Introduction​

JDS Labs was a guest at Ear-Fidelity a few times already. My last round with Atom+ stack left me with very fond memories. They offer an amazing starting point for newcomers with a great price-to-performance ratio.
I was inquisitive about the Element III, as it looks like a much more refined design, although based on similar parts. So, I thought it won’t be worse, and that’s a good start. But jokes aside. Even before, JDS Labs amazed us with its no-bs policy and down-to-earth approach. Once again I recommend you to visit their website and their blog. I think that’s a must-read for those technically inclined. The big takeaway is: it’s not the DAC chip, it’s the implementation. I want you guys to understand that.
Naysayers will complain about the old DAC chip used here. Well, maybe somebody finally made the ESS chips sound good? Because until now, I heard only a few devices that sounded good to me with those. One of them was Atom+ DAC, which is a good start for the E3 (Element III). Interestingly enough, according to the blog post at JDS Labs E3 is not a refresh of the E2, but a complete redesign. The analog stage was expanded and tuned, the ESS ES9018K2M was chosen as a DAC, and the knob stayed. Now, the volume control is done in the digital domain, and to be honest, it works flawlessly. Unlike in the E2, the analog input was dropped because of the digital volume control, but it’s not an issue in a DAC/AMP like that.

Packaging and Build Quality​

The E3 comes in a box with a JDS-branded, printed sleeve. The box itself is marked with a slogan: “Sound as science”. Inside you will find the E3 itself and a large transformer-based power supply. No extra bells and whistles.
The E3 looks very good straight out of the box. Sleek black finish, a copper ring, and flush connectors. The top part is metal, probably aluminum, and the bottom is very high-quality plastic. It comes together very nicely, like an audio-batmobile.
The small OLED display is perfect for tabletop use and provides you with all the necessary information. The knob has a smooth rotation but has a little wobble when turned. When you look at it, you see it. When you don’t, it’s not noticeable. It’s a big knob on an encoder’s shaft. Even with a custom, reinforced part, some wobble is to be expected.

Tech​

In terms of tech we can be satisfied too. It supports PCM up to 24bit/384kHz and DSD128. While it’s not top-tier compatibility, I can’t really imagine anybody complaining about it. That’s still more than enough. “But my DAC sounds the best with DSD512 oversampling in Roon!” if your DAC needs that to sound good, maybe it’s time for a new DAC Bro.

E3 has two inputs: USB type B and optical type as usual. We also get two outputs: a 6,3mm headphone jack and a pair of RCAs in the back. You can freely switch between all of them using the knob. The knob has programmable functions, allowing you to have a smoother user experience. I used the knob as an output selector because I was using both speakers and headphones with the E3. Those outputs have independent volume settings, which make them even easier to use. Besides the sound, E3 was built with user experience in mind. A nice addition can change output filters and influence the harmonics component in the DAC chip itself.
Most manufacturers just crank the compensation to 11/10 to make the measurements look better. JDS Labs gives it to us as a tool to play with the sound. I want to point out that I expect balanced outputs at this price, at least for headphones. Don’t get me wrong, 1,3W is a lot, but planar headphones always gain in terms of sound when connected to a balanced amp. More on that later. For dynamic drivers, it’s gonna be all you might need.

The automatic gain control is excellent and works great. E3 uses internal +/- 15V rails and rail-to-rail opamps (OPA1692), so expect great headroom for high-impedance headphones. It’s a refined, smart design that really puts an emphasis on useability and sound. Exceptional measurements? Apparently, they are a byproduct of sound-focused design. Well, I’m not complaining, for sure. One last thing I want to bring to your attention is the digital volume control. As mentioned before, it’s acoustically transparent and it gives you exceptional channel matching. That is super important with IEMs.

Sound​

Sometimes reviews are easy. Not this time. How to describe something so transparent that you hear everything else besides that? That’s the situation I’m in now. This is one of the best-engineered ESS-based DACs. Chapeau bas.

The sound signature of ESS chips is reduced to a minimum. We get all the pros: resolution, pitch-black background, and insane bass response. The harshness is non-existent. On the E3 side at least. You will hear everything. I mean EVERYTHING. This DAC/AMP can be easily used in a music studio for mastering, it shows every detail in a uniquely effortless way. You have a small hint of the ESS sound. Let’s call it “dark transparency”.
Those who know any modern ESS DAC understand that sentence. JDS Labs included a few options for us to influence the sound. So if you are not afraid to stray from a purist approach, you can play around a bit. Obviously, we can select digital filters. The minimal phase is my choice as the most natural and dynamic. Other filters are a little harsher, which is not a good solution with this amount of transparency.
Additionally, you can regulate the amount of 2nd and 3rd harmonics. I found a slight difference between those settings but liked the neutral setting the most. This is a function built into the ESS chips. It’s nice that we were given access to that. Every regulation is made in real-time, which makes it easier to choose.



Soundstage
It’s excellent. E3 creates layers upon layers of sound, all of them completely independent of each other. The soundstage is very wide and mostly depends on the headphones you use. Even much more expensive devices can’t pull that off. All of that is thanks to an excellent crosstalk separation, low noise level, and linear phase response of the whole device. The soundstage is placed in front of you. Not too close and not too far. It’s just right. That’s it. Reference level sound staging.

Bass
When it comes to most dynamic driver-based headphones, it is the end of the line. Well-implemented Sabre with a very good, powerful amplifier. With planars, especially more demanding, you can feel that you start to miss out on the punch department. More on compatibility later, so stay tuned. When the compatibility is there, it delivers big time. The bass is rich with information, perfectly controlled, and fast yet sublime. The bass lines in Heaven and Hell by Black Sabbath were a great example. Good bass doesn’t have to break walls with its power. It can also highlight the musician’s skill, allowing you to appreciate the art. Believe it or not, Dua Lipa’s Levitating has a fantastic bass line, and the E3 offered to show it exactly as it is. Even though powerful, the bass never influenced any other range.

Midrange
I think we all got into trouble even though we were innocent. The E3 gets in trouble here with me. Let’s start with the facts. It gives you exemplary resolution and detail in the midrange. There is spaciousness, breath, and truth in its presentation of midrange. Taking a listen to Muddy Waters My Captain, you can get one of the most convincing musical spectacles. The voice, the guitar, you think you can touch them. Perfectly complementing each other, the gentle guitar background complements the incredible voice of the artist. My version even has a moment in which the mic gets overdriven, and you can pick it up like you have been mastering audio for the last 10 years. So, what got E3 into trouble? Partially, it’s a problem with me and my setup. I like a little warmer and richer sound. With some extra oomph in the bass. Most of my headphones are relatively transparent. The other half of the problem is in the music itself. If you listen to something that wasn’t recorded that well, you are gonna have a bad time in my setup. The question is: do you want full transparency? Great power comes with great responsibility.

Treble
Was a big surprise, and a positive one at that. All the ESS-based DACs I have heard before had a harsh treble. If not harsh, then at least hard. Well, I don’t know how JDS Labs did it, but the treble here is open, relaxed, and very natural. Even now, I’m listening to Bruno Mars That’s what I like. The treble has lots of air, is very open, and fills the whole space easily. Also, even with a lot going on, the highs don’t get tiring as it happens with many other devices. A good example of an intensive track can be Call Me Manny by Justin Hurwitz. It has great big band vibes, very recommended (thanks to DJ TITO for the recommendation). Nicely done, JDS Labs. Color me impressed.

Pairing​

HiFiMan Sundara Closed

As mentioned in its review, this headphone goes very well with this amplifier. Sundara Closed has some warmth itself which pairs nicely with the E3. Also, it’s pretty reasonable to drive, so no problems here. Also, their pricing suggests pairing them together. This combo gives you great transparency with just a hint of warmth and an excellent, fun bass.

HiFiMan HE6SE

A fine addition to my collection (post a General Grievous meme plz), but not a good partner for the E3. It can get pretty loud but make no mistake, the HE6SE is a very demanding headphone. Especially when you don’t have a balanced connection. To be fair, HE6SE is not something you would typically match with the E3.

Westone Mach 60

This IEM’s natural, relaxed presentation pairs perfectly with E3. It will make you understand why so many people like the Mach 60 and its predecessor. This is an excellent, universal sound. The E3 has basically no noise, so you can pair it with many different IEMs with no possibility for noise-related issues.

Dynamic driver headphones

I have tried my theory only with the Sennheiser HD518, but I’m confident that dynamic driver headphones will pair with the E3 very well. Dynamic drivers usually have more of their character, which will only flourish with a transparent DAC/AMP like this. Sorry I couldn’t make the arrangements to try any of the obvious choices like Sennheisers HDs, Focals, or Beyerdynamics. I still trust my gut and recommend you try those combos. If you don’t like it, you can cash me outside, how bout dah?

Comparisons​

JDS Labs Atom+ Stack



I always try to be as unbiased as possible, but let’s be honest. When you look at the components, the E3 seems a little like a more fancy version of the Atom+ combo. Damn, you couldn’t be further from the truth. The difference in sound is gigantic.
First of all, the Atoms are warmer. Second of all, they have nothing on the E3. Additionally, Atoms don’t work well with IEMs due to the high gain and potentiometer tolerances. E3 has perfect channel symmetry and lower noise. This device destroys Atom+ in every category by a mile. So if you were split between the two, don’t be. E3 is superior in every aspect and has extra features.

iFi Audio Zen DAC Signature + Zen CAN Signature HFM

When having sex, iFi’s safe word is “pineapple”. E3’s is “Panzerkampfwagen VI Tiger, Sonderkraftfahrzeug 181” and you have to say it backwards. Kinda like the famous scene from Euro Trip. The Zen Signature stack has less detail and a smaller soundstage. On the other hand, it has a warmer, more easygoing sound and balanced outputs, which go well with my beloved planars. To be fair, I think that E3 offers more in terms of sound, while iFi offers more practical features (multiple inputs, balanced output).

Summary​

Element III is one of the market’s best DAC/AMP combos. It’s super nice to use, offers an amazing sound, and looks good. If you aim for transparent sound and reference sound staging, you will be in heaven.

Its powerful 1,3W amplifier will be enough for many headphones. Low noise and exemplary channel matching will work great with IEMs of all kinds, including full BA ones. JDS Labs is a reputable manufacturer that offers great customer service and a very customer-centered approach to business. There is one caveat that I have to bring to your attention. No balanced outputs for headphones. I love my planars, and they love to get lots of current. Extra power would be welcomed at this price point. If you have planar headphones, I still encourage you to try it. Sundara Closed works great with the E3. Monolith headphones are another great option here. All the dynamic headphones will be absolutely happy with the E3. After considering that, I still give my recommendation to the Element III. It’s a great value for money, and if you are smart enough to work around its only limitation, it might be the last DAC/AMP you will buy.

Highly Recommended.

Big thanks to JDS Labs for providing the Element III for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. JDS Labs hasn’t seen this review before publishing it.

Introduction​

Like iPhone is the product you think of when someone tells smartphone, or Jeep Wrangler when someone tells about the off-road vehicle, like the Westone products are the ones when someone tells about on-stage in-ear monitors.

The company was established in 1959, almost 40 years ago they invented the first in-ear musicians’ monitors and the first balanced armature driver as well, that’s a serious heritage. Without them, we probably couldn’t enjoy thousands of different IEMs, which for us, the Ear Fidelity crew, would be a big loss, because we all are big fans of Hi-Fi on the go.

Today’s reviewed gear is the second lowest IEM from Westone’s latest universal series – MACH. What’s interesting, each piece from the series looks exactly the same, the only difference is the number on the left earpiece, from 10 to 80, the biggest difference is the internals, from a single balanced armature in MACH 10 to eight drivers in MACH 80. If you’re willing to spend more money, you can read Michał’s review of MACH 60 here, but if you’re interested in the “entry-level” model (at least in terms of the Westone MACH series), then keep reading this review.

Packaging, Tech and Comfort​

I’ve received the MACH 20 in a sample package – zip lock bag and bubble wrap to secure the earpieces. Unfortunately, I can’t say anything about the retail packaging from my perspective, the only thing is Michał’s report from CanJam, where he was talking with the Westone representative.

So when you will buy the headphone, inside the box you will find a big selection of tips (silicone and foam ones), a Pelican case (the original one), a cloth, a cable, and the IEM. The case is great, it’s fully waterproof and very durable, it would probably have survived a plane crash.

The cable is, and it’s the only positive thing I can write about it. It’s got proprietary connectors, so you can’t replace it with aftermarket options. It’s very thin, but the manufacturer claims it’s durable as well. It’s also not the softest cable I’ve ever used. But let’s stop bullying the cable, let’s move to better parts of the headphone.

So now the tech, MACH 20 has 2 balanced armatures in each earpiece. The sensitivity is rated at 110dB and the impedance is about 96 Ohms. That’s all you can read on the website, it ain’t much technical-marketing bs on their website, but it’s a gear for the professionals. They only need IEMs to be comfortable and don’t color the sound too much. In that use case, Westone IEM works very well, I could sit listening to them for hours (I think I also could jump, workout, or dance and the IEM would keep in my ears, but I’m lazy AF, so I didn’t test them properly in that scenario), about the sound I will write later, but it’s fine as well.

Design and Build Quality​

As I wrote above, Westone MACH 20 shares the shell design with other representatives of the MACH series. The build quality is pretty good, for $400 you’re receiving the build quality of the headphone that is worth $1600 – that’s a deal (as I mentioned above MACH 80 has exactly the same shell design as MACH 20). The earphone is made of good quality plastic, unfortunately, the description on the website is brief and there is no mention of the type of materials used. The finish of the earpieces is superb, you can see the lines where shells are separated, but it’s fitted so tight that I can’t nearly feel it with my fingertips.

On the inside part of the shell, there is a Westone logo, red on the right shell and blue on the left one. Thanks to it, the recognition of the channels is super easy. I wish more manufacturers would use similar methods to differentiate the earpieces – a simple solution for first-world problems.

What’s worth to mention, the nozzle is very narrow, so if you have an issue that most headphones are too big to fit your ear canal, then the MACH series can solve the problem. You may wonder why most manufacturers produce so large nozzles. That’s because maybe it’s not the most comfortable for users, but definitely easier to implement for sound engineers, but engineers from Westone have nearly half a century of experience in designing IEMs and they know a lot of tricks on how to make earphones sound and fit perfectly.

Sound​

I’ve written that the biggest difference between IEMs from the MACH series is the number of drivers, but this implies the sound difference is huge as well. There are plenty of sound signatures in the lineup, but today’s review star – MACH 20 is the bassy one.

Let’s start with the bass, which sounds like a typical bass reproduced by balanced armature drivers. What does it mean? It’s very fast and precise, but it roll-off quickly, so the sub-bass isn’t audible properly. Normally when I’m listening to warm-sounding headphones, it’s safe to choose some electronic music like French 79, or Crooked Colours, but due to the character of the sub-bass, I had a problem because this kind of music loses a lot, when it’s not powerful enough.

The midrange is recessed, but it still has an amazing texture and it’s very natural. While listening you need to focus on it, otherwise, it will be overwhelmed with the lower frequencies. The way it’s being reproduced with MACH 20 favors the instruments and vocals in the lower midrange. That is why Agnes Obel probably won’t show you what these headphones can do, but Nick Cave in “Where the Wild Roses Grow” makes me goose-flesh. His voice is full-bodied with an amazing timbre.



And the last, unfortunately, the least as well – the treble is very warm and recessed. The details are lacking as well. If you’re looking for a headphone to put your listening experience on the next level in terms of the resolution and details in the top end of the audible frequency range, then keep searching, because it sounds like it’s covered with a fluffy blanket, or from behind a heavy, beefy veil. If you would like to joy your ears with the sound of cymbals in “Dronning Fjelrose” by Hoff ensemble & Helene Bøksle then there are a couple of better IEMs available on the market, but if you are looking for an IEM that you can listen to to even terribly produced songs for hours, then go for it.

Okay, I hurried up, and nearly forgot about the soundstage, which is realized in a very correct way. Nothing fancy, but also nothing wrong, depth, width, and height are pretty similar so no direction is too far nor too close, the positioning is good as well. I don’t have anything to complain about here. My reference song for checking the soundstage is “Bubbles” by Yosi Horikawa, and what can I say? It sounds as I could expect, the dimensions aren’t as wide and deep as when played back with HiFiMan Susvara, but the layers of the sound are pretty impressive.

Comparisons​

Craft Ears Four


Craft Ears 4 is a Polish CIEM fitted with 4 balanced armature drivers, priced at €625 (price in US dollars should be similar). In terms of design, it’s hard to compare, because when ordering CE4 no matter if universal or custom fit, you can completely customize the design of the shells, but it’s made with 3D printed resin. When comparing with CE4 universal fit the biggest difference is the nozzle diameter, more popular among IEMs, so if you already have some aftermarket ear tips, you will be able to utilize them, but it won’t fit the very narrow ear canal, then the only solution will be custom in-ear monitor made from your immersions.
Now the sound, when I used Craft Ears 4 for the first time, I couldn’t believe there are only balanced armature drivers inside.
The bass is very powerful and fast and it can go very low, like it was produced with a dynamic driver, in that case, CE4 is out of the reach of Westone MACH 20, which also reproduces very fast and powerful bass, but the lowest end nearly doesn’t exist.
The midrange, in this regard both headphones are not the greatest. The midrange of both IEMs is recessed, but the way it’s reproduced is slightly different. The CE4 is very technical, and the midrange is very detailed and well-textured, while Westone MACH 20 has a warmer and smoother midrange, with more charming vocals.
The treble, huh, that’s tough. The comparison to this place was pretty even, but regarding the highest frequencies, I can write that the Craft Ears 4 is amazing – very detailed, but perfectly balanced so it’s very pleasant to listen to, while Westone MACH 20 is definitely not tiring, but if you’re looking for good resolution, then pick CE4.
When comparing the soundstage we can see two different approaches, MACH 20 reproduces the soundstage ultimately precisely, while Craft Ears 4 does it more spectacularly. The soundstage of the Polish IEM is way wider and slightly deeper, but the positioning isn’t as precise as while using MACH 20.

Westone MACH 60



Westone MACH 60 is a universal in-ear monitor priced at $1099. In terms of build quality it’s exactly the same gear, if someone blindfolded you, and asked to determine which IEM is which without listening to them, you would probably have a big problem.

In terms of sound they differ completely, MACH 60 has a balanced signature, while MACH 20 is warm and bassy.

The bass of the 60s is definitely not as pushed forward as one of the 20s, but both lack the lowest sub-bass, but the whole bass is pretty fast, I would say that this part is the typical bass reproduced by the balanced armature. I would say “it’s just physics” but the next comparison will show that it’s possible to make BA sound beefy.

The midrange is definitely the strongest part of the MACH 60, it reproduces voices in an amazing way. Unfortunately, the cheaper brother sounds cheaper in that term, the midrange is definitely recessed, and lacks much when compared head-to-head with the 60s but, let’s not be that harsh to MACH 20, it’s $700 cheaper than 60.

When comparing the treble, it’s another place where MACH 60 sparkles again, it’s much more detailed, while the treble reproduced with MACH 20 sounds like it’s hidden under the blanket, but I mean a very fluffy blanket.

Summary​

Westone MACH 20 is a very comfortable IEM. If you’re looking for universal in-ear monitors to use during performances, or earphones to use while doing some sports, it’s a definitely good choice for you.

In terms of sound, it’s a very specific gear and it may not fit everyone. If you’re looking for a warm-sounding IEM that can be used for hours without fatigue, then go for it, but don’t expect the edges of the audible frequency range to be very impactful.

Gear used during this review for sake of comparison and as accompanying equipment:

• Headphones: Bqeyz Summer, Campfire Audio Vega 2020, Craft Ears 4 CIEM, Dan Clark Audio Aeon 2 Noire, Dan Clark Audio Ether C Flow 1.1, Focal Elegia, HiFiMan Ananda,, Meze Advar,
• Sources: Fiio M11 Pro, JDS El DAC II + SMSl SP200, SMSL SU9 + Topping A90, MacBook Pro 14, iPhone 13 Pro with apple lightning DAC/Amp

Disclaimer: Big thanks to Westone and John from KSDISTRIBUTION for providing the MACH 20 for this review. This review wasn’t influenced by anyone, all of the above is my subjective, honest opinion.

Introduction​

It’s been a while since we reviewed an Audeze product. This company has a special place in my heart, as their LCD-3 has once been the most expensive audio product I ever bought, back in like…2013 or so.
Since then, I tried most Audeze products, and last year we reviewed their newest revision of the LCD-X model, called the LCD-X 2021. This headphone has won our “2021 headphones of the year” award, thanks to its sublime craftsmanship, great sound quality, and tuning that is just easy to fall in love with.
A year has passed, and since then, Audeze has launched a few new models, including their new flagship LCD-5. I know many of you have requested the LCD-5 to be reviewed here and actually to be included in our “Battle Of The Flagships” article…hang on, we’re trying our best to finally make it happen one day!

Back to the topic though. The LCD-5 is a groundbreaking product for Audeze, as it marked a milestone for the brand making the biggest change to their products ever. Basically, the LCD-5 was a complete redesign of their previous models, sharing basically no parts with the (now retired) previous flagship, the LCD-4.
Also, the most shocking aspect is the tuning, which has been changed completely. Audeze has been known for its thick, dark, and lush sound signature for more than 10 years now, and the LCD-5 took a completely different approach to the frequency response. This was the first, truly neutral and reference-like tuned Audeze headphone in history (I only tried it quite briefly though), and I started to wonder, if this is going to be the new standard for Audeze, or if the LCD-5 was just meant to be different.

Some time passed, and Audeze came up with a new, highly interesting model – the MM-500. It is made in a collaboration with a 10-times Grammy winner, Manny Marroquin himself. And you guessed it…the MM-500 continues the trend of a new tuning for Audeze, sealing the question of whether it’s temporary or not with the LCD-5 for good now.
There’s one thing I want to express my thoughts on – the entire collaboration thing. See, people in audio don’t really believe in those kinds of situations, where an audio brand cooperates with a Music/Engineering star to launch a new product, and for a good reason apparently – there have been a few tries in the past, but all of them failed in a way.
There’s nothing to worry about though. Take guitars for example – most legendary guitar models ever were indeed created in a collaboration with an artist. Les Paul’s Gibson would be the perfect example of that.

So, it’s not an aspect of whether it’s a good idea to do it or not, but how you execute the entire thing. Manny Marroquin is a legend, but he’s also highly connected to the entire “audio thing”, so this collaboration doesn’t feel out of place at all.
Okay, let’s put that aspect aside for now, and let’s dive into the new Audeze MM-500 and see if it’s good enough to justify its rather high ($1699) price.

Packaging​

Let’s start with the unboxing experience. The Audeze MM-500 comes in the same box as the LCD-X 2021, which we have reviewed some time ago here.

So, we’re dealing with a pelican-style, hard case that is extremely secure and it gives a lot of protection to our new valuable headphones. Actually, this case reminds me of some studio equipment hard cases, and knowing that the heritage of the MM-500 is sound mastering, this feels like the perfect choice.
I always appreciate this kind of presentation. Some display cases are really cool to unpack and they often give you that luxurious feeling at first, but at the end of the day, they all end up in a closet or in the attic. This one is different – you can easily use it for traveling with your headphones or just use it as storage, and you don’t have to worry about what’s inside.
I’ve always been more of a “function above looks” type of guy, and this case is just my cup of tea – functional, protective, and useful.

Inside the case, you’ll find the MM-500 and a cable. The latter is a 2m braided cable made of high-purity OCC copper. This cable is very comfortable, it’s not microphonic at all, and it’s just a joy to use. We have all seen stock cables that are stiff, heavy, microphonic, and just bad. This one is totally the opposite, and you won’t really have to think about getting an aftermarket one unless you simply want to upgrade your audio game. Some other manufacturers should watch and learn.

Design, Build and Comfort​

I’m going to start this paragraph with a bold statement – the Audeze MM-500 is the best-looking and feeling headphone in my collection.

First of all, the design. It’s very professional, industrial, and raw. These are not designed to be flashy or luxurious looking, these are tools, and they definitely look like one. I absolutely adore their design every time I look at them (which is well… every day). There’s just something about this color combination, the shape, the finish, and the materials used that scream “pick me up and touch me”, and I do so a lot. Actually, even when I’m not listening to them, I often just grab them and do a little touching, just to feel good. I might sound like a crazy person, but this is just my experience.
This leads us to the actual build quality, which is spectacular. I remember stating that the LCD-X 2021 feels like a tank in a hand, that it’s so solid and just big and bulky, but this is just another level. Nothing squeaks, there are no sharp edges, and everything feels extremely solid and just pleasant to the touch. Apart from the LCD-5, these are built totally differently than every single Audeze headphone ever created, which is essential to Audeze’s latest releases.

What makes me really happy is the headband construction, which uses a suspension strap. Some manufacturers are still using traditional headbands with no suspension straps, and I just cannot understand why. The strap makes every headphone so much more comfortable, it distributes the weight much better, and it is just superior to everything else on the market. I’m happy to see Audeze just going straight to suspension strap headbands in all of their headphones, this is without a doubt an excellent choice.

What’s not so excellent though, is the clamping force, which is quite brutal. These would have been one of the comfiest big planars on the market, but the clamping force is just a lot for many people, me included. Don’t get me wrong, it doesn’t make the MM-500 unusable or even uncomfortable, but it’s definitely too strong for me, resulting in a slight discomfort after about an hour of listening to them. Not terrible, but would have been much better if the clamping force was reduced.

However, the clamping force was probably designed to ensure a proper fit, as (even though it’s an open-back design) the MM-500 actually requires a good seal to sound best. If this was intentional and it actually helps to ensure a proper fit, then I’d say that it was a fair decision. The headband is spring-loaded anyway, so you can actually stretch the headband a bit to loosen up the clamp, but if you’ll just grab them out of the box and put them on your head, you’ll be surprised by how hard they squeeze your head.



Now, let’s get to the earpads – these are more reminiscent of their older models than their new LCD-5 flagship. However, because the earcups are quite a bit smaller than their older LCD models, the earpads have been reduced in size as well. Don’t worry though, as these are plushy and still quite big, so they should easily fit your ears with some breathing room. The depth of the ear pads is actually great, and my ears never touch the drivers, which is very important for comfort in my book.

Overall, the MM-500 looks absolutely astonishing in real life, and it’s built just as well. This feels very solid in the hand, is a blast to look at and I don’t see them taking any damage even if dropped to the floor. This is what a studio-oriented pair of headphones should be – practical, functional, and most importantly, very durable.

Tech​

The Audeze MM-500 is a mix of new and old Audeze in the tech department. It uses a driver of the same size as their flagship LCD-5, with the same magnet array called single-sided Fluxor magnet array, consisting of 14 magnets.
The old is the older style of the diaphragm, hence only the LCD-5 uses the new Nano-Scale Parallel Uniforce diaphragm.
All of this contributes to an incredibly low impedance at 18Ω and an SPSL sensitivity rating of 100dB. This means that the MM-500 is very easy to drive, and it feels pretty logical knowing that these will be used in studios as well. The good news is that you don’t need a powerful amplifier for these to sound great, so you don’t really need to invest a lot into your chain.

Sound​

Now onto the most important – the sound. The Audeze MM-500 is a step in a new direction for Audeze, the way that was started with their new flagship, the LCD-5. For years, Audeze has been known for its laid-back, rich, and dark tonality, which was perfect for long listening sessions. This is the main reason why people really began to love Audeze – they just sounded different, incredibly pleasing, and highly enjoyable.

The “old” tuning had its cons too though. The competition, and most importantly, Hifiman has been pushing more and more detailed and neutral headphones to the market, being a more popular choice for people who want a more neutral and accurate sound. So, the decision was made, that with their new flagship model, Audeze will take a new, more neutral approach to their tuning.

The LCD-5 has been a great success, I only tried it once briefly and I really liked it immediately. That neutral and natural presentation, with a forward and intoxicating midrange presentation, stole my heart after 10 seconds. Well, the time might come when you’ll be reading the review of the LCD-5 on Ear Fidelity eventually.
Back to the MM-500 though. This announcement came out of nowhere and made quite a buzz. A new headphone, quite similar to the LCD-5, made with Manny Marroquin, studio-oriented priced at $1799. Wow, that sounded really exciting, and basically, no time has passed since I got the notification from Audeze that the MM-500 is on its way for a review.
So, after a brief experience with the LCD-5, I was about to try the new Audeze tuning for real now, with a lot of different gear, with no time limits.
The MM-500 was definitely a hit for me right from the get-go. It sounds fresh, very natural, and incredibly capable, but we’ll get there.

Let’s start with the bass. It’s very fast, firm, and well-controlled. There’s more emphasis on the midbass, with subbass being somewhat recessed. This does two things: give you that energy and kick, but the subsonic rumble is not the strongest. For a studio pair of headphones, this might actually be quite a good thing, as it gives you more control over the driver. At the end of the day, you can introduce a bass shelf under 100hz, as these drivers handle EQ incredibly well.
So, no matter the music you’re listening to, the bass is always snappy, and physical, and has a fantastic resolution. This proves to be a very universal type of bass delivery, with great handling of the majority of music genres. If you’re into hip-hop or electronic music, a bass shelf might be mandatory for you to get that rumbly and thick note presentation.
Where the MM-500 shines in terms of bass is jazz and acoustic recordings. Because of its highly technical and tight low frequencies, instruments sound very natural and accurate.
What’s important to note – even though the MM-500 is not really hard to drive, it does benefit a lot when plugged into a good quality amplifier, and actually, powerful ones proved to have a better overall bass presentation for me. Even though the MM-500 definitely doesn’t need the level of juice that the Feliks Envy outputs, it still sounds incredible out of it, definitely offering a better bass response than with other amplifiers I’ve tried.



The midrange is definitely the star of the show here. You’re probably aware of the fact that the LCD-5 is quite a mid-forward pair of headphones, and the MM-500 is no different. The vocals sound very forward here, and they have a beautiful tone to them, sounding rich and very accurate at the same time. Some people already called these a “planar HD650”, and I totally agree with that statement. The HD650 by Sennheiser had that lush and forward vocal presentation that just sounded incredibly natural, and the MM-500 sounds very alike. If you really like vocal in your music, these might be the perfect choice for you, no doubts about it.
And guess what – my absolute favorite part of music that I listen to is vocal, I have always been a fan of vocal-oriented music. This is why I immediately fell in love with the MM-500, as they do offer one of the best vocal reproductions in any headphones on the market, regardless of the price. I would say, my third favorite behind the Susvara and Meze Elite, and definitely in front of the HE1000se, D8000 Pro, or the Abyss Diana Phi. There’s just something intoxicating in that forward, smooth, yet incredibly technical and fast-sounding midrange that I find making me listen to more music, which is just the best recommendation I could give.
My classic test, the song called “A Thousand Shards Of Heaven” by Lunatic Soul proved the MM-500 to be incredibly natural and engaging sounding, with beautiful tonality and highly detailed presentation.
The upper midrange is even more elevated, which occasionally tends to sound a bit too forward. Once again, not a big deal, as you can simply EQ them to your liking if you find that frequency range too hot for you. Nonetheless, this slight emphasis helps female vocals come forward, even more, giving you that needed shine and presence with Diana Krall or Melody Gardot.
I must admit, while I’m personally not a fan of forward upper-mids, some Archive tracks with female vocals sound absolutely spectacular, thanks to that forward and highly technical presentation. It just all comes down to your preferences and the music you’re listening to.

Let’s get to the treble now. It is once again – highly technical sounding with excellent detail and resolution. Just like the bass and the midrange, it isn’t really thick sounding, but rather it focuses on providing a fantastic speed and bite. What’s most important though is how the MM-500 manages to stay incredibly technical, while not being harsh or forced sounding at all, which further improves the overall experience. Once again, this is a fantastic studio pair of headphones capable of showing every single little detail in music without pushing it too much, which makes for a perfect choice for both audiophiles and sound engineers. I also find the treble uncolored in any way, resulting in a sound that is amazingly neutral and lifelike. Pair it with its great dynamics and quite a forward presentation to get a very engaging pair of headphones for rock, metal, and electronic music. The only thing you’re going to care about is the quality of mastering. Poor-sounding records might come down as lifeless and unpleasant sounding with the MM-500, but it’s not the headphone’s fault, quite the opposite actually. The latest Audeze model is just incredibly technical and neutral sounding that will never hide anything from the mix, but rather present every single flaw in the master on a hot plate. If you’re into an ultimate critical listening experience, the MM-500 is really hard to beat, even by many more expensive headphones on the market.

The soundstage continues the entire technical and studio-oriented sound. It focuses mainly on layering, accuracy, and imaging, but it does it in an interesting manner. See, the overall size of the soundstage is rather small, when compared to some of its competitors, but I actually believe that it was intentional. Once again, the MM-500 is a really forward-sounding pair, meant to present the music in the most neutral and studio-like way. This means that you’re getting everything pretty close to you, including the staging capabilities. Even though the soundstage is rather small, it is amazingly accurate and “right” sounding, which makes for a very pleasant and lifelike experience. Also, the MM-500 performs excellently with games as well, giving you very accurate imaging, that will help you locate the “other guys” from the opposite team. If you want the ultimate size of the soundstage, the HD800s is your guy, but if you want a highly accurate and forward type of experience, the MM-500 performs fantastically.

Comparisons​

Audeze LCD-X 2021



This is the first comparison that came into my mind when I received the MM-500. The LCD-X is the best-selling model in the history of Audeze, and its 2021 version has proven to be the best iteration of this model.
However, these two models are actually very different. I always loved the build quality and design of the LCD-X, but Audeze improved it with the MM-500. First of all, it is lighter and it feels even more substantial in your hand. The LCD-X 2021 is an extremely well-made headphone, but the MM-500 is just even better. Also, the entire construction has been shrunken a bit to provide a more transportable design.
When it comes to comfort, the MM-500 is more comfortable, but it’s definitely not a night and day difference. The newer model is lighter, but the clamping force is much stronger, resulting in a fit that is more secure on your head, but it can lead to slight discomfort during long listening sessions.

Lastly, the sound that these two reproduce has some similarities, but the overall presentation is vastly different. The LCD-X 2021 is definitely thicker, warmer, and darker sounding of the two, resulting in a more relaxing and laid-back experience that might be more pleasant if you’re into chill listening. The MM-500 however is much more technical and mid-forward sounding, providing superior detail retrieval and insight into the material, which will be highly desired in the studio environment. What’s very impressive is that these two have a studio heritage, but the MM-500 feels more mature and better suited for the type of experience that Audeze has gone with.

Hifiman Arya SE



These two sound a lot more similar than the previous comparison. First first things though, the build and comfort.

The Arya SE is more comfortable than the MM-500, without a doubt. Hifiman has been the master of comfort when it comes to high-end headphones in recent years and it’s unlikely that they will give that position away anytime soon. However, when it comes to the build quality, the MM-500 feels a lot sturdier and just more refined, with its metal construction and great finishing.
Both headphones look incredibly good, and I actually believe that these are the two best-looking headphones on the market right now.

When it comes to sound, both headphones aim for that ultimate technical performance and neutral tonality. The detail retrieval and resolution are definitely on the same level, but there are some differences in the overall sound. First of all, the MM-500 is the more forward-sounding of the two, as well as more neutrally tuned. The Arya SE on the other hand offers a bigger soundstage and more bass impact.

What’s most important for me is that the Arya SE often sounds a bit too much for me, with its highly saturated treble and insane energy of the sound. The MM-500 is less tiring sounding of the two, hence I can listen to it for longer periods of time. Both are excellent for gaming, but the MM-500 is definitely a better choice for music production, because of its incredibly natural and detailed sound.

Drop + Sennheiser HD8XX



I don’t have the HD800s on my hand, but I do have the Drop + Sennheiser HD8xx. This is a slightly re-tuned version of the legendary HD800 series.

First of all, the build quality and comfort. The 8xx is the more comfortable of the two, but it’s not surprising for me, since I find the HD800 series headphones the most comfortable headphones I’ve ever used. Lightweight, literally no clamping force and Alcantara earpads all make for a headphone that I can wear for many, many hours without even the slightest problem.
It is with the actual build quality that the MM-500 wipes the floor with the 8xx. The latter feels just plasticky and not really durable when compared to the newest Audeze release. The MM-500 feels incredibly solid and it’s meant to survive a lot of abuse in the studio, which the 8xx would definitely not survive.

When it comes to sound, the MM-500 is again, definitely a better choice. The 8xx has its pros with its legendary, huge soundstage, and fun-oriented bass response, but the MM-500 is a lot more detailed, has better resolution and its tuning is a lot more natural. The 8xx feels wonky and shouty in comparison, while the MM-500 sounds just “right”. Apart from that huge soundstage, I cannot think of a single reason why you should choose the 8xx over the MM-500.

Pairing​

The Audeze MM-500 is very easy to drive, and thanks to its amazingly natural tone, you can basically pair them with anything you want. Yes, they still sound best out of a high-end system, but it’s not necessary for you to enjoy them. The MM-500 can be paired with a DAP like the latest iBasso DX170 and this pairing is going to give you a highly technical sound with a lot of texture.

If you’d like to introduce a bit of warmth, you could try pairing the MM-500 with Burson Playmate 2 or the Yulong Aurora. This will give you a little bit of body to the sound and transform the MM-500 into a slightly less technical-sounding headphone.

Also, you can just simply plug these into the Feliks Audio Envy to get that incredibly fast and snappy sound that just feels impossibly detailed. While I would most certainly recommend that, you don’t really have to have a $6000 amplifier for these babies to shine. Everything clean and detailed sounding will definitely do the job.

Summary​

The Audeze MM-500 is the next step in the evolution of Audeze after the LCD5. The new design and build are just spectacular, and it is by far one of the best-looking and feeling headphones that I’ve ever experienced in my entire life (and I experienced a lot, you know this).

It is the sound that matters the most though, and once again, Audeze did an incredible job with these. The MM-500 has a studio heritage and it’s definitely present in its sound, which is hugely detailed, fast, snappy, and very natural sounding, with a mid-forward presentation. Even though they are very technical, they do not sound too extreme or forced, resulting in an experience that is not tiring or just “too much”.

Audeze re-enters the sub $2000 market with quite a fantastic product, and the MM-500 is now my nr.1 recommendation for a technical marvel in its price category.

Wildly Recommended.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Hifiman Susvara, Final D8000 Pro, Audeze LCD-X 2021, Hifiman HE1000se, Drop + Sennheiser HD8XX, HEDDphone, Hifiman Edition XS, Hifiman Arya SE
• Sources– XI Audio K-DAC, Feliks Envy, SMSL SH-9, EarMen Tradutto, SMSL DO100 + HO100, Burson Playmate 2, Yulong Aurora

Big thanks to Audeze for providing the MM-500 for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Audeze hasn’t seen this review before publishing it.
You can get your Audeze MM-500 here or here.

Introduction​

Sundara Closed – a new release from the HiFiMan raised many questions. Join me on a quest to answer them all. Let’s dive in and see if it is worth the noise around it.
Sundara Closed was a huge announcement. HiFiMan is one of the leaders in the headphone market, no wonder why everybody got excited when the first information started pouring in. I was lucky to meet the HiFiMan crew at CanJam in London this year. If you ever have any chance, take your time to talk to them. They are amazing people, very passionate about audio. Also, very chill and down-to-earth. Remember, kids, audio shows are as much about people as they are about gear.
One of the many cool toys they had was the new Sundaras, and I didn’t hesitate to try them on. After a brief listen, I knew that it was a solid headphone (ups, spoiler). They even proposed that I take a pair immediately so they “won’t have to pack all of that again” LOL. Sadly, I couldn’t take them with me at the time, but long story short, they have arrived in my hands.

