First, I’d like to thank Audrey and the folks at Brainwavz for providing me a sample of the S0 for review.
 
This is only the second Brainwavz earphone I’ve had the pleasure to audition, the first being the Brainwavz S5, a new earphone from the headphone and earphone maker that has produced quite a few different products over the years. The S0 is a step down from the S5, retailing for half the price while still promising premium sound and build quality. So, does the S0 measure up in what is still one of the most hotly contested price brackets in the earphone market? Read on to find out.

Accessories

The S0 ships with a variety of tips, including standard wide bore single flange tips, Sony hybrid style tips, double and triple flange tips and a set of Comply foam tips. In addition, a shirt clip, a nice cable tie and a zippered clamshell carrying case are also included.

Design and Build Quality

The S0, like the S5 before it, uses metal (but not heavy) shells flat cables and a well relieved straight plug. But, the S0 is infinitely better than the S5 because its cable, while still flat, is thinner and more malleable than the stiff and fairly inflexible flat cable of the S5. Not to mention the S0 utilizes a sensibly proportioned Y-split, compared to the massive and unwieldy one used on the S5.
 
Sure, the changes aren’t exactly huge and the S0 follows a very similar design ethos but the little changes make all the difference in my book.
 

Sound Quality

The overall sound signature is bass biased, but not to the same degree as the S5, and as a result, there’s a less recessed midrange but one that’s grainier in comparison. For the most part, the sound signature doesn’t try to emphasize any one frequency range too much. The low end is emphasized and offers up detail comparable to many earphones I’ve heard in this price range. Treble performance is slightly grainy, dry but neither harsh nor sibilant in my experience. The soundstage is a bit small compared to the S5’s occasional cavernous depth but still good and imaging is decent as well. Overall resolution and detail is about on the level I’d expect from the average $50 earphone but not quite as good as recent standouts I’ve heard like Sony’s MH1C and the Narmoo R1M.
 
Is the S0 accurate or neutral? Well, no, but it’s not tuned that way either. So if you’re looking for a set that will be good for critical listening, the S0 is not your earphone. In fact, the S0 is at its best when you’re not actively listening to it. I can already hear you asking “what the heck does that mean?” Basically, the S0 is better when you’re not focusing on it. It’s a great “shut out the environment and just zone out to some music” earphone. In fact, it’s one of the earphones I regularly take with me to work for just that reason.
 

Conclusion

Like the S5 before it, the S0 is thrust into the midst of some extremely potent competition and, again, like the S5, I don’t think this is a world beater. That being said, I think the S0 is more competitive in the $50 price bracket than the S5 is in the $99 price bracket and for that reason, it’s easier to recommend. For $50, Brainwavz does a good job of justifying the price with its metal build and nice selection of accessories and the sound signature and quality of the S0 is good for the price, even if there are some that perhaps perform a bit better.
 
So, all told, I like the S0, it’s a good sounding IEM that, while not quite as detailed as some of its competitors, offers up sound quality that’s easy to relax to.
 
Reposted from My Site, Musical Musings

First, I’d like to thank Audrey and the folks at Brainwavz and MP4 Nation for providing a sample of the S5 for review.
 
It was late last month when I received a message from the folks at Brainwavz on Head-Fi, asking if I’d like to review their latest earphone, the S5. I said yes, not knowing at the time that I was soon to play a part in one of the biggest grassroots marketing blitzes I’ve ever seen in the world of portable audio. I was one of possibly dozens of reviewers selected to voice an opinion on the S5, so I would imagine they have quite a bit riding on the success of the S5.
 
But I’m just speculating.
 
Anyway, at $99, the S5 steps into a crowded and highly competitive marketplace filled with a number of extremely high performing earphones So, does Brainwavz’s S5 have what it takes to compete? Read on to find out.
 
Accessories: The S5 ships with a very nice black and red clamshell carrying case, a pair of comply foam tips, various silicone tips in all the expected sizes and a custom gold-plated 6.3mm adapter
 
Design and Build Quality: Before I get into talking about the build quality in general, I must get something out of the way.
 
I hate the S5’s cable. It is truly awful.
 
Now I will readily admit my dislike for flat cables in general but I’ve never met a flat cable as awful as this. It’s too wide, it lacks flexibility and it carries a lot of microphonic noise.
 
Beyond that, the metal shells, beefy y-split and good strain reliefs combined with an awful, but at least durable feeling cable make the S5 an earphone that I wouldn’t be too worried about in terms of long term usability.
 
Comfort and Isolation: Excellent isolation for a vented dynamic driver IEM and comfort is solid as well, with the light aluminum housings weighing very little in my ears. The only issue is the thick flat cable which makes them difficult to route over the ears and doesn’t provide the most ideal or comfortable fit.
 

Sound Quality

At the bottom is a strong and assertive low end that doesn’t sacrifice sub bass detail, impact and extension for the sake of bloated mid bass like you’ll find in a number of v-shaped earphones. I’ve heard the S5’s bass referred to as “too much” and I disagree. Of course, tastes may differ but the amount of bass the S5 offers is just right to my ears, maybe bordering on “too much” but not quite there yet.
 
As is inherent with a v-shaped sound, the midrange is noticeably recessed and the performance is something of a mixed bag. It has pleasing warmth and smoothness that sometimes comes off as just that and others, it sounds veiled. Not quite opaque, just mildly translucent. The lower mids are definitely warmed up by the heavy bass and that is a definite contributor to the perceived veil.
 
Treble performance is emphasized but not particularly strong. It can sound good, great even, but most of the time, it’s just decent. Nothing special, nothing that made me pay particular attention to it when I wasn’t listening critically. It’s decent. It’s solid. It’s fine. Extension is good. Clarity is good. Not much in the way of sparkle, but not much sibilance either. It’s occasionally strained and somewhat brittle sounding, but that doesn’t happen frequently enough to be particularly annoying.
 
The S5 is, however, surprisingly good at throwing sounds out of your head with its impressive soundstage depth. The width and perceived height aren’t particularly spectacular but there were times when certain sounds surprised me and I glanced to my side, as I thought for certain a tinkling of piano keys at the end of The Roots’ Tomorrow had come from somewhere beyond what I was hearing from the S5.
 
But here’s where things get weird. The S5 can go from sounding expansive and incredibly deep to closed in and somewhat “stuffy”, depending on the song. That’s because the sonic image isn’t as layered or well positioned as it can be on other earphones, even in this price range, like HiFiMan’s RE-400. Don’t get me wrong, it’s far from bad, but it doesn’t wow me either.
 

Conclusion

The S5 is stuck in a very difficult position. On one hand, it does enough right to be worth considering at $100. On the other, it doesn’t do enough right to stand out. On one hand, I love the low end, with its great sub bass extension and rich texture. On the other, I don’t really love the mids or the treble. They’re competent and appropriately detailed for the price, but nothing special.
 
Perhaps the S5 is a victim of its pricing. The $100 price bracket is one of the most harshly competitive and unforgiving. There are a ton of excellent earphones within this price range and the S5 has a hard time competing because of that. Because it’s just “good”. Not excellent. Good for Electronic, good for Hip-Hop and good for Pop but at the end of the day, just “good”.
 
But, these days, one has to wonder if just “good” is good enough. Maybe. Depends on your tastes. If you want a V-shaped sound and don’t mind one that isn’t the last word on clarity and are willing to put up with the cable, the Brainwavz S5 is a solid choice for $99.

 
I was fortunate enough to be picked for the review tour for HiFiMan’s latest planar magnetic headphone, the HE-400i, billed as an improvement over the outgoing HE-400 model, and slotting in at $500, $100 more than the HE-400.
 
The HE-400i arrived in sizeable, leather appointed box, much improved from the simple paper box the HE-400 was packaged in. Right off the bat, my expectations were raised in the best way possible and when I opened up that box, I was greeted with a much classier setup than that of the HE-400. I knew then I was in for an interesting headphone in the HE-400i.
 

Design and Build Quality

Honestly, my first reaction to the HE-400i when taking it out of the box was…“cheap”. I’ve realized since that it’s not anywhere near that clear cut. Compared to the beefier, heavier HE-400, the HE-400i is significantly lighter, featuring more plastic in its build and a bit less metal. Contrasting the HE-400, the 400i has plastic ear cups and yokes, compared to the resin cups and metal yokes on the HE-400.
 
The cups themselves feature a nice, chromatic deep purple finish that’s classier and more immediately distinctive than the HE-400’s dark blue finish, which was rather polarizing among HE-400 owners. Personally, I didn’t mind the blue color but I do feel the HE-400i benefits from the chrome purple finish.
 
The headband has been changed from a more rigid leather wrapped affair to a suspension headband system employed in headphones like AKG’s K7XX series.
 
But, if I had to pick one failing of the HE-400i’s design, it’s one that was carried over from the HE-400, the screw-on, mini-coax connectors that secure the cable to the headphones. I’m not one to switch my cables often and this isn’t a problem that rears its head particularly often for most people but attaching the cables can be a bit of a hassle, as the opening where the cables screw into the headphones is just too small for one’s fingers to get into comfortably to secure the cables tightly. If you’re a set-it-and-forget-it guy like I am, this’ll only be a problem once, but if you like switching out your cables for different situations (say, a longer cable for living room listening and a shorter one for bedside listening), the connectors are bound to be a nuisance.
 
 
But, in many respects, the design is still distinctly HiFiMan in that I wouldn’t mistake them for headphones made by any other company. Though the materials have gotten lighter and arguably cheaper feeling, the design itself is sound and as long as you take care of it, it should last.

Comfort and Isolation

Isolation? No. It’s an open headphone. About as much sound comes out as goes in through those open grilles.
 
Comfort is provided by way of HiFiMan’s new Focus Pads, a hybrid design of pleather and velour. I originally bought a set for my HE-400 before I received the HE-400i and loved them right from the start. The HE-400i with the Focus Pads and the new suspension headband, combined with the lighter weight is a very comfortable headphone that should last long listening sessions without much in the way of fatigue. I, for one, wasn’t a big detractor of the HE-400’s comfort, even in its stock form but for some, the HE-400’s heavy build made it uncomfortable for many people so I believe the HE-400i will be a huge step up for those people.
 

Sound Quality

First, a note on amplification. The HE-400i is, unlike many planar headphones, surprisingly easy to drive from a number of portable sources. HiFiMan claims the HE-400i is efficient enough to be run straight from a portable device like an iPhone without needing an external amplifier and, while this is certainly true, the headphones do benefit quite a bit from adding a dedicated amp to the mix. Without one, they tend to sound sound a bit thin and – dare I say – dull.
 
Now here’s where things get interesting. Let me just say right off the bat that if you’re expecting a direct upgrade to the HE-400, you’re going to be disappointed. The HE-400i does not build upon the sound signature of the HE-400, fixing the “tizzy” high end and making improvements elsewhere, maybe adding a bit more texture to the already lovely bass and bringing the midrange a bit forward. Instead, HiFiMan went a different direction in tuning the HE-400i, making something of a bridge between the outgoing HE-400 and more expensive and also retiring HE-500.
 
The low end presentation is the biggest and most immediate difference when comparing the two headphones directly. The HE-400i is less impactful and immediate than the HE-400 but still retains much of the texture and richness that I’ve come to love so much. But, that lack of “oomph” in comparison is what makes the HE-400i so very different from its predecessor. My main reason for purchasing an HE-400 was because of that planar driver bass, a low end that’s about as good as you’re going to get without dropping a grand on Audeze’s LCD-2. Sure, it’s nowhere near the last word in terms of quantity, but its quality is unparalleled by anything I’ve heard and many who own the HE-400 and other high end headphones would agree.
 
 
The HE-400i doesn’t deliver that same wonderful low end. At least, not in the same way. The detail is there, the depth is there, the wonderful texture is there (to a degree) but the impact and presence just aren’t. But, I’m saying much of this as a basshead. I can’t get enough bass and there’s nothing I want more in a pair of headphones than a rich, meaty low end. And there’s no doubt that the HE-400i has this, just not as much so as the HE-400. The HE-400i is most definitely a very good performer in the bass department, it’s just not as “fun” as its older brother. At least in my opinion.
 
