connections available to not be a bother. I will say that while fit was very good, the unit still stuck out a bit from my ear, and that cable carried microphonics with it. Soft plastic around the thin cable makes for a sonic carrying device with regard to unwanted noises. The cable also rolls a bit, and has a hard time staying flat. Disappointed yes, but usable regardless. The right angle for the 3.5mm single ended jack is appreciated, keeping the cable out of harm’s way. Overall build is quite good, even the cable so one need not worry about longevity of the total unit.
A longer, rectangular Cordura wrapped semi-hard case affords the user the ability to carry extra tips and possibly a smaller DAP or Dongle/DAC with the ERX. It is nice to see the larger case, but still keep the inside items protected. Tip choice is good as well, with triple, double and single flange silicone in three sizes. A changeable filter and tool are also included. Placing the tips on the nozzle are a bit of a task, what with the long nozzle, but well worth the effort. I was never at a lack of comfort using either tip choice. I settled on the larger size, which afforded me good comfort and isolation.
With only a single balanced armature (BA) to each side, the shell can be kept to a minimum size as well. Even though the unit sticks further out than I would like, I never had an issue with weight or losing the seal.
Sound
Coordination with Drop used to mean selling your wares at a reduced price, but with a wait until a certain number of “obligations” was met with sales numbers. Drop has branched out successfully collaborating with many headphone manufacturers recently with good results. The ERX is no different.
Typically, a single BA lacks a real bass punch. Not here as the ERX has decently deep punch down low. Since it is a BA, we can also expect no bleed into the mids as well. Tight bass control is the result with a speedy attack and slightly slower decay, which gives us the result above, but without being sloppy. A very good foundation to start.
Mids are pushed forward, especially the instruments in that range such as pianos and Congo drums such as on Ray Bryant’s “Cubano Chant.” A thoroughly intoxicating song carries the beat so well, I replay it listening again for any missed attributes. Popping on a song from my Daily Choices from Tidal, “My Delusion” by Jarod James Nichols, affords good insight into the upper range, with very good extension in the treble region, while not becoming shouty or tedious. Followed by “That’s What Love Will Make You Do,” from Marc Broussard & Joe Bonamassa keeps that sparkle up top going. A tight, rich song with excellent guitar licks instilled into it, Broussard’ vocals come across as rich and clear, adding these treble notes (when he reaches) into a smooth, but vibrant character from the ERX.
Soundstage is neither too big nor too small. I would say it has better height than depth and width making for a smaller high-ceilinged venue feel to it. As a result, vertical layering is better distinguishable than separation and instrumentation. Nonetheless, this does not distract from a pleasantly detailed sound all that much. This bodes well for good rock music such as the songs mentioned above as well as multi-genres. Witnessed on “Let’s Go Trippin’” from The Belairs is a good example of the fun factor emanating from the ERX in good clarity and a tightly held song. “Too Much Sake” from Horace Silver allows the spunkiness of the beat to show through with good punch and clarity. Again, the fun factor shows, but could be labeled as “digging it.”
Conclusion
As stated above, Drop is raising their game with these collaborations. I have heard some that do not work well, and others that do. The Drop x Etymotic ERX definitely falls into the latter category. That fun, spunky, detailed sound is a real pleasure in which to listen across many genres. At this price point, you had better stand out from the crowd, and to me the ERX does. We are approaching the price where many will look at this as their end point, unwilling to go higher.
Many will also make this price their daily driver, and potentially only IEM in ownership. Those not familiar with the T2 cable jacks may need some caution. Aftermarket cables using the T2 are somewhat limited at affordable prices, making cable changes a potential issue. Microphonics are mostly kept in check on the stock cable, though. Also, tip selection may be limited due to the long proprietary nozzle, and you may not be able to use your favorite selection as a result. I found the included tips to work, but could not use my favorite foam Comply tips. Upper treble may not be up to snuff for some, but since I have upper treble limitations (they can become grating to me), the ERX never seemed to bother me. Yet, I can still easily recommend the ERX for audition and consideration. This is a very good IEM, regardless of price.
Beyerdynamics Xelento Remote Generation 2
Introduction
Coming off the heels of their excellent first TWS effort the Free Byrd, along with a stellar reputation from the first-generation models, the Xelento Remote G2 and Xelento Wireless G2 are here. Senior Headphone Editor W. Jennings has glowing recommendations of the marque’s headphones for their superb detailed sound, along with the studio models, which are highly sought in the sound industry as well. Widely acclaimed for a crisp, clear top end, many of their top headphones mimic this signature for the consumer. The two models will be Beyerdynamics last new models for the year, and from the look are gems in the making.
Beyerdynamic has a long history of making headphones. Since the DT48 (Dynamic Telephone) was launched in 1937, Beyer has been at the forefront of innovative headphones, and the DT label still stands with many of their studio models representing history, heritage and quality sound offerings. It is no coincidence then that the DT 900 Pro X makes our list as one of the best models for studio work. The Xelento first generations were quite good from the reviews and based upon history alone, have a tough act to follow, but just might be worthy of inclusion in Beyer’s long vaunted history.
Specs:
TECHNICAL SPECIFICATIONS
Transducers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-way, dynamic (Beyerdynamic TESLA.11)
Acoustic design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Closed
Frequency range . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 50,000 Hz
Sound coupling to the ear . . . . . . . . . . . . . . . . . . . . . . . . . . . In-ear
Ambient noise attenuation . . . . . . . . . . . . . . . . . 22 dBA at 1 kHz
Nominal impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Ω
Nominal sound pressure level . . . . . . . . . . . . . . . 114 dB at 1 mW
Nominal power handling capacity . . . . . . . . . . . . . . . . 200 mW
Max. sound pressure level . . . . . . . . . . . . . . . . . . . . . . . 134 dB SPL
T.H.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.02% at 1 kHz
Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MMCX (female)
Protection class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IPX4
Weight (without cable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 g
Hi-Res Audio certified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Yes
Connecting cable, jack balanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .None
Connection (player) . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.4 mm jack, 5-pole (Pentaconn)
Connecting cable, jack unbalanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . 3-button, universal* with microphone
Microphone type . . . . . . . MEMS analogue, omnidirectional
Connection (player) . . . . . . . . . . . . . . . . . . . . . mini jack (3.5 mm), 4-pole (CTIA pinouts)
Hard case
Dimensions W x H x D . . . . . . . . . . . . . . . . . . . . . . 70 x 134 x 24 mm
Unboxing:
Marketed as audible jewelry, the Xelento models are made right at the company headquarters in Heilbronn. Hand made in part, as well as hand finished, the Xelento sports Beyers latest Tesla driver, the Tesla.11; an 11.2 mm dynamic driver certified for Hi-Res Audio. High efficiency is achieved by a powerful neodymium ring magnet and the Tesla technology, making for a very fast responding driver. Limits of many dynamic drivers are the speed at which they can respond to sound inputs, limiting overall dynamism. The use of the ring magnet, and Tesla technology overcome this, but without making the character dry or analytical.
Coming in a rather unique package, with two diagonal opening flaps, the Xelento “jewelry” is presented front and center. Underneath you will find a glossy information sheet, with a larger than life image of the Xelento. Below that is the long front opening case, tips and the two cables, both in 1.3m length. One pentaconn 4.4bal cable is included along with a single-ended 3.5mm cable plus a microphone for use on the go. As a move towards additional strength, the connection is MMCX, which can also be used to accommodate Beyer’s Bluetooth module, making the Xelento Remote G2 a veritable option for use with your Smartphone. With CODEC’s of Qualcomm® aptX™ HD, Qualcomm®aptX™ Adaptive and LHDC as well as the integrated digital and analogue converter with amplifier from the AKM specialist ensure that wireless sound enjoyment is possible on all devices. This does of course put it into the price point of the higher model BT TWS models (or above them in price) but may just outperform those due to the wired technology as a first option. The module is a $299 option or one can get the Xelento Wireless G2 with it included for $1199, as opposed to the $999 here.
There is no getting around that the earbuds are small. Ornamentally small. A pear-shaped teardrop has a shiny metal faceplate laden with the “Y” on both in gold of the 24k variety. Yes, the logo is in solid gold inlay. The shiny surface then adds a bit of look to it, much like a mirror might make a room look bigger. Also, in real gold is the “Xelento” on both buds, along with a vent hole under said logo. The inside carries a black “L” or “R” for each bud along with “beyerdynamic,” also in black on the left and “made in Germany” on the right along with the unit’s serial number. The oblong nozzle also carries a black lip, with a screen attached. There is no denying the small size of the bud, but I did find the nozzle shape a bit odd. Comply T500 foam tips (s, m, l) are included along with seven, yes SEVEN sizes of oblong silicon tips (xs, s, m, l, xl, xxl, 3xl).
Some reviewers have complained about the small size of the Xelento G2, but I find it fits well, and is nearly flush when inserted; even with Comply’s attached. The cable does not come with any ear guides, making it a struggle to keep in place when using the cable as an over-ear on the front. There is a cable cinch, above the Y-splitter, so one could easily use the cable much like musicians do, routing it around back. For the audiophile though, this really isn’t an option, and ear guides would be appreciated. I was able to get the cables to stay in place, even with reading glasses on, but it took a concerted effort in doing. No microphonics were heard while using the silver-plated cable.
Presentation and build-wise, the Xelento Remote G2 is so far worthy of the price.
Sound
Coming off a custom IEM in the Campfire Audio Supermoon, with a higher price I found the fit of the Xelento G2 to be quite good, even with the large Comply tips. This afforded an excellent seal, and my incessant pecking of the MBP keyboard could not be heard at all. It might be that Beyerdynamic is onto something here.
Queueing Taylor Swift’s “Question…?” from her excellent Midnights album, the first impression was of typical dynamic driver deep reaching bass. But with the size, excellent rumble was had as well. The acoustic chamber design definitely plays a part here, but this has more of a rumble than many of late. That bass is controlled as well, with excellent decay (the magnet helps), allowing the bass to set the tone without encumbering the rest of the signature. A little bleed into the mids acted as a red-carpet treatment more than a hindrance to me, which leads to an uncharacteristic Beyerdynamic sound signature of which I will discuss below.
Swift’s vocals as a result came across as sublime, and dead center, with excellent definition to note and air between each note. That Tesla technology is playing a big part in the signature here, allowing a larger than life sound, but under excellent control. Support instruments here played their part, with easily defined location across the mids, and without stepping on each other’s toes. Often with dynamic drivers, the vocals are moved forward to accommodate the lack of energy, which can come about in a single driver. Not so here, and this adds to that uncharacteristic sound listed below, almost mimicking a dual driver technology.
Voluminous comes to mind when describing the soundstage. But with excellent weight to the notes so that space is filled with high quality sound as opposed to a large expanse of vacant space as often occurs with large soundstages that do not meet the IEM’s sound signature. Monty Alexander’s “Spunky” defines that space with percussion clearly to the left, while the piano occupies center stage. The upright bass holds the right, and you can clearly define the placement on stage in the recording; which is by design to give that expansiveness of which I speak. The expansive stage is further defined on “La Vida Es Un Carnaval” by Celia Cruz. A large horn section gives the song a big noted sound, and her piercing vocals fill in the space nicely. The solid bass adds to the notes, and the excellent percussion instruments extend the high end along with the trumpet high notes. But not too much like some IEM’s I have heard of late.
That treble note is often used to help define Beyerdynamic’s sound characteristics as excellent for studio monitors and here the Xelento Remote G2 does not go quite as high but has excellent weight in the trumpet’s notes mentioned. Sometimes when the upper notes are rounded, they tend to have less sparkle. Not here as the reach provides excellent expansion but without becoming grating or too piercing. Compared to the Supermoon, there is better definition, and a more realistic treatment of the upper notes. But the Supermoon does extend a bit further, which helps give it an expansive sound as well. Both are excellent but front slightly different directions.
I mentioned earlier about an “uncharacteristic” sound coming out from the Xelento G2. Beyer’s headphones and studio headphones have a typical sound to me, which promotes excellent quality of notes all around, but especially in the upper end. With excellent definition and detail, they make for fabulous monitoring or even reference quality headphones. This really isn’t my flavor, and I subsequently sold a model I owned to Will, who took them without hesitation. But the Xelento Remote G2 are different. There is a smoothness to the signature, which pervades my senses across the sound spectrum using the 4.4 balanced cable (both, actually). This is not the “typical” Beyerdynamic sound to me, but I very much appreciate it. There is richness in the details presented no matter what I listened to, and that signature carried over into a warmer richness, which is my preferred signature. Even that bass carrying into the lower mids does not hinder the quality, offering up a platform for a smooth transfer into the mids and subsequent vocals; no matter the source. If this was by design (I never heard the G1 models), I very much approve.
That richness in character is still presented as a highly detailed sound, with excellent clarity of the notes. You can hear Taylor Swift take her breath’s ever so softly, and with a warmth you might not find on a more “clinically-driven” sound. That breath may come across as a bit harsh as opposed to sublime and sensuous. For giggles, I switched to the excellent DDHiFi BC130B 4.4 balanced cable in copper. Slightly better detail came about, and with an even richer tone. The Xelento Remote was showing that it could play well across many platforms. As easy as the Xelento is to drive, the DDHiFi cable made it easier yet. I had to turn the volume down on the Astell & Kern ACRO CA1000 by about 7-8 numbers on the volume scale for the same “perceived” sound level.
Switching to the microphone 3.5 single ended cable did not diminish the overall listening pleasure of the Xelento G2, either. Controls were easy, and when paired with a Smartphone (iPhone dongle for me), the call quality of the microphone made for a quite acceptable option. A lack of microphonics certainly helped as well.
Conclusion
Coming into this, we had high praise for the Free Byrd TWS from Beyer. As a first attempt at TWS technology in a higher priced bracket it is an excellent model, especially coming in at a lower price than some of its competitors. The Xelento Remote and Xelento Wireless may have had a part in that, with their excellent sound, build and technology. But the Xelento models stood on their own before the Free Byrd and based upon the Xelento Remote G2 can certainly do so with this iteration. We found it to be one of the best sounding models at this price, which is chock full of excellent sounding IEM’s.
From the warmth pervading, but without lacking in quality details, the Xelento G2 comes across as a smooth operator, with soundstage that should make others envious. But that expansive soundstage does not come at the detriment of the rest in the signature. Good rumble down low carries you into smooth mids, with real character, ending with enough sparkle to satiate my upper end tolerances. The overall sound signature of the Xelento Remote G2 is one that can definitely hold its own within this price, and on its own merits, making this one of the best to come across our desks in a good while.
Introduction
Coming off the heels of their excellent first TWS effort the Free Byrd, along with a stellar reputation from the first-generation models, the Xelento Remote G2 and Xelento Wireless G2 are here. Senior Headphone Editor W. Jennings has glowing recommendations of the marque’s headphones for their superb detailed sound, along with the studio models, which are highly sought in the sound industry as well. Widely acclaimed for a crisp, clear top end, many of their top headphones mimic this signature for the consumer. The two models will be Beyerdynamics last new models for the year, and from the look are gems in the making.
Beyerdynamic has a long history of making headphones. Since the DT48 (Dynamic Telephone) was launched in 1937, Beyer has been at the forefront of innovative headphones, and the DT label still stands with many of their studio models representing history, heritage and quality sound offerings. It is no coincidence then that the DT 900 Pro X makes our list as one of the best models for studio work. The Xelento first generations were quite good from the reviews and based upon history alone, have a tough act to follow, but just might be worthy of inclusion in Beyer’s long vaunted history.