Packaging and Comfort​

This is the coolest packaging I have seen. It’s super intelligent. Inside a normal-looking box is a filler made of closed-cell
foam. But here’s the kicker: the bottom part of the filler works as a stand for the headphones! With the HiFiMan logo and a plastic base for stability, it’s a proud part of my wall of happiness. How thoughtful and efficient is that? I love it, especially since it is done in a relatively not expensive product.

The rest is pretty much standard. The first impression: a solid piece of headphones, on a heavier side (432g). The whole thing uses a leather strap to place pressure on the user’s head equally. The clamping force is medium, and the entire thing is comfortable for extended periods, but that will depend on the person due to the weight.

Build Quality and Tech​

At first, Sundara C. looks like a classic Sunara with wooden cups strapped on. The headband is mainly made out of metal with some plastic pieces. The headrest is a leather-like material that can move freely with your head.
I only want to see the adjustable angle of the cups, which is available even in cheaper HE400se. That would be a level-up in comfort, especially with a heavy pair of headphones like these. A new part, wooden cups are machined od of a solid piece. Wood is well known for its acoustic properties, but what amazes me is that they were able to secure a consistent, high-quality source of wood for such an incredible production scale. I wouldn’t think it’d be possible if you had asked me half a year ago.

While the headband and the base of each earpiece come from the older brother, the driver is very different. Underneath the earpads, we see a set of acoustic filters: a distancing foam, semi-transparent cloth, and a star-like filter on the driver. Their purpose is to tune and smoothen out the Sundara’s frequency response. The driver features HiFiMan’s proprietary tech, namely stealth magnets, and NEO Supernano diaphragm. It has double-sided magnets, which provide the extra drive required to perform in a closed-box headphone.

Also, that gives them higher sensitivity than the OG (Original Gangsta) Sundara: 98dB vs 94dB. The impedance is lower at 20 Ohms compared to 37 in OG Sundara. Don’t expect to drive them with your smartphone. Like all planars, they like juice, and 20 Ohms is low. Pads are made with synthetic leather and have perforations on the inside, aiding in tuning the headphone.

Sound​

From all the HiFiMans that I have recently listened to, I think I like the Sundara C. the best. The newest release from HiFiMan has a darker tuning that goes very well with my clean, linear setup. Matter of fact is that I like a little darker tuning, so there is my bias. Everybody has one. If they say they don’t, they are lying. It’s important to understand that and differentiate a good product from a product I like.
Back to the topic at hand. The Sundara C. sounds very good straight out of the box. Burn-in didn’t change much, but I did it as usual. Custom Cans @ YouTube measured them before and after burning in, and the difference was pretty small (shout out!). When you make darker-sounding headphones, you need to introduce a sparkle somewhere. Otherwise, they will sound dull and boring.

HiFiMan decided to insert a peak in the lower midrange. It gives a nice brightness like pickled cabbage helps out a fatty, breaded pork chop. Just a cutlet will be super heavy to eat, but crunchy, sour cabbage cut’s through the richness and brings balance to the dish. Exact same situation here. The tuning is dark, but there is not much warmth to it. It still is the HiFiMan, after all. One of the first impressions I have shared with “The Boys”, I mean the staff at Ear-Fidelity, was: “it sounds like a closed HiFiMan should”. As a manufacturer, they have their sound profile. The Sundara C. fits under it, although it has a slight deviation. The core is here intact: the resolution, speed, and control are exemplary.

This is a very resolving headphone (but not as much as Sundara OG). A closed can is a compromise trading sound staging for bass extension. The space is close but not confined. Shrank in size, but not bound to your head, which I hate with a burning passion. For a closed headphone, it’s decent, I heard better, but they were much more expensive. The most important thing is that it can create a convincing illusion of being there. The resolution is very good. Thanks to careful tuning, the extended bass doesn’t influence the amount of detail retrieved from the source material. This is one of my absolute favorite combinations: punch and resolution.



Bass

Let’s start with one of the most over and simultaneously underrated artists of generation Z: Billie Eilish. My Strange Addiction has a mysterious, toned-down character with powerful bass. I can recall clearly that at release, people were throwing turds around the mastering. The fun part is that the album is mastered very nicely. Most home audio systems just can’t handle this amount of bass, and even some headphones struggle with that. Worry not, my friends, because Sundara C. lives for tracks like that. The bass is entirely flat for the lowest lows of hell. It’s utterly uniform in character, meaning that the driver is working effortlessly throughout the whole range. The next thing that catches your attention is the resolution and speed. The electronic bass notes are presented with zero coloration. If you like EDM, you’ll be thrilled. As long as your amp can handle it, nothing can stop Sundara C. What about non-electronic instruments? Riders on the storm by Doors has a simple yet catchy bass line that often gets overpowered by other instruments. Sundara C. can deliver separation between ranges that allows you to easily pick up the bass lines even when a lot is happening at once. The bass sound natural and has a very pleasant timbre to it. There is nothing wrong I can say about this bass. Unless you want an elevated bass response or added warmth, there is no reason not to choose this headphone.

Mids

Bass is not the whole picture. How about the mids? One of my test albums for voices is Korn Unplugged. Especially the cover of Make me bad/In between days when Jonathan Davis sang with Robert Smith from the Cure. The contrast between the aggressive, nasal voice of Davis and the smooth, clean voice of Smith is something else. The Sundara C. catches that perfectly, delivering the emotional impact of the song. The timbre of the midrange is clean. There is a slight edge added to the vocals, primarily male. An accent boosts this relatively narrow band. To be frank, I like it, and I wouldn’t want it to be flat. The midrange gains some life thanks to that, and without it, I think it would be a little flat. Just the right amount of bonus energy fixes that. With female voices like Dusty Springfield’s classic Son of a preacher man, there is a tiny bit of sibilance at the top of her range. It pops up occasionally, but I wouldn’t call it a deal breaker. As previously mentioned, it brings a sparkle of life to the sound. If we are talking string instruments, there is no way not to mention Carlos Santana. I might come up as ignorant here, but I have a soft spot for tracks like Smooth and Maria, Maria. That was what I was listening to when I was a kid. It’s possible I was picking up girls at school dances to those songs, but that’s not confirmed. In the latter song, there is this fantastic, simple riff; I’m sure you know which one. The master’s guitar sounds sharp and crisp. It really brings all the boys to the yard. Wrong song reference, my bad. To sum it up. There is a spark of life in the midrange that can cause some sibilance in extreme situations. Overall the tone is neutral, and there is a lot of detail and textures. Definitely holds its own against the competition.



Treble

I think you already know. The treble is rolled off, and it shows—the darker tuning forces that. The treble plays a secondary role, supporting the other ranges. What they lack in volume, they hold in quality. What we get is very good indeed. In Michael Jackson’s Billie Jean (I know, I’m not too fancy today with music selection. Beat It…) the sound of cymbals and violin is a little smoothened out but still rich with information and textures. In the Cantina Band from Star Wars New Hope, you can enjoy many cymbals and other high-pitched instruments. Enjoy is a word I have chosen specifically. This song can get overwhelming in a brightly-tuned system, but here you are perfectly safe. It’s hard for me to explain that because they still preserve their sparkle while being laid back. The instruments sound very natural, with the right timbre and natural decay. It’s a nicely tuned natural range that is a great addition to the overall tuning. The dark presentation doesn’t have to mean bad treble, and HiFiMan proves that with the Sundara C.

Soundstage

Soundstaging of these headphones is something special. Many people accuse closed-back headphones of completely destroying the sense of space. Let us be honest with ourselves. We have heard that time and time again. Remember when I told you that it sounds like a “closed-back HiFiMans”? It also applies to the soundstage. Think of Sundara OG, but shrunk down. You might not even catch that when you listen to simpler mixes. Think of EDM, for example. But when you go into more complex music, you start to notice the sound is bound between your head and the wooden cups. When you listen to Snuff by Slipknot, you can feel a very good separation between instruments, panning, and overall order. Everything has its place, and it’s easy to “find”. In a composition with a big soundstage but a small number of instruments, you can hear the natural reverberation of the recording. The wooden cups might slightly amplify it compared to the super clean Sundara OG. For example, you can take any overplayed, overhyped, and overengineered tracks from the Stockfish label. I’m not mean. I love Stockfish. You can buy one album from them, and that’s it. They all sound the same. Back to the topic at hand. They emphasize vocals making them super powerful, in the center of the events. The Sundara Closed can replay that with no issue, with all of the reverb behind them and the few instruments that are used. Being contained in a small space, the “stockfish effect” gets even slightly amplified. To sum it up, Sundara Closed offers one of the nicest soundstages I have heard in closed headphones, especially at this price range.

Pairings​

JDS Labs Element III

My daily driver now is the newest Element III from JDS Labs (review coming soon). It features a single-ended output which drives Sundara C. very well. Together they deliver a detail-rich, powerful sound that sits on a pitch-black background. Looking at current pricing, it suits Sundara C. nicely in this too. This type of sound fits EDM, metal, rock, and other intense music genres. This is a set for you if you want absolute control over the sound.

Hifiman EF400

The HiFiMan’s DAC/AMP took the world by storm. No wonder why reasonably priced R2R DAC with a powerful and clean amplifier can get you really far. Combining that with Sundara C. brings them to another level. There is much more breath, a much more natural tone. The Element III sounds strained and nervous in comparison, but it has more impact in the low bass. It’s definitely an upgrade over the Element III, but this amp is in another price range. Using a balanced connection as always helps, but in this case, less than usual. That might be due to how powerful, and capable this amp is even in SE. This indicates that Sundara C. has the ability to become secondary headphones for a higher-quality main setup.

Comparisons​

Hifiman Sundara



And the question we all want to be answered. How does it stack to the OG Sundara, and is it worth the extra cash? I like the closed version better. OG Sundara is a brighter-sounding headphone with a more neutral characteristic. It’s also cleaner sounding. The sound stage of the open version is superior. It is one of the best bang for a buck you can get on the market. The characteristic of the OG is flatter and smoother. But on my system, it sounded a little too lean for my taste.

Bass

There is just no comparison. Everything OG Sundara does, the closed does better. Thanks to reasonable tuning, the bass of the closed version isn’t tiring and overpowering, which could be a point for the OG.

Mids

Here it gets interesting. I have mentioned the peak in closed Sundara, which might cause some sibilance. The OG doesn’t have that, providing a perfectly smooth response and vocals. Open-back construction gives more breath between the notes and words sung. The OG might be a nicer choice if your focus is on acoustic instruments or vocals.

Treble

OG Sundara has much more to offer in this range. The treble is extended in comparison and has a nicer edge. The attack is faster and crisper. The cymbals sound much more natural, having a more natural, not smoothed timbre. Overall, the Sundara Closed would suit people who prefer a safe approach to the timbre.
Overall, both headphones score very high on my list. Sundara Closed costs more, but for me, the investment is worth it since it fits my taste better. It’s a great product, but I believe the OG Sundara is a better bang for a buck. Not by a lot, though. It comes down to your preference: Acoustic, jazz, light rock, voices – OG Sundara. EDM, metal, punk – Sundara Closed.

Hifiman HE-400SE



This is a very interesting case. The quality-to-price ratio of the HE400se is crazy high. Is the Sundara C. able to even close the gap? At first, I listened to the HE400se. There is nothing wrong with it, really. But Sundara C. really showed me how much I was missing. The resolution, engagement, and overall quality jump were incredible. Interestingly, the soundstage of the Sundara C. was not much smaller but more precise and separated. That’s impressive for closed-back headphones. The overall smooth sound of HE400se was masking detail compared to the star of this review.

Bass

The He400se has a full bass for an open-back headphone (fuller than the OG Sundara). It’s warmer and rounder than the Sundara Closed. As mentioned before the Sundara C.’s bass blows everything else in its class, so yeah. There is that.

Mids

The HE400se is much smoother and more forgiving than the Sundara C. It’s much safer for users who listen to music of various recording qualities. That said, the detail and resolution of the Sundara C. are addicting. Hard to go back.

Treble

The HE400se has a much more pronounced treble and is a much brighter-sounding headphone. It elevates the cymbals and other high-pitched instruments, giving them the space to shine. The Sundara C. holds its own in quality, believing it’s better than quantity.
Sundara Closed is a much better headphone than the HE400se. More than I expected it to be, fully justifying the price difference. Both are excellent choices in their price range, and when it comes to sound HE400se is safer, while the Sundara C. is better.

Summary​

TLR – it’s awesome. Thank you for joining my TED talk.

Sundara Closed is a brother (sister?) of the well-known Sundara open back. Just that is a lot of pressure. I’m happy that it exceeded my expectations hitting my taste just right. Despite the price bump, it is an excellent deal. It features all of the newest bells and whistles from HiFiMan, including stealth magnets and NEO Supernano diaphragm. The headphone itself is a new design using parts of Sundara’s chassis but with a brand new driver. While the looks are… controversial, the sound isn’t.

It has a very pleasant dark tuning with rolled-off treble and bass that is flat to 20Hz. Rolled-off treble doesn’t mean a flat sound. Incredible bass and exciting mids provide drive and fun. The treble holds its own with sufficient detail and crispiness. It’s a dark sound, not a dead one. The sound staging is very good for a closed-back. Music is close but not on top of listeners’ heads. It can even rival some cheaper open-back headphones in this regard. The headphone is not the easiest to drive due to their low impedance. The JDS Labs Element III does that with no problem, but my DAP couldn’t handle them. In the end, the most important thing is that those are awesome headphones, and I had fun doing this review.

Highly Recommended.

Big thanks to HiFiMan for providing us with the Sundara Closed for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. HiFiMan hasn’t seen this review before publishing it.

Introduction​

If you’re reading our reviews, you definitely know a company called Meze and its products. Today I would like to write about their TOTL closed-backs – Liric. But let me remind you of their story. The brand was founded in 2011 but its first headphone, the Meze 99 Classics was released in 2015. The launch was followed by a very successful Indiegogo campaign. What’s more interesting now, in almost the last quarter of 2022 the 99’s is still considered a good and worth recommending headphones.

Almost 8 years have passed since 2015, in the meantime, in 2018 Meze released Empyrean, which maybe wasn’t considered as a best sounding flagship headphone, but damn, the build quality just crushed any other flagships. After three years, in 2021 they released another open-back flagship – Elite, which I would call a very improved Empyrean MK2, which has similar technology, but is more expensive. But the closed-back lineup was slightly forgotten, in 2017 Meze has released the 99 NEO, but it’s a cheaper version of the 99 classic with plastic ear cups instead of wooden ones. But a few months after Elite launch, it was another release from Meze, their flagship closed-back portable headphone – the Liric. The reviewed headphones inherit the technical legacy of Empyrean and Elite, but in a more transportable-friendly body.

Packaging​

When the box from Meze arrived to me, I just took a peek inside the “outer” cardboard, inside was a simple box, if I would see any other headphones packed in that kind of packaging, I would say that it was fine, but damn, it’s Meze, I expected much more, but whatever, I got back to my work and let the box wait till the evening.

Later on, I opened the box, and at that moment I thought no Kamil, no this was so not right. Inside that box was another box and the inner box looked much more premium. It’s made of very thick cardboard with leather-like material on top. At this moment I did know I’m unboxing the Meze product. Inside the box, there was a hard EVA pouch (pretty similar to the one that you can find in the package of meze 99 classic and 109 pro). Inside the pouch there are two cables, the shorter one is about 1.5 meters long and the second one is about 3 meters long (to be honest I didn’t even expand it, because it looks and feels exactly the same as the shorter cable), 6.3mm jack adapter, airplane jack adapter and of course the headphone.



The unboxing experience is so good that I would love to get another Liric just to unpack it. I usually wonder if the package is safe enough to survive the delivery by the worst delivery man I can imagine, but this package looks like it could fall out of the plane and nothing would happen to the headphone.

Design, Build and Comfort​

I feel that this part of my reviews of Meze products is getting boring. This headphone feels so great to play with. When you think about industrial design icons by country, like Giugiaro from Italy, or Eames from the States you should definitely consider Meze and his products as the icon of Romania. The build quality is as good as Meze made us used to. Magnesium skeleton is very solid but light as well – it’s the material used for example to manufacture top-end DSLR bodies.

The adjustment system, which is pretty similar to the one from Empyrean and Elite is made of aluminum, and the headband whose main part is made of spring steel and it’s covered with genuine leather from the outside and soft, breathable material from the inside.
The hybrid ear pads are very soft and deep, so even people with very big ears should feel comfortable wearing the headphones. The outer part of the pads is made of leather and the inner is made of suede-like material. I only wish they were easier to remove, like in Elite or Empyrean, unfortunately, Liric has pads glued with double-sided tape, so if you remove them, it will be nearly impossible to put them back again.

The next thing I would like to mention is noise isolation. Meze Liric is one of the best passive noise-isolating headphones I’ve ever used. Ok, It’s not the isolation level of custom IEMs, but for noisy places like an open space office, or a house with some dogs and kids inside, it performs awesome, I didn’t need to volume up music too much to be able to hear it. And the last advantage of them is that the music doesn’t leak outside the earcups, so you don’t have to worry if you will wake up your better part while burning the midnight oil while listening to the music, or if your colleague will complain that they have to listen to your music.

The last thing according to design and build quality is the quality of the cables from the package. As I mentioned above, both are exactly the same, the only difference is the length. They are OK, nothing more, just basic cables to survive till you will order an after-stock cable. A thing worth mentioning is that till the end of September (2022) you can get Meze Liric with a good quality premium Meze cable for free.

Tech​

The build quality is superb, but the technology inside is cutting-edge as well.
Headphones can be amazing in terms of comfort, but without a driver, they won’t reproduce any sound. To produce top-notch drivers, Meze cooperated with Rinaro Isodynamics again. After the Empyrean and Meze flagship – Elite, Liric is the third product that was created in the collaboration lineup. Paweł has already written something about the company in his review of Elite, but let me quote a fragment about Rinaro company from the Meze Liric website:

“Rinaro originated in the USSR (today’s Ukraine) during the Cold War, as part of a state-funded acoustic technology research program. With government backing and access to advanced testing facilities, the team was able to focus all of its efforts on planar magnetics. A field they have continued to innovate in for the last 30 years, since the collapse of the USSR. In the last decade, Rinaro have expanded their capabilities and capacity with the development of state-of-the-art R&D and manufacturing facilities in Ukraine and Poland. The new facilities have been a driving force in the creation of the revolutionary Isodynamic Hybrid Array technology found in Meze Audio EMPYREAN, ELITE, and LIRIC headphones.”

So in the Romanian body lives the Ukrainian heart, and damn, that’s a very interesting heart. In Meze Liric the driver is called MZ4 and it has a similar hybrid design to the previous models, but this time it’s way easier to drive.

But first, let’s focus on the hybrid voice coil design. Most planar-magnetic (or orthodynamic/isodynamic) drivers have a coil-shaped in a repetitive pattern, but Rinaro MZ4, as I mentioned above, has a hybrid coils pattern, this means the driver has a switchback coil that reproduces lower frequencies and a spiral coil that is more efficient in reproducing midrange and trebles. The first coil is positioned in the upper part of the driver and the second one is placed directly over the ear canal entry, enabling more direct sound waves to enter the ear. This results in improved 3D imaging and spatial localization.

Another very interesting thing is the material the diagram is made of. It’s a custom-developed thermally stabilized polymer with a conductive layer. Thanks to this unique processing method, the diagram is rigid and very light as well. The driver has an active area of 3507mm2 and the diagram weighs only 0.08g.

Sound​

Meze Liric has great design, an amazing look, and a lot of interesting tech inside so I just want to play with it, but at the same time I want to keep it on my head, but at the end of the day what’s most important in the high-end headphones is the sound.

Let’s start with the bass. It’s not too wild, but Liric is the headphone for people who like when the music has solid bass. Its timbre is very natural, and full-bodied, for me it could be slightly faster, but the texture does an amazing job. While listening to “Tubular Bells” by Mike Oldfield I just heard the texture of the bass guitar notes and it was even without any psychedelics. Another great song to benchmark the lowest part of the frequency range is “Life Itself” by Glass Animals. The attack of each drum hit is just great, but the control is very good as well. The bass is very saturated, but not too much, just perfect to sit down, relax and discover new subtleties in the bass of songs you thought you knew. Maybe it’s not the level of Susvara, but if you had the opportunity to listen to the gear in a similar price range, then you will be more than satisfied.

The midrange thanks to the bass characteristics is also very powerful, but unfortunately, it’s not as pushed forward as the bass or treble, but for example, SMSL SU9, can fix that issue and make the Liric sound more evenly, because “flat” isn’t a good description for the signature of this setup. The vocals are realized in a very interesting way, they’re not recessed, but it’s also not too close, so I feel like Imelda May is singing her “11 past the hour” right in front of me, but not directly to my ears creating a very intimate stage, so I could feel like the listener, not the microphone. I’m also very impressed with how the Liric reproduces classical guitars in “Mettavolution” by Rodrigo and Gabriela. If my guitar teacher read this part he would lose all respect for me. He studied flamenco music and to be precise Rodrigo and Gabriela use flamenco guitar, which is a special kind of guitar but for simplicity and because classical guitars sound great as well, I wrote it. The guitars sound very detailed and powerful, I think that Meze Liric is one of the best headphones to listen to acoustic music.

Another very strong part of the Meze Liric sound signature is the treble. It’s fast forward, so it’s very important to find a synergetic source that won’t make the highs will steal the show. That happened when I plugged the headphone into both Chords – Mojo 2 and Hugo 2. The treble became harsh and very unpleasant. Even well-produced songs sounded like the sound engineer forgot to switch on the DeEsser Plugin. But on the other hand, when plugged into Feliks Echo MK2, highs became relaxed and very pleasant to listen to, but without losing details. Maybe I wrote it slightly wrong, writing “without losing details” in the context of the Meze Liric is understating. In terms of details in the treble, it’s one of the best headphones I’ve ever listened to. Maybe it’s not the level of properly driven HiFiMan Susvara, HE1000se, or Final D8000 Pro, but these headphones are way less expensive and power-hungry, so you can enjoy almost the same details without spending tens of thousands of bucks.

Now let’s move to the soundstage because considering that Meze Liric is a closed-back headphone, it’s very impressive – very wide and deep. The imaging is great as well. I could finally play Apex Legends without forcing my girlfriend to listen to the sounds of the game and I heard where my opponents were. Up until the time I received the Liric, this level of 3D imaging from headphones in my collection was available only with HiFiMan Ananda, but to be honest, Liric when I got used to its soundstage does it better but don’t get me wrong, I’m still silver beside headphones I’m using.
If you’re a gamer audiophile now you can finish reading the review, because now it will be something for audiophiles who focus on listening to music. If you’ve read any of my previous reviews, you will know that my benchmark for the soundstage is “To Be by Your Side” by Nick Cave, sorry, that’s the entry song from Winged Migration – the first movie I’ve watched on my dad’s 5.1 home theater system. So yes, this song is just amazing when played with the reviewed headphones.

Comparisons​

Hifiman HE-R9



The first comparison I would like to do is with HiFiMan HE-R9, it’s a closed-back headphone priced at $749. Maybe I will skip the entry about the maker and the history of the headphone because it was recently reviewed at our site – you can read the full review here.
Let’s move directly to the comparison. At first glance you can see that the compared headphones are from different price ranges, the build quality of HE-R9 is fine but the fitting of the elements is on a completely different level. HiFiMan produces perfectly sounding headphones, but they need to keep up with the competitors in terms of build quality. Fortunately the HE-R9 despite the size is very lightweight, so it’s very comfortable even during long listening sessions.
The bass of HiFiMan is very, but I mean VERY powerful, it takes a leading role. The HE-R9 is definitely more fun biased, while Liric is more balanced sounding. While listening to “bad guy” by Billie Eilish with Meze I felt the bass hitting my eardrums strongly, but with headphones from HiFiMan, I thought my head would explode because of the bass. It’s a very pleasant yet exhausting experience, so for me, it’s great for listening to one or two albums, but I wouldn’t pick it as a daily driver, while Meze Liric has been playing this role for a couple of weeks.
The difference in the midrange is also big, yet again HiFiMan reproduces it in a very smooth and warm way, whilst Meze creates more texture. The vocals from HE-R9 are rich and natural but it’s definitely more recessed when compared to Liric.
The treble distinguishes the compared headphones the most. It’s nearly impossible to find a source that will make the highs of HE-R9 unpleasant but definitely when comparing them in terms of reproduced details Liric is far ahead in front of HiFiMan headphones.
The last thing to compare is the soundstage, HE-R9 does reproduce it finely, it has good 3D imaging, and decent depth and width, but Liric just outperforms it in these terms. The staging of Meze headphones is just amazing and to be honest it would be hard to find closed-backs that would be better than the reviewed cans in that field.
To sum up, HiFiMan HE-R9 is a decent, fun-biased headphone, while Meze Liric is definitely more balanced and all-round gear. It would be nice to have a HE-R9 in a collection, but if I had to pick one headphone, then Liric is way more universal.

Dan Clark Audio Ether C Flow 1.1



Dan Clark Audio Ether C Flow 1.1 is a closed-back headphone priced at $1750. It was the flagship model from the American brand and one of the best closed-back headphones I’ve ever listened to (DCA Stealth is great, but its power requirements are so tremendous that most people won’t be able to drive it properly and hear 100% of its capacities). To be honest this comparison is the toughest one – both headphones are amazingly engaging and if only I could, I would keep both of them. When I wanted to compare them – listen to part of the song and then change to another headphone, I was catching myself, that I was listening to a couple of songs and I didn’t notice it.
But let’s move to the real comparison and let’s start with the build quality. The original cable of DCA headphones is good, the quality is top-notch, and it looks and feels like a high-end headphone cable should. The only issue I found is the proprietary connectors, so if you have some aftermarket cables, they probably won’t be compatible, so in that case the 3.5mm jack from Meze Liric is a way more universal connector. The Ether C Flow ear cups are made of carbon fiber, the rest of the materials are aluminum and titanium, so the construction is lightweight yet very durable. The only thing I don’t like is the headband, made of two wires. The Lirc headband feels more durable and comfortable for me, but a friend of mine who has a much smaller head, has a completely different opinion, the DCA headband is way more comfortable for him. So as always mentioned, the comfort is very subjective, but both headphones can be considered quite comfortable gear.
Now the sound comparison. I would like to add one more side note, the American headphone is way more source demanding, so if you would like to use the Ethers as portable headphone and run it with dap, it’s possible, but it won’t optimally reproduce the sound.
Okay, first I would like to compare, is the soundstage of Ether C Flow is great, with perfect positioning, very wide and deep. I think it’s even better realized than the soundstage of the closed-back variant of the Ether Flow. Meze has a slightly deeper soundstage, but the imaging and positioning of the sound sources are slightly more chaotic. Don’t get me wrong Liric soundstage is awesome even when compared to open-back headphones, but DCA did this even better.
The treble reproduced by both headphones is similar and very detailed and if the source is bright it may become quite exhausting, but if you will find proper synergy, both of them can produce a very pleasant sound in high range.
The mids are the biggest difference between the compared headphones. DCA Ether provides a much closer midrange, but the vocals reproduced by Meze Liric are more vivid and natural.
And the last thing – the bass, both headphones are amazing in that case. Ether’s bass is more precise and stiff (in a very positive way) and there is more sub-bass which keeps in check the whole bottom range. Liric’s bass is more powerful and relaxed, so maybe it’s not the best for techno music, but if you want to feel the bass pleasantly flowing I would pick them.
In this competition there is no clear winner, both headphones have their strengths and weaknesses, so you will need to decide what’s more important for you.

Summary​

The Meze Liric is an amazing piece of equipment. The build quality is as good as in their flagship headphones, you can see so much leather and you know it’s premium stuff. The sound is relaxed yet very detailed, with very powerful bass and an incredibly good soundstage. I’ve received them some time ago and if I wouldn’t have to write other reviews I would keep listening to music only with this one headphone. And the best part – it’s a very power-efficient headphone, so you can run it even with a portable DAC/Amp or DAP and it will show what it’s got.

Just imagine Meze Elite on the go – wrapped in more portable construction, with slightly amplified edges of the frequency range that are less power-hungry. That’s what Liric’s soul is.

Highly Recommended.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Campfire Audio Vega 2020, Craft Ears 4 CIEM, Dan Clark Audio Aeon 2 Noire, Dan Clark Audio Ether C Flow 1.1 (closed-back), Dan Clark Ether Flow 1.1 (open-back), Dan Clark Audio Stealth, Focal Elegia, HiFiMan R9, HiFiMan Ananda,, Meze Advar
• Sources– Astell&Kern SP3000, Chord Mojo 2, Chord Hugo 2, Ferrum Audio ERCO + OOR + HYPSOS, Fiio M11 Pro, HiFiMan EF400 (as a DAC) + Feliks Audio Echo MK2, JDS El DAC II + SMSl SP200, SMSL SU9 + Topping A90, MacBook Pro 14

Big thanks to Meze Audio for loaning us the Liric for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Meze Audio hasn’t seen this review before publishing it.

You can get your Meze Liric here.

Introduction​

Yes, this is surprising to me as well. About a month ago, Apple announced the new Airpods Pro 2, after its predecessor has been on the market for about 3 years.

Apple is one of the most controversial brands in the tech world, there is no doubt about it. Some people love Apple, and some people hate them, but it’s really hard to pretend that it doesn’t exist.

A quick story of my experience with Apple: Years ago I’ve been using their iPhone 6S Plus, had it for about 2 years. I was pretty fine with it, but my next smartphone was a Samsung anyway. At the beginning of 2022, I needed a powerful laptop that will be able to edit 4k, 4:2:2, and 10-bit material fast and effortlessly for my work. I bought the 2021 Macbook Pro with an M1 Pro chip and I couldn’t be happier with it. It is absolutely spectacular, both in terms of hardware and software.

Next up, hours before leaving Poland for the Munich High-End show, I drove to the Apple Store and bought my second iPhone ever – the 13 Pro. Once again, this is just an extraordinary device. Quite small for today’s standards of flagship phones, super snappy, great photos and videos, and most importantly – the ecosystem. Having the iPhone and Macbook makes my life easier, and it’s not a stretch. This ecosystem just works.

So, I decided to take the next step. I bought the Apple Watch SE, for easier notifications management, connectivity, and that ecosystem improvement. Actually, I went with a Cellular model, so I can use it while working out, and leave my iPhone at home – this is a spectacular feature for me. Being able to leave my phone at home and still be connected to the world, listen to music, etc is just great, especially having in mind the price of the Watch SE.

And then, Apple announced the new Airpods Pro 2. Apple isn’t known for its audiophile-grade products, even though their Airpods MAX tried to change that – not really successfully. But, what Apple stated while announcing the Airpods Pro 2 on the stage was very promising – 2x better ANC, better sound, new Transparency Mode, and more. The decision was made quite quickly – let’s get them, see how good or bad they are, and launch this review as soon as possible for you guys to help you make a decision. Let’s dive in.

Packaging and Fit​

When it comes to unboxing, this is just Apple. The Airpods Pro 2 come in a small, white box that is very minimalistic and clean. Their design language is probably the best in the world and once again – it shows.

In the box, you’ll find the Airpods with a charging case, four sets of eartips (XS, S, M, and L), and a lightning charging cable (yes, still no USB-C). That’s it. What’s worth mentioning though is the quality of the packaging itself – while using very basic materials, everything feels quite premium to the touch, intuitive, and clean. This is what an unboxing experience should look like with wireless IEMs.

Back to the case – it now has a built-in speaker, which helps with tracking the case down, in case you’ll ever lose it. It’s now also compatible with the Apple Watch charger, which is great, and I will definitely charge them with it. The case, even though made of plastic, feels good and I’ve got no complaints about its build quality. The hinge is metal, so it won’t wear out too soon, and most importantly – it’s small and handy, so you’ll have no problems fitting it in any pocket. The texture is smooth, so taking it out of your jeans pocket is easy.



The fit was THE THING that stressed me the most. I really like the wings system in my Drop + Grell TWS1x TWS IEMs, as it makes them stay in my ear no matter what. The Airpods Pro 2 are smooth to the touch, and the fit is rather shallow, so I was afraid that it won’t be a good fit for me. Luckily, the M eartips fit me just perfectly, resulting in a very comfortable fit.

It’s definitely not the most secure fit out there, not even close. But when it comes to comfort – I can forget that I’m wearing them. I have absolutely no problems wearing them for 4-6 hours at a time, with no fatigue whatsoever. Very comfortable, but not very secure, so if you’re into some extreme sports, these might not be a good choice. For jogging or gym, more than fine in my opinion.

Design, Build and Tech​

Now onto the build quality. The Airpods Pro 2 are made entirely of plastic, but good quality plastic. They are very smooth to the touch, with no imperfections. While certainly no the best-built IEMs on the market, there’s nothing wrong with them.

As for the design – once again, this is peak Apple. White, minimalistic, timeless. Luckily, they are quite a bit smaller than the original Airpods (non-pro), so they do not stick out of your ears that much. We all remember these memes with people inserting toothbrushes into their ears pretending they’re using the original Airpods. The Airpods Pro are much more stealthy when it comes to the design, something that I really like.

Let’s get into the tech now – these now use Apple’s H2 chip, which is told to improve ANC, Transparency mode, and sound quality. As for the driver – Apple is using a completely new Dynamic Driver, but no further information has been provided.

Let’s talk battery life – the AirPods Pro 2 can last up to 6 hours on a single charge, and the case adds up another 24 hours to it, making for a total of 30 hours of listening time with ANC turned on. This will EASILY survive a week of rather regular listening, traveling, plane trips, etc. This is more than enough.

Another new thing is the “Personalized Spatial Audio”. Basically, before using the AirPods Pro 2 for the first time, you’re going to use your iPhone to scan the shape of your head and both your ears. Thanks to that, the advanced DSP will then create a unique, custom profile based on your head’s geometry. Sounds like witchcraft to me, but it improves the soundstage, so it works. I tried the AirPods Pro 2 with and without this function, and trust me – just set it up and don’t look back.

As for the controls, you can change between ANC and Transparency by simply pressing and holding the left earphone’s stem. You can pause and resume music by pressing the right earphone’s stem and change the volume by swiping up and down on it. Overall, the controls are intuitive and easy to use.

The personalized spatial audio also works with Dolby Atmos content, where it introduces head tracking. I will be completely honest with you: I turned it off. Yes, it’s very impressive and actually pretty fun, but I just don’t see the point. The music sounds weird with head-tracking mode on, even though the shape and physicality of the bass get crazy. This is just a weird sensation for me, that I don’t see using on a regular basis.

It’s different in movies though. The head-tracking gives you a more immersive feeling while using the AirPods Pro 2, and I highly recommend trying it out. With music, I think that this function will appeal more to non-audiophiles, as they will be able to appreciate the 3D aspect of the sound, and just not care that much about the quality alone. For me, the aspect of the balance constantly changing, going from left to right earbud, feels just weird and kinda unnatural.

ANC + Transparency Mode​

This is a huge thing about the new AirPods Pro 2. As I said in the beginning, Apple claims 2x better Active Noise Cancellation compared to the first gen AirPods Pro. While I don’t have the original one, I’m unable to test if this statement is true, but I can rate the ANC as it is.

So, the ANC is very, very good. It is absolutely spectacular with low-frequency noise, such as AC hum, cars passing by on the street, and just a “background noise”. It’s not as impressive with higher-pitched sounds, such as human voice, rain, etc, but it’s good enough for these. To be totally honest – I expected more when it comes to high frequencies, but the low frequencies cancellation exceeded my expectations, so to summarize, the ANC is very, very good. I’m yet to try it on an airplane, but I’m pretty sure that it’s going to be absolutely fantastic.

The transparent mode is a different story – this is class-leading. When compared with my Drop + Grell TWS1x, the AirPods Pro 2 does it way more natural and lifelike. The TWS1x sounds weirdly artificial and harsh with its transparency mode, while on the AirPods Pro 2, I can barely notice the difference between using the transparency mode and not having anything in my ears at all. This is mental.

Apple Ecosystem​

Last but certainly not least, let’s talk about the Apple Ecosystem. This is the best aspect of the AirPods Pro 2 if you’re using Apple products of course.

The pairing, switching between devices, and ease of use are just spectacular. The first setup with my iPhone couldn’t have been easier – upon opening the lid of the charging case, they just popped up on my iPhone, I clicked one button, and boom – done. This is so polished and easy, that only Apple could have done it.

If I want to get some work done (just like now), I just open up my MacBook Pro, put the AirPods Pro 2 into my ears and hit play – done. If someone calls me in the meantime, I can just answer the phone on my MacBook and continue the call with AirPods. No switching between the devices, no putting the earphones out of my ears, this just works perfectly. If you’re in the Apple Ecosystem and you’re considering getting TWS earbuds, these are the ones to get, no questions asked.

Sound​

The AirPods Pro 2 are definitely not just about audio quality. If you’ve read this review up until this point, you know how functional and convenient these are. A true game changer for Apple users.

But, you’re reading Ear Fidelity, an audiophile-grade review site of audio products. If you wanted to check out the functionality and the overall presentation of the AirPods Pro 2, you’d be better off watching Marques Brownlee or Unbox Therapy on YouTube. You’re here for a sound review, and you’ll get one.

So, the AirPods Pro 2 are surprisingly good, like for real. I bought them thinking more about the functionality, the ecosystem qualities, and that ANC, but I find myself just listening to music and appreciating the sound quality of these. I wasn’t expecting that, and I’m really pleased with what these sound like.

So, let’s start with the bass. It’s certainly quite physical and it reaches all the way to the subbass with no problems. It’s definitely not the most emphasized, which is actually a good thing. I watched one reviewer on YouTube who claimed these to be worse than the competition when it comes to the audio quality because he finds the bass not big enough. Listen up, while this is a highly subjective aspect, they just simply have to appreciate the sole QUALITY of the bass, which is snappy, hard-hitting, and well extended. It never gets bloated, the resolution is very good, and overall, it’s just a blast to listen to. The amount of dynamics these little things output puts some high-end planars to shame, resulting in a very punchy, dynamic, and fun listening experience. The AirPods Pro 2 are meant to appeal to the masses, and they certainly will.

The midrange is very surprising. It’s smooth, well-controlled, and quite natural actually. Vocals sound rich and present, but they have that natural smoothness and lushness to them which makes the AirPods Pro 2 great with basically every genre and mastering quality. These are never shouty, harsh, or too firm sounding, they are more about a dynamic, big but at the same time, smooth and pleasant listening experience. This is a fantastic set of features for a product like that, which (once again) is meant to appeal to the average consumer who knows nothing about audio. Crisp without being tiring, big and dynamic without being bloated and muddy, accurate without being too splashy or bright sounding. Apple just did a fantastic job tuning these. The overall resolution and detail retrieval are both very good as well, even though the AirPods Pro 2 doesn’t use a lossless Bluetooth codec. Apple shows that it’s not about frequencies and bitrate, and not all compressions are equal. Well done.

The treble is once again, smooth and natural at the same time. It’s certainly not veiled or pushed back, but it’s never harsh or peaky. Everything sounds accurate and well-extended, but it’s just delicate, and pleasant to listen to. The resolution is so good that the treble never gets splashy or artificial sounding. This will, once again, let you listen to a lot of different music genres and mastering qualities. Watching Youtube, listening to lossy music, doing random things on the internet – you don’t have to worry that you’ll be attached with harsh and peaky little needles in your ears that will ruin the experience for you. This is just the type of sound profile Apple should have gone with, and they knew exactly what they were doing. Someone really intelligent was in charge of this project.

