Having recently tested the new M23 extensively, I was very excited to see how it compared to its bigger brother, the M15s. With an RRP of €999, the M15s is priced slightly above the M23 and directly below the top model M17. As soon as you unpack it, you notice that the M23 and M15s hardly differ in terms of weight and size. However, the more expensive M15s comes with a genuine leather cover, which I would have preferred for the M23 instead of a simple silicone cover. The M15s also comes with a docking station including a cooler on which the DAP can be operated very conveniently in desktop mode. The volume control on the M15s is either classic via a potentiometer or via two buttons, which can be configured as required.



If you take a look at the technical data, the M15s uses the top DAC from ESS, while the M23 uses the top model from AKM. In terms of performance, the M15s is somewhat more powerful with its 2x1200mW@32 Ohm instead of the 2x1000mW@32 Ohm of the M23. On the other hand, the M15s has a slightly more powerful battery. The advantage of the M23 is that the battery can be charged even faster than the M15s. However, it lasts around 1 hour less.

There is no difference between the CPU and the software. Both process touch commands quickly and smoothly - there's nothing to complain about here. A big advantage for me with the M15s is the line out. This can be set not only fixed but also regulated, which is very advantageous for operation with the iBasso PB5, for example, because the fixed line out of the M23 offers hardly any control range for very sensitive IEMs due to the very high voltage. Incidentally, both DAPs will receive Android 12 via a software update.



For the sound test, I used my Focal Utopia 2022 and my Unique Melody Multiverse Mentor. Both devices can be operated effortlessly in low gain and the M15s is dead silent with all the IEMs I have tested! The volume control range is also fantastic and I would also like to have this for my iBasso DX320 MAX Ti, where I always have to readjust the digital volume control. However, headphones that are very difficult to drive, such as a Susvara or 1266 Abyss TC, are too much of a good thing for the M15s. Here you have to resort to even more powerful DAPs like the M17 or an external amp like the PB5.

Tonally, the M15s plays even closer to its big brother M17 than the M23 does. With its AKM DACs, the latter sounds a little smoother, but thinner in the mid-range with a slightly purer bass range. The M15s, on the other hand, strikes like Thor's hammer when the recording demands it. It also has the fuller mids like its big brother, the M17. What is only noticeable in a direct comparison is the slightly wider imaging of the M17. It also separates a little better but also sounds more technical. All FiiO DAPs play on the brighter side and are not comparable with a Shanling M8 (significantly warmer) or 320 MAX Ti (somewhat smoother, but also bright).

The combination of M15s with the Utopia 22 and its dynamic capabilities is a brilliant combination and a lot of fun. The bass goes deep down with more slam than with the 320 MAX Ti, but without lacking audibility. This is ensured by the rest of the tuning, where the transition from bass to mids and treble is seamless.

From a stage perspective, the M15s is more spacious than the M23 with slightly better separation. Individual sound events crystallize more clearly than with the M23, which focuses more on a smoother rather than more technical presentation. Fortunately, the M15s does not produce a boring, technical sound, but a very coherent, very clean, high-resolution and, above all, involving sound due to the great bass range.

The rather bright presentation of the FiiO DAPs already showed in my last review that the combination with the external iBasso PB5 Korgtube amp is a good combination. And the M15s is no different! The Multiverse Mentor in particular gains a little more space in this combination and the overall warmer sound colors invite you to enjoy music for hours on end.

I think you can't go wrong with either of the DAPs M23 and M15s. As I need the regulated lineout for my application and am also addicted to the brilliant bass range, I personally opted for the M15s!

The FiiO M23 is the latest DAP from FiiO. With an RRP of €749, it is priced between the M11s and M15s. The M23 not only continues the classic hexagonal honeycomb design and 18:9 format of the M11 series, but also offers significant improvements in configuration, performance and ease of use. The aim was to create a mid- to high-end DAP that offers both outstanding performance and an excellent listening experience.



The M23 uses AKM's flagship AK4191EQ+AK4499EX. FiiO also uses "DWA ROUTING Technology" to further improve the signal-to-noise ratio. This technology enables a cleaner sound background and higher audio resolution, resulting in a more relaxed and natural sound.

The M23 is the first DAP from FiiO with two USB Type-C ports, one of which is dedicated to power input only (POWER IN). When this dedicated USB Type-C power port is connected for fast charging, the Super High Gain mode can be activated for more gain and more output power. In this mode, the output power can be increased up to 1000mW@32Ohm. In normal battery-powered mode, the M23 reaches a maximum power of 475mW@32Ohm, which is still more than enough for all IEMs on the market. Even the FatFreq Grand Maestro can be driven at high volumes. In this mode, the other USB Type-C port consumes no power and is therefore suitable for connecting the M23 to a smartphone for use as a USB DAC.

In addition, the M23 naturally also has the patented desktop mode (D.MODE), which can be activated with a switch. When D.MODE is activated, the M23 is fully powered by an external power source. The built-in battery is not used. It is neither charged nor discharged. A 5500mAH battery is used in the M23. A dual-mode fast charging system combines extremely fast charging and normal fast charging. When the battery is low, extreme fast charging is used to provide a safe charging speed of up to 30W. When the battery is approaching a charge level of approx. 80%, the M23 switches to the somewhat slower fast charging method, which is more gentle on the battery, in order to increase the battery's service life. With this charging method, a completely empty M23 can be charged to a capacity of 80% in approx. 1 hour. In symmetrical mode, a fully charged M23 lasts me just over 8 hours. A very good value!

The M23 uses amplifier designs from THX. These are considered to be particularly clean and linear. The THX AAA 78 headphone amplifiers used in the M11 Plus and M11 Pro have been further improved and implemented in the M23 as THX AAA 78+. This new design enables a more powerful sound reproduction with extreme precision.

Further technical details include the use of the proven Snapdragon 660, 4GB RAM, 64GB ROM, a 5.5-inch display with a resolution of 720x1440 in 18:9 format and 4 gain levels. The M23 will initially be delivered with Android 10, but will be updated to Android 12. The M23 comes with 6 different modes such as Android mode, Pure Music mode, Airplay, USB DAC mode, Bluetooth Receiving mode and Roon Ready mode. An integrated 10-band PEQ can be used in each mode.



The scope of delivery includes a transparent silicone case, a USB cable and instructions. The DAP itself looks very high quality in a great blue design. There are no sharp edges or anything similar and it sits very comfortably in the hand. As I currently use my DX320 MAX Ti almost exclusively, I now realize how big and clunky this iBasso DAP actually is. The M23, on the other hand, is tiny in size and weight and fits easily into any trouser pocket. And it's also great that it has a lock button. How much I wish my MAX Ti had this, because you often reach the buttons unintentionally while wearing it. With the volume control, you have the option of doing this via two buttons, as you would with other DAPs, or via a rectangular touch area on which you can slide a finger up or down to adjust the volume and, depending on how quickly you move your finger, it can be adjusted more quickly than with individual presses. I think the concept is very good!

For the sound test, I initially let the M23 play for 30 hours until it had developed its full potential. In this review, I have selected some of my own consorts for operation and these include: The Austrian Audio Composer, Fir Audio XE6 and 64 Audio Fourte Blanc. I also paired it with the iBasso PB5 Korgtube amp and looked at how the tonality changes. In the past, I have already tested the FiiO top model, the M17, and the M23 is very similar in terms of tonality. It is a rather neutral DAP without any coloration with brighter timbres compared to the DX320 MAX Ti or even a Shanling M8, which has a much warmer sound. The FiiO M17 is a very technical DAP and gets the maximum out of its ESS DACs when it comes to sound precision and separation. The M23 is not quite at this level. However, it also only uses one AKM DAC and is much smaller and much handier. Unfortunately, I don't know the M11s and M15s models and can't make a comparison with them. However, I think that FiiO has classified them correctly in terms of sound and that would be M11s<M23<M15s<M17. It's quite remarkable what you can get these days in terms of sound for the price of €749! An M17 is twice as expensive but never twice as good. The latter still has significantly better reserves for driving a Susvara or Abyss 1266 TC. The M23 can't do that even in desktop mode with the highest gain level. For IEMs, a Composer or a Utopia, however, you don't even need the desktop mode, as these models are easily satisfied with the performance in battery mode. If you are looking for a small and very good-sounding DAP for on the go, the M23 is a better choice than the much larger M17.

Tonally, we are dealing with a neutral DAP with very good technical qualities in terms of detail and separation. Only the significantly more expensive DAPs offer a direct comparison and show that it can be even better. I listened exclusively to the M23 for a few days and didn't really miss anything during this time with my headphones and IEMs. The M23 is an energetic DAP and doesn't have such a romantic character as the Shanling M8, for example, making it a very good combination for the somewhat warmer IEMs such as the XE-6 and Fourte Blanc. Due to the brighter, more energetic presentation, it can also be paired with a warmer amp such as the iBasso PB5, resulting in a slightly brighter timbre overall than when paired with the DX320 MAX Ti. I would no longer recommend the latter combination with an XE-6, for example, as it then becomes a touch too warm. With the XE-6, on the other hand, the M23+PB5 combination works very well! What bothered me a little is that the lineout on the M23 is fixed and doesn't have any gain stages. This means that the PB5 has a little too much power and the volume range is very limited. Of course, you can also go from the headphone out into the PB5 and then have the gain stages available. But this leads to so-called double amping, i.e. the output passes through the amplifier stage as well as the DAC stage and can lead to a loss of sound quality. I also tried this variant and preferred it in the end, as I could not accept the disadvantage of the excessive volume range of the pure lineout. I was happy to accept the very slight loss of sound quality.



From the bass to the treble, there is nothing that stands out in the performance. Everything sounds very balanced. The M23 sounds incredibly clean, which is probably due to its THX amplifiers. A DX320 MAX Ti pulls the sound even further apart with a larger stage. In terms of bass punch, they are almost on a par. The M17 hits a little harder. The mids are designed for maximum separation and detail and are not as full-bodied and natural as the MAX Ti. Here, the M23 has more of a FiiO house sound, just like the M17, i.e. without any warm melting in the mids, absolutely free of coloration. The treble is detailed and free of sibilants. The transition from the mids to the highs is smooth, so that even micro-details are not masked.

The Austrian Audio Composer is known for its energetic playing style. Does it also suit the M23? At first I thought it might be too much of a good thing, but this combination works really well! It's the treble response of the M23 that makes it sound pleasantly smooth but with real drive and punch at the bottom! A pleasure for fast music such as prog or speed metal!

The Fourte Blanc with its more restrained presentation is also brought to life, so to speak, with the M23 and plays a bit more energetically than with the DX320 MAX Ti. Incidentally, the M23 is absolutely dead silent with all my IEMs. And the volume range in low gain is absolutely fabulous! With the Fourte Blanc, my normal volume is between 30-40 in low gain. So you can still make very fine adjustments where I only have a handful of positions available with the potentiometer on the DX320 MAX Ti and often have to make fine adjustments with the digital volume control.

The M23 is the best DAP I've ever heard in the price range up to €749 and I can give it a clear recommendation to buy. Anyone looking for a technically very good, rather bright, neutral DAP without any tonal embellishments and the whole thing in a portable package can buy it without hesitation

Bellos Audio, founded by Vlad and Bogdan Belonozhko, known as the Bellos Brothers, stands out in the pro audio industry for its innovative approach and dedication. With more than two decades of combined expertise, Bellos Audio is more than just another player in the audio market. It is a response to the increasing demand for high-quality audio products.

The company was born out of a partnership with FIR Audio with the aim of overcoming the challenges in the pro audio sector. The Bellos brothers embarked on a journey to understand and address these challenges, drawing on their extensive experience. They chose to break with conventional wisdom and start afresh, which enabled them to develop unconventional solutions and carve a distinctive niche for themselves in the industry.

This resulted in the X series, a series consisting of 3 different custom IEMs, namely the X2, X3 and X4. The latter represents the top model from Bellos Audio and I will now take a closer look at it in this review. Incidentally, this is my very first custom IEM, so I was all the more excited about the findings, especially with regard to wearing comfort. I had my ear impressions taken by a hearing aid acoustician who used the 3D scanning method. Both of my ears were scanned completely in around 15 minutes using a scanner, resulting in what is known as an STL file (a standardized 3D format) for each ear. I sent these two STL files to Vlad Belonozhko by e-mail and the production of my Custom X4 began. The advantage of the 3D scanning process is that you have the data digitally and no longer have to send ear impressions by post. In addition, the filling material in the ears is somewhat uncomfortable with the conventional method.



According to Bellos Audio, the X4 is equally suitable for musicians and audiophiles and should offer an exceptional sound experience. With an additional ultra-high driver and the company's own in-air canal technology, the X4 is said to offer an unprecedented level of clarity, detail and realism. In the following, I will shed light on how well this model achieves this.

The 4 in the name of the X4 stands for the use of a total of 4 drivers. 1 DD driver in the 6mm size is responsible for the bass range. The remaining BA drivers cover the midrange to super high frequencies.

Now we come to the groundbreaking technology that only Bellos Audio IEMs offer. Called In-Air canal technology, it enables the most comfortable custom IEM listening experience in the world. So comfortable that you feel like you have nothing in your ears! A perfect seal is maintained even when the wearer's jaw moves. Comfort and optimum sound quality are guaranteed. I will write a few more sentences about how it actually wears later. First, I would like to talk about the other technologies.

ATOM VENTING: A pressure relief system that improves the soundstage and reduces listener fatigue by dissipating air pressure in the sealed ear canals for a more immersive listening experience.

3D PRINTING: Bellos Audio 3D-printed matte shells: Thanks to patented 3D printing technology with nanometer precision, these custom IEM shells offer a comfortable, grippy fit and a matte finish that enhances both aesthetics and functionality.

RCX CABLES: A proprietary cable connection designed specifically for custom IEMs, offering exceptional durability with 5,000 connections and a standard 2-year warranty.

REMOVEABLE FACEPLATES: A revolutionary design feature that allows for quick and efficient repair of IEMs without the need to cut open the device, as the faceplates are secured with alloy steel screws.

MODULAR DRIVERS: Customized IEM enclosures designed to accommodate pre-assembled driver packages. This facilitates easy installation and removal of drivers without damaging the enclosure and ensures versatility and durability.

I was very excited the day UPS rang my doorbell and I held the parcel from the USA in my hands. Accordingly, I unboxed it quickly. As Bellos Audio mainly serves the pro sector, the packaging and presentation of the X4 is relatively simple without a lot of fuss and glitter. The packaging contains a black aluminum box engraved with the Bellos Audio logo and the name of the owner for whom the custom IEM was manufactured. In addition to the X4, the round aluminum box contains the connection cable, silicone ear tips in three different sizes (the middle size is pre-assembled), a cleaning brush and a sticker with the Bellos Audio logo. The connection cable has a 3.5mm plug for unbalanced operation. It is very flexible and soft and does not produce any microphonic effects. I would have preferred a balanced 4.4 mm connector. According to Vlad, as the audiophile sector is now becoming increasingly aware of Bellos Audio's IEMs, the company intends to offer a more appealing presentation in the future and perhaps also offer differently assembled cables or a choice of connectors. Instead of the RCX connector, you can now opt for the popular 2-pin connector on request, which makes it easier to change aftermarket cables.