The midrange is another big difference between the two headphones in that the 400i presents it more forward and fuller. I would say the level of detail is similar, with the edge going to the 400i. The presentation is surprisingly similar as well, with a fairly small soundstage (for an open headphone) but good imaging and spatial presence. The high end sees some improvements as well, with less of that HE-400 “tizziness” in the treble. There’s less sizzle and more sparkle, more delicacy in the chimes but with similar airiness and speed.
 
The HE-400i isn’t a direct upgrade to the HE-400, but that doesn’t make it a lesser headphone. In many ways, it’s better than the outgoing HE-400, from the more present midrange, to the less strident treble. Though it has a slightly smaller soundstage, the sound is a bit more coherent and naturally presented. The result is a more neutral and slightly less colored headphone than its predecessor but one that doesn’t have the same distinctiveness but is arguably more suited to a wider range of music.
 

Conclusion

What we have here in the HE-400i is a much more neutral headphone than its predecessor. At the end of the day, I see the HE-400i as neither an upgrade nor a proper replacement for the outgoing HE-400. Though that may sound negative, that’s not how it’s meant to be perceived. The HE-400i is a great, versatile, neutral and well nuanced headphone, just not in the same way the HE-400 was.
 
It’s almost like the HE-400 to 400i has progressed in a similar manner to that one guy you knew in college who partied all the time yet somehow managed to get good grades in all of his classes. Sure, he’s a bit rough around the edges but that’s his thing and he carries himself well while being a fun guy to have around. That’s the HE-400. The HE-400i is that guy, after graduating from college and getting himself a big boy job working in an office and wearing collared shirts and ties to work every day. He’ll still meet you for a beer after work, but he’s settled down and his rough edges have been smoothed somewhat. Maybe he’s not as fun and rowdy as he was in his college days, but he’s just as likeable nonetheless, albeit for markedly different reasons.
 
 
So, no, the HE-400i isn’t an upgrade to the HE-400, it’s a sidegrade, offering a retooled and retuned sound signature that, while retaining some of the characteristics that made the HE-400 so special, doesn’t carry enough of them to warrant being called a true “upgrade” to the HE-400. Again, this sounds negative, but it’s not, unless an improvement on the HE-400 while retaining similar sonic characteristics is what you’re expecting in the HE-400i.
 
Nonetheless, the pair I have is currently on loan from HiFiMan and I now have a choice to make. I can either ship them back at my expense or I can keep them and pony up and pay retail. I think I’m leaning heavily toward paying up and keeping my pair. They’re not an upgrade to the HE-400, but they sure are a nice complement. For $500, the HE-400i is a great headphone that, while not without its flaws, is certainly good enough to stand on its own.

 
I’d like to thank John Seaber and the folks at JDS Labs for the C5D loaner unit.
 

Accessories

The C5D ships with a 1.5 foot USB mini-B cable, a set of four rubber stick-on feet and an instruction manual. A Spartan lineup, to be sure, but it gets the job done.

Design and Build Quality

Identical to the C5 in shape and size, though with a couple of added features, including a switch around back to allow the C5D to charge from a connected USB source or run strictly from battery power and a two-stage bass boost switch on the front with two boost options, instead of the single boost option in the original version of the C5.
 
Though I thought the switch that allows one to disable the charging circuit of the C5D and run on battery power alone was a rather frivolous feature at first, I quickly learned that it’s a hugely beneficial when using the DAC with my iPhone. I connected another USB DAC/portable amplifier I have, the MUSE PD1+, to my iPhone and it advised me that the connected accessory couldn’t be used because it consumed too much power, despite having its own battery. So a point for JDS Labs for realizing the necessity of such a feature.
 
Clad in an aluminum casing, the C5D feels sturdy and reliable, like it could easily handle being thrown into a bag or pocket every day and endure like a champ. Of course, I handled my demo unit with care but its solid feel instills confidence in long-term durability.

Battery life

Unfortunately, my demo unit shipped with a weak battery so I wasn’t able to evaluate its performance accurately.

Performance

Test Equipment
 
Desktop PC
 
iPhone 5S – Apple Camera Connection Kit
 
Google Nexus 7 FHD – USB Audio Player Pro – USB OTG Cable
 

 

Amplification

 
If you’ve read my review of the JDS Labs C5, just apply everything I said there to the C5D, as its amp section is audibly identical to my ears, namely, excellent. The C5D, like the C5, is designed for sensitive headphones and IEMs, so its power output isn’t very high compared to other portable amplifiers like the Fiio E12 but despite that, it is still able to drive high impedance and low efficiency loads like my Sennheiser HD 600 and HiFiMan HE-400 to nice and loud levels without sounding strained, like some other portable amplifiers will with headphones like these.
 
The all-in-one design of the C5D makes it very portable and usable around the office. I’ve been using it almost exclusively with my iPhone 5S, loaded with a mix of high-resolution lossy AAC and MP3s and performance has been stellar.
 
It is a bit disappointing that the C5D doesn’t have line-out functionality built in, just in case you wanted to use it as a dedicated DAC for a more powerful amplifier (like the O2, for example) but I didn’t find myself wanting for more than the C5D was capable of delivering. Of course, this may change if I ever get my hands on a set of power-hungry planars or 600 ohm Beyerdynamics. JDS Labs offers a conversion service to change the line-in jack to a dedicated line-out from the DAC but the downside of this is that you lose the ability to connect analog sources.
 
Another minor flaw is the audible “pop” that comes from the amplifier when it’s switched on. Not a big deal but it’s worth noting.
 

 

DAC Performance

 
Excellent.
 
Yep, that’s it.
 
The C5D supports 24 bit/96KHz decoding over USB and performs excellently in that capacity. Listening to a few 24 bit high-res test tracks I loaded onto my Nexus 7, the C5D sounded lovely with my Sennheiser HD 600s, so much so that I had to tear myself away from my listening in order to go to bed that night. That being said, whether or not there is any tangible benefit to carrying around 24/96 high-res files is up for you to decide as the audible differences between two lossless 16 and 24 bit files are negligible at best.
 
But I digress. The important thing here is that the C5D is more than capable of decoding high-res files and amplifying them at a level that will make your headphones sing. Compared head to head with my O2 + ODAC, the C5D was practically identical, subjectively speaking, which is very high praise in my book.
 

Conclusion

As both a portable amplifier and DAC, the JDS Labs C5D is superb. Though its published battery life is relatively short compared to some other portable amplifiers, the C5D’s feature set and overall performance more than make up for it. I wish its DAC had a dedicated line out for use with more powerful amplifiers but that’s taking the C5D out of its element to a certain degree. It’s meant to be used in a portable setting and in that capacity, it excels, though I would hardly say someone was crazy for using it as an all-in one desktop amplifier and DAC option. The C5D has the audio quality to perform well in that respect but I’d still recommend the slightly more expensive O2 + ODAC for desktop use.
 
At $250, JDS Labs’ C5D certainly an investment and one that only audiophiles can easily justify but if you’re looking for stellar audio performance from any and everything that supports an external USB DAC or a simple line-out, the C5D is likely one of the best portable amplifiers in the business and definitely the best I’ve ever heard.
 
Re-Posted from my site, Musical Musings

 
Thanks to the folks at HiFiMan for sending me a sample of their latest IEM to review.
 
Well, let’s get right to it. This is HiFiMan’s in ear monitor flagship, the RE-600 “Songbird”. Replacing the previous flagships, the RE-262 and RE-272, the RE-600 has some big shoes to fill, and with a $399 price tag attached, higher than either of its predecessors, it’s certainly got its work cut out for it. So, does the RE-600 live up to its lofty expectations and earn its keep? Read on to find out.
 

Packaging

I’ve been skipping this part of my reviews for a while as the packaging is rarely exceptional or interesting enough to warrant a mention but in this case, I’ll make an exception.
 
I mean, just look at it.
 
 
It’s not the most practical design but it works well and its leather design is certainly distinctive and unique against the standard array of packaging one tends to see on a store’s shelves. It’s a very classy and luxurious design that makes a lasting impression. That said, it’s not the best packaging I’ve ever seen, and that honor still belongs to the Monster Miles Davis Tributes but it’s a pretty close second.

Accessories

The RE-600 ships with an array of interesting and different tips, some of which I’ve never seen before. Of course, the new small biflanges make a return appearance and HiFiMan includes three pairs of them alongside two pairs of the filtered single flange tips, a set of large single flange clear tips, a large set of long single flange tips, similar to those included with the MEElectronics M11P+, two sets of HiFiMan large biflanges, a strange set of large single flanges that are certainly unique and interestingly enough, two sets of Comply foam tips in two sizes.
 
Also included are a set of 10 replacement filters, a white rubbery cable winder, a TRRS to TRS adapter, manuals and (finally), a clamshell carrying case.
 

Design and Build Quality

The RE-600 housings are identical in shape to those of the RE-400 with their metal build and small form factor. While the RE-400 went for a simple silver look for its housings, the RE-600 steps it up with a more luxurious piano black finish. The cable is similar to that of the RE-400, featuring plasticky but surprisingly thick cables above the y-split and a cable sheathed in nylon below, terminating in a balanced TRRS straight connector. This type of balanced connector design has been seen on older HiFiMan earphones, including the RE-ZERO, RE-262 and RE-272 and are officially supported by HiFiMan’s own digital audio players and balanced amplifiers with the appropriate adapters. For those of us without balanced amplifiers or sources, a short adapter is included to make the RE-600 compatible with standard 3.5mm jacks.

Comfort

Identical to the RE-400 in this regard.
 
Being fairly small straight barrel dynamics, isolation is about average but long term comfort was quite good. The RE-600 is annoyingly prone to microphonic cable noise but this issue can be lessened (for the most part) by wearing them over the ear.

Isolation

These isolate decently well for vented dynamic driver IEMs.
 

Sound Quality

Burn in: These were burned in for over 300 hours. No significant changes were detected.
 
Bass on the RE-600 is very impressive in that it is tactile, taut, and carries just the right amount of body and speed to sound, above all, natural. Quantity wise, it’s about in line with the RE-400, meaning neutral and far from being excessively emphasized or lacking in any way. The RE-600 has a hair more bass than the 400 but only that much but it goes without saying that the RE-600 renders bass better with its better texture and detail.
 
The midrange reminds me a bit of the RE-262, albeit not as liquid in its presentation. The RE-600 is very slightly drier and just as detailed, if not more so. It doesn’t command the listener’s attention in the same way the RE-262 does but I can’t imagine anyone will be disappointed. Detailing is exceptional and note thickness and tone are just right. The presentation is mostly centered on the midrange and because of it, creates one of the most involving IEMs I’ve heard yet.
 
The RE-600 presents what is very likely the most beautiful and realistic soundscape I’ve ever heard in an IEM, and I say that with not a hint of hyperbole or exaggeration. The RE-600 just sounds…beautiful, with everything I’ve tested it with. It works as well with Hip-Hop as it does with Jazz. As well with EDM as it does R&B. This has a sound I can’t imagine too many people disliking or finding much fault with. Like the RE-400, the RE-600 just sounds effortless. Complex passages are handled with ease and notes are presented with grace.
 
 
Its versatility is perhaps the most interesting aspect of the IEM. It works with everything. Seriously. I’ve not encountered one genre that the RE-600 can’t present in a way that stands above other IEMs I’ve heard. Its presentation is just that nuanced and impressively layered with just the right amount of treble emphasis and overall sparkle and clarity that I like in an earphone. I know this review is sounding a lot like a bunch of audiophile hyperbole but it’s all deserved hyperbole, if nothing else. The RE-600 just sounds that good.
 
Compared to its stable mate, the RE-400, the RE-600 is less bright and more mid-centric. Both of the earphones perform similarly in the low regions, with the RE-600 having just a hair more extension at the lowest end and thus, a slightly more visceral sub bass punch but we’re talking very minor differences that are really only apparent when comparing the two side by side in rapid succession.
 