Lastly, the soundstage, which is the most impressive aspect of the new AirPods Pro 2. While the depth is okay, but definitely nothing to brag about, the width is just exceptional. This is with the Personalised Spatial Audio, keep that in mind. So, the AirPods Pro 2 stage is like a pair of open-back full-size headphones when it comes to width. It feels very immersive and huge, easily being able to cast a sound 10 meters to the right or left of you. Additionally, the imaging and separation are both fantastic, which further extends that very impressive and immersive listening experience. The depth is okay, but it’s the width that takes the crown as the best aspect of the AirPods Pro 2. This is one of the widest-sounding sets of IEMs I’ve tried, and you know that I tried a lot.

Comparisons​

DROP + Grell TWS1x



These have been my go-to TWS IEMs for about a year now, so this comparison is very natural for me. Our review of the Drop + Grell TWS1x here.
First of all, the build quality. The TWS1x feels more premium in the hand, is slightly less comfortable for me, but definitely A LOT more secure in my ears. The overall quality of materials and the shape and size all make for a more premium experience.

With the controls, I definitely prefer the AirPods Pro 2. The TWS1x is just too easy with accidental touches, and actually, every time I put them in or out of my ears, I end up pressing “something”, whether it’s ANC/Transparent mode toggle or play/pause. Also, the AirPods Pro 2 pauses the playback every time I put one earphone out of my ear, which the TWS1x doesn’t do.

As for the ANC and Transparency mode, the AirPods Pro 2 are much better with both. The ANC is stronger, more natural and there’s definitely a lot less hiss with this mode than in the TWS1x. This is not even a competition. The Transparency Mode is even more brutal, with the AirPods Pro 2 being much more natural and less artificial sounding. If you really care about the ANC and Transparency mode, the AirPods Pro 2 are much, much better.

Lastly, the sound quality. Once again, I feel like the AirPods Pro 2 are more natural sounding, smoother, and more extended, with a better soundstage. The TWS1x is by no means a bad-sounding TWS, quite the opposite actually, but the AirPods are just better tuned, and more capable when it comes to resolution and detail retrieval, resulting in an overall more pleasant and natural listening experience.

The TWS1x has been tuned by legendary Axel Grell, who is responsible for the most legendary products of Sennheiser, so he’s definitely not easy to beat when it comes to sound reproduction. Having that in mind, the fact that the AirPods Pro 2 are better sounding shows how impressive of a job Apple did with this product.

Summary​

The Apple AirPods Pro 2 are going to change the TWS market, mark my words. To say that Apple has caught up to its competitors would be an understatement. This is probably the best wireless earbud that you can buy right now, and if you are in the Apple ecosystem, then it’s not “probably”, but certainly.

Great ANC and Transparency mode, comfortable fit, impressive tech, and most importantly, a fantastic sound quality tuned so well that it’s going to appeal to basically everybody, hardcore audiophiles included. This might just be the best audio product that Apple has ever released, and it’s certainly a game-changer. To see such a controversial brand releasing such a good product into our niche market is just superb, as it will make our hobby so much more interesting and tech-oriented in the future. Bravo.

Wildly Recommended.

Disclaimer: I bought the Apple AirPods Pro 2 with my own money, and all of the above is my subjective, unbiased opinion.

Introduction​

It’s been a while since we had an iBasso review here at Ear Fidelity. This time seems even longer, because of the fact that iBasso is pretty much dominating the DAP market lately.

It’s not just about releasing new products frequently, but the quality of those products. The DX160 is to this day, one of the most popular choices among audiophiles on a budget. Their DAP portfolio looks quite impressive with the DX240, DX320, MAX variants, etc.

This entire lineup is well thought-out and polished, so after launching more DAPS in the higher end of the spectrum lately, the time has come for an affordable option in form of the new DX170.

What’s important about this product – instead of reinventing the wheel, iBasso decided to simply improve their DX160. Don’t expect something that feels totally different from the predecessor, as the DX170 feels quite similar in hand.

A few words on the DAP market – it’s still going strong, even though a lot of people in this hobby don’t actually see the point in owning a DAP. We live in an era of smartphones, mobile DAC/Amps, and dongles, so why would you need to buy a DAP, if it’s less functional than your phone?
The answer is quite simple – DAPs are just perfect for people that don’t like to feel overly attached to their smartphones. For example, I regularly use a DAP in my evening ritual, when I just lay down on my bed, turn off the lights and try to chill before sleeping.
I would go absolutely crazy if notifications were to try to steal my attention. I much prefer a separate device that just does one job, and one job only – plays music. No social media, no notifications, e-mail clients, etc.

I’ve been building a vast library of audio files for the past 10+ years, so having to upload them onto an SD card is not a problem for me. For everything else, I have Qobuz installed, which works pretty well on the DX170, so I basically have access to everything I’d want.

So, DAPs are alive, and they ain’t going anywhere. After that longish intro, let’s take a look at the iBasso DX170, which is likely to become the new bestseller in the entire DAP segment.

Packaging​

I haven’t had too much experience with iBasso products in general, so all of this is pretty new to me, to be honest.

The DX170 comes in a rather compact box, but it’s not the size that matters, or at least we’ve all been told so. The quality of the packaging is actually impressive, and I absolutely dig the color scheme, with a light blue outer sleeve, and a yellow box under it.

This color combination alone creates a feeling of you experiencing something cool and fresh. We’re living in the era of black and white boxes, and it’s nice to see a company that isn’t afraid to put out some colors. This is refreshing and just straight-out cool.

What’s under the hood? Well, you’re actually getting some goodies. First up is the case. It’s a transparent plastic case, that I definitely won’t be using, since the DX170 is a lovely-looking device, and this case would just ruin it. However, it’s very nice that iBasso is actually including the case for all of you who want to baby your new DAP. I’d recommend getting some aftermarket cases when they get available though.



Apart from the case, you’re getting some screen protectors, a really good-quality charging cable, a warranty card, and a quick start guide.

Basically, it’s a pretty modest and minimalist package, and definitely, one that you would expect for this price. You’re not getting a quality leather case or anything crazy, since it would have raised the price of the DX170 significantly, and this product is all about value. All and all, I really enjoyed unboxing this product and I’m definitely satisfied with what you’re getting in the form of accessories.

Build Quality and Design​

I’m going to start with the best aspect in my opinion – the weight. The iBasso DX170 is lighter than you expect, and by quite a margin. I was expecting the DX170 to have some weight to it, especially since there’s quite a lot of tech inside.

Well, how surprised I was when I first took it out of the box. It’s very light, but it just feels light, and DEFINITELY not cheap. The weight being low makes it an ideal everyday-carry kind of a DAP, which you basically take with you everywhere you go. Just toss it into your backpack (use some kind of case for that please), and take it out when you need it, or just keep it in your pocket.

I can’t stress enough how important that is for me personally. This is one of the biggest reasons why I’m still using a Cayin N3 Pro to this day – it’s just small and light, which improves on the entire “portable” aspect.

Okay, now let’s get into the actual build quality and design. The DX170, even though looking very similar to the DX160 (which was launched a few years ago) still looks very modern, quite a lot more modern than most of the competition. While many DAPs are kinda rugged and bulky, the DX170 is just sleek, modern, and clean looking.
The aspect I absolutely adore about the looks of the DX170 is definitely the back panel. iBasso went with a frosted glass that reminds me of flagship smartphones in 2022. It just looks wonderful, isn’t a fingerprint magnet and it adds some grip to the whole construction, making the DAP easier and more convenient to use. While most competitors go for a simple, tempered-glass black cover, I find the frosted one in the DX170 superior to almost everything on the market, regardless of the price.



Next up, is the screen. The DX170 uses a 5-inch, 1080 IPS panel. Yes, it seems like overkill for a DAP, and it kinda is, at least for me, but hey, we shouldn’t be mad about it, we’re getting a class-leading screen for that sweet price, what’s not to love? The screen is sharp, and the color accuracy is surprisingly good, with great white balance. Overall, it’s a joy to look at, and your album covers have probably never looked this good on a DAP…well, ever. The only slight problem I have with the screen is the brightness. I wish it would have been darker on the minimum setting. I’m often using my DAP in bed, just before sleeping, and even on minimum brightness, this thing is fairly bright. Not a true con, just nitpicking, but I wish it went 2x darker.

As far as the IO goes, there’s not a lot going on. On top, you’ve got a USB-C charging port, and two audio outputs at the bottom – 4.4mm balanced and 3.5mm, which also acts as a line out. On the right side, you’ve got a volume knob that also acts as a button to turn on/off the device or just block/unblock it. The volume knob works well, it has a step-action and it feels fairly accurate. Don’t know about the longevity, as those kinds of volume knobs have been famous for breaking in the past, but I can’t comment on this one. Lastly, there are three buttons on the right side, just next to the volume knob, and these are to control your playback – play, next and previous. Simple stuff, but very useful. The buttons are fine, nothing extraordinary, nothing to complain about as well.

Overall, the build quality and design of the DX170 are both exceptional for the price. It’s light but also rock solid, it feels great in your hand, looks great, operates flawlessly and it just isn’t a brick. This is what a DAP should feel/look like, especially in this price category.

Tech​

There’s a lot to cover here, so I’ll try to keep it simple, as you will probably look into the official specifications anyway. Nonetheless, I’m going to highlight the most important stuff.

So, the DX170 uses a dual CS43131 DAC chip. These are flagship chips from Cirrus Logic, measuring 130dB of dynamic range with a THD-N at -115dB. If numbers are not your thing, these are just impressive, that’s all you need to know.

Next up, the FPGA-Master+ technology, together with Dual Femtosecond NDK Oscillators. Here’s iBasso’s take on these two:
“The DX1 70 utilizes the FPGA-Master technology developed by Basso. The FPGA-Master, as the audio system controller, directly requests audio data from the SoC, and plays a major role in signal reproduction and maintaining signal integrity. It synchronizes and generates all audio clocks at the same time utilizing two NDK femtosecond oscillators to achieve a fully

synchronized single clock source. The FPGA and NDK oscillators also reduce jitter to an
extremely low level, building a clean digital audio signal.”

iBasso has been using their FPGA technology for a while, so it’s nice to see it being used in the DX170 as well.
Let’s get into the amplification section. iBasso doesn’t share the official wattage of the 4.4mm and 3.5mm outputs, but we know that they output 6.4Vrms and 3.2Vrms respectively. This means, that the balanced output should be rated at about 800-1000mW – in a DAP this light and compact, this is very impressive. More on that in the Sound paragraph though.

The DX170 uses Android 11 as an operating system, and this should ensure unlimited compatibility when it comes to apps. I ditched different streaming services for Qobuz lately, and it works flawlessly. I’m not having any problems with it.
Now let’s talk about the elephant in the room – the OS performance. The DX160 was regularly reported to have rather slow performance, and the DX170 is not a speed demon as well. Most importantly – no, it’s not deal-breaking by any means. You shouldn’t expect a flagship smartphone type of performance, and you surely aren’t getting one.

I would be lying if I said that the DX170 is very snappy and responsive, and I won’t say that. It’s okay-ish, definitely usable. The Qobuz app is laggy a bit, but nothing to write a book about, it works just fine for a DAP. The Mango app (a native app for music playback preinstalled) does work pretty snappy though, and I spend most of my time in this app anyway.

So, yeah, while I surely won’t call the DX170 fast when it comes to the OS performance, it’s completely fine and usable. I already saw some people reporting the DX170 to have a deal-breaking slow performance, and I think these opinions are way exaggerated. It’s a DAP, not a smartphone, you’re not playing games or browsing Instagram on it…or if you do, get a life.



The DX170 supports DSD256 natively, so you won’t have problems with playing basically any audio file you’d imagine. It also supports MQA 8X, but here’s the deal: Both Apple Music and Qobuz are WAY superior to Tidal when it comes to audio quality, and MQA DEFINITELY doesn’t change it, even by a hair. Just get one of these two services and ditch Tidal for good, you can thank me later. If you won’t do it (don’t know why, but okay), then yes, you have MQA 8x.

Now onto a few small things that just make your life easier. First of all, the DX170 supports three Quick Charge Protocols: QC3.0, PD2.0, & MTK PE Plus Quick Charge. It gets fully charged in just 1.5h, which might not sound THAT impressive in the world of current smartphones, but it’s just really fast for a DAP. An hour and a half under the charger and you’ve got about 11 hours of playback, that’s definitely a good score. The battery life has been pretty similar for me to what iBasso officially states, ranging from about 10-11h. It all depends on what headphones you’re using, what files, and how often you turn on the screen. I’m on minimal brightness all the time, and it surely helps the battery life.

As far as connectivity goes, you’ve got Wifi6 and Bluetooth 5.0 with LDAC and aptX support, so you’re covered with everything. You can also use the DX170 as a USB-DAC.

The Internal shielding is a customized silicon steel alloy shielding cover, which does not only shield the electric field but also the magnetic field. Everything for clean audio.

Quite a list for a $449 DAP, isn’t it? Overall, this little thing has everything you need to make the DX170 a powerhouse. Great to see DAPs evolving into devices that have it all.

Sound​

At the end of the day, iBasso is wildly popular mainly for its sound quality. The DX170 is an entry-level DAP for this brand, but it surely isn’t a low-fi device, quite the opposite actually. Let’s dive in.

I’ll start with the bass, which is probably the most impressive when it comes to sound. The DX170 is a very neutral DAP, and it shows in the bass department, but without cons that were present in neutral devices in the past.
Low frequencies have a lot of punch and depth, with very good timing and great dynamics. You’ll never have a feeling that the bass is lacking in quantity, nor that it fails to deliver a highly textured, rumbly note. It is making my Fir Xe6 and Kr5 sound incredibly in the bass region, which just shows how good it really is. It never fails to have a firm grip over these Kinetic Bass drivers, resulting in a sound that is huge, dynamic, and incredibly saturated. At the same time, the timing and pace are both extraordinary, with great resolution and intense attack.
It handles every kind of driver, and it does it all the way to the lowest regions of the subbass. It never lacks control, nor does it overpower anything. Just a very clean, powerful, and authoritative bass delivery that lets your IEMs/headphones show what they got. I’ll go deeper in the “Pairing” section, where you’ll see that I’m using the DX170 mainly with some wildly high-end IEMs and headphones, and it doesn’t seem to hold them back even so slightly. This is a DAP that can handle headphones even 10x its price. Crazy, isn’t it?

Now, the midrange. It is, again, highly neutral and very texturized, but at the same time, it has that natural warmth and thickness to vocals that I just cannot live without. I like my vocals fairly thick, and the DX170 delivers.
I’d even go as far as saying that the midrange delivery of this DAP is one of the most natural I’ve heard in a DAP, regardless of the price. The midrange definitely has a lot of bite to it, being very fast, and packed with the resolution, but it never sounds fake or forced. It’s just flowing naturally, providing an accurate and pleasant timbre throughout the entire frequency response.
Once again, I’ll give you the Fir Audio Kr5 as an example. If you’ve read my review, you know that I’m absolutely in love with these IEMs and that their vocal delivery is just godlike to my ears. The DX170 doesn’t alter the midrange delivery of the Kr5 at all, leaving everything for that magnificent IEM. It does provide all the resolution and detail they need, but it’s not forcing its character onto the IEM itself.
This is probably the best kind of midrange you can get, especially in this price range. Yes, some of us prefer R2R DACs and Tube amps for that unique timbre, but we’re talking about more specialist types of devices. A $449 DAP is meant to go well with a lot of different music genres and IEMs/headphones, and the DX170 is just that. It’s just neutral, natural, and highly technical, with basically no weak points.



The treble is where things start to get really interesting. I can somewhat feel a slight boost in the lower treble region, which usually I would not be a fan of. Not this time though, as again, the incredible resolution of the DX170 with that slight boost gives us a slight touch of excitement, especially for female vocalists and string instruments. It never gets harsh, and this is the most important thing. Because of that characteristic, I’d call the DX170 SLIGHTLY V-shaped, with slightly emphasized bass and treble. Slightly, because it’s really subtle, but done in a way that it just adds excitement and a tiny touch of life to your music, without really coloring the sound. It remains neutral, but really fun and engaging at the same time. The Hifiman Edition XS shows the full potential of the treble of the DX170, delivering a highly saturated, lightning-fast treble response without being too offensive. I’m really sensitive to boosted treble, and I would definitely brag if it was even so slightly sharp or shrill, but it isn’t. DAPs get better and better, and the iBasso DX170 is a perfect example of that statement. In 2017, this would have been a true flagship killer, probably taking the spot for the best DAP on the market, regardless of the price.

The soundstage is once again – impressive. I somewhat feel that because of that slight lower treble boost, it gains that sense of being very large, but it’s definitely not distant sounding. The imaging and separation are both spot-on, with a very natural and lifelike type of presentation. This is not pushing the boundaries further than a DAP should, nor it is sounding intimate. It sits in the middle of what I’d call perfect. The width is extreme, and the depth is pretty good, but definitely not incredible. But, thanks to that, it delivers vocals fairly close to your face, with everything else being huge and distant, if they are meant to sound this way in the mix. The separation between the instruments is great, you can very easily pinpoint the location of every instrument around you, and it sounds incredible with binaural recordings. Overall, a very natural and engaging staging DAP that just sounds right.

Pairings​

Fir Audio Xenon 6 + Cross Lambda Apollo GB



Yes, I’m pairing a $449 DAP with $4000 IEMs and a $6000 cable, and the sound I’m getting is just incredible. Once again, the DX170 handles the bass of these little monsters like a champ, leaving no room for any doubts if it’s worthy of pairing it with such expensive IEMs.
The neutral and natural tonality of the DX170 allows the Xenon 6 CIEMs to sound incredibly engaging and rich, for which they are known for. The detail retrieval and resolution of this pairing are insane, but it never sounds tacky or overly edgy.

I’m actually sporting this setup while. writing this review. It’s 1:29 AM, I’m up writing reviews as usual (some people start to realize that I’m probably an owl in a human body), and I’m blasting some Archive tracks to my ears. The song called “Remains Of Nothing” from their “25” anniversary album is a great example of why the XE6 is among the best IEMs on the planet right now. It has rhythm changes, various vocals, thick bass notes, and an intense soundstage. It’s not an easy track to reproduce though, as it needs a very high resolution and great control over the entire frequency response to just sound right. The DX170 does that without breaking a sweat. It dictates the pace, gives a lot of juice to that sublime driver configuration of the Xenon 6, and most importantly – it’s just packed with details and resolution. All of that makes for a really fun, engaging, and natural sound that has basically no weaknesses. Oh, what a great combo.

Unique Melody MEST + Erua TAWA



Yeah, I’m a big fan of Bone Conduction and Kinetic Bass in my IEMs. Even though our review of the MEST is almost 2 years old now, it is still one of the most used IEMs in my arsenal, so it was pretty natural for me to try it with the DX170.

Once again, these pair greatly with the DX170. Yet again the DAP proves to be able to control basically every bass driver in IEMs, and so it does with the MEST’s revolutionary Bone Conduction driver. The overall sound is very engaging and highly dramatic and the overall contrast is wicked. The original MEST is one of the most fun-sounding IEMs on the market, and it does work great with iBasso’s great sense of rhythm and highly powerful dynamics.

No Archive this time though, it’s time for something more…intense. A song called “Sober” by Tool is a great benchmark for thick, heavy-hitting guitars and the overall dynamics of the sound. This setup creates a highly emotional presentation of this track, with superb guitar edginess and that wild vocal of Meynard. These two have got all it takes to shine with this kind of music – power, dynamics, resolution, and cleanliness.

Dita Perpetua



This is an interesting one, as the new flagship of Dita Audio, the Perpetua is definitely not an extreme and powerful sounding IEM. It’s meant to chill with, grab a glass of fine Single Malt Whisky and just relax.

How does it pair with a powerful and tactile-sounding DX170? It pairs far better than I expected. Once again, the DX170 proves that it’s not getting in the way, and it left the Perpetua with a clean and powerful signal to play with.

The overall presentation of this setup is smooth and relaxed, with a touch of refinement on the top end. The Perpetua is a mellow-sounding IEM and it does not change at all when paired with the DX170. Detail-wise, while the Perpetua is not packed with details like the Fir Xe6 or Kr5, it’s still highly detailed and resolving, just not intensively.
Take my favorite “A Thousand Shards of Heaven” by Lunatic Soul. Mariusz’s voice sounds incredibly sweet and romantic, being a highlight of the entire track. This setup provides a rich and melodic sound that pairs incredibly with this kind of music, being a blast to just lay down on your couch and forget about the world.

Campfire Audio Supermoon + Nostalgia Olorin



Okay, we’ve tested the mellow and calm-sounding Perpetua, now it’s time to make a 180-degree twist and go for the insanely technical-sounding Supermoon by Campfire Audio.

First of all, this is a planar-magnetic CIEM that requires a lot of juice to sound its best, and the DX170 delivers (you need to plug them into the balanced output though, keep that in mind).

So, how does it sound? The detail retrieval and resolution are both immaculate, providing all of the slightest details in the mix without problems. The dynamic character of the DX170 further improves on that highly tactile and insanely textured sound of the Supermoon, giving you a sound that is just impossible to chill to.
This is a soul-grabber, a setup that will take you by storm and steal all of your attention. Incredibly fast transients, huge instruments, and textures that are just insane. This pairing once again proves that the DX170 is a no-joke when it comes to technical capabilities, and it can (and should) definitely be paired with more expensive stuff.
An example? A track called “Bubbles” by Yosi Horikawa. The fantastic resolution of this combo gives us full control over every single bubble, creating a very insightful and snappy sound that almost feels weirdly accurate. Superb detail retrieval.

Hifiman HE1000se



Let’s now get into headphones. I shortly tried the DX170 with my Hifiman Susvara, but unsurprisingly, it couldn’t drive it properly (well, it’s actually one of the hardest headphones to drive in the world).

So, I grabbed my HE1000se, which is very easy to drive. Once again, the DX170 has uncompromised control over that huge planar-magnetic driver, making the 1000se sound lightning-fast and accurate.

The detail retrieval and resolution are both exceptional, just like you would expect from that headphone (it’s very, very detailed).
The one slight problem is the slight lower-treble emphasis of the DX170, which further extends on the “treble-cannon” aspect of the 1000se. This headphone has A LOT of treble information, and I personally like to pair it with softer-sounding DACs/Amps, to restrain that treble just a tiny bit. The DX170 is definitely not one of those devices, and this combo just offers an immaculate level of detail retrieval. If you’re okay with a forward-sounding treble presentation, this pairing is just wicked when it comes to technical capabilities.

Meze ELITE



Another planar-magnetic headphone is the Meze Elite. It is a totally different story than the 1000se. This headphone is rather thick and melodic sounding, but with great bass dynamics and slam that is great for rock and metal tracks.

The DX170, once again, handles it like a champ. Absolutely no problems with power, a very dynamic and saturated sound that is meant to bring excitement.
The Elite is definitely not the most detailed or technical-sounding headphone on the market, it has its strengths elsewhere. The DX170 provides all the details and cleanliness of the signal that the Elite needs to sound very lifelike, but at the same time, it doesn’t get in the way of the Elite’s beautiful tuning.
So, the overall sound is rich, thick, and moist, with beautiful vocal reproduction and great weight to instruments. Definitely my go-to headphone pairing with the DX170, for when I just don’t want IEMs.

Audeze MM-500



My review of the new MM-500 is not out yet (it’s coming very soon), so I don’t want to spoil too much, but I can say something.
The MM-500 is a very technical and neutral-sounding planar-magnetic headphone, that has its heritage in studio engineering actually. Together with the DX170, it provides a very neutral, powerful, and detailed sound that does every music genre right.

This is probably the most neutral-tuned Audeze model to date, and it pairs well with the DX170. While it might lack excitement a little bit, this headphone was never meant to be a “fun provider”, but rather a technical and accurate sounding tool.

Comparisons​

Cayin N3Pro



My daily driver for the past 2 years, now heading to a retirement home. Oh how much fun I’ve had with this one, still one of the best products I ever had and reviewed.
However, my arsenal of IEMs and headphones grew insanely, and it just doesn’t cut it anymore. I very rarely use its tube 3.5mm output, as it lacks power for a lot of stuff I test and listen to, and its 4.4mm balanced output is just not the way to experience this DAP.

Here comes the DX170, which (4.4mm vs 4.4mm) balanced output just blows the N3Pro out of the water. The DX170 is more detailed, has better dynamics, a better grip, it’s more neutral, and offers a wider and more accurate soundstage. It’s basically better in every aspect, sounding like a vast technical improvement over the Cayin.
At the same time, it’s also very portable, just like the N3Pro, which I really like for its small footprint and easy one-hand operation. The screen is just not a competition, with the DX170 looking like it came from a different planet when compared to that tiny thing on the N3Pro.

The aspect of Android is not THAT big of a deal for me, but I know it is for many. I still mainly listen to local files, so I can live without Android, but the DX170’s functionality is so much ahead of the N3Pro, that I have to give credit where it’s due.

The N3Pro is definitely warmer and thicker sounding in the midrange, so if that’s your cup of tea, it’s still a wonderful option. However, the DX170 is just much more technically capable, more neutral, functional, and overall a much better sounding DAP costing basically the same as the N3Pro.

Fiio M11 Plus ESS



First of all, let’s cover the price difference. The DX170 comes at $449, while the M11 Plus ESS is priced at $799, so nearly twice as much.
Functionality, these trade blows and it’s really hard to tell which one is better. I’d rate the DX170 a bit higher though, as it’s smaller and lighter, making for more comfortable and convenient use on the go, which DAPs are meant for.

The screen is better on the iBasso, just as the overall shape and size. I really like the design of the back panel of the M11 Plus ESS, but DX170’s frosted glass back panel is just more comfortable to handle and it’s way more convenient, so another point for iBasso. While you could probably kill somebody with the M11 Plus ESS, it shouldn’t be really treated as a weapon, and its similarity to a brick in your jeans pocket isn’t desirable in a real-life scenario.

Lastly, the sound quality. This might be very controversial, but I just find the DX170 edging out the more expensive M11. The latter has a slightly dark tonality with excellent soundstage and imaging, but the DX170 is a bit more detailed and it definitely packs more punch. It just sounds more alive, both because of its slightly boosted lower treble, as well as having that bass delivery that is just tactile and very prominent. The M11 Plus ESS is a great DAP, but the DX170 is just more neutral, has better clarity and it packs more punch. Oh, and it costs a touch more than half of the price of the M11 Plus ESS.

Summary​

I had high expectations of the iBasso DX170, but I wasn’t really prepared for this one. This is an exceptional device that will be really hard to rival in its price range.

Well-built, gorgeous looking, light, and comfortable to make your use of it just convenient and pleasant. Functional with Android 11, fantastic screen, fast charging, and powerful 4.4mm output to let you use it in any way you want. And most importantly, it’s neutral, big, dynamic, and very detailed sounding, feeling even too good for its asking price ($449).

I’ve heard a lot of people claiming that iBasso is currently dominating the DAP market, and now I see why. I hope that I’ll be able to test their other models soon, but for now, I’m going to recommend the DX170 to everyone looking for a DAP under $1000. It’s that good.


Highly Recommended.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Fir Audio Xenon 6, Fir Audio Kryton 5, Unique Melody MEST, Unique Melody MEXT, Final A8000, Campfire Audio Supermoon, Campfire Audio Solaris 2020, Dita Perpetua, Hifiman Edition XS, Hifiman HE1000se, Meze Elite, Hifiman Susvara, Audeze MM-500, Audeze LCD-X 2021, Final D8000 Pro,

Disclaimer : This unit hasn’t been provided by anybody, all of the above is just my subjective take on the DX170.

Introduction​

Today’s review is going to be quite different. We’re taking a look at Burson’s Super Charger 3A, a low-noise power supply built for their devices. Here’s the list of compatible devices:



As you can see, it can be used with most of their current lineup. This is a good thing because even if you’re going to upgrade your current Burson device, it’s very probable that you’ll keep the Super Charger and use it with your next purchase.
We have reviewed Burson’s Playmate 2 and V6 Vivid Opamps recently (here and here), and we’re going to test the Super Charger in this specific configuration.
Burson yet again proves that their devices are meant to last you a very long time. On top of fantastic build quality and sound, you’ve got options for upgrading your current model without hurting your wallet too much. You can either go for better Opamps, the Super Charger…or both. I now have a fully upgraded Playmate 2 on my hand, so let me tell you how much better it got.
This review will be a rather short one. It’s a power supply, I’m not going to write a book about it and give you 5000 words about the sound, because that would have been outrageous. I’ll try to focus on the most important stuff, and most importantly, give you my opinion on whether it’s worth it.

Packaging​

The packaging of the Super Charger 3A is very basic, as you would have expected. It comes in a nice-looking black box, which contains the power supply itself, together with different types of connectors, for you people living around the world. It’s a great thing, as you don’t have to choose a specific plug version when ordering or changing your Super Charger if you’ll decide to move to a different country.
This is literally all you need and Burson Audio focused on the most important aspect – for the Super Charger to arrive safely at your door.

Build Quality​

The Super Charger is built well. It’s not huge, which is a plus in my book, as it won’t take up too much space, which is always desirable. Having in mind, that you’ll probably put it in your hand for literally a minute, plug it into your power strip, and don’t touch it again for like a year, the actual build quality is not that important.
You’re not going to toss it in your backpack and take it with you on a trip, are you? Well, if you will…then it’s built well enough to easily take a beating. At the end of the day though, it’s a power supply, it’s meant to be plugged in and for you to forget that it’s there.

Tech​

I really appreciate the honesty of the folks at Burson Audio. Here’s the first thing that you’re going to read when looking at the Super Charger at their official website:

“There are no gimmicks here. We did not invent new elements nor space-tech. And submarines certainly do not use it to lower their noise floor. Instead, it is based on nearly two decades of experience building power supplies for audio, then assembled with the best parts we can find. The resulting improvement is instantly audible and across the entire audio spectrum.”

Audio manufacturers often get lost in story-telling, when you’re getting so many promises that it feels like you’re dealing with alien technology. It’s different this time. Burson Audio is just a group of highly knowledgeable engineers that has one goal and one goal only – to provide high-quality audio for the people.
So, what’s so special about the Super Charger? Lower noise, and Higher Frequency.

Lower noise gives you a blacker background and better overall cleanliness of the sound. This can definitely improve detail retrieval, separation, and resolution. This aspect is pretty self-explanatory, you don’t want any noise in your audio, at all costs.

“Off-the-shelf power units have an operating frequency that’s just above the human hearing threshold. In contrast, the Burson Super Charger works at an even higher frequency, resulting in a much lower DC noise—instantly improving the final noise to signal ratio.
The lowering of DC noise allows a deeper dive into the micro-details. It reveals more texture and decay around each note and more acoustic information in the air between instruments and vocalists.”

Higher Frequency on the other hand is meant to give you better dynamics, bigger sound, and a more expanded soundstage. Here are two cents from Burson on this topic:

“The Burson Super Charger doubles the charging frequency to power capacitors inside the audio amplifier. The resulting sound is more impactful with a bigger and deeper soundstage.”

As you can see, there’s no Rocket-Science in this little guy, but rather simple yet refined technology. At the end of the day, sound quality improvement is essential to evaluate whether the Super Charger is worth your money, so let’s not waste any more time and get right into it.

Sound​

I’m not going to say that the Super Charger changed my Playmate 2 into a Summit-Fi AIO, because it hasn’t. Also, I don’t want to try to convince you that you have to get one, because you don’t.

What I can certainly do though is try to give you an idea of an improvement it gives and whether the (not too low) price is worth paying if you have the Playmate 2.
So, the quick answer is – I don’t know. See, there’s always an aspect of diminishing returns. You’ve just spent around $500 on your Playmate 2, then you paid around $150 for these fancy Opamps, and now you’re wondering if you should spend $284 on a dedicated power supply. This comes very close to a $1000 total price, which you could spend to get a Conductor 3P ($1044), a higher, beefier model from Burson Audio.

Is the fully upgraded Playmate 2 going to sound as good or better than the Conductor 3P? Sadly, I don’t know, as I never tried the latter. But you should definitely have this thing in mind before pulling the trigger.



But, I’m here to tell you if the Super Charger 3A actually improves the sound quality of the Playmate 2. Yes, it does, by quite a lot actually. You can immediately hear that it sounds cleaner and more refined with better detail retrieval. It’s like removing a very thin blanket from the sound, giving you a more accurate and more controlled sound throughout the whole frequency range.

Another thing that you can easily hear is the dynamics and overall size of the sound. The Super Charger makes the sound grander, more epic, and just more natural to your ear. The most important aspect of these changes is that they happen in the entire frequency range, giving you an instant and very straightforward upgrade. This is not witchcraft, nor it is subtle, and this makes it a very easy recommendation if you’re wondering whether the Super Charger is worth getting.

Summary​

The name Super Charger is just perfect. This power supply literally supercharges your Burson Audio device, providing a substantial upgrade to the entire sound quality throughout the whole frequency range.

If you own the Playmate 2 and really like it, this is a no-brainer when it comes to upgrading your audio experience. Together with V6 Vivid Opamps it enhances the sound quality by a lot. This is what audio upgrade products should always be about. No audiophile-grade routers, LAN cables, or magical audio stickers, but rather well-engineered and actually meaningful devices that deliver on their promise with no doubts.

Recommended.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Audeze MM-500, Audeze LCD-X 2021, Final D8000 Pro, Fir Kr5, Fir XE6, Unique Melody MEST, HEDDphone
• Sources– Burson Playmate 2 + Vivid Opamps

Big thanks to Burson for providing the Super Charger 3A for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Burson hasn’t seen this review before publishing it.
If you’re in Europe, you can order your Super Charger 3A here, or here via the official Burson Audio website.

Introduction​

Another product from a well-known company in the audiophile world but let me introduce Meze to some of you, who have never heard of it. The Romanian company was founded in 2011 by industrial designer Antonio Meze.

Why am I mentioning who was the founder? Because when you take any of their product into your hands, look at them and play with them, you will know that behind each of Meze’s headphones stands a big passion to design. For example, Elite in The Battle of The Flagships just left behind other competitors in terms of the build quality and comfort, or Empyrean which looks damn amazing. Meze Advar isn’t an exception in this term, but let me write about it later.

Antonio in one of the interviews said that he wanted to make headphones you look at and want to put on your head. I think that he did it, each of his company’s products just shouts to me, “USE US!!!”, and damn, I can’t resist it. When I had an opportunity to listen to headphones from the Battle of the Flagships, I spent most of the time with Meze Elite on my head. It’s such a good-looking, well-built, and amazingly comfortable headphone.

Many people on the internet accuse Meze of making, gently speaking, moderately good audio gear, but I think it’s worth mentioning that this refers to technical aspects of the sound, because as I mentioned above only an insane person would deny that the build quality is just top notch. Well, that’s true, when we focus only on measurements, Meze may be considered as „slightly” overpriced. But unfortunately, I’m not a measuring microphone, I’m just a human who has been in the audio hobby for a couple of years, and during that time I had an opportunity to listen to music with a lot of different gear.

What I’ve learned during thousands of hours of listening, but also discussions about the gear is that there is no and there will never be any perfect pair of headphones for everyone. We hear sounds slightly different (some people even more than slightly), and each of us has a different taste. That’s why the audio gear market is so differentiated. Some time ago I had the opportunity to listen to the greatest headphones in the world, like Susvara, Final D8000 Pro, or Audeze LCD-X 2020. Each of these headphones can be considered as the definition of the state of the art and I can’t argue, from the technical aspect they are great, but most of the time I used to listen to suboptimal Meze Elite. You can call me Jeremy Clarkson of the audio gear, I don’t mind. Measurements can’t catch emotions, or actually, they can, but from the technical perspective, it’s considered as a flaw, noise, or distortion.

That’s why I repeat this like a mantra, it doesn’t matter if measurements and reviews are objective or subjective. At the end of the day, it’s your music, your ears, and your taste. I hope my review will be helpful for people considering spending their hard-earned money, but I don’t consider myself a guru, so if you want to buy headphones visit a shop where you will be able to test them, or at least order them from a place where you can return them.

I hope that you’re still awake after that lengthy intro, so now let’s dive into the review of the Meze Advar.

Packaging​

If you have read our review of Meze Elite, Empyrean, 99 Classics, or Rai Solo you will know what to expect during the unboxing, yes Meze spoils their customers. Advar arrives in a medium-sized (as for earphones), black box with a golden rosetta symbol on top. The cardboard is very durable so you don’t have to worry about the contents of it, even if your local delivery company uses waste compactors instead of normal delivery vans.

So now you know how the package is secured, but now let me describe what’s inside. It’s neat, nothing fancy, but I wish every manufacturer has added 5 pairs of Final type-e tips in different sizes, a hard case pouch, MMCX to 3.5mm cable (but about it later), a cleaning tool, and an MMCX removal tool. The pouch is great, looks very premium thanks to the leather-like finish, contains everything you would need, and protects earphones well.

So now it’s a moment for cable… The cable provided in the bundle is fine, but only fine, it’s the same as the one from the Meze Rai Penta bundle. It doesn’t cause microphonics, and it’s pretty flexible, but in this price range, I wish I could utilize my balanced amps, unfortunately, balanced cable terminated with 4.4mm Pentaconn made by Meze costs an additional $149. That flaw isn’t big and the solution would be easy, but maybe in the future, it will be possible to pick the cable during ordering.

Design, Build and Comfort​

As I mentioned before, Meze products are very well built and Advar is another example of this. Solid stainless steel, with Black Chrome plating, makes the earphone look like jewelry. The fit of all elements is great and when removing the cable I’m not afraid that I will remove it with a socket.

The comfort is very subjective, I would say it’s even more subjective than the sound signature expectations. But in my case, the Advar is one of the best fitting IEMs in my collection, only Craft Ears 4 CIEM fits better, but well… I would be very surprised if universal earphones fit better than the ones printed from my ear canal impression.

The last thing I wanted to mention in this part is the sound isolation, which is pretty good. Yet again it’s not the level of CIEMs, but the isolation was good enough to listen to music with comfortable loudness in the open-space office. On the plane, it wouldn’t be that comfortable, but many IEMs with ANC provide worse isolation.

Tech​

Here I don’t have too much to write, just a good old-school solid stainless-steel chassis and a single dynamic driver with a diameter of 10.2 mm, for imperial unit users, that’s between 0 and 1 inch (I hope this will help you). The impedance at about 31 ohms and SPL of 111db/mW can suggest that they are easy to drive and that hypothesis is true. Even with an Apple Lightning dongle, the IEM sounds good, not great but definitely on an acceptable level.

Sound​

Now let’s move to the most important part – the sound. Meze promises that the IEM has natural and powerful sound but also it’s very detailed as well. You know what? Yes, that’s true again, Meze Advar delivers warm, but not overwhelmed by bass sound, details in the treble are exposed as well as the bottom end. I think that it’s a perfect all-rounder IEM for fans of warm and smooth sound.

The first thing I would like to write about is the bass. I wouldn’t say that it’s the star of the show, but it makes the earphones special. Easiest to describe its importance will be an analogy of the bands, Curt Cobain for Nirvana was the spirit, and you wouldn’t notice if any other band members would change, but on the other hand Mick Jagger is, of course, the frontman of the Rolling Stones, but without Charlie Watts, the band will never be the same. In the sound signature of Meze Advar, the relationship between specific parts of the frequency range is similar to the Rolling Stones band relationships. The bass is the frontman, but the midrange and the treble are also very important. The Bad Guy by Billie Elish makes my head shake, but not too much, so I can listen to the whole album and my brain doesn’t become whipped cream.

