Introduction

 
VSONIC is a well-known name in audiophile circles, with rave reviews coming from their GR07 monitors, which have recently seen an upgraded Mark II version and, the version I’ll be covering today, the Bass Edition. As a natural basshead, I was intrigued when I saw the GR07 Bass Edition earphones on sale a couple months ago and my curiosity got the better of me and I purchased a pair. Prior to these, I’ve never heard a VSONIC product but I’d heard virtually nothing but good things about them pretty much everywhere I went. So…yeah, I didn’t make the jump blindly.
 
So, what do I think of the VSONIC GR07 Bass Edition in ear monitors? Read on to find out.
 

Accessories

The GR07 Bass Edition comes with a number of accessories, including a wealth of tips in various sizes and types. There are seven pairs of standard Sony hybrid style tips, three pairs of foam stuffed Sony hybrid style tips, three pairs of silicone tips, a pair of biflange tips and one pair of Shure olive-esque gray foam tips. I can scarcely imagine someone being unable to find a comfortable and proper fit with this massive selection of tips. And to top it all off, VSONIC includes a carrying bag and a pair of rubber earhooks.
 
I wish VSONIC had included a standard zippered clamshell case but really, I’m just nitpicking. The accessory pack included with these is rivaled only by my Monster Miles Davis Tributes.

Design and Build Quality

These employ a non-standard brand of dynamic driver, namely bio-cellulose drivers that have been seen in other headphones and earphones such as the Creative Aurvana Live! and, perhaps most famously, the Sony R10, a classic and coveted audiophile headphone.
 
So what does this mean in terms of design? Well, very little, at least to the end user as many won’t know and likely fewer will care. The sound quality is what makes or breaks an IEM (at least in my book) and though I certainly praise unique ideas, I care more about how those innovations pay off in how an IEM sounds. But, of course, we’ll get to that.
 
Moving on, the GR07 Bass Edition is composed of nondescript black plastic housings and a red and silver candy cane style cable, jumping back and forth between standing out and not. The housings themselves feel sturdy and durable and are unique due to the fact that the nozzle itself is adjustable. I’ve never seen that before on an earphone and this makes them adaptable to a range of different ear shapes. While one might worry about the fragility of such a design, I’ve not encountered any problems and on the whole, the Bass Edition seems well built and durable.

Comfort and Isolation

The fit is a bit tricky, at least for me, but manageable. Once they’re seated, they’re fairly comfortable and isolate a bit more than a standard vented dynamic driver IEM. Microphonics are mostly non-existent with the over the ear fit and soft cables.
 

Sound Quality

Burn in: These have been burned in for over 300 hours prior to review. Now I’m a bit skeptical of burn in on the whole as I’ve only heard a couple of headphones and in ear monitors in which burn in resulted in an actual change. The GR07 BE is one of them. In the early going, it was rather unpleasantly sibilant and needed a few dB worth of equalizing to bring them to non-fatiguing levels. Now, I don’t need any equalization at the same volume levels and with the same tracks. So, allow these to burn in for a while before you judge them.
 
This was a difficult review to write, as describing the way these sound is much more difficult than I expected it to be when I sat down to type this review. On one hand, these are among my favorite IEMs with a pleasing, amazingly detailed but mostly smooth, thin but a touch warm sound signature with just enough low end emphasis to tilt things towards the euphonic, rather than pure linearity. The result is an earphone that’s more tuned for sonic enjoyment than monitoring and an IEM I imagine will please just about anyone who listens to them.
 
Though these are the “Bass Edition”, they don’t offer up huge amounts of bass, instead opting to go the “emphasized but controlled” route. Rumble and texture is top notch, giving these a low end that surprises in its ability to present sub bass on the same level as midbass. There’s no distracting midbass hump here and the low end is quite linear in its emphasis, with an almost balanced armature like tightness but pleasantly dynamic reverb and speed without ever getting muddy or congested.
 
In terms of bass quantity, it has just the right amount to appeal to the casual listener and the audiophile alike. Those expecting bass on the level of the Future Sonics Atrios or Monster Miles Davis Tributes should look elsewhere but if more analytical ‘phones like the RE0 or Phonak PFE didn’t have enough bass for you, these should fit the bill.
 
 
The GR07 BE mids are, typical of monitors, a bit thin but detailed and refined. They’re just a bit warm but linear and impressively clear. Their emphasis on clarity gives them a slightly dry character, shying away from the liquid smoothness of the RE-262 or PFE but still remain quite entertaining on the whole. Due to their clarity and excellent detail retrieval, these are also quite transparent and revealing of flaws. With high quality tunes, this is a non-issue, but if your tunes are subpar, these will bring their deficiencies to light, though not as much as the Rock-it Sounds R-50.
 
Though the GR07 BE is prone to occasional sibilance, I wouldn’t call them sibilant. No, they’re just accurate to a fault. They place a bit of emphasis right at the sibilance point (between 6.5 and 10 KHz) which brings out sibilance in tracks that are either poorly mastered or just feature excessive sibilance. This is a holdover from its monitor origins but doesn’t mean they’re a bad choice for causal listening in the slightest.
 
Aside from the slightly bothersome lower treble peak, the treble presentation is extended, linear and airy. The treble carries a good deal of sparkle without becoming too hot or fatiguing. The presentation is quite nice and spacious, with a good-sized soundstage and a great sense of space that helps establish an accurate sonic image within the listener’s head. It’s not the most expansive IEM I’ve heard (that honor belongs to the Triple.Fi 10 or the RE-262) but it is one of the more coherent I’ve heard.
 
The sound signature on offer by the GR07 BE is one that forgoes pure accuracy for the sake of enjoyment. It still retains some of the monitor-like qualities that made the original GR07 such a hit within the audiophile community but the added bass presence makes these quite the enjoyable set of earphones with a highly accurate and engaging sound signature that can run with the best I’ve heard in terms of both pure detail retrieval and enjoyment and work exceptionally well with every genre I listened to during my testing.
 
 

Conclusion

The VSONIC GR07 Bass Edition is available from a number of online retailers, including Amazon, eBay and Lend Me Ur Ears (the site I purchased mine from) for about $180. For that price, I think they’re a great pair of in ear monitors that offer fantastic sound quality that’s among the best I’ve heard. It’s easily on the level of the Rock-It Sounds R-50 in terms of technical ability but these offer a much different sound, one that’s a touch warm and bassy without sacrificing detail and resolution. They come with a wealth of accessories as well, which is a nice touch. Clearly, VSONIC knows what it’s doing in designing a very high quality IEM that balances consumer appeal with audiophile level detail and refinement.
 