The midrange sweet spot the RE-600 hits in its presentation is unmatched by the RE-400 and makes its sibling sound slightly unrefined and a touch grittier in comparison. Considering that the RE-400 is one of the more refined earphones I’ve heard, that’s saying something.
 

Conclusion

Now here’s the million dollar question, or rather, the $400 question. Are they worth HiFiMan’s $400 asking price? I think so. This is the most expensive and overall best earphone I’ve ever tested and its sound is unlike any other earphone I’ve heard. So, why aren’t I tripping over myself to recommend them? Because, like every other hobby out there, earphones also conform to the principle of diminishing returns. The RE-600 is certainly a good buy at $400 in my eyes but that doesn’t mean I think it’s four times the earphone as its sibling, the RE-400 for example. Far from it, actually. Of the two, the RE-600 is without question the superior earphone, but the improvements are more subtle than one would expect, especially given the price difference.
 
So the RE-600 finds itself in a difficult position purely because of its sibling’s pedigree. HiFiMan created an earphone in the RE-400 that’s so good at $100 that it makes more expensive earphones harder to justify, especially to an audiophile on a budget such as myself. But I digress.
 
The RE-600 is an earphone that sounds exceptional to my ears. There’s not another earphone in my collection that’s quite as detailed or as versatile with the various genres I listen to. And that’s what makes the RE-600 so special to me, its versatility. It reminds me of my Sennheiser HD 600 in a number of ways including its versatile nature and sound. So, yes, I think many discerning audiophiles will find the RE-600 to be worthy of its extravagant price but be sure to temper your expectations accordingly.
 
Re-posted from my site - Musical Musings

 
First, I’d like to thank the folks at HiFiMan for providing a sample of the HM-700 for review.
 
Anyone who knows HiFiMan knows they’re no stranger to portable audio players. They’re well known for their high end and very expensive HM-801, HM-601 and most recently, their HM-901 portable audio players, geared toward the most discerning audiophiles, with high quality DACs, and modular amplifier cards, in case the stock amplifier isn’t good enough. All of these players cost hundreds of dollars, with the highest end HM-901 costing some $1,000.
 
Enter the HM-700, a lower end audiophile player without some of the fancy bells and whistles of the higher end models but with support for high quality audio, a balanced 3.5mm jack and promising uncompromised audio quality for a lower price. So, does the HM-700 live up to these promises? Read on to find out.
 
 

Packaging and Accessories

 
The HM-700 arrives in a simple black box, adorned with a gold HiFiMan logo. Inside is the HM-700 player itself, a set of RE-400B earphones, an arm band case for working out, an adapter to connect the balanced ended RE-400B to standard 3.5mm jacks and a shirt clip.
 
And though this doesn’t technically qualify as an accessory, per se, the HM-700 comes with some free music, including some full albums like Alicia Keys’ Girl on Fire, Jack Johnson’s From Here to Now to You, Musica Nuda’s self-titled album and Katy Perry’s Prism. Yes. Katy Perry.
 
But free, music is free music and I appreciate the gesture.
 
 

Design and Build Quality

 
The HM-700 is defined by its distinctive brownish-grey and orange design, dominated by its glass panel covering the LCD screen. It’s a decent looking device that’s rather simple and straightforward with the prominent three orange buttons which control volume and power/hold features. Below those buttons is a square directional pad that sits flush with the device.
 
The LCD screen isn’t going to win any awards for its quality or resolution. It serves up what you need to see and little else.
 
HiFiMan clearly took a no-nonsense approach to the HM-700. There are no bells and whistles, no Wi-Fi or Bluetooth, no expandable storage, no USB DAC functionality, no, the HM-700 is all about the music.
 

Software and User Interface

The HM-700’s user interface is archaic, to be blunt. Yes, it’s pretty simple and relatively easy to understand but using it made me pine for my iPhone. Like I said, the interface isn’t difficult to wrap your head around but navigation is rather slow. If you’re the kind of person who listens to one album at a time, this won’t likely be a problem but if you’re like me and you like skipping around, it can be rather annoying, scrolling through the folder hierarchy to find the song you’re looking for. This is especially annoying if you have an encyclopedic music collection and want to cram as many songs as you can into the 32GB storage. Why you’d want to is another story.
 
But this is all highly subjective. The complaints I have about the user interface may not apply to others. As always, your mileage may vary.
 
File support is decent enough. It supports MP3, APE and FLAC formats up to 16 bit/48KHz and uncompressed WAV files up to 24 bit/48KHz. One notable and unfortunate omission is the lack of support for unprotected AAC files, which makes up most of my personal music library.
 
Battery Life is solid at around 12 to 15 hours in my tests.
 

Sound Quality

The sound coming from the HM-700 is flat in frequency response, as it should be but nicely rich and detailed, presenting a very nice amount of detail wrapped in its very inviting sound signature. So, the HM-700 would be pretty much flawless. But it has one big issue that holds it back from greatness, and as I understand it, this is an issue with many “audiophile” DAPs, namely that it hisses like a snake with sensitive earphones and headphones. Audible hiss is one of my personal pet peeves so to hear it from the HM-700 is a letdown, to say the least. IEMs make the hissing the most obvious, including the bundled RE-400B.
 
The HM-700 and RE-400B are practically made for one another. The resulting sound coming from the HM-700 is superb and really brings out the best in the RE-400B. Check out my full review of the RE-400 for more detailed impressions of its sound signature and quality but I think it’s safe to say you won’t find a better pair of pack-in earphones anywhere else.
 
That is, unless you opt for the far more expensive HM-700 + RE-600 package. Yeah, it’s expensive at $500 (double the regular price), but it’s still a solid deal.
 
But I digress.
 
Honestly, I’m not sure I’m sold on the balanced connector. I know it has its professional uses and in that realm, balanced XLR connections are pretty much a standard of high end audio. But when it comes to consumer audio, especially if you aren’t dealing with 24/96 or higher rate files (whether or not people are capable of perceiving a real difference between 24 and 16 bit is a debate for another day), you’re simply not going to hear much of a difference between a balanced or unbalanced connection.
 
 
That’s not to say there are no differences to be heard because there certainly are, such as improved stereo separation and a wider soundstage. While that’s certainly nothing to sneeze at, the differences are rather slight. However, given the choice, I’m glad the HM-700 has the balanced connection as I’d rather have it and find the differences to be slight than not have it at all.
 
If it weren’t for the hiss, I’d say the HM-700 is easily the best sounding portable player I’ve heard. It’s warmer and more immediately involving than the ruler flat Sansa players I have (Clip+ and Fuze) and less sharp and clinical than the iPhone 4S but really, we’re talking minute differences here, the likes of which only discerning listeners to really notice and appreciate. Hissing excluded, the HM-700 is held back by a number of usability issues that will likely frustrate people used to iPhones, iPods and Android phones/tablets, which are light-years ahead of the HM-700 in terms of ease of navigation and overall usability.
 
But in the world of audiophile music players, archaic interfaces come with the territory, so the HM-700’s faults in that area aren’t unique and are usually forgiven because sound quality is king and the HM-700 delivers. It’s warm and rich but detailed sound signature will likely appeal to audiophiles from all walks of life and though it lacks a line-out for a dedicated amp, its built in amp circuit still has enough power for many power-hungry headphones like the 250 Ohm Beyerdynamic DT-990 Pro and HiFiman’s own HE-400. It should be noted that these hard to drive headphones will also cut down or eliminate the hiss in the process. It’s easy to load up an album, plug in a set of headphones and relax with your feet up and it’s best suited to an environment where you won’t have to fiddle with it much.
 
So the HM-700 is a player that lives and dies based on its sound quality and it does indeed deliver. Though I wish there was no hiss with sensitive IEMs, especially since the RE-400B is bundled with the player and the RE-600 sounds so lovely with the HM-700 (but then again, the RE-600 sounds lovely with any good source) and would sound that much better without the distracting hiss in the background.
 

Conclusion

All told, the $250 HM-700 isn’t the kind of player that’s particularly easy to recommend, at least not to the average music listener. Its ancient user interface and lack of extraneous features will be a hard sell to millennials and most youngsters will be wondering how they’re supposed to control the thing without a touchscreen.
 
But the HM-700 isn’t designed for those people, it’s clearly designed and marketed for the audiophile. The kind of person who has more pairs of headphones than shoes, the kind of person who listens to music on a “rig” rather than just an MP3 player, the kind of person who knows what WASAPI and ASIO drivers are, the kind of person who knows what FLAC and APE formats are and can rattle off the pros and cons of each at a moment’s notice.
 
That’s the kind of person who would be interested in the HM-700. And for those kinds of people, the HM-700 is a great deal. For $250, you’re getting a very capable portable player with excellent sound quality, plenty of storage space, a stellar pair of earphones in the RE-400B and even some free tunes to get you up and running.
 
That hiss though…it’s just so hard for me to ignore.
 
But if iPhones and Androids just don’t have the sound quality you want, the HM-700 should have a spot on your shortlist for being one of the better deals in the audiophile portable player space.

 
Somewhere around 2012, following the departure from longtime OEM Foster, Denon found itself in the tricky position of having to rebuild its headphone line from the ashes of its well-received audiophile headphones, the D2000, D5000 and D7000. This was, and still is, also a time in which the market of “high end” audiophile headphones was being reshaped and swiftly dominated by the ever-present Beats by Dre headphone line, instantly recognizable by its trademark lowercase “b” logo and glossy exteriors and famous literally for being famous, popularized by aggressive marketing that turned the brand into a household name practically overnight.
 
In this new world, sound quality has taken a backseat to good looks and features like noise cancelling and iPhone remotes. Denon, seeing it fit to enter this market more aggressively, released its “Urban Raver” line of portable headphones, designed to appeal to the mass audience and proudly wearing its “Made for iPhone” chops proudly on the front of the box. Before me is the AH-D400, the highest end headphone from the Urban Raver line.
 
But the real question is…how does it sound? Read on to find out.

Packaging and Accessories

The Denon AH-D400 makes a good first impression with a large, impressive looking box, with the headphones themselves inlaid in what looks like velvet (but isn’t) with the accessories, including the removable cable and a carrying pouch, resting below.
 
Yes the box is rather large and some might justifiably call it wasteful but it does its job well and looks pretty darned good on a store shelf.
 

Design and Build Quality

The D400 is a somewhat large over-ear portable headphone, dominated by its sizeable plush earpads and slightly pivoting earcups, which feature two large knobs jutting out on either side. The right side knob controls volume on iOS devices by way of twisting the knob forward or backward and can be pressed inward to answer calls and control music playback, much like every other 3 button iPhone remote on the market. One might wonder why such a remote wasn’t just built into the cable rather than the headphones themselves. Denon says it’s “cooler” that way and saves you the trouble of reaching into your pocket for your phone or fumbling with a remote and, to a degree, that’s correct. While the volume control is easy to operate with a mere flick of the wrist, the button is somewhat stiff and difficult to press, making me wish for a simpler inline remote.
 
Another interesting feature is the built in amplifier, which runs on a built-in and non user-replaceable rechargeable battery (though the headphones will still function if the battery dies) and turning the amplifier on makes the bass and treble even more prominent.
 
So, the design is certainly…attention grabbing…and I’ll let you decide whether or not that’s a good thing. I’m sure the design will appeal to some but frankly, I was more than a little self-conscious whilst wearing them in public.
 

Comfort and Isolation

The D400 wins big points here. Whether or not Denon’s proprietary pentagonal earpads are actually better and more comfortable than traditional oval shaped pads, the plush leatherette pads were very comfortable on my ears. The headband is nearly devoid of padding itself but the headphones did a good job of displacing the weight evenly across my head, so it didn’t become much of a sore spot.
 
Isolation was good, better than many headphones I’ve auditioned, ranging from portable to home use cans.
 