Despite the V-shaped signature, the midrange is still very tangible and present. The lower midrange and upper bass are slightly amplified, which makes classical guitar sound very powerful. While listening to Tamacun by Rodrigo y Gabriela I felt the impact of each string hit on my back. But it’s also quite smooth, for me the texture of the midrange isn’t the strongest part of Meze Advar. I’m a fan of texture coarse as pumice stone, so the midrange reproduced by this IEM isn’t my type, because it’s very smooth. But I totally understand that audio is a highly subjective matter. That’s why I know that many of you won’t agree with me and you will tell me that it’s the best way to reproduce the sound. It also can be a very good thing when listening to music is only a background during different activities.



The treble is relaxed yet very detailed. Maybe it’s not that relaxed that it will mask the production flaws in Californication by Red Hot Chilli Peppers, but it also doesn’t add too much. Well-produced pieces with a lot of treble, like Tubular Bells by Mike Oldfield don’t cause me to remove glass crumbs from my ear canal after listening to it with Meze Advar. Hi-hats in Hold the Line by Toto sounds great, again it’s not too aggressive but perfectly audible. Their sound flows but the separation of each hit is also very good. This tuning of the treble makes the Advar very nice and pleasant to listen to but doesn’t sacrifice the details and clarity.

Now it’s time to focus on the soundstage, which is very impressive. I didn’t expect that wide and deep soundstage reproduced by IEM in this price range. Many full-sized open-back headphones don’t reproduce it that well. My benchmark while reviewing the soundstage is To Be by Your Side by Nick Cave – the soundtrack from Winged Migrations. If I feel like flying with the ducks from the movie, then the soundstage is acceptable. With Advar I definitely feel it, and I feel a lot of space to fly.

Due to the size of the soundstage, the positioning of the virtual sound sources isn’t the greatest, but it’s good enough. While listening to Yoshi Horikawa’s Letter, I could predict the position of the pencil, but for playing games on a competitive level, where positioning of the opponent is crucial, there are better options available.

Comparisons​

Campfire Audio Vega 2020



These two – Meze Advar and Campfire Audio Vega 2020 are very equal in comparison. Both can be bought for $699, both are single dynamic driver IEMs, both arrive with final e-type tips in the package (campfire adds also foam tips, but I’ve never used it, because of the signature of Vega), and finally both stay on the warm side of the sound.
The craftsmanship is on a similar level, the body of both earphones is made of metal and each of them feels pretty solid, but when thinking about the build quality I can’t forget about the design. Thanks to a very clever project, the connection of the body and faceplate aren’t as conspicuous as in Campfire Audio IEM, and overall it feels slightly more durable.
The comfort of both earphones is pretty decent, but the Vega applies deeper and still stays out of my ears, so after longer listening sessions it sometimes causes discomfort, while in Meze I can keep listening for hours. The only problem with Romanian IEM is that I want to keep my hearing in good condition, so I need to set a reminder to take a break from listening and give a rest to my ears. That’s why for me in that category an obvious winner is Meze Advar.
When it’s about the sound, I mentioned that both IEMs have a warm signature, but they are pretty different, Vega 2020 can be put to Sevres as a model for the bass, it’s a bass-head’s wet dream. I really like listening to some electronic music with them, but that’s like one album and I’m done, more is exhausting for me. Meze Advar is a warm-sounding earphone, but still very universal, the electronics sound as good as rock, or vocal-based music, and its signature is very pleasant even after hours of listening.

Craft Ears Four Custom



Craft Ears is a company from Poland and their products were reviewed on this portal. Four is their mid-range product equipped with four (guess the origin of the model’s name) balanced armatures and because of its fit, that’s my main pick for planes, trains, and buses. Comparing these two earphones in terms of build quality and fit doesn’t really make sense, because while Meze Advar is mass-produced IEM, CE4 is made (to be precise printed) to order so the design and shape of the earphone can be fully customized. That’s why let’s skip this part and move forward to the sound.
The bass reproduced by Craft Ears is definitely faster, but let’s be honest, Four’s bass is one of the fastest basses I’ve ever heard. I’m a big fan of it, but I know that many of you may like it when it lasts longer and is more natural. The midrange is pretty similar, CE has a slightly better texture, while the Advar sounds more natural again. And the treble here is the biggest difference. Four is sharper, sometimes it’s even too sharp and unpleasant, while Meze still has a lot of details, but not too much, that can be advantageous over the Polish CIEM. The soundstage is very impressive in both earphones, but the Advar is definitely wider but slightly shallower.

Summary​

Overall, the Meze Advar is a very musical IEM. If you’re looking for one earphone to rule them all, you should consider picking one. Great soundstage, warm, smooth, and very detailed sound. I just can’t wait until autumn comes – October foggy morning far from civilization, my favorite coffee brewed in Chemex and some indie folk music played with Meze Advar. But back to reality, I highly recommend this IEM.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Craft Ears 4 CIEM, Campfire Audio Vega 2020, Bqeyz Autumn, Meze Liric, HiFiMan Ananda
• Sources– JDS el-dac II + SMSL SP200, SMSL SU-9 + Topping A90, Fiio M11 Pro, MacBook Pro 14, iPhone 13 pro with Apple Lightning to 3.5mm headphone jack adapter

Disclaimer: Big thanks to Meze for providing the Advar for this review. This review wasn’t influenced by anyone, all of the above is my subjective, honest opinion.

Fir Audio Krypton 5​

Fir Audio Kr5 is the mid-level of Fir's newest series called The New Frontiers. It uses a dedicated dynamic driver for the bass and four balanced armature drivers. It packs some great technologies, and it's priced at $2999.

Introduction​

Today we’ve got another IEM by the great company called Fir Audio. After reviewing their VxV, M5 custom, and XE6 custom, now it’s time for the Krypton 5, the so-called Kr5.
This has been the most requested review ever on Ear Fidelity, with countless comments and private messages asking about comparing it to the XE6 and different IEMs. Well, you asked for it, and now it’s here.

The Fir M5 and XE6 forever changed my perception of IEMs. First, the previous flagship, the M5 has been a pleasure to own and use for over a year now, combining a great build quality and sound that was easy to fall in love with. Fall in love so much, that it actually has been THE IEM I took on my Caribbean vacation last year. The one and only, I didn’t need anything else, and they delivered.

Then, Fir Audio announced their new lineup, called The New Frontiers. Thanks to their generosity and faith in our reviews, I was lucky to get to choose one model to review. I went with the Xe6 in custom form, and boy oh boy. Ever since receiving them, these have been the best IEMs I’ve tried in my life. The best build quality on the market, perfect comfort, beautiful, rich, and romantic sound. To this day, this is my go-to IEM when I want some serious listening, traveling with me a lot, basically everywhere I go. I’ve been listening to music, working on video editing, checking audio levels while shooting and everything in between with them, and all I can say is that these are just absolutely marvelous.

However, a lot of you seemed hugely interested in a lower model, the Kr5. This could have been due to the price being more affordable, or you were following some reviews online, but seeing how requested these were, they drew my attention immediately. After all, the Xe6 should provide the best of the best of the new series, being a clear flagship experience, right?
Right, and they delivered it instantly.

Audio is a fun hobby though, and the price doesn’t always follow rules. We’ve all seen flagships being beaten by lower models of the same manufacturers. Of course, the sound is highly subjective, so this will hugely depend on your liking, but the aspect of value can be evaluated rather objectively.
I don’t want to spoil this review for you guys, so I’ll keep you on the edge of your seats for a little longer. Or, you can just fast forward to the summary and see how it went, this is totally up to you, but trust me, this will be a really fun review in my opinion. At least, a highly personal and emotional one. And when I get emotional in my reviews, you know that we’ve got something that will be praised a lot.
Back to Fir Audio for a second. This is a company that really makes me smile. Their bunny logo, fun packaging, great, outgoing marketing, story-telling, etc. They haven’t been around for many years, but they surely earned their place as one of the best IEM manufacturers in the current high-end market. After owning the M5 and XE6, my expectations of their products grew significantly, especially since they entered the realm of really expensive products. Till now, everything Fir made has been worth its high price for me, will the Kr5 be the same? Let’s dig into it.

Packaging​

The unboxing experience has been a strong point of Fir Audio products, and it’s no different this time. Actually, these sport the same packaging as the Xe6, but I’m going to get into it anyway.

The IEMs come in a hard box with a graphic sleeve. Fir Audio has really mastered its design and graphic game, so the Sleeve simply looks stunning and modest at the same time. Not too flashy, but not default at the same time. I’ve been doing story-telling for an IEM company years ago as my job, and I know how hard it is to create something unique and non-cliche. Because of that, I enjoy that little aspect, even more, seeing how coherent the whole branding has been for Fir Audio.
Okay, let’s get inside. There’s not a lot happening inside, as you’re getting the IEMs with the cable, a great, round, leather case, and an absolutely stunning badge. Again, this is what makes me excited, just look at this thing. I’m still trying to figure out how to use it, as I’m a freaking minimalist, but I’m pretty desperate to saw it on something and wear it with pride, it’s just so cool.



That’s not all though, as you’re getting some goodies in the leather case as well. Before that, let’s discuss the case itself though. It is made of leather, has that bunny logo on top, and the closing mechanism is just brilliant. It’s just snug and secure, so even though there’s no zip or clasp, you don’t have to worry that it’ll open on its own. Actually, I’ve been tossing this thing a lot in my camera backpack, suitcase, etc, and it just never failed. Such a great little thing, and because it’s leather, it’s pretty lightweight, so you can also put it in the pocket of your jacket and not feel like you’re carrying an anvil in your pocket.

I said it in my Xe6 review, and I’ll say it again. This is highly subjective, but I wish that they stayed with that beautiful burgundy case color that they used for their M5, it’s just such a beauty. I get it, black is black, and black is universal, but still, I just had to write it.

Inside the case, you’ll get a cleaning brush, some eartips (just ignore these), and a set of Atom modules. Yes, the universal Fir Audio IEMs also come with that fantastic thing, and it’s bonkers. Atom modules have been game changers for me, and I’m happy to see that they’re present here as well.
I said ignore the eartips, because if you’re spending $3000 on a pair of IEMs, you probably have a full arsenal of different eartips that you like. Just go with your Comply, Final E-Type, Xelastecs, Symbio, or whatever tickles your fancy. Yes, it would have been cool if Fir Audio included some of these in the box, but it’s also okay that they haven’t. These are cheap and widely available, just order some and try them for yourself. My go-to eartips are Comply and AZLA Xelastecs.

Overall, the unboxing experience of the Kr5 is pretty Fir Audio-like. Nothing really epic or ultra-luxurious, but well thought-out and just great, stylish, and useful. You just simply can’t feel disappointed.

Design, Build and Comfort​

Okay, my experience with Fir Audio for the past year and a half was Custom IEM only. This is refreshing, and actually very interesting to see and rate the build of their new models.

First of all, these IEMs are way smaller and lighter than you think they are. When I first saw the new lineup in the photos, I immediately had a feeling that these are huge and heavy. When I took the Kr5 out of the box for the first time, I was bamboozled. These IEMs are small, not too heavy, but they feel like a tank.
So, the actual quality of the build is just perfect. Fir Audio is making outstanding CIEMs when it comes to their physical aspect, and the new universal models are just as good. They feel very substantial, rigid, and insanely strong in the hand, I wouldn’t be scared by even dropping them from like two meters, these shells aren’t going anywhere.

Every single edge is made to perfection, everything feels smooth and again…perfect. I tend to critique the build of IEMs from time to time, but I truly have nothing to say here. As far as the overall design and shape of these go, this couldn’t have been done better. Kudos!

Now, onto the design. This is highly subjective, but I really like the way these look. The sapphire crystal faceplates with carbon fiber infused in them are just hypnotizing. Yes, they are not screaming at you like “LOOK, I COST AS MUCH AS SOME CARS”, but I don’t feel like it was intended by Fir Audio. This is polished, mature, yet interesting and just classy. The only “big” thing about these are the nozzles, as these are really thicc. Don’t worry, you won’t have any problems with installing your eartips (can’t say the same about uninstalling some!), so this is not a problem.
This has a pro though – remember the old times when nozzles on IEMs could break or become crooked? Well, as long as you’re not hulk, these won’t do that…ever.



Lastly, the Kr5 (and all the new models actually) now use 2-pin connectors, instead of MMCX that you could find in the previous models. This gives me mixed feelings. I know people dislike MMCX connectors, saying that they are unreliable and they break easily. Funny, because my experience with IEMs was perfectly opposite in the past. I never had an MMCX connector fail, and 2-pin…well, I won’t say the same. However, people tend to like 2-pin a lot more, so who am I to judge it? If people prefer 2-pin, Fir Audio has made a good choice. The 2-pin sockets found on the Kr5 are actually replaceable, so if they actually ever break…you’re covered, and this is a great, great thing.

Since we’re talking build, let’s get to the cable as well. The one included with the Kr5 is…okay. Nothing extraordinary, nothing bad, it’s decently comfortable, doesn’t tangle, it sounds okay, it works okay, what can I say? Again, these are $3000, you’ll probably cable roll them (oh my and you should, but more on that later!), so the included cable shouldn’t really be your concern. If you won’t cable roll them though, this cable is good enough to just forget about it. Just use it, it won’t break, it won’t annoy you, that’s everything you should expect from it.

When ordering, you can choose the termination of your cable, which is a great thing to have. Nowadays, most of you will opt for a 4.4mm termination anyway, but it’s great to have a choice. I actually went with a 3.5mm one, to use them with my XIAudio Broadway S. Well, not only because of that, I just got so many 2-pin, 4.4mm cables that they’ll easily last me a lifetime, so I decided to go with a 3.5mm. It’s easier to use with my camera, Macbook, and other devices that only have a 3.5mm output, so I don’t have to remember to pack my 4.4mm to 3.5mm DDhifi adapter. Of course, most critical listening has been done with a 4.4mm cable, as it should have been.

Tech​

Fir Audio has some really interesting technologies up their sleeves, so let’s discuss the ones used in the Kr5, and there are quite a few of them.
First of all, the most important one is the Kinetic Bass. This is a game changer for the entire IEM industry, and I really mean it. See, for many, many years you had bass that you can hear, better or worse, but that was the whole story. I actually have a lot of experience with stereo setups as well, and I always missed that thumbing effect on my body when listening to some bassy recordings.

It all has changed by Unique Melody, which was the first company to implement bone conduction technology into IEMs, and this was just so relieving. Finally, a bass that you can not only hear but also feel!

UM has improved its BC technology since the original MEST, but Fir Audio went a step further. The Kr5 uses a vent on the inner side of the shells, so this driver blasts right at your ear, creating a simply spectacular feeling of the most tactile and physical bass that you’re going to find in the IEM hobby, but more on that in the sound paragraph, let’s leave the goodies till then.

The second technology is Atom Venting. You’re probably already familiar with it, but I’m going to quickly explain what it is about. Basically, it’s a pressure relief system that vents the air pressure that builds up inside the shells. This has two goals – to let you listen to your IEMs longer without fatigue and to actually tune the sound signature to your liking, by simply changing the ATOM modules, that you’re getting included in the box.
Then we’ve got the Open Acoustics. Most IEMs use sound tubes, that carry the sound wave from the driver directly to the nozzle. Fir Audio found a solution to leave the drivers without sound tubes, and they say that it results in a much bigger sound with a bigger soundstage. While it’s hard to truly evaluate this one, we just have to believe them and judge all of this by our listening tests.

Lastly, the Rigid Technologies. This is a proprietary technology that provides industry-leading durability and serviceability to Fir Audio’s IEMs. Remember when I said that the 2-pin connectors are replaceable? Exactly that.

Oh, one last thing, the Atom Modules. As I covered them previously, I won’t go too deep into them this time. You can read all the necessary information here.
These will basically let you change the amount of isolation of your IEMs, slightly altering the sound. You’re getting three different modules with the Kr5: Silver, Black, and Gold. Silver is the most neutral one, black has 2db less isolation, and gold has 2db more isolation than silver. Take note that this review was done using mainly the silver module, as this sounds just perfect for me. You will get slightly more bass response with gold modules, and a slightly airier, thinner sound with the black ones.
Atom modules have always been a neat feature in Fir Audio products, and it is a great way to fine-tune your new IEMs to your liking. The difference in the sound is not huge, it’s subtle, allowing you to slightly alter the tuning. However, the stock silver ones, that are originally installed in the Kr5 are just ideal in my opinion, and they do offer the most natural sound.

Sound​

Paweł, are you writing a book? All those words and you haven’t touched the sound yet!
Well, well, I told you, this is an emotional one. Okay, it’s time to say about the most important aspect, the sound. Till now, I was trying to remain pretty calm and informative, but now it’ll all change.

You see, I’ve been in this hobby for over 10 years now. I have worked in the audio industry for years, I’ve been doing marketing, sales, distribution, production, I ran an ultra high-end audio store, etc, etc. All of this experience in my life made me try A LOT of different audio devices, often ones that cost as much as a new sport Audi. I’ve built stereo systems costing hundreds of thousands of dollars, I’ve listened to most high-end headphones ever created, and I’ve been to many places and done many things. As a reviewer, I tend to be as objective as I can, but sometimes it’s really hard.

Actually, you really rarely see me writing negative reviews of audio gear. I’ve been wondering lately, and I found the reason. You see, I’ve been selling audio for a living for many years in the past (not any more of course), so I have mastered the job of understanding different people’s opinions and preferences. Not everyone likes the same sound signature or qualities of audio products, people are different, they hear different, they feel different and there are very few really BAD audio products in my opinion. Let’s take an X product, for example, you tried it and you think it’s absolutely horrible, right? Well, the company sold thousands of those and people really enjoy it. They tried it, bought it and they use it for years now with pleasure. Who is right in this equation? Well, no one is actually. People treat music so emotionally, and as I said, we’re all different, that it’s impossible to truly understand who likes what when it comes to the sound.

There has been a massive outbreak of audio objectivists in the past few years, and they are behaving like they are going to save the world from filthy audio manufacturers that scam people left and right. Well, this is much more complicated than this. Yes, the frequency graph is important, the measurements are important, and all of this is really important for audio. I’m not trying to discourage you guys from listening to these guys. My reviews are on a subjective side of the spectrum, I never tried to hide it, because my experience in audio got me to this place when I believe that this is the way I want to do things.

However, the measurement is one thing, and people’s preferences are another. And I’m not only talking about frequency response preferences. You’d be surprised if you were to work in an IEM store and see how complicated people are with sound. I just want to say it out loud – stop acting like the frequency response is everything there is to audio because it isn’t. It would have been if we were all measuring devices, but we aren’t. We are people, we have emotions, tastes, and moods and we are often unreasonable, and that’s beautiful about it.
You can see a lot of people lately that have never tried a specific IEM, but they claim it’s absolutely horrible, and they back it up with a frequency response graph. Listen up, good audio is not only the “neutral” audio, and there’s more in life than just perfect Harman. If audio products have been manufactured for robots that all hear and like the same, it would have been fair. But it isn’t. People have their own idea of the “perfect sound”, and it’s often nothing even close to being 100% tonally accurate.
Audiophiles usually don’t even want a flat, accurate response in their headphones/IEMs/speakers. They want a little boost here and there, a little dip here and there, they want a sound that is specific, that has something interesting in it, that sounds a specific way.

That’s what bugs me with audio objectivists lately. You guys are doing incredibly important work, you push the manufacturers into making objectively more “accurate” and higher fidelity audio products, and that’s wonderful. However, the way you guys attack everyone in the hobby and call people names because “ooooh you’re such a noob, change hobby, this frequency response literally says that this product is trash and it should be boycotted” is just beyond me.

Stop acting as if you are an audio Messiah, because you are not, and you never will be. Treat people with respect, and get to understand that people are people, and they do like different things, even if they are sometimes “objectively worse”. What’s worse and better in audio anyway? Is faithfully reproducing the material better? With literally zero coloration? For measurements, it definitely is. But there are people that actually listen to stuff and music, and they do get emotional by these, rather than simply reading the graph. If you only care about the measurements, just don’t buy any IEMs, print the best measuring IEM’s graph and hang it on the wall above your bed. I’m sorry, but it often seems like the only thing you guys care about.

So yeah, no frequency graph in this review, no measurements (not that I don’t believe in them), simply a subjective, emotional take on the sound of an audio product. Feels like good old 2010, doesn’t it?
Okay, fun, but you still haven’t told us a word about the sound of the Kr5, what’s up with that emotional message above?! It has its purpose, as I just want you guys to understand my point of view.
Why? Well, because this review is going to be absolutely weird in a way. I told you that I’ve tried A LOT of different audio devices in my life, and I’m going to say it out loud and confidently – the Fir Kr5 is the best I’ve heard in my life. Now we can get going.



The bass, oh my god. In the TECH paragraph, I stated that the Kinetic Bass technology will change the IEMs industry forever, and I’m standing by my word. Forget about everything you’ve heard with traditional drivers, this is just a different world.
First of all, the texture, speed, decay, control, and richness of the bass are just absolutely spectacular. This is an ultra snappy, ultra-detailed, and insanely controlled bass performance, that does everything fantastically. It doesn’t matter if you’re listening to electronic music, rock, jazz, acoustics, or some crazy-ass binaural audiophile recordings. The Kr5 does all of these with authority, yet it sounds so natural and detailed that it almost sounds unreal.
Now, here comes the fun part, the physical aspect of the bass of this IEM is just like nothing else in the world, except the XE6. When you’ll hear some hard-hitting bass notes in the recording, you’ll actually feel them physically, which is an absolutely weird, but pleasant and engaging feeling. These IEMs can hit as hard as it gets, creating that insane tactility you could only feel in live music or some crazy stereo setups with high-end subwoofers. Well, not anymore.
And it’s not about that huge, big physical slam. This is just a part of it. What’s the most impressive is how real and physical different instruments and sound effects sound. You can have a kick drum that sounds like it’s just there, or a male vocalist with such body to his voice that you can actually feel the air he exhales. This is just so multi-dimensional, that it’s actually hard to explain, without you experiencing it.
For years now, I have a feeling that the over-ear headphones market is absurdly bass-light. I had a lot of customers that never went into headphones, simply because they couldn’t have felt the bass. This is where good IEMs come in and totally change their perspective, and the New Frontiers series by Fir Audio are going to do it even more successfully. This incredible bass performance made me listen to the Kr5 more than to my Susvara, simply because in comparison, the Hifiman flagship just can’t compete in the bass department, it’s not even close. Yes, comparing the IEMs and over-ear planar headphones is a little dumb…or is it?
Back to the Kr5 though. Let’s put that bass in the perspective. The last studio album of Tool, called Fear Inoculum has a pretty mental song on it, called Chocolate Chip Trip. It’s all about Danny Carey AKA the Octopus and his insane drum kit, doing some weird magic. This song sounds so insane on the Kr5 that it’s beyond explanation. Every single hit of the drumsticks, every single piece of air moved by the snare drum, the kick drum, and the tactile feeling of the entire drum kit is just ridiculous. Get the Kr5, play this song and close your eyes, and you’ll be feeling like this drum kit is placed around your head and Danny just smashes as hard as he can. This is beyond audio quality, this sounds just real, like you’re there.
Let’s give you one more example. There’s an artist called RY X, who does some pretty nostalgic, sad and melancholic music, which I’m a huge sucker for. He just launched a new album, called Blood Moon, and the first song of this album is a single, called Let You Go. It starts with two acoustic guitars playing on both sides of your head, then the vocal comes in, and then…the beat. I never realized how powerful this beat is before trying it on the Kr5, this just changes this song completely for me. It actually feels like every other IEM I tried this song on has failed to reproduce it properly, it’s that impressive. Marvelous.

Now, let’s get to the midrange, and here things start being complicated for me. I know, that as a reviewer, I really shouldn’t be saying it, but I tried, I really pushed myself to think differently, to change my mind, but I failed, so I’m going to say it – for me, the midrange is literally perfect.
I’ve compared the Kr5 to many IEMs, my over-ear headphones, to some high-end speakers, everything I was able to, and this is just the best there is. First of all, let’s get the technical stuff out of the way. The Kr5 is the most detailed IEM I’ve heard, and it’s not subtle. The amount of little details these little things can blast to your ear canals is absolutely sick. I have some test songs and albums that I tried over years and years in this industry on many setups, including stereo systems that cost as much as a new Bentley, and yet I found new micro-details with the Kr5. They just simply deliver an astonishing amount of details so effortlessly, so elegant and natural. The Kr5 is much more detailed than the XE6, and the XE6 is really detailed, to begin with.
Secondly, the resolution, and here it becomes mental. I’m just going to explain it in my own way. Let’s use our eyes for a second. You see, find an 8K screen, play the most insane native 8k material on it, and tell me what you see. The image becomes so insanely sharp, that you can clearly see the edges of a single hair of an animal. Do you see it as sharp in real life? Probably not. Does that mean that 8K material and an 8K screen have more resolution than real life? Hell no.
What’s the deal then? I see it that way: real life is so sharp, the resolution of our eyes is so high, that it gets so sharp, that it’s not sharp anymore. Sounds weird? Yeah, probably, but think about it. Everything natural that you see, your hand for example. You see it as perfectly clear and sharp as it’s possible, but it doesn’t look sharp, it just looks organic, like there’s no edge. There’s not even the tiniest line between your arm and the background, it’s just so sharp, that it’s not sharp anymore, it just looks the way it should.
This little weird comparison has its purpose in this review, don’t worry. You see, this is exactly how I feel with the Kr5. The resolution of this IEM is so high, so crisp…that it doesn’t sound sharp or crisp, like not even the slightest. We’ve all tried some ultra-technical sounding audio gear that just made everything sound artificial, unpleasant, fake. The Kr5 has the technical performance at an absolute godlike tier, but it’s just natural, smooth, real sounding.
Take a song called Abraham, by Miles Mosley. There’s some serious bass action in this song, and with the Kr5 you’ll be getting a lot of string action, I mean A LOT of string action. Every single string vibrating, smashing into each other, moving air around it. You’re getting even the tiniest details of it, but it never sounds firm in a bad way. It sounds firm, because the tactile bass doing its job perfectly, but it still manages to sound incredibly natural and lifelike.
Vocals are another story, as I’m yet to find a single one that doesn’t sound absolutely marvelous on the Kr5. David Gilmour, Mariusz Duda, Lana Del Rey, Melody Gardot, Sam Smith….all of them sound just real, incredibly natural, engaging. The Kr5 has that magical touch of warmth to its midrange, where everything sounds just pleasant, natural, and harmonic, but it’s also as accurate as it gets. This is BY FAR the best midrange I’ve heard in an IEM.



The treble, oh the treble. First of all, something that came into my mind as the first thing when listening to the Kr5 for the first time. I’ve never ever heard an audio product having so much treble, while not being sharp like…whatsoever. There’s just literally no sharpness to it, no, nada, null. Yet, it’s just so incredibly detailed, clean, shimmering, and forward sounding when it should.
To truly understand this, I must go back to the whole “8K screen” narrative from the midrange section. The Kr5 has such a tremendous amount of resolution, that it’s just impossible for it to sound sharp. You’re simply going to hear every little treble detail, every single shimmer, but it’ll never feel forced, unnatural. Have you ever stood next to a drum kit in a music store and just randomly smashed that cymbal with a drum stick? Been there, done that. These things sound so much different than most music recordings reproduce. They have that weight to their sound, that richness, together with a slight ringing effect that is just utterly uncomfortably pleasant, but never painful. This is exactly what the treble of the Kr5 sounds like. On the edge, extreme, in your face when it should, but never ever unpleasant or fake. It’s so rich, that you’ll start to enjoy the treble a lot more. A lot of people tend to EQ the treble of their affordable audio down, as it just can’t handle that amount of information and it starts sounding harsh and tiring. With the Kr5, you never have to worry about it, just blast your favorite album and enjoy it as it should be enjoyed.
This leads us to another absurd thing about the Kr5. This thing just makes everything sound good. Yes, an IEM as detailed with such an outstanding resolution sounds great with poor mastering. It truly does.
The more detailed gear people get, the more demanding the choice of music becomes for the most part. You’re starting to see how badly mastered your favorite album is, and it simply becomes painful to listen to. We all experienced it at some point in our audio journey. This is why the Kr5 is truly a gem, as it just makes everything sound great. I’ve been trying some really poorly mastered albums with them, the ones that should put the audio engineer involved in prison for the crime he committed. Guess what? I ended up just listening to the whole thing, rediscovering new details and enjoying that mind-boggling timbre, having a lot of fun with a recording that is literally unlistenable on most of my high-end gear. This is some serious witchcraft from Fir Audio. I actually e-mailed them about the Kr5, asking “what sorcery is this”, but they seem to not understand my question – well, who can blame them, I’m just a maniac that found something he’s been waiting for for years.

Let’s get to the soundstage now. Fir Audio claims, that thanks to its “Open Acoustics” system, their IEMs offer a bigger and more expansive soundstage. While it’s impossible to evaluate the truth behind that statement, we can just simply describe staging capabilities of the Kr5. So, this is once again, breathtaking. The soundstage is incredibly wide, deep and accurate, with fantastic height and separation. Once again, the Kr5 has an outstanding separation which further improves the accuracy and separation of every single sound coming into your ears. Additionally, that tactility provided by the Kinetic Bass technology makes every instrument stand out even more, giving you a soundstage that is not only huge and accurate, but also marvelously natural feeling.
One of my benchmark tracks for rating the soundstage is Dusk by Edison’s Children, a side project of Marillion’s bassist Pete Trewavas. This track has so much ambient atmosphere in it, it’s full of air, distant yet forward, it’s just an incredible song, I highly recommend checking it out. Back to the soundstage though, there’s a lot of playing with distance in this track, vocals getting right in front of you, just to slowly float away into the distance, and it’s really great to check the capabilities of IEMs. The Kr5 handles this song like a champ, creating a highly atmospheric, accurate soundstage that just slowly hipnotize you. Once again, this is just incredible.

To summary the sound section of this review – the Kr5 just sounds like a perfect IEM to me personally. Remember, that this is my subjective evaluation and I’m just telling you what I’m personally feeling. However, out of every single IEMs and headphones I’ve ever tried, this is definitely the closest one to sounding truly lifelike. The scale of technical superiority combined with an incredibly rich and accurate tone and an insane doze of fun in it, makes it my absolute all-time favorite, beating the Xe6 by quite a margin actually (more on that in the comparison section).

For me, audio has always been about emotions. We’ve got a lot of audio objectivists nowadays, but I’m more old-school, as I think that every single person has a different taste, they’re used to different sound type and they have their own, individual “sound goal”. It’s just a huge pleasure for me to review this IEM, as I’ve never ever felt so close to finding that perfection in audio, and I have listened to quite a lot of different audio devices. The Fir Kr5 is truly a special one for me, and while this review has been absurdly positive, I’m just giving the credit where it’s due. This is my subjective rating, and I’m saying it out loud: This is the best IEM/Headphone in the world for me. Of course, I haven’t heard everything there is, and I’m yet to try some of others TOTL IEMs such as the Vision Ears EXT, Traillii, Jomo Audio stuff, etc. But out of everything I tried so far, this is it.

Comparisons​

Final A8000



The Final Audio A8000 has always been known for its fantastic technical performance and tuning that surely wasn’t for everybody. That Beryllium Dynamic Driver has been a marvel for years already, and the A8000 has found a lot of owners, even though it comes at a rather hefty price tag ($2000).
The IEM market is constantly evolging though, so this is very interesting to compare the Kr5 to an IEM that has set the bar back in 2019.

As far as the overall presentation, unboxing experience and build quality go, I’d say that these two trade blows. Both are great, but they do deliver different kinds of emotions. The A8000 is of course, more “Japanese” in a way where everything is incredibly coherent and just pure quality. The unboxing experience, while not very luxurious, is just elegant and mature. The Kr5 on the other hand, is more fun and modern, lacking that aspect of elegance and refinement.

When it comes to the build quality, both are exceptional. The A8000 definitely looks more interesting with their polished Stainless Steel shells that just look absolutely lovely. However, I never managed to listen to them for more than two hours straight, as sharp edges of the shells start making me uncomfortable. A 10 minute break is all it takes, but still, for me this is a bit of form above function. The Kr5 on the other hand, while not looking as impressive, is more comfortable. The biggest problem of the A8000 for me is the nozzle lenght, and it’s a lot longer in the Kr5, resulting in a more secure, comfortable fit for me personally.

Let’s get to the sound. Starting from the bass, the A8000 has absolutely nothing to say when compared to the Kr5. As I already said a couple of times, the Kinetic Bass technology is a game changer, and the Kr5 just wipes the floor with the A8000 when it comes to the bass. After listening to the Kr5 for a few hours, you put the A8000 in your ears and you just immidiately feel underwhelmed by its traditional bass reproduction. There’s no tactility, no physicality, no rumble. The midrange is somewhat a similar story, where the Kr5 feels more natural, full-bodied and more tactile, with better detail retrieval. The A8000 definitely sounds brighter, firmer and more aggressive, where the Kr5 is just right in the middle, sounding incredibly natural. The treble feels similar at first, but the amount of resolution of the Kr5 is superior to that of the A8000, giving you a much more pronounced yet smoother and more realistic treble presentation. As far as the soundstage goes, the A8000 is a great IEM, but the Kr5 goes a step further. This part isn’t as dramatic as the previous ones, but still, the Kr5 comes out as a better choice.

The A8000 has had a wonderful run for these past three years, and I still have friends that rock these as their daily driver, with no desire for a change. However, the price difference between the two is not that huge (if you can spend $2000 on a pair of IEMs, you can probably spend $3000 as well), and seeing how much better the Kr5 sounds in every aspect, it’s definitely, unmistakely worth paying extra.

Dita Perpetua



We have just reviewed the new Perpetua flagship IEM by Dita, really enjoying its unique tuning and a very coherent sound signature that is just perfect for chilling. Since the price tag of both the Perpetua and the Kr5 is the same, it would have been a pity if we haven’t compared the two, so here it goes.
Let’s start with the unboxing experience. The Perpetua is just something else in this regard, offering a much better, more generous and luxurious feeling presentation than the Kr5. There’s absolutely no doubt who’s the winner here.

As far as the build quality goes, the Perpetua uses Titanium shells with an elegant and down-to-earth design. However, these IEMs are just humongous when compared to a way more compact Kr5. This hugely reflects on the comfort, since I can wear the Kr5 for longer periods of time. The Perpetua is by no means an uncomfortable IEM for me, but the Kr5 is just more comfortable. Additionally, this might just be be, but I somehow feel that the Kr5 is more robust and will survive a more hardcore abuse than the Perpetua (please don’t test it).

Let’s get to the sound. These two IEMs have a similar capability of sounding incredibly pleasing and coherent, but the Kr5 is just a much more technically impressive IEM out of the two. The detail retrieval and resolution of the Kr5 are miles ahead of those of Perpetua, sounding more insightful and way more detailed. The biggest strength of the Perpetua is its tuning which makes everything sound relaxing and pleasing, but the Kr5 takes it to another dimension.

Using five drivers instead of one, implementing a few ground-breaking technologies such as Kinetic Bass, Open Acoustics, Atom Venting, etc makes for a much more impressive and technical sounding IEM that sets the new standard for the industry. While the Perpetua is a really good, unique sounding IEM that will fill a niche for some people, the Kr5 is just a force to be reckoned with for every single IEM in the world. We’re talking about very good vs the best.

Fir Audio XE6



Here’s something that a lot of you have been waiting for. Usually, an audio manufacturer reserves the “flagship” slot in their lineup for the absolute best product they make. Ever since I got the Xe6, I immediately fell in love with them, claiming that they are my new favorite IEMs of all time. Well, they haven’t held that status for too long.

And what a surprise it is that actually, a lower model of the same manufacturer took that nr.1 spot for me. Let’s dive in.

Speaking about the unboxing experience, these two are just almost identical, so I don’t want to waste your time. The build quality is also impossible to rate, as the Xe6 I’ve got is a custom version, whereas the Kr5 is universal. Both are built exceptionally well, so at least I can give you that.
Now onto the sound. The Xe6 is an absolutely awesome pair of IEMs, definitely one of the most intense and fun sounding that I’ve ever heard. However, there are a lot of differences between the Xe6 and the Kr5.
First of all, the Xe6 has an even bigger and even more physical bass than the Kr5. One could actually argue which one is simply “better” in the bass, but I think that this will come down to personal preferences. The bass of the Kr5 is slightly quicker, leaner and a bit more textured. The Xe6 however offers an unrivaled intensity, rumble, and physicality to low frequencies. Some users have actually pointed out that the Xe6 has bigger Kinetic Bass openings, which may lead to a bigger bass presentation, but it’s just a guess.
Here the slight similarities end. The Xe6 is definitely more colored, more intense sounding and actually, it’s also sharper. The Xe6 is probably still the most fun-sounding IEMs on the market with its ridiculous bass response, fantastic richness and smoothness to the midrange, and forward and splashy-sounding treble. The Kr5 however just sounds more natural, coherent, and mature, not being as extreme, but it just sounds more lifelike.
What’s most surprising though, is that the Kr5 is even more detailed, and it offers a higher resolution than the Xe6. Yes, two aspects that are almost always reserved for flagship models, are going to a lower, less expensive model. This situation for me looks a little like a “secret weapon” of Fir Audio, as I actually believe that the Kr5 is a better IEM overall, not even mentioning that it’s more “affordable”. Of course, if you’re after a more unique, crazy fun, and intense-sounding IEM, the Xe6 is still a fantastic job and I’ll keep recommending them left and right, but if you want the “best of the best”, the Kr5 is your guy.

One more thing, as a reviewer, I have a great possibility to watch brands grow and improve, and Fir Audio is just a beautiful story. When I was reviewing their VxV back in early 2021, I stated that this company has the potential to really shake up the audio market, they weren’t quite there yet, but they surely were going in the right direction. Now we’re in mid-2022, and Fir Audio is now sitting on the very top of the audio mountain, being one of the best, if not THE best IEM manufacturers in the world in my opinion. This is what hard work, an innovative mind, and bravery get you. It’s a huge pleasure for me the be observing this from a front row, and I’m keeping my fingers crossed for Fir Audio for the future. Who knows what they will come up with in the future, and if they’ll keep improving, and will release an IEM that is even better than the Kr5, then I don’t know if I’m prepared for that. Luckily, it’ll take some time till we get there.


Fir Audio M5



This direct comparison will tell us how much of an improvement Fir Audio has made over the last year. The M5 is a flagship model of their previous M-series lineup, with a price of $2799.
As you can see, the previous flagship is actually less expensive than the current “mid” model, but all of this RnD doesn’t come cheap.
Once again, I’m not going to compare the unboxing experience, as not a lot has changed honestly, mainly the case. The same goes for the build quality, as once again, my M5 is custom, and the Kr5 I’ve got is universal.
That leads us straight to the sound quality. This might sound harsh, but the reality is simple: The Kr5 is a much, much better sounding IEM than the M5, in every single way. First of all, the Kinetic Bass makes the bass response of the Kr5 miles ahead of the one found in the M5, this is not even a competition, it’s a slaughter. Everything else, while not being AS dramatic, is still very significant as well. The detail retrieval, resolution, coherency, soundstage, and timbre are all way better on the Kr5, which just feels like a completely different, more mature and technically impressive product.

