Firstly I would like to thank BGVP for sending me the NS10 for review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
iBasso DX200 > NS10 (silicone tips)



Tech Specs
• Model: BGVP NS10
• Impedance: 12Ω
• Frequency Response : 20Hz-40kHz
• Sensitivity: 110dB SPL/MW
• Distortion Rate: ≤1.5% (1kHz)
• Channel Difference: ≤1dB
• Cavity Material: Lightweight aluminum alloy cavity
• Drive Unit: 8 balanced armature+2 dynamic driver
• Cable: 4 strands 6N OCC silver plated cable
• Cable Length: 125cm ±5mm

https://www.aliexpress.com/i/1005004895680951.html

Packaging, Build quality and Accessories
The BGVP NS10 come in a nicely sized box that’s black with a blue outer sleeve that has the model’s name on the front and some details about the earphones on the back – including full technical specifications. The main black box feels quite premium for the price, the earphones are neatly placed in a foam insert with the accessories underneath overall, the NS10 are a nicely presented product.

Build quality is solid with CNC machined smooth housings, an interchangeable nozzle, and a MMCX detachable cable with interchangeable plugs. The cable comes with 3 plugs, 3.5mm, 2.5mm and 4.4mm, this covers most bases and the system it uses is good however the jack is quite long due to these interchangeable connectors. The cable is of good thickness yet remains supple and has good strain relief where needed.

Accessory wise you get a nice white leather carry case, interchangeable nozzles (for tuning purposes), 6 pairs of silicone tips (different silicone materials) and one pair of foam tips. This means most users should be able to get a good fit out of the box, and BGVP have included all the key accessories with the NS10.



Driveability, Comfort and Isolation
The BGVP NS10 feature 10 drivers, 2DD and 8BA’s which are a mixture of Sonion and Knowles – however these has very high sensitivity and are easily driven by portable sources, from DAPs to DAC/Amp dongles.

The smooth housings of the NS10 contribute to a comfortable fit, once you find the right eartips it’s easy to wear them for long periods of time. The housings are a little on the larger side and do stick out of my ears a little, but this does depend on your own ear shape. The cable is supple which is also a bonus, helping them fit securely for long periods.

Isolation is rather good too; they are vented but this doesn’t seem to have much of an impact on the isolation. These are great for everyday listening and out and about use, doing well in moderately noise environments.



Sound

Silver nozzles – BGVP call this one the Pop filter, designed for pop and other similar genres.

With this nozzle the BGVP NS10 have a punchy and impactful low end that has no issues reaching deep down into the sub-bass region whilst remaining well controlled and balanced. Bass guitars come across with good articulation and kick drums have body to back up the punch. The bass is well tuned and enjoyable without ever sounding over the top.

The midrange is clean and detailed, perhaps a tiny bit reserved but utterly fatigue free. These sound quite good with rock due to having great separation in the midrange, guitars come across crisp and with good power when required. I quite like the unforced, fluid nature of the midrange with the silver nozzles.

The treble is quite smooth, there is good extension and a nice level of sparkle but its not upfront or bright. There is good air and space up top, snares are snappy and the treble is a little laid-back lacking perhaps a little bit of bite. This does mean there isn’t any sibilance on these, and they would work well for those wanting a smoother sound.

The separation is great, these don’t seem to get congested and always remain well separated, the soundstaging is good but they are not a hugely wide sounding earphone. This is a very enjoyable tuning and one that has enough “fun” factor for daily use without sounding completely V shaped or boosted in any area.

Red nozzles – BGVP say these are balanced, and bring out a more neutral sound.

This nozzle tones down the bass a little, brings out a bit more clarity and air and overall control. The bass is still articulate and punchy but it isn’t quite a full sounding as with the silver nozzle, the body is still there just a little lower in quantity.

This slightly tighter low end helps vocals cut through a bit better, there is less colouration to the lower midrange without introducing a peak in the upper midrange. These nozzles really do make them sound more even and balanced.

The treble gains a tad more presence but again it is smooth and well extended. These don’t suddenly become bright in the top end, but they do sound a bit tighter. The treble changes the least here, gaining only a subtle lift the does make snares snappier, and cymbals do have a bit more sparkle.
I found the sound to be most coherent with the red nozzles, they sound more natural and realistic and have a very nice balance between the frequencies.

James Bay – Scars sounds fantastic with the red nozzles, you can hear every little detail in the song but there is still body to the sound, it sounds beautifully well balanced and controlled and quite impressive for the price.

Gold nozzles – best suited to classical and similar music according to BGVP

The bass is the most reserved out of all tips but there is still a nice level of impact down low when called for, kick drums still have body backing up the punch and they still retain a slightly full low end.

The main difference is most notable in the upper mids and treble region, with a touch more presence in terms of female vocals and an increased in treble quantity. With the gold nozzles they do come across as a touch bright at times, but there is a slight increase in perceived detail and air with this setup.

There can be a hint of sibilance during certain tracks with these nozzles, and the sound does come across as thinner than before, just as BVGP intend. Your sensitivity to treble along with the quality of the recording will dictate whether you will find this particular sound enjoyable, for me personally the Red nozzles fit my tastes well.



Conclusion
When BGVP asked me if I wanted to review the NS10 I was worried they would be another quantity of drivers over quality of tuning product. They have managed to prove me wrong, with the silver and red nozzles you do get an impressively enjoyable sound for not a lot of money. They have good detail and impact, the 10 drivers seem to be working well together, with a coherent and enjoyable sound signature.

The gold nozzles bring the sound to a level which most will not enjoy day-to-day but if you like a brighter signature they will work well. The red nozzle is the best of both worlds in my opinion, coming across as well balanced and a good all-rounder without losing impact. Most importantly the red nozzles have a more natural midrange than the silver, being a bit more forward than the silver nozzles.

Sound Perfection Rating: 8/10 (A good buy for the money, no glaring flaws, and a lot to enjoy with the different nozzles included)

Firstly I would like to thank Simgot for sending me the EA500 to review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
iBasso DX200 > EA500
JDS Labs Atom DAC+ > Singxer SA-1 > EA500



Tech Specs:
• MODEL – EA500
• DRIVERS – 10mm dual-magnetic-circuit & dual-cavity structure dynamic.
• DIAPHRAGM – Fourth-generation DLC composite diaphragm
• IMPEDANCE – 16Ω+15% (@1kHz)
• SENSITIVITY – 123dB/Vrms (@1kHz nozzle with red ring) 124dB/Vrms (@1kHz nozzle with black ring
• FREQUENCY RESPONSE RANGE – 10Hz-50KHz
• EFFECTIVE FREQUENCY RESPONSE – 20Hz-20kHz
• CABLE – High-purity silver-plated OFC wire
• CONNECTOR – 0.78mm 2-pin

https://www.linsoul.com/products/simgot-ea500

Packaging, Build Quality and Accessories

The Simgot EA500 come in a small matte black box, it has the model’s name on the front and info about the IEM’s on the back along with 2 graphs showing the sound signature for each nozzle (Black and Red). Slide the outer cover off and there is another matte black box with rose gold lettering embossed, a very nice touch. The box is mostly made of carboard, with a small section of hard foam to hold the IEMs in place, this is good for the environment which I appreciate. You’ll find the IEMs and accessories all neatly laid out in separate parts of the box and its well done overall.

Build quality is excellent, the main housing is made from metal and the detachable cable uses a standard 2-pin connector. The nozzles unscrew to allow either the black or red silicone ring ones to be fitted, these act as tuning filters which is a great addition. The cable is a twisted pair for below the splitter and single above, internally there are 4 cores of stranded silver-plated-copper OFC and the flexibility is excellent along with great strain relief on all parts.

Accessory wise you get 3 sets of silicone eartips (S, M and L) along with a spare set of nozzles (red are fitted, black are spare) there is a small bag of coloured o-rings too in case you lose any/they get damaged. There is also an oval shaped clamshell carry case included which is great, personally I would have liked to see more eartips included but all the basics are covered so that’s a plus.



Comfort and Isolation

The Simgot EA500 have a well-shaped housing which allows for a comfortable fit, the only issue I had was that the weight of the metal housing did cause them to slide out a little and meant they didn’t fit as flush as I would have liked. They didn’t fall out however, I would not pick these for active use, and they’re better suited for general daily usage. I did find them to be comfortable in use, and the cable greatly contributes to this, being supple and easy to handle.

Isolation is average, these are a vented dynamic driver design and as such will never compete with fully sealed balanced armature models. They do very well for everyday commuting and the usual daily activities, but if you have a very noisy commute, I would look at something a little more isolating.



Sound

Firstly, I will start off with the red nozzle which Simgot claim follows the Harman earphone curve quite closely. The Simgot EA500 have a punchy sound with these nozzles, there is great punch from the lower end of the spectrum and it’s controlled along with impactful. The punch is well controlled and there is good extension to back it up, these are not bass-head IEMs however they are mildly fun and quite engaging with the right music.

The midrange has detail, the EA500 manage to extract an impressive amount of detail from vocals and guitars without them sounding clinical. The transition from the bass into the midrange is handled very well without any excessive warming of the lower midrange, and equally the transition from the upper midrange into the treble is smooth with only a hint of sibilance on certain tracks. The midrange has very impressive tonality and they never sound congested, vocals are slightly forward giving them a bit of an intimate presentation however the rest of the instruments are well placed within the soundstage.
Treble wise these have good presentation and are not lacking when it comes to quantity, they are not however presented in a brash or up-front way and don’t ever become fatiguing. Extension is good, whilst they don’t quite trail off as effortlessly as some others, for the price the detail and control are commendable. They complement the overall balance and leave the EA500 sounding fun and enjoyable without sounding dull, or too clinical either. There is a sense of sparkle up top, but the highs are well controlled and even tonally they come across very well for the price.

Overall the red nozzles have a thoroughly enjoyable, well balanced sound with slightly forward vocals that give them a somewhat intimate presentation without ever sounding congested. The detail in the midrange is stunning for the price, and I really enjoy this sound signature.



Now on to the black nozzles, Simgot call this tuning a “Classic-Simgot” tuning and it differs to the Harman curve in a few ways. Right away you will notice a slight decrease in body in the bass, the punch is a little drier and has less warmth and body to it, and to me sounds a little less natural down low. Kick drums sound a bit to constrained, there sound be more body to back them up, however articulation and speed is good with the black nozzles.

The midrange is still quite natural; however, it is ever so slightly cooler in tonality, it doesn’t quite have the natural warmth of the red nozzles. Due to the slight decrease in body, there is a slight perceived increase in detail, the upper midrange is still well controlled though with minimal sibilance however it is a little more forward. The presentation is also slightly different, vocals don’t come across quite as up-front and there is a little more space within the soundstage.
A small increase in treble presence is noticeable and they no longer sound quite as well rounded and punchy, instead the overall signature is a little leaner and could become fatiguing at louder volumes. There is slightly more sparkle to the treble and it is more upfront in its presentation however it does remain quite well controlled and doesn’t sound splashy or overly peaky.

Overall, the black nozzles are a little leaner sounding which can work well for some genres, there is a perceived increase in detail due to the tuning and the treble is a little more upfront however they are lacking a slight richness to the sound that the red nozzles have.

Conclusion

The Simgot EA500 with the red nozzles are very easy to enjoy, I think they have a signature that is easy to like and the technicalities are mightily impressive for the price. There is a good level of detail retrieval, the sound is controlled and they never come across as congested. The black nozzles on the other hand could sound fatiguing to some over time and at higher volumes, the sound with the black nozzles is a little lean and perhaps not quite as fun and engaging as the red. Which you will prefer will come down to personal preference however, I found the red nozzles to provide a very well-rounded sound that way engaging, fun and yet technically proficient too. They are comfortable but the housings are quite heavy and I did find them not to sit as flush as I would have liked due to this (along with my awkward ear canals).