Specs:
TECHNICAL SPECIFICATIONS
Transducers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-way, dynamic (Beyerdynamic TESLA.11)
Acoustic design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Closed
Frequency range . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 50,000 Hz
Sound coupling to the ear . . . . . . . . . . . . . . . . . . . . . . . . . . . In-ear
Ambient noise attenuation . . . . . . . . . . . . . . . . . 22 dBA at 1 kHz
Nominal impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Ω
Nominal sound pressure level . . . . . . . . . . . . . . . 114 dB at 1 mW
Nominal power handling capacity . . . . . . . . . . . . . . . . 200 mW
Max. sound pressure level . . . . . . . . . . . . . . . . . . . . . . . 134 dB SPL
T.H.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.02% at 1 kHz
Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MMCX (female)
Protection class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IPX4
Weight (without cable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 g
Hi-Res Audio certified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Yes
Connecting cable, jack balanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .None
Connection (player) . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.4 mm jack, 5-pole (Pentaconn)
Connecting cable, jack unbalanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . 3-button, universal* with microphone
Microphone type . . . . . . . MEMS analogue, omnidirectional
Connection (player) . . . . . . . . . . . . . . . . . . . . . mini jack (3.5 mm), 4-pole (CTIA pinouts)
Hard case
Dimensions W x H x D . . . . . . . . . . . . . . . . . . . . . . 70 x 134 x 24 mm
Unboxing:
Marketed as audible jewelry, the Xelento models are made right at the company headquarters in Heilbronn. Hand made in part, as well as hand finished, the Xelento sports Beyers latest Tesla driver, the Tesla.11; an 11.2 mm dynamic driver certified for Hi-Res Audio. High efficiency is achieved by a powerful neodymium ring magnet and the Tesla technology, making for a very fast responding driver. Limits of many dynamic drivers are the speed at which they can respond to sound inputs, limiting overall dynamism. The use of the ring magnet, and Tesla technology overcome this, but without making the character dry or analytical.
Coming in a rather unique package, with two diagonal opening flaps, the Xelento “jewelry” is presented front and center. Underneath you will find a glossy information sheet, with a larger than life image of the Xelento. Below that is the long front opening case, tips and the two cables, both in 1.3m length. One pentaconn 4.4bal cable is included along with a single-ended 3.5mm cable plus a microphone for use on the go. As a move towards additional strength, the connection is MMCX, which can also be used to accommodate Beyer’s Bluetooth module, making the Xelento Remote G2 a veritable option for use with your Smartphone. With CODEC’s of Qualcomm® aptX™ HD, Qualcomm®aptX™ Adaptive and LHDC as well as the integrated digital and analogue converter with amplifier from the AKM specialist ensure that wireless sound enjoyment is possible on all devices. This does of course put it into the price point of the higher model BT TWS models (or above them in price) but may just outperform those due to the wired technology as a first option. The module is a $299 option or one can get the Xelento Wireless G2 with it included for $1199, as opposed to the $999 here.
There is no getting around that the earbuds are small. Ornamentally small. A pear-shaped teardrop has a shiny metal faceplate laden with the “Y” on both in gold of the 24k variety. Yes, the logo is in solid gold inlay. The shiny surface then adds a bit of look to it, much like a mirror might make a room look bigger. Also, in real gold is the “Xelento” on both buds, along with a vent hole under said logo. The inside carries a black “L” or “R” for each bud along with “beyerdynamic,” also in black on the left and “made in Germany” on the right along with the unit’s serial number. The oblong nozzle also carries a black lip, with a screen attached. There is no denying the small size of the bud, but I did find the nozzle shape a bit odd. Comply T500 foam tips (s, m, l) are included along with seven, yes SEVEN sizes of oblong silicon tips (xs, s, m, l, xl, xxl, 3xl).
Some reviewers have complained about the small size of the Xelento G2, but I find it fits well, and is nearly flush when inserted; even with Comply’s attached. The cable does not come with any ear guides, making it a struggle to keep in place when using the cable as an over-ear on the front. There is a cable cinch, above the Y-splitter, so one could easily use the cable much like musicians do, routing it around back. For the audiophile though, this really isn’t an option, and ear guides would be appreciated. I was able to get the cables to stay in place, even with reading glasses on, but it took a concerted effort in doing. No microphonics were heard while using the silver-plated cable.
Presentation and build-wise, the Xelento Remote G2 is so far worthy of the price.
Sound
Coming off a custom IEM in the Campfire Audio Supermoon, with a higher price I found the fit of the Xelento G2 to be quite good, even with the large Comply tips. This afforded an excellent seal, and my incessant pecking of the MBP keyboard could not be heard at all. It might be that Beyerdynamic is onto something here.
Queueing Taylor Swift’s “Question…?” from her excellent Midnights album, the first impression was of typical dynamic driver deep reaching bass. But with the size, excellent rumble was had as well. The acoustic chamber design definitely plays a part here, but this has more of a rumble than many of late. That bass is controlled as well, with excellent decay (the magnet helps), allowing the bass to set the tone without encumbering the rest of the signature. A little bleed into the mids acted as a red-carpet treatment more than a hindrance to me, which leads to an uncharacteristic Beyerdynamic sound signature of which I will discuss below.
Swift’s vocals as a result came across as sublime, and dead center, with excellent definition to note and air between each note. That Tesla technology is playing a big part in the signature here, allowing a larger than life sound, but under excellent control. Support instruments here played their part, with easily defined location across the mids, and without stepping on each other’s toes. Often with dynamic drivers, the vocals are moved forward to accommodate the lack of energy, which can come about in a single driver. Not so here, and this adds to that uncharacteristic sound listed below, almost mimicking a dual driver technology.
Voluminous comes to mind when describing the soundstage. But with excellent weight to the notes so that space is filled with high quality sound as opposed to a large expanse of vacant space as often occurs with large soundstages that do not meet the IEM’s sound signature. Monty Alexander’s “Spunky” defines that space with percussion clearly to the left, while the piano occupies center stage. The upright bass holds the right, and you can clearly define the placement on stage in the recording; which is by design to give that expansiveness of which I speak. The expansive stage is further defined on “La Vida Es Un Carnaval” by Celia Cruz. A large horn section gives the song a big noted sound, and her piercing vocals fill in the space nicely. The solid bass adds to the notes, and the excellent percussion instruments extend the high end along with the trumpet high notes. But not too much like some IEM’s I have heard of late.
That treble note is often used to help define Beyerdynamic’s sound characteristics as excellent for studio monitors and here the Xelento Remote G2 does not go quite as high but has excellent weight in the trumpet’s notes mentioned. Sometimes when the upper notes are rounded, they tend to have less sparkle. Not here as the reach provides excellent expansion but without becoming grating or too piercing. Compared to the Supermoon, there is better definition, and a more realistic treatment of the upper notes. But the Supermoon does extend a bit further, which helps give it an expansive sound as well. Both are excellent but front slightly different directions.
I mentioned earlier about an “uncharacteristic” sound coming out from the Xelento G2. Beyer’s headphones and studio headphones have a typical sound to me, which promotes excellent quality of notes all around, but especially in the upper end. With excellent definition and detail, they make for fabulous monitoring or even reference quality headphones. This really isn’t my flavor, and I subsequently sold a model I owned to Will, who took them without hesitation. But the Xelento Remote G2 are different. There is a smoothness to the signature, which pervades my senses across the sound spectrum using the 4.4 balanced cable (both, actually). This is not the “typical” Beyerdynamic sound to me, but I very much appreciate it. There is richness in the details presented no matter what I listened to, and that signature carried over into a warmer richness, which is my preferred signature. Even that bass carrying into the lower mids does not hinder the quality, offering up a platform for a smooth transfer into the mids and subsequent vocals; no matter the source. If this was by design (I never heard the G1 models), I very much approve.
That richness in character is still presented as a highly detailed sound, with excellent clarity of the notes. You can hear Taylor Swift take her breath’s ever so softly, and with a warmth you might not find on a more “clinically-driven” sound. That breath may come across as a bit harsh as opposed to sublime and sensuous. For giggles, I switched to the excellent DDHiFi BC130B 4.4 balanced cable in copper. Slightly better detail came about, and with an even richer tone. The Xelento Remote was showing that it could play well across many platforms. As easy as the Xelento is to drive, the DDHiFi cable made it easier yet. I had to turn the volume down on the Astell & Kern ACRO CA1000 by about 7-8 numbers on the volume scale for the same “perceived” sound level.
Switching to the microphone 3.5 single ended cable did not diminish the overall listening pleasure of the Xelento G2, either. Controls were easy, and when paired with a Smartphone (iPhone dongle for me), the call quality of the microphone made for a quite acceptable option. A lack of microphonics certainly helped as well.
Conclusion
Coming into this, we had high praise for the Free Byrd TWS from Beyer. As a first attempt at TWS technology in a higher priced bracket it is an excellent model, especially coming in at a lower price than some of its competitors. The Xelento Remote and Xelento Wireless may have had a part in that, with their excellent sound, build and technology. But the Xelento models stood on their own before the Free Byrd and based upon the Xelento Remote G2 can certainly do so with this iteration. We found it to be one of the best sounding models at this price, which is chock full of excellent sounding IEM’s.
From the warmth pervading, but without lacking in quality details, the Xelento G2 comes across as a smooth operator, with soundstage that should make others envious. But that expansive soundstage does not come at the detriment of the rest in the signature. Good rumble down low carries you into smooth mids, with real character, ending with enough sparkle to satiate my upper end tolerances. The overall sound signature of the Xelento Remote G2 is one that can definitely hold its own within this price, and on its own merits, making this one of the best to come across our desks in a good while.
Taka0302
I read with interest your review of the Xelento Remote G2.
Is the fit of the Xelento Remote G2 better than the Xelento Remote G1?
Is the fit of the Xelento Remote G2 better than the Xelento Remote G1?
ngoshawk
I have not tried the first gen Xelento. But the G2 is so small, that fit should not be a problem, unless your canal is large enough so that insertion is too deep.
Beyerdynamics Xelento Remote Generation 2
Introduction
Coming off the heels of their excellent first TWS effort the Free Byrd, along with a stellar reputation from the first-generation models, the Xelento Remote G2 and Xelento Wireless G2 are here. Senior Headphone Editor W. Jennings has glowing recommendations of the marque’s headphones for their superb detailed sound, along with the studio models, which are highly sought in the sound industry as well. Widely acclaimed for a crisp, clear top end, many of their top headphones mimic this signature for the consumer. The two models will be Beyerdynamics last new models for the year, and from the look are gems in the making.
Beyerdynamic has a long history of making headphones. Since the DT48 (Dynamic Telephone) was launched in 1937, Beyer has been at the forefront of innovative headphones, and the DT label still stands with many of their studio models representing history, heritage and quality sound offerings. It is no coincidence then that the DT 900 Pro X makes our list as one of the best models for studio work. The Xelento first generations were quite good from the reviews and based upon history alone, have a tough act to follow, but just might be worthy of inclusion in Beyer’s long vaunted history.
Specs:
TECHNICAL SPECIFICATIONS
Transducers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-way, dynamic (Beyerdynamic TESLA.11)
Acoustic design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Closed
Frequency range . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 50,000 Hz
Sound coupling to the ear . . . . . . . . . . . . . . . . . . . . . . . . . . . In-ear
Ambient noise attenuation . . . . . . . . . . . . . . . . . 22 dBA at 1 kHz
Nominal impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Ω
Nominal sound pressure level . . . . . . . . . . . . . . . 114 dB at 1 mW
Nominal power handling capacity . . . . . . . . . . . . . . . . 200 mW
Max. sound pressure level . . . . . . . . . . . . . . . . . . . . . . . 134 dB SPL
T.H.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.02% at 1 kHz
Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MMCX (female)
Protection class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IPX4
Weight (without cable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 g
Hi-Res Audio certified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Yes
Connecting cable, jack balanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .None
Connection (player) . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.4 mm jack, 5-pole (Pentaconn)
Connecting cable, jack unbalanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . 3-button, universal* with microphone
Microphone type . . . . . . . MEMS analogue, omnidirectional
Connection (player) . . . . . . . . . . . . . . . . . . . . . mini jack (3.5 mm), 4-pole (CTIA pinouts)
Hard case
Dimensions W x H x D . . . . . . . . . . . . . . . . . . . . . . 70 x 134 x 24 mm
Unboxing:
Marketed as audible jewelry, the Xelento models are made right at the company headquarters in Heilbronn. Hand made in part, as well as hand finished, the Xelento sports Beyers latest Tesla driver, the Tesla.11; an 11.2 mm dynamic driver certified for Hi-Res Audio. High efficiency is achieved by a powerful neodymium ring magnet and the Tesla technology, making for a very fast responding driver. Limits of many dynamic drivers are the speed at which they can respond to sound inputs, limiting overall dynamism. The use of the ring magnet, and Tesla technology overcome this, but without making the character dry or analytical.
Coming in a rather unique package, with two diagonal opening flaps, the Xelento “jewelry” is presented front and center. Underneath you will find a glossy information sheet, with a larger than life image of the Xelento. Below that is the long front opening case, tips and the two cables, both in 1.3m length. One pentaconn 4.4bal cable is included along with a single-ended 3.5mm cable plus a microphone for use on the go. As a move towards additional strength, the connection is MMCX, which can also be used to accommodate Beyer’s Bluetooth module, making the Xelento Remote G2 a veritable option for use with your Smartphone. With CODEC’s of Qualcomm® aptX™ HD, Qualcomm®aptX™ Adaptive and LHDC as well as the integrated digital and analogue converter with amplifier from the AKM specialist ensure that wireless sound enjoyment is possible on all devices. This does of course put it into the price point of the higher model BT TWS models (or above them in price) but may just outperform those due to the wired technology as a first option. The module is a $299 option or one can get the Xelento Wireless G2 with it included for $1199, as opposed to the $999 here.
There is no getting around that the earbuds are small. Ornamentally small. A pear-shaped teardrop has a shiny metal faceplate laden with the “Y” on both in gold of the 24k variety. Yes, the logo is in solid gold inlay. The shiny surface then adds a bit of look to it, much like a mirror might make a room look bigger. Also, in real gold is the “Xelento” on both buds, along with a vent hole under said logo. The inside carries a black “L” or “R” for each bud along with “beyerdynamic,” also in black on the left and “made in Germany” on the right along with the unit’s serial number. The oblong nozzle also carries a black lip, with a screen attached. There is no denying the small size of the bud, but I did find the nozzle shape a bit odd. Comply T500 foam tips (s, m, l) are included along with seven, yes SEVEN sizes of oblong silicon tips (xs, s, m, l, xl, xxl, 3xl).
Some reviewers have complained about the small size of the Xelento G2, but I find it fits well, and is nearly flush when inserted; even with Comply’s attached. The cable does not come with any ear guides, making it a struggle to keep in place when using the cable as an over-ear on the front. There is a cable cinch, above the Y-splitter, so one could easily use the cable much like musicians do, routing it around back. For the audiophile though, this really isn’t an option, and ear guides would be appreciated. I was able to get the cables to stay in place, even with reading glasses on, but it took a concerted effort in doing. No microphonics were heard while using the silver-plated cable.
Presentation and build-wise, the Xelento Remote G2 is so far worthy of the price.
Sound
Coming off a custom IEM in the Campfire Audio Supermoon, with a higher price I found the fit of the Xelento G2 to be quite good, even with the large Comply tips. This afforded an excellent seal, and my incessant pecking of the MBP keyboard could not be heard at all. It might be that Beyerdynamic is onto something here.
Queueing Taylor Swift’s “Question…?” from her excellent Midnights album, the first impression was of typical dynamic driver deep reaching bass. But with the size, excellent rumble was had as well. The acoustic chamber design definitely plays a part here, but this has more of a rumble than many of late. That bass is controlled as well, with excellent decay (the magnet helps), allowing the bass to set the tone without encumbering the rest of the signature. A little bleed into the mids acted as a red-carpet treatment more than a hinderance to me, which leads to an uncharacteristic Beyerdynamic sound signature of which I will discuss below.
Swift’s vocals as a result came across as sublime, and dead center, with excellent definition to note and air between each note. That Tesla technology is playing a big part in the signature here, allowing a larger than life sound, but under excellent control. Support instruments here played their part, with easily defined location across the mids, and without stepping on each other’s toes. Often with dynamic drivers, the vocals are moved forward to accommodate the lack of energy, which can come about in a single driver. Not so here, and this adds to that uncharacterized sound listed below, almost mimicking a dual driver technology.