This review was re-posted from my site Musical Musings

Introduction
 
I’ve already written a great deal on the RE0s but I don’t consider any of it a formal review in the traditional sense. If you’ve read my previous writing about the RE0s, you should know that I am positively enamored by them. In the few weeks since I received them, they have quickly become my preferred listening devices when I sit down with my laptop or iPod and listen to music. After putting them through their paces for 200+ hours and listening to the sound signature evolve and mature in that time, I finally feel that I’m ready to give the RE0s the review they deserve. So, without further ado, read on for my full review of the HiFiMan RE0 in ear monitors.
 
Technical Specifications

Driver: 9mm dynamic driver
Frequency Response: 15Hz – 22KHz
Impedance: 64 Ω
Sensitivity: 100db/1mw
Cable Length: 1.28m/4.2ft
 
 
Packaging and Accessories

The RE0s come packaged in a small, clear plastic clamshell box. The design is unobtrusive and eye catching, showing off the IEMs flanked by the three pairs of silicone single flange tips. Included accessories range from the aforementioned three pairs of single flange silicone tips, two pairs of small and large bi-flanges, five pairs of replacement filters and a shirt clip. Overall, this is a decent accessory package but I would’ve been happier if a soft or hard carrying case had been included with the package. I guess you could argue that the case the RE0s came in could be used to carry them around in a pinch but it’s just slightly too big and bulky to fit very comfortably in a pocket.
 
Design and Build Quality

Right off the bat, the similarity to the V-Moda Vibes is immediately apparent. The housing is made of metal, painted black with a matte finish instead of the high-fashion polished aluminum look and feel of the V-Moda Vibes. The metal design inspires confidence in terms of long and short-term durability in that they feel sturdy and resilient without being too heavy or too light. Extending down from the casing is a long strain relief which is soft rubber in texture and adds to the durability and protects the cable as it enters the housing. The cable also terminates in a properly relieved L-plug which is new in the current revision of the RE0s.

The cable itself is relatively heavy, fairly thick and very soft and pliable. It seems durable enough to withstand a fair amount of abuse. One issue I have with the cabling of the RE0s is that they transmit a lot of cable noise. Wearing them straight down while walking or performing any kind of activity that causes the IEMs to rub against your clothing, will result in microphonic noise being transmitted into your ears. It’s annoying and distracting to be sure and using the included shirt clip and wearing them over-the-ear is practically required if you plan on walking with these.

These feel like they will be able to withstand normal amounts of daily use and abuse for a long period of time. I do wish these came with a carrying case of some kind to protect them while on the go and naturally, it’s expected that you’ll want to protect your investment. I would advise investing in a carrying case of some kind to protect them if you plan on carrying them around.
 
Comfort and Fit

The housings of the RE0s are very small and light and, as such, you’ll barely feel them while they’re in your ears. For me and my small ear canals, the small black tips were best for me but now, I use a pair of small tips I sourced from a pair of V-Moda Vibes which I find to be a bit softer and thus more comfortable. With all of the various eartips supplied with the RE0s, I’m sure that most users will be able to find a pair that work for them.

Sound Quality

Let me preface this by saying that these are the best sounding IEMs I’ve ever heard. Nothing I’ve ever used comes close to matching the RE0s in terms of clarity and transparency, bass and treble extension and micro level detail. These are a highly resolving pair of IEMs and as such will be highly revealing of flaws in your source material. I would not recommend using these with 128kbps music files or any other poorly recorded music, as these will make the flaws in those files stand out so much more. On the other hand, because they are so highly resolving, they allow great recordings and high bitrate files such as 320kbps MP3s and FLAC files to shine.

The RE0s are a very neutral pair of IEMs across the board and offer very little in the way of coloration to the music being pumped through them. These are highly transparent and allow you to hear music mostly as the artist intended, without adding any degree of warmth or coldness that isn’t actually present in the piece itself.

The midrange is fairly recessed but lively and very clear. Both male and female vocals are full-bodied and natural sounding and, across the board, instruments just sound great. The biggest strength of the RE0s is their endlessly extended and exceptionally clear and bright treble. Highs are forward and sparkle with just a touch of warmth without a hint of sibilance. These have the best highs I’ve ever heard in an IEM and should please just about anyone looking for a great high end response.

Low end response is perhaps the weakest aspect of the RE0’s sonic presentation but even then, it’s not at all bad. Bass is very detailed and natural sounding but what it lacks in is body. It just doesn’t have quite enough “oomph” to my ears and as a result makes the entire sound signature somewhat thin. Extension is very nice as well, as you can detect bass notes down to 20 Hz, even if those notes aren’t particularly powerful.

Soundstage and imaging are both good as well. The soundstage is of average size and depth, with great instrument separation and decent imaging.

The RE0s don’t necessarily need an amp, despite their relatively high 64 ohm impedance but respond very well to the extra juice. The soundstage widens a bit, dynamics improve and the bass improves a bit in terms of fullness. These also respond well to amps with a bass boost feature such as the inexpensive Fiio E5 and the JDS Labs CMoy BB, which highlight the great low end detail and sub-bass extension the RE0s possess.

Conclusion

Without a doubt, these are the best IEMs I’ve ever heard. These really make my music collection come alive and are very entertaining to listen to for long stretches. They let the music sink in slowly if you’re reading a book, doing homework or anything else that requires concentration while also allowing you to tune into the finer details of the music and really immerse yourself in the music you hear. For the current asking price of $80 plus shipping from Head-Direct, you really can’t go wrong with the RE0s. While these probably won’t satisfy bass-heads (at least without a bass boosting amp), these can easily compete with IEMs three to four times their price and are an absolutely phenomenal value for the price. I highly recommend these to budget conscious audiophiles who are interested in neutral and, above all, excellent sounding IEMs.
 
Re-Posted From My Site Musical Musings
 

Introduction

First, I’d like to thank Fang at Head-Direct once again for generously providing me with a RE-262 review sample.
 
HiFiMan has come a long way in just a few short years. Priding themselves on offering exceptional sound quality for a relatively low price, Their RE line of in ear monitors has been a perennial favorite at forums such as Head-Fi for their very high price to performance ratio. The RE0 was my first entry into the world of higher end audio and has remained one of my favorite IEMs in the time I’ve owned it, even after trying several other IEMs throughout the past year. It’s a great all-rounder that can hang with the big boys.
 
Enter the RE-262, the spiritual successor to the RE-252, another high end IEM from HiFiMan. While I haven’t heard this IEM personally, I’ve heard very good things about it so when I heard that the RE-262 was going to be released, I was understandably excited. Having listened to these IEMs for a considerable length of time now, these are something special. A considerable departure from the HiFiMan “house sound” that I’ve heard in the RE0 and RE-ZERO, the RE-262 are undoubtedly a new bang for the buck heavyweight. To see why, just read on.
 