Sound Perfection Rating: 8/10 (Excellent build, great sound)

Firstly I would like to thank Linsoul for sending me the ThieAudio Ghost for review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
JDS Labs Atom DAC+ > Singxer SA-1 > Ghost
iBasso DX200 > Ghost



Tech Specs:
• DRIVERS – 40mm Sapphire Composite Dynamic Driver
• IMPEDANCE – 60 ohms
• SENSITIVITY – 91dB @1kHz
• FREQ. RESPONSE – 20Hz-20kHz
• CABLE TERMINATION – Interchangeable 3.5mm wire
• HEADPHONES CONNECTORS – Dual 3.5mm

https://www.linsoul.com/products/thieaudio-ghost

Packaging, Build Quality and Accessories

The packaging is simple, ThieAudio have gone back to basics with the Ghost packaging but in no means does it detract from the product itself. A nice-looking outer sleeve with detailed pictures on the front and a list of the specifications on the side. Slide this sleeve off and you have a thick black cardboard box, lift the top off and you’ll find the included case held in a foam insert. You’ll find the headphones in their case, whilst the packaging is basic and functional, it doesn’t look too bad and doesn’t take away from the product, especially in this price range.

The headphones are well built, and I really like decisions that have been made when it comes to the design. You have a well-padded headband with metal yokes, that hold plastic cups with grilles made from thin aluminium. All of this comes together to create a lightweight yet sturdy feeling pair of headphones. These are open back headphones, and the open grille looks lovely, however the gold trim ring may not be to everyone’s tastes. The earpads fitted are soft velour, but the inner sponge feels average.

The cable is a proper 4-core ribbon cable, it’s flat in nature but I actually found it to be very comfortable in use. Strain relief seems adequate rather than excellent, however these are more of a home headphone so I don’t see an issue with this. Finally, the dual 3.5mm sockets are great, and it’s definitely a cable standard that needs to be more commonly adopted. One small detail that I will commend ThieAudio on, is the inclusion of small foam pads that stop the cups hitting the yokes and making a noise when taking them off and on again – small things like this make a difference.

Accessory wise you get a good clamshell case that is semi-hardshell meaning good protection whilst in transit. You get the audio cable and a 6.3mm to 3.5mm jack adapter – the usual suspects but nothing is missing and the included case is great for storing the headphones in.



Comfort and Driveability

The ThieAudio Ghost are a lightweight headphone with a soft cable, this does go a long way in creating a comfortable headphone. The headband is well padded which hasn’t caused me any problems, the only thing that is noticeable is the clamping force is a little tight. This can usually be remedied by leaving them stretched over a few books for a couple of days. The earpads are supportive, not letting the tops of your ears rest against the inner foam and driver, which is a bonus.

These headphones are not the easiest to drive, my DX200 did an ok job at powering them but they really come alive with clean desktop power. My Singxer SA-1 is perfectly up to this task and drives the ThieAudio Ghost with ease and authority, these really wake up when powered properly and I highly recommend using them with a good headphone amp.



Sound

Bass: The ThieAudio Ghost have a slightly warm tilt to their sound, there is a helping of added body from the bass that adds a slightly warmth to the whole sound but without making them sound muddy or overly coloured. The lows are well behaved, if lacking a little punch at times, articulate yes, but hard hitting they are not. The bass is always well controlled and never becomes the focus, yet it is always present and extends easily into the sub-bass. I really like the fullness they have down low, it’s a smooth sound but done very well to the point where it is relaxing and not distracting and veiled.

Listening to heavier tracks they don’t quite have the visceral punch that other headphones pull off, they don’t have that sense of immediacy or scale, but what they do is make the sound have an almost liquid fluidity that is just enjoyable. It’s easy to lose yourself in the music whilst listening, they make you stop analysing tracks, they want you to listen and enjoy.

Midrange: The midrange is not the kind that grabs your attention and stands out, these are a balanced to slightly warm sounding headphone and the midrange almost comes across as a little dull at times. Rest assured it’s there, doing it’s job, and maybe I’m just used to a more mid-centric sound signature, but the Ghost lack some bite to the midrange that causes it to sort of go about it’s business without any real shine to it. This almost sounds negative, but in all fairness, it fits very well with the overall sound signature, the midrange is clean and well separated with great detail retrieval.

Electric guitars might lack bite, but vocals come across with great tonality, and you won’t miss out on the finer details like fingers running up a fret board. They just don’t stand out, they are not made to grab your attention, instead to just be there as part of the bigger picture.

Treble: The treble on the Ghost is buttery smooth, and never jarring, it has a sweetness to it that prevents it from ever becoming fatiguing. Quantity is a little on the subdued side, but there is excellent air up top that prevents them from ever sounding closed in and overly warm. The transition from upper midrange to the treble is devoid of any peaks, sibilance is well controlled and these would suit those who are treble sensitive. As I mentioned before these lack a little bite, but the drives seem to benefit from great transient response allowing for snappy snares and a controlled sound. The treble doesn’t seem to have any issues with extension either, there is no noticeable early roll off.

So whilst these don’t have the most exciting treble performance out there, they have good tonality up top and it’s composed without every becoming troublesome. The nice thing about the treble here is that, whilst slightly subdued, the Ghost is not missing detail or air at all.

Instrument Separation and Soundstaging

The ThieAudio Ghost have a well separated sound that is easy to pick apart should you wish, however the overall sound is very cohesive and presents the sound as a whole without sounding detached at all. These are not analytical, yet they have good technical performance which does allow you to easily hear each separate instrument.

Soundstaging is a little limited to be honest, these are not a super wide sounding headphone, but they are not congested in the slightest. There is plenty of space within the soundstage, and there are out of head experiences to be had, it’s really easy to pinpoint musicians within the soundstage however the overall softer sound leads to a little more restricted headspace.



Conclusion

The ThieAudio Ghost is a hugely enjoyable headphone, and when you take in to account the packaging, build quality and sound quality it really is incredible value for money. These are not a headphone that instantly wow, there is nothing overly boosted within their frequency range, instead they offer a mildy u-shaped sound signature with a hint of warmth overall. They have an easy going sound that is just a pleasure to listen to, and these are easy to recommend.

Overall ThieAudio have done a superb job with the Ghost, it gets top marks from me for being such a likeable headphone with no real downsides. You really do get a lot of headphone for your money here, however they do benefit from having a good desktop source.

Sound Perfection Rating: 10/10 (Great build, excellent comfort, hugely enjoyable sound for a low price)

Firstly I would like to thank Akoustyx for sending this sample for review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
iBasso DX200 > R-100
JDS Labs Atom DAC+ > Singxer SA-1 > R-100



Tech Specs:
• Driver Studio Reference Balanced Armature
• Impedance 22 Ω @ 1KHz
• Sensitivity 115dB
• Freq. Response 15-22.000Hz
• Cable Length 1.2M (4.0 ft)

https://akoustyx.com/products/r100

Packaging, Accessories and Build Quality

The box is similar to other Akoustyx models, quite a plain blue and white affair with a render on the front of the earphones. On one side you have the technical specifications and on the back, you have a list of features and included accessories. The packaging markets these towards the pro-audio sector with pictures of musicians, this is an industry where fancy packaging really isn’t necessary. Inside you’ll find the IEM’s held in place in a basic foam insert along with the accessories in the carry case.

Accessory wise you get 4 pairs of silicone tips (S, M, L and bi-flange) along with 3 pairs of memory foam tips and their Freebit silicone wing fit things. You also get a clamshell case with these, which offers a bit more security over their usual neoprene case. Overall, a good set of accessories for the price.

Build quality is very good, if you like using the Freebit fit things then they provide a nice silicone cover for the shells, if not though they are made out of durable polycarbonate and are well finished. One thing to point out is that all Akoustyx models are assembled in the USA, and they do feel well made even if their styling is very basic due to these being a pro-audio focused product. The MMCX connectors used are very high tolerance allowing for a tight fit and one that shouldn’t be problematic over time. The cable is Kevlar reinforced, it is quite springy though and likes to try and wind itself up, however it is well relieved and feels robust so I cannot see any issues with the cables longevity.



Fit, Comfort and Isolation

The Akoustyx R-100 have a familiar shell shape, a simple rounded housing with an angled nozzle and a cable that routes over the top of your ear. The housing is quite small and discreet and I found these to fit me perfectly without the Freebit attachments. In general, I find this style of earphone to fit me exceptionally well, and these are no different, they do essentially disappear once you settle on the right size of eartip.

Comfort is a strong point, once you settle on the right eartips these do disappear when in use and they can easily be used for hours on end without discomfort. The cable isn’t too unruly in use, and the pre-moulded memory wire section is soft and I never found it to be irritating.
Isolation is also very good, this is a sealed BA based earphone so a good level of isolation is to be expected and they comfortably block out more than vented dynamic and hybrid models. These would work very well on-stage and in high noise environments.



Sound

Bass: For a single BA driver earphone, the Akoustyx R-100 have impressive body and punch down low, they don’t have excessive bass rumble but they are snappy when it comes to transients yet have plenty of body when called for. These are a slightly warm sounding earphone, with a lift in the bass region which comes in handy when using them in high noise environments. The bass is impressively full for the price, yet doesn’t throw off the overall sound. Acoustic guitars have natural decay and reverberation, kick drums hit with authority and bass lines are easy to follow. Whilst these would not be my first choice for pop, electronic and hip-hop they still do a remarkably good job down low when called for.

Midrange: The midrange is left relatively uncoloured by the bass, with a smooth transition between the two. There is no masking od details from the low end, there is a crisp yet natural quality to the midrange that allows it to shine through without any real effort. I think that’s a good way to describe the midrange on the Akoustyx R-100, effortless, it’s there in just the right quantity to sound convincing without trying to grab your attention. There is real power behind it when the track emphasises it, however most of the time it is just there allowing you to hear subtle details in vocals, or follow a guitar line without trying too hard. The upper midrange never gets strident, and the transition in to the lower treble is a little subdued if anything, making these utterly fatigue free.

Treble: There is a bit of a trend with some Akoustyx models, and this is quite soft and subdued treble, this is both good and bad in my opinion. The good thing about having a soft and smooth treble presentation is the lack of fatigue, especially for those who are quite treble sensitive. The trade-off is that the top end lack excitement and you even lose out on a little bit of detail, it also makes them sound a little less accurate. There is treble on the Akoustyx R-100 and they are not an overly dark sounding IEM, however it is pushed back in the mix and you do have to listen out a little for it.

Soundstaging and Instrument Separation

The sound of the Akoustyx R-100 is quite intimate and direct, they don’t have a wide soundstage but the sound is engaging. Luckily the intimate sound doesn’t come at the expense of separation, instruments are still easily distinguishable within the stage and they don’t sound congested at any time. The subdued treble however does mean they aren’t exactly an airy sounding earphone, instead they focus on drive, these are however designed for pro-audio use where having a big airy sound isn’t really necessary.



Conclusion

Whilst the Akoustyx S-6 was a bit hit and miss for me, the R-100 are much easier to recommend. They have an intimate and engaging sound that sounds bigger than their single BA driver might have you think on paper.

There is body to the sound, with great low end presence and a detailed yet well balanced midrange. Only the treble could do with a tad more sparkle for me personally, however these do have an ultimately easy to listen to and fatigue free sound.

For the price these are a good deal, and great if you want a detailed and controlled sound with a level of fun to them. Whilst not as smooth and natural as the KiiBoom Allure, these have the upper hand in detail and transient response.

Sound Perfection Rating: 7.5/10 (A very competent single BA earphone, with a smooth sound signature and subdued treble)

Firstly I would like to thank Akoustyx for sending this S-6 sample for review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
iBasso DX200 > S6
JDS Labs Atom DAC+ > Singxer SA-1 > S6



Specs:
• Type • In-Ear Universal Fit
• Transducer • Planar Magnet
• Magnets • Neodymium N50 (Front & Rear)
• Frequency Response • 10 – 44,000Hz
• Impedance • 18Ω @ 1kHz
• Sensitivity • 108dB
• Connectors • MMCX Gen-2 (Micro Miniature Coaxial) connectors
• Cable • Titanium Kevlar mono crystalline OFC (Oxygen Free Copper)
• Length • 1.2M (4.0ft)

https://akoustyx.com/products/s6

Packaging, Build Quality and Accessories

The Akoustyx S-6 come in a small black rectangular box, with a render of the IEM’s on the front and a list of features along with specs listed on the back. It’s a simple outer packaging, inside this you’ll find a sturdy inner box that holds the IEM’s securely in place via a foam insert. Underneath the insert you’ll find the accessories, the packaging may not be lavish but it serves the purpose of showing what the item is along with keeping them secure during shipping.