The IEMs are very well made and, thanks to their non-slip and scratch-resistant outer layer, offer long-lasting pleasure without the housing leaving traces of use after a short time. Here you can see that these IEMs were designed as workhorses for the Pro sector. The silver Bellos Audio logo is engraved on the outside. On the inside, the initials of the owner for whom the X4 was specially manufactured. The nozzle, which is not really a nozzle at all, is a world first. It is oval-shaped and has a very shallow depth at the end of which the BA driver for the ultra-high frequency range is mounted. The very shallow depth of the end piece (which is no ordinary nozzle) means that the silicone eartips supplied fit perfectly. All the other eartips I have here slip off. You need eartips whose round connecting piece protrudes slightly from the rest of the casing. I can imagine that the eartips from Ortofon could fit here, for example. However, I didn't experiment any further because the eartips supplied fit perfectly, are super comfortable and I'm absolutely delighted with the sound of the X4. But one thing at a time!



Now we come to the most important thing, namely the comfort of the X4. I first turned the right IEM from the back to the front in my ear canal and then applied a little pressure from the outside of the housing and voila it fits like a glove! Then I did the same with the left side and the result is perfectly fitting IEMs like I've never experienced in my life. At first you notice them a little in your ear but after a few days you get so used to them that you even forget you have an IEM in your ear. There is absolutely no pressure and it is so comfortable. This is truly one of the biggest wow effects since I started listening with IEMs. I haven't had any other custom IEMs made yet, but it is known that with other custom IEMs, a movement of the jaw, e.g. when chewing, briefly loosens the seal and this leads to sound impairment. But I also often have this with universal IEMs when I eat something while listening. With the X4, there is actually no such impairment! You can chew, eat and the part still sits bombproof without loosening the seal. Ingenious!



So the X4 has already mastered the most important criterion of a custom IEM with flying colors! Now we come to the second most important criterion (at least for me) for the X4, namely the sound quality. And here I can already anticipate that it has exceeded my expectations! With an IEM that is primarily intended for musicians with a neutral tuning, you might initially think of a dead boring presentation, but this is by no means the case here. After hearing the first notes of the X4 on my iBasso DX320 MAX Ti, it immediately reminded me of the Custom Art FIBAE 7U. Just like the latter, the X4 offers a neutral tuning with a slightly warmer basic tone with enough punch at the bottom and smooth but very high-resolution trebles. Incidentally, the X4 is very easy to drive even unbalanced on the DX320 MAX Ti and you don't need more than gain level 1.



The bass range sounds very balanced and easy to hear from low bass to mid-bass. It places a slightly higher presence on the mid-bass range, making the overall presentation appear somewhat fuller. By using a DD driver, it sounds crisp with sufficient slam at all times, despite having slightly less quantity than a FIBAE 7U. It may not be the fastest and most detailed DD bass in the IEM range, but it is one of the most balanced where you won't miss anything in the long term without a direct comparison.

From the bass, I would now like to move on to the most outstanding feature of the X4 and that is clearly the stage imaging. An IEM in the 1000 USD class with this brilliant spatial imaging, the ingenious left/right separation and razor-sharp instrument separation is second to none. The IEMs I recently tested from Oriveti, which are in the same price range, can't even begin to achieve what the X4 conjures up here. Is it because of this super-short nozzle? I suspect that it also has to do with the fact that the sound is not bundled in a tube before it reaches the ear canal. In any case, great cinema at this point!

The bass is perhaps the weakest attribute of the X4, but everything else is at a very high level. Just like the mids. No boring neutral tuning, but a slightly warmer basic tone involves the listener in a carpet of sound with a great timbre. Acoustic instruments sound fantastic, as does the vocal reproduction, which is also perfectly centered in terms of stage technology, neither too direct nor too far away.

For me, the X4 is an absolute hit when it comes to the comfort of an IEM. I can't think of a better IEM in this respect. I will be testing other conventional custom IEMs in the near future to see how they perform. But on paper, it's already clear that only the X4 is immune to sound restriction caused by jaw movement. And who likes to sit on the sofa for hours with an IEM without eating anything? In terms of sound, the X4 also impresses me with its very coherent tuning and, above all, this grandiose stage presentation, which I never expected. This makes it the most comfortable all-rounder IEM I know! My clear recommendation for the price of 999 USD, which I think is abs

The Grand Maestro is FATFreq's flagship IEM and the ultimate choice for audiophiles seeking the pinnacle of music enjoyment. According to FATFreq, the Grand Maestro is designed to make listening to music an experience in a class of its own. It features an award-winning frequency response that delivers exceptional bass feedback and superb low-end tonality with plenty of slam. I have already tested the Scarlet Mini from FATFreq. And this already delivers an absolutely brute performance in the lower registers that I am very enthusiastic about. With the Scarlet Mini, FATFreq speaks of a +30dB bass shelf, while with the Grand Maestro it's +20dB. The Scarlet Mini is for absolute bassheads and the Grand Maestro is a little more balanced, which is more to my taste. So I was all the more excited about the top model from FATFreq.



Unlike the Scarlet Mini, the Grand Maestro allows you to regulate the sound using two available systems. On the one hand, there are the innovative NOAH modules, which enable individually adjustable bass reproduction. My review model is the version with two modules, a black NOAH module and a blue NOAH module, each of which can be used on the Grand Maestro. Only the black module is supplied as standard. The black "power module" concentrates the sub bass and provides more slam. The blue "control module" has slightly less sub bass with more control and transparency. In addition to the NOAH modules, the Grand Maestro has a built-in vocal boost switch with two positions. When this is switched on, vocals become slightly more present. In total, the two NOAH modules and the switch can be used to achieve 4 different sound settings on the Grand Maestro. The NOAH modules are one of the secrets behind the deep, captivating bass and act as a kind of bass chamber that uses state-of-the-art acoustics to amplify low-frequency vibrations and was developed exclusively by FATFreq. They also act as pressure relief valves, preventing pressure build-up in the ear and providing ultimate comfort during extended use.

I would like to briefly mention the other technology used here after years of development. FATFreq's "BASS CANNON Technology" delivers deep bass, with a concentration of over 20 dB below 200 Hz and no overload. It utilizes proprietary dynamic woofers, bass chambers (NOAH) and acoustic filter networks for an immersive bass experience. LINEAR IMPEDANCE technology uses proprietary circuitry to correct the non-linear impedances of multi-driver systems to ensure a consistent frequency response across all devices. This technology eliminates fluctuations in frequency response when IEMs are connected to different devices such as DAPs with different output impedances. SONAR LA TROMPA Technology" inspired by the anatomy of the traditional French horn, this technology utilizes exponential horn curvature for gain control and improves treble tonality through acoustics. It delivers smooth, natural-sounding highs and a pleasant timbre in the mid and low frequencies. The "PHASEALIGN technology" ensures the alignment of low, mid and high frequencies through acoustic delay, as no DSP is available. By aligning these frequencies so that they reach the eardrum coherently, sound accuracy and resolution are improved and the requirements of stage and studio environments are met.

The Grand Maestro I tested is the latest version 2023, which has received a few updates. The 2-pin sockets are now recessed. The vocal switch too. The NOAH modules are now made of metal and a luxurious storage box is included.



The exact number of drivers is not specified for the Grand Maestro. Only that it is a Tribrid IEM. A DD driver is used for the bass range, plus BA drivers (presumably 8 in number) and a total of 4 EST drivers.

My review model was not supplied with the standard silver cable, but with the premium gold-plated silver cable. This version of the Grand Maestro costs around 3300 USD with the blue NOAH module. Certainly not a cheap IEM. Can it justify the price in terms of sound? I'll get to the bottom of this below.

The unboxing experience is one of the best I've ever had on the IEM market. This super classy wooden box with coated clear lacquer really makes an impression and shows that this is a very high-priced product. Fantastic! The wooden box is opened by pressing a golden button. The golden hinges are also top quality. The inside is just as high quality. What do you think is inside the full metal case? As an outsider who doesn't know much about IEMs, you'd almost think it was a gold Rolex watch. No, of course it's the Grand Maestro! In addition to the usual utensils such as various silicone ear tips and a cleaning brush, the wooden box contains the blue NOAH modules and the gold-plated pure silver cable with various adapters (3.5mm, 2.5mm, 4.4mm). I am very pleased that this IEM also comes with adapters that allow it to be connected to any source. The cable is of a very high quality for the price, lightweight and very soft and flexible. There are no microphonic effects whatsoever. In terms of sound, it is also a great match for the Grand Maestro. I was not able to achieve any improvement with a pure silver cable from Lavricables compared to the delivery cable, which speaks for the quality of this gold-plated pure silver cable from FATFreq.

When I first took the IEMs out of the round golden full metal box, I first thought it was a custom IEM, because the shape and length of the nozzle looks completely different from the other manufacturers. Rounded and slightly longer, it ensures that the IEMs sit a little deeper in the ear canal. Surprisingly, it is still quite comfortable and doesn't get in the way even during longer listening sessions. When inserting it, you don't have to try to push it in artificially as you would with a Raven, for example, which otherwise doesn't create a proper seal for me. A little loose pressure is enough and it sits bombproof with my preferred AZLA Clears. In my opinion, you shouldn't use eartips that are longer, as the shape of the nozzle alone ensures that it sits deep in the ear canal. In terms of sound, the AZLA Clears also fit very well, as they are known for sounding neutral without emphasizing one frequency range in particular. With the Grand Maestro, there's no need to soften the treble or anything like that, but more on that later. The elegant design of the faceplates contributes to the boutique character of the entire presentation with the wooden box, so that any outsider immediately gets the impression that we are dealing with something really expensive. An acquaintance of mine who was recently at my house said when he saw the box: "What kind of "piece of jewelry" do you have there?". That says it all. A Multiverse Mentor, which is even more expensive, lies next to it in a small leather case and doesn't immediately give this impression. In any case, I am delighted with this presentation of the Grand Maestro! If it also sounds the way it is presented, then FATFreq has done everything right.



The Grand Maestro needs power, and lots of it! I already noticed in my review of the Scarlet Mini that IEMs from FATFreq require significantly more power than other IEMs. It's the same with the Grand Maestro. I run my iBasso DX320 MAX Ti at gain level 2 to drive higher levels with the Grand Maestro. The device also scales with the power available to it. I have also used it with my stationary system consisting of Topping D90 III and Niimbus US4. It is one of very few IEMs that generate zero noise on the Niimbus, which is an advantage when IEMs are not so efficient to drive. It also has a much better control range. More power on the Grand Maestro means more control and a cleaner sound with better separation. Fortunately, with the DX320 MAX Ti I have one of the most powerful DAPs on the market, which has no problems with the Grand Maestro. The Niimbus combo plays slightly more separated. Unfortunately, I don't have a smaller DAP with less power here to test this combo. That's why I used my Google Pixel 7 Pro for a small sound test. And this shows a bloated bass range that extends into other areas where the separation and details fall by the wayside. I have to admit that this is of course not a very realistic test (because nobody would run such an IEM directly on a smartphone), but it shows that a Grand Maestro scales very strongly with the source. For example, I can listen to a Volür on the Pixel 7 Pro without it sounding worlds worse than on the DX320 MAX Ti. It can be heard with acceptable quality on a smartphone, but I can't enjoy the Grand Maestro for 10 minutes on the Pixel 7 Pro.

The Grand Maestro has a more balanced sound compared to the Scarlet Mini and technically surpasses the Scarlet Mini in all areas. Let's start with the most outstanding area and that is the bass. I don't know of any other IEM that offers such a brilliant low bass range and manages the connection to the mid-bass range as seamlessly as the Grand Maestro. And then there's the art of leaving the other areas such as mids and highs untouched. Nothing blows out into the other ranges, absolutely nothing. Nor is the mid-bass range bloated at any time. The Fir Audio XE6 has an even stronger mid-bass range. However, this doesn't sound as detached from the rest as it does on the Grand Maestro. This is also reflected in the audibility of the bass range. Only an EE Raven can keep up here, even though it does not offer the same extension of the sub bass as the Grand Maestro (with black NOAH module). With the blue NOAH module, the bass tuning sounds similar to that of the Raven. The bass range, which is already very fast with the black module, is lowered slightly in the lowest registers below 50Hz with the blue module, giving the mid-bass punch a little more free rein and the entire bass range then sounds from previously very fast to extremely fast with even more audibility! Insane! The Grand Maestro belongs to the ranks of the absolute best IEMs in the bass range. In my opinion, this includes the XE6, Raven, Trifecta, Volür and the Grand Maestro. Incidentally, the modules are as easy to change as with a 64 Audio IEM. You can pull them out with your fingernails and reinsert them without any tools. This is much more fiddly with a Fir Audio because the modules are so small and a tool is required.

The mids are very neutral and have no coloration whatsoever. With the vocal switch, the bass range can be lowered slightly, allowing the vocals to play more in the foreground. The blue NOAH module with the vocal switch activated gives you a neutral reference tuning that is comparable to a FIBAE 7U or U12t. The Grand Maestro therefore offers a total of four different sound tunings thanks to the two modules and the vocal switch. I prefer to leave the vocal switch deactivated, because for me the vocals are perfectly placed in the stage in this mode, not too superficial, just the way I like it. If I feel like a turbo-fast bass, then I use the blue NOAH modules. But most of the time I listen to the Grand Maestro with the standard tuning, i.e. black module + deactivated vocal switch.

The Grand Maestro is a genre talent. No matter what I listen to with it, it all sounds very good. The very coherent tuning naturally contributes to this. The soundstage is larger than average with good depth and outstanding instrument separation. I can easily locate individual sound sources and concentrate on them while aiming at the next instrument in the next moment. The more power is available, the better the Grand Maestro separates. Microscopically fine on the Niimbus US4 as well as on the iBasso PB5 with its 1.7W@32 ohms! The Korgtube-based amp produces a slightly warmer timbre with typical tube timbres on the DX320 MAX Ti. In my opinion, this is a very good combo.

With the four EST drivers used for the treble range, FATFreq shows how you can achieve a very high resolution and still not need any artificial exaggerations in the frequency diagram. A super resolution that doesn't leave any micro details undetected or masked by peaks. Here it plays at the level of an XE6. The Trifecta is a little out of the picture, as it is somewhat specially tuned in the treble due to its mountainous landscape and is sometimes in front and sometimes behind, depending on the recording. If the recording is right, then the Trifecta is almost unbeatable. However, the Grand Maestro is clearly the better all-rounder of the two. Technically speaking, the EE Raven is the most outstanding IEM at the moment. In my opinion, however, it suggests a slightly higher resolution in the treble by lowering the upper mids with the small peak at 6Khz. Depending on the recording, however, this also leads to a masking of micro-details because cymbals sound a little too concise. The Grand Maestro does not have this problem. Even when using the blue module with the vocal switch on, the treble remains clean and smooth at all times.

The Grand Maestro from FATFreq is an outstanding IEM which, thanks to its tuning options, covers all sound profiles from a very bassy yet coherent presentation to a neutral reference presentation. With a price of 3300 USD (including the blue NOAH modules + gold-plated silver cable), it is not cheap. But considering the prices of the competition and this presentation, I think it's reasonable. The Grand Maestro is one of the best IEMs you can buy today with an unsurpassed low bass response. A true endgame IEM!

As I was already very enthusiastic about the current OH700VB model, I now wanted to get to know Oriveti's flagship model, the OV800. These are my impressions of this model.



In contrast to the OH700VB, the OV800 uses only BA drivers - 8 of them. While the OH700VB sounds neutral and rather bright, the OV800 is the interpretation of a neutral, slightly warm reference tuning.