Packaging and Accessories

I didn’t receive these in the typical retail packaging so I can’t comment on that but I wouldn’t be surprised if the RE-262s were shipped in a package similar to those the RE0 and RE-ZERO were shipped in. The accessory pack is identical, featuring the same large and small bi-flange tips, the same array of small, medium and large single flange eartips, a shirt clip and a set of replacement mesh filters.
 

Design and Build Quality

The RE-262, like the RE-252s before them, features a very unconventional design though not nearly as much so as the RE-252. The RE-262s are made out of a hard, glossy plastic and feature a rubberized coating on the end of the protrusions jutting out from the sides. The nozzles appear to be metal (or merely chrome painted plastic) and strain reliefs are identical to previous designs and just as effective. The cable itself is a good deal thicker and less flexible than that of previous HiFiMan products which gives it a slightly more durable feel and terminates in a very beefy and well relieved angled plug.
 

Comfort and Fit

The RE-262s are actually rather comfortable during regular usage, despite their unusual housing design and fits securely and comfortably in my ears with the stock small single flange tips. Wearing them over the ear is rather difficult unless you use the bi-flange tips and since neither size of those felt right for my ears, this effectively ruled out that wearing style for me but as usual, your mileage may vary. Being vented dynamic IEMs, the isolation provided by the RE-262 is about average at best.
 
The thicker cable I mentioned prior, as you’ve probably guessed, ends up being even more microphonic than the RE0 and RE-ZERO which rules them out for much active listening. The microphonics aren’t the worst I’ve ever heard from an IEM (that crown is still worn by the Altec Lansing Backbeat Plus IEMs and their awful cloth covered cable) but they are pretty bad overall. Personally, this is not much of an issue because I find the RE-262s better suited for home use than on-the-go listening but I’m aware that my tastes are likely far from typical.
 

Sound Quality

Burn in: These IEMs were given upwards of 200 hours’ worth of burn in time prior to review but settled into their final sound signature after about 50 hours.
 
Having much experience with previous HiFiMan products, I had a pretty good idea of what to expect from the RE-262…or so I thought. Upon the first listen, I knew these were something different, something special. The RE-262 is a big departure from the tonally neutral and analytical sound signatures delivered by both the RE0 and RE-ZERO. The RE-262 has a very warm, inviting and musical sound signature. To explain why, let’s start at the bottom.
 
The low end response is deep and textured but rather soft in impact and tone. Much unlike the RE0 and RE-ZERO, there’s plenty of bass to go around. By no means do I think these will satisfy the cravings of your average basshead but the low end presence should be adequate for the majority of users. When I listen to the RE-262, I often don’t feel the need to add a bit more bass presence via equalization, something I did regularly when using the RE0 and RE-ZERO. There’s a warm, roundedness to the lower end that doesn’t sacrifice detail and is more in line with my tastes in regards to the amount of bass I want to hear. In addition, contrary to the slightly rolled off bass response of its siblings, the RE-262 maintains composure all the way down into the lowest of frequencies audible to the human ear and rumbles pleasantly down as far as 20Hz.
 
The midrange is where the RE-262 truly differentiates itself from its predecessors, taking on a warm fullness that wasn’t present in either the RE0 or, to a lesser extent, the RE-ZERO. The midrange presentation is liquid smooth and full of energy without sounding edgy and not so smooth that it sounds sloppy or thick. In fact, comparing these side by side with the RE-ZERO, an IEM I personally lauded for their liquid smooth midrange, the RE-262s are lush, full and smooth in a way that almost makes the RE-ZERO sound a bit dry. Despite this smoothness, there’s no shortage of detail present in the midrange presentation and while these aren’t the most analytical ‘phones in the strictest sense, I’m sure detail freaks will love the RE-262s just the same.
 
 
Vocal performances and the presentation of stringed instruments are particularly noteworthy as well as this IEM is the best I’ve heard in both regards. Female vocals, such as the unique vocal delivery style of Diana Krall, are amazingly well presented and sound more natural through the RE-262 than any other IEM I’ve tried. This natural quality carries over to every aspect of the midrange presentation and imparts a sonic character unlike any other IEM I’ve heard to date.
 
The treble presentation is great as well. Once again, the smooth character of every other aspect of the presentation is present here in the way treble is reproduced and, personally, I find it very enjoyable. There’s a nice bit of sparkle to keep things from sounding too dark but the treble overall is rather relaxed in relation to the midrange. This also means that the RE-262s never sound harsh or strident in their presentation, even on treble-happy tracks.
 
In comparison to the RE0, an IEM with a treble presentation unlike any other I’ve heard with their boundless energy and bright but never too bright sound, the RE-262s are almost antithetical in the way they present treble. The RE-262 is relaxed without sounding recessed while the RE0 is anything but. In comparison, the RE-ZERO are much closer to the presentation of the RE-262 than the RE0 in that they are slightly relaxed but not as much so as the RE-262.
 
 
The overall presentation of the RE-262 is rather surprising in that it’s the single most spacious-sounding IEM I’ve heard. The soundstage is actually quite large, which gives the RE-262s a very out-of-head sound and stage presence. This makes it exceptionally easy to pick out the locations of individual instruments and performers on the sonic stage. At the same time, the stage never sounds too big or too open, actually, quite the opposite as the RE-262s are very good at portraying intimacy as well as space, as vocal performances sound very close to the listener (but not too close!).
 
It’s worth noting that these IEMs feature a 150 ohm impedance rating and they do benefit quite a bit from a good amp. These are certainly listenable and still quite good out of a decent source unamped but they improve noticeably with the extra juice a dedicated amp provides.
 

Conclusion

The HiFiMan RE-262s are currently unavailable from the Head-Direct website at the present time but are likely to retail for $249 when they are officially released. While this may sound rather steep, it’s actually rather low in comparison to the retail prices of other high end IEMs, such as the Westone 3 at $359, Earsonics SM3 at $379 and Shure SE535 at $499 (!). For the price, you’re getting a mid-centric and exceptionally detailed and well-presented IEM in the RE-262, one that likely compares very well with the above earphones.
 
Before you ask, no, I haven’t heard any of the above IEMs so I won’t make any definitive statements in regards to the technical proficiency of the RE-262 in relation to them but great sound is hard not to take note of and these are unquestionably the best IEMs I’ve heard, period.
 
Back to the comparison with the RE0 and RE-ZERO, the RE-262 is certainly superior to those ‘phones but is it worth the $150 - $170 premium over the two of them? Personally, I would say yes. These are a noticeable step up from both IEMs in overall quality and “musicality”. They’re not analytical or focused on neutrality; rather, they feature an unabashedly colored and warm tonality that is irresistible to me. Listening to them is a pleasure unlike everything I’ve heard in an IEM thus far. If you’re in the market for a high end mid-centric pair of IEMs, check out the RE-262, it may be the last IEM you'll ever buy.
 