The build quality is good overall, the housings are made from a sturdy titanium-oxide coated alloy and have polymer moulding where the MMCX connector sits. The MMCX connector is tight and I can’t see any issues in the long run here. The cable isn’t hugely thick, but it is a little stiff (probably due to the titanium Kevlar shielding). Overall I can’t comment on how long these will last, but they have held up to daily use for a few weeks and still look brand new, they do feel well put together.

The S-6 come with a good array of eartips, you get S, M and L along with bi-flange tips in silicone, along with S, M and L foam tips. You get a selection of Surefire earlock wings, I personally don’t use these as they fit well without but I can see these being beneficial for a more secure fit for some. Last but not least you get the signature Akoustyx neoprene carry case, I really like this case as it is small, compact and lightweight whilst also providing a good level of protection for the earphones. A good selection of accessories is included with the S-6.



Comfort, Fit and Isolation

The Akoustyx S-6 are small and lightweight, with a barrel shaped body, it’s easy to achieve and comfortable fit with this style of earphone and I never found any comfort issues. The one thing truly holding them back is the cable, it’s a little too stiff and doesn’t like to stay where you want it to. Due to this, there is also quite a lot of cable noise if you wear them straight down, I found myself having to wear them with the cable routed over the top of my ear to fix this. It is an easy fix, but still slightly annoying.

These can be fit shallow or deep, due to the housing shape, so it’s down to you on how far you insert them. They fit well and don’t fall out, you can also try some of the Surefire wings to get an even more secure fit if you need it, but just with normal tips I didn’t find any fit issues.

Isolation is really good on the S-6, perfect for noisy commutes and daily use they effectively block out quite an impressive amount of outside noise. No complaints on the isolation front, just the cable noise when wearing them straight down.



Sound
Lows: The Akoustyx S-6 use a planar magnetic driver, but unlike most full-size planar headphones, the bass response isn’t linear to 1kHZ – instead you get a mild sub-bass lift on the S-6 that gives the sound some body. There is good punch and dynamics whilst digging deep into the sub-bass without suffering from sharp roll-off. Kick drums are punchy, with great body backing up the initial kick giving them a realistic tonality.
The S-6 seem to handle well recorded music best, I know this should go without saying, but they do seem to be a little harsh when it comes to less-than-ideal recordings. I feel this is to do with the upper-midrange peak masking some of the fullness of the sound. The transition into the midrange is handled very well, there is no loss of detail, or added fullness to the lower midrange.

Midrange: The lower midrange sounds excellent, there is good tone to lower male vocals, and guitars have impressive levels of detail. Each instrument occupies its own space but with good cohesion, subtle intricacies in tracks are easy to pick out and on a technical note the midrange sounds very impressive.
However it is in the upper midrange where the S-6 begin to suffer a little, they have a peak that can introduce a little fatigue during certain tracks. The fullness of the bass is counteracted by a forward upper midrange that causes certain vocals and guitars to sound a little thin in tonality and this can throw off the overall balance a bit.

Highs: The treble region is very good on the Akoustyx S-6, it is airy and crisp without being upfront and in your face. There is great extension with soft roll off towards the top so you don’t miss out on any of the finer details. The top end is very refined and smooth, yet packs an impressive amount of detail, all with a good level of presence. If anything they are ever so slightly pushed back in the mix, which does accentuate the upper midrange peak, however this does mean that the treble isn’t fatiguing.

Soundstaging and Instrument Separation

The soundstage on the S-6 is fairly wide with some out of head experiences to be had, there is also good height so it’s easy to place instruments within a space.
Instrument separation is good on most tracks, the upper midrange peak can however cause some congestion when the mix becomes more complex (most noticeable on heavier tracks).



Conclusion
My experiences with Akoustyx have been mixed, but I do think they have a good team behind them that know how to tune a good earphone. The S-6 is an interesting model, due to the fact that there are not a lot of planar earphones out there currently.

However, these still are not what I would call perfect, on some tracks the S-6 sound excellent with realistic bass kicks that have great body and articulation, a detailed and open midrange and slightly soft but well extended treble. But then the wrong track shows up and highlights the shortcomings of the S-6, mainly an overpowering upper midrange that can make the sound quite fatiguing.

These are not as good an all-rounder as the KiiBOOM Evoke I recently reviewed, and as such I cannot highly recommend them in the same way, but I will commend Akoustyx on the S-6. This is not an earphone that is easy to build or tune (small form factor planar magnetic), but they have done a mostly great job and technically there are areas where they excel.

Sound Perfection Rating: 6/10 (A commendable effort, with certain aspects being excellent, but others that create some fatigue)

Firstly I would like to thank KiiBOOM for sending me this Allure sample to review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings



KiiBOOM Allure

• Driver Information – Single Beryllium Plated Diaphragm Dynamic Driver
• Impedance – 18ohm
• Sensitivity – 112db
• Cable Connector – 0.78mm 2PIN
• Frequency Response – 20-40kHz

Packaging, Build Quality and Accessories

The Allure come in a green box with an outline sketch of the earphones on the front and technical info on the back along – there is also a cartoon on the back which is quite fitting with the brand image they are going for. Open the box and you’ll find the case with the earphones nearly inside – it’s very simple packaging but it does catch your eye which is good.

Build quality seems to be very impressive, for their first IEM’s they have spent some time making sure the housings are well finished along with being smooth and aesthetically pleasing. The shell has a visible join, but it’s smooth, the shell is aluminium and the faceplate is green which makes them stand out a little. The cable is coated in fabric, there is a mix of black and green which matches the earphones colour scheme well, it feels rugged and well built but has a habit of tangling a bit.

Accessory wise you get quite a large carry case, this is great if you want to fit your DAC/Amp or DAP in with the earphones, but it’s a bit too big for daily use and I’d like to seem them include a smaller clamshell case within the big one. You also only get a single set of silicone tips in the usual S, M and L sizes – whilst they’re good quality tips I would like to see a wider range included.



Comfort, Fit and Isolation

The cable is soft and the housings are well shaped which leads to a comfortable fit. I found it easy to find tips that fit my ear canals, and once inserted they were secure yet comfortable. The moulded earhooks are just right and I found it easy to wear the Allure for long periods of time.

Isolation is a little worse than normal, there are 2 vents in the housings which does affect the isolation a little, however I did find them to perfect for general day-to-day use, I’d only want more if I were using noise transport a lot.

Sound

Lows: The Allure have a slightly warm and full low end which gives the overall sound a little bit of added body. The bass region is very well controlled and the driver is responsive, never sounding slow, they don’t get easily congested and handle most genres with ease. They are not overly exaggerated down low, and certainly won’t appeal to bass-heads, however their easy going and even-handed nature means they will be enjoyable to many listeners. The quality is also impressive, especially for their price, there is texture to the bass, it’s articulate and tonally accurate too. These are fun, but without sounding forced, they have a natural groove that is very addictive to listen to.

Midrange: The slight lift in the low end doesn’t end up bleeding in to the midrange, allowing vocals and guitars to cut through with clarity and detail but without sounding forward in their presentation. Electric guitars have good power, acoustic have realistic tonality and body to their sound, both male and female vocals are impeccably presented with plenty of detail but without sibilance of any signs of harshness. These are fatigue free and well separated, much like the low end, the midrange doesn’t ever come across as hazy or compressed – there is always space around each instrument.

Highs: The treble region is quite polite, this means they are fatigue free and there is no unwanted sibilance either. But don’t mistake this polite take on treble as lacking in sparkle or detail, there is a little bit of a dip in the lower treble that perhaps robs a little energy overall, however going further up the range and there is good presence and sparkle, they roll off gently and smoothly. I never found myself wanting more here, the balance and tonality is just right to be smooth yet without sacrificing finer detail, these are a pleasure to listen to for long periods at a time.



Soundstaging and Instrument Separation

The KiiBOOM Allure have a wide soundstage, instruments are always easy to pick out in the mix and each instrument occupies it’s own space with excellent cohesion overall. Vocals are always dead centre with instruments well defined around them – there is a real sense of air to the soundstage that it allows every part of the mix to breathe, however they never sound detached or distant.

Instrument separation is superb – the drivers are responsive and snappy and you never lose track of any part of the mix, no matter how fast or complex it gets.



Conclusion

I’ve reviewed a couple of earphones in this price range over the past year, but I will comfortably say the KiiBOOM Allure are going to be my main recommendation for anyone looking for a $100 earphone. They just don’t seem to do anything wrong, they are fun yet well balanced – the sound has a slight warm tilt but without compromising on detail retrieval or transient response.

Throw some jazz at them and they will delight with a super smooth and lush sound with snappy snares and well-defined trumpets, yet play some metal and the double kicks hit hard without drowning out the midrange. The treble is polite yet has excellent transparency and tonality.

The Allure are truly alluring, their tonality is extremely good – this is a very technically competent yet sonically enjoyably earphone that I can easily recommend to anyone – I honestly cannot fault them (well a few more ear tips and slightly less tangly cable would be nice).

Sound Perfection Rating: 9/10 (One of the best earphones I’ve heard in a while, does nothing wrong and has a convincing and real sound that’s incredibly fun to listen to)

Firstly I would like to thank Simgot for sending me this sample for review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
iBasso DX200 > EM2 Roltion (silicone tips)



Tech Specs:
Drivers: 10mm Dynamic + Knowles 33518 BA
Frequency response: 20Hz – 20kHz
Sensitivity: 109dB (@1kHz)
Impedance: 32Ohms
Cable: 1.2m silver plated copper, 2-pin 0.78mm

Packaging, Build Quality and Accessories:​

Simgot have really done something different with the EM2 Roltion packaging, with quite an impressive oriental image on the front that really stands out. On the back the box is matte black with gold writing, one you remove this outer sleeve you get a sold matte black box, with gold embossed text, that folds open. The quality of the box is impressive at this price range, everything inside is laid out cleanly and it is all well protected during shipping.

It’s been a while I’ve had a Simgot product, but they haven’t forgotten how to make a lovely pair of IEM’s. The EM2 Roltion share the same housing and cable as the original EM2, but inside they are very different. The housing is plastic with a metal nozzle, they’re very well put together and I can’t see any weaknesses, the cable is soft and supple, with 4 separate SPC wires running the whole length with good strain relief. Memory wire is pre-moulded and fits perfectly for me, the only thing different is that Simgot use their own recessed 2-pin type socket, it’s compatible with standard 2-pin cables however they will never look as slick as the stock one.

Accessory wise Simgot include a blue leather case which is the perfect size for storing the IEM’s when not in use (the same case they included with the EM2) along with 2 sets of silicone eartips in S, M and L – giving either a balanced sound or a slightly brighter more transparent sound signature. I always find the affect of the tips to be subtle and my opinion is to use the earphones with whichever tips you find most comfortable.

Features, Comfort and Isolation:​

So Simgot have kept the design of the EM2 Roltion the same as their predecessor however internally there are a number of differences. Simgot have gone to great lengths to make these their best sounding earphones to date, carefully selecting the cable that runs from the pins to the crossover and drivers along with mounting the balanced armature in the nozzle itself (made of copper). Another interesting feature is that Simgot have gone down the route of a nozzle-less balanced armature driver, whilst not a top firing driver like 64 Audio use, this removal of the nozzle will create a different dispersion pattern which will in turn create a more unique high frequency response.

The housing is ergonomically shaped and the cable is comfortable to use, which means the EM2 Roltion are a comfortable IEM to use for prolonged periods of time. I had no issues using these for a few hours at a time once I had settled on the best tips for my ears.

Isolation is good, they have a small vent on the body but this doesn’t seem to affect the overall isolation a great deal, so that’s very impressive. There is more than enough isolation to use these on everyday commutes, including on noisy trains and public transport.

Sound:​

Lows: There is a single dynamic driver controlling the low end on the EM2 Roltion, it uses a carbon nanotube coating too for lightness and rigidity. Saying this, the low end is quite thick and powerful on the EM2 Roltion, it isn’t ever overwhelming or overly dominant though and there is an impressive amount of punch and power behind kick drums. The low end isn’t overly snappy, perhaps I’ve become accustomed to BA driver bass a bit more recently, but the low end is dynamic and fun. There’s no lack of extension here, and the bass hits with authority without sounding hollow and wooden. There’s a satisfying fullness to the bass on the EM2 Roltion, with a little bit of sub-bass emphasis that gives the sound a healthy dose of warmth and body.