Voluminous comes to mind when describing the soundstage. But with excellent weight to the notes so that space is filled with high quality sound as opposed to a large expanse of vacant space as often occurs with large soundstages that do not meet the IEM’s sound signature. Monty Alexander’s “Spunky” defines that space with percussion clearly to the left, while the piano occupies center stage. The upright bass holds the right, and you can clearly define the placement on stage in the recording; which is by design to give that expansiveness of which I speak. The expansive stage is further defined on “La Vida Es Un Carnaval” by Celia Cruz. A large horn section gives the song a big noted sound, and her piercing vocals fill in the space nicely. The solid bass adds to the notes, and the excellent percussion instruments extend the high end along with the trumpet high notes. But not too much like some IEM’s I have heard of late.
That treble note is often used to help define Beyerdynamic’s sound characteristics as excellent for studio monitors and here the Xelento Remote G2 does not go quite as high but has excellent weight in the trumpet’s notes mentioned. Sometimes when the upper notes are rounded, they tend to have less sparkle. Not here as the reach provides excellent expansion but without becoming grating or too piercing. Compared to the Supermoon, there is better definition, and a more realistic treatment of the upper notes. But the Supermoon does extend a bit further, which helps give it an expansive sound as well. Both are excellent but front slightly different directions.
I mentioned earlier about an “uncharacteristic” sound coming out from the Xelento G2. Beyer’s headphones and studio headphones have a typical sound to me, which promotes excellent quality of notes all around, but especially in the upper end. With excellent definition and detail, they make for fabulous monitoring or even reference quality headphones. This really isn’t my flavor, and I subsequently sold a model I owned to Will, who took them without hesitation. But the Xelento Remote G2 are different. There is a smoothness to the signature, which pervades my senses across the sound spectrum using the 4.4 balanced cable (both, actually). This is not the “typical” Beyerdynamic sound to me, but I very much appreciate it. There is richness in the details presented no matter what I listened to, and that signature carried over into a warmer richness, which is my preferred signature. Even that bass carrying into the lower mids does not hinder the quality, offering up a platform for a smooth transfer into the mids and subsequent vocals; no matter the source. If this was by design (I never heard the G1 models), I very much approve.
That richness in character is still presented as a highly detailed sound, with excellent clarity of the notes. You can hear Taylor Swift take her breath’s ever so softly, and with a warmth you might not find on a more “clinically-driven” sound. That breath may come across as a bit harsh as opposed to sublime and sensuous. For giggles, I switched to the excellent DDHiFi BC130B 4.4 balanced cable in copper. Slightly better detail came about, and with an even richer tone. The Xelento Remote was showing that it could play well across many platforms. As easy as the Xelento is to drive, the DDHiFi cable made it easier yet. I had to turn the volume down on the Astell & Kern ACRO CA1000 by about 7-8 numbers on the volume scale for the same “perceived” sound level.
Switching to the microphone 3.5 single ended cable did not diminish the overall listening pleasure of the Xelento G2, either. Controls were easy, and when paired with a Smartphone (iPhone dongle for me), the call quality of the microphone made for a quite acceptable option. A lack of microphonics certainly helped as well.
Conclusion
Coming into this, we had high praise for the Free Byrd TWS from Beyer. As a first attempt at TWS technology in a higher priced bracket it is an excellent model, especially coming in at a lower price than some of its competitors. The Xelento Remote and Xelento Wireless may have had a part in that, with their excellent sound, build and technology. But the Xelento models stood on their own before the Free Byrd and based upon the Xelento Remote G2 can certainly do so with this iteration. We found it to be one of the best sounding models at this price, which is chock full of excellent sounding IEM’s.
From the warmth pervading, but without lacking in quality details, the Xelento G2 comes across as a smooth operator, with soundstage that should make others envious. But that expansive soundstage does not come at the detriment of the rest in the signature. Good rumble down low carries you into smooth mids, with real character, ending with enough sparkle to satiate my upper end tolerances. The overall sound signature of the Xelento Remote G2 is one that can definitely hold its own within this price, and on its own merits, making this one of the best to come across our desks in a good while.
Introduction
Coming off the heels of their excellent first TWS effort the Free Byrd, along with a stellar reputation from the first-generation models, the Xelento Remote G2 and Xelento Wireless G2 are here. Senior Headphone Editor W. Jennings has glowing recommendations of the marque’s headphones for their superb detailed sound, along with the studio models, which are highly sought in the sound industry as well. Widely acclaimed for a crisp, clear top end, many of their top headphones mimic this signature for the consumer. The two models will be Beyerdynamics last new models for the year, and from the look are gems in the making.
Beyerdynamic has a long history of making headphones. Since the DT48 (Dynamic Telephone) was launched in 1937, Beyer has been at the forefront of innovative headphones, and the DT label still stands with many of their studio models representing history, heritage and quality sound offerings. It is no coincidence then that the DT 900 Pro X makes our list as one of the best models for studio work. The Xelento first generations were quite good from the reviews and based upon history alone, have a tough act to follow, but just might be worthy of inclusion in Beyer’s long vaunted history.
Specs:
TECHNICAL SPECIFICATIONS
Transducers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-way, dynamic (Beyerdynamic TESLA.11)
Acoustic design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Closed
Frequency range . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 50,000 Hz
Sound coupling to the ear . . . . . . . . . . . . . . . . . . . . . . . . . . . In-ear
Ambient noise attenuation . . . . . . . . . . . . . . . . . 22 dBA at 1 kHz
Nominal impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Ω
Nominal sound pressure level . . . . . . . . . . . . . . . 114 dB at 1 mW
Nominal power handling capacity . . . . . . . . . . . . . . . . 200 mW
Max. sound pressure level . . . . . . . . . . . . . . . . . . . . . . . 134 dB SPL
T.H.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.02% at 1 kHz
Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MMCX (female)
Protection class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IPX4
Weight (without cable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 g
Hi-Res Audio certified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Yes
Connecting cable, jack balanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .None
Connection (player) . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.4 mm jack, 5-pole (Pentaconn)
Connecting cable, jack unbalanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . 3-button, universal* with microphone
Microphone type . . . . . . . MEMS analogue, omnidirectional
Connection (player) . . . . . . . . . . . . . . . . . . . . . mini jack (3.5 mm), 4-pole (CTIA pinouts)
Hard case
Dimensions W x H x D . . . . . . . . . . . . . . . . . . . . . . 70 x 134 x 24 mm
Unboxing:
Marketed as audible jewelry, the Xelento models are made right at the company headquarters in Heilbronn. Hand made in part, as well as hand finished, the Xelento sports Beyers latest Tesla driver, the Tesla.11; an 11.2 mm dynamic driver certified for Hi-Res Audio. High efficiency is achieved by a powerful neodymium ring magnet and the Tesla technology, making for a very fast responding driver. Limits of many dynamic drivers are the speed at which they can respond to sound inputs, limiting overall dynamism. The use of the ring magnet, and Tesla technology overcome this, but without making the character dry or analytical.
Coming in a rather unique package, with two diagonal opening flaps, the Xelento “jewelry” is presented front and center. Underneath you will find a glossy information sheet, with a larger than life image of the Xelento. Below that is the long front opening case, tips and the two cables, both in 1.3m length. One pentaconn 4.4bal cable is included along with a single-ended 3.5mm cable plus a microphone for use on the go. As a move towards additional strength, the connection is MMCX, which can also be used to accommodate Beyer’s Bluetooth module, making the Xelento Remote G2 a veritable option for use with your Smartphone. With CODEC’s of Qualcomm® aptX™ HD, Qualcomm®aptX™ Adaptive and LHDC as well as the integrated digital and analogue converter with amplifier from the AKM specialist ensure that wireless sound enjoyment is possible on all devices. This does of course put it into the price point of the higher model BT TWS models (or above them in price) but may just outperform those due to the wired technology as a first option. The module is a $299 option or one can get the Xelento Wireless G2 with it included for $1199, as opposed to the $999 here.
There is no getting around that the earbuds are small. Ornamentally small. A pear-shaped teardrop has a shiny metal faceplate laden with the “Y” on both in gold of the 24k variety. Yes, the logo is in solid gold inlay. The shiny surface then adds a bit of look to it, much like a mirror might make a room look bigger. Also, in real gold is the “Xelento” on both buds, along with a vent hole under said logo. The inside carries a black “L” or “R” for each bud along with “beyerdynamic,” also in black on the left and “made in Germany” on the right along with the unit’s serial number. The oblong nozzle also carries a black lip, with a screen attached. There is no denying the small size of the bud, but I did find the nozzle shape a bit odd. Comply T500 foam tips (s, m, l) are included along with seven, yes SEVEN sizes of oblong silicon tips (xs, s, m, l, xl, xxl, 3xl).
Some reviewers have complained about the small size of the Xelento G2, but I find it fits well, and is nearly flush when inserted; even with Comply’s attached. The cable does not come with any ear guides, making it a struggle to keep in place when using the cable as an over-ear on the front. There is a cable cinch, above the Y-splitter, so one could easily use the cable much like musicians do, routing it around back. For the audiophile though, this really isn’t an option, and ear guides would be appreciated. I was able to get the cables to stay in place, even with reading glasses on, but it took a concerted effort in doing. No microphonics were heard while using the silver-plated cable.
Presentation and build-wise, the Xelento Remote G2 is so far worthy of the price.
Sound
Coming off a custom IEM in the Campfire Audio Supermoon, with a higher price I found the fit of the Xelento G2 to be quite good, even with the large Comply tips. This afforded an excellent seal, and my incessant pecking of the MBP keyboard could not be heard at all. It might be that Beyerdynamic is onto something here.
Queueing Taylor Swift’s “Question…?” from her excellent Midnights album, the first impression was of typical dynamic driver deep reaching bass. But with the size, excellent rumble was had as well. The acoustic chamber design definitely plays a part here, but this has more of a rumble than many of late. That bass is controlled as well, with excellent decay (the magnet helps), allowing the bass to set the tone without encumbering the rest of the signature. A little bleed into the mids acted as a red-carpet treatment more than a hinderance to me, which leads to an uncharacteristic Beyerdynamic sound signature of which I will discuss below.
Swift’s vocals as a result came across as sublime, and dead center, with excellent definition to note and air between each note. That Tesla technology is playing a big part in the signature here, allowing a larger than life sound, but under excellent control. Support instruments here played their part, with easily defined location across the mids, and without stepping on each other’s toes. Often with dynamic drivers, the vocals are moved forward to accommodate the lack of energy, which can come about in a single driver. Not so here, and this adds to that uncharacterized sound listed below, almost mimicking a dual driver technology.
Voluminous comes to mind when describing the soundstage. But with excellent weight to the notes so that space is filled with high quality sound as opposed to a large expanse of vacant space as often occurs with large soundstages that do not meet the IEM’s sound signature. Monty Alexander’s “Spunky” defines that space with percussion clearly to the left, while the piano occupies center stage. The upright bass holds the right, and you can clearly define the placement on stage in the recording; which is by design to give that expansiveness of which I speak. The expansive stage is further defined on “La Vida Es Un Carnaval” by Celia Cruz. A large horn section gives the song a big noted sound, and her piercing vocals fill in the space nicely. The solid bass adds to the notes, and the excellent percussion instruments extend the high end along with the trumpet high notes. But not too much like some IEM’s I have heard of late.
That treble note is often used to help define Beyerdynamic’s sound characteristics as excellent for studio monitors and here the Xelento Remote G2 does not go quite as high but has excellent weight in the trumpet’s notes mentioned. Sometimes when the upper notes are rounded, they tend to have less sparkle. Not here as the reach provides excellent expansion but without becoming grating or too piercing. Compared to the Supermoon, there is better definition, and a more realistic treatment of the upper notes. But the Supermoon does extend a bit further, which helps give it an expansive sound as well. Both are excellent but front slightly different directions.
I mentioned earlier about an “uncharacteristic” sound coming out from the Xelento G2. Beyer’s headphones and studio headphones have a typical sound to me, which promotes excellent quality of notes all around, but especially in the upper end. With excellent definition and detail, they make for fabulous monitoring or even reference quality headphones. This really isn’t my flavor, and I subsequently sold a model I owned to Will, who took them without hesitation. But the Xelento Remote G2 are different. There is a smoothness to the signature, which pervades my senses across the sound spectrum using the 4.4 balanced cable (both, actually). This is not the “typical” Beyerdynamic sound to me, but I very much appreciate it. There is richness in the details presented no matter what I listened to, and that signature carried over into a warmer richness, which is my preferred signature. Even that bass carrying into the lower mids does not hinder the quality, offering up a platform for a smooth transfer into the mids and subsequent vocals; no matter the source. If this was by design (I never heard the G1 models), I very much approve.
That richness in character is still presented as a highly detailed sound, with excellent clarity of the notes. You can hear Taylor Swift take her breath’s ever so softly, and with a warmth you might not find on a more “clinically-driven” sound. That breath may come across as a bit harsh as opposed to sublime and sensuous. For giggles, I switched to the excellent DDHiFi BC130B 4.4 balanced cable in copper. Slightly better detail came about, and with an even richer tone. The Xelento Remote was showing that it could play well across many platforms. As easy as the Xelento is to drive, the DDHiFi cable made it easier yet. I had to turn the volume down on the Astell & Kern ACRO CA1000 by about 7-8 numbers on the volume scale for the same “perceived” sound level.
Switching to the microphone 3.5 single ended cable did not diminish the overall listening pleasure of the Xelento G2, either. Controls were easy, and when paired with a Smartphone (iPhone dongle for me), the call quality of the microphone made for a quite acceptable option. A lack of microphonics certainly helped as well.
Conclusion
Coming into this, we had high praise for the Free Byrd TWS from Beyer. As a first attempt at TWS technology in a higher priced bracket it is an excellent model, especially coming in at a lower price than some of its competitors. The Xelento Remote and Xelento Wireless may have had a part in that, with their excellent sound, build and technology. But the Xelento models stood on their own before the Free Byrd and based upon the Xelento Remote G2 can certainly do so with this iteration. We found it to be one of the best sounding models at this price, which is chock full of excellent sounding IEM’s.
From the warmth pervading, but without lacking in quality details, the Xelento G2 comes across as a smooth operator, with soundstage that should make others envious. But that expansive soundstage does not come at the detriment of the rest in the signature. Good rumble down low carries you into smooth mids, with real character, ending with enough sparkle to satiate my upper end tolerances. The overall sound signature of the Xelento Remote G2 is one that can definitely hold its own within this price, and on its own merits, making this one of the best to come across our desks in a good while.
Astrotec Phoenix6 ($1599): Astrotec aims for the moon and hits it with flames!
Phoenix6
Intro: A good review friend of ours loaned me the Phoenix6 for listening. I liked it so much, that I am turning it into a (late) review. I graciously thank this fellow for the loan of the IEM. It will be returned (late!) to this fine fellow upon completion.
Astrotec is known for many models in the $100-300 range. They have also produced some successful TWS bud, expanding into that market. But, the Phoenix6 blows right on by these moderately priced items straight into TOTL range. This fits squarely with the Campfire Audio Supermoon Custom ($1500) as well as the THIEAUDIO V16 Divinity ($1499), the Fearless Audio ACME10 ($1799) and the Unique Melody MEST MKii ($1499). This is a tough bracket, and well above what Astrotec has done in the past. From my initial listening’s, and further; the Phoenix6 can certainly hold its own in this “near-TOTL” category.
The company’s first tribrid deserves a deep look.
Specs:
Features:
>Astrotec’s First Tribrid Configuration.
>Six-driver design.
>Four Sonion Electrostatic Super Tweeters.
>One Sonion Balanced Armature Driver.
>One Customized Dynamic Driver.
>Unique design with Titanium Alloy cavities.
>Lively, Detailed Sound Performance with sweet vocals.