Re-posted from my site, Musical Musings

 
The JDS Labs O2 + ODAC combo (and just about every other version) is built into a simple metal enclosure (mine is black) and all of the inputs and outputs, save for the USB input are located on the front of the device. Aesthetically, I don’t love that design decision but I understand it’s one that was likely made due to the O2 being designed originally as a portable (sort of) amplifier, not a dedicated desktop amp.
 
So the aesthetics aren’t that great but functionally; I don’t take issue with it. In fact, I’m more than pleased with its performance. Besides, I’m not buying audio equipment based on aesthetics; I’m buying it based on performance. And oh boy can the O2 perform. There are certainly prettier amps out there but amps that can perform as the same level as the O2? Well, probably not in the same price range.
 
First off, this amp is dead silent. Even with my Creative Aurvana 3 IEMs, the most hiss-prone of all the IEMs I own, the O2 is completely silent. Very impressive.
 
But the best thing about the O2 + ODAC is how they don’t offer any of their own color to the sound. The two of them disappear completely from the signal chain, allowing you to hear your headphones like you’ve probably never heard them before. If you plug in a pair of HD 600s, the O2 + ODAC will sound like the HD 600. The same goes for the ATH-M50, Triple.Fi 10, RE-262 and just about every other pair of headphones and earphones you can think of. The O2 + ODAC are entirely colorless and transparent, allowing for the sonic characteristics of the headphone that’s plugged in to shape the sound.
 
And that’s what a good amplifier should do, in my opinion, tube amps obviously exempted due to added coloration inherent to their design. A good amplifier should provide ample amounts of power or current to power hungry earphones without altering the sound itself. That’s what the O2 + ODAC does.
 

 
But before you rush out to buy an O2 + ODAC, thinking they’ll make your headphones sound better, keep in mind what I said before about them being transparent. The O2 + ODAC aren’t going to magically make your iPod earbuds sound amazing but they will allow for just about any headphones or IEMs to reach their full potential. Though some earphones and headphones are easy enough for an iPod to drive on its own, high impedance ‘phones like the 150 ohm RE-262 and 300 ohm HD 600 need the extra power provided by a dedicated amplifier to sound best. That’s what the O2 does. It doesn’t make headphones sound better; it helps them sound as good as they’re supposed to.
 
A word of warning though. I keep harping on the transparency of this setup for a reason. Namely, the old adage of “garbage in, garbage out” still applies. If your music collection is filled with crappy 128kbps MP3 files you’ve…”obtained” over the years, this amp will not make them sound better. If anything, it will make the flaws even more obvious. Provided you have good enough headphones, of course. But then again, if you’ve got good headphones, I’d imagine you’d be cognizant enough to make sure your music collection is up to snuff.
 
But I’ve been wrong before.
 
Anyway, this is a well built, well thought out and high performing amplifier. I’ve got to hand it to He Who Must Not Be Named on Head-Fi (Not Voldemort), as he talked the talk and proved he’s got the engineering chops to walk the walk. The O2 + ODAC is about $300 fully assembled and shipped or $150 each individually (and the stock O2 has the ability to function as a battery powered “portable” amplifier) so they’re a bit pricey for most people but for music lovers, this is an investment that will pay off in spades every time you hit play.

Introduction

First and foremost, a big thank you goes out to Fang at Head-Direct for sending me a sample of the RE-ZERO IEMs for review.
 
If you’ve been keeping up with Musical Musings, you’re probably well aware of my current love affair with the HiFiMan RE0 IEMs. They are the current crown jewel in my IEM/headphone collection and hardly a day goes by in which I don’t pop them into my ears for a listen.  With that in mind, when the HiFiMan RE-ZERO (yes, that is their name) IEMs were announced this year prior to the 2010 CanJam Head-Fi event that was held in early June in Chicago, I was understandably excited about them. Envisioned as a 1000-unit limited edition to commemorate the three year anniversary of the RE line of IEMs, the RE-ZEROs immediately piqued my interest. Featuring a much lower 16 Ohm impedance, and a silver coil for “more real bass”, these were intended to be used portably, straight out of a DAP or other source without the need for an amp.
 
Over the past week or so, I’ve been listening to the RE-ZEROs almost exclusively and for a great deal of time in each session. I say “almost exclusively” because I’ve also been comparing them to the RE0s, HiFiMan’s other inexpensive heavyweight. So, do the HiFiMan RE-ZERO IEMs offer Hi-Fi sound quality at Mid-Fi prices like the RE0s and are they worth the $20 price increase over their predecessors? Read on to find out.
 

Technical Specifications

Driver: 9mm Dynamic
Frequency Response: 15Hz – 22KHz
Impedance: 16 Ohm
Sensitivity: 100db/1mw
Cable Length: 1.2m/4ft
 

Packaging and Accessories

The RE-ZERO IEMs arrived in a clamshell plastic case that is a mirror image of the packaging of the RE0s, aside from a few coloring differences. The accessory pack is also virtually the same, featuring six pairs of silicone single flange eartips in varying sizes, two sets of bi-flange eartips in small and large sizes, five pairs of replacement filters and a shirt clip. The only difference here is that the RE-ZEROs include two different adapters that allow you to plug the RE-ZEROs balanced plug (more on this later) into a standard 3.5mm jack.
 
Of the two adapters, one hard and one soft, I preferred the slightly bulkier hard adapter due to the fact that the soft adapter was prone to causing channel imbalances if the plug was positioned wrong and the static it occasionally introduces when it is jostled.

Design and Build Quality

At first glance, it can be pretty difficult to tell the RE-ZEROs and RE0s apart. First off, the housings are slightly smaller than those of the RE0s and feature a very classy matte gunmetal finish. The Y-splitter and chin slider are also clad in a similar gunmetal finish and the Y-splitter features painted on lettering spelling out HiFiMan and RE-ZERO.
 
Build quality is, as expected, very solid. The housings are made almost entirely from metal with plastic nozzles and felt/paper filters. Extending down from the housings are familiar black strain reliefs which lead into a black PPE cable that seems to be the same one used in the current hardware revision of the RE0s. The cable terminates into a 45 degree angle 4 pole 3.5mm plug. The inclusion of a balanced TRRS 3.5mm jack is one of the biggest changes to the RE0 design and one that leaves me a bit confused.
 
I’m going to go off on a bit of a tangent here and talk about the TRRS balanced plug HiFiMan has decided to go with instead of the traditional 3.5mm TRS connector that most consumer earphones utilize. I’m puzzled as to why HiFiMan would choose to fit the RE-ZEROs with a balanced plug versus a traditional mini jack because it presents a number of questions.
 