Midrange: There is a very nice clean separation of the midrange from the bass, allowing it to cut through with clarity and crispness. Arguably the lower midrange could use a tiny bit more body, some vocals can sound a little lean at times. I would also say that in overall quantity the midrange sits a little behind the lows, giving the EM2 Roltion a very mild u-shaped sound signature. What I will praise is that the transitions between lows, mids and highs are all incredibly smooth and that the midrange is packed full of detail. They handle sibilance well and unless the track is bad for it, they won’t be overly fatiguing.

Highs: This is where Simgot say that their new nozzle-less BA driver helps to smooth out the response and prevent brightness due to the wider dispersion pattern. From what I’m hearing I would say they have done a great job with the placement and also tuning of the crossover – there is excellent presence in the treble however it is presented in a wider and smoother fashion than some other hybrid models. I have noticed quite a substantial difference in the soundstaging too which I believe is down to this type of driver implementation, there is more air and space and the highs are allowed to extend effortlessly without sounding too in-your-face. I never found the treble to be obnoxious or the centre of my focus when listening, it wasn’t distracting, it was just naturally there and extends with real ease – that to me is really impressive at this price point.

Soundstaging and Instrument Separation:​

The EM2 Roltion have quite a wide soundstage, there is excellent positioning and space within it and I’m quite impressed at how they present the music. It’s well separated, the L/R imaging is accurate and everything is easy to pick apart whilst retaining great coherency overall.

Conclusion:​

It’s been a while since I’ve reviewed a new Simgot model and the EM2 Roltion show that they can still make an excellent sounding earphone for a good price. The EM2 Roltion are energetic, punchy, and fun to listen to – excellent bass response that is full, digs deep when needed and yet doesn’t overwhelm; clean and crisp midrange and a treble presentation that is ever present without sounding overly bright or sharp. There’s excellent separation and the soundstage has surprised me on a few occasions, these are a very competent pair of IEM’s for the price.

Sound Perfection Rating: 8/10 (excellent value, fun sound and brilliant build/comfort)

Firstly I would like to thank xDuoo for sending this sample for review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
JDS Labs Element II (DAC mode) > TA-26 (stock) > Mainly German Maestro GMP400 (alongside Audeze LCD-X and others)



Tech Specs:
Tubes - Preamplifier: 6N8P / Buffer: 6N5P
Input: 1x Stereo RCA
Outputs: 1x Jack 6.35mm headphone output + 1x Stereo RCA
Output power: 500mw @ 600/300Ω
Frequency response: 10Hz-30kHz (±0.5dB)
Gain: +16dB
SNR: 110dB
THD+N: ≤ 0.1% (1kHz)
Recommended headphone impedanc: 60-600Ω

https://xduoo.net/product/ta-26/

Packaging, Build Quality and Accessories:
The TA-26 comes in a brown cardboard box, no fancy packaging but it is strong and sturdy helping keep the amp safe and secure during shipping. The amp is held neatly in place with foam inserts and all the accessories are tightly packaged to prevent damage - I really like how well packaged the amp was during shipping, even if it means there are no fancy graphics on the Xduoo box.

Build quality of the TA-26 is excellent, the metal chassis is solid and well finished, it's narrow footprint is welcome for desktop setups and the small metal rails help protect the tubes whilst still leaving them easy to swap out for those tube rollers out there. It's a modern yet industrial looking amp which I really like, the metal volume knob looks great and is smooth in its operation, the front on/off toggle switch has a nice positive click to it and the 6.3mm headphone output feels solid too. On the back you have RCA inputs and outputs so you can use the TA-26 as a pre-amp, along with the power cable input socket.

Accessory wise you get a power cable, that's it, but again whenever I'm reviewing a headphone amp that really is pretty much the only accessory needed, occasionally brands will throw in an RCA cable but that's something most of use have laying around anyway. No issues here, it's a desktop amp and doesn't need any fancy accessories.



Features:
The TA-26 is an OTL tube amp, this means it will pair best with higher impedance dynamic headphones and easier to drive planar headphones, they are not really suited to sensitive IEM's due to their output impedance and potential noise issues. The rated output of 500mW(300/600 Ohms) is quite impressive and should easily drive most high-impedance dynamic headphones.

The TA-26 uses a 6N8P tube for the pre-amp and 6N5P for the power tube - both of these are easy to find replacements for. The 6N5P can easily be substituted for a 6AS7G or 6080 tube of which there are plenty out there, whereas the 6N8P can be swapped out to a 6SN7 tube of which there are also plenty of options. This is good news for tube rollers out there, you can easily tune the sound to your personal preference by changing out the tubes on the TA-26.

Whilst I haven't opened my unit, you can see some of the PCB inside and it looks to be populated with good quality parts and uses high-temperature capacitors which is essential for an amp like this. There are pictures on the Xduoo product page too which show some of the internals.



Sound:
The TA-26 is a powerful little OTL amp, using my German Maestro GMP400's I only need to have the volume at around 9 O'Clock to get normal listening levels out of it, and at these levels there is absolutely no background noise from the amp. I have to have music paused and turn it up over 12 O'Clock before any noise is noticed, which is great. The TA-26 isn't an overly warm tube amp, whilst it does impart a little bit of colour it doesn't take away from the headphones original signature too much which to me is the best trait of a good OTL amp.

The TA-26 has very low reaching bass, it adds a slight sense of warmth and body to the whole sound without sounding bloated, there is a little bloom in the low end but again it isn't over done and the sound is full yet tight and doesn't take away any of the finer detail.
The midrange comes across with great clarity and control, it is slightly forward in its presentation but still has good layering and power without sounding edgy or harsh. There is a sense of openness in the midrange making the TA-26 sound deeper than some flatter amps, but again without any too obvious colouring.
The treble is clear and well extended, this isn't an amp that is going to suddenly make harsh headphones listenable, but it does have a slight smoothing effect up top that, coupled with the slightly warmer bass, makes brighter leaning headphones a lot easier to listen to. But it also seems to work well with darker headphones like the HD650 - which just shine when use with tubes - for some reason they stop sounding dull and come alive with better dynamics and a much more open soundstage.

Even though the TA-26 is an OTL amp, it still has impressive layering - this does of course somewhat depend on what headphones you are using too but having an amp that is controlled yet with a hint of that tube warmth is great. If you are looking at this review, you should know a little about what you are looking for and if an OTL amp would be suitable for your system. The TA-26 doesn't have the most expansive soundstage out of the box, playing around with different tubes will likely help here, but it is an amp that has a slightly more direct delivery, it does so without sounding closed in though and there is still a good amount of width to the sound.



Conclusion
If you have a set of high impedance dynamic headphones and want to dip your foot in to the OTL world without spending a fortune, the TA-26 is somewhat of a steal at its price. It offers up a lot of what you would expect of an OTL amp, without costing much, you can tube-roll with ease and find some pairing that you enjoy and it is a brilliant piece of kit. Don't forget it also doubles up as a pre-amp, so should you want to impart some tube-goodness upon another system the TA-26 will allow you to do so. It's well built, has solid sound quality that is clean yet has a hint of that smoothness and fullness that many want from tubes, and is a joy to use - go grab one if you've been on the fence about tubes, you won't regret it with the right headphones.

Sound Perfection Rating: 8/10 (well built, and sounds excellent for the price, the stock tubes let it down but are easily replaceable)

Firstly I would like to thank Linsoul for this sample to review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
iBasso DX200 / JDS Labs Element II > Legacy 2



Tech Specs:
Sensitivity (1KHz): 108dB
Frequency range: 20Hz-20KHz
Impedance (1KHz): 32Ω
Driver: Knowles 29689 + 10mm Beryllium
Noise Isolation: 26dB
Earphone connector: 0.78 2pin
Plug: 3.5mm
Cable: 1.2m

Packaging, Build Quality and Accessories:

The Legacy 2 packing isn’t quite as over the top as the Legacy 4, but you do get a nice black box with the brand name in silver on the front, slide this outer sleeve off and you have a 2-part box that reveals the IEM’s inside. The IEM’s are held in place in a foam insert, whilst there is a separate compartment for the case which holds the spare eartips. I really like the simplicity of the packaging and boldness of the branding.

The build quality is in my opinion stunning for the price, the housings of the IEM’s are beautifully finished and really stand out, they look like they should cost a lot more than they do. The cable also reinforces this, it feels the same as the one that comes with the Legacy 4, it is braided and silver plated with great comfort and strain relief.

Accessory wise you get a velcro cable wrap, a blue leather carry case and 6 pairs of tips (S, M and L in two different types of silicone tip). This is a good selection of tips and should allow most to get a good fit with them.

Comfort and Isolation:

The Legacy 2 are really comfortable to wear, once you settle on the right tips they lock in to place and fit securely for long listening sessions without discomfort. These are one of the few universal models that just fit right the first time I put them in, the cable helps here having pre-moulded soft memory wire which is always my preference over stiff memory wire.

Isolation is good, I’d say the spec of -26dB is pretty accurate and they provide more than enough isolation for regular daily use including public transport commuting. They are vented but this doesn’t seem to affect the isolation much it seems.



Sound:

Lows: The single 10mm beryllium driver is doing a great job down low, with plenty of sub-bass presence and mid bass punch you never miss a beat, however they are controlled and only slightly boosted overall. These are not a bass heavy IEM, although I’d say they are mildly u-shaped, the bass doesn’t stand out as the main focus but provides a really solid foundation for the overall sound. These are punchy and articulate, they have a powerful delivery but one that doesn’t ruin the overall balance.

Midrange: There is good texture to the midrange, it is clean and quite natural sounding without noticeable bleed from the low end. Both male and female vocals cut through the mix with good presence and detail retrieval, they are not pushed back in the mix. Electric guitars have power, acoustic have body and warmth, these are very versatile and the midrange is faithfully reproduced without fatigue yet with a level of detail that is uncommon at the price point, I keep forgetting these are sub $100. Subtle details are easily heard with the Legacy 2, they also manage to stay well sparated and clean even when the mix gets busy.

Treble: The presence and clarity up top rounds off a brilliant performance from the Legacy 2, they are never dull or dark sounding with loads of energy and sparkle, luckily they do steer clear of being sibilant or peaky though. Even treble sensitive listeners should enjoy these a lot as they portray the treble in a realistic way without sounding metallic or forced. There is good air and extension too, not rolling off too early and giving some sense of air. They are however a little more on the energetic side of sound and definitely favour more engaging music than laid back genres.

Soundstaging and Instrument Separation:

The soundstage on the Legacy 2 is not huge, it is above average though and you do get a fair amount of out-of-head moments with the right recordings. The spatial accuracy is very good, and you can pinpoint everything in the recording.

Instrument separation is very good, these remain well separated no matter how busy the recording gets.



Conclusion:

Thieaudio have got one of the most complete and refined sub-$100 IEM’s I have heard here, they have excellent extension from lows to highs, there is great body and impact to the bass whilst always remaining controlled. The midrange is exceptionally clean for the price and the treble is precise and has good presence. These do very well when it comes to complex mixes too, but overall are just an engaging and enjoyable listen with good tonality and balance, I cannot fault them for the price.

Sound Perfection Rating: 9/10 (Good tonality and an engaging yet balanced sound signature)

Firstly I would like to thank HiFiGO for sending this sample for me to review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
Pixel 3a / iBasso DX200 > BD005 Pro (Silicone tips)



Tech Specs:
3D Printed Earpieces
9.2mm Beryllium Diaphragm Dynamic Driver Unit
Custom tuned 30095 series high-frequency BA driver
2-Pin 0.78mm Connectors
Impedance: 26Ω
Frequency Response Range: 20Hz-20kHz
Sensitivity: 108±2dB
Termination Plug: 3.5mm

Packaging, Build Quality and Accessories

The BD005 Pro come in typical Kinera packaging, a nice quality hexagonal box with the model printed on the front and specifications on the back, open up the box and you’ll find the carry case held in a foam insert. The earphones are in the carry case, you also get a user manual and also a card with all of Kinera’s social channels for you to joining their community. These are nice little touches and add to the unboxing experience, especially for the price.