The Fir M5 is by no means a mediocre IEM, I still use it quite frequently to this day and I enjoy it a lot. This is just an aspect of comparing a very good IEM to a God-Tier one, you just simply cannot argue the superiority of the Kr5. Once again, this is exceptional how much Fir Audio improved its products over the last year or two. Having in mind that these cost more or less the same amount of money, I cannot find a single reason why you should go with the M5 over the Kr5. New models, lineups, and technologies are not always better when it comes to audio, but in this specific situation, it’s just a big, big difference.

Hifiman Susvara



Okay, let’s get really serious. Let’s compare the Kr5 to the best pair of open-back, planar-magnetic headphones in the world, the almighty Susvara.

While comparing IEMs to full-size headphones might not sound too logical, both are meant to reproduce the sound, so even though their form factor is vastly different, the core aspect remains the same.

So, to truly understand my impressions of the Susvara, you should go and read our “Battle Of The Flagships” article here. The Susvara has secured an nr.1 spot in our big comparison, and for a reason. For me, this is the best pair of headphones you can buy right now, regardless of the price.

The Fir Audio Kr5 actually reminds me of a “compact” Susvara a lot, with one major difference – the bass. I cannot praise the Kinetic Bass enough, and I’m going to do it again. When compared to the Kr5, Susvara just sounds lean and boring in the bass department, lacking that tactility and physicality. Of course, not every single one of you will want to have that kind of bass response, but once you’ll try it…there’s no going back.

As far as the rest of the sound is concerned, these two are actually quite similar. Both offer unparalleled detail retrieval and resolution, both are incredibly natural, sweet, and engaging sounding, while not sounding harsh or artificially “good”. This is Peak Audio, where everything just sounds incredibly right, coherent, and insanely lifelike. If you own the Susvara and you always wanted to bring that level of sound quality out of your cozy home, you can just now. The Kr5 is an IEM version of the Susvara with an addition of a godlike bass performance (think about the Susvara with 1266’s bass), and you can put it into your pocket, while not needing a nuclear reactor in your backpack to power them properly.

Cables​

I’m going to do something I’ve never done in my reviews before. While listening and testing the Kr5, I tried them with a couple of different aftermarket cables, which have given me slightly different results, so I want to share my experience with you. At the end of the day, you might pull the trigger on the Kr5 and wonder what upgrade cable to get, so maybe this will help you.

Erua TAWA



Our “Best Cable of 2021”, the Erua Tawa remains in my arsenal as one of the go-to cables to pair with high-end IEMs. Its incredibly rich midrange and great separation prove to improve almost every single IEM I try it with significantly.
When paired with the Kr5, it adds a little of that “magical mist” to the midrange, resulting in a slightly more calm and romantic sound. The overall sound becomes more organic and sweet while keeping that insane technical capability. Definitely a great pairing if you want a slightly less neutral type of sound, with a focus on color, richness, and sweetness. I really enjoy this one during my late-night listening sessions, when I really want to chill and relax. Definitely a big step-up from the stock cable.

Astral Acoustics Eclipse



This cable is more of a “safe” option for the Kr5. It makes them sound a little warmer, it adds body to the sound and makes the treble a little less energetic. I will call the Tawa a better pairing in this specific example, as the Kr5 doesn’t really need that extra body and warmth.
However, if you own a rather technical or slightly harsh-sounding system, the treble of the Kr5 might come up as a touch too much for you, hence the Eclipse might be a great choice in this situation. If your system is good and neutral/natural though, I’d rather go with the TAWA personally.

Cross Lambda Apollo GB



The review of this cable is currently being written, but oh what a review this will be. Let me start by saying, that this cable costs $6000, which is just absurdly a lot for an IEM cable. The customers and sales will eventually evaluate if this price is anything near being “reasonable”, but for now, this comes as a huge shock for everyone.
Let’s not focus on the price though, as honestly, I’ve seen speaker cables costing as much as $100k, so $6000 for an IEM cable doesn’t look that insane for me personally. At the end of the day, there are some really wealthy people walking around us, that make that amount of money in an hour. If a person buys it and enjoys it, is it really that absurd? Nope.

Okay, the sound. Apollo GB is a cable that offers a Godlike black background and separation, and the overall tone of it is very natural and neutral. This pairs with the Kr5 just insanely good, as it just lets the Kr5 show its whole capability. The resolution, detail retrieval, texture, and control just sound incredible, like I’ve never heard before. While I won’t go as far as recommending you to buy a $6000 cable for a $3000 pair of IEMs (this would have been mental), I can definitely say that this pairing just sounds heavenly. This just proves to me, that the best cable you can pair the Kr5 with, is as neutral and technically capable as possible. You don’t really need to alter the sound signature of the Kr5, just give it the best “objectively” sounding cable and let it spread its wings.

Summary​

If you made it this far, you already know how incredibly in love I am with this IEM. Good unboxing experience, perfect build quality, and the best sound I’ve ever heard, not only from a pair of IEMs, but from any audio product ever. All of these give me no choice, and I’m officially crowning these as my subjective “Best IEMs in the world”.

The search for the perfect sound is a journey that takes years. I’ve been into audio for 10 years already, listening to stuff that costs as much as a new Bentley, and after having the Kr5 for a while now, I’ve never felt that close to the goal of finding “the perfect sound”.

This review was highly emotional for me and it probably was a bit chaotic and weird for you to read, and I apologize. However, I tried my best to focus on the aspect of enjoyment, as truly great audio is not only about great measurements and natural tuning, there’s more to it. A truly great audio product brings emotions, and the Kr5 did that for me like nothing ever before.

It is my huge pleasure to recommend the Kr5 to everyone that has $3000 to spend, as you surely won’t feel disappointed. This is THE IEM to get right now.

Fir Audio – Fantastic job, whatever sorcery you put into these, it works. Can’t wait for your next releases. I will definitely have my fingers crossed.
Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Fir Audio Xe6, Fir Audio M5, Final A8000, Dita Perpetua, Campfire Audio Supermoon, Unique Melody MEST, MEXT, Hifiman Susvara, Meze Elite, Final D8000 Pro, Sony MDR-Z1R
• Sources– Cayin N3Pro, Hifiman EF400, EarMen Angel, EarMen Tradutto, Yulong Aurora, LittleDot MK III SE, SMSL SH-9, SMSL DO100 + HO100, FiiO M11 Plus ESS, XIAudio Broadway S, Burson Playmate 2, XIAudio K-DAC, Hiby RS6, Burson Playmate 2

Big thanks to Fir Audio for providing the Krypton 5 for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Fir Audio hasn’t seen this review before publishing it.

Introduction​

The time has finally come, the first review of Dita Audio on Ear Fidelity! This is a rather exotic brand for us here in Europe, having its Headquarters in Singapore.
Their products got my attention a while back, and I really like their approach to making products. Instead of going for hybrids and new, flashy specifications, they have a rather minimalistic way of creating IEMs, focusing on the quality of every single aspect.
Today we’re reviewing their new flagship, the Perpetua. This is a single Dynamic Driver IEM priced at $2999, which might attract some eyes of doubtful people. Luckily, after reviewing a lot of different IEMs and being in the audio game for about 10 years now, I know very well that the specification and driver count has nothing to do with value.

Just look at one of the most iconic IEMs of the last 5 years – the Final A8000. It uses a single Dynamic Driver as well, is priced at $1999 and it already is a legendary product that has a lot of users.
There’s also a trend going on lately, where more and more budget IEMs get really impressive technically. However, many IEMs have been lacking one thing in my opinion – the tuning. We’re getting very technical sounding IEMs very regularly lately, and it’s not the only way to do audio. The stereo HiFi market is more diverse when it comes to tuning of products, and it would have been nice if our headphones market implement some diversity as well.

The hero of today’s review might be a great example of this. It’s really hard to produce a $2999 IEM using a single driver that will rival the best tribrids on the market when it comes to technical performance, so you, as a manufacturer, have to focus on different aspects (that are just as important as the technical performance).
Just take a look at Fir Audio, which I’m a huge fan of, especially because of their new lineup. Just look how much tech goes inside these IEMs, such as the Kinetic Bass, Atom Venting, Open Acoustics, etc. Also, their models use multiple drivers per channel, which has proven to improve the sound quality in most scenarios.
So, instead of trying to reinvent the wheel, Dita went all-in for a tuning that’s going to set the Perpetua apart from the rest of the offerings on the market. Not everyone is looking for the ultimate performance, a lot of people just want a type of sound signature that will fit their preferences. Dita Audio seems to know it very well, so they focused on the aspect that they felt very confident with.

Having all that in mind, I was very excited to try the new Dita Perpetua. The moment I received them the whole experience started…at it’s quite an experience.

Packaging​

The unboxing experience of the Perpetua is definitely one of the best and most unique I’ve ever seen in this hobby.
First of all, it comes in a protective outer box that you literally have to “rip apart” to get inside. When you get past it, you’re greeted with the proper, gray box. It has a unique way of opening, with two rubber bands that hold the lid. This box is of great quality and it looks beautiful in person, I actually use it to store some things on my desk.

Let’s get inside. The first thing that draws attention is one of two cases that you’re getting. It is a case similar to what you’ll get with a pair of high-end sunglasses. The material is leather which is very smooth to the touch. This is a very high-quality case and it feels luxurious. However, it’s a soft case, so it doesn’t offer too much protection for your new expensive IEMs. Oh, you’re also getting a strap that you can attach to the case and rock the thing attached to your belt. Nice touch.



Inside this case, you’ll find your eartips (looks like Final audio ones), and a set of different jack plugs (since the cable you’re getting has a multi-plug technology) – more on that later.

Next up, is the second case. Have you ever seen an IEM that comes with two cases? Me neither. Well, it’s never too late for experiencing something for the first time, isn’t it. The second case is a hard case that has a very interesting lid design. It has a small handle on top that you can pull to release the air out of the case, which helps with opening it. This case doesn’t have a screw-on lid, so this air pressure system is all you’re getting when it comes to keeping it closed.

While this is very interesting and unique, I don’t think it works well enough. Actually, you’re getting two cases and I won’t trust any of them to just throw in the backpack and be sure that nothing will happen to your new Perpetua. Of course, if you just want to put your IEMs in the pocket of your jacket, you can definitely use the soft case as it is very elegant and doesn’t take too much space. The hard case, however, is more of an “on a desk” type of scenario, a place that you can just put your Perpetua in and keep it within reach.



Another thing you’ll be getting is a set of stickers and a postcard. The thing that just has to be mentioned is the quality and design. These are the best-designed stickers I’ve seen in audio, they look polished and very intriguing. I absolutely love the idea, it surely doesn’t add too much cost for the manufacturer, and you can rock the stickers with pride on your laptop, phone, or basically anywhere. As for the postcard, I don’t think this is actually meant to be sent, but it’s also a very nice and unique accessory that is just fun to experience.

Lastly, you’re getting a very nice-quality cleaning cloth, for keeping the Perpetua clean. Overall, the entire unboxing experience is a blast and something truly unique. Even before listening to the Perpetua, you got a sense of getting something luxurious and special. Dita Audio really cared about the whole experience from the very beginning and I appreciate it a lot. This is what high-end portable audio should always look and feel like.

Design, Build and Comfort​

So far, the Perpetua feels like an extremely high-end and luxurious product, let’s see if the trend continues with the build quality and comfort.
The IEMs themselves are actually quite large, but their shape is very organic and comfortable to my ears. After unboxing them I was actually scared if they’ll fit me, as the size of the shells is really huge. They had to put these big, 12mm Dynamic Drivers somewhere, so it’s not really surprising, but keep in mind that if you have very small ears, these might not fit you.

Apart from the size, the shells have some weight as well. They are made of CNC Titanium and they definitely are not the lightest pair of IEMs you’ll ever experience, definitely not. However, the size and design are just well executed and I would never call the Perpetua uncomfortable. Even my girlfriend finds them quite comfortable and is able to use them for a couple of hours without fatigue. This is mainly due to the lack of sharp edges, as the entire IEM is round and smooth to the touch.
As for the design, I really like the look of the Perpetua. They definitely look unique and interesting, you definitely can’t mistake them for anything else on the market, apart from other Dita models. The design is pretty minimal, and they can look a little bit underwhelming at first glance. However, this feels like a classic Japanese design for me – minimalistic and modest, yet refined and organic.

Let’s get to the cable, as this is pretty interesting. First of all, the second generation of the Awesome Plug is just a blast. I do believe that multi-plug systems are game-changers, and I wish that more and more manufacturers are going to use them. This specific plug system works brilliantly, you simply plug it in and screw it on, so it’s just perfectly secure and convenient to use. Of course, you’ve got a 2.5mm, 3,5mm, and 4.4mm option, so you’re pretty much covered with every device you’d like to use the Perpetua with. Brilliant.



The cable itself is a bag of mixed feelings for me. The wire is pretty thin and flexible north of the splitter, and quite thick in the lower area. The cable looks great with transparent isolation, showing off that beautiful wire inside. It’s the splitter and the 2-pin connectors that I have a slight problem with though. First of all, the splitter is unnecessarily bulky, resulting in some problems with the ergonomics. If you’ll rock this cable under your shirt, you’re going to feel the splitter at all times. Something more stealthy and smaller would have been better in my opinion.

The 2-pin connectors however are problematic in two ways. First of all, the Perpetua uses a recessed socket, so it’s problematic to cable roll them. I don’t really like unique connectors, as a lot of audiophiles like to cable roll their high-end IEMs, and using recessed sockets definitely makes it harder and less convenient. Another thing that I don’t really like is the physical aspect of the connectors themselves. The Perpetua is a very well-made and luxurious pair of IEMs, and these connectors just look unappealing. They have a semi-transparent plastic look to them, which ruins the look of the IEMs. Dita should have gone for black connectors made of the same materials as the shells, which would have resulted in a more seamless, polished look. It’s just the aspect of the look of the Perpetua that bothers me a little every time I look at them. No complaints about the quality though, just pure aesthetics.

Lastly, the Awesome Plug is a marvel. The jack connector is pretty large, but it’s extremely well-made and robust, so I definitely don’t worry that it’ll break anytime soon. This thing is built to last and Dita really did make a great job with it.

Tech​

There’s not a lot to say about the tech of the Perpetua. It uses a single, 12mm PPT-D Dynamic Driver per side. We’ve seen some high-end single DD IEMs in the past (Final A8000 for example), but the Perpetua is probably the most expensive so far. I don’t think it’s a problem whatsoever, as single DD IEMs have proven their worth in the past.

Here are two cents from Dita about the driver:

“The PPT-D sits in an acoustic chamber of titanium specially optimized for its size and function. Maximizing both the 12mm driver’s potential and the metal’s sonic qualities. A continuation of the tuned acoustic concept used in earlier products such as the XLS.”
Another thing worth mentioning is that the internal wiring of the Perpetua is made with a pure silver Kondo Audionote Japan wire. This is a high-end big-boy stereo brand that is legendary for its spectacular sound quality. It’s very nice to see a brand caring about the internal wiring of their high-end IEMs, and I’m glad that Dita is highlighting it in their product’s description.

Sound​

Let’s get into the sound of the Perpetua. Dita Audio describes them as organic, full-bodied, and lush sounding, and this is actually spot-on. It’s one of these IEMs that you’re listening to for a couple of hours and don’t really know what to think. Not because anything is wrong, but because it just sounds forgiving, easy, and natural.

The bass is full-bodied and it has a great texture. It’s not too extreme sounding, as the entire Perpetua is rather a soft and relaxed sounding IEM, and the bass is no different naturally. It has similar qualities to the bass of the A8000, sounding snappy, detailed, and crispy. I somewhat feel like the bone conduction and especially the Kinetic Bass technology from Fir Audio has changed and will continue to change bass delivery in IEMs, hence the Perpetua cannot really match the bass presentation of the Kr5 or Xe6 from Fir Audio. However, having in mind traditional IEMs, the Perpetua offers a very high-quality bass response that is fun to listen to while staying natural and soft. This is not the most hard-hitting bass responses you’ll hear, but it was never meant to in my opinion. What’s very impressive is the reproduction of the acoustic guitars that gain that rich body of the soundbox. Also, male vocals benefit from that kind of performance as well, giving them a natural thickness that is highly desired. Overall, the bass never sounds too forward, nor does it stay behind, it’s there when it’s needed.

The midrange is the best aspect of the Perpetua. It sounds very smooth and relaxed, further expanding on that soft and musical tone. The entire midrange frequency sounds linear and natural, and thanks to the exceptional texture, it sounds highly involving and delicate. I’m yet to find an instrument or vocalist that sounds unnatural on the Perpetua, and I don’t think I’ll ever do. It has that ability that you don’t really listen to the sound, as it’s so unforced and coherent sounding. I actually gave the Perpetua to two of my audio friends to try and give me their impressions, and they had a hard time describing its sound. They can sound underwhelming at first, but the more you listen to them, the more you understand what’s going on. This is a musical masterclass that makes the IEMs disappear and leaves you with just the music, which is very hard to achieve with IEMs. I’ve had that kind of experience with high-end stereo setups a couple of times, but with IEMs…probably never as much. We really have to appreciate this kind of performance. The high-End IEM market is full of IEMs that sound extreme and very impressive, but there are not a lot IEMs that just try to get out of the way and give you an ultimate chill experience.



The treble is once again, smooth and musical. It never gets harsh, but it doesn’t sound dull or technically underwhelming. Of course, this is NOT an ultimate detail and resolution type of experience, and it’s not the most extended, but when it comes to timbre and smooth texture, this is truly great. The treble continues on the trend that the Perpetua sounds pleasant and very forgiving, not focusing on the ultimate technical superiority. Actually, this reminds me of high-end Japanese stereo devices, that tend to have similar qualities. Take Audio Note, for example, it’s been known for decades for its smooth and highly musical sound, never sounding overly technical or initially spectacular. It’s all about the long-term enjoyment and getting the sound that is just coherent and easy to listen to. If you ever tried BBC speakers, you probably know what I’m talking about. I used to have BBC Spendor speakers a couple of years ago, and I found myself listening to music more, and focusing on the sound less, which was a deliverance for me. I feel that some people really need to hear this kind of sound to enjoy audio more, as we often get tired of all these hyper-technical sounding headphones that keep us on the edge of the seat. The Perpetua is just perfect to just sit in your Herman Miller Eames chair, have a glass of fine whisky, and just enjoy your evening. You’ll focus on the good things, and I promise…you will be relaxed.

The soundstage is very good, but once again, nothing extreme. It’s reasonably sized, reaching quite deep and wide, and the imaging is great. The Perpetua has that ability to make the instruments quite big and forward, but that doesn’t mean that there’s nothing else in the background. It just puts you in the middle of the performance, forget about sitting in the tenth row, you’re taking the stage. This is definitely a type of performance that is suitable with the entire frequency response of the Perpetua, as it helps that smooth and coherent type of sound. This is not an IEM to analyze the material and find the tiniest details in the background. It wants you to focus on the textures of the main event, so if this is your cup of tea, the Perpetua stages excellently.

Overall, the Dita Perpetua is a very specific type of IEM. Even though it’s very expensive, it’s not trying to justify the high price immediately. It just sounds in a way that lets you enjoy it more and more with time. This will definitely not appeal to everyone, as we, headphone enthusiasts tend to crave the best and most extreme sound. But I see the Perpetua being a brilliant choice for everyone who’s been into high-end Japanese audio for years and they got used to that soft, mellow sound that just doesn’t sound like anything. And trust me, there are a lot of them in the world. You can often read a sentence “speaker-like presentation”, and for me, the Perpetua is the perfect example of this statement. In its own way, but it’s just a super tiny, high-end Audio Note / vintage Accuphase / BBC type of stereo setup that you can put in your pocket.

Comparisons​

Final A8000



Two single DD IEMs, the already-legendary Final A8000 changed the landscape of the IEM market, marking the moment of a comeback of single-driver high-end IEMs.
Comparing these two is quite easy, as they sound nothing alike. The A8000 is definitely more technical, analytical, and extreme sounding than the Perpetua, which will appeal to some, but definitely not to everyone. The Perpetua sounds more coherent, more natural, and softer, being better for jazz acoustic music. The A8000 will be a better choice if you listen to electronic music or metal and you want that dynamic, ultra-fast sound with a lot of details. Overall, the A8000 is slightly more detailed than the Perpetua, but for the price of being way more shouty and harsh, also lacking the natural body in the lower midrange region.
The A8000 has always been a bit “too much” for me, sounding just too firm and fast subjectively, and the Perpetua is definitely more to my taste. Instead of trying to impress you, it just does its job and lets you decide whether you like it or not.

Cayin Fantasy



Another single DD IEM to compare. The Fantasy is a total opposite to the Perpetua, sounding extremely tiring and thin, sharp in comparison. This is a very specific-job type of IEM for those who want that hyper-technical, “take no prisoners” sound.
The Perpetua on the other hand is everything that the Fantasy isn’t. It’s softer, more delicate, more natural, and mature sounding, letting you enjoy the music, instead of analyzing every single aspect of the recording.
You might think to yourself, that it’s not a surprise having in mind the big price difference between the two. Actually, this is where it gets quite interesting. I don’t think that the Perpetua is vastly superior to the Fantasy when it comes to technical performance. It is with tuning where it starts to appear what you’re paying for. Instead of creating a tool to just get as close as possible to the recording, Dita Audio spent all their powers and experience on tuning this little guy to perfection. These are two completely different approaches to manufacturing IEMs, and I’m not in a position to answer you which one is the right one. For me, however, the Perpetua is just hugely more mature, polished, and soulful, and I like it.

Fir Audio XE6



Up until last week, the Fir XE6 was the best IEM I’ve ever heard. This has just changed, and what’s the new king…you’ll find out pretty soon.

The XE6 is just an incredible pair of IEMs that is the perfect marriage of technical superiority with a beautiful timbre. Also, it has the best bass in the history of IEMs thanks to its epic kinetic bass technology. There’s just nothing like it on the market.

So, the Perpetua has a lot of a task ahead of it. First and foremost, the XE6 is better of the two when it comes to the bass, detail, resolution, and soundstage, there’s no question about it. The XE6 is just a hugely impressive IEM that sits on top of the current audio summit. The Perpetua on the other hand sounds like it’s not actually trying to rival it. It just focuses on that infinite musicality and smooth tonality, not trying to impress.

So, the Perpetua is a much calmer, smoother, and more delicate sounding of the two. It won’t take you dancing, and it won’t make you say wow. It just lets you sit back and relax, while the XE6 offers a way more impressive sound that is packed with details. There’s actually room for having both in your arsenal, as they would serve different purposes.

Meze Elite



The Perpetua actually reminds me of the Meze Elite but in an IEM form. Both have the ability to sound extremely coherent and relaxing, but not dull at all.

Both headphones are quite forgiving when it comes to the quality of mastering, but they do not make anything sound the same. It’s just a type of tone that is highly musical and easy to listen to. Both are a great choice if you want to listen to headphones that are going to make you relaxed and not over-analyze things too much.
It doesn’t come at a cost of detail retrieval and resolution though, as both the Elite and Perpetua are highly capable, but not the best in their price bracket. However, not every headphone/IEM aims at being the most technically impressive.
I do believe that tuning is the most important when it comes to performance. You can have all the details in the world, but if the IEM is tuned badly or just weirdly, you’re not going to enjoy it. The Dita Perpetua is made to deliver a specific type of experience, and it does that brilliantly.

Summary​

The Dita Perpetua is an excellent choice for a relaxed, smooth-sounding IEM. While it comes at quite a high price, you’re getting a fantastic unboxing experience, great build quality, and a sound that is addictively mellow and easy.

It feels like an IEM forged by Japanese Hifi veterans with its sublime tuning and a very mature, coherent signature. If you’re looking for ultimate performance in this price bracket, you won’t find it here, but the Perpetua is not about it. It’s a marvelous IEM for your everyday carry, providing a type of sound that will work everywhere and with everything.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Fir XE6, Fir KR5, Final A8000, Cayin Fantasy, Meze Elite, Hifiman Susvara, Campfire Audio Solaris 2020, Campfire Audio Supermoon
• Sources– Cayin N3Pro, Hifiman EF400, EarMen Angel, EarMen Tradutto, Yulong Aurora, LittleDot MK III SE, SMSL SH-9, SMSL DO100 + HO100, FiiO M11 Plus ESS, XIAudio Broadway S, Burson Playmate 2

Big thanks to Dita Audio for providing the Perpetua for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Dita Audio hasn’t seen this review before publishing it.

Introduction​

EarMen products have been reviewed many times here, always scoring great. Their Tradutto DAC is still my favorite after months of using it. EarMen is always spot-on when it comes to timbre, sounding both technical and musical at the same time.

It’s just one of these brands that never disappoints. Their products are just great to listen to, never sounding too extreme or too laid-back. This is probably due to the fact that EarMen origins from Auris Audio, a high-end manufacturer of tube amplifiers and such. They truly know how to tune a product.

Let’s go back in time for a second. In May 2022 I was visiting Munich High-End show. EarMen obviously has been there, and I was very excited to meet and greet with some staff that I haven’t met yet. I’ve known Miki Trosic for many years now, as we’ve met a couple of times at the Warsaw Audio-Video Show.
I was very pleased to meet Miroslav and Filip from EarMen, they are so friendly and kind, always open for a chat! Seriously, I could have go grab a drink or ten with them, they are so friendly, but I’m not sure if I’d survive that.

After checking out their new CH-Amp amplifier and Staccato streamer, Miroslav asked me to wait a minute. He then came back with something in his hand. He handed me this mysterious package and said “This is for you, feel free to review this when the time comes”. You guessed it…inside was the brand new Angel.
I immediately asked Miroslav if he has any demo units at the show to try right away, and he had. It was paired with Meze Elite, so I gave it a go. This brief test made me even more impatient to get back to Poland and try the Angel more.

Packaging​

I’ve received the Angel with no packaging and accessories, so sadly I cannot comment on these. Knowing EarMen, the packaging will be of great quality and you’ll be getting some USB-C cables in the box, and maybe some other accessories.
You’ll have to wait for other reviews or some unboxing articles to get to know what you’ll be getting with the Angel.

Design and Build Quality​

The Angel looks like a bigger brother of their TR-Amp (review here). It’s quite large, blue, and built like a tank.

Let’s start with the design. While I’m not personally a fan of colorful devices, the Angel just looks brilliant. It’s painted in metallic blue and it doesn’t look too flashy at all.
The photos on the internet show the Angel having a big, black volume knob. My unit has a shorter, silver one. I don’t know which one you should expect if you’ll be ordering this device. My guess is that it’s going to have a black volume knob, and the silver one was just a prototype in my case.

Let’s get to the build quality. The Angel is literally a tank. It feels dense, well-made, and very substantial. The only thing I don’t really like is that it has some sharp edges. Nothing too extreme though, you won’t be cutting your hands while using it.



The Angel weighs 340g and it’s not the lightest device you’ll find. If you like to put DAC/Amps in the pocket of your pants, I think that this will be an overkill. However, if you want more of a transportable device for your trips, hotels, trains, etc, the weight and size of the Angel will not be a problem.
On the back of the device, you’ll find two USB-C connectors. One is for charging, and the other one for data, so you can definitely use the Angel while charging, or just leave it plugged in all the time if this will be your desk scenario DAC/Amp. Next to the USB-C connectors, you’ll find a digital in, an unbalanced line out, and a 4.4mm line out for your balanced devices.

On the front, apart from the volume knob, you’ll find a Direct/Pre Out selector, a button activating Gain+, and two headphone outputs (3.5mm and 4.4mm). The volume knob works well, it has a lot of steps, so you’ll be able to find a perfect volume for yourself.

Tech​

The EarMen Angel is impressive when it comes to technology.

First of all, it’s fully balanced, offering a balanced headphone out as well as a balanced line out. It packs a lot of power, thanks to using a 2-cell battery. How much power you’d ask? 8.5Vrms out of its 4.4mm headphone out with gain+ with a dynamic range of 119dB. This is very impressive.

Its DAC section is built around ES9038Q2M chip and it’s capable of playing DSD256 and it also supports MQA Studio.

Let’s get back to the battery for a second. The Angel has a two-cell battery 2x3000mAh, so you’ve got plenty of playtime with a lot of power available. As I said previously, it has a dedicated charging USB-C port, so you can use it while charging, or just keep it plugged in all the time for infinite battery life.

The Angel also has a Gain+ option, giving you crazy flexibility when it comes to pairing with different headphones. It doesn’t matter if you’re using sensitive IEMs or some power-hungry planar-magnetic headphones, the Angel can run both without breaking a single sweat.

Lastly, you can use the Angel as a Pre Amp for your big boy stereo setup, and you can choose between single-ended and balanced, which also improves its functionality. I’m currently rebuilding my stereo setup so I wasn’t able to test it though, but seeing the performance of the Angel via headphone out, I’m pretty confident that it’ll sound incredible as a Pre Amp.

Sound​

At the end of the day, EarMen products have always been about sound quality. This brand just really knows how to create devices that sound impressive and natural at the same time. The Angel is their most ambitious device so far, so I was very excited to see how high can they score when it comes to sound quality.

Luckily, the Angel is not just about the numbers and impressive tech. It also sounds incredible with a very natural timbre, also offering enough power to drive most headphones in the world.

The bass is hard-hitting, big, saturated, and just extremely tight. Because of that great power output, the Angel is capable of taking full control over the headphones’ driver, resulting in a highly detailed and crispy bass delivery. Low frequencies are big and bold, but there’s no muddiness whatsoever. The Angel is a portable DAC/Amp that truly sounds like a stationary device, with that powerful sound packed with resolution. A couple of years ago, portable devices always sounded like portable devices, but these times are gone now. With the newest technology, portable (or transportable) devices can have a lot of power at their disposal, leading to sound that is by no means small or weak.
Back to the Angel though, the bass delivery sounds just about perfect with every headphones I tried it with, IEMs, planar IEMs, planar full-sized headphones, etc. It runs the Final D8000 Pro and HEDDphone with authority, not leaving anything to be desired, especially considering it’s a portable device. IEMs like my Fir Audio XE6 or Campfire Supermoon sounds incredibly tight and big at the same time, giving you a very physical and clean bass response that sounds just impressive.

The midrange is very clean and neutral, and everything sounds incredibly natural. There’s no coloration, leaving the room for your headphones to dictate the timbre of vocals. The entire midrange is packed with details and resolution, and the separation is outstanding. Once again, it doesn’t sound like a portable device whatsoever, it’s that impressive.
If you’re following Ear Fidelity for a while, you know what’s coming now…my flagship vocal text, a song called “A Thousand Shards Of Heaven” by Lunatic Soul. Mariusz sounds lifelike and very airy with the Angel, so the final outcome will depend mainly on your headphones of choice. Luckily, the Angel is transparent sounding, so it won’t make your headphones sound “different” than they should. Of course, there are some people that prefer a warmer or brighter tonality, but they won’t find it here. There’s just a hint of warmth in it, but I definitely won’t call the Angel warm-sounding. What’s very important though, is that everything is well separated and there’s a lot of room in the sound, so it doesn’t sound unnaturally condensed, like a lot of portable devices a few years back.



The treble is superbly clean, extended and rich sounding, without being peaky or sharp. The amount of resolution it outputs is so high, that there’s basically no grain or splashiness. Of course, if you’ll pair it with a sharp pair of headphones or IEMs, the final sound will be sharp as well, as the Angel doesn’t hide anything. Its treble is not smooth, or delicate, it’s just packed with details and transparency. I always found portable DAC/Amps to sound grainy and boxy in the treble, but the Angel definitely doesn’t follow that trend. Also, the transition between the midrange and the treble is very consistent, leading to female vocals sounding beautifully natural and rich. Additionally, the entire treble response has a proper weight to it, so percussion cymbals sound natural and thick, just like they should.

The soundstage is pretty much limitless. Depending on your pairing, you can get a more intimate experience, or a vast soundstage with huge depth. The imaging and separation are both accurate and natural, not sounding crowded at all. It’s not a DAC/Amp that will increase the size of your headphones soundstage, but it will not limit it either. Its job is to ensure that you’re getting as much realistic experience you can. Because of its fantastic resolution, the Angel is able to give you a great staging in both music and gaming, so it can also be used while doing some competitive gaming sessions.

Pairings​

Hifiman HE-R9

I have to make a confession: I’m a little bit obsessed with the R9 ever since getting them. These are fun, huge, vivid, and just epic-sounding headphones. My current pick when listening to electronic music or metal, because of that full-bodied bass performance.

The HE-R9 is not a power-hungry headphone, so the Angel can easily make them fly off your head (please don’t try it). In this pairing, you’re getting such an extreme bass delivery that it’s hard to stop listening to it. It sounds huge and rumbly, but it’s very crispy and well-defined at the same time.

I feel like the Angel has the perfect tonality for the R9 to sound their best. Because of its neutral and natural sound that is technically impressive, the R9 can just do what they’re best at – provide a hugely fun sound that is still detailed and accurate.

Meze Elite



Just as I wrote at the beginning of this review, the first pair of headphones I tried the Angel with was the Meze Elite, during the Munich High-End show. After playing with this pairing more, I realized how incredibly wise the guys at EarMen are for choosing these headphones.

This pairing is just brilliant. Everything about it just sounds right, the tonality is neutral and sweet at the same time, and the detail retrieval and resolution are both fantastic, just like the Angel was designed to go with the Elite. Also, this DAC/Amp is everything the Elite needs when it comes to power output, so you’re getting an incredibly vivid, dynamic, and full-bodied sound that is hard not to love with the Elite.

This setup sits right in the middle between technical and relaxed sound signatures, it’s just in the right place. It’s never tiring, sharp, or forced, yet it has an impressive technical performance, while also being highly involving. This is definitely my favorite.

Final Audio D8000 Pro



Both the Angel and the D8000 Pro are pretty neutral and great when it comes to technical performance. In this pairing, you’re getting a fantastic detail retrieval and resolution with a flat frequency response for a very natural type of sound.

The soundstage is huge, imaging very accurate and the instruments have a natural tonality throughout the whole frequency response. While you’re still going to get better results when pairing the D8000 Pro with a high-end stationary amplifier, the Angel lets you use them for trips, bedside listening, or just simply walking around the house. This is a very good combo for everybody looking for a very neutral and snappy type of sound performance.

Fir Audio XE6



The Fir Audio XE6 is the best IEM I’ve ever heard and owned. It has that huge and incredibly physical bass response and a beautiful tone throughout the entire frequency response, and it’s also absurdly detailed.

The Angel is a wonderful device to pair the XE6 with. This pairing sounds fun, impressive, and lifelike. The timbre is dictated by the XE6, so you’re getting that natural, rich sound, while the Angel is just making sure that these IEMs are getting all the information from the recording. The dynamics, detail retrieval, and pace of this pairing are unreal, one of the most epic and fun experiences I had with IEMs.

Campfire Audio Supermoon



This pairing is just a dream for detailheads. The resolution and detail retrieval are both spectacular, giving you an incredibly clean, crispy sound with A LOT of information.
What’s worth noting – I stated in my review of the Supermoon that this CIEM is quite demanding when it comes to power, and they tend to sound warmer and smoother when underpowered. Totally not the case here, the Angel makes these things fly, so you’re getting all that goodness from that great planar-magnetic driver.

The sound is also highly texturized, so it totally won’t satisfy you if you want a smooth and relaxed type of sound, because this is quite the opposite. If you want to experience the music through textures and details though, this is just marvelous.

Comparisons​

EarMen Colibri



Let’s compare the Angel to its smaller brother from the same mother, the Colibri.
The Angel is basically the bigger and better Colibri. It has a lot more power, it’s more detailed, more engaging, and just better in every aspect. The tonality is similar, but the Angel has more body and is more natural sounding, also because of its much better dynamics.

It’s easy to hear that EarMen sticks to their house sound, as their only device that really sounds different when it comes to tonality is the fantastic Tradutto DAC. The rest of their devices are neutral and musical sounding, and both the Angel and the Colibri are no different. It’s actually surprising how much better the Angel is when compared to the Colibri, but looking at the size difference, it shouldn’t be, to be honest.
If you’re using some efficient IEMs only, the Colibri is probably everything that you need, but if you’re into some more demanding stuff as well, the Angel is an obvious choice, as far as the price difference is manageable for you.

Burson Playmate 2 (V6 Vivid Opamps + Burson Supercharger)



Let’s compare the Angel to a big-boy stationary AIO that is fully packed with upgrades. The Burson Playmate with V6 Vivid Opamps and the Supercharger is a force to be reckoned with, offering a fantastic detail retrieval and a thick, musical sound signature from its Class-A output.
First of all, the Playmate 2 is more powerful than the Angel. While the difference on paper might not be that substantial, the Class-A output of the Playmate 2 is just very powerful. Still, when comparing a big, stationary device with something as portable as the Angel, we have to give credit to the latter.

When it comes to tonality differences, the Playmate 2 is definitely warmer, thicker, and bigger-sounding than the Angel, while the Angel is more about neutral tone and crispy midrange performance. As far as detail retrieval and resolution are considered, these two are not vastly different, I would say that they play in a similar league when it comes to technical performance, with a slight advantage to the Playmate 2. Still, we’re comparing two different types of products, so it’s still very impressive to see the Angel being a worthy opponent to such a brilliant, stationary AIO.

Summary​

I’ve never been a fan of portable DAC/Amps, to be honest. They always sounded like portable devices, and I didn’t see the point in using them regularly.

This changes today, as the Angel sets the bar for me when it comes to portable DAC/Amps under $1000. Its impressive technical performance, neutral sound signature, brilliant build quality, and incredibly vivid, lively sound make me want to use it more and more. It has enough juice for most headphones, yet it’s still great with IEMs. I use it a lot with my MacBook Pro, whether I’m listening to music, video editing, or just consuming content online. If you’re looking for a portable device that sounds like a proper stationary amplifier, the Angel is your guy.

Highly Recommended.
Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Final D8000 Pro, Meze Elite, Hifiman HE-R9, Fir XE6, Final A8000, Campfire Audio Supermoon
• Sources– MacBook Pro 2021, Yulong Aurora, Burson Playmate 2 (V6 Vivid + Supercharger), Earmen Colibri

Big thanks to EarMen for providing the Angel for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. EarMen hasn’t seen this review before publishing it.

Introduction​

I recently posted a cable review and I started it with a statement, that I would like to put here as well, as it makes a good intro to this review, so here it goes:

Reviewing cables is always fun and exciting…will I get attacked by people that don’t believe that a cable can make a difference? Will it be called snake oil? Will the world end up covered with fire and nuclear winter arise?
Jokes aside, I know that a lot of people will never even consider such expensive cable to buy, so if you’re one of them…just don’t read this review, you really don’t have to. You might want to however because there’s always new and exciting stuff in audio that can actually make a difference, and IEM/Headphones cables are definitely one of them.

I personally never doubted a minute about what a good cable can do to my setup. Right when I started my audio journey I just gave cables a try and I never looked back. The same thing goes with loudspeakers, tell me that speaker cables don’t make a difference, and I’m going to highly doubt your sense of hearing.
What’s most unsettling about the whole cables debate is how people get so emotional. Listen up, you don’t have to buy aftermarket cables, no one will ever make you do it, stop feeling the pressure. At the same time, some people really enjoy cables, we cable-roll, we’re just having fun…stop calling us names pretending to be a Messiah because you’re not and you’ll never be. “OOOOH, cables are such a snake oil!”, “cables don’t make a difference”, “you have to be blah blah to buy a $x00 cable”. You have a right to have your opinion, but you don’t have to ruin people’s fun because of it.
And no, I’m not defending cables manufacturers, I’m not saying that everybody in this hobby should go on and buy expensive cables for their IEMs or headphones. Definitely not. But a lot of people just like to do so, and since they’re spending their own money, they can decide what they are going to spend it on. I would love people to stop antagonizing cables because it’s just pointless. Snake oil you say? If you would really like to go that far, then start calling everything audio-related a snake oil. You can listen to music just fine with a $10 earbuds.