Balanced plugs only appeal to owners of balanced headphone amplifiers, an incredibly small subset of the audiophile market (likely less than a single percent), or people who own DAPs that accept balanced plugs, an even smaller (if not nonexistent) corner of the market. Because of the decision to use a balanced plug, the RE-ZEROs cannot be used properly with the vast majority of audio players, portable or otherwise, without an adapter. This is especially puzzling considering that the RE-ZEROs were designed with much lower impedance than the RE0s and are intended for portable use. Well, being forced to carry around and use an additional adapter, unless you’re one of the few who is in possession of a balanced portable amplifier inevitably adds more bulk to a portable setup and is one more thing to carry and keep track of. What happens if you misplace the adapter? What happens if you forget to bring it along with you? Well, you’re out of luck.
 
Not to mention, since the RE-ZEROs are low impedance IEMs, they theoretically shouldn’t need an additional amplifier to sound great in a portable setup to begin with. Because the RE-ZEROs are low impedance, I don’t feel the need to bring along an external amplifier when I go out and simply run them straight from my iPod Touch and they sound fantastic in that capacity. This makes me wonder, if these were designed with very low impedance ratings which is highly beneficial for portable usewhy use a balanced plug? Wouldn’t a standard mini jack make more sense in this application since it would offer inherent advantages to users who wish to use the RE-ZEROs without a portable amplifier?
 
The RE-ZEROs are a 1000 unit limited edition but these clearly possess a great deal of mainstream appeal. Given their relatively low price tag on a price-to-performance scale, similar to the RE0s, one has to wonder why the choice would be made to use a type of plug that appeals to such a niche market instead of the widely accepted alternative.
 
This is not the sort of design problem that truly hampers my ability to recommend them to most users but is definitely very puzzling when looked at on a grander scale.

Comfort and Isolation

Due to the RE-ZEROs being so similar in design to the RE0s, the level of comfort and isolation is almost exactly the same across both IEMs. The RE-ZEROs are among the most comfortable IEMs I’ve used, especially when worn over the ear and when using Sony Hybrids. The stock small bi-flanges provide a relatively comfortable fit for my ears as well. The RE-ZEROs are ported on the rear but that doesn’t seem to adversely affect isolation too much and the resulting levels of isolation are about average.
 
Microphonics are definitely present and can be bothersome while in motion but are mostly unobtrusive and can be toned down considerably by using the included shirt clip and wearing the IEMs over your ears.
 
Of course, all that has and can possibly be said about comfort and isolation will inevitably vary from person to person so keep in mind that your mileage may vary.
 

Sound Quality

Burn in: These IEMs were given upwards of 100 hours of burn in time prior to review.
 
Sources:

1. 60GB iPod Video 5.5G – Fiio L3/Canare Cable LOD – CMoy BB v2.02
2. 16GB iPod Touch 2G
3. Lenovo Ideapad Y450 – 3.5mm interconnect – CMoy BB v2.02

 
Various music files including 128kbps – 320kbps MP3 as well as 16 and 24 Bit FLAC files.
 
Given my history with the RE0s, I had very high expectations of the RE-ZEROs. The RE0s are, at least in my opinion, among the best values in portable audio today and this is certainly a lofty goal to live up to, to be sure.
 
Starting at the bottom, the RE-ZEROs have a slightly weightier low end than the RE0s.While the level of bass is still a bit light in the grand scheme of things; I found it to be quite adequate, even for the Hip-Hop and Rap tracks that are so heavily featured in my usual rotation. The RE-ZEROs exhibits a certain smoothness, definition and refinement that I prefer to the heavy, thunderous bass tones that are so common in “mainstream” sorts of sound signatures. Extension is quite impressive, even if there is a slight rolloff as you reach the deepest of sub bass levels.
 
The RE-ZEROs possess a full and almost liquid smooth midrange, a far cry from the relatively thin and recessed midrange found on the RE0. The midrange sits at the forefront of the sonic presentation and vocals, both male and female are well defined, full, rich and mostly pleasant to listen to. I say “mostly” because the RE-ZEROs are prone to a bit of sibilance and sharpness in the midrange. What I mean by that is the sounds of pronounced “t” sounds, the hissing sounds of “s” enunciations and the crack of snare drums are a tiny bit exaggerated with some sources and I noticed this especially on my iPod Touch. I’ve found that I am somewhat sensitive to these sounds and the iPod Touch is a rather bright sounding player so this minor occasional sibilance may not be a problem for most users so I advise you to take this with a grain of salt.
 
Borrowing yet again from the audiophile dictionary, midrange tonality is best described as “sweet”. Put simply, aside from the minor vocal sibilance I mentioned earlier, there is practically nothing I can say negatively about the midrange. Instruments have a somewhat natural timbre and fullness that reinforces my opinion that the RE-ZERO’s presentation of the midrange is the best I’ve heard in an IEM and works very well with Rock and Alternative music because of it.
 
Treble is also presented differently than that of the RE0s. The RE0s are widely regarded as having one of the best high frequency presentations of any IEM and the RE-ZEROs are certainly not too far behind their older siblings in that regard. While the RE0s seem to have endless treble energy and present highs in a smooth and non-fatiguing manner, boasting impeccable extension, treble is handled slightly differently on the RE-ZEROs. Treble is more delicate and crisp, with a familiar smoothness but lacks the endless top end extension. The benefit of the slight treble rolloff is a lack of any sibilance whatsoever, at least not to my ears, even given my sensitivity to midrange sibilance.
 
The soundstage presented by the RE-ZEROs is both deeper and wider than that of the RE0s but not much. The soundstage is still relatively small in comparison to other IEMs such as the MEElectronics M9 but it does a good job of portraying intimacy as well as spatial positioning between instruments. Imaging is also quite good and while listening to some Jazz and Acoustic tracks, I was able to pick out the position of instruments placed around the stage quite easily and was seemingly enveloped by the sound. Whereas many headphones and IEMs tend to place you front row center, the RE-ZEROs seemed to place me right up on stage with the performers which I liked a great deal.
 
The kindred spirit shared by the RE0 and RE-ZERO is amazingly apparent to me listening to them side by side. The excellent transparency, clarity and balance inherent to the RE0 are definitely present in the RE-ZERO, albeit presented in a different manner. The RE-ZERO focuses less on the highs and more on the midrange and low end, two things that some users wished were presented better by the RE0s. Personally, I found the RE0’s midrange to be pleasing to my ears, even with it being slightly recessed and the RE-ZEROs are even more pleasing in that regard now that it has been brought forward. The slightly weightier low end is also a plus.
 
Now we get to the $99 question. Are the RE-ZEROs superior to their older siblings? To be frank, I don’t think so. What the RE-ZEROs represent to me is an alternative to the sound signature of the RE0s. Neither better, nor worse; merely different.
 