The BD005 Pro are very well built, the 3D printed housings feel really sturdy and the 2-pin sockets and detachable cable are all of great quality too. The cable is the normal black twisted variety with mic and controls for smartphone use, these are designed for portable use and are easily driven from a phone, there is good strain relief and the moulded earhooks are comfortable.

Accessory wise you get a basic clamshell carry case and 3 pairs of silicone tips (S/M/L) – this isn’t a lot to be honest and a few more tips would have been nice. For the price you can’t really complain, but Kinera do only include the essentials with these.

Comfort and Isolation

The BD005 Pro are well designed, the housings are smooth and comfortable in the ear once you settle on the right tips. The cable is soft and falls neatly behind your ears, all in all they are great for daily use and long listening sessions.

Isolation is also good, they are vented so don’t expect sealed BA model levels of isolation, but they block out more than enough outside noise for most daily usage.



Sound

Lows: Being a dual driver hybrid setup you have a single dynamic driver handling the lows/mids and a BA handling the treble, the beryllium driver of the BD005 Pro is very clean and controlled though, whilst still having that dynamic driver tactility. The low end hits with good impact, and digs deep when called for, but it is very articulate and responsive never becoming bloated. The BD005 Pro are tuned to sound quite flat, with some EQ you could easily bring out a little more impact and presence, but I find this tuning to be really enjoyable and it works well with multiple genres. The lows don’t bleed in to the midrange, there is a slight sub-bass lift in the BD005 Pro which adds to the overall sound providing some body and rumble in a subtle way.

Midrange: Due to the lows not bleeding into the midrange, male vocals cut through with excellent presence and clarity, really impressive in this price range. Vocals could perhaps have a tiny bit more warmth to sound a little more natural, but they are not thin or too clinical luckily, there is also really good layering in the midrange which helps with the separation and sense of space. There is a tiny hint of sibilance in the upper midrange, but it isn’t problematic to my ears the lack of excessive warmth is good when it comes to more aggressive music as guitars have the power and edge to cut through the mix without being drowned out. If you enjoy a clean midrange these could be a great option in this price range.

Treble: The single BA driver does a great job up top, these are only $50 so taking that in to account they have a very complete and clean sound for the price. The treble isn’t the most refined, it does sometimes sound a little splashy, but it extends well and the presence is great. There is great energy in the lower treble without becoming too hot for my tastes, you don’t miss out on things in the upper region which is good. These are not dull, but they don’t have an exaggerated sound in any part of the spectrum, which means they are energetic but not too in-your-face.

Soundstaging and Instrument Separation

The BD005 Pro have an above average soundstage for the price, due to the controlled sound they have great air and space whilst still having good intimacy when called for. The soundstage is wider than it is tall, but overall it’s very good.

Separation is a strong point, you can clearly hear every bit of the mix even when it gets complex, Kinera have done a really good job at making these clean, transparent yet also engaging and easy to listen to.



Conclusion

If you are in the market for a cheap but well balanced model with a clean and crisp midrange the BD005 Pro should definitely be on your radar – for $50 they offer up a lot of control and detail for the price. These are not bass heavy, nor are they thin or bright sounding, they have an engaging but nicely balanced sound that is quite unusual at their price point.

Sound Perfection Rating: 7/10 (clean and crisp sound with great build quality and comfort)

Firstly I would like to thank Sigva for sending me this sample for review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
PC > Topping D90 > Topping A90 > Phoenix



Tech Specs:
Style: Over-Ear
Transducer Type: Dynamic Driver
Driver Diameter: 50mm
Sensitivity: 103 dB±3 dB
Impedance: 32Ω±15%
Frequency response: 20 Hz-20 kHz
Plug: 3.5mm
Cable Type: Removable 3.5mm
Color: Zebrawood
Weight: 296g

Packaging, Build Quality and Accessories:

Sivga have put a lot of thought into the initial impressions of the Phoenix, The box is really sturdy and looks quite premium too. The box splits into two parts with the inner bit having a zebra wood like finish, which matches the headphones inside, a nice touch in my opinion. Inside the box you’ll find the headphones neatly nestled inside their carry case, a really pleasant and high quality unboxing experience.

The headphones have real zebrawood cups, metal grills, hybrid leatherette and fabric earpads, a metal headband and leather comfort strap. They are an extremely well built headphone that uses good materials yet are still lightweight and comfortable. The stock cable terminates in a standard 3.5mm jack, with dual 2.5mm mono jacks into the headphones, it is soft and fabric coated, but a little on the thinner side. It does however have excellent strain relief on the 3.5mm jack and should last a while.

Accessory wise you get a really nice hard leatherette case which is perfectly shaped for carrying the Phoenix in, along with a small fabric pouch that holds the detachable cable. The Phoenix have dual 2.5mm sockets on them, so it would be easy to get a balanced cable for them in the future. Included with mine were a set of the new pads Sigva are providing with the Phoenix which are perforated leatherette, these do change the sound a little and they are really easy to change.

Comfort:

The headband is soft and I always prefer a comfort strap style for even pressure distribution, however the adjustment range on the Phoenix is quite small and those with larger heads might struggle a little. The earpads are comfortable but a little shallow, the clamp force is not too tight, all this leads to a headphone that is very comfortable for me to wear for long listening sessions. Comfort is somewhat subjective so your mileage may vary depending on the size and shape of your head and ears.

These are open back so that helps with heat, but they don’t really isolate even though the design is slim and almost portable.



Sound:

Lows: The Phoenix manage to be a bass oriented headphone, yet without being a true basshead model. There is a lot of warmth and presence down low, but they are well behaved and controlled. There is tons of body to the sound and this will please those who enjoy the likes of the Meze 99 Classic etc… These are not made to be a monitoring headphone, instead the offer up a warm and lush sound that is utterly addictive and enjoyable. I find myself just kicking back and enjoying the music instead of trying to analyze it. Those who do prefer a more neutral sound have tons of options out there, but for those who want something a bit more bassy these surely fit the bill. The bass isn’t necessarily all that hard hitting (although it can when needed) instead it has this enveloping warmth from the sub-bass that manages to not make the Phoenix sound congested or overly dark. These are not however the quickest when it comes to timing, and they don’t quite keep up with complex passaged quite as well as some other models in this price range.

Midrange: Whilst there is a lot of body down low, it doesn’t have a huge effect on the midrange luckily. There is a little bit of a veil over lower male vocals, but they still cut through with good presence and a very smooth presentation. Layering here is very well done, the vocals are clearly and cleanly separated and guitars come through with power and authority. There is a good level of detail too, however it is the kind of presentation that allows you to hear it if you want to, rather than be upfront and throw it in your face. Much like the overall sound, these seem tuned for enjoyment rather than analytical listening. Female vocals are smooth and there isn’t any sibilance on these, these don’t have a particularly upfront and intimate midrange, however everything is well presented and nothing is done in an offensive or aggressive way.

Treble: The treble is soft and a little bit laid back for my personal preference, it is also lacking a little bite and precision sounding every so slightly smeared instead of crisp and precise. However they don’t sound too dark overall and there is a good amount of extension and presence, enough to satisfy most listeners. As per usual this is fairly genre dependent and recordings with well recorded treble will of course sound better, with pretty impressive tonality, not sounding artificial or strained. Heavy metal isn’t the most exciting genre through these, but put on some jazz/acoustic and you get a much more pleasant sound which sounds a lot more true to source.

Perforated Leatherette Earpads:

The alternative pads are quite comfortable and a little deeper than the stock ones, and they bring out a little bit more sparkle in the treble region but they also loose a little of that warmth and body that makes them such a pleasure to listen to out of the box. They end up sounding a little more controlled and tighter which works well with heavier genres, the bass has less sub-bass focus and more mid-bass impact than the stock pads.

If you are looking for a fuller bodied sound stick with the stock earpads, if you want a little more balance and energy the perforated leatherette are definitely the way to go. I find the perforated leatherette fit my personal tastes a little better, but there is something quite addictive about the stock sound.



Soundstaging:

The soundstage on the Phoenix isn’t necessarily a stand out point of their sound signature, however they do have quite a wide presentation and the instrument separation is always great on them. During more complex mixes they do sometimes sound a little congested, but stick with softer genres and they are a pleasure to listen to.

Gaming:

I decided to use these for a bit whilst gaming (BF V) on my PC and I was really surprised how good their spatial accuracy was. These make a truly awesome gaming headphone with the help of a Mod Mic. The full low end helps with explosions yet it’s the spatial accuracy that caught me off guard, you have hear every little detail and easily pinpoint enemies.



Conclusion:

This is an interesting headphone in this price range, if you want a closed back you have offerings from Meze, if you want an open back you have the HiFiMAN Deva and sometimes the Sennheiser HD600 series. Yet the Phoenix stand out a little in some ways, they are compact and easy to drive (at the expense of having limited adjustment for different head sizes and slightly shallow pads) and they have a warm and full sound signature yet they don’t lack clarity or sound dull and dark overall.

The Phoenix is incredibly well built and the stock pads are there for pure smooth and easy listening, whereas fitting the perforated leatherette pads tightens up the sound, adds a bit more impact and excitement at the expense of a little body.

Technically the HiFiMAN Deva are superior, but they don’t have that alluring warmth that the Phoenix do, likewise the Meze 99 Classic are another competitor with slightly more powerful bass that does sometimes overwhelm the rest of the sound. So as long as you have your expectations right, I think the Phoenix is a brilliant purchase for their price, and they double up for gaming duties really well too.

Sound Perfection Rating: 7/10 (warm, smooth, enjoyable – not suited for larger ears/heads and sometimes sound a little congested)

Firstly I would like to thank Linsoul for sending me this sample to review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
iBasso DX200 > Legacy 4
Topping D90 / A90 > Legacy 4



Tech Specs:
Frequency range: 20Hz-20KHz
Monitor Plug: 3.5mm
Connecto: 0.78mm 2PIN
Sensitivity: 108±0.5db
Impedance: 9.4Ω
Noise isolation: 26dB
Detachable cable: 120cm

Packaging, Build Quality and Accessories:

The Legacy 4 come in quite an impressive box, it is quite big with the brand name and model number in large font on the front. Once you open the large cardboard outer box you will find a case inside, this is where you will find the IEM’s nearly tucked into place with the accessories also neatly placed around them. It’s a really good unboxing experience, as you are greeted with a high quality box along with a great looking larger case that holds everything neatly inside.

The Legacy 4 look incredibly well built to me, the handmade housings are perfectly finished and the DIP switches and 2-pin sockets feel solid too. The included cable is really good, it’s silver plated copper and nice and pliable, which means it’s super comfortable in use too. The strain relief is great all round and I can’t fault these at all. I have got to point out how good these look in person too, the faceplate is gorgeous and has a slight sparkle to it, they really stand out and look more expensive than they really are.

Accessory wise you get the standard S/M/L silicone tips but in two different varieties, a small tool for changing the DIP switch settings and also a small carry case which fits the IEM’s in it perfectly. I quite like how Thieaudio included a smaller case within the bigger presentation case, a nice touch in my opinion. A few more tips and maybe a balanced cable would have been nice, but overall a good set of accessories.



Comfort and Isolation:

The fit of the Legacy 4 is excellent, I sometimes have trouble with certain universal IEM’s but these fit perfectly once I had found the right tips. The housing has smooth edges and the nozzle is at the correct angle to fit most peoples ears. The soft and pliable cable, along with well fitting pre-moulded ear-hooks definitely helps here and I found no problem with them over long listening sessions.

Isolation is really good, they work well for all sorts of use including noisy commuting and travelling.



Sound:

The Legacy 4 come with 2 switches on each earphone, these change the sound signature slightly to fine tune the sound to your taste. Please note these switches don’t bring about drastic changes to the sound signature.

With both switches down you get the original tuning of the L4, with the left switch turned up you get ever so slightly enhanced bass but this is a very minor adjustment. Turning the right switch up will bring the midrange forward a little, they also benefit from a little added body but at the same time the upper midrange becomes even more forward than stock which won’t be to everyone’s taste.

This review is based on both switches down – the stock configuration.