>Balanced tuning with good extensions at both ends.
>High-purity silver-plated OFC cable.
Technical Parameters:
>Impedance: 5Ω.
>Sensitivity: 108dB/mW.
>Cable: high-purity OCC 4.4mm+silver-plated 3.5mm.
>Connectors: 2-Pin.
>Frequency response: 5Hz-50kHz.
>Input Power: 1mW.
>Max Power: 5mW.
Gear Used/Compared:
CFA Supermoon Custom ($1500)
UE Live Custom ($2200)
Astell & Kern ACRO CA1000
Astell & Kern 120 Titan
Songs:
Jazz
Grateful Dead
Taylor Swift
Billy Holiday
Sarah Vaughan
Unboxing:
Many companies of late have gone with Anime artistry for the design of their boxes. Astrotec’s box is similar, but with gold lettering and a constellation on the back, you guessed it; the Phoenix. Laden with much useful information on the back, and a tasteful image of the IEMs on the front; the sleeve is well done. Opening the clamshell type flap like a book, you have another black paper cover with a nice thank you note from Astrotec.
Lifting that off, you are met with a tannish colored IEM case on the bottom, wrapped in soft foam; and the IEMs in the middle, surrounding a block of metal complete with serial number. A hole in two corners allows you to add this block to a keychain. It is of good heft as well as looking shiny and bright. Above that is a hard foam insert complete with silicon tips of three sizes and formulations along with two sets of foam tips. Tips for vocal & bass treatment are included as well as tri-flange in two sizes. Under that is the accessories pouch in a sleeve, in case you would rather carry the Phoenix in that as opposed to the hard case. Under that is the warranty card, and round inspection card to complete the package.
Tasteful and fairly efficient (and protective) of space, the presentation is a good one.
Form/Fit/Function:
Coming with two gorgeous white-silver colored cables, the start of the Phoenix is stunning. It is a trick, though as both cables are of High-Purity OCC Copper. The Titanium shells look fit for jewelry with a tasteful sheen to them that is neither too garish, nor too subdued. The shells are still heavy, but not so much in the ear.
The Phoenix are elegant at which to look as well. The Titanium shells and faceplate lend a more traditional old-world look to them, which I appreciate. It seems we are moving back into the garish look, and these thankfully go the opposite direction. I am glad they did this. Those six-sided pressings on the faceplate look handmade, and shaped, lending even more credence to the old-world look. These would be at home in an old Medieval castle scene as in our ears. The white silver OCC Copper cable looks and functions wonderfully as well. Somewhat soft to lay, with no microphonics, there is a good ear guide coming out of the longer 2-pin connection. While somewhat stiff, it does not hinder comfort.
That Titanium shell has a single vent hole on top, which is nice to see. Some that are placed on the inner side can be covered up while wearing, which defeats the purpose to me. The “nub” on the inside is small enough not to bother (unlike many...), but large enough to help do the job of keeping the IEM in place while wearing. And as expected, the shell is acoustically tuned to maximize performance of the drivers involved. While the IEM is on the slightly large size, it fits almost flush using the included foam tips.
Four Sonion EST drivers take care of the high and ultra-high frequencies, while the balanced armature takes care of the highs and mids. The custom dynamic driver takes care of the lowe end.
Sound:
Summary:
Many IEM’s of late proclaim to be worthy of TOTL level sound, and accordingly carry the price. Some of another ilk claim to carry TOTL sound, but with mid-fi pricing. While I do not dispute either claim, as the lines seemingly become blurred over time; I take it with caution. When one has to too their own horn, that should be of concern. The Phoenix6 is not of that sort. Not proclaimed, but letting the sound speak for itself, I would certainly consider this a worthy flagship from the manufacturer. Even handed in signature, with good, solid, taut bass along with wonderfully musical mids, the treble to me is the icing on the cake. Sparkly but not to a fault, those highs transcend across the whole of the signature tying it all together, but with a smooth character reserved for few at this level. But do not insinuate that it is boring for it isn’t. Punctuating, but with character and a reach, which should satisfy all involved, those treble notes speak well towards an even tolerant signature.
Moar:
An excellent, coherent mid-section comes across as smooth and rich, but without becoming soft or sloppy. By adding a small push in the upper mids, those sumptuous mid tones carry into the aforementioned treble note, as witnessed on “L-O-V-E,” by Nat King Cole. When the trumpet enters and his vocal range rises with it, we get the best of both sections, excellent mids with strong but not overly cumbersome carrying note into tight, but musical treble notes through that slight upper mid push. Thoroughly musical.
Bass to me seems slightly relaxed, but not slow or sloppy, simply flowing in nature. A decently deep reach (especially with foam tips) carries those notes to a nice extension, as witnessed on Nils Lofgren’s excellent live “Keith Don’t Go.” His guitar work echos into the top, but carries into the mid-bass region with a tautness, which compliments it being slightly relaxed. To me, this goes into the clarity with which the song permeates across that smooth signature. It does reach well into the sub-bass region with good attack and decay (even to me, hence smooth) on Grant Green’s superb “Idle Moments.” If you have a chance, listen, and pay particular attention to when the sax solo comes in. You can feel the reed vibrate and the blow of air across it making simply sensuous notes permeate the senses. This is one of the best transitions into a smoothness, which not all headphone (or speakers for that matter) can successfully carry. Here is the perfect fit, with the Phoenix6’s smooth character giving us excellent detail, but smoooooth. Bass is still fun, engaging and accurate, even with the smooth character.
Mids bear that smooth character, but sit slightly behind the others, which gives the Phoenix 6 a slight-V signature with maturity. On “You’re Driving Me Crazy,” from Big Joe Turner, the percussion sits behind the rest, but carry with it good detail and spatial clarity. Not overshadowing, but not shrinking either. Vocals sound natural and succinct, with no dawdling about. A thoroughly mature, engaging signature here, without becoming intrusive.
As mentioned by Ryan Soo in his superb review (when are his not superb?), the treble note tends to be perfect for jazz. And to me it is. On “Soul Kitchen,” from The Red Garland Quintet, the piano reaches into that upper range, and does so with authority, but not overly done. Hence slightly laid-back as well, but with good reach. Just about perfect for my tastes. The EST’s are heard here with a sound described by Ryan as “whispy,” and I would concur. Some lilt is there, but this does not make the upper notes thin or lacking. Smooth with good character and depth of notes makes for a natural sound. This can come down to a smooth front end, which does not bite as hard of note as some. I find it thoroughly pleasant.
Soundstage comes across as cubic all around, which good expansion within that frame. Air can be discerned from across the three dimensions, adding to the voluminous feel to the song. Not beyond expansive like some, but fully taking into account every last bit of space within its reach. Every spot has a purpose, whether that be in support of the clarity giving tight airiness, or the depth of reach down low. Not confusion, but fulfilled.
Comparison:
Astrotec Phoenix 6 ($1599) v CFA Supermoon Custom ($1500):
The Supermoon to me represents a superb interpretation of what CFA is trying to achieve. The Solaris 2020 & Ara 2020 (and Andro2020) are three of my favorites for different reasons. The Supermoon slots in perfectly, providing the richness of character from the Solaris, and the laid-back nature of the Ara. Couple that with “almost as good” detail representation from the Andro, and you pretty much have the best of all worlds in the Supermoon.
Deeper in reach of bass than the Phoenix 6, and with more reverberation, which bleeds into the mids hinder the comparison. Taken singularly, the Supermoon stands well, but compared to the smoothness of the Phoenix 6, it falls behind. The CFA model is harder to drive as well, and with a slight tizziness in the upper mid-range. Nonetheless, it is a superb example, with a smoothness that is slightly “less smooth” than the Phoenix and even more laid-back. The fit is superb and the Smoky Litz cable, legendary; even with its detractors.
This would come down to whether you like a more forward smoothness or a bit deeper reach, with less control and a less smooth character.
Astrotec Phoenix 6 ($1599) v UE Live Custom ($2200):
A custom I came about through T.H.E. Show last summer, this is a purchase I do not regret. The Live defines clarity and a detailed signature in an IEM. Custom helps, but even the model I tried was excellent and easy to see why so many musicians go this route.
The signature is definitely more forward than the other two. Bass is taut and deep reaching as well. Mids are simply sumptuous and a defining character of the Live. This is of course by design, for artists, and it shows forth with clarity and detail to be envious of. Still not as well-known as other manufacturers, artists know and they are right. On some songs, the reach up top can be a bit too much for me, and I have to turn the volume down, but on jazz such as Kenny Barron’s excellent “Isfahan,” I find the enticing piano work gravitates me towards raising the volume. And the detail wrought becomes even more enveloping.
Where the Phoenix 6 is smooth, the Live is detailed. Where the Phoenix 6 is semi-laid-back, the Live presents itself with the best mids of the lot, and some of the best if not outright best details in signature I have heard. Stunning comes to mind. And of course, one would hope so fir a price 50% higher than the Phoenix 6.
finale:
When the fellow reviewer sent me the Phoenix 6, I set it aside due to deadlines and general laziness. Once I heard it, I figured that my errors were a huge misstep and disservice to the Atrotec model. Instead of building it into other reviews, I had to bring others to it. And while that is all right, I believe I missed a tremendous opportunity. But one, which is now caught up.
The Phoenix 6 is a splendid IEM, and worthy of the moniker of TOTL in their lineup. Stunningly smooth of character, but without become boring or flat, and it eschews the novelty of the Harman Target Curve. I for one am glad, especially since the very engineers who designed that “target” came out with an update, which pretty much blew the HTC out of the water as a baseline for “all that is well and good.” Thankfully, Astrotec went their own way as they have; and even though they fly under the radar, to me they are one of the best Far East manufacturers out there currently. In so much, they deserve huge applause and acumen for going their own route, without following the herd. A rarity, and if the Phoenix 6 is the result, please; PLEASE keep going this way.
Affordable for a flagship, superb build, gorgeous looks and fit simply compliment the excellent sound characteristics of the Phoenix 6 and it is well worth a serious look if you are in the market for “something else,” which others do not have.
Well done, Astrotec.
Phoenix6
Intro: A good review friend of ours loaned me the Phoenix6 for listening. I liked it so much, that I am turning it into a (late) review. I graciously thank this fellow for the loan of the IEM. It will be returned (late!) to this fine fellow upon completion.
Astrotec is known for many models in the $100-300 range. They have also produced some successful TWS bud, expanding into that market. But, the Phoenix6 blows right on by these moderately priced items straight into TOTL range. This fits squarely with the Campfire Audio Supermoon Custom ($1500) as well as the THIEAUDIO V16 Divinity ($1499), the Fearless Audio ACME10 ($1799) and the Unique Melody MEST MKii ($1499). This is a tough bracket, and well above what Astrotec has done in the past. From my initial listening’s, and further; the Phoenix6 can certainly hold its own in this “near-TOTL” category.
The company’s first tribrid deserves a deep look.
Specs:
Features:
>Astrotec’s First Tribrid Configuration.
>Six-driver design.
>Four Sonion Electrostatic Super Tweeters.
>One Sonion Balanced Armature Driver.
>One Customized Dynamic Driver.
>Unique design with Titanium Alloy cavities.
>Lively, Detailed Sound Performance with sweet vocals.
>Balanced tuning with good extensions at both ends.
>High-purity silver-plated OFC cable.
Technical Parameters:
>Impedance: 5Ω.
>Sensitivity: 108dB/mW.
>Cable: high-purity OCC 4.4mm+silver-plated 3.5mm.
>Connectors: 2-Pin.
>Frequency response: 5Hz-50kHz.
>Input Power: 1mW.
>Max Power: 5mW.
Gear Used/Compared:
CFA Supermoon Custom ($1500)
UE Live Custom ($2200)
Astell & Kern ACRO CA1000
Astell & Kern 120 Titan
Songs:
Jazz
Grateful Dead
Taylor Swift
Billy Holiday
Sarah Vaughan
Unboxing:
Many companies of late have gone with Anime artistry for the design of their boxes. Astrotec’s box is similar, but with gold lettering and a constellation on the back, you guessed it; the Phoenix. Laden with much useful information on the back, and a tasteful image of the IEMs on the front; the sleeve is well done. Opening the clamshell type flap like a book, you have another black paper cover with a nice thank you note from Astrotec.
Lifting that off, you are met with a tannish colored IEM case on the bottom, wrapped in soft foam; and the IEMs in the middle, surrounding a block of metal complete with serial number. A hole in two corners allows you to add this block to a keychain. It is of good heft as well as looking shiny and bright. Above that is a hard foam insert complete with silicon tips of three sizes and formulations along with two sets of foam tips. Tips for vocal & bass treatment are included as well as tri-flange in two sizes. Under that is the accessories pouch in a sleeve, in case you would rather carry the Phoenix in that as opposed to the hard case. Under that is the warranty card, and round inspection card to complete the package.
Tasteful and fairly efficient (and protective) of space, the presentation is a good one.
Form/Fit/Function:
Coming with two gorgeous white-silver colored cables, the start of the Phoenix is stunning. It is a trick, though as both cables are of High-Purity OCC Copper. The Titanium shells look fit for jewelry with a tasteful sheen to them that is neither too garish, nor too subdued. The shells are still heavy, but not so much in the ear.
The Phoenix are elegant at which to look as well. The Titanium shells and faceplate lend a more traditional old-world look to them, which I appreciate. It seems we are moving back into the garish look, and these thankfully go the opposite direction. I am glad they did this. Those six-sided pressings on the faceplate look handmade, and shaped, lending even more credence to the old-world look. These would be at home in an old Medieval castle scene as in our ears. The white silver OCC Copper cable looks and functions wonderfully as well. Somewhat soft to lay, with no microphonics, there is a good ear guide coming out of the longer 2-pin connection. While somewhat stiff, it does not hinder comfort.
That Titanium shell has a single vent hole on top, which is nice to see. Some that are placed on the inner side can be covered up while wearing, which defeats the purpose to me. The “nub” on the inside is small enough not to bother (unlike many...), but large enough to help do the job of keeping the IEM in place while wearing. And as expected, the shell is acoustically tuned to maximize performance of the drivers involved. While the IEM is on the slightly large size, it fits almost flush using the included foam tips.
Four Sonion EST drivers take care of the high and ultra-high frequencies, while the balanced armature takes care of the highs and mids. The custom dynamic driver takes care of the lowe end.
Sound:
Summary:
Many IEM’s of late proclaim to be worthy of TOTL level sound, and accordingly carry the price. Some of another ilk claim to carry TOTL sound, but with mid-fi pricing. While I do not dispute either claim, as the lines seemingly become blurred over time; I take it with caution. When one has to too their own horn, that should be of concern. The Phoenix6 is not of that sort. Not proclaimed, but letting the sound speak for itself, I would certainly consider this a worthy flagship from the manufacturer. Even handed in signature, with good, solid, taut bass along with wonderfully musical mids, the treble to me is the icing on the cake. Sparkly but not to a fault, those highs transcend across the whole of the signature tying it all together, but with a smooth character reserved for few at this level. But do not insinuate that it is boring for it isn’t. Punctuating, but with character and a reach, which should satisfy all involved, those treble notes speak well towards an even tolerant signature.
Moar:
An excellent, coherent mid-section comes across as smooth and rich, but without becoming soft or sloppy. By adding a small push in the upper mids, those sumptuous mid tones carry into the aforementioned treble note, as witnessed on “L-O-V-E,” by Nat King Cole. When the trumpet enters and his vocal range rises with it, we get the best of both sections, excellent mids with strong but not overly cumbersome carrying note into tight, but musical treble notes through that slight upper mid push. Thoroughly musical.