Value and Conclusion

As mentioned before, the RE-ZEROs are a 1000-unit limited edition that retails for $99 plus shipping. At this price point, I firmly believe that the RE-ZEROs are an excellent value for the money. The exceptional clarity, detail, smoothness and natural presentation offered by the RE-ZEROs is well worth the asking price and these IEMs, like the RE0s, perform well above their price point. Seeing as these are a limited edition and are a mere $20 price hike over the RE0s, I’d recommend going for the RE-ZEROs if you’re debating picking up one of the two. Despite some minor design quibbles, mostly concerning the balanced plug, these are very easy to recommend and you might end up kicking yourself for not picking these up when you had the chance once supplies have run dry.
 
HiFiMan has impressed me once again with another stellar entry into their already very impressive catalog of products. I am certain that HiFiMan’s offerings will only continue to improve from here as new products are introduced and the brand name grows in popularity. Whatever the case, the RE-ZEROs are undeniably some of the most intriguing and high quality IEMs to be released in recent memory and you’d be hard pressed to find another earphone that can compete at this price point.
 
The RE-ZERO IEMs are available at Head-Direct for $99, while supplies last.
 
This review is 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

 
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 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

 
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

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.

 
Thanks to the folks at HiFiMan for sending me a sample of their latest IEM to review.

Introduction

Around here, HiFiMan needs no introduction. I first learned of them in early 2010, back when they were known as Head-Direct (which is still the name of their web store) and I purchased the RE0 after my faithful V-Moda Bass-Freq IEMs gave up the ghost and reading impressions on Head-Fi. Since then I’ve been a fan and I’ve reviewed a few of their products over the past three years. So, when the RE-400 was released, I was pretty excited to give them a listen. So, does the RE-400 have what it takes to carry on the HiFiMan legacy? Read on to find out.
 
Packaging and Accessories: The packaging is comprised of a long, rectangular black box with a translucent plastic outer sheath covering the IEMs, nestled within a thick foam insert. Accessories include four pairs of silicone tips ranging from a simple single flange set to two sets of new biflange tips and familiar black large biflange tips, similar to those included with previous models. Also included is a white rubbery cable winder, a bit of a superfluous accessory in my book, one that I would rather have seen omitted in favor of a proper carrying case.
 
Design and Build Quality: The metal housings are made of anodized aluminum with familiar long strain reliefs exiting the silver housings into a plasticky black cable that joins at the y-split and is from there sheathed in black nylon and terminates in a beefy and well relieved 45 degree L plug. I’m not a fan of the nylon sheathing as it makes the cable quite noisy and prone to distracting microphonics but on the whole, the IEM seems well constructed.
 
Comfort and Isolation: Being fairly small straight barrel dynamics, isolation is about average but long term comfort was quite good. As mentioned above, the RE-400 is annoyingly prone to microphonic noise but this issue can be mitigated (for the most part) by wearing them over the ear.
 

Sound Quality

Given my experience with so many of HiFiMan’s back catalog of IEMs, I had a general idea of the type of sound signature to expect from the RE-400 and actually listening to them didn’t surprise me much in that regard. The RE-400s focus on neutrality, offering a mostly uncolored and nearly ruler flat audio presentation. But unlike its forebears, the RE0, it lacks the thinness present in that ‘phone. But let’s start at the bottom and work our way up, shall we?
 
The low end response is different from other HiFiMan IEMs in that it’s…well…present. Now don’t go thinking that this is the sort of bass that’ll shake your eardrums because it’s not but it possesses more body and texture and a bit more depth than the RE0 and RE-ZERO could muster. They have the ability to reach very low, with little discernible roll off even down to 20 Hz. Because of this, it has enough grunt that I’m not left wanting more.
 
The midrange is smooth and, though a bit dry like its precursors (RE-262 exempted), is more liquid and detail rich than either the RE0 or the RE-ZERO. Detail retrieval is excellent and they’re remarkably transparent but I’m impressed more by the spaciousness of the sound. Though the soundstage itself isn’t especially large in comparison to, say the Triple.Fi 10 or the RE-262, it is larger than average and separation within the stage, not to mention stereo imaging, is great.
 
 
Treble is right in line with every other frequency in the spectrum in that it is neither forward nor recessed. It’s quite linear and airy, detailed and clear. There’s plenty of sparkle and shimmer without sounding overly metallic and sibilance is non-existent. Top end extension is fantastic, rivaling the RE-ZERO and giving the omnipresent treble of the RE0 a clear run for its money.
 
The result is a tonally neutral, linear presentation that is absolutely phenomenal. Yeah, I know this sounds like hyperbole but it isn’t. It has certain seductive qualities that belie its true abilities, luring you in with its completely inoffensive sound signature and allowing the detail to sink in rather than shoving it in your face the way the Rock-It Sounds R-50 does. The RE-400 doesn’t try to impress with aggressive detailing or a presentation that errs on one side of neutral or another or emphasize one frequency range (mids, treble, bass) at the expense of the others. But, oddly enough, it’s because the RE-400 doesn’t try to sound great that it actually does. This is one of the few IEMs in my collection I’d truly say sounds “effortless”. It doesn’t try to sound as good as it does, it just…does.
 
One issue I have to note is that they’re perhaps a bit too polite in their resolution of tracks. They aren’t as unforgiving as the R-50 and are generally quite smooth in that regard. Personally, I didn’t find this to be an issue because it isn’t really a knock against their overall sound quality.
 

Conclusion

The HiFiMan RE-400 is available from head-direct.com for $99 and at that price, they are highly competitive. At $50 cheaper than the now discontinued RE-262 and $20 cheaper than the R-50 but competitive with both of those earphones in terms of pure technical ability, I’d say they’re quite the steal. Overall, I’d say they’re clearly better than the outgoing RE0 and ZERO and within striking distance, if not on the same level, of the best earphones I’ve heard.
 
It goes without saying that I like the RE-400 quite a bit. The neutral sound signature might not appeal to everyone and likely won’t be the best fit for more mainstream oriented listeners but those who value tonal accuracy and transparency should give these a look. These face stiff competition from other relatively inexpensive IEMs like the Rock-It Sounds R-50 and VSONIC GR07 (the latter I haven’t heard, just going by impressions I’ve read) but HiFiMan’s combination of low price and high performance should be more than enough to help them compete.
 
So, yes, I’m positively enamored with the RE-400. It reminds me of my first days of owning the RE0, how they wowed me with sound quality like I’d never before heard. While the RE-400 comes at a time in which I have a great deal of experience with high end earphones, it still had the chops to impress. I guess you could say things have come full circle.

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

 
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

 
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

 
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

 
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

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, I’d like to thank the folks at HiSoundAudio for sending me a sample of the Wooduo 2 in ear monitors for review.
 
HiSoundAudio is a Chinese based headphone and earphone brand I came across on Head-Fi, much like HiFiMan and VSONIC. After reading up on the company and its offerings, I was quite intrigued when I came across the Wooduo 2 IEMs, which were described by some as “true basshead IEMs”. Being the self-professed basshead I am, I was admittedly excited to give these a whirl. Upon receiving them, I couldn’t help but notice the phrase “Unbeatable Sound Quality” in large bold red letters written across the package. An audacious claim, to be sure, so, does it live up to the lofty expectations its packaging creates? Read on to find out.
 