Lows: The low end on the Legacy 4 can dig really deep when called for, and they have no problem with sub-bass notes when they are needed in the mix, however they are very controlled and tight sounding overall and never miss a beat. Those looking for a more bass oriented signature should definitely look elsewhere, the Legacy 4 have quite a well balanced tuning that has a focus on transparency and resolution rather than boosting any particular part of the frequency response. They are not lacking down low, and kicks are backed up with good body, there is articulation and acoustic has good body to it overall, they are just not overly emphasised down low.

Midrange: The midrange is a real standout point on the Legacy 4, you get a very clean and open presentation. In my personal opinion the midrange is a little too clinical at times, and could use a little more body overall, however if you favour clarity over a more organic tone these should fit the bill. There is a little emphasis in the upper midrange / lower treble that some may be a little sensitive to, but with well recorded material I never found them to be overly harsh. This is where that resolution comes in to play, they really do have the ability to show up flaws in recordings better than quite a few IEM’s in this price range. So apart from the slightly lean presentation the midrange manages to extract an impressive amount of detail, and is far from being recessed or dull and laid back.

Highs: As mentioned in the midrange section, there is a bit of a peak in the upper midrange / lower treble region, that brings out a bit of extra energy but could be problematic to some. Luckily I find this peak to be tolerable and from there upwards the treble is clean and crisp with excellent air and extension but without being too forward in the mix. Tonally the treble is actually very good, with accurate representation for the most part, cymbals sound realistic without ever sounding splashy, snares are snappy and overall the treble is faithful to the recording.

Soundstaging is good, a well focussed centre image with instruments surrounding it creates a good sized stage but without sounding detached. There is excellent separation and layering, and they handle fast and complex mixes without sounding congested. They are very tight and controlled, yet full when called for, this is a great trait to have.



Conclusion:

I personally really enjoy the Legacy 4, they have the kind of tuning that I appreciate and enjoy a lot. It is a well balanced sound overall that has good impact and energy without sounding too coloured overall. They are a little on the brighter side due to the upper midrange / lower treble peak, but it is well within my tolerable limits and most shouldn’t find them problematic. The midrange is really insightful and definitely a focus point on these, yet they are also a brilliant all rounder if you are looking for something that is detailed and technical instead of warm and smooth. They are very good value for money, the build and sound are excellent for the price.

Sound Perfection Rating: 9.5/10 (stunning in both looks and sound)

Firstly I would like to thank HiFiMAN for sending me the Deva for review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
Pixel 3a > Deva (bluemini)
PC > JDS Labs Element II > Deva (wired)



Tech Specs:
Frequency Response : 20-20kHz
Impedance : 18Ω
Sensitivity : 93.5dB
Weight : 360g
Socket : TRRS 3.5mm
Bluemini Battery Life : 7-10 Hours (Bluetooth); 4-5 Hours (USB DAC no charging)
Bluemini Codecs : LDAC, aptX-HD, aptX, AAC, SBC
Bluemini Weight : 25g

https://hifiman.com/products/detail/302

Packaging, Build Quality and Accessories:

The Deva comes in your typical HiFiMAN style box with an etching of the model on the front (with product name etc…) and some information about the Deva on the back. It stands out and looks great, open the box and you’ll find the manual along with the headphones which are held in a fabric covered foam insert. This is quite common across HiFiMAN products now, and it’s a good looking product presentation without being excessive.

Build quality on the whole feels good, with the typical half fabric, half leatherette pads that clip into the cups. The cups are plastic, the grills are metal, the headband has metal arms that both extend and have a certain degree of swivel which is great. The top of the headband is leatherette and there is a single TRRS 3.5mm female socket on the left side. Whilst they don’t feel quite as industrial as the Sundara, and I do prefer headband with straps over just a single headband, the Deva definitely looks a bit better. It has more of a lifestyle product appeal to it with the chosen colour scheme. Luckily they sport some love planar drivers inside and HiFiMAN have not forgotten why people buy their products.

Accessory wise you get the standard 3.5mm cable for them, and if you opt for the bluetooth version you also get the Bluemini accessory along with the USB-C charging cable. These are full size headphones for $299, they don’t come with a fancy case or anything, and they don’t need to.



Features:
The bluetooth version come with the Bluemini dongle, which fits nicely onto the Deva and turns them in to a high quality bluetooth headphone. The Bluemini dongle supports the best bluetooth codecs out there luckily (LDAC / Aptx HD / AAC) and provides 7-10 hours of playback. The Bluemini also works as a DAC/amp so you can use the Deva via USB into a PC/Laptop via the USB-C port on the Bluemini. Some quite interesting features for sure, along with the traditional analogue wired mode.



Sound:

Wired:

Bass: Being a planar driver you can normally expect a tight and flat low end response, and the Deva definitely deliver that. They have good impact when it’s called for, and there is great extension down in to the sub-bass too. They are not an overly warm headphone, but they have the foundation there to make sure the sound isn’t boring. It’s agile enough to keep up with complex mixes, yet has enough body to be thoroughly enjoyable with more up-beat tracks. It’s tactile and articulate, with double bass sounding superb through the Deva but also always in line with the rest of the frequency response. They don’t quite reach the physical impact of the old HE-500 or the HE-6, and are a little more in line with the Sundara in terms of quantity.

Midrange: Due to the superb low end control you get a well separate and clean sounding midrange, both male and female vocals cut through with excellent detail retrieval and separation. Again resolution wise these are excellent for the price, but on a more technical note they don’t quite have the detail retrieval or note decay of the older HE-500 which sound a little more organic. The Deva don’t sound unnatural but there is a cleanliness to the sound that means they won’t necessarily suit those looking for a more coloured sound. The midrange isn’t peaky, there are no sibilance problems I can detect, they are just clean and well presented within the mix.

Treble: There is a little peak in the lower treble that brings out a little bit of extra energy, but it isn’t problematic or fatiguing to my ears at least. There is lots of energy and sparkle, but I wouldn’t say they have the airiest of treble extension, it does fall a bit flat when getting right into the upper octaves. However these are a lot of fun when listening to metal mixes, the energy and responsiveness of the drivers really do make a world of a difference and you can hear every tap and crash of cymbals, all well placed within the soundstage. There is a good amount of detail on display in the treble, but it isn’t presented in too forward a manner, and doesn’t reach the refinement levels of higher end models.

The soundstaging isn’t necessarily huge, but there is good separation and stereo imaging, everything sits in the right place and it’s easy to pick apart mixes.

The sound of the Deva to me is snappy and clean when driven with the JDS Labs Element II, they are very controlled and detailed with a good overall balance. They are not the most refined or detailed headphones, and the tonality might be ever so slightly lean, rather than organic, but they are so energetic and responsive that they are just a joy to listen to. I listen to a lot of heavier rock music and the Deva really brings this genre to life with a clean delivery and excellent speed and attack.

Bluemini:

With the Bluemini the Deva retain their core signature which is really impressive, Bluetooth is advancing to the point where it really does sound great without too many drawbacks. If you listen closely, yes the top end isn’t quite as airy, and there is a slight lose of micro-detail the Deva are really enjoyable in their wireless configuration. It’s especially handy if you have things to do about the house and don’t want to be tethered to an amp for example, the slight loss in fidelity is negligible compared to the convenience here.

And even when critically listening with the Bluemini/Deva combo, the Deva offer up a very precise and clean sound, however there is a slight warmth over using them out of something like the Element II. This slight warmth actually contributes to making you think less about what you are listening to, and allows you to enjoy it.



Conclusion:

I wasn’t sure what to expect when I first got the Deva, but from first listen the captivated me and are going to be a regularly used headphone. The sound is addictive, not as clinical as the Sundara, but on the other hand they are also not overly warm or smooth. They have the technical ability to pick apart complex mixes, yet the overall sound is balanced and coherent. You even get the added convenience of using them wireless if you get the version with the Bluemini dongle, which allows you to enjoy the core sound of the Deva with a bluetooth device. There is still excellent detail and depth to the sound when used wirelessly, only the sound is ever so slightly more compressed.

Anyone wanting an excellent all rounder with great flexibility for home use should consider the Deva, it’s great value for just under £300. They give you a taste of the higher end HiFiMAN models, in a comfortable and relatively easy to drive package.

Sound Perfection Rating: 9/10 (Natural, easy to listen to, flexible and enjoyable)

Firstly I would like to thank Linsoul for sending me this sample to review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
iBasso DX200 > TC-01



Tech Specs:
Mode: Tripowin TC-01
Sensitivity: 104dB SPL/mW
Frequency range: 20Hz-20KHz
Impedance: 16ohm
Noise isolation: 26dB
Cable length: 1.2m
Plug: 3.5mm
Connector: 0.78mm-2Pin

Tripowin TC-01

Packaging, Build Quality and Accessories:

The TC-01 comes in a pretty plain black cardboard box, on the back is some technical info along with a frequency graph, that's it. Lift the front of the box off and you'll find the earphones held neatly in a foam insert, with a box of accessories underneath it. The packaging really is very basic, but for the price I can't really complain.

The build quality feels great, the cable has good strain relief and a solid feeling jack, theres a cable cinch which is handy as the y-splitter is quite far down the cable. The 2-pin connectors fit into the earphones securely, and the earphones themselves have a metal housing that is well finished and looks great in person. I know the mirror finish might not appeal to everyone, but I personally think it looks great, although they do show up scratches easily of course.

Accessory wise you get a hard clamshell type case and 3 sizes of tips (S, M and L). Personally I always find more tips are always welcome, so they are lacking a little here. Most people buying this kind of IEM won't want to shell out more for extra tips, so having more included would be nice.

Comfort and Isolation:

The TC-01 have a smooth and rounded housing and the nozzles are placed at a good angle, this meant I got a good fit quite easily once I have selected the correct tips for my canals. The cable is soft and contributes to the comfortable fit of these, I had no issues with wearing them for long periods.

Isolation is actually very good on the TC-01, they are vented on the inner part and due to this the isolation is still high enough for use on public transport and general travelling. They easily blocked out my loud typing on a keyboard and work great on general walks into town.



Sound:

Lows: The lows on the TC-01 are tight and articulate, these are not a warm and bassy IEM, instead they aim for a crisp and clean sound but with just the right amount of everything. They aren't lacking down low but what they have is quality over quantity, there's body and sub-bass extension when needed but they prefer a more technical approach and enjoy complex tracks to really show off what they are capable of. You never lose track of the beat, bass kicks have authority along with control, and bass guitars are articulate and easy to pinpoint. These really can output an impressive amount of bass, with a slight sub-bass focus, if the recording calls for it. Those who favour quality over quantity will definitely be surprised how good the bass is for their $50 price point.

Midrange: Here I'm going to reference Ed Sheeran, a couple of tracks came on when testing the TC-01 and I was taken aback at how true to the recording the TC-01 can sound. The bass beat was always there yet didn't bleed into the midrange, Ed's vocals come across with excellent tonality and detail retrieval, little details are there yet all in an incredibly coherent presentation. When vocal centric tracks come on the TC-01 happily show you what they are capable of, really bringing out the emotion in the artists voice. If there is one slight drawback, there is a bit of sibilance in the upper midrange during certain tracks, but only the most treble sensitive would find these at all fatiguing.

Highs: The treble can sometimes be a little splashy but there's lots of energy up top that helps keep these sounding fairly well balanced. As stated in the section about the midrange, there is a little sibilance at times, and the low treble does have some extra energy injected which makes the sound quite engaging but to some these may be a little sharp at times. They roll off a little early, and there isn't a lot of air, but there is good detail and they don't come across too metallic or unnatural.

The soundstaging isn't huge and the centre image is quite forward and focussed however there is great separation and this makes up for the slightly smaller stage. You can't have everything for such a low price.



Conclusion:

The TC-01 are another gem in the chi-fi range, these are extremely engaging and an energetic listen, they are not warm or smooth and laid back. However they present a nicely balanced sound signature that's got great coherency and also accurate tonality. The TC-01 are genuinely impressive for $50 and get my recommendation.