Sound Quality

The D400 is built with one thing in mind. Bass, and lots of it. With such an insane amount of bass, there’s not a lot of room for refinement and texture. Without a doubt, the D400 is one of the most bass heavy headphones I’ve ever heard, but it’s surprisingly lacking in the sub bass department, the absolute lowest of the lows, and the most difficult to render with authority in a set of headphones. The D400 does a decent enough job in its attempt to render these frequencies but they lack the depth I want to hear in a set like this, especially given my unabashed basshead leanings.
 
Midbass on upward into the lower midrange is hardly lacking. If you crave midbass above all else, this is about as much as you’re going to get out of a headphone without strapping a set of subwoofers to your head.
 
But what the D400 has in quantity, it lacks in quality and detail. Bass notes, though prominent, are a bit slow in attack and lack a solid edge, making the texture seem somewhat fluid.
 
The midrange is (unsurprisingly) warm and a bit recessed due in no small part to the huge low end. It is well detailed though, if somewhat dry and a bit grainy at times. The result is a mostly smooth and even handed midrange that sounds quite good, maybe even great, once you EQ the bass down a few decibels.
 
The high end is a bit uneven but rarely does it become sibilant or unpleasant, despite its dry character. It does sound grainy at times, like the midrange, but again, not unpleasantly so.
 
The whole of the D400’s sound signature and presentation is one that’s dominated by its bass. It should be noted that these impressions are with the built in amplifier turned off. Upon switching it on, the bass gets even more massive and bloated and the treble steps up a bit as well, giving the headphones a more “V-shaped” sound. But, the bass doesn’t get any more detailed in the process. If anything, there’s less detail to go around as the finer nuances are lost behind the sheer magnitude of the bass being pumped into your ears. Even as a basshead, I didn’t use the amplifier much, as the D400’s bass quantity was more than enough on its own.
 

Conclusion

For the original and, frankly, laughable $450 MSRP, the Denon AH-D400 is not worth the investment. It does have a pretty good amount of detail overall and probably sounds better than I’m giving it credit for but the idea that this headphone cost nearly triple the price of the venerable Audio-Technica ATH-M50 is ludicrous to me. Yes, it may be less portable and arguably less stylish (though it doesn’t have the gaudy lights or the Frankenstein’s monster thing going on), but to my ears, it sounds better, delivering deep, punchy and satisfying bass that’s well balanced with the rest of the sound signature in a way the D400 could only dream of.
 
But I get the sense that’s not really the point. This headphone is designed for the Beats crowd, not to impress the audiophile. It’s designed to look good (although that’s questionable) and sound just good enough to create the illusion of high end audio. The big, omni-present bass should be pleasing to most consumers. For the record, my cousin, who owns a set of Beats Executive headphones, said the D400 sounded “way better” from memory, so that’s something (He didn’t have them on hand for me to test, unfortunately, so I had to just take him at his word). The many gimmicks, like the side mounted volume and playback controls and the built in microphone and amplifier are decent enough features to list on the back of a box and make the D400 an easier sell to the casual crowd but much of this will be of little consequence to the audiophile, to which Denon would likely argue, that’s what their “Music Maniac” line, specifically the D600, is for.
 
However, much of this is said in consideration of the full retail price and these days, the D400 can be found for much, much cheaper. The pair I’m reviewing was acquired on sale for $80 and, all told, I don’t regret the purchase. Sure, I have better headphones on hand but the D400 is an almost prototypical “fun” headphone, some would even argue it’s probably fun to a fault. Denon fans will likely (and probably already do) hate this for being a step down from the legendary D2000.
 
Nonetheless, I’m not going to speculate any further. What matters is that the D400 is a decent sounding headset for its $120 or so street price and, according to at least one Beats owner, sounds better than Beats. So, if you’re in the market for a fun headphone that’s heavy on the bass and isn’t as tough on the wallet as Dr. Dre’s headphones, the D400 might be a good choice. But, if you can, audition it in a store first before you buy.

 
First, I’d like to thank the folks at Narmoo for providing a sample of their R1M earphones for review.
 
In recent years, the IEM market has sort of exploded, seeing a number of established players making a go of things and a number of impressive upstarts, often aiming for the top by attacking the bottom, releasing high performing earphones for low prices. Enter Narmoo, a company I’d never heard of until an e-mail showed up in my inbox. I have before me their entry level offering, the R1M, an earphones that should appear somewhat familiar to those who frequent this site. Though it’s not identical, the R1M bears more than a passing resemblance to the MEElectronics SP51 and XePort 5010, two earphones that, like the R1M, feature a variable tuning system.
 

Design and Build Quality

Despite sharing a similar gimmick with the Xeport and MEElectronics ‘phones, it doesn’t share the same housing design. The R1M’s housings are noticeably larger with large, flat strain reliefs and flat cables. A noticeable and welcome difference between the R1M and the SP51 and 5010 is the larger screw caps, which share the same color scheme but are easier to keep track of.

Packaging and Accessories

The R1M is most notable in this department because its packaging is one of its accessories. The R1M arrives in a large, rectangular clamshell zippered carrying case, which is probably the best I’ve seen from any manufacturer at any price point. Though it’s a little big for a pocket, it has space for the earphones, accessories, and probably your phone in its two mesh pockets.

Comfort

Being large, straight-barrel IEMs, your level of comfort is going to be highly dependent on the size of your ears/outer ear canals. Personally, I found them to be inoffensive and unobtrusive, despite their large size.
 

Sound Quality

Right in line with the other adjustable bass earphones I’ve reviewed, the R1M has a warm, bass driven consumer-friendly sound. Even with the silver caps in place, the bass is accentuated and powerful but also controlled and never muddy or muddy. Being the unapologetic basshead I am, I went for the gunmetal caps which offered the best balance of low end authority and quantity without overwhelming the presentation so impressions going forward will be based on how the R1M sounds with the gunmetal caps in place.
 
Like I said earlier, the low end is powerful and authoritative. In terms of quantity, it offers sizable impact and presence but falls short of bass monsters like the XK-DUN CK700 and Monster Miles Davis Tributes. That’s not a knock against the R1M though and the accentuated bass should be pleasing to discerning bassheads.
 
The midrange is slightly warm and well detailed, especially for an earphone in its price range. It’s impressively clear and serves up plenty of detail and is mostly free of bass bleed and actually sounds a bit thin at times. The high end is a tad uneven at times, sometimes coming off a bit shrill and dry but this was mostly situational.
 
The presentation is warm and decently spacious with a nice sound stage and solid imaging. As I said before, the low end is the cornerstone of the R1M’s sound signature but it knows its place and rarely steps beyond it except when the black caps are installed, which can make the bass a bit boomy.
 

Conclusion

At a price of $29.99, the R1M is highly impressive, delivering sound quality well above what I would’ve expected. The adjustable sound signature is highly detailed and well defined, despite some issues with slightly muddy bass with the black caps installed. But, the remote and microphone for smartphone users and excellent carrying case make the R1M an attractive prospect. Though Narmoo is certainly diving in to the market as a relative unknown, it should certainly be on your radar now.
 
Re-Posted From My Site, Musical Musings

 
First, I’d like to thank the folks at NuForce for providing a sample of the revised NE-700M earphones for review.
 
NuForce is a company I first came into contact with when I reviewed pre-production samples of their upcoming NE-700X, a replacement for their popular and outgoing NE-7M earphones. I thought the NE-700X was a pretty good deal for the asking price and now, a couple of years later (has it really been that long?) I have before me a new and improved version of the NE-700M, a variant of the NE-700X featuring a one button remote and microphone for use with modern smartphones.
 
So, is the NE-700M a suitable improvement on the foundation laid by its predecessor? Read on to find out.
 
 
 
Accessories: The NE-700M comes with 6 pairs of silicone tips in three sizes, a shirt clip and a drawstring cloth pouch.
 
Design and Build Quality: The design is largely identical to the previous versions, which is a good thing as I found the NE-700X to be quite durable and well-built. This time around, NuForce has opted for a matte finish for the aluminum shells rather than the polished metal look on the older earphones which looks a bit classier. Extending down from a rubber sheath around the housings is a nice strain relief, leading into a thick, very durable feeling cable, a nice metal y-splitter and a chin slider and ending in a well relieved L-plug.
 
Comfort: Like the NE-700X, I found them decently comfortable, particularly when I wore them over the ear.
 
Isolation: About average. Good enough to suit most users but not on the level as balanced armature IEMs.
 
Microphonics: Very good, especially when worn over the ear.
 

Sound Quality

Burn-in: These IEMs were given upwards of 50 hours of burn in time prior to review, the bass evened out and became less boomy.
 
Strong bass serves as a familiar platform upon which the rest of the sound stands. I’d say the NE-700M’s bass is a touch less prominent than that of the NE-700X but boasts similar depth, perhaps slightly better in that regard. The low end is punchy with slower than average decay that imparts it a nice sense of fullness and authority.
 
The midrange is prominent and smooth in presentation. It sits right on the edge of being a bit dry and really accentuates the crunch of guitars and the breathy sounds of wind instruments in a pleasant way. Unlike the NE-700X, which often teetered right on the brink of sibilance, the NE-700M doesn’t get close enough to the edge for that to become an issue. The treble performance is similarly smooth and while it sounds a tad recessed, extension is good and is still airy and clear, if lacking a tad in terms of sparkle.
 
The overall presentation is an impressive one, with a deep soundstage and a nice sense of space between instruments and vocalists. Imaging is solid and its resolving ability is quite impressive for an IEM in the sub $100 price range. Overall, the NE-700M represents a nice improvement over the older NE-700X with better balance and overall detail.
 

Conclusion

Available for a suggested Retail price of $75 from NuForce direct and online retailers like Amazon, I think the NE-700M is a pretty compelling product for the price in the sub $100 price bracket and I’d imagine the microphone and remote free NE-700X would be even more competitive as it’s $10 cheaper. With a bassy but balanced sound signature and pretty good overall detail, I’d imagine these will appeal to many casual listeners and folks who prefer a more neutral sound signature as well because of its pleasing midrange and presentation.
 
Re-Posted from my site, Musical Musings

 
First, I’d like to thank John Seaber at JDS Labs for the C5 review sample.
 
The JDS Labs C5 is the second generation portable amplifier designed by JDS Labs itself (replacing the outgoing C421) and is claimed by its creators to deliver “reference level performance”.
 
So does it deliver on its lofty claims or will it fall by the wayside? Read on to find out.

Design and Build Quality

Built with machined aluminum, the C5 is a very solid portable amplifier that feels like it could take quite a few knocks and keep going like a champ. The input and output jacks and the power and bass boost switches are very solid. The Volume control is different from the traditional ALPS potentiometers used on the O2 and CMoyBB in that it is a digital rather than analog potentiometer. JDS Labs claims this was implemented to eliminate channel imbalance at lower volumes. Unlike the lower end Fiio E11, the C5 can operate while charging.

Accessories

The C5 comes with an instruction guide, a 3 ft. Monoprice USB cable and a set of rubber feet.
 

Gain and Hiss

The JDS Labs C5 has two gain settings, which are toggled between by pressing in the volume control and, at 2.3x and 6.5x, is almost identical to the O2’s stock dual gain configuration and should provide ample power for anything short of orthodynamic or planar headphones.
 
There was no discernable hiss when listening to the C5, even with my most sensitive earphones.
 
One flaw the C5 has is its 2.2 ohm output impedance and all sources should ideally have an output impedance of zero ohms so as to prevent impedance swings but most and headphones, even sensitive balanced armature earphones should be fine.
 
UPDATE: I received a point of clarification from John Seaber himself, which states:

 

Click to expand...

 
Quote:

As long as headphone impedance is 8x larger than an amp's output impedance, the amplifier's impedance is of no concern. So for our C5, the minimum recommended headphone impedance is 8*2.2 = 17.6 ohms. In actuality, 2.2 is a worst case scenario. This specification is generally <= 2.0, meaning even 16 ohm headphones are typically acceptable.

Click to expand...

 

Click to expand...