 
Accessories: These come with seven pairs of silicone tips including a set of triple flange tips, two sets of biflanges in small and medium and standard round single flange tips. In addition, HisoundAudio includes a branded shirt clip, a bright blue cable winder and a zippered clamshell carry case.
 
Design and Build Quality: Made of African rosewood with metal nozzles, short rubber strain reliefs, and a bright red flat cable. Normally I’m not a fan of flat cables but these were unobtrusive and more flexible than many others I’ve encountered.
 
Comfort and Isolation: Being straight barrel IEMs, they are easy to insert but I did find them to be rather finicky when it came to the fit. Without a good fit, these are prone to a bit of driver flex I’ve come to expect from wooden IEMs. Personally, I wasn’t able to get a perfect seal with any of the silicone tips and ended up using a pair of Monster foam SuperTips. With the foam tips, achieving a perfect seal was much easier and isolation was slightly above average for a dynamic IEM and microphonics were mostly negligible.
 

Sound Quality

Burn in: These were burned in for about 100 hours prior to review and I did notice that the bass tightened (very) slightly and some slight sibilance I noticed in the upper mids disappeared.
 
Let’s get right to it. The Wooduo 2 is capable of some savagely powerful bass. I’m not kidding or exaggerating. This is about the biggest and most bombastic bass I’ve heard next to those cars that sometimes roll by at two in the morning, blasting some song or another with the sub turned up so high the car threatens to shake itself apart with each thunderous bass note.
 
This is the kind of bass bassheads dream about. It’s rich, detailed, extends about as low as I can hear and has enough power to knock loose some fillings. Okay, maybe that’s an exaggeration but against the Atrio M5, Miles Davis Tribute, these are the clear winners in terms of sheer quantity of bass, even if they aren’t quite as detailed as those two.
 
 
All that bass does come with a cost, however, and much of that cost comes from the midrange. The mids are recessed, though not quite as much as I would’ve expected given the magnitude of the bass. The midrange presentation is expectedly warm and the low end does manage to creep into the lower mids somewhat but not offensively so. Micro detail is still good, on par with the Thinksound MS01 and DUNU Tai-Chi and nearly on the level of the RE-ZERO. Vocals sound a bit off in some cases but not necessarily unpleasantly so. Despite the huge bass, there is a nice amount of clarity and spaciousness present in the midrange and the Wooduo 2 does an impressive job of separating the bass from the rest of the sound signature.
 
Moving up, the highs of the W2 are surprisingly clear and detailed. They’re not really sparkly or bright but they are delicate and articulate. Treble is slightly emphasized over the mids but not to the point that I’d call these V-shaped, like the Moshi Vortex, for example, presenting a take on the high end that’s both well extended and decently linear in nature.
 
What we end up with is a presentation that’s slightly on the dark side of the spectrum and definitely warm in tone but not excessively so. These aren’t the most transparent sounding IEMs but they’re obviously not intended to be either. Linearity was clearly not the target of the Wooduo 2 and the result is a sound signature that’s clearly bass biased but mostly even handed. It doesn’t present detail on the level of my best IEMs but its sound signature is, at least for me, incredibly fun and addictive.
 

Conclusion

For the MSRP of $129, the HiSoundAudio Wooduo 2 is a great deal for bassheads who want the absolute biggest bass for the money and others who appreciate a warm and musical sound that sacrifices pure accuracy for an intentionally colored and enjoyable sound signature. Is its sound quality as “unbeatable” as the packaging prominently advertises? No. That’s not to say it isn’t good or even great, but I’ve heard better. Around the MSRP, there are some darn good IEMs, like the RE-400 that are better all-rounders but the Wooduo 2 is likely the more consumer friendly product with its bass driven sound signature, warm sound and clean presentation.
 
This review was re-posted from my site Musical Musings

Prelude

Before late February, I didn’t know anything about MEElectronics. When I finally heard about the company and purchased my M9Ps, I realized that they were a company that I should keep my eye on. In the time since, I’ve had the chance to review their lower end IEM models, the SX-31 and M2s and I’ve been impressed by the both of them, in different ways. Now, I’m here with a review of the first generation M6 models, one of MEElectronics’ higher end IEMs. These apparently share the same drivers as the M9s and M9Ps and if that’s true, then I should be in for a pleasant experience. So, did the M6 IEMs live up to my expectations? Read on to find out.

Packaging and Accessories

The first generation M6s ship in a black paper box that shows off the IEMs themselves through a transparent plastic window on the front. In terms of accessories, the M6s include an accessory pack that’s incredibly similar to that shipped with the M9Ps, which is a very good thing. Inside the box, you’ll find a clamshell hard case, three pairs of silicone single flange eartips, a pair of generic black foam tips (similar to Shure "olives”), an airplane adapter and a cable winder.
 
Design and Build Quality

The M6s are made of plastic that feels rather durable. The cable is somewhat thick and rubbery feeling but doesn’t feel as though it would cause problems if not abused routinely. Inside the cable that leads out of the earpieces, there is a built in memory wire which helps route the cable over one’s ears and stay in place once the earpieces have been inserted. I’ve heard complaints that the wire is too stiff but it was relatively soft and pliable in my experience. The cable terminates in a heat-shrink covered gold-plated straight plug and doesn’t inspire confidence because of its lack of a proper strain relief.

It’s worth noting that the newer and more expensive M6s are equipped with a much better cable that features a properly relieved L-plug.

Comfort and Fit

Getting these fitted can be a bit of a pain sometimes because of their over the ear design and the memory wire that’s embedded within the cable near the earpieces themselves. The memory wire is soft and pliable but because of it being there, these aren’t well suited to situations in which you’ll constantly be taking them out of your ears. Once they are in your ears, they disappear. Using the included foam tips or Sony hybrids, I was able to get an effortless and comfortable seal. The earpieces sit flush with your ears and I found that it was easy to lie down on my side with my head against a pillow without sacrificing comfort. These are easily some of the most comfortable IEMs I’ve used. Isolation is rather decent as well with the right eartips but it’s nothing spectacular.

Sound Quality

Burn in: As per my usual, these IEMs were given 25+ hours of burn in prior to review.

Once again, MEElectronics has managed to impress me and even straight out of the box, I was enjoying the M6s. I will say that they sounded a bit hollow straight out of the box but after burning in for a few hours, it filled in nicely. In terms of bass, the low end is smooth, detailed and refined. That’s a lot of adjectives but they all apply in some way, some more so than others. It’s certainly a highlight of the presentation with more than enough boom and punch to make Hip-Hop and Electronic music stand out. That’s not to say the bass is boomy, far from it. Bass is well controlled and doesn’t overwhelm the rest of sound signature and rarely creeps up on the lower mids. The low end lacks the speed and extension of my RE0s but is certainly better in terms of quantity.