Sound Perfection Rating: 9/10 (can't go wrong for the price, detailed coherent and fun backed up by technical prowess and a comfortable fit)

Firslty I would like to thank HiFiMAN for sending me the new TWS800 for review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
Pixel 3a > TWS800 (Silicone Tips)



Tech Specs:
https://store.hifiman.com/index.php/tws800.html

Packaging, Build Quality and Accessories:

The TWS800 come in a fairly basic box with the model pictured on the front and information about the IEM’s on the back. Open the box and you’ll find the metal charging case in a foam insert, with the earphones above them. Underneath this foam you will find the included accessories, the box isn’t big or flashy but does the right job at looking attractive whilst minimising waste.

The charging case feels really good, it’s metal which means it will scratch but it’s deep enough to house the earphones with most tips attached which is a bonus. The earphones themselves have a metal faceplate and nozzle, whilst the main body is plastic. They feel very well put together and I don’t see any build quality issues.

Accessory wise you get a soft carry pouch to prevent the metal case from getting scratched, a USB-C charging cable and quite an impressive assortment of tips (8 pairs, including single flange, bi-flange and triple flange tips). I really like how many tips are included as it ensures most users will easily find a tip style and size that fits them.

Comfort and Features:

The TWS800 are big, the housings are exactly discreet and due to my narrow canals they stick out and look a bit silly in use. Not a problem for those gifted with normal size ears, but for us small eared folk I don’t find the design do work very well in terms of looks. Fit wise though they are secure and feel comfortable once inserted.

The TWS800 give roughly 4.5hrs of music playback, this is not very impressive against the competition but then again these house a driver with an impedance of 150Ohms. This means HiFiMAN are also using a separate amp circuit after the bluetooth receiver to improve sound quality, at the cost of battery life. They use Bluetooth 5.0, but only support SBC and AAC, lacking Aptx and LDAC which is a real shame when these are designed for high quality audio playback. The touch controls work well once you get used to them, they are IPX4 rated against water/dust and the case provides another 6 complete charges.



Sound:

Bass: Smooth, soft and controlled is how I would describe the bass of the TWS800, it doesn’t hit hard or in huge quantities but it has a very effortless low end that brings a sense of warmth to the overall sound. There is great extension down in to the sub-bass and good articulation in the mid-bass (well recorded bass guitars sound great), but it is always controlled and never becomes too much. One thing I do think is that they do sound a bit flat down low, whilst there is good body, there’s not a lot of energy and kicks can come across a bit muted at times. These definitely handle calmer/softer genres better than fast rock or more upbeat pop. It’s not that they don’t sound good with those genres, but they just sound a bit boring.

Midrange: The midrange on the other hand has quite a nice balance to it, well separate from the bass but with a hint of sweetness to them. Layering is a strong point for the midrange, different vocal tracks can be easily distinguished, and guitars occupy a very different space within the soundstage which is great. There’s also a good amount of detail on show, and the midrange doesn’t seem to favour upper or lower mids, being fairly linear across the board. There isn’t any added energy in the upper midrange, which leads to a fatigue free sound without sibilance. Bluesy acoustic kind of tracks sound wonderful on the TWS800, with great depth and detail with a natural tonality to them too.

Treble: The TWS800 is very smooth up top, devoid of any nasty treble peaks there is good presence and extension but all in a moderate quantity which means you don’t always notice it’s there. They almost sound dark at times with a lack of upper frequencies, but then you just realise that due to the wide soundstage they are placed differently to most earphones and have a far less aggressive delivery. It’s really hard to fault the delivery, I normally prefer a more upfront delivery in the treble region but with the right music the TWS800 really do nail it, snares are snappy, and the extension really is impressive with a very slight and smooth roll off.

Soundstaging is excellent, it’s open and airy and each instrument occupies it’s own little space in it. Layering is also great, you can easily pick apart recordings yet they are delivered in a coherent way.



Conclusion:
HiFiMAN stepped into the TWS world with the TWS600 which had it’s pro’s and con’s, but the TWS800 is a huge improvement overall. They are a very refined and natural sounding earphone, and paired with the right music are an absolute pleasure to listen to. They are not boosted in any frequency range, and lack a certain wow factor. They are also not the most engaging listen due to this, but calmer acoustic / blues / jazz and the likes just sounds effortless. However the lack of aggression in the sound signature does mean they can sound a little flat with more energetic genres (Metal etc…).

This kind of sound quality from something true wireless is very impressive, it does come at a cost though ($299) and lower battery life compared to the competition. Don’t let this put you off though, as these sound as good as many wired counterparts, and if you want a smooth and refined sound signature these definitely deliver it.

Sound Perfection Rating: 8/10 (ergonomics could be better)

Firstly I would like to thank Clear Tune Monitors for sending me this sample, it’s been a while since I’ve had one of their products.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
iBasso DX200 / JDS Labs Element II > CE320 (silicone tips)



Tech Specs:
Input Sensitivity – 124db-SPL @ 1mW
Freq Response – 20 Hz to 16 kHz
Speaker – Triple Balanced Armature
Impedance – 20 ohm @ 1 kHz
Noise Isolation – -26dB
Input Connector – 1/8″ (3.5mm)
MSRP – $249

Buy them HERE

Packaging, Build Quality and Accessories
The CE320 come in a fairly basic box with an image of the IEM’s on the front and information along with the technical specifications on the back. Open it up and you have a simple plastic tray which holds the IEM’s in place along with the carry case and tips, it’s a very simple affair but one that no doubt will end up being either put in a cupboard or thrown away. I feel the presentation could be better, but then again these are aimed at the pro-audio market, so no need for fancy boxes of packaging.

The build quality is good overall, the housings are made of plastic with a metal nozzle, they use 2-pin connectors on the IEM side and the cable is your basic braided type with a sturdy right angled jack. The cable is comfortable with pre-moulded earhooks and there is good strain relief too.

With the CTM CE320 you get a basic clamshell case along with silicone and foam tips in S, M and L sizes, you also get the usual 3.5mm to 6.3mm adapter. Overall everything you need is included and it’s a good set of useful accessories.

Comfort and Isolation
Once you find the right tips, the CE320 fit comfortably in your ear due to the smooth ergonomic shape of the housings and the flexible and supple cable that is included. I have no problems wearing the CE320 for long periods of time.

Isolation is really good, the CE320 don’t have any visible vents and being an all BA design so that helps. Foam tips do make a slight difference here, but even with silicone you get more than enough isolation to be used in noisy environments along with the usual public transport use.



Sound
Lows: The CE320 claim to have a clear and accurate sound with enhanced presence of low frequencies, this is certainly true. The low end has a healthy dose of extra presence which means they should please anyone looking for a clean yet full sounding IEM. The low end is full and warm with good body and extension, they punch with authority and the decay is slightly slower than what you usually get with BA based designs. This means they have a lingering warmth overall that is quite pleasing and easy to enjoy, bass guitars have good articulation and kick drums and not too dry sounding.

Midrange: Luckily the slightly boosted low end doesn’t take away anything from the midrange, with excellent detail retrieval and a very natural tonality male vocals sound pitch perfect and female vocals fare equally well without any real boosting of the upper midrange that could bring out sibilance. The midrange has great layering and power, yet remains smooth overall without lacking detail. I really enjoy listening to vocals with the CE320, they provide plenty of insight into the recording and the artists emotion really shines through.

Treble: My main gripe with the CE320 is lack of energy in the treble region, yes they are smooth and fatigue free but the lower treble is lacking bite. Snares are a little muted, high-hats don’t have that initial snappy energy, and instead the upper treble is left to bring out some air and sparkle. I’m not a big user of EQ normally but just adding a few dB’s to the 6kHZ mark really helps bring out a bit of snap from the CE320. They are not lacking detail in the treble region, that’s there aplenty and without nasty metallic tonality, it’s just the dip around 6kHZ kills some of the energy.

The CE320 don’t have a huge soundstage but they do have exceptional layering which is a definite bonus, separation is also excellent and they allow you to pick apart the mix and place where instruments are located.



Conclusion:
I really like the CTM CE320, if you are after a smooth yet detailed IEM with slightly enhanced low end these fit the bill. The midrange stands out to me, having a wonderfully natural tone to it along with great layering. The low end is articulate and full, and the treble falls slightly behind with a dip around 6kHZ. Overall they are an enjoyable, and comfortable everyday listening IEM, they would also work well as a stage monitor for vocalists or bassist’s.

Sound Perfection Rating: 7/10 (good value with a natural tonality just lacking some bite up top)

Firstly I would like to thank Topping for sending me this sample to review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
Keces S3 / Topping D90 > A90 > HiFiMAN HE6 SE / German Maestro GMP400 / Various IEM



Tech Specs:
http://www.tpdz.net/productinfo/472128.html

MSRP: $499

Packaging, Accessories and Build Quality:
The A90 comes in a similar box as the D90, it's a simple black affair with very good foam padding inside to keep the unit safe during shipping. It really is as simple as it gets, but the box feels sturdy and does the job of being nice to open whilst offering excellent protection during shipping.

Accessory wise the A90 comes with a jack adapter and the power cable. To be fair though the A90 is just a headphone amp so there aren't really any accessories needed.

The A90 is similar in build to the DX7 Pro and the D90, with smooth edges and a good size chassis for desktop use. There are 3 switches on the front along with 4.4mm and 4-pin XLR balanced outputs, 6.3mm single ended output and a volume knob. On the back you have RCA and XLR inputs and outputs, the power cable socket and a power switch. On my unit everything feels very well put together and solid, the inputs and outputs are all tight and the switches have no play in them.

Functionality:
The A90's main function is as a headphone amplifier, and there are few frills to the amplifier stage. You get 3 gain settings, a switch for balanced/single ended inputs and a switch for the power (Off/HPA/PRE). There are both balanced inputs and outputs, which allows you to use the A90 as a pre-amp for desktop speakers.

To benefit from the full power ouput of the A90 you should use a suitable balanced source along with the balanced output into your headphones. The gain settings and low noise floor, along with low output impedance mean the A90 is also very capable when using IEM's, just be careful with all that power on tap.



Sound:
Subjectively the A90 is very clean and linear with a hint of warmth. The great thing about the A90 is that you can pretty much power most headphones on the market with it, and it serves as a great amp to listen to but also as a great benchmark. For it's price range I am really impressed at how detailed and clean the A90 is, it amplifies the sound without altering it or adding much of its own flavour.

Using my GMP 400 which are quite a neutral reference for me, the bass is tight and articulate, the midrange is controlled and balanced, and the highs have tons of sparkle and great extension without sounding hot or too bright. Yes I tend to prefer these with an OTL amp to add a little body, but the fact the A90 can drive them in low gain is really impressive.

Switching to the HE6SE, apart from the V281 I don't think I've had another headphone amp come through that drives them as well as the A90. Medium gain is all that's needed for my listening levels, and they come across beautifully balanced yet with more than enough impact (I'm used to them being used with a speaker amp). The A90 in my personal opinion drives the HE6SE really well.

Moving to IEM's on low gain the A90 has a very black background with no noticeable noise, again the clean nature of the amp really shines through here. I have more than enough control over the volume knob without imbalance at low volumes with sensitive IEM's which is great.

One place where the A90 doesn't necessarily add anything is the soundstaging, overall the sound is tight and controlled but it's not what I would call expansive. It doesn't throw the sound overly wide, but then again it does a great job at just amplifying the source material. There really is only a hint of warmth from the A90, but luckily it steers clear of muddying any of the detail.



Conclusion:
Topping, as I have said before, have been on a bit of a roll lately. The D90 is a top performing DAC at a midrange price, the A90 adds tons of amplifying power with a neutral yet slightly warm sound. The D90/A90 stack will suffice for 99% of headphones on the market, even the most hard to drive, and sounds superb doing so. For reviewers like me, it also serves as a superb reference stack and a great benchmark. Like the D90, I cannot recommend the A90 highly enough for the price point.