Okay, now that we got this out of the way, let’s get into today’s review. Astral Acoustics is completely new to me, I never tried any of their products, so when they reached out to me to try their new Eclipse, it was a no-brainer for me. I always love to try new and exciting cables for IEMs, as I use IEMs a lot, mainly in bed before going to sleep. These late-night listening sessions are sacred to me, as these are the moments that I’m most calm and focused, so comparing and evaluating different products are very easy. I’ve spent many hours listening to the Eclipse now, and I’ve got my opinion ready, so let’s get into it.

Packaging​

The unboxing experience of the Eclipse is basic and pretty good. The cable comes in a basic box, and inside you’ll find your cable and a soft carrying pouch. While this is nowhere close to something like Eletech, this is an IEM cable, so it’s pretty hard to expect anything else.
Overall, the entire experience is basic, but I’ve got nothing to complain about. It’s not spectacular, it’s nothing special, but it’s good enough. It is the cable that matters in the end.

Design, Build and Comfort​

Let’s get into the Eclipse now. Astral Acoustics proudly states that this is a very comfortable cable, saying this on their website:

“Worrying about the stiffness of the cable?
Well, it’s soft, very very very soft.”

Well, Astral Acoustics wasn’t kidding. The Eclipse is a very, very, very soft cable that is extremely comfortable and just a pleasure in everyday usage. Some aftermarket cables sacrifice comfort with their design, materials used, shielding, sleeving, etc.
Astral Acoustics definitely wanted to craft a cable that is going to be highly comfortable and convenient to use, and they succeeded without a doubt. This is a very important aspect of an IEM cable, so I’m happy to report that the Eclipse is just perfect in the comfort department.



As far as the design goes, the Eclipse looks good. Once again, it doesn’t look like anything exceptional, to be honest, the branding and color combination on the metal hardware looks a bit random, but it definitely doesn’t look “wrong” or “bad”. It lacks the refinement that Effect Audio and Eletech offer in their high-end models, but at the same time, the Eclipse is significantly cheaper than their TOTL offerings. Take note that I’m nitpicking, and the overall look and design of the Eclipse are both really good.
As far as the build quality is regarded, this is built perfectly. The braiding feels secure and even, and the metal hardware is of great quality. This is a cable that is going to last you a very long time unless you’ll run over it with your office chair or your cat decides that it’s time for a snack. If nothing crazy happens though, you won’t really have to worry about the durability, even if you won’t be too gentle with it. This is what a $1k cable should be.

Sound​

The Eclipse is made of a 24 AWG Type 4 Litz 5n Silver. While it kinda sounds like a list of specifications of a gaming PC, you don’t really have to care about it. While it’s good to know the difference between a copper and a silver cable, every cable is different at the end of the day, and its sound performance is what matters the most.

So, IEM cables are often called “upgrade cables”, and this is the perfect way to describe the Eclipse. You might have heard a description at some point in your life, that silver cables have that rather bright and crisp tonality to them, but this is more present in the lower-end of the silver cables spectrum
For me, good silver cables always had that refined warmth and lushness to them, and the Eclipse is no different this time. It just doesn’t force anything, nor does it try to push any frequency more than the other. It just sounds as a whole, refining every single IEM I tried it with. There are some cables that will give you a specific type of sound, and the Eclipse is not really that.

It doesn’t mean that it doesn’t have its perks though. The Eclipse is a full-bodied, crisp, and refined-sounding cable that pairs extremely well with high-end IEMs, that are able to show its qualities. Astral Acoustics points out that the low frequencies got a lot of their attention to provide an “exceptional low-end rumble experience”, and it really sounds this way. The Eclipse has a lot of authority over the bass department, giving you a superbly controlled and impactful sound. It does that without boosting the bass, instead, it focuses on the quality of what’s already great. I will elaborate more in the Fir XE6 pairing section.



The midrange got that hyper-realistic timbre to it, making the Eclipse exceptional with vocals. While it’s not as “magical” as the Erua Tawa, it sounds more energetic and fresh. I haven’t heard a single track with vocal that the Eclipse failed with, giving a very mature and polished sound that is just incredibly fun and pleasant to listen to. My classic vocal test, “A Thousand Shards of Heaven” by Lunatic Soul sent shivers down my spine, and I’m not kidding. The Eclipse has that ability to make vocals sound marvelously rich and natural while remaining airy and tonally correct. It also does great with metal tracks, where the vocal spectrum tends to be a bit on the hot side, as its high resolution and full-bodied characteristic make this kind of music more enjoyable.

The treble section is very impressive as well. Good silver cables have the ability to improve the resolution of the treble, while not getting harsh, and the Eclipse is a great example of that. It just makes everything more pronounced and shimmering, but it doesn’t make the treble any hotter. In fact, I find that the Eclipse actually reduces the harshness of certain pairings by a tiny bit, while also providing a better detail retrieval and resolution, which is hugely impressive. There are many cables that offer great technical performance, but for the price of the treble getting hotter and sharper. The Eclipse has a fantastic technical performance while remaining calm and smooth at the same time, and this is just bonkers. Some TOTL IEMs are on the very edge between being incredibly detailed and a bit too much, and the Eclipse helps them to remain on the “safer” side while being even more detailed and pronounced. A true upgrade cable, to say the least, that’s what it is.

Lastly, the soundstage is what you could have expected. While it won’t transform your IEMs into a staging beast, it offers a great, black background and marvelous separation that will make your experience a tiny bit better. The imaging and the actual size of the soundstage are both highly natural but never sound extreme or artificial. If you have an IEM that stages well, the Eclipse will make it even better, but it won’t transform it into a different type of experience.

Pairings​

Fir Audio XE6



Let’s start this section with the best IEM I’ve ever tried and owned. The Fir Audio XE6 is an incredibly capable IEM that has that godlike bass response. When paired with the Eclipse, the bass gets even more physical and crisp, and I didn’t know this is possible.
Actually, I think that this is just a perfect combo. You’re getting a truly TOTL technical performance with one of the most natural timbres possible in the IEM world. The Eclipse is a fantastic choice for the XE6, as this is already an incredibly physical, natural, and technical-sounding IEM that doesn’t need anything changed. Instead, the XE6 performs the best with a cable that sounds natural, physical, and technically impressive, and the Eclipse is just that. While the XE6 sounds more romantic and charming with the Tawa, it has more energy and packs more punch with the Eclipse.
Comparing the Eclipse to the stock cable shows just how good the Eclipse is. Every single aspect of the sound gets improved by quite a lot. Everything opens up, everything is more clear, and more natural and the technical performance is better as well. While the stock cable supplied with the XE6 is actually good for a stock cable, it just cannot match the XE6 at all.

Unique Melody MEST



The Unique Melody MEST is still a fantastic IEM after being on the market for a while now. When it comes to its technical performance, it’s beaten only by the best IEMs on the market, while also sounding highly engaging and just fun.
The Eclipse makes the MEST more full-bodied and impactful in the bass department. The vocals get slightly thicker and smoother, which is highly desired with this IEM in my opinion. The treble presentation of the MEST can be a bit too much for some, especially when paired with silicone eartips, and the Eclipse once again adds that lushness and refinement to counter that. While the TAWA is an even better pairing with the MEST, mainly because of its romantic and incredibly rich tone, the Eclipse is not a joke as well. Choosing between the two with the MEST will definitely come down to your preferences.
One thing I’d like to highlight – While this may seem rather absurd to buy a cable for nearly as much as the IEM costs, the MEST still punches above its price tag, especially when we’ll consider its technical performance. Because of that, it is absolutely worth it to invest in a great cable to pair it with. The MEST is one of the most grateful IEMs when it comes to cables.

Unique Melody MEXT



Let’s see how the Eclipse pairs with MEST’s younger brother, the MEXT. This is an IEM that focuses on its huge, hard-hitting bass the most. The Eclipse improves on this aspect even more, making the MEXT one of the most physical-sounding IEM on the market.
The overall timbre of the MEXT is on the warmer sound and the Eclipse doesn’t really change it, quite the opposite actually. It has that tonality that is somewhat similar to the MEXT, so instead of changing it, it further enhances the feeling of a warm and insanely thick-sounding IEM. If this is what you’re after, then this pairing might be superb for you, but if you feel like the MEXT is just too big and warm sounding, the Eclipse will not be the best option for you.
Because of that, I’d call this pairing rather specific and I’d definitely suggest trying it before pulling the trigger.

Comparisons​

Erua Tawa



Both the Tawa and the Eclipse are TOTL IEM cables, so this comparison just has to be done.
They have a different type of sound that is not that easy to compare. While the Eclipse is slightly warm, energetic, and very full-bodied sounding, the Tawa is romantic, rich, and colorful, so they both have different strengths.

Choose the Tawa, if you want that unique, incredibly rich, and romantic sound that shines in the vocal area the most. The Eclipse on the other hand focuses more on the bass, which is physical and powerful. Both are spectacular, and choosing between them will come down to your preferences and the IEMs you’re going to pair them with.
If you’d like to sweeten your IEMs up a bit, add color to the sound and improve the vocal area, the Tawa is your guy. If you want to add body, physicality, and sparkles to your sound, the Eclipse might be a better option. At the end of the day, both cables are fantastic in their own way and I can easily recommend both.

When it comes to the build quality and comfort, they do trade blows. The Erua Tawa has more unique-looking metal hardware and it looks better, and more refined than the Eclipse. The latter on the other hand is more comfortable because of being incredibly smooth. The Tawa is significantly more expensive than the Eclipse, so keep that in mind as well.

Summary​

The Astral Acoustics Eclipse was a surprise for me. This brand is totally new to me and my expectations weren’t extremely high, to be honest.

Luckily, the Eclipse has proven itself worthy of its asking price. This is an incredibly comfortable, well-built pure silver cable that sounds fresh, warm, full-bodied, and refined, with no weak points. While it won’t shock you in the beginning, and it’s not going to alter the sound of your IEMs all that much, it is with the time that you’re going to appreciate it more and more. Its sound performance is very mature and well put-together, and Astral Acoustics just proved that they are a force to be reckoned with in the future. Well done.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Fir Audio XE6, Unique Melody MEST, Unique Melody MEXT
• Sources– Cayin N3 Pro, Hifiman EF400, Yulong Aurora, EarMen Angel, EarMen Colibri

Big thanks to Astral Acoustics for providing the Eclipse for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Astral Acoustics hasn’t seen this review before publishing it.

Astral Acoustics was kind enough to share a promo code: EF10 for 10% off! I don’t get any commission out of your purchase, but you’re getting 10% off, which is just fabulous. Enjoy!

Introduction​

Founded in 1996, Burson Audio is one of those companies that has been here basically forever. I remember having their Conductor Virtuoso in 2016 for quite some time, and I really liked this little thing. I still remember the volume indicator in the form of little holes punched in the front panel, gently lighten up with led lights. This thing was crafted to perfection.

But, Burson Audio has always been legendary thanks to its Opamps. I’m not an engineer, I have never been into the whole DIY game, I’ve never modded or repaired any of my amplifiers myself. That’s why I have never tested their Opamps before, simply because I was scared if I’ll be able to do it on my own.
Fast forward to a couple of weeks back, when Burson Audio contacted me, asking if I’d be interested in reviewing their Opamps. I thought to myself – okay, this cannot be as scary as I always thought, let’s do it.

I decided not to read any reviews of any of Burson’s Opamps, to create my own opinion on whether this upgrade is really worth its heavy price tag. After playing with the V6 Vivid Dual and Single for a while with my Playmate 2, I can now give you my answer.

Packaging​

Why the heck is there an unboxing paragraph in an Opamp review? Well…apparently, it’s just the way I roll. Let’s get it out of the way, and it won’t be too long, trust me.
Both pairs come packed in a plastic box with some protective foam inside, to ensure that the Opamps are safe and that they won’t fly around that tiny plastic box. That’s literally it.

How To Install​

Installing the Burson V6 Opamps is…as easy as it gets.

First, you have to unscrew four screws of your Playmate 2 – two top ones on the front, and two top ones on the back. Easy peasy.
After unscrewing these screws, you can now grab the upper lid of your Playmate 2 and lift it up easily. After doing that, you’ll be greeted by this view.



You can see four stock Opamps that came with your Playmate 2. Those are NE5532D Dual and NE5534 Single. Removing them is a rather easy task, all you have to do is to lift them…it’s best to use a small plastic thingy to you won’t damage anything with your fingers. You just lift them up, no soldering or desoldering needed.

After uninstalling the default Opamps, you have to put in these new, shiny V6 vivids. Installing them is even easier than uninstalling the old ones. Just grab them by their huge body, and press them gently into the socket. No rush, you don’t want to damage anything, trust me. Just make sure the pins and the sockets are aligned, and gently push them down. Boom, you’re done.

Oh, last thing – the orientation. Just see the picture below for reference. Opamps have these small indicators on one side, and it tells you which way to insert them. Trust me, once you’ll see it, you’ll know which way they go.

Tech​

I’ll keep it simple. Instead of writing an essay about Opamps, I’m just going to paste what experts have to say, and by experts, I mean Burson Audio:

What’s Right About Discrete Circuits?

“Discrete circuits are custom built by Burson for specific applications rather than an op-amp’s jack-of-all-trades-master-of-none specifications. The art of circuit design yields superior sound in every way in comparison to simple plug-a-chip engineering. A system can only sound as good as its weakest link. All our products use thick, quality, temperature-stable printed circuit boards with high-purity copper traces and gold-plated soldering pads. And extra coating is applied to both sides of the PCB preventing oxidation. The boards are hand-built use high-spec metal-film resistors and other audio-grade parts using as few hand-matched components in the signal path as possible.”

What’s So Entirely Wrong With IC Op-Amps？

“There is a common misconception among audiophiles: That is an Integrated Operational Amplifier (IC Opamp) is equivalent or even superior to a discrete design. Nothing can be further from the truth! Restricted by the fabrication process and technological limitation an IC Opamp is an inferior substitute for a proper discrete design. An IC Opamp is entirely constructed on a single dice of a silicon wafer, which is smaller than a grain of rice. Limited by its size and heat dispersion, it is impossible to incorporate a top-quality audio transistor like the A970, or K170 which feature in the Burson Audio discrete design. During the construction of a discrete transistor, a chemical optimisation process takes place for each piece of silicon according to its application (NPN or PNP). This optimisation process is critical to the performance of the final product. Some of the benefits include:

optimized for breakdown voltage and performance

optimized for near-true complementary

But this process can not take place on an integrated circuit since all transistors are fabricated on the same piece of silicon. This is one of the major drawn back of an integrated circuit compare to a discrete circuit. All components on the silicone dice are formed by a droplet of chemical (very much like inkjet printer printing on paper). This fabrication process can not create parts like the 1% tolerant metal film resistor, or the super stable silver mica capacitor (please see table above to compare how discrete parts are different to their integrated substitute) Since they are all connected (hence integrated) they can not be individually tested and matched. In an IC opamp the conductor layer that connects all the parts is formed by a layer of aluminium vapour that is thinner than the water vapour left on foggy windscreen. This poor conductor is the silent killer to musical texture. The close proximity of components also poses a problem for audio signals, where that delicate signal that music lovers pursue, will be masked by EMI noise. In the end, the consumer is getting an opamp that is built with a bunch of second grade parts that is unable to yield the best results, connected via a thin layer of aluminium foil. An IC opamp is nothing more than a cost cutting substitute in audio application which we hate with a passion!”

Today, I’m reviewing V6 Vivid Opamps, but there are also the V6 Classic version. Here are two cents from Burson Audio about their differences:

“The V6 Vivid is dynamic, transparent and exciting. It is the V5 sound improved on all aspects. From its incredible dynamic range, three-dimensional soundstage to its ability to reproduce the finest micro details. It invites you to witness that moment of recording. Play Norah Jones’ Come Away with Me, and suddenly you are in the best seat in the house. Norah and her handsome band materialize vividly on stage and you are immersed in magic. The V6 Classic deviates further from its V5 foundation. With an entirely different output stage design, it is intimate, exquisite and very engaging. With the V6 Classic, Norah is asking you to come closer. She wrote the song for you and she is singing it to you. It was time to stop analyzing and start living in the moment. We love both equally, and we know fellow music enthusiasts will too.”

Sound​

All of the above might sound great, but I know what are you here for – do they actually make a difference? We’re talking $230 for the whole set of Opamps for the Playmate 2, which is substantial when you’ll think that the Playmate 2 is retailing at $544.

So, long story short, is it worth getting the upgraded Opamps for your Playmate 2? Oh damn, yes it is.

If you’re curious about my opinion on the stock Playmate 2, click here to read its review.

Okay, I really don’t want this review to be overcomplicated. If you want science stuff, you’ve got plenty of places on the internet for that. Here, I want to tell you if this upgrade is worth it, and what are the differences in sound, so here it goes.

After changing the stock Opamps to the full set of V6 Vivids, I can easily say that the Playmate 2 sounds like an entirely different device, and actually a significantly better one. It just got so much more technically capable.

The detail retrieval and resolution are the easiest to spot right from the beginning. I would never call the Playmate 2 lacking in detail or resolution, but the V6 Vivids opened it up to an entirely different dimension. The whole frequency response got so much more insightful, snappy, textured, and detailed. If someone blindfolded me and said that I’m listening to something from Burson, I would have guessed that I’m listening to one of their higher models, such as the Conductor 3P. I have never heard it, and I’m not saying that the Playmate 2 with V6 Vivids sound like one. All I’m saying is that the upgrade is so significant that I wouldn’t have guessed that this is the same device.



Thanks to its upgraded technical capabilities, the Playmate 2 now plays in a different league. It’s not a well-priced, affordable AIO anymore, it got really serious.
What about the timbre? As I said in the review of the Playmate 2, it has that great, Class-A-like timbre that is thick, powerful, and melodic. The V6 Vivids transformed it into a slightly more neutral and technical-sounding device, but it’s rather cosmetic. Because of it, this is still a highly engaging unit that has beautiful vocal performance and a forgiving character. Everything just got clearer, cleaner, and snappier, without losing any of its magic.

Actually, the biggest difference is in the treble. It’s now even more textured, there’s literally zero grain and the amount of details is outstanding. Everything sounds natural, saturated, and incredibly clean, and it’s also more extended now. While the stock Playmate 2 has that smooth yet detailed treble performance, the upgraded one is crispier and better-controlled, while not being even so slightly harsh, never.



The vocals still have that magical timbre, but they are now more insightful and better defined, especially female ones. This is still the Playmate 2, but better in every aspect, and better by quite a lot.

So, there’s not even the slightest doubt that the V6 Vivid Opamps are a big upgrade for the Playmate 2, but the question is – is it actually worth it to invest near half of the original price for this upgrade?

Yes, I believe it is. The Playmate 2 is an incredibly built, beautiful little device that has a great timbre and is great for a “one and only device” on your desk. With V6 Opamps, it gets frighteningly good for the price, and it’s still a rather small, sexy-looking device that will get you covered with just about everything.

You can actually use the V6 Vivids with other devices as well. So if you’ll ever decide to go into a more high-end realm, these can stay with you and upgrade your new device as well. Because of that, you can actually think of them as a continuous upgrade to your HiFi setup, even if you’ll wander into more expensive stuff in the future. Burson Audio gives you a lifetime warranty for these, so they can actually grow old with you. Brilliant.

Summary​

The V6 Vivid Opamps are by no means an affordable upgrade, but their sound quality is just incredible. I wasn’t expecting them to give me such an impact on the sound quality of my Playmate 2, as they easily transformed it into a much better sounding device immediately.

They are easy to install and handle, are covered with a lifetime warranty and you can actually use them to upgrade a lot of different devices on the market, so you can basically use them for many, many years and enjoy their remarkable quality. Having all that in mind, I’m going to say it…

It’s a steal.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Hifiman Susvara, Meze Elite, Final D8000 Pro, Hifiman HE1000se, Audeze LCD-X 2021, Hifiman HE-R9, Hifiman Arya SE, Hifiman Edition XS, Fir XE6, Fir M5, Dunu Perpetua, Unique Melody MEST, Final A8000, Campfire Audio Solaris 2020
• Sources– Burson Playmate 2

Big thanks to Burson for providing the V6 Vivids for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Burson hasn’t seen this review before publishing it.

If you’re in Europe, you can order your V6 Vivid Opamps here, or here via the official Burson Audio website.

The IEM market is a true gem of the audio industry. No other market segment is growing so rapidly and none is as entertaining. We’re getting new and exciting stuff pretty much month by month, with manufacturers racing with new ideas and technologies.
Campfire Audio has been out of the “innovation” game for a while now. Till now, they limited their lineup to all BA, DD, and hybrid designs. The rest of the market hasn’t slept through it though, and now we’re not only getting tribrid designs but also quadr-brids (?) with bone conduction drivers, etc.
I was starting to think that Campfire Audio is not going to rejoin the game anytime soon and that they’d like to focus on what they’re good at.
Luckily, I was mistaken, as they’ve recently announced their new CIEM – the Supermoon. As far as I’m aware (I might be wrong, comment below if I am!), they launched the first planar-magnetic custom IEM ever. Additionally, I had a chance to listen to their new Trifecta in Munich last month. It’s a 3DD IEM that just screams crazy at you. Everything from the looks all the way to the sound of these is just mental.
So, apparently, Campfire Audio is back in the game with some brave and unconventional designs, trying to push the limits again. Today we’re going to check if the Supermoon is a step in the right direction.

Packaging​

The unboxing experience was always important for Campfire Audio, and it’s no different this time. The Supermoon is packed similarly to all their other IEMs, but this time the box is slightly bigger, mainly due to the carrying case being bigger as well.
So, the box is sporting some cool graphics as always, but this time it’s rather minimal and elegant, with no fancy colors as we’re used to. Inside the box, you’re getting a classic CFA experience – a cloth pin, the Supermoon itself with a cable attached, a microfiber cloth, and a carrying case.



Let me get to that case for a second here. This is one of the biggest IEM/CIEM cases I’ve seen, and it’s just a classic CFA design. It has that wool lining inside, and outside it seems to use genuine leather. The case is very spacious and it can easily fit two pairs of IEMs. I don’t know why Campfire has gone with a bigger case than usual, maybe because the Supermoon is bigger than their universal models. Overall, the quality of the case is great and I’m glad that Campfire Audio has included it in the box. While I would personally prefer a hard case similar to a Peli case, this is good as well, just not as protective.
No tips are included in the box this time…it is a custom IEM, so you won’t need any

Design, Build and Comfort​

Another thing that Campfire Audio has mastered throughout the years is the built quality and the design of their products. This is the first time that I’m handling CIEMs made by CFA though, so this is definitely something new for me.
So, the actual build quality and design are both great. The finish on the shells is flawless and the surface is as smooth as it gets. While I won’t say that these are on the same level as Fir Audio customs, there’s absolutely nothing to complain about.
I also really like the design of the Supermoon. This is a Custom IEM, but you’re not able to actually customize the looks, as every pair of the Supermoon will look the same, except for the shape. The shells are not really black actually, but rather a very dark indigo color. When looking at the Supermoon in full sun or under a flashlight, you can easily see that they are definitely not black. While I’m not a fan of this color in general, these shells are so dark and close to being black, that I’m more than okay with the color.
Custom IEMs are masters of comfort usually, but the Supermoon is not the most comfortable CIEM I have, definitely not. I’m not saying that they are uncomfortable, not at all, they still offer fantastic ergonomics surpassing most of the universal IEMs I’ve ever tried. However, the shells are chunky, really. Because of that, they do protrude from your ears significantly more than other, more traditional CIEMs, which results in a fit that is not extremely secure.



This is more of nitpicking than a real problem because the Supermoon is very comfortable and it won’t fall out of your ears anytime soon. However, for me personally, the fit is on a looser side and they are not as comfortable as my Fir Audio CIEMs, which go deeper into my ear canal and I stop actually feeling them after 15 minutes.
Another thing worth mentioning is that the nozzle looks unprotected at first glance, but if you’ll look into it with a flashlight you’ll find a sort of cloth lining that will make sure nothing will go into the shells and destroy those planar-magnetic drivers. This solution is not ideal though, as it is going to be very, very hard to remove earwax if it makes its way into the nozzle. I’d rather have traditional mesh protection at the end of the nozzle, which makes it much easier to keep tidy and fresh.
Lastly, I’m happy to see Campfire Audio still using their MMCX connectors. I always said that they have the best MMCX sockets in the market, and nothing has changed from the last time I said that. These babies hold all of my MMCX cables perfectly, they are very secure and convenient with the whole twisting situation. While I see why many people prefer 2pin over MMCX, I feel like CFA connectors are going to last a longer time than your usual 2pin, which tend to loosen up with time.
I still remember when after 3 months of using my Lime Ears Aether R and cable rolling, my right CIEM actually disconnected on its own and went flying into the ground. Luckily, it survived, but ever since I was constantly stressed that this is going to happen again. With these MMCX sockets, I don’t think you’ll have that kind of problem.

Tech​

There’s not a lot to say about the tech that sits inside the Supermoon, but we have to discuss two things.
Let’s address the elephant in the room first – the driver. As I said previously, I believe that this is the first planar-magnetic CIEM on the market (if I’m wrong please comment below), so it’s very nice to see Campfire Audio pushing some new things into the market, that they haven’t done for a while now. It’s more than interesting to see the leading driver type of over-ears in this segment of the market. Planar-magnetic IEMs have been more and more popular lately, mainly to the (already) legendary 7hZ Timeless and the Shuoer S12.
The stainless steel part of the faceplate actually has two jobs – to look cool and to secure the driver inside each shell. While I can’t comment on the latter, it certainly delivers on the first aspect.
Secondly, the Supermoon uses a new, patent-pending technology called Solid-Body design. Instead of trying to explain what it is, here’s Campfire Audio:
Our new solid-body design provides optimized acoustic performance by incorporating the tuning chambers of the earphone directly into the final IEM print.
This just shows that the Supermoon is not a lazy product, but rather a well-designed and thoughtful idea that’s meant to set the bar for CFA’s custom lineup.

Sound​

It is the sound quality that matters the most at the end of the day. While the use of a planar-magnetic driver can make you pretty calm about the technical aspects of the sound, it is the tuning that happens to be the hard part with these drivers in IEMs.
So, did Campfire Audio nail the tuning of the Supermoon? Well, it depends. This is definitely not a neutral type of sound, and the Supermoon is actually one of the most unique sounding IEMs I’ve tried in some time.

The bass is very tight, fast and it packs some serious punch. While I won’t call the Supermoon a bassy IEM (surely not after comparing to the UM MEXT or Fir Audio XE6), it has a great quality to low frequencies. The bass notes are rich in textures and they are incredibly fast and accurate. It certainly sounds like a planar-magnetic bass that we all love – hyper-detailed, snappy, detailed, and well-controlled.
Take note though, as the bass response will vary a lot depending on what you’ll plug the Supermoon into. I initially tried it with my Cayin N3 Pro via the balanced output and the sound was pretty warmish. Then I plugged the Supermoon into my Hifiman EF400 and they immediately started to sing with a lot more body, richness, and a better timbre throughout the entire frequency response. Another great pairing was the yet unreleased EarMen Angel, which provides a ton of power for the Supermoon to shine.
This bass response is just perfect for music like Daft Punk, Rufus Du Sol, or Flume, where all the little details in the bass department matter a lot. You’re then rewarded with an exceptionally diverse, crisp bass delivery that sounds intoxicating. The Supermoon can also do rock and metal, as it gives that extra “oomph” to the music, without being bloated or muddy at all. Overall, the bass of the Supermoon is its strongest point, being one of the best on the current market in my opinion.



The midrange is again, very planar-like. It has a lot of resolution, it’s crispy, and again, very detailed. The overall midrange presentation is quite forward and insightful, making the Supermoon a highly extreme and crisp-sounding IEM. While you won’t find any warmth or lushness in this sound, it will certainly please the fans of some Hifiman over-ear, such as the Arya SE. Most current planar-magnetic headphones tend to have a very open, crisp, and textured-sounding midrange that pairs exceptionally well with their sublime technical performance, and the Supermoon is very similar to that. While the timbre of vocals often leaves something to be desired, I don’t feel like this CIEM is made for vocal music in mind. This model is definitely suited best for people that are into electronic music, with that V-shape sound that is very fresh and snappy sounding. My flagship vocal test, “A Thousand Shards Of Heaven”, by Lunatic Soul showed that the Supermoon tends to overexpose the upper vocal range, resulting in a somewhat tiring and aggressive sound that might be highly desired by the fans of Asian tuning, but isn’t something that many audiophiles are used to. Take note that this will hugely depend on the power output of your DAP or Amp. With weaker sources, the Supermoon has that slightly smooth and warmish tonality, but it’s for the price of the bass texture and dynamics. If you’ll give them a couple of watts of power to truly get that driver going, they do transform into more extreme-sounding beasts that will give you one of the best (if not the best) technical performances in this price range. You can actually underpower the Supermoon if you’d like a smoother and warmer sound, keeping most of that technical greatness. If you’d like to go all-in though and get every single bit of detail there is, prepare for the sound that is going to be on a thinner and leaner side.

The treble is very forward and clean sounding, but it might be a tad too sharp for some of you. The Supermoon is definitely not a smooth-sounding IEM (when driven to perfection), and it doesn’t try to make the music sound “prettier” than it really should. Because of that, this is an exceptional CIEM for people looking for an extreme and very clean presentation to get even the tiniest details out of the recording. Yet again, it highly reminds me of the Hifiman Arya SE, which is often just a bit too much for me but objectively speaking has brilliant technical capabilities. Because of this hyper-detailed character, you’ll be getting some fantastic performance out of your well-mastered music, but at the same time, you have to watch out for some poorly mastered music. For me personally, the Supermoon tends to sound either exceptional or just slightly tiring, depending on the music choice and the rest of the system. Keep in mind though, that I’m pretty sensitive to forward-sounding treble, so this could be just me. Nonetheless, as a reviewer, I’m always trying to ignore my subjective tase while rating a product, so when trying to rate the treble performance of the Supermoon as objectively as I can, I have to give credit when it’s due. If you plug them into something with less power, the treble actually starts to settle a bit and sound smoother, so if that’s your cup of tea, this could be a solution for you.



The soundstage is very wide and deep. This further empowers the feeling of a forward and extreme sound signature, as you’ll be getting a lot of action right in front of your head, as well as on the sides. The imaging is very good with great accuracy and a lot of air between the instruments, resulting in a fantastic separation. The Supermoon produces a huge sound that gives you a more intimate type of experience, and this might be just your cup of tea. If you prefer a vast and spacious type of soundstage, you probably won’t find it here. The Supermoon improves on every other Campfire Audio IEMs when it comes to imaging and separation though, as the crispiness of the entire frequency response and that amazing technical performance let it offer an outstanding insight into the recording. Also, thanks to the godlike resolution of the sound, everything sounds extremely clean and crisp, giving you a type of sound where you can easily focus on every single instrument one by one, as it never gets crowded or overcomplicated. No matter how busy the music sounds, the Supermoon will easily keep up,

Comparisons​

Campfire Audio Solaris 2020



The battle of two current Campfire Audio flagships. What’s worth pointing out from the beginning, is that the tuning of these two is vastly different, so much that it’s actually pretty hard to compare the two.
First things first – the Supermoon is definitely an improvement over the Solaris 2020 when it comes to the technical performance. The latter has been on the market for some time, and it uses a hybrid construction, which has aged a bit. Because of that, while it is still a lovely sounding IEM with that wonderful midrange tone, technically it’s just not good enough to be called a competitive flagship in mid-2022. The Supermoon on the other hand is much more technical sounding, with better detail retrieval and resolution (well, better by quite a lot actually), but it’s just tuned vastly different.
For me personally, the star of the show of the Solaris 2020 is its moist, romantic, and lush midrange that just makes every vocal sound incredibly involving and beautiful. The Supermoon, on the other hand, presents vocals in a leaner, crisper way that is probably more popular among audiophiles lately. While I like my midrange thick and moist, the Solaris 2020 just cannot compare when it comes to the objective side of audio to the Supermoon.
The question is: which one should you get? I think that the answer is simple. If you want an ultimate detail retrieval, resolution, and hyper-high-energy type of sound, the Supermoon is definitely a more compelling choice in 2022. If you love vocals and it’s the most important aspect of music for you, the Solaris 2020 will suit your need a lot better, especially if you like your lower midrange thick.

Cayin Fantasy



I decided to compare these two, as they somewhat give me similar feelings. Both are great technically, but it’s the midrange that doesn’t suit my preferences too much.
When I compared them side by side, it struck me how much better the Supermoon actually is. While the Fantasy has great detail and resolution, the Supermoon takes it to the next level with that planar-magnetic driver. Also, the energy of the sound and the dynamics of the Supermoon surpass the Fantasy by a lot, being a lot more enjoyable and fun sounding.
The bass of the Fantasy has always been lacking for me, and the Supermoon wins in this department by a lot. It packs more punch, it’s heavier, more nuanced, and just crisper. A lot. The Fantasy in comparison sounds thin and just uninvolving. The midrange has a somewhat similar vibe with these two, as both are rather thin with male vocals, which makes both sound slightly unnatural with vocal music. The treble is forward and bright sounding on both, but the Fantasy takes it to the extreme, sounding very bright and harsh. The Supermoon is definitely more tonally correct than the Fantasy, but it often still sounds a bit too hot in my opinion.

Hifiman Arya SE



I know that comparing custom IEMs to over-ear planar-magnetic headphones seems weird, but hear me out. Right from the first moment of having the Supermoon, I felt like this is an IEM version of the Arya SE, or at least it’s close to that.
Both are exceptional when it comes to technical performance, both are snappy, extremely fast, and vivid sounding, and both are a bit too hot in upper frequencies (for me at least). The Supermoon is slightly more extreme sounding than the Arya SE, which has a more correct tonal balance (especially in the vocals area), but the overall presentation remains somewhat similar.

If you’re a fan of the Arya SE, then I think you’re going to love the Supermoon for its excellent detail retrieval and godlike resolution. But if the Arya SE felt a bit too much for you in the sound energy and in the treble departments, then the Supermoon is just that, but a touch more.

Pairings​

Cayin N3Pro



First things first – the N3Pro doesn’t have enough juice to get the Supermoon to its maximum capabilities. You have to give them a lot of power to make that driver sing, which will reward you with an extremely impressive detail retrieval and resolution.
But, there’s actually a point in “underpowering” the Supermoon. When not driven at 100%, they do begin to sound warmer, smoother, and less extreme, which will be highly desirable for some of you.
Take note that I’m talking about the balanced output with high gain, as the 3.5mm output of the N3Pro is nowhere close to making the Supermoon sounding properly. The balanced output is rated at 800mW and it just doesn’t sound like it’s enough as well. However, because the Supermoon gets less technical sounding with this kind of output, you can actually use it for your advantage.

Hifiman EF400



The latest All-In-One from Hifiman, A R2R balanced DAC with a powerful headphone amplifier, capable of getting the Susvara crazy loud. Let’s switch this baby to low gain and see how does it sound with the Supermoon.
First of all, the output power is huge and the Supermoon gets incredibly fast sounding. The detail retrieval and resolution are both top-notch, definitely sounding above what a $1500 IEM should be capable of doing. However, just like I said in the “sound” paragraph, with a powerful amplifier, the Supermoon gets highly technical sounding, which could end up being too tiring for some of you.
If you’re fine with a technical type of sound though, you’ll get rewarded with a technical performance that is just absolutely incredible for a $1500 IEM.

EarMen Angel



I’m putting this pairing here because the Angel is a perfect companion of the Supermoon when on the go. It delivers a lot of power for the Supermoon to shine, resulting in an incredibly detailed and clean sound.
Most DAPs won’t be able to drive the Supermoon to perfection, so you’ll have to find different options, and the Angel might be just the best pick you’ll have. Not only it’s hugely powerful, but at the same time it’s very clean and dynamic sounding, so this pairing might be the ultimate technical performance you can get in this price bracket in portable audio.
The bass is the most impressive aspect of the sound with this combo, as it is highly textured and hyper-fast sounding with a lot of rumble, introducing a proper weight to most recordings. If your favorite music is highly bass-dependant, the Supermoon is a brilliant choice.

Summary​

Campfire Audio is back. Their newest Supermoon offers by far the best technical performance from their entire lineup. This planar-magnetic CIEM has a crazy resolution and detail retrieval that is definitely one of the best in its price bracket. Keep in mind though, that to achieve such an impressive technical performance, you’ll going to have to plug the Supermoon into an amplifier that has a lot of power.

You can actually underpower the Supermoon on purpose to get a warmer and smoother tone out of them. At the end of the day, when properly driven, the Supermoon is a highly technical sounding CIEM that will not make you fall asleep when listening to your favorite albums. This is made for fun, with its huge energy of the sound, and it will actually make for a great studio/mastering monitor.
Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Campfire Audio Solaris 2020, Cayin Fantasy, Unique Melody MEST, Unique Melody MEXT, Hifiman Arya SE, Hifiman Susvara
• Sources– Cayin N3Pro, Hifiman EF400, EarMen Angel, EarMen Tradutto, Yulong Aurora, LittleDot MK III SE

Big thanks to Campfire Audio for providing the Supermoon for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Campfire Audio hasn’t seen this review before publishing it.

Introduction​

Reviewing cables is always fun and exciting…will I get attacked by people that don’t believe that a cable can make a difference? Will it be called snake oil? Will the world end up covered with fire and nuclear winter arise?
Jokes aside, I know that a lot of people will never even consider such expensive cable to buy, so if you’re one of them…just don’t read this review, you really don’t have to. You might want to however because there’s always new and exciting stuff in audio that can actually make a difference, and IEM/Headphones cables are definitely one of them.
I personally never doubted a minute about what a good cable can do to my setup. Right when I started my audio journey I just gave cables a try and I never looked back. The same thing goes with loudspeakers, tell me that speaker cables don’t make a difference, and I’m going to highly doubt your sense of hearing.
What’s most unsettling about the whole cables debate is how people get so emotional. Listen up, you don’t have to buy aftermarket cables, no one will ever make you do it, stop feeling the pressure. At the same time, some people really enjoy cables, we cable-roll, we’re just having fun…stop calling us names pretending to be a Messiah because you’re not and you’ll never be. “OOOOH, cables are such a snake oil!”, “cables don’t make a difference”, “you have to be blah blah to buy a $x00 cable”. You have a right to have your opinion, but you don’t have to ruin people’s fun because of it.
And no, I’m not defending cables manufacturers, I’m not saying that everybody in this hobby should go on and buy expensive cables for their IEMs or headphones. Definitely not. But a lot of people just like to do so, and since they’re spending their own money, they can decide what they are going to spend it on. I would love people to stop antagonizing cables because it’s just pointless. Snake oil you say? If you would really like to go that far, then start calling everything audio-related a snake oil. You can listen to music just fine with a $10 earbuds.
Okay, I got pretty emotional, so let’s go back to the hero of today’s review, the Eletech Inferno. This brand has made a name for itself in the past couple of years with one of the best-built cables on the market, and I also really admire their marketing and story-telling. This time they came up with their first full-sized headphones cable in their portfolio, the Inferno. Let’s see what’s it about.