I rarely come across headphones or earphones with a lower impedance than 16 ohms so I assumed this would be a non issue for most users but seeing as I have an earphone in my possession right now with a low 12 ohm impedance (Sony's XBA-3IP), I should've mentioned it regardless. So, though the C5 has an output impedance of 2.2 ohms which admittedly isn't ideal, it may not be an issue for the vast majority of users, all things considered.

Click to expand...

Battery Life

The C5 is rated for 11 – 14 hours and I found the real world battery life to be closer to the 11 hour figure in my tests.
 

Sound Quality

Fantastic. Plain and simple. Its frequency response is flat, there’s no hiss to be found, no ultrasonic crud to muddy up the sound and its transparency and clarity are top notch because of it. To put it simply, this is the best portable amplifier I’ve ever heard, and that’s saying something.
 
Where the C5 really shines is in its bass boost switch, which has become something of a hallmark of JDS Labs’ amplifier designs. With the flip of a switch, you get a significant but not overbearing boost to low frequencies that, in practice, sounds great. At 6.5 dB of boost at its peak, the bass boost isn’t for everyone or every pair of headphones but it is satisfying to use with my HD 600s and my HiFiMan RE-400 and RE-262s. It goes without saying that bassheads should be quite pleased with the C5.

Comparison with the Objective 2

 
Now I know that it’s hardly fair to include a $189 amplifier in the same category as amplifiers costing less than $100 so I’m not going to judge it head to head with those amplifiers. Instead, I’m going to compare it to the king of “portable” amplifiers, the Objective 2.
 
So, after listening to the two side by side, how does the C5 compare? Well, after hours of listening to the two, I’m hard pressed to tell a difference, which is the best compliment I can think to give it. Not only does it have the power to adequately power my HD 600s in step with the O2, its transparency is nearly identically excellent.
 
Granted, the O2 is technically a portable amplifier as well and does cost less than the C5 but due to its rather bulky design that’s not at all pocket friendly, I’d really only refer to it as a “transportable” amplifier. Yes, you can bring it with you and yes, it runs on batteries but the O2 is simply too big and cumbersome to work well in a truly portable setup. The O2 is the type of amplifier you bring with you to listen to when you have a desk or table nearby while the C5 pairs well with similarly sized portable players and fits easily enough in a pocket (as long as you’re not wearing skinny jeans).
 

Conclusion

Overall, there’s no doubt that the C5 is a very capable, powerful and transparent portable amplifier that sounds fantastic with every headphone I tested it with. It feels like a solid piece of equipment in the hand and seems worthy of its $190 asking price from the JDS Labs website. While I don’t think it’s quite on the same level as the cheaper (but less portable) O2, the differences between the two are minute and considering the O2 has been compared favorably with amplifiers costing many times its price, that’s saying something. If you’re in the market for an excellent portable amplifier, the C5 shouldn’t disappoint.
 
Re-Posted from my site, Musical Musings

 
I'd to thank the folks at T-PEOS for sending me a sample of the H200 for review.
 
The promise of the hybrid earphone is to offer a best of “both worlds” solution between the two most common types of earphone transducers, dynamic (moving coil) drivers and balanced armatures, offering the clarity and precision of balanced armatures with the natural resonance and, well, dynamic bass a dynamic driver can provide. One of the earliest consumer hybrids was the Ultimate Ears Super.Fi 5 EB, an earphone that, while not without its faults, was proof that the concept could work in practice. Fast forward a few years and now there are a number of hybrid earphones on the market including AKG’s $1300 K3003, Aurisonics ASG-1, ASG2 and the AudioFly AF78.
 
What I have here is the first hybrid I’ve ever had the chance to test, the T-PEOS H200, the second hybrid earphone in the company’s lineup and its current flagship.  Being the first hybrid earphone I’ve had the opportunity to test, the T-PEOS H200 has the honor of being my reference point for hybrid IEMs, the standard by which I judge others, should I get to test them down the road.
 
So, does the T-PEOS H200 provide a fine reference point or will the promise of the hybrid earphone be unfulfilled? Read on to find out.
 
 
Accessories: The T-PEOS H200 ships with six pairs of silicone eartips in various sizes, 3 pairs of wide bore translucent grey tips and 3 pairs of Sony hybrid-esque narrow bore tips. There is also one pair of red foam tips, a leather carrying case, a ¼ inch adapter and two pairs of detachable cables, one black fabric covered with a microphone and one button remote and the other is a standard, red audio only cable.
 
Design and Build Quality: The H200 is comprised of metal and plastic shells that are both large and solidly built. The removable cables are a boon for durability, as one can simply replace the cable should it develop problems and the cables themselves seem well engineered and designed. Overall, I can’t imagine many will have a problem with the H200 in terms of long term durability because they’re built like tanks.
 
Comfort: While the housings themselves could potentially have posed an issue for those with smaller ears on their own, the oblong plastic ring near the front of the IEM also presents its own issues as far as fit is concerned. I will say that, at least for me, the ring didn’t pose an issue and I was able to get a comfortable fit with the H200.
 
I can only hazard a guess as to why the IEM was designed in such a way but it may have to do with the fact that the H200 sounds best with a shallow insertion and the plastic ring is in place to ensure that users don’t (or can’t) insert it too deeply in order for it to sound its best. But of course, I can only speculate.
 
Isolation: Isolation was decent with shallow insertion.
 
Microphonics: Because these can’t be worn over the ear, microphonics are an issue, and I wouldn’t advise wearing these while active (running, exercise, etc.) because they carry a fair amount of cable noise.
 

Sound Quality

Burn in: The T-PEOS H200 was given upwards of 50 hours of burn in prior to review. No significant changes were detected.
 
The idea of a hybrid earphone has always appealed to me in some way. Ever since trying the Rock-It Sounds R-50 and being impressed with the capabilities of a well-tuned dual balanced armature array, I’ve thought that the R-50 could’ve been improved on if it had more present and natural bass. That’s where the dynamic driver of the T-PEOS H200 comes in, taking on the job of rendering low bass and leaving the dual balanced armatures to handle everything else.
 
What we have in the H200 is a low end that’s natural and authoritative but never excessive. While I wouldn’t say this is the be-all-end-all for die-hard bassheads, the H200 has a nice, detailed and extended low end that manages to be immensely fun and accurate. Bass is tight and controlled and sub bass texture and overall linearity is rather good, with no discernable roll off at the lowest of lows.
 
The midrange is where the dual balanced armature array begins to kick in but smoothly and without an obvious disconnect between the dynamic and balanced armature drivers. Because the bass is so well controlled, it doesn’t creep up on the midrange at all, allowing the impressive clarity to shine through. The level of micro detail is quite impressive and at least as good as any IEM I’ve heard and imaging and separation are top notch as well.
 
 
Continuing into the upper registers, the H200 becomes rather peculiar in that it sounds disconnected from the rest of the signature in a way. There is a deep valley at about 6.5 KHz, likely due to a crossover error, which causes the earphones to sound a bit hollow at times and this is somewhat exacerbated by a sharp peak at 10 KHz. Because of this, the high end has a bit of a splashy feel rather than a pure sparkle. That said, the level of detail is, once again, excellent but it does have an air of unnaturalness that can be off-putting to some. But, I can’t say the high end is particularly offensive, even with the treble peak.
 
While I wouldn’t call the H200 neutral in the strictest sense, it does a good job of maintaining a good balance between the frequencies. The frequency response is nicely balanced and engaging, if not completely accurate or particularly linear. Tonal balance skews slightly towards warmth but not in a way that compromises detail and the sound is mostly coherent, only losing some cohesiveness because of the upper end unevenness.
 

Conclusion

The T-PEOS H200 is available from some online retailers and from the company’s own website for about $250. It’s one of the better earphones I’ve heard and certainly worthy of its price tag. Its presentation is quite good and its resolving ability is on the level with the best IEMs I’ve heard. While I think there are a couple of flaws, they fail to bring the H200 down enough for me to say they’re not worth their asking price.
 
So, has the promise of a hybrid IEM been realized? Yes and no. The bass is more satisfying to me than the low end I’ve heard on any balanced armature based IEM thus far and it offers an intricately detailed soundscape that, while a bit smaller in size than some IEMs like the Triple.Fi 10, still has the ability to shine like the best earphones I’ve heard at any price. Though there are some hurdles left to be cleared, namely in the area of coherency rather than overall detail, T-PEOS is on the right track with the H200 and makes a strong case for the value of the hybrid IEM, a Jack-of-All-Trades that’s mere steps away from being the master of many.
 
Re-Posted from my site, Musical Musings

The evolution of the E5 portable amplifier that served as my very first portable amplifier before I eventually returned it in favor of the CMoyBB (and because the volume rocker broke), the Fiio E6 is, in some ways, little more than a sidegrade or de-evolution from the E5 as a total product.



For instance, the E6 is now clad in shiny black plastic rather than the metal and plastic housing of the E5 and also lacks the sturdy metal clip of the E5, instead opting for a transparent plastic clip which, frankly, isn’t as good.



In terms of sound quality, it actually sounds rather good for an amplifier as inexpensive as it is. It has a warm, smooth sound that, while prone to smoothing over some micro detailing, sounds good nonetheless. Though the E6 is prone to mild hissing, you probably won’t notice it once the music gets going.





Two of the E6’s three EQ settings focus on boosting the low end, a feature present on just about every Fiio amplifier I’ve come across. The E6’s implementation isn’t as good as I’d like, however and ends up boosting more than just low end frequencies. EQ1 provides a massive bass boost that can end up muddying up the sound on all but the most bass-anemic of headphones/earphones. EQ2 provides a more sensible boost that doesn’t introduce anywhere near as much mud and is quite enjoyable. The third EQ option is made to accommodate line level inputs from powerful portable players.



The sound overall is warm and smooth and, with the added bass boost, one that will likely appeal to consumers looking for a bit more power than their smartphone or MP3 player alone can provide. With the bass boost off, the sound is mostly clean with a decent level of transparency but nothing to write home about, frankly.



The E6 provides what should be ample power for common loads but simply doesn’t have the output power or current for high impedance loads. In most cases, this isn’t going to be much of an issue since many consumer focused earphones and headphones on the market today don’t need much driving power but the E6 will likely clip before you reach listening levels on heavy loads.



All things considered, the E6 isn’t a bad amplifier, more a versatile but still merely adequate amplifier. But for about $30 or so, adequate more or less comes with the territory. It’s certainly one of the better amplifiers I’ve heard in its price range though, and the bass boost feature is likely to be quite favorable to casual listeners and bassheads who just can’t get enough.



Re-Posted from my site, Musical Musings

Introduction

First off, I’d like to thank the kind folks at Audio-Technica for providing a review sample of the CKS1000
 
Yes, this is it, the final and entry into the Solid Bass lineup, the most expensive and (hopefully) best sounding CKS earphone of them all. Retailing for $250, the CKS1000 is far beyond what many would consider “impulse buy” territory and entered the realm of a rather significant investment. It also runs against some significant competition at this price point so it will have to offer a competitively detailed quality of sound to be worth its price over its competitors.
 
So, does the CKS1000 have what it takes to stand out or is it destined to be lost in the crowd? Read on to find out.
 
 
Accessories: Inside the rather lavish packaging are four pairs of silicone eartips, a set of manuals a leather carrying case and two audio cables that, much like the WS99, attach just below the y-split. One is a standard audio-only cable and the other includes a built in remote and microphone with volume adjustment.
 
Design and Build Quality: The housings of the CKS1000 are plastic and similar to the CKS99 but feature a few nicer accents to differentiate it from the lower end models. Overall, the earphones seem nicely built with sturdy cables and black plastic housings with a soft touch feel and a rubberized ring around the edges where the housings come into contact with your outer ear.
 
Comfort: Like its siblings, the fit of the CKS1000 could be a point of contention for some but I was once again pleased with the fit of the CKS1000 as it was mostly unobtrusive for me over long periods. The driver sat in my outer ear nicely without exerting any unpleasant pressure.
 