Sound Perfection Rating: 10/10 (versatile, tons of power that is cleanly delivered)

Firstly I would like to thank xDuoo for sending me this sample, it has been a while since I last reviewed one of their products.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective finding

Gear Used:
PC > XD05 Plus > HiFiMAN HE-500 / various IEM's
Pixel 3a > XD05 > HiFiMAN HE-500 / various IEM's



Tech Specs:
Compliant operating systems: Windows XP/7/8/10, Mas OS X, IOS, Android
DAC chip: AK4493EQ
USB chipset: XMOS XU208
Output power: 1000mW at 32 ohms
Frequency response (amp): 10Hz~100kHz (±0.5 dB)
Frequency response (USB/SPDIF): 20Hz~20kHz (±0.5 dB)
THD+ N (USB/SPDIF in): 0.0016% at 1kHz
THD + N (aux in): 0.0009% at 1kHz
S/N: 117dB
Crosstalk: ≥75dB
Battery: 3.8V / 5000mAh
Battery life: ≥13 hours (USB in), ≥21 hours (SPDIF in), ≥40 hours (aux in)

Packaging, Build Quality and Accessories:
The XD05 Plus comes in a simple white box with outlines of the product on the outside and information on the back. It's quite a simple but good looking box, inside you have the XD05 Plus sat tightly in foam inserts to keep it safe during shipping, with accessories underneath.

The build quality is excellent, the casing is well finished and feels solid, the connections are all tight and the small switches on the front are low profile and are not at risk of breaking. The volume knob is smooth to operate, the unit can be easily opened if you need to change the battery at a later date and also allows op-amp rolling due to the socketed design. Overall it is a very well built little DAC/Amp.

Accessory wise you get a 6.3 to 3.5mm adaptor, a normal long USB-C cable, a short Type C to Type C otg cable, a short micro-USB to Type C and also some rubber feet. There are also little socket savers to prevent dust getting in the rear sockets when not in use, overall you get plenty of extras and everything you need to get up and running.



Features:
The XD05 Plus is a transportable DAC/Amp, it has a built in battery which depending on use can last up to 40hrs (Aux in - headamp only mode), and roughly 13 hrs via USB input. On the back you have the USB inputs (USB-in and Charge use separate ports) as well as an Aux in and S/PDIF input. The Aux in can also be used as an output to an external amplifier so it is used as a DAC only.

On the front you have a boost switch that allows for more power out of the headphone socket, you have 3 stages of gain and also a bass boost switch. This means the XD05 can power a wide range of headphones easily, and the bass boost is quite effective but can be a little overpowering on most headphones.

This little unit packs quite a lot of features in for the price, and makes it a very versatile addition to any collection.

Sound:
Firstly I will start with the bad, sadly this isn't suited to sensitive IEM's, there is a level of background noise/hiss that is quite distracting when in use. However, this is more geared to powering harder to drive full size headphones anyway so it's not much of an issue in my opinion. Most DAP's will power most IEM's with ease, so this kind of device is more reserved for those harder to driver over ears, and this it does so with ease.

For a battery powered unit the sound I managed to get out of it with the HiFiMAN HE-500 was very enjoyable, with a powerful and engaging sound that is perhaps a little warm and full. The 6.3mm output almost hints at the fact that it is designed for full-size headphone use, it will power your typical Sennheiser HD600 series very well and the sound is nuanced, clean yet ever so slightly smooth which allows for hours of fatigue free listening. You get 1000mw at 32Ohms, that should drive most headphones without any kind of problem, and in practice the XD05 Plus handled all but the hardest to drive with ease.

There is a sense of control and drive behind the XD05 Plus, it wants you to listen but without throwing anything out of balance. It is highly enjoyable and pleasant to listen to and punches above its price when it comes to refinement and detail levels. Perhaps where it is lacking is the soundstaging, being fairly average, but the headphone choice is always going to be more important here anyway.



Conclusion:
If you are looking for a versatile and transportable DAC/Amp for a low price the XD05 Plus is a no-brainer. I feel you have to go to something like the iFi Micro iDSD Black Label to get any real improvement over this, and that is twice the price. The XD05 Plus can power the majority of headphones with ease and sounds really fun yet balanced when doing so.

Sound Perfection Rating: 8/10 (hiss prevents use with sensitive IEM's)

Firstly I would like to thank Topping for sending me this sample to review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:
TV > D90 (optical) > Rotel RB-06 > B&W 606
PC > D90 USB > Keces S3 > HE-500 / HE6SE
Pixel 3a (LDAC) > D90 > Rotel RB-06 > B&W 606



Tech Specs:
http://www.tpdz.net/productinfo/398270.html

Packaging, Build Quality and Accessories:
The D90 comes in the new style of Topping packaging, a sleek matte black box with only Topping written on the top. It feels quite premium and is very strong, lift off the top of the box and the D90 is held tightly in place by a foam insert, there are separate slots for the accessories. I really like the new packaging, it makes the products feel a little more premium.

Again like the DX7 Pro, the D90 is much sleeker than earlier Topping products, the case is perfectly machined and shaped, and it feels very solid. The inputs on the back are all of excellent quality and the front display is clear and easy to read. There is a power button on the front along with selection buttons that also act as volume up/down in pre-amp mode. Topping are really working hard to make good looking, great sounding bits of kit.

Accessory wise you get a remote control, Bluetooth antenna, power cable and USB cable. To be fair there isn’t anything else needed so that’s good.

Features:
The D90 is a DAC and it can also be used as a pre-amp, you can change between fixed and variable output easily. It has USB / I2S / Coaxial / Optical / AES and Bluetooh inputs. The last one is something that Topping are putting in to a few of their models and they are using the latest codecs for the best fidelity playback whilst wireless.

The DAC has digital filters (AK4499) which is fairly common, sound differences are subtle but you can fine tune it to your liking. There are single ended and balanced outputs.



Sound:
For the most part I left the D90 in mode 3, I did try the other filters and as previously put they make a small difference. I have also mainly been using the D90 in my hifi system as it fits perfectly into the system. However you use the D90, it will allow you to forget about getting the best out of your source and let you focus on components downstream. The D90 has got to be one of the most linear and detailed DACs that I have listened to. It is incredibly faithful to the recording, completely getting out of the way of the music, which is what I want a DAC to do. It does not flatter you with false warmth, it purely presents the music in a neutral manner.

There is width and depth to the soundstage, there is hard hitting bass, defined midrange and sparkling highs, whichever input you use. Bluetooth is of course the least faithful, however don’t let that make you not use it. The D90 manages to lose very little when used in Bluetooth mode, and it is by far the best implementation I have heard.

We are definitely at that point with DACs where the D90 provides, in my opinion, all the fidelity you could possibly want out of a digital source. Distortion levels are way beyond the capability of our hearing, the frequency response is as flat as you can get, all wrapped up in a neat package. As far as standalone DACs go, if you don’t need network streaming capabilities, the D90 should suit most peoples needs. The sound is never forced, it is grain free and crystal clear. There is also never any glare up top, Toppings implementation of this particular AKM4499 chip is superb as it is analytical but not clinical or cold.

Suffice to say the D90 is an excellent, true to source DAC. It will fit neatly into any system, the pre-amp mode works excellently in any hifi setup with a power amp, yet the pure DAC mode can be hooked up to any headphone amp or integrated amp without issue. The digital filters allow you to tune the sound to a small degree. Pair this DAC with the new A90 amp and you will have a reference point but also an enjoyable system that will power 99% of headphones on the market today.



Conclusion:
The price point for the D90 is exceptionally good if you take into consideration how well it performs. It doesn’t have tons of bells and whistles but it does have a superb bluetooth implementation which many don’t. Sound wise the D90 delivers a true to source sound that is detailed, open and neutral, but without a cold or clinical tonality. If you want a DAC that you can forget about, the D90 is excellent, it lets you focus on the components further downstream.

Sound Perfection Rating: 10/10 (I cannot fault it, in general or for the price)

Firstly I would like to thank Dunu for sending this sample to review, they were the first company I ever wrote a review for and it's been a while since I last reviewed a product of theirs.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings

Gear Used:

JDS Labs Element II > DK-2001
iBasso DX200 > DK-2001



Tech Specs:
Net weight: 14 g
Frequency response: 5 hz - 40 khz
Impedance: 13 Ω
Sensitivity: 109 ± 2 db at 1 khz
Total harmonic distortion：< 0.5% at 1 khz
Wire material: high-purity silver-plated ohno continuous cast (occ) copper litz type 1 wire
Cable length: 1.2 mm
Cable connector: catch-hold® MMCX
Dynamic driver: 13 mm Dynamic driver with dual-sided beryllium diaphragm coating
Balanced armature(s): 3 custom-ordered knowles ba drivers (1 mid-high, 2 ultra-high)
MSRP: $299.99

Buy here

Packaging, Build Quality and Accessories:
Dunu have always known how to make the unboxing experience as good as possible, the DK-2001 is no different. The box feels premium and everything is well spaced inside, as well as well protected. The packaging gives plenty of detail about the product without looking cluttered, and the colour scheme is bold which I quite like.

Build quality has also never been a problem for Dunu, however their old hybrid series was always crying out to have a detachable cable. The DK-2001 have extremely well made metal housings, and the cable is excellent. It is soft and ergonomic, has great strain relief, uses good material and best of all have a changeable jack. Mine came with both the 3.5mm and 2.5mm balanced jack options, it's great being able to change the termination without having to change the cable. The MMCX connectors are tight and use their own stregthened design that is fully compatible with normal MMCX connectors. Overall I am really impressed but the level of quality for the price.

Accessory wise you get 3 sets of silicone single flange tips, all of which have a slightly different material which subtly changes the sound. You also get a pair of Medium size foam tips, a leather case (the blue really complements the orange of the IEM's), 6.3mm adaptor and a wax cleaning tool. More than enough accessories to satisfy everyone, nothing at all is missing here.

Comfort and Isolation:
Once you find the right tips the DK-2001 is comfortable to wear, even for long listening sessions. The housings don't put pressure on your ears, and the cable is excellent, it also has a chin slider. No issues for me, even with my small canals.

Isolation is also very good, they have a vent due to the dynamic driver but it faces inwards and doesn't affect the isolation much. Perfect for travelling and commuting.



Sound:
Dunu have made a few hybrid models now, and the DK-2001 is a quad driver array, with a single 13mm beryllium coated dynamic driver, single BA mid/high and 2 BA's for ultra-high. The BA drivers are custom made by Knowles.

Lows: From the specs you might expect the DK-2001 to have a slightly more bass oriented sound with that 13mm dynamic driver, however this driver is tuned to add extension and mild body rather than overall quantity. You get articulate yet well controlled bass from the DK-2001, more body and impact than the old DN-2000j but they follow in similar footsteps.
There is excellent extension reaching well in to the sub-bass but without any bloat, mid-bass punch is good, not huge but kicks are backed up with appropriate body. They sound balanced and controlled, with a hint of added warmth which lets them lend their hand to all genres.

Midrange: The midrange is expertly separated from the low end, with a natural tonality and realistic portrayal. There is no unwanted interference from the bass, which allows male vocals to cut through with ease and accuracy. There is a slight lift towards the upper midrange which brings out female vocals a bit more, but it's not a sharp peak and doesn't add any unwanted sibilance. I think what really stands out in the midrange is how natural they sound, guitars whether electric or acoustic always sound real, the same goes for the vocals. There is also plenty of detail retrieval and you can easily hear subtle details in the recording. No matter what you throw at the DK-2001, the midrange will always remain perfectly balanced between the lows and highs, and they will always sound natural.

Highs: The slight lift in the upper midrange doesn't translate to a peak in the lower treble, allowing there to be a smooth but detailed transition without unwanted sibilance. High-hats sound excellent, snares snap with precision and there is no unwanted reverb. The top end is snappy and precise, yet has a refined touch that allows it to extend without introducing any fatigue. There is plenty of energy up top, and the tonality is very impressive, yet they are not pushed forward to add a false sense of detail. The DK-2001 really nail how to do treble properly, all the energy and extension without painful peaks, always present, always clear, always tonally accurate yet never fatiguing.

Soundstaging is good, there is enough width and height to allow for some out of head experiences, but the separation and layering are excellent due to the controlled nature of the sound.



Conclusion:
Well for my first Dunu review in a while I am very impressed by how far they have come. The DN2000j were truly excellent, but maybe a little hot for some users. The DK-2001 are more grown up and refined, but without sacrificing engagement and energy. The DK-2001 have tons of detail in a well balanced and natural sounding signature. These are a brilliant, there are a few good IEM's around the same price, and the DK-2001 are well worth a listen.

Sound Perfection Rating: 9/10 (Balanced, controlled, engaging and well built)

p.s. These put a big smile on my face when listening to them, and got me tapping along with the beat.