Bass to me seems slightly relaxed, but not slow or sloppy, simply flowing in nature. A decently deep reach (especially with foam tips) carries those notes to a nice extension, as witnessed on Nils Lofgren’s excellent live “Keith Don’t Go.” His guitar work echos into the top, but carries into the mid-bass region with a tautness, which compliments it being slightly relaxed. To me, this goes into the clarity with which the song permeates across that smooth signature. It does reach well into the sub-bass region with good attack and decay (even to me, hence smooth) on Grant Green’s superb “Idle Moments.” If you have a chance, listen, and pay particular attention to when the sax solo comes in. You can feel the reed vibrate and the blow of air across it making simply sensuous notes permeate the senses. This is one of the best transitions into a smoothness, which not all headphone (or speakers for that matter) can successfully carry. Here is the perfect fit, with the Phoenix6’s smooth character giving us excellent detail, but smoooooth. Bass is still fun, engaging and accurate, even with the smooth character.
Mids bear that smooth character, but sit slightly behind the others, which gives the Phoenix 6 a slight-V signature with maturity. On “You’re Driving Me Crazy,” from Big Joe Turner, the percussion sits behind the rest, but carry with it good detail and spatial clarity. Not overshadowing, but not shrinking either. Vocals sound natural and succinct, with no dawdling about. A thoroughly mature, engaging signature here, without becoming intrusive.
As mentioned by Ryan Soo in his superb review (when are his not superb?), the treble note tends to be perfect for jazz. And to me it is. On “Soul Kitchen,” from The Red Garland Quintet, the piano reaches into that upper range, and does so with authority, but not overly done. Hence slightly laid-back as well, but with good reach. Just about perfect for my tastes. The EST’s are heard here with a sound described by Ryan as “whispy,” and I would concur. Some lilt is there, but this does not make the upper notes thin or lacking. Smooth with good character and depth of notes makes for a natural sound. This can come down to a smooth front end, which does not bite as hard of note as some. I find it thoroughly pleasant.
Soundstage comes across as cubic all around, which good expansion within that frame. Air can be discerned from across the three dimensions, adding to the voluminous feel to the song. Not beyond expansive like some, but fully taking into account every last bit of space within its reach. Every spot has a purpose, whether that be in support of the clarity giving tight airiness, or the depth of reach down low. Not confusion, but fulfilled.
Comparison:
Astrotec Phoenix 6 ($1599) v CFA Supermoon Custom ($1500):
The Supermoon to me represents a superb interpretation of what CFA is trying to achieve. The Solaris 2020 & Ara 2020 (and Andro2020) are three of my favorites for different reasons. The Supermoon slots in perfectly, providing the richness of character from the Solaris, and the laid-back nature of the Ara. Couple that with “almost as good” detail representation from the Andro, and you pretty much have the best of all worlds in the Supermoon.
Deeper in reach of bass than the Phoenix 6, and with more reverberation, which bleeds into the mids hinder the comparison. Taken singularly, the Supermoon stands well, but compared to the smoothness of the Phoenix 6, it falls behind. The CFA model is harder to drive as well, and with a slight tizziness in the upper mid-range. Nonetheless, it is a superb example, with a smoothness that is slightly “less smooth” than the Phoenix and even more laid-back. The fit is superb and the Smoky Litz cable, legendary; even with its detractors.
This would come down to whether you like a more forward smoothness or a bit deeper reach, with less control and a less smooth character.
Astrotec Phoenix 6 ($1599) v UE Live Custom ($2200):
A custom I came about through T.H.E. Show last summer, this is a purchase I do not regret. The Live defines clarity and a detailed signature in an IEM. Custom helps, but even the model I tried was excellent and easy to see why so many musicians go this route.
The signature is definitely more forward than the other two. Bass is taut and deep reaching as well. Mids are simply sumptuous and a defining character of the Live. This is of course by design, for artists, and it shows forth with clarity and detail to be envious of. Still not as well-known as other manufacturers, artists know and they are right. On some songs, the reach up top can be a bit too much for me, and I have to turn the volume down, but on jazz such as Kenny Barron’s excellent “Isfahan,” I find the enticing piano work gravitates me towards raising the volume. And the detail wrought becomes even more enveloping.
Where the Phoenix 6 is smooth, the Live is detailed. Where the Phoenix 6 is semi-laid-back, the Live presents itself with the best mids of the lot, and some of the best if not outright best details in signature I have heard. Stunning comes to mind. And of course, one would hope so fir a price 50% higher than the Phoenix 6.
finale:
When the fellow reviewer sent me the Phoenix 6, I set it aside due to deadlines and general laziness. Once I heard it, I figured that my errors were a huge misstep and disservice to the Atrotec model. Instead of building it into other reviews, I had to bring others to it. And while that is all right, I believe I missed a tremendous opportunity. But one, which is now caught up.
The Phoenix 6 is a splendid IEM, and worthy of the moniker of TOTL in their lineup. Stunningly smooth of character, but without become boring or flat, and it eschews the novelty of the Harman Target Curve. I for one am glad, especially since the very engineers who designed that “target” came out with an update, which pretty much blew the HTC out of the water as a baseline for “all that is well and good.” Thankfully, Astrotec went their own way as they have; and even though they fly under the radar, to me they are one of the best Far East manufacturers out there currently. In so much, they deserve huge applause and acumen for going their own route, without following the herd. A rarity, and if the Phoenix 6 is the result, please; PLEASE keep going this way.
Affordable for a flagship, superb build, gorgeous looks and fit simply compliment the excellent sound characteristics of the Phoenix 6 and it is well worth a serious look if you are in the market for “something else,” which others do not have.
Well done, Astrotec.
iFi GO Link ($59): Does iFi make a bad product? Me thinks not.
GO Link
Intro: I am a fan of iFi. That is well documented in my reviews. I own several of their products, and consider the iCAN/iDSD Pro duo to be my totl DAC/Amp. Yes, it is a few years old, but it satiates my tastes completely. Dongle/DAC’s are quite common now. Will and I carried a small truck-full to T.H.E. Show last year and at T.H.E. Headphonium, we had more questions on that then anything else. So much so, that a run was had on a specific Dongle/DAC from another manufacturer (a direct competitor) and it sold out. iFi is no newbie to this segment, and their legendary Black Label headphone amp is still considered the Holy Grail by many involved. I sold mine so some others could enjoy it, and it get the use it deserves.
This is iFi’s latest entry into the Dongle/DAC market and comes at an extraordinarily affordable price. That said, unlike some reviews, I still consider DAP’s a viable alternative and own several. That said, Dongle/DAC’s are a HUGE market and alternative for those looking for a quick fix to raise the audio game on their Smartphone. It is worth it.
Specs:
Gear Used:
iPhone 13 Pro Max
MBP
DDHiFi Janus 2 (Air Ocean, 3.5mm cable)
Songs:
Tidal Daily
Tidal Tracks
Everything from Jazz to Blues to Pop
Unboxing:
Coming in a typically iFi small package, the GO Link is well protected, and pretty much like a fine jigsaw puzzle. I always have a hard time putting the items back into the box for photos, so with iFi I usually show the “after” photos. A 6cm long braided cable connects the connecting end and business end where you hook up your 3.5mm headphones. The ability to hook into both Android & iOS is a nice inclusion, although some have had issues with Android & MQA connectivity (I did not).
The point of the GO Link is to allow those who’s smartphones do not have headphone jacks to be able to use their wired headphones, since most still agree that while wireless has caught up a good deal; wired headphones still produce the better overall sound quality in most cases. I do worry about the cable associated with devices such as this, but since the manufacturer’s continue this way, I put more faith in their engineering.
Technology:
Running a “discrete ESS Sabre Hyperstream DAC chipset with time domain jitter eliminator, discrete oscillator and 112dB dynamic range for discerning listeners,” the ESS chip can stream digital music files up to 32-bit/384kHz, plus DSD to 11.2MHz (DSD256) and MQA. The ES9219MQ/Q benefits from 32-bit HyperStream III architecture, for the latest in tech.
iFi has taken full advantage of the DAC chip’s advanced specs, to unlock some high-end features such as DRE (Dynamic Range Enhancement), along with technologies that minimize and crosstalk. Users can even select different digital filters via downloadable firmware to tailor the sound to suit their taste. Unlike other headphone dongles, the GO link does not use a software-based volume control which the company states can adversely affect audio resolution. The volume on the connected device controls the volume level in the GO link’s DAC via a hardware-based analog volume control. I will state that when hooked to my MBP & Tidal, the volume was extremely loud, to the point that I could use it with only the minimum volume setting on Tidal. System volume control was locked out. I had no such problem on my iPhone.
The typical colored LED represents the streaming quality, as on iFi’s other products. Again, some have mentioned issues with MQA on Tidal & their Android device. My iOS devices had no such problem. The GO link’s headphone amp has a gold-plated 3.5mm socket that incorporates iFi’s noise-reducing S-Balanced configuration. iFi says uses this to better those from other manufactuer’s, providing a better connection to the music according to iFi. It also delivers a power output of 70mW/1.5V into 32 ohms, rising to 2V with higher impedance headphones. Not spectacular, but it works well.
Build/Usage:
This is a hard one to judge, since it is a small device meant to hide away in your pocket. That said, as per other iFi products, the build is exceptional. I have yet to encounter a poor build on any iFi product.
Use was straightforward for both my MBP & iPhone. I found out the wrong way that volume was limited on my MBP, and I jumped like Freddy Kruger was coming at me. Both devices immediately recognized the device, and I only had to switch control on the MBP & Tidal, to allow for the GO Link to run the show. Needless to say, when hooking to my iPhone, I turned the volume completely down. Connectivity can include use as a pre-amp for devices as well, giving you full benefit of that Sabre chip when used elsewhere.
Sound:
Summary:
To me, these critters are the hardest to judge. Either they color sound or they do not. Either they provide adequate power or they do not. Either they improve the sound quality, or I cannot tell. To me, a good Dongle/DAC provides the sound necessary to interpret the original mastered recording as the artist meant. Tailoring that sound should be up to the individual user in other ways, not the device. That said, my current favorite Dongle/DAC provides a rich, warm signature, which I prefer. The GO Link does not. And that is good. The iFi presents the music with a refreshing crispness and detail, that allows the music to flower through in full color.
Moar:
The beneficial aspects of the GO Link are that it fails to color the sound emanating from within. It presents what is sent through it, without judging or changing the sound. I respect this, for if I want to change anything, I will do it myself. Clear, crisp details emerge from my iPhone, usually only derived from using expensive headphones/IEM’s or my current favorite, the Klipsch/Earmicro T10 Bespoke. That of course costs a heckuva lot more.
The ability of the GO Link to show through the sound with better detail and clarity than the music coming straight from my iPhone (or MBP for that matter), shows the GO Link is doing its job. Many smartphones have very, very good music abilities. Some only think they do. The GO Link allows those who are posing to shine with those who do present good quality music.
Bass reaches deep, like Tidal Masters should. Midrange tonality is pushed ever so slightly forward, but to be honest it could be Tidal or the song doing so. Treble notes have the right amount of sparkle to provide excellent detail and air between the notes, doing so without becoming dry or thin. Good weight of notes carries from the bass to the top, but I do sense a smidge of too much for my tastes in the upper mids. Mind you, I am sitting for hours listening to this currently, and that is the only fault I can find in it. Better weight is had in my favorite competitor, the excellent DDHiFi TC44C. The DDHiFi provides a darker, richer signature, which is my preference, but the iFi holds its own with regard to clarity and detail.
Where the iFi is clean and crisp, the DDHiFi is darker and richer, which again is my preferred signature. If you want a crisp, unbothered addition to your portable system, the iFi would be the better choice. But if you like a darker signature, the DDHiFi is a fabulous choice, with slightly better weight to the notes.
I will also note that the GO Link also drains your smartphone battery more than without. I found that after two hours of listening with the Link attached, my battery drained by about 15%. When using only TWS buds, the drain was about 5% in the same time span. Most Dongle/DAC’s do this and many are much worse than the GO Link.
finale:
I like iFi products. I like them a lot. I own a lot. I have reviewed a lot. I have recommended a lot. I do so for two reasons: 1. The products are really, really good; and 2. The products are hard to beat in whatever category they occupy. Trendsetters at the early part of the portable rebirth; iFi continues to innovate and come up with products, which fit the users’ goals: top quality sound, and now include affordability to many of their products as well. The GO Link is no different. It provides a quality build and sound to what we hear at an extremely affordable price, which is hard to beat.
If you are looking for an affordable Dongle/DAC with which to start your journey, or simply need an affordable one, which can take the abuse; you could do much worse than the GO Link. Audio quality, it is not meant to compete with the much more expensive offerings around, but makes no posit to do so. Only presenting the user with a top-quality build sound and price. And it succeeds.
GO Link
Intro: I am a fan of iFi. That is well documented in my reviews. I own several of their products, and consider the iCAN/iDSD Pro duo to be my totl DAC/Amp. Yes, it is a few years old, but it satiates my tastes completely. Dongle/DAC’s are quite common now. Will and I carried a small truck-full to T.H.E. Show last year and at T.H.E. Headphonium, we had more questions on that then anything else. So much so, that a run was had on a specific Dongle/DAC from another manufacturer (a direct competitor) and it sold out. iFi is no newbie to this segment, and their legendary Black Label headphone amp is still considered the Holy Grail by many involved. I sold mine so some others could enjoy it, and it get the use it deserves.
This is iFi’s latest entry into the Dongle/DAC market and comes at an extraordinarily affordable price. That said, unlike some reviews, I still consider DAP’s a viable alternative and own several. That said, Dongle/DAC’s are a HUGE market and alternative for those looking for a quick fix to raise the audio game on their Smartphone. It is worth it.
Specs:
| Input | USB-C (Lightning) |
| Formats | DSD 256 / 11.3MHz DXD 384kHz PCM 384kHz MQA |
| DAC | Bit-Perfect DSD & DXD DAC by ESS |
| Headphone | 3.5mm |
| Output Power | ≥1.5V/70mW @ 32Ω; 2V/14mW @ 300Ω |
| Output Impedance | <0.4Ω |
| SNR | ≥125dBA (2.05V) |
| DNR | ≥122dB(A) @ 0dBFS |
| THD+N | ≤0.004% (1.27V @ 32Ω) |
| Frequency response | 10-80kHz(-0.5dB) |
| Power consumption | No Signal ~0.2W Max Signal ~1W |
| Dimensions | 135 x 12.6 x 7.6 mm (5.3" x 0.5" x 0.3”) |
| Cable length | 60mm (2.8") |
| Net weight | 11g (0.4oz) |
| Limited Warranty | 12 months* |
| *12 months typical or as permitted/required by local reseller laws. | |
| **Specifications are subject to change without notice. In The Box: GO Link Lightning adapter USB-A adapter iFi sticker MQA instructions Owner’s Manual |
Gear Used:
iPhone 13 Pro Max
MBP
DDHiFi Janus 2 (Air Ocean, 3.5mm cable)
Songs:
Tidal Daily
Tidal Tracks
Everything from Jazz to Blues to Pop
Unboxing:
Coming in a typically iFi small package, the GO Link is well protected, and pretty much like a fine jigsaw puzzle. I always have a hard time putting the items back into the box for photos, so with iFi I usually show the “after” photos. A 6cm long braided cable connects the connecting end and business end where you hook up your 3.5mm headphones. The ability to hook into both Android & iOS is a nice inclusion, although some have had issues with Android & MQA connectivity (I did not).
The point of the GO Link is to allow those who’s smartphones do not have headphone jacks to be able to use their wired headphones, since most still agree that while wireless has caught up a good deal; wired headphones still produce the better overall sound quality in most cases. I do worry about the cable associated with devices such as this, but since the manufacturer’s continue this way, I put more faith in their engineering.
Technology:
Running a “discrete ESS Sabre Hyperstream DAC chipset with time domain jitter eliminator, discrete oscillator and 112dB dynamic range for discerning listeners,” the ESS chip can stream digital music files up to 32-bit/384kHz, plus DSD to 11.2MHz (DSD256) and MQA. The ES9219MQ/Q benefits from 32-bit HyperStream III architecture, for the latest in tech.
iFi has taken full advantage of the DAC chip’s advanced specs, to unlock some high-end features such as DRE (Dynamic Range Enhancement), along with technologies that minimize and crosstalk. Users can even select different digital filters via downloadable firmware to tailor the sound to suit their taste. Unlike other headphone dongles, the GO link does not use a software-based volume control which the company states can adversely affect audio resolution. The volume on the connected device controls the volume level in the GO link’s DAC via a hardware-based analog volume control. I will state that when hooked to my MBP & Tidal, the volume was extremely loud, to the point that I could use it with only the minimum volume setting on Tidal. System volume control was locked out. I had no such problem on my iPhone.