The OV800 is priced at 999 USD compared to 700 USD for the OH700VB. As with the OH700VB, the workmanship is really 1A. Each cabinet is made by hand. I personally like the shimmering green faceplate even better. The cable is an 8-core copper cable with a silver coating. Unfortunately, there are no interchangeable plugs on this model and operation is only possible with a 3.5mm jack. There are various silicone ear tips available, including the AZLA Xelastec, which I think suit this model very well in terms of sound. As with the OH700VB, the comfort is very good, as the IEMs are very ergonomically shaped and pleasantly light.



Compared to the OH700VB, the OV800 has two different sound switches. A bass switch produces a bass boost and a treble switch produces a treble boost. Personally, I like the default setting best, where both switches are switched off. The scope of delivery also includes a frequency diagram showing the differences between all the settings.

In the basic setting, the OV800 plays very neutral, without any particular emphasis on one frequency range. I would describe it as neutral with a slightly warm presentation. Similar to a Cadenza 12 with slightly less bass in the basic setting. When I switch on the bass switch, it catches up with the Cadenza 12 in terms of quantity. The bass range itself is technically at a higher level than the OH700VB with better resolution, control and speed. However, it does not come close to the dynamic impact of the OH700VB. The OH700VB can simply kick more and is also more fun. That's the difference between BA Bass and DD Bass. In terms of speed, however, it shows the OH700VB the tail lights and plays with similar precision to the QDC 8 Pro that I recently tested.

In the mids, the OV800 is a little fuller than the OH700VB, which is reflected in a warmer presentation. With the treble switch switched on, however, the instruments are given a little more room to breathe and it sounds more similar to the 700. Personally, however, I like the basic setting best. I occasionally switch on the bass switch if I need more punch, e.g. for older metal recordings.

In terms of resolution and treble response, the OV800 is almost on a par with the more expensive QDC 8 Pro and sets itself apart from the OH700VB. In my opinion, the seamless transition from the mids to the highs is better with the OV800 and I have the feeling with this model that everything from the bass to the treble sounds more like one piece, whereas with the 700 the areas don't merge quite as seamlessly.

In terms of soundstage, the OH700VB plays with slightly more depth due to its slimmer midrange, but doesn't quite come close to the OV800 in terms of instrument separation. When I activate the treble switch, the mids move a little further back, which in turn makes the OV800's soundstage seem a little deeper.

In my opinion, the OV800 is one of the best IEMs in the 1000 USD class. Two different IEMs from Oriveti that offer something for every taste. The more fun tuning of the OH700VB with the DD bass and the airier sound compared to the somewhat fuller tuning with more resolution and technically one step higher. In the price range up to 1000 USD, Oriveti really is a challenge to the other manufacturers. My very clear recommendation to buy both models.

Jomo Audio, a Singapore-based company, was founded by Joseph Mou, a broadcast engineer with a passion for audio. Combining his expertise with the inspiration of Japanese craftsmanship, Jomo Audio quickly became a popular brand in the portable audio market in Southeast Asia. With 15 years of experience in audio and 10 years in IEM design, Joseph's journey began as a hobbyist before founding Jomo Audio in 2012. The company's commitment to innovation is evident in the blend of traditional techniques and advanced 3D technologies that result in high-quality IEMs. Jomo Audio has launched groundbreaking products such as the Flamenco and the Trinity and continues to innovate through collaborations such as the one with the Digital Fabrication & Additive Manufacturing Center in Singapore.



Jomo Audio introduces the Instinct Emerald, the latest addition to its premium product range, underscoring the brand's commitment to professional IEM manufacturing and exceptional craftsmanship. The Instinct Emerald features a laser-cut faceplate design and a precision 3D-printed cabinet in emerald green. The faceplate is made from a single piece of brass sheet using in-house precision equipment.

With the Instinct Emerald, Jomo Audio wanted to create a captivating sound signature with powerful bass, rich midrange and high-resolution treble paired with good spatiality. Exactly what every audiophile wants! In the following review, I will shed light on whether it is exactly as good as the advertising promises.

But first let's get to the technology. The Instinct Emerald combines two DD drivers for the bass, six BA drivers for the midrange and a single piezoelectric ceramic driver for the treble. These drivers are integrated through a passive five-way crossover and a four-way acoustic crossover and are therefore said to sound as if they are one piece, without interference or the like. The two DD drivers are 10 mm dynamic drivers with an ultra-thin titanium diaphragm. This is intended to produce a particularly powerful yet ultra-precise bass range. The two DD drivers are housed in a CNC-milled brass Airflow Control Chamber (A.C.C.). This efficiently controls the air movement and thus enables increased volume output through the sound waveguide. The BA drivers for the midrange are designed for maximum precision, enabling a higher resolution. As already mentioned, a piezoelectric ceramic driver is used for the tweeter instead of a BA driver or an EST driver. This consists of nine different layers and provides additional airiness and brilliance in the high frequencies. I had never tested an IEM with such a driver unit before.

For a product with a recommended retail price of USD 2999, a high-quality cable is also a must. And a great deal of effort has been made here. The cable is really very good to the touch and is also beautifully soft and free of any microphonic effects. It also looks good and matches this high-priced product. It is an elaborate construction with 4 strands of silver-plated 21 AWG copper wire and precision-manufactured, CNC-milled, solid metal cable components. It is also available separately under the name Adrenalin MK II.



The Instinct Emerald comes in a carbon fiber carrying case with metal components and silver Jomo branding. Inside the carrying case is a round case made of genuine leather in which the IEMs are stored in a drawstring bag. Other accessories include a cleaning cloth, a plastic box with various eartips and various stickers. The Adrenalin MK II cable is housed in a green satin bag. I really like the presentation of this masterpiece of craftsmanship. The transport case in particular looks very classy and gives the whole thing a boutique character.

The Instinct Emerald is a real eye-catcher and this faceplate just looks great! Equipped with a total of 9 drivers, it is not the smallest of its kind. However, it is relatively light and so well shaped that I have no comfort problems with the IEM, even after long listening sessions. In my opinion, the enclosed double-flange eartips offer the best comfort and sound. More on the subject of other eartips and how they affect the sound later.

The Instinct Emerald is basically very easy to drive, as it has an impedance of only 9 ohms. I used my iBasso DX320 MAX Ti for the test. One of the best DAPs currently available. In order to elicit higher volumes from the Instinct Emerald, I almost only use gain level 1. For recordings with a higher dynamic range, I sometimes have to use gain level 2. However, the Instinct Emerald still benefits from more power and only then does it reveal its full potential. The latest iBasso PB5 Osprey amp with Korg Nutubes and an output of an incredible 2x1.7W@32 ohms is also used in this test. Later, I will discuss the differences in the operating mode directly on the DX320 MAX Ti vs MAX Ti + PB5. Since I am convinced of the technical qualities of the Instinct Emerald, I also briefly tested it on my stationary chain consisting of Niimbus US4 + Topping D90 III. The D90 III DAC has some of the best measurement values in the world and really teases every last detail out of a recording. Plus one of the world's best headphone amplifiers, the US4 from Niimbus. With this combination, the Instinct Emerald scales a little more in comparison to the portable amplifiers. The result is slightly faster bass, greater transparency and a more expansive sound stage. However, the stationary chain plays a little more sober and not quite as involving as the 4x ROHM DACs in the DX320 MAX Ti and the PB5 at the end of the chain is something completely different, more on this later. So the Jomo Audio drivers really pack a punch!



What about the tonality? We are dealing with a V-shape tuning here. But not in the classic way with a balance of bass and treble boosts, but a slight overweight in the treble boost. Overall, the Instinct Emerald clearly plays on the bright side and is not neutral. But that wasn't Jomo Audio's intention with this model. Depending on which eartips you use, you can tune the sound a little. With the AZLA Clears you get the maximum audibility with the brightest presentation. In contrast, the SpiralDots produce a smoother sound with slightly softer highs. For me, the latter bring the best balance to the sound image. The detail reproduction is really amazing with the Instinct Emerald. This is a treble head IEM! Resolution without end, plus fantastic audibility that is always on the edge of harsh and annoying. However, I could imagine that with very bright sources and the use of AZLA Clears it can sometimes go a little over the limit. You can definitely remedy this with the Spiral Dots and calm things down a bit. Or add the PB5 with its Korg Nutubes via the DAP's lineout.

But the treble is not the only star of this great IEM. The second star is clearly the bass range. This section, which is driven by two DD drivers, reminds me a little of the Volür from 64 Audio. The Volür has a little more quantity in the mid-bass range, while the Instinct Emerald creates a balance between mid-bass and sub-bass. The impact of these two DD drivers is already fantastic and the moving air mass is noticeable in bass-heavy recordings. In my opinion, the Instinct Emerald is on a par with the Volür. I then have to unpack my Empire Ears Raven, which has even more detail in the bass range and makes it even more noticeable thanks to its BCD.

The mids were not tuned to the maximum capabilities of the BA drivers, i.e. the focus here was not on achieving maximum instrument separation, but on a warmer, almost tube-like basic tone that is relaxed and slightly recessed at all times. You are sitting in the sixth or seventh row of a concert and not right at the front. Overall, the mids are somewhat colored, but with the tuning of the bass and treble they create a balanced sound image that involves the listener in the overall presentation instead of drawing their attention to individual sound elements. The Instinct Emerald is an invitation to long, enjoyable listening sessions.

However, this does not mean that the Instinct Emerald only sounds smooth and very laid back like a Hifiman Susvara, for example. It is definitely more energetic and, depending on the recording, also whips forward. Not quite as energetic as a Fir Audio E12, but still with drive to the front. The punchy bass and the crystal-clear, shimmering treble make sure of that. I don't think I've ever heard cymbals and their transient and decay behavior better than with the Instinct Emerald. I listen to a lot of rock and metal. And that's a genre that suits the Instinct Emerald well, even if it's not the king of the metal genre. With all his finesse and the involving way he plays, he cuts a terrific figure in the jazz and classical genres in my opinion!

The soundstage presentation offers a very good depth of field and is roughly comparable in size to a U12t from 64 Audio. However, as I said, it is not designed to pick out individual elements in a pinpoint manner, but to let the listener sink into the overall scene. The instruments play more compactly together and are not as microscopically separated from each other as is the case with IEMs that are more neutrally tuned, such as a U12t or FIBAE 7U from Custom Arts.

The previous sound descriptions referred to the direct drive with the DX320 MAX Ti. If I then connect an iBasso PB5 amp with Korg Nutubes to the MAX Ti via lineout, the soundstage opens up again in all directions. In addition, the mids come more to the fore and become fuller. Overall, the bass range also appears even fuller. So you can use eartips and sources + amps to tune the Instinct Emerald to suit your personal taste. For me, the combination of SpiralDots + direct drive with MAX Ti is the most balanced variant.

The Instinct Emerald is a welcome change in the landscape of TOTL IEMs. We have many IEMs here that are specifically aimed at the bass heads among us, but few for the treble heads. Unfortunately, I'm not yet familiar with the Elysian Annihilator 2023, which is regarded in many circles as the IEM with the best high-frequency range and is a good choice for absolute treble heads. I would imagine that the Instinct Emerald is in exactly the same vein. I would describe its treble range as one of the best I have heard in the IEM sector. In addition to the very good treble range, you also get a top bass range. If you like the mids a little sweeter with warmer tones, the Instinct Emerald could be an IEM of choice. However, it is not cheap. The Instinct Emerald is available directly from the manufacturer Jomo Audio (https://www.jomoaudio.com/).

QDC has become known worldwide for its Anole series of IEMs, which are considered the most neutrally tuned in the IEM landscape and are at the top of the charts on some platforms where tonality and resolution are considered the most important criteria.



Over the last 7 years QDC has undergone many technological innovations, all of which have led to the latest product from QDC, the 8 Pro. Three different tunings can be selected with a switch integrated in the housing. With the Hifi, Studio and Live settings, the user can adjust the tonality to suit their mood without using an EQ. More on how exactly these three settings differ later.

The QDC 8 Pro is equipped with a total of 8 BA drivers. QDC itself speaks of groundbreaking improvements in recent years that have improved the sound balance and extended the low and high frequencies. I am excited!

The QDC 8 Pro consists of a carbon fiber housing which is very light and ergonomically perfectly shaped for a secure and comfortable fit. The black connection cable with a mix of copper and silver allows operation with all possible sources with 3.5mm, 2.5mm, 4.4mm and even with a large jack adapter on the 6.35mm connection. I'm so glad that more and more manufacturers have gotten their act together and are including these types of plugs instead of requiring a new cable for each configuration. For a price of about 1500 USD, the 8 Pro is housed in a classy walnut box, which in my opinion belongs in this price range. The walnut box reminds me a bit of my Shanling M8. This type of presentation shows that this is a high-quality product. Walnut in combination with carbon fiber is a successful combination and really looks good. Various silicone eartips in different sizes and instructions round off the overall package.




The 8 Pro is one of the most comfortable IEMs I know. With the AZLA Clears, I can hardly feel that I have an IEM in my ear after a few minutes. How I would wish for something like that with my Raven, which unfortunately is one of the most uncomfortable IEMs I own. It's simply the size and weight that make the difference. And the 8 Pro is a lightweight and also small. Perfect for very long hours of listening without any pressure or wearing problems.

Like many previous IEMs, I tested the QDC 8 Pro on my iBasso DX320 MAX Ti DAP. With a stated impedance of 19-62 ohms, the 8 Pro is surprisingly easy to drive. Even a little easier than the Oriveti OH700VB I tested last. I very rarely have to use Gain 2 on the MAX TI for higher volumes. Only for recordings with a very high dynamic range.



Tonally, we are dealing with one of the most neutral IEMs. The three sound settings make a big difference. Whereas with an Oriveti OH700VB it's almost all about nuances with its two settings, with the 8 Pro you get almost three different IEMs in one. Starting with the very neutral "Studio" setting. Here, the 8 Pro works with the highest resolution and greatest soundstage representation. A true sound magnifier. It reveals a resolution that can easily keep up with a U12t. The "Hifi" display reveals a slightly stronger bass. The rather sober presentation in the "Studio" setting spoils you with a little more punch at the bottom in the "Hifi" setting. However, my favorite setting is clearly "Live". Here it has a warmer sound with even more bass and smoother highs. In the "Hifi" setting, it reminds me directly of a FIBAE 7U. "Studio", on the other hand, plays even warmer with roughly the same amount of bass.

That the resolution of the QDC belongs to the ranks of the top IEMs was clear to me from the very first minute. It is very clean and mega detailed in all settings. Of course, in the "Studio" setting, the very neutral bass range means that even the finest micro-details are virtually served up on a platter. The listener doesn't miss a thing here. It doesn't need to hide from a U12t in this discipline.

Having recently examined so many IEMs with DD drivers for the bass range, I no longer realize how fast a well-implemented BA bass range actually is. And the 8 Pro has a brilliant bass range! There's detail in abundance here and all with a punch that you only know from a FIBAE 7U or U12t, both of which also use BA drivers for the bass range. Here it only has to admit defeat to a Multiverse Mentor, which for me offers the best BA bass of all the IEMs I've heard. But what does it cost? Yes, 3x the price of the 8 Pro! From the „Hifi" position upwards, the bass plays with slightly more quantity than the Oriveti OH700VB that I recently tested. The Oriveti can't keep up in terms of quality. However, as it has a DD driver for the bass range, it sounds a little punchier when the recording requires it. In my opinion, a BA driver can and will never be able to achieve this in the same way. But BA drivers are faster and, if implemented correctly, mega detailed like this one.