Mids are smooth and full sounding, if recessed slightly. The detail and clarity in the midrange is impressive for the price with full bodied and natural vocals and a nice sense of space and airiness. Treble is slightly emphasized as well, like the bass, and treble extension and detail are both quite good for IEMs in this price range. It’s worth noting as well that these boast marginally smoother and better refined highs than the M9s but slight harshness and sibilance can be heard on some higher notes.

The sound signature is warm, full, and smooth with a very nice and dynamic tonal balance throughout the sonic spectrum. The soundstage is nearly as large as that of the M9s but not quite as airy and positioning and separation are both very good for the price. These work incredibly well with a wide range of genres, including the aforementioned Hip-Hop and Electronic and also Jazz, Classical and Alternative/Rock. While these can’t match my RE0s in terms of overall quality, transparency and clarity, especially when it comes to the quality of the treble and neutrality, the M6s are very impressive in their own right, especially when you consider how inexpensive they are.

Value and Conclusion

The maroon versions of the M6s are available for $30 on MEElectronics’ website. The current generation model retails for $50 on the website but can be found for approximately $40 on websites such as Amazon and Overstock. At $30 for the first generation M6s, they are an absolute steal and you wouldn’t be remiss in buying the more expensive versions for the improvements to the build quality either. Despite apparently sharing the same drivers as the M9s, they are definitely superior in every way besides airiness. The M6s deliver one of the most entertaining sound signatures I’ve heard in a while and are easily the most competent performers that I’ve heard in the sub $50 price range and even outside of that range, these perform well enough to be worth a look.
 
Re-Posted from my site Musical Musings
 

Introduction

I’m a basshead. I say that loudly and proudly, even though some folks believe basshead and audiophile are mutually exclusive. Obviously, I’m not in that camp. But sometimes, I break away from audiophile listening and just want to crank up the bass and listen to some phat beats (don’t worry, I felt just as bad typing that as you did reading it). So recently, when I was in search of the biggest, most powerful bass I could get for the buck, I ended up getting the Audio-Technica Pro700MK2 after reading several impressions that mentioned “seismic” bass quantity with quality to match.
 
So, does the Audio-Technica Pro700MK2 live up to the hype? Read on to find out.
 
 
Accessories: The Pro700MK2 ships with two cables, one 4ft long and straight, with a recessed plug (for iPhones) and an 8ft long coiled cable with a threaded for use with the screw on ¼” adapter. Both cables are threaded at the point where they connect to the headphones themselves. Finally, Audio-Technica also includes a drawstring leather pouch for transport.
 
Design and Build Quality: The Pro700MK2 headphones are made for DJ use and as such, they feel quite durable and able to withstand a good deal of punishment and transport from gig to gig. The removable cables are threaded, which keeps them from being pulled out unexpectedly.
 
Comfort: Here’s where things sort of fall apart for the Pro700MK2. Now comfort is an entirely subjective thing and not everyone is going to have the same experience I did but I couldn’t stand to wear these for long without modification to the pads. The problem is the pads are too thin and there’s a small bump at the center of the metal driver covers (which you can see in the pictures) which presses into my ears. If the pads were thicker or if the bump wasn’t there, this wouldn’t be an issue, but it is.
 
But I do understand that these aren’t built for consumer use and are thus not really made for long term comfort. As a consumer, I was forced to perform a completely reversible mod in which I cut a spare Cat-5 Ethernet cable to size, taped the ends together with some electrical tape and stuffed them underneath the rim of the pads. The result is more space between my ears and the drivers which makes them much more comfortable and gives me increased isolation and arguably a slightly more open sound, but that may just be a placebo effect.
 
Isolation: These isolate fairly well and sound leakage is minimal.
 

Sound Quality

Burn in: These were burned in for upwards of 50 hours prior to review.
 
The Pro700MK2 has gained something of a reputation for being very powerful about the bass regions. One review even compared them to strapping two subwoofers to your head. Well I can safely say that these don’t have the kind of massive bass I was expecting but that’s only because the claim was exaggerated. They do have gobs of bass, with a very nice emphasis on sub bass and lacking a mid-bass hump. The amount of bass is superior to just about every headphone I’ve tried, including the bass heavy Klipsch Image One and has pretty good texture and detail in spite of the relatively soft impact.
 
The midrange is slightly recessed and slightly warm but remains well detailed and sounds a little less recessed than its elder sibling, the M50. Vocals are smooth and there’s no sign of sibilance. Instrument separation is solid and the midrange rarely sounds congested but there is some grain evident within it that makes them sound a bit dry and, perhaps, “scratchy” at times but the mids are mostly smooth on the whole and what little grain I did notice was minimal.  Treble presentation is less forward than that of the M50 and strays from the typical Audio-Technica house sound that I’ve grown accustomed to, namely forward and energetic. Instead, the treble presentation is a bit dry and less forward than I was expecting but the upside of this is that they’re not very fatiguing over long periods.
 
The soundstage is wide and deep enough for a closed-back headphone, sounding a bit more spacious than the M50 but still has a relatively “closed in” sound that I don’t think any fully closed headphone can ever get away from. Imaging is decent, neither really poor nor great, but should be adequate for DJ monitoring. The presentation is somewhat dark, almost to the point that it sounds rather opaque but I actually don’t mind it. I’ve said time and time again that I enjoy darker, warmer sound signatures and because of that, I’m more willing to excuse the dark nature of the sound signature. But nonetheless, I can’t imagine these will appeal to people who don’t like this kind of sound, unless they’re in it for the big bass, like I was.
 

Conclusion

The Audio-Technica Pro700MK2 is available from a number of other online retailers for prices as low as $140. At that price, I think they’re a good deal for a fine pair of DJ headphones but consumers might want to look at the usually cheaper and (at least in my opinion) slightly better balanced M50. The M50 doesn’t have the bombastic bass and its mids are slightly more recessed but the better appointed treble balances things out.
 
Nonetheless, I have to remember that this is a dedicated, purpose-built monitor for DJ use, not a consumer class headphone. In that role, I imagine these perform quite admirably, with their rigid and easily transportable design and well detailed sound that rivals, if not surpasses the M50 in terms of pure detail. For consumers, especially those who like to listen to music for hours at a time like me, a pad replacement (the M50 pads are pretty good on them) or modification like mine is likely in order. The removable cable is a boon for transport and versatility and the bass is just wonderful for hip-hop so I see the consumer appeal but the comfort issues might leave something to be desired. That said, these are a great sounding pair of headphones for the price and performed well with just about everything I tested them with.
 
This review was re-posted from my site Musical Musings