The typical colored LED represents the streaming quality, as on iFi’s other products. Again, some have mentioned issues with MQA on Tidal & their Android device. My iOS devices had no such problem. The GO link’s headphone amp has a gold-plated 3.5mm socket that incorporates iFi’s noise-reducing S-Balanced configuration. iFi says uses this to better those from other manufactuer’s, providing a better connection to the music according to iFi. It also delivers a power output of 70mW/1.5V into 32 ohms, rising to 2V with higher impedance headphones. Not spectacular, but it works well.
Build/Usage:
This is a hard one to judge, since it is a small device meant to hide away in your pocket. That said, as per other iFi products, the build is exceptional. I have yet to encounter a poor build on any iFi product.
Use was straightforward for both my MBP & iPhone. I found out the wrong way that volume was limited on my MBP, and I jumped like Freddy Kruger was coming at me. Both devices immediately recognized the device, and I only had to switch control on the MBP & Tidal, to allow for the GO Link to run the show. Needless to say, when hooking to my iPhone, I turned the volume completely down. Connectivity can include use as a pre-amp for devices as well, giving you full benefit of that Sabre chip when used elsewhere.
Sound:
Summary:
To me, these critters are the hardest to judge. Either they color sound or they do not. Either they provide adequate power or they do not. Either they improve the sound quality, or I cannot tell. To me, a good Dongle/DAC provides the sound necessary to interpret the original mastered recording as the artist meant. Tailoring that sound should be up to the individual user in other ways, not the device. That said, my current favorite Dongle/DAC provides a rich, warm signature, which I prefer. The GO Link does not. And that is good. The iFi presents the music with a refreshing crispness and detail, that allows the music to flower through in full color.
Moar:
The beneficial aspects of the GO Link are that it fails to color the sound emanating from within. It presents what is sent through it, without judging or changing the sound. I respect this, for if I want to change anything, I will do it myself. Clear, crisp details emerge from my iPhone, usually only derived from using expensive headphones/IEM’s or my current favorite, the Klipsch/Earmicro T10 Bespoke. That of course costs a heckuva lot more.
The ability of the GO Link to show through the sound with better detail and clarity than the music coming straight from my iPhone (or MBP for that matter), shows the GO Link is doing its job. Many smartphones have very, very good music abilities. Some only think they do. The GO Link allows those who are posing to shine with those who do present good quality music.
Bass reaches deep, like Tidal Masters should. Midrange tonality is pushed ever so slightly forward, but to be honest it could be Tidal or the song doing so. Treble notes have the right amount of sparkle to provide excellent detail and air between the notes, doing so without becoming dry or thin. Good weight of notes carries from the bass to the top, but I do sense a smidge of too much for my tastes in the upper mids. Mind you, I am sitting for hours listening to this currently, and that is the only fault I can find in it. Better weight is had in my favorite competitor, the excellent DDHiFi TC44C. The DDHiFi provides a darker, richer signature, which is my preference, but the iFi holds its own with regard to clarity and detail.
Where the iFi is clean and crisp, the DDHiFi is darker and richer, which again is my preferred signature. If you want a crisp, unbothered addition to your portable system, the iFi would be the better choice. But if you like a darker signature, the DDHiFi is a fabulous choice, with slightly better weight to the notes.
I will also note that the GO Link also drains your smartphone battery more than without. I found that after two hours of listening with the Link attached, my battery drained by about 15%. When using only TWS buds, the drain was about 5% in the same time span. Most Dongle/DAC’s do this and many are much worse than the GO Link.
finale:
I like iFi products. I like them a lot. I own a lot. I have reviewed a lot. I have recommended a lot. I do so for two reasons: 1. The products are really, really good; and 2. The products are hard to beat in whatever category they occupy. Trendsetters at the early part of the portable rebirth; iFi continues to innovate and come up with products, which fit the users’ goals: top quality sound, and now include affordability to many of their products as well. The GO Link is no different. It provides a quality build and sound to what we hear at an extremely affordable price, which is hard to beat.
If you are looking for an affordable Dongle/DAC with which to start your journey, or simply need an affordable one, which can take the abuse; you could do much worse than the GO Link. Audio quality, it is not meant to compete with the much more expensive offerings around, but makes no posit to do so. Only presenting the user with a top-quality build sound and price. And it succeeds.
Sphere 57
I don't know why the ddHiFi TC44C doesn't get more love. There was a buzz about the TC44B, but the TC44C is a more practical device with it's detachable cable and 3.5mm output.
Focal Stellia ($2990): Is this the closed-back version of the Utopia?
Stellia
*A version of this will be posted on eCoustics
Intro:
Between Will and myself, we have reviewed pretty much all of the models Focal has produced. Will stated, “the Utopia walked out carrying the bag against the other top tier headphones,” which I think means he liked it and the Utopia performed admirably (review here). Those are high words indeed for a model pushing the envelope of $5000. We both appreciated the Liric as a top tier closed-back headphone, but at that price, it faced stiff competition. We liked it, but others performed as well, or nearly so.
The Stellia came out about 2020, to very good accolades. Marketed not necessarily as a closed-back version of the Utopia, but rather Focal’s vision of what a top tier closed-back SHOULD sound like. Especially if you are going to pony up $3k. Also labeled with the following, “very high-end circum-aural headphones…for home and on-the-go use,” the Stellia hopes to be your only headphone. Not that I would dare take this out in public, unless it was to someone’s home. Striving for a wider soundstage than closed-backs are known for, along with detail that would make a world class chef blush, the goals were obvious: make the world’s best sounding closed-back headphone. If you have looked recently at Focal’s speaker lineup, you know that they not only sound good, but look gorgeous as well. The Stellia, easily falls into that category.
Luckily, I have another of what both Will and I think is a top tier closed-back on hand in the superb Kennerton Rögnir. This was a comparison I was giddily looking forward to...
The Beginning:
Focal began making headphones in 2012, with the first Utopia coming along in 2016. Sprinkled in between were models such as the Elear (my introduction to them, and I bought a pair, here & here), the Clear and Elegia. All decent to quite good models. The Stellia came about as a result of these headphones. With the desire to make a top tier closed-back, naturally Focal raised their game (but the design stays mostly the same thankfully) with the Stellia.
Sharing the same 40mm M-shaped dome, pure Beryllium driver as the Utopia, the Stellia is already set for the top end. The gorgeous looks also carry over, with the mocha & cognac colors along with full-grain leather and combinations of plastic, aluminum & stainless steel, the look is simply sumptuous.
Specs:
Type Circum-aural closed-back headphones
Impedance 35 Ohms
Sensitivity 106dB SPL / 1mW @ 1kHz
THD 0.1% @ 1kHz / 100 dB SPL
Frequency response 5Hz–40kHz
Loudspeaker 1.6" (40mm) pure Beryllium "M" shape dome
Weight 0.96lb (435g)
Cables provided
• 1 x 4ft OFC 24 AWG cable with 1/8" (3.5mm) TRS Jack connector
• 1 x 10ft OFC 24 AWG cable with 4-pin XLR connector
• 1 x Jack adapter,
1/8" (3.5mm) female – 1/4" (6.35mm) male
Carrying case provided 9.8"x9.4"x4.7" (250x240x120mm)
Unboxing:
The opening presentation from Focal is always tops and this goes beyond that. Think of taking possession of your Lamborghini, but right from the factory, instead of a mere dealer. This is the best unboxing of anything I have reviewed. Ever.
The box itself is large and rectangular, colored in a mocha faux leather. Imprinted with the words “Stellia” & “Focal” on the front, you find branches of Focal production on the back. Small half-moon cutouts on the short sides act as the lift area, which requires some force to counter the vacuum effect along with the tightness due to being lined in dark mocha suede.
Inside the front has an oblong cutout showcasing the Focal logo on the semi-hard case along with the woven mixed cognac/mocha coloration. I know I keep mentioning the colors, but this combination is the best I have witnessed on a Focal headphone. Classy, without being garish. Superb. I also find the reason for the additional heft to the box, from what I am used to: the back 1/4ish from top to bottom contains another leather case, which houses the cables. A whole presentation box for the cables. Seriously. Inside you find a hard foam insert where one of the cables is mounted for viewing, while the other half hosts a leather pouch, which carries the paperwork. Included is the owner’s manual, warranty card, informational pamphlet and an excellent small Focal brochure explaining the marque. You also get a “congratulations” card to top it off. Under the pouch is the second cable. Yes, Focal includes a second cable. You can use either the 4-pin XLR cable or a 6.35mm (1/4”) jacked cable for use. The 6.35mm cable jack also unscrews to provide the user with the typical 3.5mm (1/8”).
The semi-hard case is gorgeous, and functional at the same time. With a serious zipper in silver, you know the case means business. I do wonder what a soft bronzish color would have looked like, with patina of course. Inside the case, you find a form fitting area for the headphone itself, and two stretchy straps in center opening (one on top, one on bottom), which can be used for each cable. The headphones cannot be stored with the cable on. The larger open port is for the XLR (bottom), while the top is used for the “regular” cable. Focal has always had their cases together, and the Stellia continues that fine tradition.
Inside the semi-hard case is what we came for, the headphones, themselves.
A graceful mix of aluminum, stainless steel and leather make the Stellia look highly elegant. Some have mentioned that the color combination is too showy, but I tend to think the opposite. I think the combination looks understated and sophisticated, worthy of the price range. From the cognac-colored aluminum yoke to the mocha leather inserts used to “close” the circular cup backing off, the color palette & mix is exquisite. For those familiar with Focal, the shape remains the same, and I find it quite good, while fitting to my head as well. The black perforated leather on the bottom provides cushioning and air flow relief, while the mocha leather headband feels soft and luxurious. This is two-fold: good looks, and a firm grip are had with the choice. And the last thing anyone would want is to drop these gems.
As mentioned, the mocha leather on the inside of the cups acts to close the increasing diameter holes of the skeleton stainless steel cup, which helps to control resonation, allow the Focal tuning to reflect according to their tuning and provide the closed-back aspect desired. There is also plastic under the leather, which does the hard job.
Precise clicks on the stanchion (yoke top) affords nine spots for proper fit. I usually do six on most headphones, and that is no different here. There is some rotational spring to the stanchion, which is normal. This affords some movement, further accommodating fit. The cups also have springs, which aid in clamping pressure, which I found to be on the tighter side, but good. Since the ear pads are leather, the whole unit could get warm after long sessions, but I found no bother.
The whole ear pad pops off, held by five pop spots, so changing the pads can be done easily enough. The two-tone color scheme carries over here as well, adding to the look. Those pads, while slightly thin to me, provide some of the finest coddling and fit on my head of any headphone I have tried. Some are too thick and cushy. The Stellia pads are just right with excellent feel and give. The drivers can be seen under a protective screen, and orient themselves slightly forward of mid ear fore & aft. They are also angled slightly toward the back to accommodate this slight shift forward. Fit is quite nice on my head as a result of all the technology involved in the build.
The two provided cables gave me mixed reactions. I used the 10-foot (yes, 10 feet) XLR cable for the majority of the time through either my Geshelli Labs E2/J2 combo or my iFi Pro iCAN/iDSD combination. Both have an XLR jack, and I wanted the full balanced sound option. I even used this cable on my newly acquired Sony MDR-Z7 with good results. The only faults I have with this wonderfully flat-braided cable are the microphonics of it (above the Y-splitter); the tangling of it, which quite often wrapped onto itself; and the length. Another reviewer posited that this was due to the bends and shape in which the cable is stored, and I agree. 10-feet is very long, but this would be a good cable for sitting on your couch or at your office. I would simply be careful getting up. The other cable worked just fine, and had slightly less microphonics to it, and tangling. Plus, having the interchangeable jack helps across multiple sources. I do find that one on the short side, and it is definitely meant for portability.
The cables are really quite good, but correcting those niggling attributes would make them just about perfect.
The build of the Stellia is as expected, at or near the top of the tier. The mix of plastic, leather, aluminum, and stainless steel makes for a luxurious product; which provides the user with excellent ergonomics and quality feel. I had a small amount of creaking on the cups, but that was only with concerted pressure; something a user would most likely not do while wearing.
Technology:
Driver technology as mentioned is the 40mm M-shaped Beryllium dome, similar to Focal’s other effort in the Utopia. The reasoning is that this dome shape helps to control any unwanted resonation produced from the driver/sound combination, before hitting your ears. It works, and keeps a tight control on the production of the sound signature.
The Stellia has a newly redesigned driver, modeled off the Utopia as mentioned. The 40mm size Beryllium M-shaped diaphragm of the original (Utopia) have been retained but the suspension has been tweaked with a voice-coil upgrade as well. The new voice-coil is a 30% copper and 70% aluminum hybrid for improved performance while retaining low weight. According to Focal, it’s actually a touch heavier than the original and the weight was offset with the introduction of carbon fiber to keep the overall weight roughly equal.
The Stellia is slightly more sensitive than the Utopia (106dB’s to 104 dB’s), and with an impedance of 35 ohms vs 80ohms is easier to drive.
Sound:
Coming off the highlights of Will’s new Utopia (Newtopia) review, we had high hopes for the Stellia. Those hopes were met and exceeded. The Stellia provides details as good as any closed-back I have heard; including my personal Kennerton Rögnir. A closed-back headphone is not supposed to have this much clarity and detail to it. But the Stellia does.
Spatial awareness it seems is always compromised by having a closed-back. But whatever magic Focal has done here has worked. While not on par with the best open-backs with regard to soundstage, the Stellia is admirable and I never felt myself wishing for more. Especially knowing it was closed. There is a reason that this cost right at $3k, and it becomes evident very early in the listening that most of that went into the tuning and presentation mentioned above.
Clarity and detail are one thing, but when the rest does not match that you can be left with a thinner signatured headphone. And yes, some design their headphones that way for a purpose. The Stellia exhibit a full sound that does not become bloated or overly abundant when called upon. Bass reaches well into the sub-bass region, with a taut control to it as opposed to overall depth of reach. That is all right, and I kicked the Bass Boost up on my iFi Pro iCAN/iDSD duo to accommodate my taste in the lower region. The Stellia handled the added input with aplomb. That tautness also carries a note of slightly slower decay that attack, which aids in a fullness to it that helps “hide” the lack of deep reach.
Mids come across as sumptuous without becoming drippy or slow. Speed is just right and the saxophone of Sonny Clark comes to the front without becoming garish or showy on “Cool Struttin’.” There is also a depth to the mids, which aid in that full sound, but the detail with which this comes across is quite frankly, astounding. On the warmer side as well, the richness pervades my senses, but without that ballooning lack of character.
Cymbal hits come across as articulate and accurate. No digital sense here, only realism. Trumpet notes provide a nice Segway into the top end, which hits with authority, but not overwhelming. A sense of smoothness lends itself to the transition between the mids and treble, as exonerated “L-O-V-E” by Nat King Coles. His vocal melancholy is so powerful that the exuding of character lends perfectly as he moves up the scale. His reach makes for a thoroughly enjoyable listen. Adele’s raspy voice sounds wonderful on “Oh My God,” which leads me into “Hello” of course to gauge that upper vocal range of a simply fantastic female voice. While not extending as others, the fullness with which she projects her song here makes for a brilliant listen, and ties off the sound signature of the Stellia perfectly.
Some headphones posit themselves for specific genre. The Stellia does not. As witnessed, it carries across male & female vocals as easily as jazz and pop in Taylor Swift’s superb song, “Question...?” This song also allows for the rumble of the song to come through as well. Again, while not reaching too high in the vocal range, the way her voice comes across is simply lavish.