Packaging​

I really, really adore the overall approach to the unboxing experience of Eletech products. Just look at the photos on their social media accounts and you’ll know what I mean. Beautiful boxes, carrying cases, everything has its purpose and the branding is one of the most consistent in the entire headphone audio market.
Unfortunately, you won’t find my impressions of the unboxing experience of the Inferno in this review…because I received just the cable, with no accessories, no box, etc. This is probably due to the fact that the Inferno is a new product and they haven’t yet finished designing the packaging. However, it is Eletech we’re talking about, so you can be sure that the unboxing experience of this cable is going to be stunning. It always is with this brand.

Design, Build and Comfort​

Eletech is also known for its sublime design language and perfect build quality. Their IEM cables are crafted to perfection, and their Iliad is one of the most beautiful cables I’ve ever seen.

So, this time they went for a cable to use with full-sized headphones. I’m not going to lie…this is interesting. Were they able to transfer their skills in IEM cables into something new and different? Long story short – yes.
The Inferno is a chunky cable, without a doubt. It’s rather heavy, big, and extremely well-made. While most of cable manufacturers try to make their cables as light as possible, Eletech surely had different plans for the Inferno.

The actual build quality is very impressive. The metal hardware is of top quality, just look at this Furutech XLR connector shown in the photo. This is definitely one of the best XLR plugs I’ve ever seen and handled.



Using such quality components will ensure the longevity of the cable. At the end of the day, you don’t want this thing to break…well, basically ever. It’s definitely not an affordable cable that you can just throw away and get a new one because it broke. It is the manufacturer’s job to make this thing as durable as possible, and I’m pretty confident that the Inferno will last you a very, very long time.
How’s the comfort then? Well, it’s not bad, but it’s not great either. As I said, this is a really chunky boi, and it’ll surely make you feel its presence while using it. It definitely won’t bother you too much, but if you’re thinking about getting a new cable to increase the comfort of your headphones, then you’ll probably have to look somewhere else.
As far as the design goes, I really dig the Inferno. I’m a huge sucker for no-sleeve cables, and this copper thing is a beauty, to say the least. The Inferno is made with some super high-quality materials, and there was no point in hiding it behind a sleeve, and I’m glad that Eletech went this way. The copper is paired with some extremely well-made and beautiful metal elements, and this is true audio jewelry. In my opinion, an aftermarket cable should look like a statement piece in your wardrobe, you’ve paid a lot of money for it – enjoy it even while you’re not using it.

Sound​

So far, we know that the Inferno is an incredibly well-made, great-looking cable from one of the best cable manufacturers in the market. However, all of it would have been for nothing if the sound would end up being mediocre. Remember that the Inferno won’t increase the comfort of your favorite headphones, so it definitely should make them sound better, right?

The sound performance depends hugely on the headphone you’re going to use the Inferno with. It won’t produce a sound by itself. Also, different headphones offer different quality cables included in the box, so the amount of improvement will depend on this factor as well.
Let me focus on the overall characteristics of the Inferno first, and then we’ll go into specific headphones I paired it with and different cables I compared it to.
So, the Inferno is a copper cable, and you are definitely able to hear that. I’m a big copper fan myself, as I find it very natural and safe sounding, which I cannot say about many silver-plated cables I’ve heard. They often tend to sound a bit dry and “forced” to me, so if I had to choose between copper or silver-plated copper cables in the past, I almost always picked copper. Take Forza Audioworks for instance, I’ve used a lot of their cables in the past and I actually believe that their copper line is much better sounding than their hybrid models.



Back to the Inferno though. I’m going to describe the general sound characteristic of this cable as natural and tight. This is definitely not a cable to alter the sound signature of your headphones, but rather to bring out fine details that are left in the music while keeping a natural and smooth tone. We often tend to look for a cable to do a specific thing, such as smoothing the treble, boosting the bass, or making the overall sound warmer. The Inferno is none of that, this is an upgrade cable, not an “alter” cable.

Whether it’s good or bad will hugely depend on your needs and expectations. If you’ve got one pair of over-ear headphones and you’d like to slightly change their sound signature, the Inferno won’t do that. However, if you own multiple headphones and you’d like to get a cable that will suit all of them and improve them, then this product should definitely be on your “to try” list.
I’m definitely the second guy. I have a lot of different headphones and the Inferno is working wonders with every pair I tried it with, while not altering the sound signature too much. Of course, it’s going to change it a bit, especially when the included cable is silver plated. But the difference won’t be a result of the Inferno altering the sound signature, rather than using different materials than the cable you’re currently using.
If you’d like something that has more of a sound of its own, you’ll probably have to go for silver or gold-plated silver, as this kind of cables tend to have their “sound”. With those materials, you’d be probably going to spend a lot more though, so keep that in mind.

Pairings​

Meze Elite



The Inferno pairs very well with the Elite. This flagship headphone has one of the best stock tunings, to begin with, so you don’t really need to change its timbre if you already have and use the Elite.
The stock cable supplied with the Elite is actually pretty good, but it’s not even close to the Inferno. The latter gives you a better texture, and better extension on both ends and the overall sound is more controlled and polished. The bass is tighter, the midrange better pronounced and the treble more extended. The detail retrieval and resolution are both slightly improved. Overall, I actually prefer the Inferno over my Forza Audioworks Noir HPC with the Elite, as the latter tends to make the Elite just a touch too smooth and dark. The Inferno on the other hand gives a more natural, textured, and tight sound that works beautifully with the Elite.

Audeze LCD-X 2021



The Audeze LCD-X 2021 also has a decent quality cable supplied in the box. Once again though, the Inferno sounds much better – fuller, tighter, and more nuanced.
Changing the cable feels like there’s been a blanket removed, giving you better texture and more insight into the recording. There’s more air and separation to be found, and the imaging gets more accurate and more realistic. The LCD-X 2021 is a highly detailed and accurate sounding headphone, to begin with, but the Inferno boosts its capabilities significantly. I don’t know if it’ll be worth investing in a cable that costs nearly as much as the headphone itself (well, at least not that far off), but the Inferno definitely improves it.

HEDDphone



The HEDDphone is one of the most polarizing headphones I know. When we’re talking sound, this is definitely one of my favorite pairs I’ve got, having exceptional timbre and great technical capabilities. It’s really heavy and uncomfortable though, so I don’t use it as often as I could have.
When pairing with the HEDDphone, the Inferno really shows what it’s capable of. The HEDDphone is able to provide even the slightest details and this cable pushes the limits of technical performance even further. It doesn’t alter that godlike timbre of the HEDDphone, so you’re still getting that incredibly natural, unique sound.
Having in mind the retail price of the HEDDphone, it is worth investing in a good quality cable to pair it with, and the Inferno is definitely a very good option. On top of that, it somewhat suits the HEDDphone physically as well, as it’s also chunky and robust, so this feels like a perfect pairing.

Comparisons​

Forza Audioworks NOIR HPC



This comparison isn’t entirely fair, as the Inferno is much more expensive than the Noir HPC, but I’ve got both of them in the same connectors combination, so this is pretty natural for me to compare them.
Starting with the ergonomics, the Noir HPC is definitely more comfortable. It’s not a light cable as well, but it feels more flexible and it’s softer, giving you better ergonomics overall. When it comes to the build quality, both are built exceptionally, but I’d give an edge to the Inferno for its sleeve-less design and better quality of the splitter and connectors.
Let’s get into the sound. I’ve been a fan of the Noir HPC for many years now, and I really got used to its sound throughout all these years. It’s a rather dark and smooth-sounding cable that tends to make the sound more delicate and smoother while providing a huge soundstage. The Inferno on the other hand is much more neutral and tonally “correct”, not altering the sound of the headphones, which you cannot say about the Noir HPC. When it comes to the technical performance, the Inferno edges the Noir, providing a better detail retrieval and better resolution. The Forza Noir sounds a bit dull and too soft in comparison, but remember that we’re talking big money difference here.
Overall, both cables are exceptional. If you’re on the budget, you should definitely get the Noir HPC, as it’s been with me for so many years and it never failed. Also, it is more comfortable and it has a “sound”.
The Inferno on the other hand is much more expensive, but it does sound better. While it’s not a huge difference, cables are all about fine-tuning and slight improvements, and the Inferno proves its worth when compared to the less expensive Noir HPC. You simply can’t go wrong with either.

Summary​

Eletech enters a full-sized headphones cables market, and it does it with confidence. Their newest Inferno is a very mature and exceptionally built cable that has one task – to improve the sound quality.
It’s not a cable that will change the sound signature of your favorite headphones, but I bet it will improve every single headphone you’ll try it with. Perfectly natural, open-sounding, and technically capable, that’s what a good quality cable should be. I’m really curious about what Eletech is going to come up with in the future.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Meze Elite, Audeze LCD-X 2021, HEDDphone
• Sources– Yulong Aurora, XI Audio Broadway S, Hifiman EF400, SMSL DO100 + HO100, Little Dot MK III SE, EarMen Tradutto

Big thanks to Eletech for providing the Inferno for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Eletech hasn’t seen this review before publishing it.

Introduction​

Founded in 1996, Burson Audio is one of those companies that has been here basically forever. I remember having their Conductor Virtuoso in 2016 for quite some time, and I really liked this little thing. I still remember the volume indicator in the form of little holes punched in the front panel, gently lighten up with led lights. This thing was crafted to perfection.
Some years have passed, and since then I barely tried any new Burson devices, so this was hugely exciting when Burson Audio reached out to me if I’d be interested to review some of their gear. We’re starting with their base model, the Playmate 2. Back in time, their lineup was pretty straightforward, with devices like the original Conductor, Soloist, and others. Nowadays, you can easily get lost in their broad model selection. However, this is a good thing – the bigger the offering, the better for the customer.
Their current lineup consists of their legendary opamps, DACs, headphone amps, power amplifiers, and AIO devices, ranging from $544, all the way up to thousands of dollars. They’ve been introducing new flagship devices within their Grand Tourer series lately, with sweet red touches to the design. I’ve tried one of those in Munich last month with the Dan Clark Audio Stealth and I was blown away.
Burson has always been a very nice brand offering a soulful, rich sound signature and a state-of-the-art build quality with minimalistic design. Let’s see how things have changed throughout these past few years.

Packaging​

The unboxing experience of the Playmate 2 is rather simple, in a good way. The device comes in a basic package with basically no accessories.
Apart from the device itself, you’re only getting a power supply, and a USB-C cable, and that’s basically it. If you’d like that sweet, metal remote, you’re going to have to order a V6 version that includes the remote, as well as two sets of V6 Vivid Opamps. This set comes at $200 extra at $744, which is a good deal, having in mind the additional stuff you’re getting. It’s cool that Burson lets you choose whether you want the full package, or you’re okay with just the basic staff to lower the cost.

Additionally, you can order a set of Cool Stands to keep your Playmate 2 standing vertically. This will ensure an even better temperature of the chassis, and you’ll save some space on your desk. Take note that you’ll need the “regular” version for your Playmate 2, but Burson also offers Large and GT Red, to cover their entire lineup. Nice touch.

Design and Build Quality​

Burson has always been known for its fantastic build quality and great, industrial design, and it’s no different this time. The Playmate 2, despite being quite tiny, is quite heavy and dense feeling, and you won’t find any plastic on it.

The headphone amplifier section operates in Class-A, so you have to have a decent cooling solution. Because of that, Burson has created a ribbed enclosure of aluminum serving as a huge heat sink. The entire device is machined to perfection and it’s great to the touch. It’s good to see that Burson continues its legacy of producing one of the best-crafted devices in the audio industry, even at such a competitive price point.



On the front of the Playmate 2, you’ll find a 6.3mm jack output, a 3,5mm microphone input (great addition for gaming), and a great volume knob. Lastly, there’s a little OLED display in the middle that gives you all the necessary info you need.

Overall, the Playmate 2 is definitely built like a much more expensive DAC/Amp than it really is. No photos will actually show how well-made this device really is, but I tried my best.

Tech and I/O​

The Playmate 2 is an all-in-one, meaning it’s a DAC and a headphone amp in one device. In most case scenarios, you only need to put it on your desk, power it on and you’ll have everything you’ll need to have quality audio.

The DAC section is built around an ESS9038 chip, and it supports up to 32bit/768k and DSD512. What’s definitely worth noting, is that it is plug-and-play with most devices on the market, and it uses a USB-C input – yay, welcome to 2022! Oh, there’s also an optical-in for your TV or gaming console, so you’re pretty much set with most audio sources you’ll want to use.

As far as the headphone amp section is going, the Playmate offers up to 3W of power. The headphone amplifier operates in Class-A, which is known to offer an incredibly natural, rich, and smooth sound while having authority and grip over most headphones on the market. Because of that, the Playmate 2 has enough power to drive most headphones, including planars. It won’t properly drive the Susvara or the 1266, but it was never meant to.

Sound​

Now let’s dive into what’s most important – the sound. Burson has always been known for its thick, romantic, and rich sound signature that is currently vastly different from what’s most popular on the market, mainly because of Topping and SMSL. I’m more than happy to report that this sound signature is still valid in 2022, making Playmate 2 a highly musical and enjoyable device to listen to.

Additionally, its sound is very impressive when you know that this is basically their least expensive model…if this sounds so good, what do their flagship-tier devices sound like? Hopefully, we’ll find out soon.

The bass is bold, big, and rich, with great control and texture. The Playmate 2 has a vivid punch to the low-end, making it a great companion to Hifiman planar-magnetic headphones, which tend to lack a little bit of energy in the bass department. Just like I said in the review of the Yulong Aurora, the entire sound signature of the Playmate 2 is typical of a good Class-A amplifier. Forget about a superbly fast, neutral, and thin-sounding bass, this little guy packs a lot of punch to your music, resulting in a sound that you’ll just really want to experience every time you’ll listen to it. The extension is very good, reaching the lowest parts of the sub-bass while being highly textured throughout the whole bass response. The Playmate 2 has the ability to recreate bass notes in a bold and rich way, which is ideal for this kind of device. Luckily, it’s not a type of experience that’s tiring or unnatural sounding, as the Playmate sounds very effortless and easy. This is a mature type of sound reproduction that has been reserved for TOTL devices for years. Now, you can get that at around 500 bucks, and it’s really cool.



The midrange continues what the bass has started. It’s rich, warm, and addictive, yet offers a fantastic detail retrieval and resolution. I’m very happy to see more and more not-neutral sounding AIO devices lately (just like the Aurora and EF400), as flat, neutral-sounding devices are not the only way into a high-fidelity sound with headphones. Actually, I prefer this kind of sound, because it gives a more emotional, welcoming type of experience that is great for long-term listening sessions. The Playmate 2 is incredible with vocals, as it represents them in a natural, mature, and very pleasing way that is great with most of the headphones that are currently available and popular among audiophiles. My vocal benchmark, Mariusz Duda with his solo project called Lunatic Soul sounds marvelously natural and pleasing. The Playmate 2 is highly mature tuned, something that is rather rare with devices in this price range. Once again, the detail retrieval and resolution are both top-notch when we’ll get the price under consideration.

The treble is very smooth and pleasant sounding, but it doesn’t hide micro details or isn’t smoothing the sound too much. High frequencies are highly technical sounding, but they are never harsh or unpleasant sounding, something that is present in the entire frequency response of the Playmate 2. The amount of body is really good, giving drum cymbals the proper weight and thickness that is necessary to achieve a natural-sounding drum kit. It’s not splashy, peaky, or bright sounding whatsoever, which is important if you want to have many headphones in your collection. Pairing the Playmate 2 with rather bright-sounding headphones won’t result in a sound that’s going to be tiring or aggressive, but I’ll elaborate on this in the “pairing” section. Overall, the treble is yet again mature and well-controlled, so this is definitely a great device for your “one and only DAC/Amp on your desk”, as it’ll handle basically everything.

The soundstage is very impressive, but I somewhat feel that this aspect of the sound got really, really good in the past couple of years. It’s really hard to find a poorly staging device nowadays, and the Playmate surely isn’t one. Remember that the Playmate has a microphone input, so it’s definitely meant for gamers as well, and competitive players are going to really appreciate good staging to their sound. To summarise, the Playmate 2 offers a deep, wide, and very accurate soundstage that is capable of creating a very impressive 3D-like experience when you’re listening to music or gaming.

Pairings​

Hifiman Edition XS



The Edition XS is one of the, if not the best open-back headphones in the $500 market. It offers an incredible amount of details and resolution, being a highly technical pair of headphones that easily punches above its asking price.

However, the XS is a very neutral headphone that will basically sound like the device you’ll be plugging it into. Here the Playmate 2 comes into play with its sophisticated, rich, and romantic tuning that transforms the Edition XS into a much more pleasing, and exciting sounding headphone. The Playmate 2 has a firm grip over the bass section of this huge driver, and it makes the Edition XS strike hard and sound quite big and energetic. At the same time, the amount of body and that great timbre to the midrange result in a sound that is incredibly natural and universal sounding, especially for a +/- $1000 setup. You’d easily be spending 2 times more for a sound like this 5 years ago.

Hifiman HE-R9

Let’s pair the Playmate 2 with a pair of headphones that are both incredibly dynamic and romantic sounding at the same time. The R9 is a dynamic, closed-back headphone from Hifiman that we have reviewed very recently, and it instantly became one of our favorites.

So, pairing the R9 with the Playmate 2 shouldn’t be the best idea, as both products have similar sound characteristics, right? Well, not at all. The Playmate 2 definitely has its own sound signature, but it’s not extreme nor pushing it hard, so it pairs with similarly tuned headphones just as well. This pairing by no means will satisfy you if you’re into a highly neutral, technical type of sound, but if you like a sound that has soul and it’s just very pleasant to listen to, this pairing is just absolutely fantastic.
The R9 is not a power-hungry pair, and the Playmate 2 has more than enough power to make them fly off your head. This is important, as it has so much authority over the drivers that it just makes them kick very hard. The dynamics and the overall energy of the sound are both top-notch.

Audeze LCX-X 2021



Again, we’re pairing the Playmate 2 with a rather warm-sounding headphone, and once again this pairing sounds exceptional. The LCD-X 2021 is a very capable pair of headphones when it comes to technical performance, and the Playmate 2 easily gives it all the information it needs to shine.
Vocals sound very thick on this pair, probably a touch too thick for some, but I definitely enjoy it. The body of the sound is absolutely huge and there’s not even a slight sign of dryness or sharpness. It just sits perfectly in the middle between a technical and highly-colored sound that will satisfy all of you, craving for the sound that is just easygoing but highly detailed at the same time.
While the Playmate 2 is by no means the best pairing I’ve heard with the LCD-X 2021, it just shows how capable it is with different types of headphones and sound signatures. This is very important as it makes this device very competitive, due to its universality and flexibility when pairing with different sound signatures and different technical levels. You probably won’t find a single (good) pair of headphones that will sound wrong with the Playmate, and it’s a very important aspect of an AIO in this price bracket.

Final Audio D8000 Pro



Let’s pair the Playmate 2 with a Final Audio flagship, the D8000 Pro. This headphone is rather hard to drive, but the Playmate 2 has enough juice to get it running.

The D8000 Pro has a very neutral and reference-like tuning, with fantastic detail retrieval and very good soundstage capabilities. When paired with the Playmate 2, it becomes smoother and less fatiguing, with a boosted note weight. This is what I call a great pairing since the D8000 Pro can get pretty technical and uninvolving sounding with many DACs and amps on the market. It’s completely different with the Playmate 2, as it provides that needed thickness and richness to the timbre, resulting in a more pleasing and forgiving sounding experience.

The D8000 Pro is incredible when it comes to the technical performance, and the Playmate 2 definitely keeps up with the pace. This combo sounds very detailed, airy, and highly textured, but it also has some smoothness and warmth to counter the rather analytical character of the D8000 Pro.

Drop + Sennheiser HD8XX



Another dynamic headphone to pair with the Playmate 2. First of all, the 8XX is rated at 300Ω and it isn’t exactly an easy task for a headphone amplifier to get it running properly. However, the Playmate 2 handles the 8xx like a champ with its 3W Class-A headphone output.
Additionally, the 8XX has a weirdly recessed midrange that the Playmate 2 brings back to life a bit, due to its romantic and thick tuning throughout the entire mid-frequency range. The bass strikes hard, the treble gets tamed by a slight bit, resulting in the 8XX getting more pleasant to the ear. I remember the time when you’ll have to spend a thousand bucks for a headphone alone if you’ll want the HD800 to sound decent. Nowadays, $500 bucks is all you need, and it has a built-in DAC. This is bonkers.

Unique Melody MEXT



The Playmate 2 is also capable of driving IEMs. While it’s not the best option (I’d rather choose something a bit cleaner and better measuring), it’s nice to see that if you’ll pull the trigger, you’ll be able to listen to IEMs as well.

The MEXT sound absolutely huge and very punchy with the Playmate 2, as it gets a lot of power to handle that beautiful bass driver. This setup sounds rich, bold, and very dynamic, great for fun and involving listening sessions. While not the perfect device to use with the IEMs, mainly due to its high power output, it is more than capable of giving you an option to go IEMs whenever you’d like to.

Comparisons​

SMSL DO100 + HO100



These two are vastly different. While the SMSL stack offers an incredibly neutral and clean sound performance, it’s not even close to the level of refinement and involvement that the Playmate 2 offers.
The Playmate 2 feels like it has significantly more power than the HO100, mainly because of its Class-A amplification. While the SMSL stacks is great for people that are looking for a highly neutral and “does it all” type of sound, the Playmate 2 feels more mature and a lot more engaging, resulting in a type of experience that is much more enjoyable and “magical” These are two vastly different approaches to the sound reproduction, and I’m not here to tell you which is better, as it’s all highly subjective. Nonetheless, the Playmate 2 feels like a more considered and just a more pleasant-sounding product for me.

When it comes to the technical performance, I would say that the SMSL stack has a slight edge over the Playmate 2, but it’s definitely nothing to write a book about. The difference is rather slim and it should not make or break a deal if you’re considering one of these devices. Choose the one that fits your preferences more, simple as that.

Yulong Aurora



These two sound pretty similar. Both offer a Class-A headphone amplifier that is more than capable of running most headphones on the market. While the Aurora has better functionality, the Playmate 2 has a slightly better technical performance.

On top of that, the Aurora is calmer and more intimate sounding, while the Playmate 2 is more dynamic and it packs a bigger punch. Both of these devices are an exceptional deal in this price bracket, and it’s actually very hard for me to decide which one is better. I tend to use them just as often and I enjoy them both. What makes it even harder is that they do sound similar with some slight differences that I pointed out above.

The choice between these two might actually come down to the design, and in this aspect, I feel like the Playmate 2 offers a more impressive build quality with a sublime yet clean design. Also, it gives you an option to change Opamps in the future, so you’ll be able to upgrade it when you’ll have some spare money lying around. On the other hand, the Aurora gives you a balanced output, COAX input and it supports MQA.

Summary​

I’m very happy to see Burson still going strong after all these years. The Playmate 2 doesn’t feel or sound anything near its price range, especially when we’ll consider that the company is not China-based.

The build quality and design of the Playmate 2 are both spectacular, and it’s definitely going to be a stand-out piece on your desk or a conversation starter. Lastly, it offers a beautifully tuned, warm, and rich sound that is technically capable enough to use with much more expensive headphones. It pairs well with just about everything, and it also does IEMs. If you’re looking for a single device that you’d like to put on your desk and forget about the need to constantly upgrade, the Playmate 2 might be your endgame for years.


Wildly Recommended.
Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Hifiman Edition XS, Audeze LCD-X 2021, Final D8000 Pro, Hifiman HE-R9, Drop + Sennheiser HD8XX, Unique Melody MEXT, Final A8000, Fir Audio XE6
• Sources– MacBook Pro 2021, Yulong Aurora, LittleDot MK III SE, SMSL DO100 + HO100, XI Audio Broadway S, Hifiman EF400

Big thanks to Burson for providing the Playmate 2 for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Burson hasn’t seen this review before publishing it.

If you’re in Europe, you can order your Playmate 2 here, or here via the official Burson Audio website.

Introduction​

Every single time I write a review of Hifiman’s product, the introduction paragraph is getting harder and harder to write. How many times can I point out that this is the nr.1 manufacturer in the world when it comes to headphones.
They do offer arguably the best value models in every price segment when it comes to open-back, planar-magnetic headphones. Lately, they’ve released the dynamic closed-back model called HE-R9 (review here), and it’s just shockingly good, becoming one of my favorite headphones in my collection immediately after a first listen.
The new and exciting stuff doesn’t stop there for Hifiman though, as they also released an even more interesting product, the EF400 all-in-one.
Hifiman has some history with DACs and amplifiers, but none of them was truly spectacular, which we all grew to expect from every single product they launch. This is told to change now, as the EF400 is hugely impressive on paper, so much that I actually couldn’t believe the price when I first saw it and I thought it was just an error and they’re going to fix it soon. Well…I was wrong.
Seeing press pictures of the EF400 it’s easy to spot that this device is a successor not to their EF100, but rather the EF6, a behemoth of an amp that was originally dedicated to run their old flagship, the legendary HE-6. While it did the job with the hyper power-hungry HE-6, it was a bit mediocre with the rest of the high-end headphones from back then.
So, ten (!) years have passed, and Hifiman released the EF400. A device that looks laughably tiny when compared to the EF6, but tiny definitely doesn’t mean weak in audio, especially in the past few years.
While announcing the EF400, Hifiman stated that it has the power to run the Susvara, something that is widely regarded to be the hardest thing for any headphone amplifier ever since Susvara’s debut in 2017. There’s a lot of misconception of what the fully-driven Susvara can do, but I was fortunate enough to have heard the Hifiman flagship out of many $20k+ stereo amplifiers via speaker outputs, so I know what this godlike headphone can do. Also, lately in Munich, I tried the first headphone amplifier that gets the Susvara to sing in the same league as many high-end stereo amplifiers, so things are slowly changing, finally. Oh, that amplifier is called Feliks Audio Envy, a beast of an amp, but it’s a dedicated headphone amplifier at the end of the day, the first I’ve heard to drive the Susvara in 100% without any problems. Can we get the same result out of a $599 DAC/Amp from Hifiman? Let’s see.

Packaging​

First things first, the unboxing experience. This is going to be very straightforward. The EF400 comes in an aesthetically pleasing box that is secure, so don’t worry about the long journey this device is going to take to land on your doorstep.
Inside, apart from the EF400, you’re getting a power chord, and…that’s it. Simple, isn’t it? Listen up, you’re already getting such an impressive device for that change money, don’t expect any bonuses.

Design and Build Quality​

So, the first thing that will draw your attention is the design and build of the EF400. This, again, does not look like a $599 Hifiman device, especially if you know what’s inside.
I’ll start by saying that the EF400 is bigger than I expected when I saw the first promo photos. It’s not huge, but it’s not super tiny as well, sitting in the middle of what I’d call a good size for desk usage. Luckily, the top of the Ef400 is flat and doesn’t have any venting openings (those are on the back), so you can stack it. The question is though…would you need to? This is logically marketed as the one and only device you’ll ever need on your desk, and I tend to forget that not everyone has so many DACs and Amps as I do.
S0, how’s the actual build quality? Very, very good. The EF400 is rock-solid, quite heavy and dense feeling, with a great finish. There are no imperfections to be found anywhere on this little champ, and I gotta be honest, it does look good in my opinion. The front panel has this “polished” look to it, and while not everyone will appreciate a contrasty silver front, I definitely do.
The volume knob feels good to the hand and it sits very securely, so you won’t have any accidents while listening to music, but please, don’t try to prove me wrong on this one. The only downside to the entire physical aspect of the EF400 is the power switch for me. I criticize every device that has this feature, and unfortunately, the EF400 also went down this shameful path. Well, it’s on the back. Audio manufacturers, please, I know power switches are ugly so you’re trying to hide them, but having it on the back makes our lives so much harder that I can’t stress it enough. Imagine that you WILL stack the EF400 after all…if you’ll put it on the bottom of an audio tower of glory, then I wish you good luck with not losing your temper trying to power it on. Yes, you can never power it off actually, but you can also burn money to make yourself warm in winter…do you?
Yay, I’m probably making too much of a deal out of it, I hope you saw that slight sarcasm at the end. It’s just a power switch after all, not the end of the world. Let’s move on.

Tech and I/O​

Now onto some really cool stuff. In 2021 Hifiman launched the Deva Pro, our “Product of the year 2021”. Why do I brag about it? Let me explain. The Deva Pro has a Bluemini R2R module, which makes them into Bluetooth headphones. Nothing to write a book about you’d say, right? Well, what if I told you that this module had an R2R DAC inside? Now, this is a lot more impressive isn’t it.
So, Hifiman is run by really wise people, so they thought to themselves – we do R2R stuff now, maybe we should make it bigger, balanced, and put it in a stationary device for full-on peak audiophiles? Well, this is exactly what they’ve done.
Why am I making such a big deal of R2R? You see, for many, the best DACs in the world are R2R DACs, for years this technology has been limited for the TOTL, crazy expensive devices. This technology generally gives you a very natural, smooth, and extremely pleasant tone that is very, very hard to achieve for Delta Sigma models. And now, Hifiman made R2R affordable, they have no chill.
Okay, apart from the R2R stuff, what else are we getting? Well, the EF400 is also a very powerful amplifier that Hifiman says is capable of driving their ultimate monster, the Susvara. It is rated at 4.4W, but Hifiman doesn’t specify the impedance in which they’ve measured it. However, power ratings are one thing, and real power is usually the other. Is the EF400 really that powerful? I’m going to answer that question in a moment.
The EF400 has both RCA and XLR outputs, so you can use it as a standalone DAC and plug it into any amplifier you’d like. Maybe you want some R2R magic in your speaker setup and you want just a DAC? Go ahead, you’ve got that option. Speaking of the DAC section, you can plug it into your PC or MAC by USB-B or USB-C, which is awesome. We’ve waited for years for the audio market to realize it’s finally time to start using USB-C, and the EF400 is another device I laid my hands on lately that has it.



The last thing to mention is that magical second knob on the front. It lets you change between 4 different modes: high gain NOS, high gain OS, low gain NOS, and low gain OS. While the high and low gain is pretty self-explanatory, the NOS and OS situation might raise some eyebrows, so let me explain.
NOS stands for Non-Oversampling, and OS stands for…you guessed it, Oversampling. NOS R2R DACs used to be reserved as the most expensive DACs on the planet, as it’s believed to be the “purest” way to handle digital audio. The discussion lasts for many years now, and I’m definitely not going to take part in it. However, I will definitely tell you the difference in sound between the NOS and OS modes in the EF400.

Sound​

Okay, so far this looks too good to be true, right? A NOS, fully-balanced R2R DAC + a very powerful amplifier with preamp for $599, what kind of sorcery this is you’d ask? Well, I don’t know the answer to that question, but if any manufacturer in the audio world is capable of doing some really crazy stuff, then we’re definitely talking about Hifiman.
Up until now, this review is literally screaming at your face saying “BUY THE EF400 NOW”, but we haven’t covered the sound yet, so don’t be in such a rush. The sound quality is all that matters at the end of the day, so let’s see if this is really as good as it seems. Can’t wait any longer? Fine, I’ll give you my answer…yes, it is.

This is an R2R device, so I’m going to continue this review the way it’s supposed to be continued. This technology is known to deliver an incredibly coherent and musical type of sound, so I’m definitely not going to split the sound impressions into different frequencies as I usually do. We need to focus on the sound as a whole.



Let’s answer the two most important questions about the EF400. First, does it really sound like a proper R2R DAC? Yes, it does. It offers that incredibly smooth, rich, magical tonality that every hardcore audiophile loves. Think of it as tubes of digital audio, that’s the closest I can get to explaining what’s so special about it.
You probably tried a good tube amplifier in your life, even once. It’s not that its sound is warm, fake. Tubes give you that euphonic, colorful, and amazingly natural tone that is loved by millions, so much to the point where I know a lot of people who just won’t buy a solid-state amplifier ever again, under no circumstances. So, basically, an R2R DAC is the same, but regarding DACs instead of amplifiers. It all sounds really tempting, doesn’t it?
However, I’m a reviewer after all, so I have to explain it to you somehow. Imagine a DAC that sounds incredibly neutral, smooth, and very detailed. And now, imagine that the sound gets a little wet, making all the textures and shapes a bit more rounded, but in a weirdly natural way. This is the sound of R2R for me. It’s not fake, it’s not altering anything in the recording, and it doesn’t “add” anything, it’s just ethereal, lifelike, naturally warm, and engaging sounding. I’ll try to elaborate more in the comparison section vs Yulong Aurora.
The second question is that output power: Is it really powerful enough for the Susvara? This is a hard one. Yes, you can get better results with a 100W integrated amplifier, but who would want to do that? Yes, you can get some crazy high-end amplifiers like Woo Audio WA33, or Nimbus US5 Pro. Actually, if you spent $6000 on the Susvara, then you can probably afford one of these. Should you do it? Don’t think so, if you really want the best of the best, try the latest amplifier from Feliks Audio, the Envy. I never heard the Susvara sounding that way, including the times I’ve tried it with some crazy power amplifiers like Accuphase A-75 or P-7300.



Back to the topic though. No, the EF400 is not the ultimate amplifier for the Susvara, but it really shouldn’t be at 1/10 of the price. But I believe this is the ultimate amplifier for the Susvara in this price category. Even more, considering that it has a DAC inside, we can easily assume the price of just the amplifier section at around $300, and for that money, you will never get an amplifier that drives the Susvara better than the EF400, no way. First of all, the EF400 has plenty of volume, I’m not even able to max this thing out without making my ears explode, so we’ve got one box checked. Secondly, high volume doesn’t mean that the Susvara is fully driven. How should you know then? It’s actually pretty simple, if its bass starts to hit hard, midrange gets otherworldly smooth and unforced, and the treble is just crazy detailed but never even so slightly sharp, then you’re definitely getting there. This is the definition of what the Susvara sounds like with the EF400. It’s not Envy level, hell, not even close, but for $599 this is absolutely spectacular.
To be honest, you probably won’t ever buy the EF400 as a daily driver for the Susvara, unless you went bankrupt after spending $6k for a pair of headphones and now you’re just trying to make it work. If you own these headphones then you’re only interested in the best of the best. So, the question is, how does the EF400 work with different headphones? Let’s try it out.

Pairings
​

Meze Elite



Let’s start with Meze’s flagship, the Elite. Some time ago, my author Kamil visited me in Warsaw to hang out and to try different stuff I have here. The guy literally spent 80% of the time listening to the Elite + EF400 combo. I was asking him to try the Elite with different gear that I have to hear his impressions and comparisons, but every time I tried, he was looking at me with these shameless eyes saying NO, I DON’T WANT TO, I LIKE THIS. Well, who can blame the poor guy, when I tried this combo myself I immediately understood what he meant.
The Elite is a rich and analog-sounding flagship headphone, so it shouldn’t really benefit from the EF400 on paper, but in reality, this combination is just heavenly. Incredibly natural-sounding, rich, engaging, and romantic to the point where you’re just sitting with your eyes closed enjoying the good time you’re having.
The EF400 has full control over the Elite, it drives it with authority, which results in marvelous dynamics and power of the sound. At the same time, it never sounds forced or too extreme, which tends to be a problem with very powerful amplifiers paired with efficient headphones. Luckily, this is not a problem whatsoever with the EF400 and the Elite, as this combo is just putting you so close to the music that it’s hard to stop listening to it.

Hifiman Edition XS



A $599 AIO paired with a $499 Hifiman Open-Back headphone, this definitely seems like a very reasonable pairing. The Edition XS is wonderfully neutral and reference-like tuned, and when paired with the EF400 it gets that midrange goodness that further improves what’s already a hugely impressive headphone in its price range.
Of course, the EF400 has more than enough power to make the XS fly, hence you’ll be getting fantastic dynamics and grip in the bass department. However, this AIO makes the XS a little bit more forgiving and smoother sounding, which could be desired by some of you. Not everyone is into a hyper-neutral type of sound, but there are simply no better headphones for $499 when it comes to technical performance. If you feel that the Edition XS is slightly too neutral for your taste, the EF400 is a perfect choice to pair it with to achieve a more romantic, rich, and lush tonality.
If you seek the ultimate level of performance and don’t really care about functionality or other options, this is probably the best way you can spend $1099 on this hobby for new stuff.

Hifiman Susvara



I’ve already covered this pairing in the sound paragraph, but will also point out my impressions here.
The EF400 has enough juice to drive the Susvara. It doesn’t drive it to its fullest potential of course, as the Feliks Envy offered a much, much better sound quality when paired with Hifiman’s flagship. However, for $599, the EF400 gets the Sus unreasonably loud and it offers good dynamics and energy to the sound.

Additionally, paired with the EF400, the Susvara starts to sound like it really should – the detail retrieval is just simply the best, and it does maintain it while having that smooth and rich tone, sounding marvelously unforced and natural. This is definitely NOT the end-game for the Susvara, but for $599, you won’t get any closer, not a chance.

Hifiman HE-R9

I already covered this pairing in the review of the R9, so let me do some copy and paste action.

I got both devices in the same package, so I plugged both in immediately and paired them together. First seconds after an hour or two of warm-up and I was sold. This setup sounds incredibly mellow, rich, and bold while offering incredible dynamics and authority of the sound.

The R9 is not a power-hungry headphone, but the EF400 definitely has more than enough juice to power like 20 of those, so it handles that driver like a champ. I already gave you a spoiler that the EF400 is a “Product of the year” contender for me, and when paired with the R9 it made me very happy that I get to listen to such incredible audio stuff on a daily basis. I’ve got the Susvara, Elite, D8000 Pro, TOTL IEMs, Dacs, and Amps, and I still enjoy this sub $1500 system A LOT.

Sometimes technicalities are not the most important, and for these moments, the EF400 + R9 is my nr.1 setup for the past few weeks. Ever since getting them, the R9 is my most-used pair of headphones, the EF400 my most used DAC/Amp, and together they’re the most used system that I’ve been using throughout this time. Intoxicating.

Fir Audio XE6



What does the EF400 sound like with the best IEMs I’ve heard in my life? First of all, make sure to put it in the low gain option, to achieve cleaner audio and less background noise.
So, this pairing also does sound incredible. The XE6 is a rich-sounding, hyper-detailed IEM with a godlike bass response, and I’m happy to report that the EF400 handles it like a champ (with its power output it’s not a surprise though). The romantic soul of the EF400 makes the XE6 into an even more engaging IEM than it already is, so this is definitely a thing to have in mind if you’re about to pull the trigger. This is definitely not a neutral, analytical type of sound. Question is, should you get the EF400 if you already own the XE6? Well, I don’t think so, it would be better to go with something more neutral and suited more towards IEMs, as the EF400 has a lot of power that you won’t really need.
However, if you’re going to buy the EF400 to pair with your over-ears, then you can also use it with your IEMs for that incredibly engaging type of experience.

Comparisons​

Yulong Aurora



If you’ve read my Aurora review (here), then you’ll probably be going to assume that these two are quite similar. This is partially true, but there’s a catch.
The Aurora has a more controlled and firmer sounding bass, and it’s overall a touch crisper throughout the entire frequency range. Also, when it comes to functionality, the Aurora offers much more, so if you like to have many options and sources, the Aurora is probably your guy.
However, the EF400 sounds even more mature and it has that R2R tone that is just different, more organic sounding than the Aurora. Truth is, both devices are just spectacular when it comes to the value and it’ll be up to you to decide. Take note that if you would like something that really sounds different than most of the devices in this price bracket, then the EF400 is a better choice.
Overall, while the Aurora has better functionality, I’d rate the sound of the EF400 higher, mainly due to that lovely timbre.