The soundstage is very coherent and harmonious. However, this is not an expansive representation a la Raven or Trifecta, but remains more intimate. The voices are set back a touch and blend pleasantly into the overall scene. What should be emphasized, however, is that the instrument separation is at a very high level. The instruments are clearly separated from each other and can be easily located. Here it plays at U12t and FIBAE 7U level and beats an Oriveti OH700VB. However, the latter offers greater soundstage and sounds even airier.

In the mid-range, I notice an extraordinarily good voice reproduction, which is largely due to the very successful neutral tuning and the technical qualities of the BA drivers from QDC. A neutral, natural reproduction that is absolutely free of coloration.

What about the treble and the neutral tuning, especially in the "Studio" position? Micro details without end and still without being too harsh or shrill. In this position, the whole thing is still at the limit of not sounding unpleasant, at least for me. I can imagine that even brighter sources than the DX320 MAX Ti might make the treble unpleasant on some recordings. But as soon as you switch to the "Hifi" or even "Studio" setting, the treble becomes much smoother and is never a problem. The "Studio" setting reminds me of my Multiverse Mentor in terms of treble response. Always smooth, never intrusive and detailed so that nothing is missed. Even micro details are not blurred here.

The 8 Pro is a genre talent. I've listened to everything from modern genres such as rock, pop, metal, EDM to classical and jazz and it always cuts a fine figure. Especially very fast death metal is a lot of fun. The combination of BA Speed and DD Punch would probably be the best way to go. But you can't have everything!

7 years of development and innovation. Various studio and hi-fi IEMs. And now the 8 Pro with which you can hear and experience the entire concentrated power of QDC! Three different settings, which are not just nuances, but big differences, actually cover the entire range of applications you need. In the price range around 1500 USD, the QDC 8 Pro is certainly one of the technically best IEMs. If you are looking for a neutral IEM that covers all possible genres, a sound magnifier to suit your mood or an IEM to enjoy, you should consider the QDC 8 Pro.

The OH700VB is Oriveti's current hybrid flagship, which is equipped with a total of 7 drivers. One DD driver for the bass, 4 BA drivers for the mids and 2 BA drivers for the treble. Oriveti's aim was to develop a very neutral and detailed sound. The extent to which this has been achieved will be discussed below.



The workmanship of the OH700VB is really outstanding for the price of 699 USD. You can see that every single housing is made by hand and with attention to detail. I have never experienced such good workmanship and design in this price range. The shimmering purple plastic case with the integrated wooden faceplate looks fantastic. The golden nozzle fits in perfectly, as does the golden logo and label. There is an air hole in the housing which precisely regulates the internal air flow to produce a more detailed sound. A mini switch is integrated into the faceplates, allowing the user to choose between two sound settings. The good thing about the two switches is that they can be operated while wearing the IEMs in the ear without having to remove the IEMs. The lower position gives the OH700VB a slight bass shelf, while the upper position represents the "neutral" position.





An 8-core, hand-braided cable that is very flexible and soft is included in the scope of delivery. With the included adapters (3.5mm, 2.5mm and 4.4mm) it can be used with almost any source. I am pleased that more and more manufacturers are using the version with plugs instead of having to buy several cables. A round leather case and several pairs of different foam and silicone eartips are also included. All in all, a very well-rounded package for the price.

Now we come to the most important thing, namely the sound! I tested the OH700VB on my DX320 MAX Ti DAP. With an impedance of 12 ohms, the Oriveti is very easy to drive and I can barely get beyond gain level 1. However, the OH700VB is also very level-resistant and can handle a lot of power and can play very loudly without distorting at all. Its size and weight make it very comfortable to carry. I quickly found the optimum tips. The AZLA Clears fit like a glove. For me, it sounds best and almost perfect with the bass shelf switched on. The neutral tuning is a little too thin for me.



So how is it tuned? For me, the OH700VB, together with the FIBAE 7U and the Cadenza 12, are the most neutral IEMs I've heard so far. While a Cadenza 12 is tuned neutral/warm, the FIBAE 7U and OH700VB sound a little brighter. With the bass shelf, the OH700VB has about as much bass as a FIBAE 7U. Of the trio, the Cadenza 12 has slightly more bass.

This brings us to the OH700VB's most outstanding feature. The bass range is really successful and doesn't have to hide from much more expensive models, which is remarkable! There's enough punch, there's high quality, the bass really breathes and is very controlled. Nothing extends into other frequency ranges here. It goes down relatively far and has a small presence in the mid-bass range, which leads to a nicely springy bass whose impact you can feel. A DD driver is simply crisper in the bass than a BA driver. Although the FIBAE 7U is even more precise, it cannot deliver the punch of an Oriveti and Cadenza 12. The Cadenza 12 has a little more substance in the low bass range than the Oriveti. But it's great how well the Oriveti's bass works. You have to consider how much more expensive the FIBAE 7U and especially the Cadenza 12 are!

The OH700VB sounds very airy and transparent. The spatial imaging is not the widest, but it offers a very good depth graduation in which the voices are slightly foregrounded. This is because the mids are reproduced very neutrally without instruments or voices having a fuller character. Here, for example, a Trifecta that is not neutrally tuned sounds fuller, instruments seem gnarlier and sound elements have more physical impact.

The resolution is very good for the price range. Roughly on a par with the U4s, which is twice as expensive. The Oriveti does not achieve the instrument separation of a FIBAE 7U. With the IEM from Custom Art, I can concentrate on one instrument more easily, as all instruments are better separated from each other and are also easier to locate. With the OH700VB, the treble is reproduced without any peaks and there is no attenuation. However, the mic details are still not as easy to pick out as with a FIBAE 7U or Cadenza 12. It's something you don't miss when listening to the OH700VB alone, because its always involving and energetic playing style is so much fun that I don't even want the "acoustic magnifying glass" feature at that moment. And that wasn't Oriveti's intention at all. They wanted to create a neutral IEM, but one that would still be involving. And I think they've achieved that, even to the extent that bass lovers will also enjoy the bass switch!

In my opinion, the OH700VB is without competition in this price range! At least I haven't heard an IEM up to 800 USD that can hold a candle to the Oriveti. For this reason alone, I would say that the OH700VB is an absolute hit. For someone who doesn't want to or can't get into the TOTL IEM market, for a price of 699 USD you get a really top sound at a low price. I myself also asked myself in a direct comparison why the others are so much more expensive. It's the last few percent for which you have to put a lot of money on the table in the end. Even if the Oriveti cost 1299 USD, nobody would complain. My very clear recommendation to buy!

I was very excited about the Mini Scarlet from FatFreq, the specialist for IEMs from Singapore. The model promises nothing less than the deepest bass in the world in an IEM. This is to be made possible by the world's first 30dB sub-bass boost. But is it even possible to control such a sub-bass shelf? I want to get to the bottom of this in the following review. Not only is the bass range to be controlled in a very controlled manner below 200Hz, the other frequencies are not ignored either. FatFreq's specially developed tube-less hyper tweeter system ensures the necessary brilliance of the treble up to the 40Khz range. All the acoustics and technology fit into an amazingly small space, making the Mini Scarlet very ergonomic and lightweight.

For this review, I am using the version with an additional upgrade cable. This is a specially made SPC cable with interchangeable plugs in the sizes 2.5mm, 3.5mm and 4.4mm. It not only looks very high quality with the silver and red colors, but is also very soft and flexible. It matches the design of the Mini Scarlet perfectly. The Mini Scarlet without upgrade cable costs about 600€. With the upgrade cable it costs about 750€. I would like to see every manufacturer offer this type of connector for replacing the connection in the future. So far, very few have done this.



FatFreq became world-famous with the Maestro series and has developed several technologies in recent years that are now also used in the small Mini Scarlet model. The price/performance ratio of the Mini Scarlet is really very good. Here you can see that the expertise and technologies of recent years have also been adapted to the small model and for a very good price, in my opinion. I would now like to talk about some of the technologies.

The Bass Cannon technology, which makes it possible to drive a bass so high without it distorting. This is achieved by specially developed dynamic woofers, bass chambers and acoustic damping networks. With all these components, FatFreq has managed to boost the bass below 200Hz by 30dB without it spreading into the mids or getting out of control in any other way. Amazing!

FatFreq has developed its own circuits to correct the non-linear impedances of multi-driver systems. The different output impedances of the DAPs always result in the same frequency response. You no longer have these sometimes large differences in sound when you switch from a DAP with less than 1 Ohm (e.g. iBasso DX320) impedance to a DAP with 2 Ohm (e.g. Shanling M8) impedance. With some IEMs that change their frequency response, this is usually noticeable in the bass range (more/less).

With the Sonar La Trompa technique, which was inspired by the anatomy of the traditional French horn, FatFreq uses the exponential curvature of the horn to control the gain and improve the tonality of the treble. This makes the treble softer and more natural sounding.

Phasealign in FatFreq's IEMs ensures that when multiple drivers are used, the low, mid and high frequencies are aligned to reach the eardrum in such a way that the sound is perceived as if it all comes from a single driver.

So there is a lot of know-how available from FatFreq and many technologies that have been developed in recent years in the higher-priced products are used in the inexpensive Mini Scarlet. I couldn't find out from the product sheet itself how many drivers are used here. However, there will be at least two, a DD driver for the brilliant bass range and a Hyper Tweeter for the treble. There may also be a BA driver for the mids or the DD driver may also cover this range.

The scope of delivery includes a transport box in which all the accessories can be stored. This includes the cable, some silicone ear tips, the connection adapters and a kind of business card with the inscription "Welcome To The Family". The workmanship of the Mini Scarlet is really top notch for this price. These shimmering red faceplates could easily be used in higher-priced models. In terms of comfort, this is a very comfortable IEM to wear. In addition to the ergonomic design, the low weight also contributes to this.




For the test, I used the Scarlet Mini via 4.4mm on my iBasso DX320 MAX Ti. The first thing that is immediately noticeable is the power it requires. All my other IEMs are easily satisfied with gain level 1 of the DX320 MAX Ti. With the Mini Scarlet, I have to use level 2 to be able to play at high levels. However, I actually find this advantageous, as it gives me a much better control range than with other IEMs.

When I put the Mini Scarlet on for the first time, I was expecting a real bass cannon and was so surprised that it naturally has a lot of bass, but I didn't expect it to be so controlled and balanced. But first things first. Tonally, we are dealing with a rather bright IEM that sounds quite energetic. It's not quite a typical V Shape tuning. The low bass range goes down very, very far. In the mid-bass range, however, it is not quite as strong as in the very low registers. That would be too much of a good thing and would certainly blow up into the mids. The Mini Scarlet has the "fattest" bass I know of below 50Hz. In the mid-bass range, it is quantitatively one of the strongest IEMs, but there are some that have an even harder kick bass, such as the Fir Audio Xenon6. Due to the fact that the mid-bass range is not quite as pronounced as the low-bass range and due to the lowering of the lower mid-range, none of the bass expands into the other frequencies. The tuning and development of FatFreq go hand in hand here and rein in this bass monster, which has enough control at all times. The impact you get here with metal and EDM music is remarkable and will satisfy every, really every bass lover. The quality is also surprisingly good considering the price range, although of course it can't quite keep up with much more expensive IEMs such as a Raven or XE6 in terms of bass quality. can keep up.

The stage imaging is not very wide, it is more of a direct-playing IEM. Except for the vocals, which seem a little more distant due to the reduction in the lower mid-range, creating a pleasant sound. However, the Scarlet Mini is by no means a very smooth IEM, but rather belongs to the genre of more energetic IEMs where things also get down to business in terms of speed. So metal with the bass boost and the tingling mids is a lot of fun.

Is it annoying in the treble? Fortunately not, although its tuning doesn't artificially hide or smooth out details. But at no time did I find the treble annoying due to sibilants or liveliness. In terms of resolution, it doesn't really lack anything at first, but in a direct comparison with the top IEMs in this category, such as a Raven, it becomes clear that the smallest details are somewhat blurred. I'm curious to see how this is with the higher-priced models such as the Maestro SE or Grand Maestro.

The Scarlet Mini from FatFreq is certainly one of the first models to consider for bass lovers looking for an IEM up to 1000€. It is an IEM that is simply fun to play and also cuts a fine figure technically. Coupled with the very good workmanship and impeccable comfort, the Mini Scarlet gets my full recommendation!

The Xenon 6 (XE6 for short) is the flagship of Fir Audio's Frontier Series. The Xenon 6 is also priced slightly higher than the limited edition Radon 6 (RN6 for short). Together with the RN6, the XE6 reflects the sound peak of Fir Audio's portfolio. While the RN6 is much closer to a more neutral tuning than the XE6, the latter is aimed at purists who want to enjoy an IEM to the full with great sound colors and where every listening session becomes a true experience. In the following, I will examine whether this is ultimately the case and also make comparisons with the RN6 and the latest Electron 12 (E12 for short) model.







Just like the RN6, the XE6 is equipped with four BA drivers, a 10 mm DD driver for the bass range with rear opening and an electrostatic driver for the super high frequency range. The XE6 is also available in a custom version. I am using the Universal Edition in this review.

As with the RN6, the XE6 uses all the technologies that Fir Audio has developed in recent years. This of course includes the Kinetic Bass technology, which takes the sound experience of the bass range to a completely new level that no other manufacturer has yet achieved. With the open ports on the inside of the inears, the dynamic bass driver makes the bass range more perceptible and lively. You don't just hear it through the air conduction, but it is also transmitted to the cartilage of the ear through the openings on the back. As you can see in the picture with the XE6 and RN6, the rear opening is larger on the XE6 than on the RN6. This may be necessary because the bass range of the XE6 is significantly higher than that of the RN6. These rear openings allow some sound to escape to the outside, which means that the IEMs with Kinetic Bass do not offer such good isolation, as some of the sound is emitted to the outside world.

Another technology used is ATOM Venting (Air Transferring Open Module), an air-transferring open module that dissipates the pressure that builds up in a sealed ear canal. This allows the listener to enjoy longer listening sessions without tiring. This acoustic reflex of the ear when the pressure is too high, which tightens the eardrum to protect it from loud noises, causes a person to tire very quickly. In the long term, this can lead to hearing loss. ATOM Venting counteracts this reflex. In addition, the sound image should sound broader and more natural, similar to the difference between closed and open headphones. The so-called ATOM modules are interchangeable and offer different isolation levels that influence the bass range. The XE6 comes with 3 different modules, which can be distinguished by their color. These are

Black = 13dB isolation

Silver = 15dB isolation (fitted as standard)

Gold = 17dB isolation

The modules can be easily changed using a suitable tool that is included in the scope of delivery. My personal favorite is the standard silver filter, which in my opinion offers the most balanced sound. With the black module, the XE6 has slightly less bass. With the gold module it has the most. The RN6 also comes with a red module, which offers slightly less isolation than the black module and therefore less bass. Now you might think that by swapping the modules between the RN6 and XE6 you can match them up. But you can't! The sound patterns are simply fundamentally different, more on this later.

The XE6 has the OPEN ACOUSTICS system. This makes it possible to construct open drivers without sound tubes, which emit the sound directly into a so-called sound reactor so that it can flow freely into the ear canal. The result is a larger and purer sound image. The BA driver for the high frequency range is located in the ear canal shaft and has a sound reflector that directs the high frequencies into the ear canal. The result is silkier and airier highs.