Isolation: These isolate well for a vented dynamic IEM.
 
Microphonics: A tad unpleasant at times but nothing excessive.
 

Sound Quality

Burn in: The CKS1000 was given upwards of 100 hours of burn in time prior to review. Minor changes were detected, particularly in the upper regions, which smoothed out slightly and the bass, which mellowed a bit.
 
The bottom end is, as should be expected by this point, forward and plentiful. As with the previous models, the midbass seems a tad more prominent than the sub bass, which reaches down low with good authority but doesn’t quite match up with the deep bass rumble of other bass centric IEMs like the Miles Davis Tributes or Wooduo 2 as it rolls off gradually past 60Hz or so. The CKS1000 does manage to impress overall with its dry and detailed low end that has the authority to demand notice and the tightness necessary to avoid occluding the lower mids…most of the time.
 
The midrange is a tiny bit recessed but retains the ability to put vocals at the center of the presentation like the CKS99  and like its sibling, the midrange is a tad grainy and veiled but still quite detailed and energetic. This is not a “lay back and relax” type of IEM, this is an earphone that makes sure you’re engaged at all times. In some ways, this can be a bit of a detriment as it makes the CKS1000 more prone to sibilance than I’d like. The treble, while a bit less emphasized compared to the rest of the sound signature, is rather peaky and doesn’t extend as far as I’d like but is clear and airy and has plenty of sparkle.
 
 
The overall presentation of the CKS1000 is drier than a good martini but as alluring as the smile on the sexy bartender who served it to you. The presentation is edgy and forward with a good sense of space and separation between vocalists and instruments and does a good job of presenting micro detail on the level of Like the other Solid Bass earphones, I can easily close my eyes and imagine I’m standing in a nice nightclub, dressed in a smart suit, a martini glass held loosely between my fingers. But unlike the CKS77 and CKS99, I’m not in the middle of the crowd, I’m looking out over it from the VIP section.
 
But I have to address the flaws I mentioned before once again and I’m sure this is going to sound like some apologist nonsense to some but hear me out. No one would be remiss in pointing out the peaky treble, veiled midrange or huge bass as valid criticisms, especially for a $200+ IEM but somehow, the flaws tend to melt away over extended periods. Sure, the CKS1000 does sound veiled next to the RE-400 but they have a very engaging, energetic quality that’s oddly alluring. And then, you look up and 20 minutes have gone by and you’re left wondering what you were complaining about before.
 

Conclusion

The Audio-Technica CKS1000 is available from various online retailers including Amazon for wildly varying prices. On Amazon I’ve seen them as low as $170 plus shipping from Japanese sellers and around $210 from US based sellers. On eBay, the price varies as well but finding one below $200 or so may be quite difficult. For the price, I think they’re a pretty good value for those looking for an exciting sounding IEM with huge bass.
 
The sound signature and presentation are undoubtedly polarizing in nature but I think it has what it takes to appeal to the masses and enough clarity and micro detail to not offend the seasoned audiophile. But, I can’t deny the harsh reality of the CKS1000 and all of the CKS earphones, really, that there are some perfectly valid reasons to despise these things. They’re not suitable for small ears, the bass dominates the presentation, the midrange is quite recessed and the treble can sometimes be rather unpleasantly strident. But I don’t despise the CKS1000, in fact, I quite like them. They’re so much darn fun that I can’t help but want to listen to them from time to time, in spite of their flaws. The CKS1000 truly is more than a sum of its parts.
 
While I fully expect that there are some users who won’t be able to get past the CKS1000’s particular type of V-shaped sonic reproduction, I see far more who will appreciate it for what it is. This is Audio-Technica’s house sound, uninhibited and turned up to eleven and you’re either on board or you’re not. But, if you are, I’ll see you in the VIP lounge.
 
Re-Posted from my site, Musical Musings

Introduction

First off, I’d like to thank the folks at Audio-Technica for providing a review sample of the CKS99. Up for review is the mid-range entry into the Solid Bass line of in ear monitors from Audio-Technica, the CKS99. So, without further ado, let’s get right to it, shall we?
 
Accessories: The CKS99 comes with four pairs of silicone eartips, a set of manuals and a leather carrying case.
 
Design and Build Quality: The housings of the CKS99 are plastic and similar to the CKS77 but feature a few nicer accents to differentiate it from the lower end model. Overall, the earphones seem nicely built with sturdy cables and black plastic housings with a soft touch feel to them around the edges where the housings come into contact with your outer ear.
 
Comfort: Like the CKS77, the fit of the CKS99 could be a point of contention for some but I was once again very pleased with the fit of the CKS99 as it was quite comfortable for me over long periods. The driver sat in my outer ear nicely without exerting any unpleasant pressure.
 
Isolation: These isolate very well for a vented dynamic IEM.
 
Microphonics: A tad unpleasant at times but nothing excessive.
 

Sound Quality

Burn in: The CKS99 was given 50+ hours of burn in time prior to review and no significant changes were detected.
 
Like the CKS77, the CKS99 features prominent bass, a clear but recessed midrange and prominent treble. To go into further detail on the sound signature and the ways in which it improves over its sibling, let’s start at the bottom.
 
The bass is big and full with slightly more emphasis on the midbass than sub bass and merely okay extension. If there’s a lot of midbass emphasis on a track, the midbass hump will become incredibly obvious and distracting. Mid bass has a tendency to step up on the lower midrange which can end up sounding rather “thick” as a result.
 
The midrange retains some of the “hollow” character from the CKS77 but is surprisingly forward in presentation. Instruments sometimes sound a bit recessed but vocals are front and center. The midrange as a whole is actually rather smooth and detailed. Claritiy is good and the presentation is reasonably linear. In terms of pure detail, the CKS99 is ahead of its sibling but not quite on the level of the RE-400.
 
Treble is a bit less even and the lower treble is occasionally prone to sibilance but on the whole, the airiness of the treble combined with its good presence and great extension make it rather pleasant on the whole.
 
Presentation wise, the CKS99 eschews a bit of the claustrophobic spaciousness that I noticed on the CKS77 and sounds just as open but even more intimate, with vocals being very forward in the presentation. This sounds rather odd, considering the slightly recessed nature of the midrange but there it is. Along with the big bass, vocals do a great job of standing out and being heard.
 

Conclusion

Now this is where things get interesting. The CKS99 retails for $150 while the CKS77 retails for $120. On Amazon, however, I’ve found the CKS99 for $93 and the CKS77 for $99. If you’re in the market for either one, the CKS99 is easily the better pick.
 
Like the CKS77, however, the CKS99 also comes with some qualifiers. If you’re looking for big bass and have the large-ish outer ear canals to fit them, the CKS99 is a pretty good choice for the price, even the higher than $99 retail price. . If you’re looking for a more rounded experience, that’s what the RE-400 is for. The strength of the low end and the strong midbass emphasis may be a turn off for some audiophiles but the sound signature is more or less in line with Audio-Technica’s “house sound” and is warm and pleasant across a number of genres and I found them surprisingly enjoyable for Jazz. On the whole, if you’re looking for an earphone with big bass between $100 and $150, the CKS99 is a very solid choice.
 
Re-Posted from my site, Musical Musings

Introduction

First, I’d like to thank the folks at DUNU for selecting me to review the DN-23 Landmine IEMs.
 
DUNU is no stranger to me, as I’ve reviewed quite a few of their products in the past. Now, I have DUNU’s latest release, the DN-23 Landmine. At $80, it slots in below DUNU’s DN-19 Tai-Chi flagship and above the also recently released DN-22 Detonator. So, does the Landmine measure up or is it a dud? Read on to find out.
 
Accessories: 10 pairs of silicone eartips (Sony Hybrid clones, standard spherical and one pair of biflanges), a shirt clip, Airline adapter, 1/4” adapter, cable winder (connected to the cable), soft drawstring leather pouch and square clamshell carrying case.
 
Design and Build Quality: The Landmine is similar in build quality to other DUNU IEMs I’ve reviewed like the Hephaes and most closely resembles the Crius, with its metal housings with a slight bulge in the middle to accommodate the driver. That said, the build quality on the whole is excellent, with a thick but flexible cable, a metal Y-split and chin slider, well relieved housings and a nice 45 degree plug and pre attached cable winder.
 
Comfort: With the Sony Hybrid style single flange tips, I had no problem getting a good fit that remained comfortable over long listening sessions.
 
Isolation: The Landmine isolates slightly above average. Good, but not quite on the level of balanced armature earphones.
 

Sound Quality

Burn in: The DN-23 Landmine was given 50+ hours of burn in time prior to review. No significant changes were heard.
 
Being the obvious focus of the sound signature, the low end is expectedly strong with nice extension but tends to put a bit more emphasis on mid bass tones than sub bass. Because of the prominence of the mid bass, the low end can sometimes intrude on the mids but not excessively so.
 
The midrange is recessed slightly and warm and smooth in character thanks to that big mid bass. On the whole, I find the midrange quite enjoyable and pleasant due to its warmth and total lack of annoying piercing peaks but it is a bit smeared because of the mid bass prominence. Highs are similarly de-emphasized in comparison to the bass. Accompanying a relative lack of sparkle and shimmer, the highs are nicely clear and, like the midrange, free of irritating sibilance peaks.
 
Truth be told, after reading some other reviews, I was expecting stronger bass than I actually got. That’s not a bad thing, nor does that mean the Landmine is anything short of what I’d call “bassy”. No, the Landmine’s bass sinks in slowly as it lacks a really immediate punch, though it has the authority behind the soft impact to sufficiently rattle your eardrums. The Landmine’s bass is the kind that can catch you off guard. Sneaky, but enjoyable.
 
Compared to other IEMs like the HiSoundaudio Wooduo 2, the Landmine doesn’t deliver the same kind of seismic impact. I don’t hold that against the Landmine though as, to be frank, nothing I’ve heard can match the Wooduo 2 in terms of sheer impact and power except maybe the Monster Miles Davis Tributes and Future Sonics Atrio M5.
 
When I was trying to think of how to describe the sound signature, two words immediately popped into my head. Smooth and mellow. And that’s what the Landmine is about. Even its bigger than average bass presence doesn’t distract from that. In many ways, the Landmine reminds me of the atmosphere of a jazz club. Smooth, calm, warm but you’ll definitely notice the bass when it comes out to play.

Select Comparisons

 

Monster Miles Davis Tributes

 
The Landmine offers more mid bass impact and presence with less emphasized sub bass and admittedly less control than the MDT. In terms of overall fidelity, the Landmine just isn’t on the level of the MDT but being less than a quarter of the MDT’s original $399 retail price, I don’t expect it to be, either.
 

Sony MH1C

 
The MH1C and Landmine differ most obviously in the way they handle bass rather than pure quantity. Like the MDT before it, the MH1C is more emphasized in the sub bass regions than the Landmine whereas the Landmine carries more mid bass emphasis. In terms of overall fidelity, I’d give a slight edge to the MH1C but I can’t recommend it wholeheartedly due to its terrible cable and lack of accessories in the bulk packaging you’re likely to find them sold in. If, like me, you’d rather not be bothered with such an irritating cable, just get the Landmine. Even considering the MH1C’s lower price, it’s a pain to use on the go compared to the Landmine.
 

HiFiMan RE-400

 
As one of my benchmarks in the $100 and under price bracket, I’m not surprised that the Landmine can’t measure up overall. It does have a more consumer oriented sound signature with a much stronger low end presence than the RE-400. I wouldn’t be surprised at all if someone were to choose the Landmine over the RE-400 due to the latter’s flatter and more neutral sound, which isn’t for everyone.
 

Conclusion

At $80, the Landmine runs up against some very, very stiff competition as companies continue to deliver better sounding products for less money than in years past but the wealth of included accessories and impressive build quality give DUNU a competitive edge that other companies can’t quite match in many cases, especially within this price bracket.
 