NOS vs OS​

Lastly, the EF400 actually lets you choose between two slightly different approaches to the sound with its NOS and OS options.

So, what’s the difference? It’s not huge, more of a fine-tuning of the sound characteristics, but no matter which option you’ll choose, the R2R magic is still going to be there. NOS sounds a bit more even and slightly more neutral (still not really neutral-sounding) than the OS. High-end R2R DACs are usually used with the NOS option, and I can see why. This is a perfect blend of that wonderful, incredibly natural sound with great technical performance and it’ll surely pair well with most headphones you’ll throw at it.

OS, on the other hand, is more rounded, relaxed, and smooth sounding, but it’s not a night and day difference. This option is great if you have some pretty extreme-sounding headphones and you want that extra richness to counter the analytical character of the headphones. A great example is the Hifiman Arya SE, which for me personally is a bit too much sounding. It has those hyper-fast transients and quite a forward-sounding treble, and the EF400 makes the Arya SE a little bit more enjoyable and calm-sounding for me.
While the option to toggle between NOS and OS shouldn’t be considered a deal-maker, it’s very cool to have it, especially considering (again) the asking price of the EF400. At the end of the day, you can fine-tune the sound a bit to your liking, which is always a good thing.

Summary​

It’s not a secret that I absolutely adore Hifiman, and for a good reason. They do deliver incredible audio products at prices that are more and more affordable, and the entire audio market benefits from their approach.

However, they were playing safe for the past couple of years, focusing more on improving, rather than entering new market segments and coming up with new technologies. This changed with their Deva Pro, and now they just made the next step. The Hifiman EF400 is such an incredibly mature and rich-sounding AIO that I actually think that Hifiman could have easily sold it for $2000. Considering that it’s priced at $599, I’m going to recommend the EF400 to everybody looking for an all-in-one device with tons of power and a beautiful, rich, and incredibly natural sound.
This product is going to change the audio market in the upcoming years, as Hifiman just did something that they’re best at – raised the bar. Chapeau bas.

Wildly Recommended.


Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Hifiman Susvara, Final D8000 Pro, Audeze LCD-X 2021, Hifiman HE1000se, Drop + Sennheiser HD8XX, HEDDphone, Hifiman Edition XS, Meze Elite, Hifiman HE-R9, Fir Audio XE6, Hifiman Arya SE
• Sources– MacBook Pro 2021, Yulong Aurora, Burson Playmate 2, LittleDot MK III SE, SMSL DO100 + HO100

Big thanks to Hifiman for providing the EF400 for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Hifiman hasn’t seen this review before publishing it.

Introduction​

Every single time I write a review of Hifiman’s product, the introduction paragraph is getting harder and harder to write. How many times can I point out that this is the nr.1 manufacturer in the world when it comes to headphones.
They do offer arguably the best value models in every price segment when it comes to open-back, planar-magnetic headphones. It’s quite recently though when they started to go into dynamic driver headphones, so this is pretty interesting.
Their first dynamic headphone was the HE-300, a budget model released back in 2012 I believe. While it was certainly a good product, it wasn’t meant to flip the audio world upside down, mainly because of the market it was targeting.
Then, after many years Hifiman announced the R-10D and R-10P, and it was one of the most controversial announcements in headphone audio well…ever. Hugely based on the legendary Sony MDR-R10 with those huge and asymmetrical earcups, Hifiman surely grabbed a lot of attention. Some time has passed, and Hifiman has launched yet another model in this line, the HE-R9, which we’re going to review today.
What’s really interesting, is that Hifiman went with wired headphones with an optional Bluemini R2R Bluetooth module, and this is a hugely functional combination. The Bluemini R2R was originally supplied with the Deva Pro, our “Best Product of 2021”. This is THE headphone that will forever change the landscape of Bluetooth over-ear headphones. The Deva Pro is an outstanding product that I use very frequently, so this is very nice to see Hifiman trying to squeeze the most out of it.

Packaging​

The HE-R9 comes in a completely redesigned package, which Hifiman is starting to use with more of their models.
It’s a cardboard box with subtle branding, but it feels nicer than their previous offerings (apart from the Susvara, 1000se, and other high-end models of course). The good news is that you’re getting a headphone stand made of hard foam, that is used as a filler while the headphones are in transit. This is a very nice touch, as we all need headphone stands anyway, so you’ve got one more thing less to worry about.

The stand, even though it’s quite basic, does the job. It’s not tall enough to accommodate the R9 that is fully extended and has the cable plugged in, but it’s just a matter of playing around or adjusting the headband. While not the best, having a headphone stand in the box is a big pro for me, and it’s just brilliant.
Apart from the stand, you’re getting the Bluemini R2R module and a 3.5mm cable. You can use the R9 as both wired and wireless headphones, via Bluetooth, USB-C, or just a classic analog connection. The possibilities are almost endless.

The included cable is that black, soft one included with the latest Hifiman headphones, and I’m a fan of this specific cable. While not looking anywhere near-premium or luxurious, it’s super soft, doesn’t tangle, has no microphonic effect, and is just a joy to use. Ironically, this is the best cable that Hifiman has even included with their headphones in my opinion, as it just does work flawlessly and is hyper-comfortable.

Design, Build and Comfort​

Let’s get into the design, build, and comfort of the HE-R9. As mentioned at the beginning of this review, the earcups are hugely influenced by the legendary Sony MDR-R10, widely regarded as one of the best headphones ever made.

So, speaking about the design, the R9 is basically a Deva Pro with closed-back, cherry-colored, huge earcups. While I won’t recommend wearing them in public (mainly due to the fact that you’ll look like an aircraft pilot), they do look great. The huge earcups add that layer of refinement to the overall basic design, and it’s just impossible not to draw attention while wearing them.
The build quality is good, not perfect, just like with all Hifiman headphones. The R9 feels substantial and lightweight at the same time, and it feels really solid. The whole construction does not make a single noise, so the R9 will last you a long time.

As far as comfort is regarded, the R9 is just like any other Hifiman headphones, very comfortable. The lightweight construction paired with a very good and soft headband and plush earpads all make for a very pleasant experience, even while wearing the R9 for many hours without break. I don’t have any problems with listening to the R9 for the entire day, and my head and neck don’t have any problems with that, something I cannot say about many other headphones on the market. As I said in many of our reviews, Hifiman first handles the ergonomics, and then they build the headphone around it, and this is THE way to do headphones.
The Bluemni R2R Bluetooth module is pretty lightweight and it plugs into the left earcup, not adding too much weight to the entire construction. It’s easy to use with just a single button and a USB-C connector, so using it is just as simple and pleasant as it gets. It still amazes me how was Hifiman able to squeeze such a great sounding circuit with Bluetooth in such a small unit, this is some next-level wizard action.

Tech​

There’s certainly a fair amount of tech included in the HE-R9.
First of all, the driver is using a “Topology Diaphragm” technology by Hifiman. Here are a few words about it from the company itself:



Hifiman has been using the “Topology Diaphragm” in their R-10D as well. It’s interesting to see a company that is focused mainly on planar-magnetic drivers engineering new and exciting technologies in dynamic drivers as well. Dr. Fang Bian is just a mastermind, to say the least.
Next up is the Bluemini R2R module. It’s built around an R2R DAC, which for the size and price of this little guy is just mind-blowing. Hifiman is releasing more and more headphones that can be used with the Bluemini R2R, and it’s just a fantastic way to increase the functionality and value of their products. Actually, they just released the Hifiman EF400 All-In-One (review soon!), which uses R2R technology as well. This is wise: create the technology, and then use it in a wide selection of different products. Spoiler alert about the EF400 – this is a “product of the year 2022” contender to say the least, and it’s only May!
Back to the Bluemini. It charges via USB-C, and the battery lasts up to 8 hours, which is a good score having in mind its impressive topology. It uses Bluetooth 5.0, a Qualcomm QCC5124 chipset and it supports LDAC, aptX HD, AAC, and SBC, with a signal-to-noise ratio of 114dB – this is mental.



That’s not all though. You can plug the Bluemini into the R9, and use the USB-C cable to connect it to a PC or MAC, and the Bluemini will act as an external DACAmp, powering the R9. In this configuration, you don’t even need to have any DAC or AMP to use the HE-R9 with your computer with zero latency. My MacBook instantly recognizes the Bluemini as an external DAC and it works with no setup.
You can of course use the HE-R9 as a wired pair of headphones as well. The drivers are rated at 32Ω and 100dB, so the R9 is very easy to drive. Just grab any DAC and Amplifier you’ve got and use the R9 as classic, wired headphones – you’ve got that option. I’m mainly pairing the R9 with the newest EF400 and I’m getting shocking results, but more on that later.

Sound​

When it comes to sound, the HE-R9 is definitely one of the most unique sounding headphones Hifiman has released in years. Their headphones usually sound extremely neutral, ultra-fast, and detailed, being very technical and natural sounding at the same time. The R9 is a big, bold, and warm-sounding headphone that deviates a lot from what Hifiman usually offers.

Let’s start with the bass as usual. The R9 is closed-back and it uses a dynamic driver, hence you should expect a significantly different type of experience than the Edition XS for example. The HE-R9 is a king of fun when it comes to low frequencies, resulting in a vastly different sound signature than I’m used to with the rest of their lineup, which is a great thing, as it makes Hifiman even more competitive in different market sections.
So, while I won’t call the HE-R9 a Jack Of All Trades, it definitely shines the brightest with electronic music, metal, rock, and hip-hop, which rely on a saturated and physical bass delivery. The bass of the R9 is so huge that it actually makes the earcups vibrate quite much when listening to some bass-heavy tracks on a moderately high volume. Don’t think that it’s overblown or it lacks control though, as it would have been far from the truth. The R9 has a great grasp of the low frequencies, delivering an exceptional amount of dynamics and texture, while also reaching quite low. It doesn’t extend as low as the best planars, mainly due to the limitations of the driver’s technology, but other than that, this is a fantastic, saturated, and exceptionally fun to listen to bass delivery.
A good example is the last album of Tool, the Fear Inoculum. There’s a song called “Chocolate Chip Trip” and it’s basically Danny Carey aka Octopus and his insane drum kit. The amount of body that the R9 delivers in this track is just insane, making me bang my head like crazy. These headphones are made to deliver fun, and they certainly deliver on that promise.

The midrange is pretty warm, especially considering that we’re speaking about Hifiman headphones. The entire midrange is smooth and very pleasant to listen to, so it continues that fantastic fun factor that the bass offers, giving you mids that are just a blast when it comes to long listening sessions. Yes, the bass has a tendency to slightly bleed into the lower midrange, but I think that it’s a good thing in this case, giving vocals that added richness and natural warmth. What’s interesting is that I’d call the R9 an overall intense and extreme sounding headphone, but it’s not extreme in any specific area, which might sound ironic, but I don’t know how to explain it differently. This model is targeted toward people that just like to have fun and enjoy their music, especially more dynamic genres. Hifiman already has a lot of headphones that are perfect for everything, highly universal, and superbly technical sounding, so the R9 is a great springboard from the rest of their lineup.
So, every single vocal I throw at the R9 ends up sounding melodic, rich, and natural, with added body. Everything sounds big and bold on the R9, so this is definitely a trademark of this model. This is one of the most romantic-sounding Hifiman headphones I’ve heard to date, somewhat reminding me of the original HE-500. It has that ability to put you right into the music and take you dancing, offering a very rich, smooth, and colorful presentation that is loved by many (me included). If you thought that Hifiman can only do neutral, think again, as the HE-R9 surely proves it’s far from the truth.



The treble is the most dependent on the synergy. While it will never sound harsh or unpleasant, you can get quite different results depending on the system you’re going to use the R9 with. I will elaborate in the “pairing” paragraph.
So, the overall presentation of the treble is again, smooth and romantic, with good detail and great resolution. It has enough energy to make your electronic or metal tracks sound prominent and very dynamic, yet at the same time, it won’t bother you with unnecessary peaks or sharpness. This is mainly due to the fact, that the treble is smooth and not too forward sounding, so you’re going to have a good time even while listening to poorly mastered albums, which is a plus. You know that metal can sound unforgiving quite often, so I’m happy to report that the R9 handles it with ease. It’s not doing that in exchange for details and resolution though, as these two aspects are up there with the rest of the frequency response when it comes to technical performance. It’s just a different flavor, a more “classic” approach to treble, which has that sweet timbre and great body to the sound. What’s also worth noting, is that the treble extends quite high, not quite the Susvara or 1000se level, but it was never meant to rival these two Goliaths. The most important thing is that you’ll be able to listen to the HE-R9 for a long time, while not sacrificing any of the fine details in the recording, and this is the ultimate trait to have.

The soundstage is just mind-boggling when speaking about closed-back headphones. Just like the R7DX that I reviewed lately, the R9 doesn’t stage like a closed-back whatsoever. The soundstage is very wide, deep, and has great separation between instruments, resulting in perfect imaging and a very convincing 3D effect. I feel like most headphones I’ve reviewed in past few years got to the level where they stage incredibly well, but to see a closed-back doing things like this is impressive, to say the least. If you’re looking for closed-back headphones that stage like an open-back, look no further, the R9 is your guy.

Comparisons​

I must confess, I haven’t tested a lot of closed-backs lately, mainly to the fact that this kind of headphones has been in retreat for years now. However, because of its immaculate soundstage, I’m going to compare the R9 to open-backs as well.


Dan Clark Audio Aeon 2 Closed



The Aeon 2 Closed would definitely win a battle for a longer name, but it’s not what I’m going to do. This is a planar-magnetic, closed-back headphone priced at $899, hence being in a somewhat similar market segment as the HE-R9.
Both headphones share some similarities, but they also differ quite a lot from each other. Both are big and bold in the bass presentation, resulting in a very fun listening experience. The midrange is more romantic and rich in the R9, whereas the Aeon 2 shines in transparency and crispiness. The treble is much more pronounced in the DCA model, not being as natural and rich sounding as the R9. Both models have great soundstage capabilities, but I’d rate the R9 slightly higher, as its soundstage is broader and even so slightly more accurate.
Lastly, while I would take the Aeon 2 for a walk outside, I would not do it with the R9. The Aeon folds, it’s much smaller and won’t draw as much attention, while the R9 will make sure that all eyes are on you. If that’s your cup of tea then sure, go ahead, but it surely is not for everybody.

Hifiman Edition XS



The battle of two incredible models from Hifiman, and it’s a very interesting one. They are a representation of a “Song of Ice and Fire”, the XS being ice, and R9 being fire (the color of the earcups are actually matching to this description!).

Okay, let’s get to the point. The Edition XS is THE best headphone in the $500 market, period. It’s hiper-detailed, fast, accurate, and neutral, resulting in a headphone that I can easily call a Jack of All Trades. It just does everything great, plays every genre well, and pairs with just about everything.
The HE-R9 however is a different story. It’s much richer, thicker, and bigger sounding with huge dynamics and that intense bass delivery. While it won’t work as great as the XS as the one-and-only pair of headphones you’ll have, this is the ultimate example of a secondary pair to complement your daily, reference one. I can definitely recommend owning both, with the XS handling your everyday stuff with authority and technical excellence, and the R9 for your intense fun times. Yes, the Edition XS is more detailed and its tuning is much more mature and neutral, but I somehow tend to grab the R9 more, mainly due to that fun bass response and romantic vocal presentation. Choose which one is for you, or get both, you can’t go wrong.

Drop + Hifiman HD8XX (unmodded)



Two dynamic headphones, open-back vs closed-back, with the 8XX being considerably more expensive of the two.

The R9 is yet again, more powerful sounding with a richer body and a more romantic type of presentation. The 8XX has a more detailed treble and even bigger soundstage, but it is to be expected considering the fact that the HD8** lineup is known for its monstrous soundstage scale. However, when we get to the midrange then the R9 is outplaying the 8XX by a lot, offering a much more natural and pleasant timbre with a much better vocal presentation. There’s a mod of the 8XX which is supposed to change its midrange delivery significantly, but when we’re talking stock, its midrange just doesn’t compete with the R9.

Lastly, the 8XX is much more demanding when it comes to pairing. It doesn’t offer Bluetooth functionality and considering it is much harder to drive, you’ll have to spend a lot more to get these puppies run, while the R9 will sound great with just about everything.

Pairings​

Bluemini R2R Bluetooth module



Let’s address the elephant in the room, how does the HE-R9 sound when it Bluetooth mode? Absolutely spectacular. The Bluemini R2R module sounds like a proper R2R DAC, which results in a rich, smooth, and romantic presentation, just like the R9. Pairing both devices of similar characteristics gives us a sound performance that is just exceptionally pleasant and natural.
Two days after receiving the R9, my girlfriend stole both the R9 and the Bluemini, paired it with her phone, laid down, and was going to listen to some music for an hour. Well, an hour changed into 3 hours of rushing through her entire library to see “how does THIS or THAT sound like”. She was in audio heaven, but she loves big bass, so I was not surprised. She pointed out that the amount of fun and cleanliness of the sound shocked her, especially considering that she was using Bluetooth via LDAC codec. She’s not entirely a newcomer to audio, as she tests everything that I review, including all the crazy flagship-level gear, so let that sink in. This is her favorite product that she ever tried out of everything I reviewed since we live together, so this should give you an idea of how fun it is to listen to.

Hifiman EF400



The latest All-In-One from Hifiman, A R2R balanced DAC with a powerful headphone amplifier, capable of getting the Susvara crazy loud. My review is in the works, so definitely stay tuned if you’re interested in reading about this little champ.
I got both devices in the same package, so I plugged both in immediately and paired them together. First seconds after an hour or two of warm-up and I was sold. This setup sounds incredibly mellow, rich and bold, while offering incredible dynamics and authority of the sound. The R9 is not a power-hungry headphone, but the EF400 definitely has more than enough juice to power like 20 of those, so it handles that driver like a champ. I already gave you a spoiler that the EF400 is a “Product of the year” contender for me, and when paired with the R9 it made me very happy that I get to listen to such an incredible audio stuff on a daily basis. I’ve got the Susvara, Elite, D8000 Pro, TOTL IEMs, Dacs, Amps, and I still enjoy this sub $1500 system A LOT. Sometimes technicalities are not the most important, and for these moments, the EF400 + R9 is my nr.1 setup for the past few weeks. Ever since getting them, the R9 is my most-used pair of headphones, the EF400 my most used DAC/Amp, and together they’re the most used system that I’ve been using throughout this time. Intoxicating.

EarMen Colibri



Let’s try something very different now. The EarMen Colibri is a very small DAC/Amp, or a really big dongle, however you want to look at it. Its tuning is rather neutral and analytical, with slightly thin sounding treble and midrange that is not too engaging. The R9 is the opposite, so it should be a good match, right?
And a good match it is indeed. These two complement each other in such a way that the sound you’re getting is just right. No more analytical or slightly thin sound out of the Colibri, now it’s thick, moist and very, very engaging. That’s why I love reviewing audio, as some products are just waiting to be re-discovered. The Colibri is a great device, don’t get me wrong, but it isn’t entirely my cup of tea when it comes to its timbre. Well, now I have found just a perfect companion to pair it with.
Also, the treble out of this combo sounds very different than with the EF400 for example, providing a more forward and crisp sound delivery. As I said in the sound paragraph, treble is highly dependant on what you’re going to pair the R9 with, and this pairing is a good example. However, you won’t find any pairing that makes the R9 sharp or unpleasant, or at least I haven’t.

SMSL DO100 + HO100



Okay, this one is going to be quick and straight to the point. How does the HE-R9 sound when paired with a dead-neutral budget stack by SMSL? Brilliant.
These little guys are like chameleons, they don’t have a “signature”, so the timbre of your headphones is basically a type of sound you’ll be getting. The SMSL stack makes sure the R9 gets a high quality, clean and powerful signal, and the R9 handles all the fun and subjectively cool stuff. If you want to get the HE-R9 but you wonder if it’ll pair well with a budget stack like this one, the answer is yes, it will.

Summary​

In case you’re still wondering if I’m not a Hifiman employee, the answer is still NO. Well, I ran Hifiman’s booth at the Munich show for an hour, as the crew went to listen to some cool stuff, but I did it entirely out of my sympathy towards Mark and Tomek.
Okay, jokes aside. It’s not my fault that Hifiman only launches amazing products, so as long as they’ll continue this trend, you’ll be getting highly positive reviews from me. The HE-R9 is a complete product with great value. It’s wired, it’s Bluetooth, it’s wired but digital, it can do it all. The comfort is great, so it’s easy to use the R9 for many hours with no problem, and the sound is exceptionally fun, rich, and romantic, with one of the craziest bass responses I’ve heard in over-ear headphones in my life. The HE-R9 exceeded my expectations by a mile, so it now joins the Edition XS as my recommendation for headphones under $1000. Additionally, if you don’t need Bluetooth, the wired version of the R9 is now going for as low as $369, and this is just absurd.

Wildly Recommended.


Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Hifiman Susvara, Final D8000 Pro, Audeze LCD-X 2021, Hifiman HE1000se, Drop + Sennheiser HD8XX, HEDDphone, Hifiman Edition XS
• Sources– Bluemini R2R, SMSL DO100 + HO100, Yulong Aurora, Hifimane EF400, Burson Playmate 2, EarMen Colibri, EarMen Tradutto, SMSL SH-9, Cayin N3 Pro,

Big thanks to Hifiman for providing the HE-R9 for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Hifiman hasn’t seen this review before publishing it.

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The Aurora is the newest DAC/Amp combo by a Chinese manufacturer Yulong. It's designed around the latest ESS ES9068AS chip, also offering a Class-A headphone amplifier. It's priced at $520.​

Introduction​

Founded in 2009, Yulong has been manufacturing audio devices for 13 years now. They mainly focus on all-in-one solutions, and they have some very popular offerings in their portfolio, such as the Aquilla, Canary, and many more.
For me, Yulong has always been a kind of a “niche” company that doesn’t launch new products every quarter of a year. Reading their story made me realize, that it is a company that’s led by audio enthusiasts and audiophiles, so honestly rivaling the biggest players like Topping or SMSL isn’t their goal.
Actually, I’m going to paste a fragment of “About Us” from their official page, to help you get a better grasp about their philosophy:

“YuLong Zhang, our Founder and Chief Engineer, is a talented, experienced and persistent engineer. He built his own DAC and amplifier back in late 90s and gradually turned his hobby into lifetime devotion. Over the years, YuLong has gathered musician, mastering engineers, electronic engineers and dedicated audiophiles into his team, playing different roles in R&D, product refinement and production management. The team also actively involved in sponsoring and using YULONG equipment to facilitate on-site setup for live music and musical software events. The team learned and developed hand-in-hand, established solid understanding of music and music reproduction, and providing check and balance opinion during the long and winding audio tuning process.
We shall continue to develop new skills and technologies, and deliver All-in-One products that enable audiophiles and music lovers to enjog in their beloved music. In addition, we shall remain cost competitive. Our reference products are relatively affordable, and we constantly adopt our technologies to our DA-ART products, a sub-brand we created to serve the younger generation. “

I get a feeling that the sound coming out of their devices is more important than raw measurements, something I think a lot of companies are missing nowadays. I’m not saying that measurements are bad, I’m not an audio engineer myself so I’m not in a position to tell what’s good and what’s bad. However, as an audiophile, I actually appreciate all the stories that they “sit for months near their listening systems tweaking the sound of the device they’re working on currently”. It’s been like that years ago, when audio manufacturers focused 90% of their energy on the sound that comes out of their new product because it was all that mattered. I kinda miss those days, but at the same time, mad scientists like Topping, SMSL, and iFi Audio gave us the biggest change to the audio industry in the past couple of years – good stuff got cheaper, and that’s the best that has happened to the audio industry.

The Aurora is the part of their DAART sub brand, aiming more towards affordable audio solutions.

Packaging​

The unboxing experience of the Aurora was funny for me personally, as I wasn’t aware of the fact that I’ll be getting one. One day the box just came into my home, I put it on my table, sat in front of it, and went “what the hell are you”. I had absolutely no idea what was inside, so this was pretty interesting.

So, the box of the Aurora is pretty big actually. The outer sleeve has some cool graphics printed with most of the information you’ll need to read about the Aurora. This is a pretty functional feature to have, and it was definitely designed for audio stores to sit on the shelf and intrigue people. At the end of the day, the box basically says everything you’ll be getting if you’d be to pull the trigger for the Aurora, and that’s a good thing.

Inside, apart from the Aurora itself, you’re getting a power chord and a USB type B cable. Sadly, no USB C this time. As for the quality of the cables, they’re just standard, nothing to write a book about, but they get you started.
Lastly, the external power supply, as the Aurora has no built-in power supply.

Design, Build and I/O​

I really like the build of the Aurora. It’s dense, well built, and just solid feeling in a hand. I really dig that curved design to the device, as it sets it apart from most of the competition (Topping, SMSL, I’m looking at you).

As for the size, it feels just about perfect. Not too big, so it’ll fit most desks, not too small, so you can put a headphone stand on top of it (I’m doing it personally, I have so much stuff that saving even a bit of space is a life-saver). It certainly looks unique and pleasant, not being too flashy at the same time.
So, let’s discuss I/O, where the Aurora shines. On the front, there’s an input switch on the left, a brilliant volume knob (it’s really smooth and great to use), and three different headphone outputs: 4.4mm balanced, 6.3mm, and 4-pin XLR balanced. This is basically all you need apart from the standard 3.5mm jack, but if you’re buying this kind of a device, then do you really need it? Just use an adapter to 6.3mm, or preferably go balanced.

On the back, there’s a lot going on. We’ve got a digital section with USB, coaxial and optical inputs, so you’re pretty much set. Next up, a power switch, and I want to elaborate. Audio manufacturers, please, don’t put the power switch on the back of your devices, please. A lot of us have many DACs and amplifiers on our desks, and we often stack them. Try turning on the device that has two different devices on top of it…yes, not very easy. Just put in on the front, I know power switches are mostly ugly, but it’s for the good cause.



Next up, the analog section. We’ve got an RCA input, RCA output, and XLR output, which means you can basically use the Aurora in most scenarios possible. Standalone DAC? Go ahead. Preamp? Definitely, just toggle the switch on the back that lets you choose between Pre and DAC. You only want to use that sweet A-Class headphone amp? Sure, just plug into the RCA input. Oh, and don’t forget that you also have Bluetooth (Bluetooth feature is available to selected countries due to regulatory requirements).

This kind of approach is very attractive in my book. You’re buying a device that can serve you well in a lot of ways. It can do standard DAC/Amp for your headphones and PC, it can do active loudspeakers, it can do just headphones with no DAC section…the possibilities are surely out there, and it’s up to you to decide what you want to do.
Don’t forget the most important thing – the Aurora is $520, and for the money, you’re getting all of that. This is what I call a really good deal.

Tech​

The Aurora has a lot of functions, hence it also has a lot of tech inside. Let’s discuss it briefly.
The DAC is built around the ESS ES9068AS chip with XMOS XU216 USB interface. It can do everything up to 768kHz, DSD512, and 8X MQA. Yes, it also has MQA, I don’t know how they were able to squeeze all that in a device that small and that inexpensive.

I’ve told you about all the inputs already, but what’s worth noting is that the USB Input does work with iOS, Android, Windows, MAC, and Linux. You can use it with basically everything. I know that most of you will still use it with a Windows PC or a MAC, but to have the possibility is a great thing, to say the least. Maybe you want to buy the Aurora for your bedside system next to your bed? Go ahead, just plug it into your phone and have fun. Brilliant.

The Aurora actually uses 1 ESS ES9068AS DAC chip instead of two, so it’s not a truly balanced DAC. Yulong Zhang decided that one chip sounds better than using two when he was creating the Aurora. I really like this kind of approach, instead of going for two just for the sake of it, he decided to test both options and find out which solution sounds better. This is the type of engineering I somewhat miss more and more. From the marketing point of view, using two chips and making the Aurora fully balanced would have probably been highly desired for many, but Yulong decided that the sound quality is more important, and I really appreciate it. Yulong said dual DAC properly make more sense for full size DAC, but for compact all-in-one, single DAC has a higher chance to achieve proper engineering . Take note that, unlike the DAC, the analog section is fully balanced though.

The Aurora has a built-in Bluetooth receiver that does Bluetooth 5.0, LDAC, and aptX. If all of the previously mentioned wasn’t enough, they squeezed a yet another feature that is highly desired by lots of people. That’s mental. Take note though, as the Bluetooth feature is available to selected countries due to regulatory requirements.

Let’s dive deeper for a second. The headphone amplifier section is operating in a discrete Class-A, giving you that legendary timbre (more on that in the next paragraph). The Aurora uses 7 OPA1612 op-amps, one of the best measuring on the market currently. As for the power, it uses a newly developed high power regenerative power supply.

Sound​

So far, the Aurora is incredibly impressive when it comes to its functionality, form factor, tech, size, and the asking price. It literally offers so many functions that it instantly makes it worth more than $520. However, to fulfill the aspect of being truly “great”, the Aurora has to sound great as well.

When it comes to sound, the Aurora offers something that is really unique with this kind of device. Despite being high-tech, absurdly functional, and just great in everything, it does offer a sound that is on a warmer, calmer side than most similar devices on the market nowadays. This is by no means a technical, analytical sound, but (mainly due to its Class-A headphone amplifier section) just simply smooth, pleasant, and very musical.

Right after unboxing it and giving it a few hours to settle down, I immediately plugged my Susvara into the Aurora via a balanced Cross Lambda Apollo GB cable (this headphone + cable combo costs an astonishing $12000!) to see if it has enough juice to power this behemoth. How surprised I was when I immediately heard that the Aurora gets very loud with the Sus, too loud for me to handle on the maximum volume. All this while still sounding lush, rich, and analog-like, Woah, what am I dealing with right now?

So, you think that the Aurora CAN drive the Susvara, which would have meant that it can drive everything, right? Well, that’s partially true. It does make the Hifiman flagship very loud, which is reminiscent of driving it for many. However, it is not the Susvara we all fell in love with. It does sound great, but the bass lacks energy, and the dynamics are somewhat limited. Still, for a $520 all-in-one, it performs incredibly well with the Susvara, which is just bonkers.

However, I doubt that anyone will buy the Aurora to drive their Hifiman Susvara, if your pockets are deep enough to buy a $6000 pair of headphones, they are sure deep enough to add a high-end amplifier to pair the Sus with. But, this little test gave us something more – if it can run the Susvara, it can run everything, and it is true. I’ve tried many headphones with the Aurora, such as the HEDDphone, Final D8000 Pro, Meze Elite, Drop HD8xx, etc, and I never felt that the Aurora even began to sweat. From my experience, Class-A amplification gives power differently than your typical amplifier, resulting in a sound that is more powerful and just simply stronger than what the specs say.



Let’s start with the bass, and that’s a good place to start here. While it won’t squeeze a truly spectacular bass out of the Susvara, it sounds fantastic with most headphones I’ve used. Low frequencies are bold, crisp, heavy, and highly saturated. This is your “typical” Class-A sound that is heavy, but not too heavy, it doesn’t sound artificial. A lot of people praise this technology for its thick and romantic sound signature, and it’s definitely present in the Aurora. What’s important, it doesn’t seem to boost the bass or make it more dynamic than it really should, it just gives a lot of power to the drivers of the headphones so they’re able to move a lot of air. The delivery of the bass is on the firm and controlled side, which works well with most headphones.

The midrange is what drew my attention first when I got the Aurora. Vocals are rich-sounding, smooth, and very natural, with no sign of sounding plasticky. The first 2-3 songs I’ve played with the Susvara just completely blew me away, as I thought that I have finally found a great, affordable all-in-one that can handle the Susvara. Sadly, it was when I tried some rap and metal music that I realized, that it almost does that…except for the bass. You can simply hear that the Sus goes very loud, but the driver is not working as efficiently as it should, resulting in somewhat lazy bass response.
Back to the midrange though – the Aurora gives you that classic-sounding midrange, quite different than what most of the modern devices are doing. It’s thicker, heavier, and more colorful sounding than most SMSL and Topping devices I’ve heard. It is at the same time not AS clean and detailed sounding though, but the difference is pretty slim. This is a matter of perspective though, as I would have traded a little bit of technical performance for timbre like that (most of the time) in other devices I’ve reviewed and used. This part proves that the story of Yulong staff sitting in their listening room and tweaking the sound of the Aurora to their liking is indeed true. This is not a hyper-clean performing device that sounds like a lot of other devices on the market. This sounds different, romantic, rich, and pleasant.

The treble is quite smooth sounding as well, but it doesn’t lack any sparkle or detail. It isn’t as forward and hyper-detailed sounding as some of its competitors, but at the same time, this is a beautiful springboard from what we’re used to hearing for the past couple of years. The cymbals have proper weight to them, something that I feel is often overlooked when we’re talking about the treble. Female vocals sound melodic and smooth, but they’re not recessed or too soft sounding. The overall tone of the treble is a bit sweet and warm, which works fantastic with worse masterings. You don’t have to listen to well-engineered albums only while using the Aurora, which is very important for many, myself included. By the end of the day, most of us shop in this market for a device to listen to music with, not to chase even the smallest and slightest detail in the recording. Don’t think that the Aurora is lacking in detail though, as it’s completely not the case here. It just doesn’t focus on technicalities as its main priority, and that’s a huge difference. The overall resolution and detail retrieval are really good throughout the entire frequency range, just not the best in the market. However, having its superb timbre and power in mind, very good technicalities are good enough in my opinion.

The soundstage is what you would have expected from a device like this. Deep, wide, and full of air. The imaging is spot-on, creating a very realistic 3D type of staging. It won’t make the soundstage of your headphones any larger, nor it won’t sound intimate when it shouldn’t. I often feel like we got to the point where basically most devices have a very good soundstage and it’s getting harder and harder to rate this specific aspect of the sound. Overall, the soundstage of the Aurora is nothing to write a book about, but it’s very, very good at the same time. Can’t think of anything more I could have said about it.

Pairing suggestions​

I’ve tried the Aurora with most of my headphones and IEMs, and here are some pairings that really work. What’s important though, is that the Aurora pairs good with many, many different headphones. Usually, really technical and/or bright-sounding all-in-ones are problematic when paired with headphones with similar characteristics. Luckily, the Aurora has that smooth and warm-ish tonality which works great with everything you’d throw at it.


1. Hifiman Susvara

As I said previously, the Aurora works ridiculously well with the Susvara considering all of its functions and especially the asking price. No, the Susvara is not achieving 100% of its capabilities with the Aurora, but it does sound great. As I stated previously, the Aurora has plenty of volume to achieve ear-bleeding levels, but who on earth needs that?
So, what does the Susvara lack when paired with the Aurora? It lacks energy and dynamics when compared to some crazy high-end amplifiers that I’ve tried with the Hifiman flagship. On the other hand, the tonality, the entire midrange, and the soundstage all sound absolutely spectacular and there were moments when I couldn’t believe that I’m listening to a $520 all-in-one. For now, this is probably the best of what 500 bucks can get you to pair with the Susvara.

2. Hifiman HE-R9

I received the R9 a day after the Aurora, so both were used heavily ever since. It was pretty natural to try them both, and oh what a fun setup this is.
The R9 has one of the biggest and most epic bass responses I’ve heard on over-ear headphones, and the overall sound is very clean, warm, and firm. The Aurora has that natural and romantic-sounding midrange, that (on paper) shouldn’t really work with a warm-sounding R9. Oh, it’s totally the opposite. The Aurora evens the frequency response out slightly, mainly to its thick-sounding midrange, when the R9 is slightly recessed in the mids.
Additionally, the Aurora has that bass authority and power that truly allows the R9 to deliver absolutely huge and saturated low frequencies, which are the main attraction of the new Hifiman closed-back.

3. Hifiman Arya SE

This is probably THE setup to get if you ask me. The rich-sounding, thick and warmish Aurora paired with an incredibly fast, detailed and neutral Arya Stealth is a perfect Tinder Match.
The Arya is one of the best (if not the best) headphones under $2000 right now, but it ain’t perfect with its slightly polarizing tonality. I’ve heard some people claiming that the Arya SE is a bit too much for them in the lower treble, and I somewhat understand those opinions. Luckily, the Aurora works well with the Arya SE mainly due to its forgiving and fun signature that just evens the Arya out a tiny bit. The Arya begins to sound a bit more relaxed and soft, which is quite good. This headphone has so much detail and resolution, that losing a tiniest bit in exchange for a more pleasant tonality is not a problem at all.

4. HEDDphone

The Aurora could be the best of what $500 can get you as far as an all-in-one powerful enough to drive the HEDDphone can get you. The HEDDphone has a very unique yet intriguing and brilliant tonality, and the Aurora suits it very well.
This is a highly involving and pleasant-sounding setup that does everything well, especially if you like a heavy, rich tone to your music.
The HEDDphone has that unique sounding soundstage, and the Aurora with its transparent staging capabilities does great with showing what this headphone can do and what it can’t do. The biggest strength of this pairing is the tone – it sounds incredibly natural and pleasant, which is quite rare for a device in this price bracket if you ask me.

5. Cayin YB04

This one is really interesting. The YB04 by Cayin surely sits in the right price bracket to be considered as an IEM to get to pair the Aurora with. It is, just like the previous pairing, a highly involving and safe-sounding combo that works with most music genres. The tuning of both products is rich and analog-like, but not to the extreme, which results in a very mature and pleasant sound.
There’s slight background noise, as the output power of the Aurora is huge (it does make the Susvara very loud after all), but it’s nothing to really worry about unless you are very sensitive to it. Overall, the Aurora is a very good match with IEMs, but be careful with that volume knob.

6. Drop + Sennheiser HD8XX

Another great combo. The Aurora definitely has more than enough juice to push these big dynamic drivers rated at 300Ω. This setup has that legendary soundstage and bass energy to satisfy the most demanding people. I somewhat got used to planar sound so much, that using dynamic headphones feels like a nice change, even for a moment.
Luckily, the Aurora boosts the midrange and notes weight of the 8XX, which itself sounds rather lean in the midrange. This is a perfect example of a setup where one device complements the other in a way that just works, making for a better sound overall.

Summary​

The Yulong Aurora really surprised me. I didn’t know I’ll be getting it for a review, so my expectations were basically nonexistent. How surprised I was to find that this is an extremely functional device that offers a soulful and rich sound at a price that is more than fair. However, the star of the show is probably its power output, capable of getting the Susvara very loud, which for a $520 all-in-one offering so much functionality, is extremely impressive. I hope the Aurora will get a lot of attention, as it is now my main recommendation in this price bracket. Now I’m really interested in what their higher-end models can do.

Highly Recommended.

Gear used during this review for the sake of comparison and as an accompanying equipment:

• Headphones – Hifiman Susvara, Final D8000 Pro, Audeze LCD-X 2021, Hifiman HE1000se, Abyss Diana PHI, Drop + Sennheiser HD8XX, Crosszone CZ-1, HEDDphone, Meze Empyrean, Drop + Hifiman R7DX, Sennheiser HD6xx, Hifiman Edition XS, Fir Audio XE6, Final A8000, Cayin YB04
• Sources– SMSL DO100 + HO100, Hifiman EF400, Earmen Tradutto, SMSL SH-9, LittleDot MK III SE, xDuoo TA-26

Big thanks to Yulong Audio for providing the Aurora for this review. I wasn’t paid or asked to say anything good or bad about this product, all of the above is just my personal, unbiased opinion. Yulong Audio hasn’t seen this review before publishing it.

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