With an IEM as expensive as the XE6, you might also ask yourself beforehand what the longevity and maintainability will be like. And RIGID Technology has the right answer to this question. It uses proprietary technologies that stand for industry-leading reliability, durability and ease of maintenance. For example, the most durable 2-pin connector on the entire IEM market, which can easily withstand 1000 connections. Or an acoustically transparent mesh grille that prevents dirt from entering through the nozzle. And shells that are about 20% thicker than the industry average, protecting components from damage.

The build quality and design of the XE6 is simply fantastic! You really have the feeling of holding a very expensive IEM in your hand. Solid gold metal case with gorgeous sapphire crystal faceplates. It is the same size as the RN6 but weighs a little more due to the material used. As with the RN6, the fit and comfort are very good and even the slightly higher weight doesn't bother me, as the fit is perfect for my ears.

The scope of delivery includes the typical Fir patch, a letter from CEO Bogdan Belonozhko, a round leather case with cleaning brush, two different eartips in different sizes, black+silver+gold ATOM modules and a tool for changing the ATOM modules. The cable is an 8 core 26AWG silver cable with copper coating. Compared to the RN6 cable, it is softer and more comfortable due to the use of a different sleeve. Angled 2 pin plugs are used here. I would have preferred the normal ones that are also used with the RN6 cable. With Fir Audio, you don't necessarily have to worry about aftermarket cables, because the cables supplied always sound very good. I also briefly tested my Lavricables Grand Line IEM pure silver cable and the difference compared to the supplied cable is really very small.



For the sound test, I connected the XE6 to my iBasso DX320 MAX Ti. Since it is very easy to drive, gain level 1 is easily sufficient to elicit very high volumes from the XE6. After trying out a few eartips, I found the SpiralDots++ to be the most suitable, closely followed by the AZLA Clears. Since I also wanted to check to what extent the XE6 can scale upwards, I also used it with my stationary chain consisting of D90 III + Niimbus US4 and this chain really elicits the last bit of performance from the XE6. More space, more resolution and an almost unbelievably precise bass when you consider the amount of bass that is delivered to the ear via the Sound Reactor. But slowly, one after the other. Let's start with the basic tonality.

Tonally, we are dealing with a warm, very bassy IEM. It's not a typical V Shape, nor is it a W Shape. I don't know of any other headphones or IEMs that are tuned in this way. You might think that the XE6 is the LCD-4 of the IEMs. But that's not quite right either. The LCD-4 has neither as much bass as the XE6 nor does it sound as resolving in the treble as the XE6. The smooth, analog-sounding mids of both are rather the common characteristics. The XE6 is Fir Audio's own interpretation of how an audiophile IEM should sound to totally involve the listener and let them sink into a carpet of sound that sounds highly natural and at the same time very analog. And they have achieved this and how! Never before have I heard such a hammering mid-bass range, which at the same time sounds mega controlled and effortlessly masters even the most complex passages. It's amazing how it works so well with the amount of bass. I think it's a mixture of technical qualities and also the tuning. The lowering of the lower mid-range means that the bass can't expand into the mid-range and the sound would then sound too opaque.

The mids are among the best I have ever heard from an IEM. Similar to the Trifecta, the sound here is wonderfully warm. The vocal reproduction is so natural and neither too direct nor too wide, but just right. The pluck of every single guitar string can literally be felt, as the mids provide a solid foundation and never sound too thin.

Now you might think that the treble could be a point of criticism of the XE6 with this type of tuning. But they are not. Despite the fact that there are no boosts or even peaks, they always remain beautifully silky and the electrostatic driver reproduces all the details of a recording.

The soundstage appears very wide and deeply staggered. The XE6 has so much technical finesse that I can effortlessly pick out every single sound element from the stage and concentrate fully on it while focusing on another instrument in the next moment. The Kinetic Bass typically covers the entire scene and acts like a subwoofer that can be felt and makes the involving sound even more of an experience.



To what extent do the RN6 and XE6 differ? As I mentioned at the beginning, you can't equalize the two with the different ATOM modules. With the golden ATOM modules on the RN6, you get an IEM with a very powerful bass, but it still sounds different overall. The red modules (which you only get with RN6 or must buy seperated) on the XE6 reduce the bass, but it still sounds different to the RN6. The RN6 is tuned more linearly across the entire frequency response. The bass has slightly more audibility overall and is slightly faster. In contrast, the XE6 produces a mid-bass with far more visceral impact. I don't know whether it's due to the larger openings, but the Kinetic Bass simply comes into its own even more with the XE6. Incredibly good, a real joy for every EDM and metal fan. This is the strongest controlled bass range in an IEM that I know of. The low bass also easily reaches down to the lowest registers. A slight presence has also been placed on more mid-bass. Stage-wise, the two don't differ that much from each other in terms of extension. The RN6 allows instruments to breathe even more. The XE6, on the other hand, presents them with more texture. In terms of resolution, it is easier to hear the finest details with the RN6, but they are also present in the XE6. The RN6 is an IEM that I would describe as a sound magnifier for the listener who values maximum linearity without wanting to do without kinetic bass and the resulting impact. The presentation is more sober, whereas with the XE6 you are presented with a sound feast every time just from its external presentation of the golden packaging. I use the XE6 when I want to make a "real" bang in the truest sense of the word and when I'm not looking for a sober and neutral reproduction. The RN6 simply doesn't have the tonal colors and texture in the mids, no matter which ATOM module I use. There is just something that the XE6 offers.

How do the E12 and XE6 compare? In terms of bass quantity, they are closer than RN6 vs E12. Both have a strong bass range. However, the XE6 clearly has the edge in the mid-bass with a stronger punch. Kinetic Bass also plays this out more tangibly than the E12's Tactile Bass. In terms of tuning, the E12 is significantly brighter with boosted treble. The XE6 offers a mid-range with more texture and warmer timbres. Despite the silkier treble, it is also slightly ahead in terms of resolution due to the electrostatic driver. The E12 is more energetic in its playing style and not quite as smooth as the XE6. So all three have their own sound signature and, in my opinion, complement each other wonderfully.

In conclusion, I can say that the XE6 is a dream IEM, at least for me and my taste. Perhaps the best IEM ever for EDM and metal. I am thrilled by the fact that such a brilliant bass range can offer such a portion of control and such a well-balanced sound. Simply brilliant! At €4499, the XE6 is certainly not a bargain, but an IEM for true lovers and purists of warm, analog sound reproduction.

The PB5 Osprey is iBasso's answer to the question of the best possible portable amplifier with analog tube magic. Of course, no "real" electrode tubes are used here, as these would be too large in a portable device and their waste heat would also be too high. Instead, so-called nutubes are used, two of them in fact. These type 6P1 nutubes are manufactured by Korg and Noritake and are already in their sixth generation. Similar to a vacuum tube, a nutube has an anode grid structure and works exactly like a triode vacuum tube. Similarly, it also produces the same characteristic rich overtones, the unique warm tube sound with excellent linearity. But compared to a conventional vacuum tube, a Nutube requires considerably less energy, is significantly smaller and lasts up to 30,000 operating hours.



The PB5 is a real powerhouse. With an output of 2x 1.7W @32 Ohm provided by a total of 6 rechargeable batteries, it can drive almost any pair of headphones. Even my Hifiman Susvara! The 24 position stepped attenuator already used in the DX320 MAX Ti is used for volume control. This incorporates the so-called stepped attenuators. By using high-precision resistors, the difference between the channels can be limited to +/- 0.1 dB, which is significantly better than with conventional potentiometers. A total of 24 steps are possible. The behavior of such a setup means that turning the knob initially cuts off the sound, creates a channel imbalance or distorts it until it is "locked" into the next step. The advantage of the PB5 compared to the DX320 MAX Ti is the clearly more perceptible rasterization up to the next step. This means that you almost never reach a position where the left and right channels drift apart. This is something I would have liked to see on the DX320 MAX Ti. The OPAMP is an OPA827 from Texas Instruments, known for its superb performance and very analog sound.



As with the DX320 MAX Ti, the 6 batteries can be replaced very easily. The housing is simply unscrewed with 2 screws and the batteries can be replaced directly. There is a USB-C port on the back for charging the amp. No QC or PD chargers are supported, only standard USB chargers with 5V. The PB5 is fully charged after around 2.5 hours and then runs for around 10 hours. In addition to a power switch, there is also a switch on the back to switch between low and high gain. On the front is the 4.4mm input as well as a 4.4mm and 3.5mm output for headphones and IEMs.

The PB5 is supplied in a high-quality box that is appropriate for the price. This contains the PB5, which in turn is stored in a leather pouch. Another velour bag contains a USB connection cable and 2 high-quality 4.4 mm cables in two different lengths. From the outside, the cables look like a mixture of pure silver and copper. The plugs are very classy and solid and contribute to the high-quality overall impression.



The PB5 itself is protected by a green leather case. The workmanship of the PB5 is very good and the design with the glass panel on the top, which offers a direct view of the illuminated nutubes, is very successful in my opinion. I would have liked to see a more matching design to the DX320 MAX Ti, i.e. silver with golden controls and a brown leather case. However, the PB5 has not only been developed specifically for use with the DX320 MAX Ti, but can also be used with any DAP that offers a 4.4 mm lineout. With the DX320 MAX Ti you just have to be careful not to use the highest gain level 4, as this can lead to clipping. I only ever use gain stage 1 on the MAX, as this gives me a much wider control range, especially when using very sensitive IEMs.



To test the PB5, I naturally use my reference, the DX320 MAX Ti, as a playback device. I tested several headphones such as the brand new Austrian Audio Composer, Focal Utopia 2022 and Susvara. For the IEMs, I used the Radon6, Xenon6, Trifecta and Raven. The PB5 is absolutely dead silent with all headphones. Only with the Trifecta can you hear a minimal hiss in the background, but this no longer plays a role when the music starts. It is important to expose the PB5 to a longer burn-in phase. I recommend at least 100 hours, preferably 150 hours. At the beginning it still sounds a bit constricted and the bass only opens up after about 30 hours and then slowly reveals its full potential. The nutubes in particular apparently need this longer break-in phase.

The difference in sound between direct connection to the MAX Ti and PB5 is immense. There is no need to make any major comparisons. You can hear it directly. The MAX Ti has the characteristics of a transistor amplifier with a very clean, transparent, fast and very resolving sound. The PB5 conjures up richer timbres with more texture and body, especially in the mid-range. The already very holographic imaging of the MAX Ti gains even more breadth and depth here.




Personally, I attest to the MAX Ti's very neutral reproduction. The PB5 takes this reproduction two steps into warmer realms and emphasizes the bass range a little more, which is more energetic and not quite as soft. My first test for the PB5 was the Austrian Audio Composer. And from the very first second, I just thought that can't be right. It fits like a glove! The very analytical Composer, which can sound very bright depending on the source, gets the necessary foundation in the mids with the silkier highs through the PB5 and sounds more musical, more involved, better than I've ever heard it before! Even my stationary system with the Niimbus US4 has to admit defeat to the mobile chain with the PB5 here. The Composer needs a tube, absolutely. You have to hear it. It's like a Utopia on stereoids. But in my opinion, the Utopia 2022 also gains in musicality with the PB5. And above all the necessary soundstaging, which is a class above, because it's bigger. If I set the MAX Ti to gain level 3 and the PB5 to high gain, even driving my Susvara is no problem. And the nutubes also fits really good on the Hifiman. Fantastic timbres, terrific soundstaging and a bass range with real punch. The 1.7W is good for the Susvara and the PB5 is therefore also somewhat more powerful than the MAX Ti. On the Niimbus US4 + D90 III, the Susvara plays a little less colorful but with even more control, especially in the bass range. Nevertheless, the PB5 is the best mobile amp on which I have heard the Susvara, great!

The Empire Ears Raven is also an absolute dream combination. A very technical IEM in terms of character with terrific bass, lightning-fast transients and a resolution like no other. The mids are very transparent, as the texture of the Raven is somewhat slimmer, and the PB5 gives it a real boost in the mid-range, so that everything sounds a little more contoured with more fullness and directness. I thought a Radon6 could also do with a little more warmth. And this also benefits from the PB5. With the now more analog-sounding mids, it approaches its brother, the Xenon6, in this area.

Does everything sound better with the PB5? In my opinion, the very warm and bass-heavy IEMs are not the best choice, depending on the source. A Xenon6 that already sounds very warm and very analog with a neutral source like the MAX Ti gets an overall picture that is too colorful for my taste with the PB5. The Trifecta, which I love for its full-bodied reproduction of every single sound element, gets another boost in the bass with the PB5, which is a bit too much of a good thing for me and makes the speed too bouncy. But I think you have to weigh things up depending on the source. The MAX Ti with its ROHM DACs doesn't exactly play on the very bright side. I think if you use a brighter DAP such as the FiiO M17 in combination with the PB5, the Xenon6 and Trifecta might be a better fit.

In my opinion, iBasso has created a really ingenious portable amplifier with a lot of power with the PB5. The price of 1500 USD is certainly no bargain. But if you are addicted to the tube sound and want to upgrade your DAP with a lineout, this is the right device for you. The only important thing is that the DAP also has a "real" lineout. In other words, a direct output from the DAC section and not one that also runs through the amplifier section. Because this so-called "double amping" leads to a loss of sound. Now I'm all the more excited to hear how a stack of the new D16 Taipan (1-bit discrete DAC) + DX320 MAX Ti + PB5 sounds!

The Trifecta is the flagship from Campfire Audio. The name Trifecta is derived from the arrangement of the drivers in the form of a triangle. No other manufacturer has taken this approach before and I can already say that this IEM sounds like no other. The patent-pending triangular housing accommodates three dynamic drivers with a 10 mm ADLC cone that cover the entire frequency range. This should provide a massive and exciting sound with a very wide stage. That's the advertising promise. Whether it is kept or not will be shown in my later sound description.

I would like to take this opportunity to thank Thomas Halbgewachs from headphone.shop for sending me the Trifecta so quickly. I was even able to purchase one of the limited edition of 333 units worldwide. These are usually all sold out at other dealers. I was really very lucky. The Trifecta is currently being offered in various versions (colors) without limitation.

The Trifecta is a sonic masterpiece from Campfire Audio, the result of the company's many years of experience. So what are the technical features of this at first glance futuristically shaped IEM? First of all, of course, the use of three dynamic drivers. This allows the Trifecta to move a considerable amount of air and create a sound that delivers a lot of impact. More impact than I know from any other IEM. And no bone conduction driver or similar is used to increase the pressure even more. The Trifecta doesn't need that at all. The acoustic chamber in the form of a triangle was specially developed to combine the three drivers into a single system. All three drivers face each other and the air pressure of each individual driver is thus combined into a single very powerful pressure wave that produces the Trifecta's truly powerful sound. In addition, each driver is vented separately, creating a balanced air pressure at the front and rear of the driver. This results in a better overall performance of each driver by ensuring full range of motion, consistent speed and greater accuracy.



The Trifecta is supplied in a wooden box that looks classy for the price range and also has a nice gimmick. You can shape it into a presentation box with an enclosed golden hand and present the Trifecta hanging around this hand or have it aired after an extensive listening session. A great idea. I've never seen anything like it from any other manufacturer. The wooden box contains a set of foam and silicone eartips as well as a cleaning brush. The two additional cables are stored in a fabric bag.