What we have here is a pair of earphones that delivers great but not exceptional sound for the money. I don’t think anyone would be remiss in purchasing these if they’re looking for powerful bass and a completely fatigue-free listening experience, though I wouldn’t recommend these to treble lovers as these are markedly subdued in that regard.
 
For fans of Hip-Hop, EDM, Pop and R&B, the DUNU Landmine should definitely be considered as it sounds great with those genres and its added bass thump makes these very fun to listen to.
 
This review was re-posted from my site, Musical Musings

Introduction

First off, I’d like to thank the folks at Audio-Technica once again for providing a review sample of the CKS77.
 
Having reviewed the Solid Bass line of portable headphones, naturally, my next stop would be the Solid Bass line of earphones. This time, I’m starting with the CKS77 in ears, not the cheapest or lowest end Solid Bass earphones but on the lower end compared to the CKS99 and CKS1000. So, does the CKS77 measure up? Read on to find out.
 
 
Accessories: The CKS77 comes with four pairs of silicone eartips, a set of manuals and a drawstring carrying pouch.
 
Design and Build Quality: The CKS77 is one of the funkiest designs I’ve come across in an IEM. Similar to the Thermaltake Isurus, the housings feature a large driver which sits in the outer ear and a nozzle that extends into the ear. Interestingly enough, the CKS77 includes what Audio-Technica calls a “2 post” system which allows the user to position the eartips in two different places according to preference. Overall, the earphones seem nicely built with sturdy cables and black plastic housings with a soft touch feel to them around the edges where the housings come into contact with your outer ear.
 
Comfort: This could possibly be a point of contention for some but I was very pleased with the fit of the CKS77 and it was very comfortable for me over long periods. The driver sat in my outer ear nicely without exerting any unpleasant pressure.
 
Isolation: These isolate very well for a vented dynamic IEM.
 
Microphonics: A tad unpleasant at times but nothing excessive.
 

Sound Quality

Burn in: The CKS77 was given 50+ hours of burn in prior to evaluation and no significant changes were noticed during that time.
 
The CKS77 is capable of the strongest bass I’ve ever heard with a strong punch and rumble that keeps up with some of the best in my collection. Though the CKS77 is capable of fairly deep bass, most of the emphasis is on the mid bass, with a very, very strong mid bass presence that can occasionally overwhelm when prodded and make its presence and sizeable bloat known. That’s not to say it’s especially unpleasant but it’s impossible to ignore on particularly mid bass heavy songs.
 
The mids are recessed, as is the case for many heavy bass earphones and can sometimes be slightly overwhelmed by the bass but rarely to the point where I’d call it annoying. Instead, the midrange is capable of surprising detail and clarity despite its inherent warmth and sounds a bit dry in the upper regions which can result in some mild sibilance, not unlike the VSD1. The treble is prominent but rarely to the point of excessive harshness and sounds nicely airy.
 
The best way I can think of to describe the type of sound on offer here is to liken their presentation to a dance club. The sound is spacious but strangely enclosed in the sense that you understand that the space is larger than it seems, but you still can’t move far in any direction without bumping into someone.
 
Listening to EDM is especially good and the unique sort of claustrophobic spaciousness (an oxymoron, I know) the CKS77 presents is especially apparent and has a very “live” sort of feel. Listening to Deadmau5’s I Remember with its thumping bass, if I closed my eyes, I could almost trick myself into thinking I was listening to it live in the middle of a crowded dance hall.
 

Conclusion

The Audio-Technica CKS77 is available from various online retailers including Amazon for around $99 or so. That’s a pretty good price but these aren’t the easiest recommendation for everyone as I’d imagine their sound signature can be quite polarizing. But again, these are from the “Solid Bass” line and that’s exactly what you get. So as long as big bass is what you want, these are a pretty good choice, especially if you prefer to listen to Hip-Hop and EDM.
 
This review was re-posted from my site Musical Musings

 
The VSD1 is the latest in a rather long line of budget in ear monitors including the VC02, GR99, GR02 and others that promises high quality sound for around $50 or so. While I haven’t had the opportunity to hear any of VSONIC’s other budget offerings, I was quite impressed with the GR07 Bass Edition I purchased and reviewed some time ago. When the opportunity to review the VSD1 presented itself, I was happy to do so. So, does the VSD1 live up to the lofty expectations surrounding it? Read on to find out.
 
 
Accessories: The VSD1 includes two pairs of silicone eartips, a pair of silicone ear guides, a shirt clip, a soft drawstring pouch and four pairs of foam eartips in various colors.
 
Design and Build Quality: With plastic black housings and a silvery cable, the VSD1 certainly doesn’t stand out, visually but seems to be pretty solid. The movable nozzle seen on the GR07 Bass Edition is also present here, which is a nice touch. It’s not as pretty as other VSONIC IEMs I’ve seen but since I always value function over form, the VSD1 is a very nicely built IEM for the price.
 
Oh, and Comic Sans for the model name on the housings? Really? Comic Sans? Now this isn’t something I’m taking points off for (if I gave out points) but…it’s Comic Sans.
 
Comfort: The VSD1’s design might make you think it’s designed for over the ear use but it’s a fairly standard straight down design that feels fairly comfortable and fits my outer ear very well.
 
Isolation: The VSD1 isolates about as well as one can expect from a vented dynamic driver IEM, which is to say average.
 
Microphonics: Microphonics are good for the most part.
 

Sound Quality

Burn in: The VSD1 was given 50+ hours of burn in and no significant changes were noticed during that time.
 
The VSD1 features a beefy low end with excellent extension all the way down, giving me flashbacks to the GR07 BE. Though the VSD1 can’t match its elder sibling’s linearity, presenting a mild midbass hump, its ability to produce deep, rumbly sub-bass is very impressive.
 
The midrange is rather thin but pleasant, with a noticeably dry character, similar to the GR07 BE but not quite as detailed or transparent. It is impressively clear, especially for something that sells so cheaply. Mids are presented in a slightly forward manner and somewhat aggressively detailed, reminiscent of the now discontinued MEElectronics CC51 but doesn’t have the tendency of that earphone to sound a bit strained in some instances. No, the VSD1 handles complex passages with ease but lacks a bit of finesse as it transitions into the treble.
 
Like the GR07 BE, the VDS1 has a tendency to be mildly sibilant in the upper midrange and lower treble. High end extension and sparkle is impressive though, retaining that slightly dry character but without too much grain. Treble has a slight tendency to be a bit on the harsh side but not excessively so.
 
The presentation on the whole is a tonally neutral one, possibly leaning a tad cold due to the perceived dryness of the mids and treble but with that big bass to keep things interesting. The soundstage is decently wide and deep with good imaging and positioning.
 
This is an earphone that really comes alive with EDM and Hip-Hop music, with both of those genres playing to the strengths of the VSD1.
 

Conclusion

At $50 or so (on sale for $42.51 at the moment) from Lendmeurears (I am in no way affiliated with Lendmeurears), the VDS1 is an incredible deal. With a nicely balanced sound signature with big and controlled bass and sparkly treble, the VSD1 stands head to head with previous budget titans I’ve reviewed like the RE0 and others I haven’t (yet) like the Sony MH1C. While I personally prefer the slightly dry sound of the VSD1 to the occasionally “boring” and analytical RE0, I personally prefer the MH1C slightly better. Of course, this is all a personal preference and honestly, in terms of pure detail, I can’t say either of them is much better or worse than another.
 
It seems like yesterday the RE0 was being lauded for unbeatable sound quality for under $100 and now, the VSD1 is delivering RE0 level quality for far less than even the (now discontinued) RE0. Personally, I think VSONIC has a winner here in the VSD1.
 
This review was re-posted from my site Musical Musings

Introduction

First off, I’d like to thank the folks at Audio-Technica for the sample of the WS99 for review.
 
Here it is, the pinnacle of Audio-Technica’s “Solid Bass” line of portable headphones, the WS99. Arriving in a big, audacious black box, the WS99 makes its presence known with its sharp (literally) aluminum accents, its large but not heavy construction and promises of excellent bass and sound quality. Jumping into the premium price bracket, with an MSRP of $250, sending it into direct competition with the Beats by Dre Studios, the original consumer focused portable headphone and, frankly, fashion accessory. So, does the WS99 measure up as a suitable king of the Solid Bass hill and make a solid case for your cash? Read on to find out.
 
 
Accessories: The WS99 includes two interchangeable cables. The first cable is a standard extension and the other features a built in microphone, sliding volume control and one button remote.
 
Design and Build Quality: At the top of the Solid Bass food chain, the WS99 is a hefty and beefy portable headphone that feels heavier and more solidly built than the WS77. The detachable cables are nicely built and feel durable.
 
Comfort: The WS99 is actually quite comfortable with its bigger and slightly softer pads. Despite the fact that I don’t particularly love on-ear headphones, I found the WS99 to be quite comfortable over long periods.
 
Isolation: The WS99 isolates well for a non-circumaural headphone, despite the fact that the WS99 is semi-open.
 

Sound Quality

Burn in: These were given 100+ hours of burn in prior to review. A lower treble spike I noticed early on mellowed out over time.
 
Having heard its siblings, I was hardly surprised by the type of sound signature the WS99 presents. Put simply, it’s an evolution on the signature of the WS77 but with refinements in key places that make it audibly superior.
 
The low end is, like the WS77, very full bodied and well detailed but with a bit more sub bass extension to really liven things up. Though the bass is obviously emphasized, it’s totally unobtrusive and really only steps forward when asked. In some cases, you might not notice that it’s emphasized until you put on a song that calls for a meaty low end, say Daft Punk’s Get Lucky and the WS99 really shows how punchy and engaging it can be. That 53mm driver can produce some powerful, but controlled, bass.
 
The midrange is lush and smooth, lacking the slight hollowness I noticed in the WS77 and sounds quite full and pleasant. It’s quite clear despite its warmth and smoothness and sounds absolutely lovely with Jazz and R&B pieces. The lower treble is a bit forward which occasionally results in a tiny bit of sibilance but nothing especially annoying or irritating. The treble presence is neither forward nor recessed but carries a nice sense of sparkle and is well extended.
 
The soundstage is fairly wide and deep for a closed portable can but the WS99 is also quite good at presenting a sense of intimacy due to the smooth and lush nature of the midrange and the sonic image is quite accurate. Its overall presentation is a well-balanced one, despite the enhanced bass, one that isn’t neutral but is well controlled with good linearity through the midrange and treble that makes for a quite pleasing sound.
 

Conclusion

The WS99 sits at the pinnacle of the Audio-Technica’s “Solid Bass” line and unsurprisingly sounds the best of the three headphones in that line. Its sound is rich and engaging and works with a wide array of different genres. The casual crowd should love it for its emphasized bass and good looks while the audiophile will appreciate its attention to detail and engaging sound.
 
The Audio-Technica WS99 is available from a number online retailers for prices hovering between $170 and $220 on Amazon and even higher than its $250 MSRP, which is rather mind boggling. At the $211 price (at the time of writing) from Amazon directly, I think the WS99 is a great portable headphone that earns its keep with its sound quality alone.
 
The only problem is, at about $100 more than the WS77 based solely on its MSRP. If I were to grade the two, I’d say the WS77 is maybe 85 to 90 percent of the WS99 in terms of pure sound quality but the WS99 gains more points over the WS77 in terms of build, comfort and versatility. So, if money is tight, the WS77 is still an excellent choice but if you can afford the extra cash, the WS99 is definitely the headphone to buy for its more refined and engaging sound signature and certainly the best I’ve heard in a portable headphone. I hate sounding like a shill, especially since I’m not being paid for this, but if you’re willing to pay the relatively high price (and seeing as Beats Audio holds a commanding portion of the upper end headphone market, I’d imagine many are), the WS99 is a great headphone for the price.
 
This review was re-posted from my site Musical Musings

Introduction

I’d like to thank the folks at iFi Audio and Avatar Acoustics for the review sample.
 
iFi Audio is something of a newcomer in the mainstream consumer audio market, but one that has had its roots firmly planted in the professional audio industry for years, British firm Abbingdon Music Research, which produces a range of audiophile grade (read: expensive) sources, amplifiers and whatnot. iFi Audio was created with the promise of offering top quality products at much lower prices and has created a number of products since their inception. Up for review today is the iFi Micro iCAN headphone amplifier.
 