Comparison:
I would be remiss if I did not compare the Stellia to the Rögnir for they fall into the same category and are both closed-back. Kennerton is much less known that Focal in the headphone world it seems, but they carry a devout, almost rabid base of fans. Will and I concur, rating the Rögnir as one of the absolute best closed-backs we have heard. It is a much more polarizing headphone though than the Stellia. Many do not like it (based upon graphs...) but you really cannot deny its appeal, what with the use of 2000 year old Bog Oak (https://www.antiquesage.com/bog-oak-rarest-wood-world/) the look is stunning. It also has 80mm planar driver technology, so the sound is a bit different.
The Rögnir has a bit “less full” sound to it, with more of a push into the upper mids than the Stellia. Still with a smooth character, the sound is quite good. Bass also reaches a bit deeper than the Stellia, but with slightly less control to it. As a result, there is a slight bleed into the lower mids from that characteristic. But, to me this is part of the character of the Rögnir, a melding of the sound into a nearly seamless smooth character, except for the upper mid push. Typically, planar driver bass reaches well in depth, and with good control. My feeling here is that the Kennerton was made to present an overall smoothness to it, with a bit of vibrant character where needed, the vocal region. And it works. Going back to “L-O-V-E,” I get a better sense of depth to the soundstage that was slightly missing in the Stellia. Even with that upper vocal push, the sound is so, so good to me. I did find myself reaching to turn the volume down on the Rögnir, something I did not do on the Stellia.
Conclusion:
As Focal’s second to top model and top closed-back model, the Stellia comes with high hopes. And after listening for the past six weeks along with reading numerous other reviews, we can all agree that Focal has hit the mark as a flagship headphone should. Superb construction, superb sound, and impeccable presentation in the unit and accessories. Some will state they could go without the luxurious presentation, but that to me is part of the flagship’s role, much like a Rolex doesn’t come in a box like a Timex. You pay for that expectation of excellence, and the Stellia meets those expectations with sophistication, class and luxury. And, sound to back it up.
The Stellia provides the listener with a smoothness one does not often get with this level of clarity and detail in song. Combining all of those traits in one headphone is a laudable goal, and one that Focal has met beyond expectations. So much so, that it could very well replace my Rögnir. I finish this listening to “Don’t You Forget About Me,” from Simple Minds and the seminal song from “Breakfast Club.” I certainly will not forget about the Stellia.
Stellia
*A version of this will be posted on eCoustics
Intro:
Between Will and myself, we have reviewed pretty much all of the models Focal has produced. Will stated, “the Utopia walked out carrying the bag against the other top tier headphones,” which I think means he liked it and the Utopia performed admirably (review here). Those are high words indeed for a model pushing the envelope of $5000. We both appreciated the Liric as a top tier closed-back headphone, but at that price, it faced stiff competition. We liked it, but others performed as well, or nearly so.
The Stellia came out about 2020, to very good accolades. Marketed not necessarily as a closed-back version of the Utopia, but rather Focal’s vision of what a top tier closed-back SHOULD sound like. Especially if you are going to pony up $3k. Also labeled with the following, “very high-end circum-aural headphones…for home and on-the-go use,” the Stellia hopes to be your only headphone. Not that I would dare take this out in public, unless it was to someone’s home. Striving for a wider soundstage than closed-backs are known for, along with detail that would make a world class chef blush, the goals were obvious: make the world’s best sounding closed-back headphone. If you have looked recently at Focal’s speaker lineup, you know that they not only sound good, but look gorgeous as well. The Stellia, easily falls into that category.
Luckily, I have another of what both Will and I think is a top tier closed-back on hand in the superb Kennerton Rögnir. This was a comparison I was giddily looking forward to...
The Beginning:
Focal began making headphones in 2012, with the first Utopia coming along in 2016. Sprinkled in between were models such as the Elear (my introduction to them, and I bought a pair, here & here), the Clear and Elegia. All decent to quite good models. The Stellia came about as a result of these headphones. With the desire to make a top tier closed-back, naturally Focal raised their game (but the design stays mostly the same thankfully) with the Stellia.
Sharing the same 40mm M-shaped dome, pure Beryllium driver as the Utopia, the Stellia is already set for the top end. The gorgeous looks also carry over, with the mocha & cognac colors along with full-grain leather and combinations of plastic, aluminum & stainless steel, the look is simply sumptuous.
Specs:
Type Circum-aural closed-back headphones
Impedance 35 Ohms
Sensitivity 106dB SPL / 1mW @ 1kHz
THD 0.1% @ 1kHz / 100 dB SPL
Frequency response 5Hz–40kHz
Loudspeaker 1.6" (40mm) pure Beryllium "M" shape dome
Weight 0.96lb (435g)
Cables provided
• 1 x 4ft OFC 24 AWG cable with 1/8" (3.5mm) TRS Jack connector
• 1 x 10ft OFC 24 AWG cable with 4-pin XLR connector
• 1 x Jack adapter,
1/8" (3.5mm) female – 1/4" (6.35mm) male
Carrying case provided 9.8"x9.4"x4.7" (250x240x120mm)
Unboxing:
The opening presentation from Focal is always tops and this goes beyond that. Think of taking possession of your Lamborghini, but right from the factory, instead of a mere dealer. This is the best unboxing of anything I have reviewed. Ever.
The box itself is large and rectangular, colored in a mocha faux leather. Imprinted with the words “Stellia” & “Focal” on the front, you find branches of Focal production on the back. Small half-moon cutouts on the short sides act as the lift area, which requires some force to counter the vacuum effect along with the tightness due to being lined in dark mocha suede.
Inside the front has an oblong cutout showcasing the Focal logo on the semi-hard case along with the woven mixed cognac/mocha coloration. I know I keep mentioning the colors, but this combination is the best I have witnessed on a Focal headphone. Classy, without being garish. Superb. I also find the reason for the additional heft to the box, from what I am used to: the back 1/4ish from top to bottom contains another leather case, which houses the cables. A whole presentation box for the cables. Seriously. Inside you find a hard foam insert where one of the cables is mounted for viewing, while the other half hosts a leather pouch, which carries the paperwork. Included is the owner’s manual, warranty card, informational pamphlet and an excellent small Focal brochure explaining the marque. You also get a “congratulations” card to top it off. Under the pouch is the second cable. Yes, Focal includes a second cable. You can use either the 4-pin XLR cable or a 6.35mm (1/4”) jacked cable for use. The 6.35mm cable jack also unscrews to provide the user with the typical 3.5mm (1/8”).
The semi-hard case is gorgeous, and functional at the same time. With a serious zipper in silver, you know the case means business. I do wonder what a soft bronzish color would have looked like, with patina of course. Inside the case, you find a form fitting area for the headphone itself, and two stretchy straps in center opening (one on top, one on bottom), which can be used for each cable. The headphones cannot be stored with the cable on. The larger open port is for the XLR (bottom), while the top is used for the “regular” cable. Focal has always had their cases together, and the Stellia continues that fine tradition.
Inside the semi-hard case is what we came for, the headphones, themselves.
A graceful mix of aluminum, stainless steel and leather make the Stellia look highly elegant. Some have mentioned that the color combination is too showy, but I tend to think the opposite. I think the combination looks understated and sophisticated, worthy of the price range. From the cognac-colored aluminum yoke to the mocha leather inserts used to “close” the circular cup backing off, the color palette & mix is exquisite. For those familiar with Focal, the shape remains the same, and I find it quite good, while fitting to my head as well. The black perforated leather on the bottom provides cushioning and air flow relief, while the mocha leather headband feels soft and luxurious. This is two-fold: good looks, and a firm grip are had with the choice. And the last thing anyone would want is to drop these gems.
As mentioned, the mocha leather on the inside of the cups acts to close the increasing diameter holes of the skeleton stainless steel cup, which helps to control resonation, allow the Focal tuning to reflect according to their tuning and provide the closed-back aspect desired. There is also plastic under the leather, which does the hard job.
Precise clicks on the stanchion (yoke top) affords nine spots for proper fit. I usually do six on most headphones, and that is no different here. There is some rotational spring to the stanchion, which is normal. This affords some movement, further accommodating fit. The cups also have springs, which aid in clamping pressure, which I found to be on the tighter side, but good. Since the ear pads are leather, the whole unit could get warm after long sessions, but I found no bother.
The whole ear pad pops off, held by five pop spots, so changing the pads can be done easily enough. The two-tone color scheme carries over here as well, adding to the look. Those pads, while slightly thin to me, provide some of the finest coddling and fit on my head of any headphone I have tried. Some are too thick and cushy. The Stellia pads are just right with excellent feel and give. The drivers can be seen under a protective screen, and orient themselves slightly forward of mid ear fore & aft. They are also angled slightly toward the back to accommodate this slight shift forward. Fit is quite nice on my head as a result of all the technology involved in the build.
The two provided cables gave me mixed reactions. I used the 10-foot (yes, 10 feet) XLR cable for the majority of the time through either my Geshelli Labs E2/J2 combo or my iFi Pro iCAN/iDSD combination. Both have an XLR jack, and I wanted the full balanced sound option. I even used this cable on my newly acquired Sony MDR-Z7 with good results. The only faults I have with this wonderfully flat-braided cable are the microphonics of it (above the Y-splitter); the tangling of it, which quite often wrapped onto itself; and the length. Another reviewer posited that this was due to the bends and shape in which the cable is stored, and I agree. 10-feet is very long, but this would be a good cable for sitting on your couch or at your office. I would simply be careful getting up. The other cable worked just fine, and had slightly less microphonics to it, and tangling. Plus, having the interchangeable jack helps across multiple sources. I do find that one on the short side, and it is definitely meant for portability.
The cables are really quite good, but correcting those niggling attributes would make them just about perfect.
The build of the Stellia is as expected, at or near the top of the tier. The mix of plastic, leather, aluminum, and stainless steel makes for a luxurious product; which provides the user with excellent ergonomics and quality feel. I had a small amount of creaking on the cups, but that was only with concerted pressure; something a user would most likely not do while wearing.
Technology:
Driver technology as mentioned is the 40mm M-shaped Beryllium dome, similar to Focal’s other effort in the Utopia. The reasoning is that this dome shape helps to control any unwanted resonation produced from the driver/sound combination, before hitting your ears. It works, and keeps a tight control on the production of the sound signature.
The Stellia has a newly redesigned driver, modeled off the Utopia as mentioned. The 40mm size Beryllium M-shaped diaphragm of the original (Utopia) have been retained but the suspension has been tweaked with a voice-coil upgrade as well. The new voice-coil is a 30% copper and 70% aluminum hybrid for improved performance while retaining low weight. According to Focal, it’s actually a touch heavier than the original and the weight was offset with the introduction of carbon fiber to keep the overall weight roughly equal.
The Stellia is slightly more sensitive than the Utopia (106dB’s to 104 dB’s), and with an impedance of 35 ohms vs 80ohms is easier to drive.
Sound:
Coming off the highlights of Will’s new Utopia (Newtopia) review, we had high hopes for the Stellia. Those hopes were met and exceeded. The Stellia provides details as good as any closed-back I have heard; including my personal Kennerton Rögnir. A closed-back headphone is not supposed to have this much clarity and detail to it. But the Stellia does.
Spatial awareness it seems is always compromised by having a closed-back. But whatever magic Focal has done here has worked. While not on par with the best open-backs with regard to soundstage, the Stellia is admirable and I never felt myself wishing for more. Especially knowing it was closed. There is a reason that this cost right at $3k, and it becomes evident very early in the listening that most of that went into the tuning and presentation mentioned above.
Clarity and detail are one thing, but when the rest does not match that you can be left with a thinner signatured headphone. And yes, some design their headphones that way for a purpose. The Stellia exhibit a full sound that does not become bloated or overly abundant when called upon. Bass reaches well into the sub-bass region, with a taut control to it as opposed to overall depth of reach. That is all right, and I kicked the Bass Boost up on my iFi Pro iCAN/iDSD duo to accommodate my taste in the lower region. The Stellia handled the added input with aplomb. That tautness also carries a note of slightly slower decay that attack, which aids in a fullness to it that helps “hide” the lack of deep reach.
Mids come across as sumptuous without becoming drippy or slow. Speed is just right and the saxophone of Sonny Clark comes to the front without becoming garish or showy on “Cool Struttin’.” There is also a depth to the mids, which aid in that full sound, but the detail with which this comes across is quite frankly, astounding. On the warmer side as well, the richness pervades my senses, but without that ballooning lack of character.
Cymbal hits come across as articulate and accurate. No digital sense here, only realism. Trumpet notes provide a nice Segway into the top end, which hits with authority, but not overwhelming. A sense of smoothness lends itself to the transition between the mids and treble, as exonerated “L-O-V-E” by Nat King Coles. His vocal melancholy is so powerful that the exuding of character lends perfectly as he moves up the scale. His reach makes for a thoroughly enjoyable listen. Adele’s raspy voice sounds wonderful on “Oh My God,” which leads me into “Hello” of course to gauge that upper vocal range of a simply fantastic female voice. While not extending as others, the fullness with which she projects her song here makes for a brilliant listen, and ties off the sound signature of the Stellia perfectly.
Some headphones posit themselves for specific genre. The Stellia does not. As witnessed, it carries across male & female vocals as easily as jazz and pop in Taylor Swift’s superb song, “Question...?” This song also allows for the rumble of the song to come through as well. Again, while not reaching too high in the vocal range, the way her voice comes across is simply lavish.
Comparison:
I would be remiss if I did not compare the Stellia to the Rögnir for they fall into the same category and are both closed-back. Kennerton is much less known that Focal in the headphone world it seems, but they carry a devout, almost rabid base of fans. Will and I concur, rating the Rögnir as one of the absolute best closed-backs we have heard. It is a much more polarizing headphone though than the Stellia. Many do not like it (based upon graphs...) but you really cannot deny its appeal, what with the use of 2000 year old Bog Oak (https://www.antiquesage.com/bog-oak-rarest-wood-world/) the look is stunning. It also has 80mm planar driver technology, so the sound is a bit different.
The Rögnir has a bit “less full” sound to it, with more of a push into the upper mids than the Stellia. Still with a smooth character, the sound is quite good. Bass also reaches a bit deeper than the Stellia, but with slightly less control to it. As a result, there is a slight bleed into the lower mids from that characteristic. But, to me this is part of the character of the Rögnir, a melding of the sound into a nearly seamless smooth character, except for the upper mid push. Typically, planar driver bass reaches well in depth, and with good control. My feeling here is that the Kennerton was made to present an overall smoothness to it, with a bit of vibrant character where needed, the vocal region. And it works. Going back to “L-O-V-E,” I get a better sense of depth to the soundstage that was slightly missing in the Stellia. Even with that upper vocal push, the sound is so, so good to me. I did find myself reaching to turn the volume down on the Rögnir, something I did not do on the Stellia.
Conclusion:
As Focal’s second to top model and top closed-back model, the Stellia comes with high hopes. And after listening for the past six weeks along with reading numerous other reviews, we can all agree that Focal has hit the mark as a flagship headphone should. Superb construction, superb sound, and impeccable presentation in the unit and accessories. Some will state they could go without the luxurious presentation, but that to me is part of the flagship’s role, much like a Rolex doesn’t come in a box like a Timex. You pay for that expectation of excellence, and the Stellia meets those expectations with sophistication, class and luxury. And, sound to back it up.
The Stellia provides the listener with a smoothness one does not often get with this level of clarity and detail in song. Combining all of those traits in one headphone is a laudable goal, and one that Focal has met beyond expectations. So much so, that it could very well replace my Rögnir. I finish this listening to “Don’t You Forget About Me,” from Simple Minds and the seminal song from “Breakfast Club.” I certainly will not forget about the Stellia.
ngoshawk
Anytime you can get an Elegia for what you mention as the price, sounds like a good deal to me! Thank you for the kind words as well. cheers.
ngoshawk
Not exaggerated at all. It is what I heard. Is it source dependent? Obviously, but it is among the best I have heard. I stand by that statement.
iFi Zen Signature Series DAC V2 & CAN HFM: Continuing what is loved from the series.