A total of three cables with 3.5mm, 2.5mm and 4.4mm terminations are supplied. So you are equipped for every application. The cable is the Time Stream cable developed by Campfire, a very flat copper cable with a silver coating, which is very soft and flexible and does not cause microphonic effects. The cables are terminated on the IEM side with MMCX. I personally prefer 2-pin, as this type of connection has become established with the majority of other manufacturers and the cable cannot twist. I find this a bit annoying as I always have to turn it in the right direction. With 2 pins it would be fixed. Unfortunately, I was also unable to test the Trifecta with a different cable, as all my After Market cables are terminated with 2 pins. Too bad. The Trifecta itself is housed in a high-quality light blue leather case with magnetic closure. This is large enough to carry accessories such as an additional cable or eartips. A certificate with the serial number and instructions are also included. I was pleasantly surprised by the overall presentation. But for the price of €3699, you should be able to expect that.

The limited edition Trifecta is housed in a transparent cabinet that reveals the true splendor of the three drivers, which are soldered with high-purity copper and pure silver. The Trifecta is also very light overall and really very comfortable to wear. At first I wondered whether the shape would be comfortable to wear? This was answered very quickly when the first bars played. The comfort is really excellent.



As usual, I used my iBasso DX320 MAX Ti for the sound test. As the Trifecta is really very easy to drive, I hardly get above gain level 1. Compared to a Radon6 or Raven, I have to turn the volume down two positions on gain 1 to get the same level. So the Trifecta can really be driven by any DAP without any problems. However, since I have the feeling that the Trifecta still benefits from the source, I used my stationary chain consisting of a Volumio Server, Topping D90 III and Niimbus US4 for a further sound test. And indeed, the Trifecta, which is already a revelation as we'll see in a moment, performs with even more physicality and control. However, as it is really very easy to drive, the control range with the Niimbus US4 poses a problem. However, you can improve this with an IEMatch from iFi, which then acts as an attenuator. According to the manufacturer, without impairing the sound. I found the SpiralDots to be the most suitable in terms of sound and comfort. Some other silicone tips with more emphasis on the treble don't fit as well in my opinion.

The Trifecta sounds bombastic in the truest sense of the word, like no other IEM I know! It is not a strictly neutral IEM and does not follow any other curves like Harman or the like. I would describe it as tending towards V shape. It has some peaks in the high frequencies around 4Khz, 8Khz and 10Khz, i.e. a frequency diagram where you first think that might be too much of a good thing in the high frequencies. Fortunately, it's not at all, because with the boost in the bass and the lowering in the upper mids and in the presence range, the sound is as good as I would never have expected just from studying the frequency diagram. Everything sounds so harmonious and coherent that I think I'm listening to a 1DD IEM like the Fir Audio E12.

What makes the Trifecta so unique? It is the presence of the individual sound events, which are presented with such a brilliant physicality that every voice, every individual instrument has a body that you can feel. Where other IEMs such as a Raven or Radon6 stretch a presentation of the bass across the entire room (I would compare it to an integrated subwoofer), with the Trifecta I can concentrate on a drum kit with its physical presence in one second and in another second on the plucking of a guitar string, which has a different presence again. It's amazing! This is a presentation that, in my opinion, no other IEM I have heard has.

But it's not just the physicality that the Trifecta possesses. Another highlight is its analog and very natural sound, tonally comparable to a Hifiman Susvara. Voices and acoustic instruments are reproduced so realistically that they are almost tangible in the very large soundstage. This brings us to the next highlight of the Trifecta, namely its gigantic soundstage presentation in both width and depth. Only the Raven offers such an expansive stage. The Trifecta doesn't have the laser-sharp instrument separation of the Raven, but it's still so good that I can easily concentrate on every sound event and they have more than enough room to breathe. The stage takes place in front of your head, while a Multiverse Mentor, for example, reproduces the action in such a way that you are virtually right in the middle of it and can pick out individual elements holographically. This is so easy with the Multiverse Mentor, as it delivers the cleanest sound image of all my IEMs.

The Trifecta is not an IEM that only wants to show what is technically possible with a clean sound image, the highest resolution, the fastest bass and the best instrument separation. It places the greatest value on an analog, musical presentation that lets the listener float in a true sphere of sound. A direct comparison would lead you to believe that it is technically inferior to other IEMs. But it certainly isn't! When I offer such a brilliant bass range, at first it may seem slower than the bass of a Raven. But the Trifecta performs incredibly well with this moving air mass compared to other IEMs and even the fastest metal is no problem for it. At no time with the Trifecta and no recording did I have the feeling that the bass range was uncontrolled or anything like that. I can hear a faster bass compared to other IEMs, but is it more natural than with the Trifecta? It is different. However, I usually prefer the Trifecta for metal, as no other IEM gives me the physical representation that the IEM from Campfire Audio does. And that's without any BCD, Kinetic bass or other little helpers.

Is the resolution lower then? Because the separation is not quite as razor-sharp as with a Raven, the quietest sound events are not quite as easy to perceive, but they are still there and are not masked or anything like that. So technically, the Trifecta is a flagship IEM with no ifs or buts. And in terms of sound, it is a revelation for me. All in all, perhaps the best IEM in the world!? Chapeau Campfire Audio!

Spirit Torino, the high-end headphone manufacturer from Turin, is launching its first headphones with a planar magnetic driver, the Centauri model. The brand became world-famous with its Valkyria headphone model. This was followed by other models with dynamic drivers and an IEM, the Twin Pulse IEM Beryllium, which I also tested some time ago. Spirit Torino also invested a lot of time in research and development for these headphones in order to stand out from the competition. Simply building larger and larger drivers is not the way to go. A large diaphragm also means a higher weight and a certain inertia. Under heavy use, the entire headphone system tends to deform. And this leads to less control of the driver and a sound image that is attenuated in terms of dynamics, particularly in the lower and mid-range.



Another problem with very large drivers is the limited space available. Pressure equalization holes between the acoustic chambers of the headphones usually have to make way for a simpler design, which in turn restricts the movement of the diaphragm. And that's not all. When the ear pads form a sealed chamber with the headphones, the pressure on the eardrum is increased and this changes the frequency response in the high frequencies, making the sound hollow.

Spirit Torino uses powerful N52 class neodymium magnets distributed on both sides of the diaphragm in the Centauri. In order not to restrict the dynamics of the large driver, a lightweight but very rigid carrier plate has been developed for the driver, which does not deform under heavy loads. For this purpose, a composite material called Texalwood was introduced, in which epoxy resin is poured into a sheet of poplar plywood and two sheets of Texalium (a combination of aluminum and glass fiber). This carrier plate contains the pressure equalization holes.

Due to their design, planar magnetic drivers have a more limited range of motion than dynamic drivers, which is their Achilles' heel. In order to further optimize the dynamic efficiency index, thought has also been given to the ear cups, i.e. the actual housing. A multi-layer wood system is used here, which provides for a laminated wood structure. Several types of wood were tested and walnut wood was selected as the most suitable.



As you know, the ear pads play a major role in the sound of a headphone and here too, special ear pads were developed for the Centauri from a mixture of Alcantara and leather. The highlight here is that they are attached with a magnetic system, just like the Abyss 1266 TC or the Austrian Audio Composer, for example. This means that they can be replaced in a matter of seconds. The magnets are very strong, so that slipping or similar cannot happen during a listening session. Incidentally, the ear pads were developed in close cooperation with Dekoni, the leading manufacturer of ear pads.

Of course, like all headphones and the IEM from Spirit Torino, the Centauri is tuned like a musical instrument and great importance is attached to natural reproduction. This is not just some advertising slogan, but is based on the fact that classical and jazz musicians are involved in the development. The real sound is recorded with a binaural system and then played back with the headphones or IEM to be tuned. A listening committee consisting of Spirit employees and musicians then carries out the direct comparisons. This means that the development process does not rely solely on measurements.

The scope of delivery includes a transport case (similar to Audeze) as well as a very high-quality connection cable that you can choose from different connection variants. In addition to a 4-pin XLR cable, I also received a 4.4 mm cable, which I use to connect the Centauri to my stationary chain and DAP. You can even opt for a fixed cable to avoid the number of solder joints and transition resistors on the connectors. So really something for enthusiasts, if you like it. The cable itself is a four-core OFC class 5 braid with a very high cross-section. The sleeve used ensures that no microphonic effects occur. The cable is also very soft. It reminds me a lot of the cables supplied with the Austrian Audio Composer. However, the Composer cables are somewhat thinner.

The workmanship is really solid and very appealing. Here you get really great craftsmanship for the price of 2800€. And you get the feeling that the headphones can withstand a small fall from a medium height. The stable steel headband makes it possible to adjust the contact pressure by adjusting the curvature. The height can be infinitely adjusted using the adjustment mechanism. In combination with the very comfortable ear pads, a headphone has been created that is just as comfortable to wear as a Hifiman Susvara for hours on end. With the Hifiman top model, these are the most comfortable headphones I've ever had on my head, even though they weigh 495 grams!

Do they sound as good as they feel? That's what I'll be looking at below, when I connect it to my stationary chain consisting of the brand new Topping D90 III and Niimbus US4 via 4-pin XLR and again via 4.4 mm to the iBasso DX320 MAX Ti. The Centauri is not quite so easy to drive and I sometimes have to use gain level 2 on the DAP in order to drive higher levels at the 12 o'clock position. A Utopia or Composer are much easier to drive. But a MAX Ti also provides more than enough power for the Centauri.



In terms of sound, we're dealing with very warm headphones that are similar to an Audeze LCD-4. If you listen to an Austrian Audio Composer and then switch directly to the Centauri, the difference in sound is like night and day. The Composer is currently by far the brightest headphone in my collection and also at the top of the scale in the entire TOTL headphone market. When switching from the Centauri to the Composer, you think you're listening to a kitchen radio. Of course, this disappears after about 2 minutes when you get used to the signature of the respective headphones. So anyone who knows a Composer or LCD-4 already knows where to place the Centauri in terms of sound. Then everything is clear. Not quite. Because a thoroughbred Planar Magnetic like an LCD-4 still sounds different.

The Centauri sounds more like a mixture of dynamic and planar magnetic. It is fast and snappy like a dynamic headphone, but still offers a foundation at the bottom that only a Planar Magnetic can provide. The bass response is really fabulous, with very good slam capabilities and more emphasis on the mid-bass than the sub bass. In terms of speed, it almost plays at Abyss 1266 TC and Susvara level. The latter two both have a little more low bass. Overall, the Centauri's bass is one of the 3 stars of the show.

Another star is the stage imaging. The imaging is very wide in both width and depth. I've only experienced proportions like this from a Hifiman Susvara. However, the Centauri places more emphasis on musical imaging and does not offer the razor-sharp instrument separation of a Composer or Susvara. It doesn't draw the listener's attention to individual sound events; instead, the whole is presented as a musical treat and the listener is focused on the entire stage and is not asked to switch between individual areas of the stage and concentrate on them.

Until now, I only knew the IEM from Spirit Torino. What struck me about it was the incredibly natural reproduction of instruments and voices. The Centauri also has these genes. Voices in particular are so crisp and natural that you can hardly get enough of listening to them. This also applies to acoustic instruments. The timbres are fantastically beautiful. The plucking of a guitar string is almost palpable, the reproduction is never too thin. Midrange reproduction is the third star of the show!

The treble is always reproduced without sounding harsh. The resolution is good, although the Composer's much more neutral tuning makes it even easier to pick out the smallest sound events. However, the aim of the Centauri was certainly not to create an acoustic magnifying glass, but rather a pair of headphones with which you can listen to a wide range of genres for hours on end and be invited into a warm and pleasant carpet of sound. A welcome change for me from the sometimes exhausting Composer, with which the energetic and razor-sharp imaging can sometimes be quite a challenge for the listener.

With the Centauri, Spirit Torino has managed to technically create a planar magnetic headphone that offers a brilliant bass range with incredible dynamics for planar magnetic headphones. Tonally, the headphones are suitable for anyone who prefers a warm sound signature and is looking for an all-rounder for all genres with a very large stage image. The materials used and the craftsmanship make the Centauri an art object similar to the headphones from ZMF. Something different to the usual industrial designs. Here you can see how much attention to detail has been put into the headphones. Of course, this also has its price of 2800€. But craftsmanship and the technical capabilities as well as innovations compared to the competition justify the price in my opinion.

The Fir Audio brand is world-renowned for its Frontier Series and the unique technologies it has introduced, such as the Kinetic Bass. IEMs such as the Radon6 or the XE6 are among the absolute elite in the current IEM market. With the E12, Fir Audio is moving away from a hybrid IEM for the first time. In this case, the number 12 in the name E12 does not mean that 12 drivers are used, but that a single 12 mm dynamic driver is used. At 1799 USD, the E12 is priced well below the Frontier Series, but offers a lot in terms of sound. I can tell you this much already.



Instead of using many different drivers and complex crossover networks, there is only one dynamic driver that covers the entire frequency range. For the first time, Fir Audio is introducing SwapX technology, which makes it easy to change the faceplates yourself. Using a magnet on the faceplates and an enclosed tool (a kind of suction cup), the faceplates can be replaced in a matter of seconds. On the Fir Audio homepage, a designer is provided with which you can order prefabricated faceplates in various designs, but you can also upload your own image files. For an additional price of 149-200 USD you can create your own individual E12. A great idea in my opinion.

But it's not just the faceplates on this IEM that can be changed quickly. Fir Audio has also put a lot of thought into the longevity of the E12 and good maintainability. The entire shell can be removed with just 2 screws under the faceplate. As with the Frontier Series, the 2-pin connectors are the most stable of their kind and are specified for up to 1000 mating cycles. And let's be honest, who changes the cable every day and could theoretically do this for around 3 years? And even if the connectors break at some point, they can be replaced very easily with a set screw.





In contrast to Kinetic Bass technology, the E12 uses what is known as Tactile Bass technology. The entire IEM housing is coupled to the dynamic driver and thus acts as a secondary transducer. This results in a more intense bass experience. The bass becomes more perceptible, although the Kinetic Bass technology has the edge here. The advantage of the Tactile Bass is that no sound escapes to the outside. I can hardly hear my Radon6 in the bedroom, as my wife can also hear some of the music. This is not the case with the E12.

As in the Frontier Series, the E12 also uses the ATOM Venting System for more relaxed listening through the use of a pressure relief system. This allows you to listen for longer as it significantly reduces listener fatigue. It also enlarges the sound stage and ensures an even more natural reproduction. The ATOM module is permanently installed in the E12 and cannot be replaced, as is the case with the Radon6, for example. This eliminates the possibility of adjusting the sound in the bass range. The built-in module has an isolation of -17dB.

The build quality of the E12 is once again typically Fir superb. The very sturdy metal housing is slightly larger than that of the Radon6. Even though the faceplate is attached with magnets, it remains firmly in place at all times. You don't have to worry about it slipping or coming loose during sudden movements. This is never the case. The nozzle itself is shaped on the outside in the same way as the Radon6 and therefore helps to prevent the eartips from slipping off or shifting. In contrast to the Radon6, the E12 has a complete opening of the nozzle without a protective mesh. The dynamic driver sits a lot further away than the driver of the Radon6, making it easier to clean the nozzle with the cleaning tool supplied.

The scope of delivery includes the typical Fir patch, a letter from CEO Bogdan Belonozhko, a round leather case with cleaning brush, suction cup and two different eartips in different sizes. The cable is the same as for the Radon6. An 8-strand pure silver cable with copper shielding. Such a good cable in this price range is not very common, great! A transparent jacket is used here as opposed to the brown one on the Radon6. I like the cable of the E12 better, as it shows the full class of the cable used. The faceplates in the "Titanic" design, which can be seen in the pictures, are not included and must be purchased separately.