Does the iCAN measure up to the stiff competition in the budget amplifier market? Read on to find out.

Technical Specifications

Accessories

Alongside the iCAN Amplifier, iFi includes a number of accessories, including standard instruction manuals and documentation, a white, flat cabled 3.5mm mini to mini cable, an RCA cable, a set of four rubber feet, a 3.5mm to 6.3mm adapter and, something iFi makes a big deal of, an ultra-low noise AC adapter, promising cleaner power to the iCAN amplifier. Now I’m not sure how big a deal this is, if it matters at all, but the fact that iFi has included the ULN adapter in the case that it does matter is a nice touch.

Design and Build Quality

With a long but sleek aluminum chassis, the iFi is an attractive addition to a desktop audio setup that blends in nicely, especially if you favor Apple computers and their aluminum designs. I don’t, but that’s another issue entirely.
 
The iCAN features gold plated and nicely spaced RCA connectors and a 3.5mm jack for audio inputs along the rear and, of course the DC 9V input jack. Around front, there’s a gold plated 1/4” (6.3mm) output jack, a polished metal potentiometer and two metal flip switches to control the XBass and 3D sound enhancements. These switches are nice and serve their purpose well but it is odd that the switches themselves aren’t mirrored. What I mean by that is the neutral position for the XBass and 3D are different, with the XBass being neutral or “off” with the switch all the way up while the 3D switch is neutral at the middle position. Not really a big deal, but worth mentioning.
 
The polished metal potentiometer is quite good, with the absolute smoothest tracking of any potentiometer I’ve ever used, which aids in making tiny volume changes, a welcome addition as the volume on the iCAN ramps up quicker than any other amplifier I’ve tried. But more on that in a moment.
 
Also, the iCAN lacks a power switch, which means the only way to power down the unit is to unplug it, and you’ll probably want to as the amplifier can consume up to about 4W while idle.

 

Sources Used

iPhone 4S/iPod Classic – Pure i-20 DAC – iCAN
iPhone 4S – Fiio L3 Line out – iCAN

Gain and Amplification

One thing I know for certain about the iCAN is that it can drive headphones to ridiculously loud levels. Even with my most power hungry headphones, the Sennheiser HD 600, I rarely found myself going beyond 10 o’clock or so on the potentiometer. Suffice to say, I doubt anyone will run into problems powering all but the most demanding headphones on the market like HiFiMan’s HE-6 or other particularly hard to drive planar magnetic orthodynamic headphones and even then, I can’t imagine even those will be much of a problem for the iCAN at least in terms of pure volume.
 
Because of the high power output and high gain, the iCAN is not the best choice for use with in ear monitors in general, especially those that have low impedance and/or high sensitivity. With my RE-400s, I was barely able to move past 8 o’clock before they were more than loud enough for me.
 
One strange thing I noticed about the iCAN is that, with the volume at its lowest, instead of dead silence, I get, not only a low level hum, but…voices. Peculiar. I barely heard the hum with my HD 600s and there was no way to boost the volume on what I was hearing as raising the volume to normal listening levels got rid of the interference. So, I broke out my most sensitive IEMs, the Creative Aurvana 3, which I regularly use to test amplifiers and sources for audible hissing and lo and behold, I was tuned in to the local Christian radio station, 103.5 FM – The Light.
 
Don’t consider that an advertisement. I’m just pointing out what I was hearing and, for the record, I didn’t like it.
 
My best guess as to why this was happening is due to inadequate shielding from radio interference. The amplifier itself must be acting as an antenna of some kind and some of the radio signal is being dumped into the audio path. Peculiar but, all in all, a minor annoyance.
 

Sound Quality

The iCAN has a slightly warm sound thanks to what iFi refers to as "Class A TubeState amplification", claiming that it blends the warmth associated with vacuum tube amplifiers with solid state technology. With both sound enhancements off the sound is indeed slightly warm and "Tubey" but it doesn’t skimp on detail. It sounds perfectly flat to my ears, as an amplifier should. There isn’t much to say about the iCAN’s performance. It sounds like a quality desktop amp, no buts about it. So, let’s move on to the more unique aspects of the iCAN, the two sound enhancements that one can activate with the flip of a switch.

XBass

Oh I love this feature. No qualifications, no ‘buts’, I just…love it. On a basic level, this functions similarly to bass boost options on other amplifiers I’ve used like the CMoy BB and just about every Fiio amplifier I’ve used but the iCAN has the best implementation of a bass boost that I’ve ever heard in the XBass switch. At its first setting, it boosts the sub bass regions (IE 100Hz and below) significantly adding to the sub bass presence and rumble while the second setting, for bass shy headphones, boosts sub and mid bass regions without negatively impacting upper frequencies or low end resolution.
 
The result is an extremely satisfying low end performance in every headphone I’ve tested with the iCAN. I’ve never heard a cleaner bass boost on any amplifier I’ve tried and as a result, I couldn’t be happier with the XBass option on the iCAN. It boosts my bass-light (which might be bass adequate for anyone else) headphones like the Sennheiser HD 555 and IEMs like the HiFiMan RE-400 to levels I find just perfect and with my Audio-Technica Pro700MK2 and M50 headphones, sent them into the realm of truly seismic, almost headache-inducing levels of bass, which has always been a guilty pleasure of mine.

3D Holographic Sound

Now this is an interesting addition, as it claims to widen the sound field and create a listening experience that’s more akin to listening to a good speaker setup than a pair of headphones. The low setting is claimed to be best for “naturally spacious recordings” like classical, jazz and rock music while the higher setting is best for “flat sounding recordings” like more modern music.
Generally, I found these claims to be accurate. The holographic effect is akin to what many know as “crossfeed”, but rather than being a standard DSP, which can be destructive to music, it isn’t a DSP, so resolution remains unaffected. One thing I will note is that the highs were a tiny bit more sibilant with either of the 3DHS modes engaged but that’s a rather small annoyance that most people might not even notice, especially once they got absorbed in the music, as I did.
 
Both settings are fun to play with in different combinations and they do indeed make the iCAN a surprisingly versatile amplifier that pairs well with just about any headphone.
 
 
Now comes the inevitable question I always knew was going to come up sooner or later. Is this as good as the Objective 2? Well, I don’t have the measuring equipment to properly examine the two amps on a purely technical or “Objective” level (sorry) but to my ears, I’d say the iCAN and O2 are about equal in terms of resolution and overall performance. The iCAN is a bit warmer than the O2 but, as I explained earlier, that’s by design.
 
But with each amplifier comes a tradeoff. The iCAN offers those very nice sound enhancements (if you’re into that sort of thing) and may sound a tad more “musical” than the O2 because of the warmer tone but due to the high gain, it doesn’t work as well as the O2 with IEMs. Most iterations of the O2 are a good bit cheaper than the iCAN for the amp only, is more portable (actually, more “transportable”) because of its battery powered design and probably offers the most objectively accurate sound you’ll get from an amplifier below $1000 but many versions lack the RCA input and 1/4” output some audiophiles swear by (I don’t) and isn’t as aesthetically pleasing as the iCAN.
 
So picking a winner between the two is far from clear cut, so I’ll let you decide which suits your specific amplifier needs better.
 

Conclusion

I like the iCAN. I like it quite a bit. It has a flat frequency response, ample power and gain for just about any headphone you can think to throw at it, a slightly warm and pleasing sound and a couple of sound enhancements that don’t compromise resolution when active. Its downsides are relatively minor (though the interference could be a problem if you have especially sensitive headphones) and while I can’t say this is the best choice for IEM users due to the massive gain, this is a very versatile amplifier that should suit a wide array of headphones and user preferences.
 
The going rate of the iCAN is $249 but finding one might be a bit difficult if you’re based in the Americas. Personally, I think that’s a good price and a reasonable one for the kind of performance you’re getting in the iCAN, especially for the sound enhancements. I really do like what they do to the sound in pretty much every case and I usually listen with at least one engaged at all times because they work so well. So, if you’re in the market for a new desktop amplifier, give the iCAN a look.
 
This review was re-posted from my site Musical Musings

Introduction

First off, I’d like to thank the folks at Audio-Technica for the sample of the WS77 for review.
 
Yes, I’ve been on something of a roll recently with Audio-Technica headphones. First the WS55, then the Pro700MK2 and now the next entry into the Solid Bass portable headphone line, the WS77, which slots in between the WS55 and WS99 as the mid-range option in their lineup. Having heard the WS55 and finding it good but unrefined, can the WS77 outshine its sibling and offer a more compelling option to those looking for a portable headphone? Read on to find out.
 
Accessories: None to speak of.
 
Design and Build Quality: The lightweight plastic construction is more robust than that of the lower end WS55 in part due to the aluminum faceplates on the earcups and feels fairly sturdy, but I’d probably still baby them a bit more than many other headphones I’ve used. The dual entry cable feels about as good as the WS55’s and they fold flat but don’t completely fold up like the M50 and Pro700MK2 but isn’t nearly as large as those two either.
 
Comfort: The WS77 is a supra-aural (on ear) headphone with rather soft and cushy pads both on the earcups and headband and doesn’t clamp as hard as some other supra-aural cans I’ve used. The result is a very tolerable fit (on- ear cans usually annoy me) and one that I can enjoy for longer periods without too much discomfort.
 
Isolation: These isolate well for a supra-aural can and sound leakage is minimal.
 

Sound Quality

Burn In: These were burned in for upwards of 50 hours prior to review, after which the bass seemed a bit tighter and the highs and upper mids were a little less prominent.
 
As Audio-Technica’s mid-range entry into its “Solid Bass” line, the WS77 is expectedly improved over the cheaper WS55 but to a surprisingly significant degree. The low end, while still quite powerful and robust, isn’t nearly as mid-bass happy or as bloated as the WS55. Extension is good, rolling off gently after about 60 – 70Hz or so. There’s a nice degree of texture to the bass that I didn’t find in the WS55 as well but it doesn’t have the same level of detail as the Pro700MK2.
 
Moving up, the midrange sounds slightly recessed but only slightly and not as much so as the WS55. Thanks to the newfound tightness in the low end, it doesn’t smear the midrange presentation. Truth be told, I actually find the midrange quite enjoyable and its clarity and detail is quite good. It doesn’t have the same kind of upper-mid sibilance I heard from the WS55 and presents vocals better because of it. I must note that there’s a bit of hollowness in the mids that I can’t seem to shake but it wasn’t a significant issue.
 
The treble presentation is somewhat forward and sparkly but not “bright”. It generally remains smooth and fairly airy without unpleasant peaks or grain. There is a bit of roll off at the top end but the WS77 carries enough treble energy and detail to avoid sounding totally “dark”.
 
The presentation is fairly spacious for a portable closed headphone and rarely sounds muffled or excessively closed in. The sound is nicely layered and imaging is pretty good overall. Tonally, I’d say the sound is a tad warm and sweet with nice, emphasized but well controlled bass that plays especially well with Jazz, Electronic and Hip-Hop but is versatile enough to sound pretty good with just about everything.
 

Conclusion

It’s pretty obvious at this point that I think these are significantly better than the lower end WS55. The sound signature is better balanced, more detailed and better all-around for a wider range of music than the lower end model. But, is the WS77 worth the going rates of about $120 up from sites like Amazon and other authorized retailers (side note: be careful when buying these from just anywhere since a large number of Audio-Technica headphones have been counterfeited and these might be as well)? As far as I’m concerned, yes. I think these are a very good choice for a stylish and great sounding pair of portable headphones as the WS77 strikes a very good balance between the bass-driven, consumer-oriented sound many casual users crave and the kind of high fidelity audiophiles desire. Because of this balance, the WS77 should appeal to a wide range of listeners, perhaps even those who don’t care for emphasized bass.