Pros: Affordable duo, typical iFi excellent sound, versatility, cool look to it
Cons: Shape while cool, is not conducive to stacking, maybe not as powerful as one would like, other options available now
While at T.H.E. Show, last summer, I struck up a conversation with one of the vendors present; Michael Giardina from BeachHiFi, which is an online shop specializing in portable gear. Michael brought some heavy hitters to the show, from the Audeze LCD-5, to the Meze Elite, to the Focal Utopia, and newly released Audeze MM500. Much time was spent at the booth by the patrons, and for good reason. But, in talking to Michael, he offered to send some quality offerings my way. I told him I already had the Zen Signature HFM in hand, from iFi and he determined the MZ99 would be quite complimentary. The iFi Zen Signature Series HFM here is from Lawrance and iFi. Two newly released options to the “standard” Signature Series are the HFM (HiFiMan) version and the MZ99 (Meze 99C). This review will be very similar to the MZ99 review, but a worthy comparison should come about easily. I thank Lawrance, and iFi for the loan of this excellent duo.
iFi is not new. The British company has been producing portable and home gear for a little over a decade, with fantastic success. I have several of their items and consider my iFi Pro iDSD/iCAN DAC/Amp to be the peak of what I personally own. Known for incredible power, but with equally good control over that power matched by wonderfully vibrant sound is a trademark or “house sound” to me. With the original Zen Series, iFi brought that superb power and sound control into the much more manageable price range. It is not surprise that the line is a success, especially following the excellent xDSD/xCAN combination. The Zen Series is also more affordable that the x-series as well. Early reviews called the Zen Series a winner at the affordable price and a true contender for those who want top class sound in an affordable package. While the HFM and MZ99 reviews will be separate, I will draw comparisons to the pair of duos, to compare equalization curves and general sound characteristics.
The Skinny
Retailing for $599 as a pair, you can also use the DAC V2 as a pre-amp for other amplifiers. Meant to be purchased as a pair here, you get everything you need to hook the pair up and get running quickly. A nice addition is the 4.4bal cable, which pairs the two; allowing for a balanced option through the whole system from source to headphone. I ran the MZ99 pair this way throughout the test, except for the 6.35mm jack, which was used by the Meze 99 Classics I had in on loan. For the HFM I used the HiFiMan Edition XS, through the 6.35mm jack with an adapter. I also threw on the excellent HiFiMan Arya for comparative purposes. What separates the two variations are the equalization curve, tailoring each to the specific headphones mentioned. The HFM curve is listed below.
HFM curve
With upgraded circuit components and short, direct signal paths for optimal signal purity, the duo delivers bit-perfect PCM (up to 32-bit/384kHz), native DSD (up to DSD256) and DXD. Using 16-core XMOS chip (the same as their Pro series), rather than the original 8-core, the DAC V2 is now a full MQA decoder rather than a renderer. Also offering a pair of RCA sockets for single-ended connection to an amp, you can run RCA connections as well as the balanced 4.4mm output mentioned. That XMOS 16-Core chip processes the audio data received via the USB digital input, with a new low-latency XMOS microcontroller, greatly enhanced processing power. Compared to the current generation of eight-core chips, this new 16-core IC delivers double the clock speed (2000MIPS) and four times the memory (512KB), as well as the latest SuperSpeed USB standard.
According to iFi, “The full benefit of the ZEN DAC Signature V2’s balanced circuit design comes to the fore when it is connected to an amp or active speakers equipped with a balanced input. This can either be a 4.4mm Balanced input or stereo XLR inputs via a 4.4mm-to-XLR cable.”
You can also switch between ‘variable’ and ‘fixed’ outputs. On Fixed, the volume is bypassed in the DAC V2, while on variable, you can use the volume knob. A light surrounding the DAC V2 volume knob also allows you to see the level being decoded by a changing color, format dependent. I kept the unit switched to fixed for the majority of time.
If you need more power from the ZEN CAN Signature HFM, which delivers 1600mW (7.2V) into 32 ohms from the single-ended output, and 15V+ available to loads of 600 ohms or more through the balanced output, you can use the PowerMatch feature boasting four gain settings in six dB steps – 0dB, 6dB, 12dB and 18db. The Zen also boasts symmetrical, dual-mono balanced circuitry. The XSpace button functions along with the HFM switch to vary sound signatures a bit. The XSpace functions to “modify” sound location within the soundstage, essentially enhancing the soundstage (in-head localizations) within limitations. To me this functions similarly to the 3D switches on the older iFi models I own, broadening soundstage from a bit to cavernous stadium-like sound.
The specialty of the HFM is its HiFiMan equalization tuning (pictured above), which helps “fill in” what others might do normally with equalizing on their own. While the Edition XS I used, is a fantastic headphone, I do find it a slightly bass shy for my tastes, and with a bit too much emphasis on the upper mids (similar to the Meze 99C, coincidentally). Pushing the HFM button brings forth control in iFi’s version of equalizing. Adding in lower sub bass, and a taming a bit of the upper mids allows me to thoroughly enjoy the sound. Rebelution’s Safe And Sound came forth with deep reaching, bass that was taut in control, but full of excellent rumble. The lowering of the upper mids did not tame the vocals, nor Ziggy Marley’s when played beforehand, coming across with vibrancy and a slight push forward. The HFM equalization curve, which is readily available shows exactly what iFi did to limit the “discrepancies” some find in HiFiMan models. Also listed is which headphones of HiFiMan will work the best, down to average help at best. This is a nice feature to have so you know which of your HiFiMan models work best. Nonetheless, the addition was very prevalent when turned off. Mids came forward more than I liked, and bass fell behind the scene as well. Mids seemed to become flatter in response without the EQ curve, and hence I left the HFM setting on for the vast majority of time. If I wanted more “verve,” I switched on the XSpace as well; giving me an added amount of space between notes. Note overly expansive, but one of those “just right” moments from the fabled fairy tale.
Michael Franti & Spearhead’s excellent The Sound Of Sunshine came across like I was sitting on the beach on a wonderful summers day. Vocals were excellent, and the extension of sound beyond my head was enhanced without using the XSpace button. I was really enjoying the sound. Mind you, I still have the PowerMatch on 0dB’s added. Running the volume at the 1000 positon was plenty vibrant for me, and loud enough. Switching to the earsonics Grace Platinum with a 4.4bal cable, 0900 was plenty loud to me. This shows the versatility of the Zen Sig Series as well. Running the Platinum without the HFM or XSpace EQ settings gave a rich, vibrant tone all itself. I did run both on for a thrill, and the bass was a bit overwhelming, but fantastic.
finale:
Beyond all of the great sound, which emanates from within the Zen duo, the looks promote a curvy sensuousness to your desktop as well. Mind you, I have nothing against plain black boxes, but the shapeliness of the iFi duo adds a certain Zen-like peace and order to your surroundings. Plus, controls are readable and quite handy as well. Yes, the volume knob is quite large, and could do with a better volume location “detent,” but in the overall scheme, it works. You work the volume knobs the most in my mind, so making them handy and prominent is quite fittings.
What do we end up with then? I am a fan of iFi, whether it be their affordable components or their expensive ones. But I have noticed that some of their products may not have hit the “correct” marks. By that I mean not only target audience, but price point. iFi never fails to innovate, though. From my first audition of the superb (and nuclear powerful) micro Black Label, to the tubey goodness of the Pro combo I own, the company has laid a path that many follow. All try and compete at a better price. When doing so, there certainly are some items, which come about as cheaper, but to me fail to completely impress like the equivalent iFi product. And here is where the Zen Signature Series excels in my mind. The “ordinary” Zen Signature Series was quite good for the price, but the V2 and subsequent HFM & MZ99 versions here exceeds that. It is powerful, poised, adaptable, and very good looking as well. It ticks all the right buttons in my mind, and that is all I can ask of it. Miles Davis On Green Dolphin Street sounds quite nice as I finish this, and I can highly recommend the iFi Zen Signature Series, no matter the tuning.
Pros: Affordable duo, typical iFi excellent sound, versatility, cool look to it
Cons: Shape while cool, is not conducive to stacking, maybe not as powerful as one would like, other options available now
While at T.H.E. Show, last summer, I struck up a conversation with one of the vendors present; Michael Giardina from BeachHiFi, which is an online shop specializing in portable gear. Michael brought some heavy hitters to the show, from the Audeze LCD-5, to the Meze Elite, to the Focal Utopia, and newly released Audeze MM500. Much time was spent at the booth by the patrons, and for good reason. But, in talking to Michael, he offered to send some quality offerings my way. I told him I already had the Zen Signature HFM in hand, from iFi and he determined the MZ99 would be quite complimentary. The iFi Zen Signature Series HFM here is from Lawrance and iFi. Two newly released options to the “standard” Signature Series are the HFM (HiFiMan) version and the MZ99 (Meze 99C). This review will be very similar to the MZ99 review, but a worthy comparison should come about easily. I thank Lawrance, and iFi for the loan of this excellent duo.
iFi is not new. The British company has been producing portable and home gear for a little over a decade, with fantastic success. I have several of their items and consider my iFi Pro iDSD/iCAN DAC/Amp to be the peak of what I personally own. Known for incredible power, but with equally good control over that power matched by wonderfully vibrant sound is a trademark or “house sound” to me. With the original Zen Series, iFi brought that superb power and sound control into the much more manageable price range. It is not surprise that the line is a success, especially following the excellent xDSD/xCAN combination. The Zen Series is also more affordable that the x-series as well. Early reviews called the Zen Series a winner at the affordable price and a true contender for those who want top class sound in an affordable package. While the HFM and MZ99 reviews will be separate, I will draw comparisons to the pair of duos, to compare equalization curves and general sound characteristics.
The Skinny
Retailing for $599 as a pair, you can also use the DAC V2 as a pre-amp for other amplifiers. Meant to be purchased as a pair here, you get everything you need to hook the pair up and get running quickly. A nice addition is the 4.4bal cable, which pairs the two; allowing for a balanced option through the whole system from source to headphone. I ran the MZ99 pair this way throughout the test, except for the 6.35mm jack, which was used by the Meze 99 Classics I had in on loan. For the HFM I used the HiFiMan Edition XS, through the 6.35mm jack with an adapter. I also threw on the excellent HiFiMan Arya for comparative purposes. What separates the two variations are the equalization curve, tailoring each to the specific headphones mentioned. The HFM curve is listed below.
HFM curve
With upgraded circuit components and short, direct signal paths for optimal signal purity, the duo delivers bit-perfect PCM (up to 32-bit/384kHz), native DSD (up to DSD256) and DXD. Using 16-core XMOS chip (the same as their Pro series), rather than the original 8-core, the DAC V2 is now a full MQA decoder rather than a renderer. Also offering a pair of RCA sockets for single-ended connection to an amp, you can run RCA connections as well as the balanced 4.4mm output mentioned. That XMOS 16-Core chip processes the audio data received via the USB digital input, with a new low-latency XMOS microcontroller, greatly enhanced processing power. Compared to the current generation of eight-core chips, this new 16-core IC delivers double the clock speed (2000MIPS) and four times the memory (512KB), as well as the latest SuperSpeed USB standard.
According to iFi, “The full benefit of the ZEN DAC Signature V2’s balanced circuit design comes to the fore when it is connected to an amp or active speakers equipped with a balanced input. This can either be a 4.4mm Balanced input or stereo XLR inputs via a 4.4mm-to-XLR cable.”
You can also switch between ‘variable’ and ‘fixed’ outputs. On Fixed, the volume is bypassed in the DAC V2, while on variable, you can use the volume knob. A light surrounding the DAC V2 volume knob also allows you to see the level being decoded by a changing color, format dependent. I kept the unit switched to fixed for the majority of time.
If you need more power from the ZEN CAN Signature HFM, which delivers 1600mW (7.2V) into 32 ohms from the single-ended output, and 15V+ available to loads of 600 ohms or more through the balanced output, you can use the PowerMatch feature boasting four gain settings in six dB steps – 0dB, 6dB, 12dB and 18db. The Zen also boasts symmetrical, dual-mono balanced circuitry. The XSpace button functions along with the HFM switch to vary sound signatures a bit. The XSpace functions to “modify” sound location within the soundstage, essentially enhancing the soundstage (in-head localizations) within limitations. To me this functions similarly to the 3D switches on the older iFi models I own, broadening soundstage from a bit to cavernous stadium-like sound.
The specialty of the HFM is its HiFiMan equalization tuning (pictured above), which helps “fill in” what others might do normally with equalizing on their own. While the Edition XS I used, is a fantastic headphone, I do find it a slightly bass shy for my tastes, and with a bit too much emphasis on the upper mids (similar to the Meze 99C, coincidentally). Pushing the HFM button brings forth control in iFi’s version of equalizing. Adding in lower sub bass, and a taming a bit of the upper mids allows me to thoroughly enjoy the sound. Rebelution’s Safe And Sound came forth with deep reaching, bass that was taut in control, but full of excellent rumble. The lowering of the upper mids did not tame the vocals, nor Ziggy Marley’s when played beforehand, coming across with vibrancy and a slight push forward. The HFM equalization curve, which is readily available shows exactly what iFi did to limit the “discrepancies” some find in HiFiMan models. Also listed is which headphones of HiFiMan will work the best, down to average help at best. This is a nice feature to have so you know which of your HiFiMan models work best. Nonetheless, the addition was very prevalent when turned off. Mids came forward more than I liked, and bass fell behind the scene as well. Mids seemed to become flatter in response without the EQ curve, and hence I left the HFM setting on for the vast majority of time. If I wanted more “verve,” I switched on the XSpace as well; giving me an added amount of space between notes. Note overly expansive, but one of those “just right” moments from the fabled fairy tale.
Michael Franti & Spearhead’s excellent The Sound Of Sunshine came across like I was sitting on the beach on a wonderful summers day. Vocals were excellent, and the extension of sound beyond my head was enhanced without using the XSpace button. I was really enjoying the sound. Mind you, I still have the PowerMatch on 0dB’s added. Running the volume at the 1000 positon was plenty vibrant for me, and loud enough. Switching to the earsonics Grace Platinum with a 4.4bal cable, 0900 was plenty loud to me. This shows the versatility of the Zen Sig Series as well. Running the Platinum without the HFM or XSpace EQ settings gave a rich, vibrant tone all itself. I did run both on for a thrill, and the bass was a bit overwhelming, but fantastic.
finale:
Beyond all of the great sound, which emanates from within the Zen duo, the looks promote a curvy sensuousness to your desktop as well. Mind you, I have nothing against plain black boxes, but the shapeliness of the iFi duo adds a certain Zen-like peace and order to your surroundings. Plus, controls are readable and quite handy as well. Yes, the volume knob is quite large, and could do with a better volume location “detent,” but in the overall scheme, it works. You work the volume knobs the most in my mind, so making them handy and prominent is quite fittings.
What do we end up with then? I am a fan of iFi, whether it be their affordable components or their expensive ones. But I have noticed that some of their products may not have hit the “correct” marks. By that I mean not only target audience, but price point. iFi never fails to innovate, though. From my first audition of the superb (and nuclear powerful) micro Black Label, to the tubey goodness of the Pro combo I own, the company has laid a path that many follow. All try and compete at a better price. When doing so, there certainly are some items, which come about as cheaper, but to me fail to completely impress like the equivalent iFi product. And here is where the Zen Signature Series excels in my mind. The “ordinary” Zen Signature Series was quite good for the price, but the V2 and subsequent HFM & MZ99 versions here exceeds that. It is powerful, poised, adaptable, and very good looking as well. It ticks all the right buttons in my mind, and that is all I can ask of it. Miles Davis On Green Dolphin Street sounds quite nice as I finish this, and I can highly recommend the iFi Zen Signature Series, no matter the tuning.
Cheers!!