I use my iBasso DX320 MAX Ti for the sound test. With an impedance of 16 ohms, the E12 is very easy to drive. Even higher volumes are no problem at low gain. Of course, the included cable is a 4.4 mm termination to be able to drive the E12 symmetrically on the MAX. For the eartips, I can recommend the AZLA Clear and the SpiralDots. The latter sounds a little smoother with the E12 and the Clears a little more lively. So you can vary according to your mood.





From the very first seconds, it is clear that we are dealing with Fir Audio DNA here. I only know the very open and airy playing style from a Radon6. I think this is thanks to the ATOM venting system, which allows more air to be created between the instruments and thus ensures this airy and holographic image.

Overall, it's a V shape tuning with a good portion of bass. The bass range is clearly the highlight of the E12. It goes deeper than the Radon6 and has more presence in the low bass range than in the mid-bass range. You can literally feel the low bass rumble of the E12. The kick basses are also very hard, although I find them more noticeable on the Radon6 with the Kinetic Bass. In terms of quality, the E12 is almost on a par with the Radon6. So this large 12mm driver really packs a punch! The last time I was so impressed by a bass range was with the 64 Audio Volür, which uses two dynamic drivers in an isobaric configuration. Unlike the E12 driver, these drivers are only 9 mm in size. For me, both models are right up there with the top models such as the Radon6 and Raven when it comes to bass. The E12 really makes every bass lover happy, that's for sure.

The overall tuning of the E12 is brighter than that of the Radon6. To ensure that the bass range, which is so strong, still has a controlled effect and has enough air to breathe, the lower mids are set back a little. The upper mids, on the other hand, are slightly boosted, as is the presence range, which brings the vocals slightly forward. With this tuning, the mid-range is not quite as full as with the Radon6 but still very natural. A dynamic driver creates a different atmosphere here than a BA driver. I would consider it more analog. Not quite as strongly separated and audible as is the case with the Radon6. The fact that the mids are not quite as full-bodied as with the Radon6 has to do with the strong bass range. This would simply be too "fat" overall.

The treble is also boosted by the strong increase in the bass range in the 8Khz range in order to create enough airiness in the sound image. Fortunately, this boost doesn't make it sound too sharp or sibilant. I even tested some of my old New Wave recordings, which can be annoying with the one or other IEM that sounds too bright. However, the E12 passed this test. The overall resolution is good, but it can't keep up with a Radon6 whose EST drivers simply tease even more detail out of the recording, even with a smoother tuning of the treble. The EST drivers simply have the edge. But I wouldn't have expected it any other way.

If someone asked me whether there are other IEMs that sound very similar to the E12, I couldn't answer that question. In my opinion, the sound itself is unique in the IEM sector. Of course the E12 has some of the genes of the Radon6. Nevertheless, there is a big difference and the two complement each other very well. The E12 manages the balancing act of a very powerful bass range and yet a very balanced sound overall. I wouldn't see it as an all-rounder, but rather as a great playing partner for more modern genres such as rock, pop, metal or EDM. The slightly brighter, more energetic playing style and the bass really suit these genres. If you only play one of these genres, you should definitely give the E12 a listen.

The D90 III is the third iteration of the world-famous flagship DAC from Topping. The D90 LE/SE already topped almost everything available in the DAC sector in terms of measurements. On the SINAD charts of the ASR Forum, I think there are currently only 2-3 DACs ahead of the D90SE. The D90SE is based on the ESS9038Pro chip. With the D90 III, Topping raises the bar even higher by installing 2x ESS9039Pro chips and thus raising the measured values to an incredible 135dB dynamic range and THD+N <0.000045%. Even the advertisement, in which the D90 III can be seen and a peak in the background, shows where the journey is going in terms of measurement technology, namely to the absolute peak of what is possible! But can you hear any difference between this and the already incredibly good D90SE? I would like to shed some light on this in the following.
All details on the specifications of the D90 III can be found here:
https://apos.audio/products/topping...balanced-hifi-dac-digital-to-analog-converter
By the way, Apos Audio is also the authorized dealer for Topping products.



What else has changed apart from the use of two of the latest ESS chips? For the first time, the D90 III uses a brand new circuit for I/V conversion to improve the audio quality even further. This new circuit design reduces distortion and noise. Topping himself says that this circuit pushes the limits of physics to get that little bit more out of the two DAC chips. You also have the option of switching on a sound simulation with the so-called Valve Mode or Transistor Mode. I will report in more detail later on how this changes the sound.

Otherwise, the new D90 III looks very similar to the old D90SE. It relies on the tried and tested and only improves the operating concept a little by using a rotary control instead of two buttons. Personally, I find this type of setting option more convenient and faster than using the buttons. The other features already built into the D90SE are of course also on board the D90 III, such as MQA, BT 5.1, RCA+XLR outputs, preamp functionality, DSD support, XLR 4V/5V etc.




The scope of delivery includes a power cable, a USB cable, an antenna, a remote control and a Quick Start Guide. A complete manual can be obtained from the Internet via QR label.

As I also have the D90SE here at the same time, I can compare the two devices very well. First of all, I subjected the D90 III to a 24-hour burn-in. Out of the box, it still sounds a bit sterile and in my opinion needs at least 12 hours of burn-in before it can develop its full performance potential. But that was no different with my D90SE. Both DACs are operated on my stationary headphone chain with a server running Volumio. The D90 III and D90SE are connected to my Niimbus US4 via XLR and the XLR output is set to 5V. In my opinion, the Niimbus sounds even more powerful than via 4V XLR. However, 5V can also cause overdrive with some amps. You then have to use a very powerful headphone amplifier. This is no problem at all for my Niimbus US4, which benefits from the higher output level in terms of sound quality. The filters on both DACs are set to the default setting of 3, which is the most balanced sound for me. Sound mode is of course initially deactivated on the D90 III. I used my Hifiman Susvara, Focal Utopia 2022 and the brand new Austrian Audio Composer as headphones for the test.



Tonally, both toppings play very similarly, as you might expect, and the relationship between them is unmistakable. The sound is clean, precise, fast and with a crisp bass foundation. When I initially only tested my HD820, the differences between the two DACs were only minimal. Only when I picked up the Composer was one thing quickly recognizable. The pitch-black background of the D90SE is topped even further and the separation of the individual instruments is even sharper. As a result, quieter sound events are easier to perceive. Localization is also slightly more accurate with the D90 III.

As I listen to a lot of rock and metal, the bass range is of course one of the main things I look for in a DAC. Of course, I wouldn't want to miss the hard punch I get from the D90SE with the D90 III. And fortunately, nothing has changed in terms of quantity. The attacks in the bass are just as powerful and are even a tad more controlled, which with the Composer offers a level of audibility that I have not yet experienced with these headphones.

The D90SE has always been criticized somewhat when it comes to the presentation of the soundstage, which is not quite as expansive as is the case with some R2R DACs, for example. Of course, R2R is a completely different technology to Sigmal Delta DACs (such as the D90 III). This cannot be compared 1:1. However, I can confirm that the D90 III has gained in this discipline. The Hifiman Susvara actually gains a little more room size, not only in width but also in depth. The instruments themselves have been given a little more space in relation to each other and the action expands a little further in all directions.

As with the D90SE, the mid-range of the D90 III is simply perfectly neutral, just as it should be. There is no nasal coloration or anything similar. With the new sound simulation you can change this sound range in particular. However, I have to admit that I like the default setting (Off) best. With the Valve mode you can conjure up some tube flair with the D90 III and the mids gain some presence and warmer timbres. Everything seems a little smoother. It's not a huge difference, but still within the audible range. However, the D90 III no longer has the super clean and fast sound. The transistor mode is a middle ground between "off" and "valve". The sound becomes a little smoother but also slower. The default mode is the most suitable for me as an all metal listener. For jazz and classical music, however, I can also imagine the valve mode. Many people also prefer the R2R DACs for this type of music. As the distortions are also higher with R2R DACs, this is exactly where the D90 III comes in and simulates more distortions to the actual sound image. However, these distortions are not always perceived as bad, but quite pleasant. In any case, the D90 III has all the options on board to select the right sound mode for your personal taste.

In the treble range, both DACs really reveal everything without being too sharp. Really high-resolution headphones such as the Composer benefit from the D90 III and have even better audibility with it. Unbelievable! I am already looking forward to the measurements in the ASR Forum and assume that the D90 III will climb to the top of the SINAD charts!

For the same price of €899, the D90 III offers slightly better sound quality than the D90SE. However, you really have to use very high-resolution headphones to be able to hear these differences at all. Even the D90SE is at the limit of what is possible with today's DACs in terms of measurement technology. With the D90 III, Topping teases out every last ounce and brings out an absolute reference DAC for a very fair price when you look at today's DAC market. The D90 III gets my absolute recommendation for upgrading a stationary headphone chain!

The Ponderosa from Campfire Audio is an IEM from the new Chromatic series. Campfire's original mission has always been to offer uncompromising sound at an excellent price-performance ratio and with this new Chromatic product line, Campfire continues this mission. With an RRP of €899, the Ponderosa is significantly cheaper than an Andromeda, for example, but should still offer an incomparable sound experience and appeal to a wider audience for the price. I will shed more light on whether this has been achieved below.



The Ponderosa is equipped with a total of 5 BA drivers. The patented T.A.E.C technology is also used here, which enables the drivers to be better coordinated with each other. The Ponderosa is available in an Essential or Deluxe version. The difference between Essential and Deluxe is that the Deluxe Edition comes with 3 cables instead of 1, as well as a premium leather case. For the review, I received the Essential Edition with a 4.4 mm cable, a fabric bag, various ear tips, a brush, a fabric bag for the individual earphones and a cleaning cloth. The cable itself is a bit stiff and a kind of flat ribbon cable. I would have liked a rounder and softer version here. The colors of the fabric bag and the cable are very funky with the bright green. That is a matter of taste. It would be too much green for me, so I chose the IEM itself in black.



The fit and comfort of the Ponderosa is very good. For me, the Azla Clear pads offer the best results in terms of sound and comfort. The IEM itself with its 3D printed housing and stainless steel front panel looks very high quality.

With an impedance of 6 ohms, the Ponderosa is very easy to drive. I even have to set my DX320 MAX Ti to 83/100 with a digital volume adjustment so that I still have a control range at all in the low gain. It is also the first IEM ever to cause minimal background noise on my MAX Ti. If I'm sitting in a very quiet room, I can hear this a little. When the music starts, you can no longer hear it. For powerful DAPs you have to keep this in mind. With my very powerful stationary amp, the Niimbus US4, it's even noisier. This is a combination that I cannot recommend.



Tonally, the Ponderosa plays on the warmer side. Here Campfire has chosen a very safe tuning that doesn't emphasize any frequency range in particular or start to get on your nerves. The bass is strongly boosted. The BA Bass can really punch. It will put a smile on the face of every basshead! I almost didn't believe that it was (only) a BA bass, it kicks like a DD driver. The upper bass is slightly more boosted than the low bass. There are some recordings where it puffs up a little and then radiates a little into the mids. For most recordings, however, it is fine.

The mid-range is very direct and plays extremely full and very smooth. It is an IEM for lovers of the more intimate style. You feel right in the middle of the action at all times. The stage is rather small, especially in terms of depth. At a metal concert, you are sitting in front of the stage and not 10 rows behind it. If you like that, you will really like the Ponderosa.

The treble is very gentle and has a slight roll-off. Sibilants never stand a chance. The airiness is also somewhat less than with a U4s. On the other hand, the Ponderosa isolates really well. The resolution is okay for this price range. You have to go for a more expensive U4s, which then offers more resolution.

With the Ponderosa, Campfire Audio has created an IEM that performs very well technically in this price range and delivers a warm and very pleasant sound. Friends of a more intimate presentation who prefer a sound that is not so big on stage will be delighted with the Ponderosa. I find it very suitable for traveling, as it offers great isolation and is comfortable to wear.

The FT5 is the first planar magnetic headphone from FiiO. Based on the FT headphone platform with which FiiO previously built dynamic headphones with the FT3 model, the latest model now uses a different type of driver. The platform itself with the construction of the headband, head cushion and adjustment mechanism has been incorporated from the previous development. The FT5 costs 500 USD and uses large 90mm planar magnetic drivers with a total of 20 N52 neodymium magnets. An ultra-thin 6 micrometer diaphragm is used. This thickness was chosen through various tests as it was found to give the best balance of sound quality with high reliability.



FiiO has opted for a metal construction here, as this can withstand the vibrations of the massive 90mm drivers better than plastic. With its 36 ohms and 110dB sensitivity, it can be used with a DAP without any problems. However, it requires a little more power than an FT3 with 32 ohms.

The scope of delivery includes a brown carrying case, a cloth bag, a second pair of ear pads made of artificial leather, instructions and a connection cable with 4 different adapters (6.35mm, 3.5mm, 4.4mm, 4 pin XLR). The cable is the same as the one supplied with the FT3. It is 1.5m long and consists of 392 silver-plated, monocrystalline copper with a diameter of 23 AWG. It is very flexible and looks good quality. What I like more and more is the use of the screw-on adapters, which make it possible to use the cable for different purposes. You are not restricted to balanced or unbalanced, but can screw on a different adapter in a matter of seconds.

As with the FT3, the workmanship is once again first class. I even like the design of the outer shells on the FT5 and the connector housings used here even better. Everything looks a bit more valuable. As with the FT3, comfort is just as good and listening to the FT5 for hours on end is no problem. Nothing pinches, the contact pressure is perfect for my taste. The ear pads have an inner diameter similar to the Focal Utopia. More than enough for my ears. If you have large ears, it might be a little tight.




I use my stationary chain consisting of Topping D90SE and Niimbus US4 with 4-pin XLR as a playing partner for the FT5. I use the FT5 on the iBasso DX320 MAX Ti with a 4.4 mm Pentaconn. As I said, the FT5 is easy to drive, so I usually only use gain level 1 on the iBasso. For music with a little more dynamic range, I sometimes use gain level 2. The FT5 scales with more power. On the Niimbus it sounds with even more fullness and detail as well as a slightly stronger bass range. I will first describe the sound when using the velour pads and later the difference when using the artificial leather pads.



Tonally, the FT5 is a step warmer than the FT3. In fact, it reminds me strongly of the Rosson Audio RAD-0. There is a slight roll-off in the treble, which makes for a very silky sound and prevents sibilants from the outset.

In the bass range, it plays more controlled than the FT3 with more presence in the mid-bass range than the low bass range. In the latter, it doesn't go quite as low as the FT3. On the other hand, it is slightly punchier. Switching to the leather pads results in a slightly different picture in the bass range. It becomes faster and has more volume in the low bass range. On the other hand, it no longer punches quite as hard in the mid-bass range.

In the mids, the sound is always full-bodied with a vocal range that is slightly offset to the rear compared to the FT3. The latter sounds more spacious. However, the FT5's instrument separation is somewhat sharper.

The treble is as smooth as butter and at no time do you hear any sharpness, as is the case with the FT3 at higher volumes. You can hear high levels with the FT5, and I mean really very high levels, without anything distorting or drifting off into the annoying. I can't do that with an FT3. With the leather pads, the treble gains a little more definition. In general, the FT5 plays a little more lively, cleaner and faster. The only thing I like better with the velour pads are the slightly fuller mids, which become thinner with the leather pads. Overall, however, I prefer the leather pads.

With the FT5, FiiO has created its very first planar magnetic and, in my opinion, the result is more than successful! For 500 USD you get a warm and very musically tuned headphone that delivers a great technical performance in this price range. If you don't like bright headphones and aren't looking for an acoustic magnifying glass, but rather headphones that deliver a warm, smooth and organic sound at a technically high level with great workmanship, you should give the FT5 a listen!

First of all, I would like to thank Letshuoer for providing me with the new S15 for a review before its release (planned release is December 2023). Since I have already taken a close look at Letshuoer's top model, the Cadenza 12, I can compare the two models very well. With the S12, Letshuoer has already released the company's first planar magnetic IEM and has received a lot of praise for it. With the S15, this technology has now been taken to new heights with the installation of a passive filtering module for the first time. In addition to achieving a higher sound pressure level by increasing the excursion of the driver, this also improves distortion. Letshuoer is talking about an S15 that is no longer comparable to an S12, but has been improved in all respects. This is (unfortunately) also reflected in the price. The S15 costs around 329 USD compared to 150 US for the S12. I will analyze whether the S15 is worth the money later on.




The supplied connection cable is surprisingly good in this price range. This is a 216-core silver-plated copper cable. It is elegantly finished and very soft and light. The highlight of the whole thing is that in addition to the cable, three interchangeable plugs (3.5mm, 2.5mm and 4.4mm) are also supplied so that the S15 can be used with all possible sources. This is something I would like to see from every manufacturer in the future!

The S15 itself is solidly finished in a light blue shell with a silver faceplate. Of course, you won't find a reflective titanium housing like the Cadenza 12 or an elaborately designed storage box here. But I wouldn't expect that in the USD 329 price range, because the Cadenza 12 costs USD 2000!







By using a single driver, the housing is nice and light and the S15 sits ultra-comfortably in my ears. The fact that I almost exclusively own IEMs with umpteen drivers makes the difference to the S15 very clear. The price you pay for multiple drivers always comes with the weight, size and comfort. The S15 is like balm in the ears and can hardly be felt. Two different silicone tips are supplied, known as "Vocal ear tips" and "Balanced ear tips". The former emphasize the mids somewhat. As I have an extensive collection of ear tips myself, after a few trials I decided on the Azla Clear, which I found to be the most balanced sounding with the S15 and also very comfortable.

In addition to the cable, the adapters and the IEMs, the box also contains a round metal box and instructions. For the sound test, I use my iBasso DX320 MAX Ti to which I connect the S15 via a 4.4 mm plug. The S15 is a little harder to drive than BA or DD IEMs, so I occasionally switch to the 2nd gain stage depending on the recording. One thing up front: the S15 is really very level stable and can effortlessly reproduce very high volumes.




Until now, I only knew of one IEM with a planar magnetic driver, namely the Audeze Euclid. However, this much more expensive IEM cannot compete with the S15 in terms of coherence. In my opinion, the Letshuoer is much better tuned over the entire frequency range and technically on a par with the Audeze. So how does it sound? Compared to the Cadenza 12, the S15 is slightly boosted in the upper mid-range and has softer highs. Overall, this results in a warmer sound with a bass range that is roughly on a par with the Cadenza 12 in terms of quantity.

The highlight of the S15 is certainly the bass range. The character of the planar magnetic driver can be heard directly. It sounds different to a BA or DD bass. It's just like comparing the bass of a Focal Utopia with that of an Audeze LCD-5. The planar magnetic driver sounds fuller, especially in the low bass range, and doesn't drop down into the deepest cellar, which leads to a tremendous audibility of the entire bass range and is also very level stable. With the S15, it's not just the bass quality that impresses, but also the fullness and kick bass that is never too little, even with modern genres such as rock, pop, metal and EDM. I would say that even bassheads will enjoy this type of bass reproduction. BA drivers for the bass range still sound a touch faster, DD drivers provide the better visceral impact. I think planar magnetic drivers are somewhere in between and combine both characteristics if they are well implemented. I wasn't blown away by the bass range of the Euclid. I am delighted with the S15!

How does it look in the other areas? Thanks to the slightly warmer, smoother tuning, even the brightest recordings I own never lead to sibilance. Where I can almost sense the sibilance in the Cadenza 12, I never have that feeling with the S15. It also makes poorer material sound quite acceptable and doesn't immediately reveal everything. The resolution is good, but can't quite keep up with a Cadenza 12 or a U4s.

The stage presentation is rather intimate and not as expansive as with the Cadenza 12, but the very good separation and fast reproduction of transients ensure that the instruments have enough air and distance between them. Overall, it doesn't sound too warm but also not as airy as a Radon6, which is also one of the best IEMs in the world in this discipline.

The S15 is an IEM that cuts a fine figure across all genres and is ideal for simply unwinding after a hard day's work and enjoying a pleasant carpet of sound. The S15 invites you to take a relaxing journey into your own music collection and after a short time you forget that you have an IEM in your ear, because the comfort is really top class!

I think Letshuoer has achieved a great success with the S15 in the form of a planar magnetic driver. I haven't heard a better one myself, but I have to say that I only know the Audeze Euclid. What you can say for sure is that there is not much in the USD 400 range that can hold a candle to the S15. Because it easily outperforms higher-priced models. If you like a warmer and smoother reproduction, I can warmly recommend that you consider the S15. It is not really suitable for audiophiles looking for a magnifying glass of sound. For this, Letshuoer has the Cadenza 12 model in it

The Composer is the new flagship from Austrian Audio. The very young company, which was founded in 2017 with a core team of former AKG employees, manufactures microphones and headphones. In the headphone sector, these have so far mostly been from the lower price segment up to a maximum of €399. This makes me all the more excited about the Composer, which has an RRP of €2500.





Long before the Composer saw the light of day, relevant forums were already reporting on a new "super headphone" from the well-known and much "appreciated" headphone guru Nomax from Austria, who has been following the development from the very beginning and, according to him, has also participated in it by testing and evaluating various pre-production models. I myself am one of those who value his opinion, because he doesn't mince his words and speaks his mind openly. His descriptions of many previous headphones largely correspond to how I heard and experienced a model in the end. So you can rely on his descriptions for the most part, at least that's how it is for me. Of course, everyone has their own personal reference in terms of tonality, but if you know it, you can get a very good idea of the headphones for which the description is written.

I would like to take this opportunity to thank Thomas Halbgewachs from headphone.shop, who did everything in his power to get a review model to me as quickly as possible.

On Friday, 24th November 2023 the time had come. When the letter carrier rang, I felt like it was Christmas. So there it was, the "Composer". After months of puzzling over the supposed "super headphones", the time had come. I eagerly opened the large, flat box and unpacked the black wooden storage case. The material and appearance of this wooden case is similar to that of a Sennheiser HD820, only flatter, as the headphones are folded flat with the ear cups.

I think that in this price range, a wooden box is the most appropriate way to give this expensive item a high-quality look. I think it's just part and parcel of a product like this and I like this way of storing expensive headphones best with high-end products such as the Stax SR-009 or Abyss 1266 TC, which also come with a wooden box. That annoys me, for example, with my Utopia 2022 that you can only store it in a small case and then have to remove the cable every time because otherwise the headphones won't fit in it. Austrian Audio has solved this better. And the highlight: Yes, you can leave the cable on and still close the wooden box, that's how I like it!

The workmanship of the Composer is absolutely top class. There is absolutely nothing to complain about, right down to the smallest detail, and the product looks so high-quality and robust. You can tell from the Composer that Austrian Audio develops products for the professional sector, where headphones are not handled with kid gloves and have to survive the occasional fall. I have the feeling that the Composer has been built to last forever.

The scope of delivery includes instructions with a warranty card and three different connection cables. A short 4.4mm cable and two longer cables with 4-pin XLR and 6.35mm jack. So everything is included to operate the Composer with all conceivable sources. The cables are all very light and microphonic effects does not occure. Most of them are covered with a textile sleeve. Except from the position of the splitter to the headphone sockets. This is exactly the area where microphonic effects occur the most and the rubber sheathing prevents this completely. The plugs on the headphone side are also an innovation that has never been seen before. Double banana plugs are used here and connected in the middle of the shell. This should provide better strain relief.







The ear pads made of artificial leather with memory foam are connected to the ear cups via magnets and can be fitted in seconds. This is similar to the Abyss 1266 TC. A big advantage in my opinion. Audeze still sticks the pads on with double-sided adhesive tape, just like Ultrasone does. That doesn't have to be the case. The pads as well as the entire headphones are very comfortable. The headband is very soft and barely noticeable and the contact pressure is just right. This makes the Composer more comfortable than a Utopia 2022. Only the Susvara is even more comfortable thanks to the softer textile pads. The artificial leather on the Composer makes my ears a little warm after long periods of listening. This could perhaps be a problem in summer. However, Austrian Audio has already announced Alcantara pads that are due to be released in 2024. I think they will solve this problem. The headband can be adjusted in several stages and the next highlight of this model: even the ear cups can be rotated within 4 positions to offer the best possible comfort depending on the shape of the head. Incidentally, I set the headband to the lowest position so that the Composer fits me perfectly. I would say that my head size is around the standard. For very small head sizes, you may need to tweak the swivel mechanism of the shells to position the headband further forward or back on the skull.

To determine the sound quality, I use two of my chains for the Composer. One is the stationary chain consisting of the Topping D90SE DAC and Niimbus US4 and the other is my mobile DAP, the iBasso DX320 MAX Ti. I also test this via line out on the Niimbus US4 in comparison to the Topping D90SE. All tests are carried out with balanced cabling via 4.4mm or 4-pin XLR. I don't use the 6.35mm cable at all.




The Composer is really ultralight to drive. The Utopia 2022 is actually already a very easy headphone to drive, but with the Composer I'm about 2-3 volume levels lower with the US4 and MAX Ti than with the Utopia 2022. Most IEMs are even easier to drive, but not much is missing here. The low gain of the MAX Ti is usually sufficient. For recordings with higher dynamic range, Gain 2 is sometimes used, but more power is not necessary. I would say that any DAP in the world can easily drive the Composer.

I was excited when I pressed "Play" for the first time. The Composer is by no means a pair of headphones that "flashes" you from the very first minute. But I think that's a very good attribute. Because headphones that overemphasize something and are initially perceived as exciting turn out to be not so good in the long-term test. The first thing I noticed was this somewhat metallic shimmer in the treble and the slightly over-inflated bass range. However, after an overnight break-in phase, this problem disappeared as if by magic. However, it is also possible that the memory foam in the pads reacts to body heat and the seal changes, resulting in a different sound experience. You should wear the pads for a few minutes and start the comparison test after the "warm-up phase". I didn't do this at the beginning and always switched between the headphones without the pads reaching operating temperature.

Tonally, the Composer is a bright, neutral headphone with a perfect frequency response that doesn't give the impression of overemphasizing or masking anything in any area. At no point during the test did I feel the urge to pull out an EQ. How would I compare the tonality to other headphones or what sounds similar? In fact, the first thing that comes to mind is an LCD-5, which performs similarly to the Composer with corrected frequency response. However, the timbre planar magnetic vs. dynamic is still somewhat different. The Composer also has many parallels to the electrostats. On the one hand, there is this incredible wealth of detail and the airiness in the presentation that is always associated with electrostats. I can well imagine that in a blind test of the Composer, you might initially mistake it for an electrostat. In the IEM range, I can only think of a FIBAE 7U for this tuning. However, the Composer largely has the tuning of the 7U paired with the more powerful impact that only a DD can achieve in the bass with IEMs. The Composer reproduces the DAC's signal 1:1 and I can imagine that a source that is too bright could be a bit "too much" here, such as an iBasso DX90. The DX320 MAX Ti is a dream with the Composer, as the ingenious, slightly warmer timbres of the iBasso really come into their own here. From my last DAPs, I can well imagine that an iBasso DX320, Shanling M8 and FiiO M17 are also very good playing partners for the Composer, as they are not too brightly timbred.

So neutral = boring and sober? It's not that simple. What's boring is the fact that it doesn't "flash" right from the start, like a 1266 TC in the bass range or a Multiverse Mentor in the mids, for example. A Susvara doesn't "flash" you immediately either. The Utopia 2022 with its Dynamic Impact does. If you listen to the Composer for a longer period of time, you come to the conclusion that it combines all the good attributes of the other headphones in one, but without one of the attributes playing a key role and you being immediately taken with it.

Let's start with the bass range. The Composer is ultra-linear, right down to the deepest bass. I've never heard a dynamic speaker that can reproduce so much level in the low bass and with such cleanliness! You usually only hear that with planar magnetic headphones. It can also kick and how! When the recording calls for it, such as with Haken's Atlas Stone, it fires off like a cannon. Clear, fast and precise. A Utopia 2022 has a little more noticeable impact in the mid-bass, as it doesn't have quite the same volume in the low bass as the Composer. I can't really say which of the two basses is faster, because the brighter tuning of the Composer makes it seem a little faster. On the Niimbus, the bass range gains a little more impact, whereas on the mobile chain with the DX320 MAX Ti it is a little more spacious. However, these are largely the characteristics of the DACs used, because when I use the ROHM DACs on the Niimbus the difference is already smaller. Minimally more cleanliness and control over the entire frequency range with the Niimbus then remain. The Composer is already in top form with a DAP. This is not at all the case with other headphones such as the Susvara. With a DAP such as the DX320 MAX Ti, the Susvara loses a lot of dynamics, pressure and volume. Only on the Niimbus US4 does it reach top form. The Susvara's bass runs as straight as a candle and always has enough foundation, kick and audibility on a Niimbus. In terms of quality, I see it slightly ahead of the Composer, but the Composer is ahead in terms of quantity. It has to be, because its brighter timbre would make it sound too sharp with the same quantity of bass as the Susvara. I am of the opinion that a planar magnetic, if it is of really good quality, always has advantages in the bass range over a dynamic in terms of distortion. However, there are no corresponding measurements for the Composer here. However, we are talking about very small differences here and the Composer definitely plays in the league of the very best in the bass range.

The soundstage has already been a controversial topic in recent weeks, and I can't say that the first testers described it as small and lacking depth. This is one of the better stage representations in the over-ear headphone segment. The imaging is wider than average and the depth is also present. Since the mids have a little more fullness and the voices move slightly into the foreground, you might have the feeling that there is a lack of depth. But this is there. Above all, I like the very holographic tuning, just like a Multiverse Mentor. Everything takes place around your head and you feel like you're right in the middle of it. You can concentrate on individual sound events at any time and locate them precisely. Jazz and classical music with large orchestras is a real treat and you also have the feeling that it is presented on a large scale and that each of the instruments always has enough air to breathe and the room is not presented in a compressed way. The stage of the Composer is wider than that of the Utopia 2022, which is slightly better in terms of depth, but sounds much narrower in terms of width. The Susvara has the largest sound stage of all the headphones. Voices are more relaxed and seem more distant. It sounds smoother and not as energetic as a Utopia 2022 or Composer. The Composer has the most energetic presentation with a real forward drive. It is not a headphone for relaxed listening in the evening after a hard day's work. It demands the listener's attention at all times. If you want to let it rip with modern recordings such as rock, metal, pop and EDM, then go for the Composer! I would like to see the distortion diagram of the Composer, because I think it even beats the Utopia 2022 in terms of cleanliness. It's always difficult to test this attribute, because headphones are all tuned differently and "brighter" headphones are always perceived as "faster", even though they may not be technically better than their warmer-tuned counterparts.

The treble really tickles everything out of a recording that is there. It is an acoustic magnifying glass that leaves nothing undiscovered. Playing right on the edge so that it doesn't come across as hissy or too intrusive. It still remains gentle. The disadvantage of this resolution is, of course, that less good recordings are not colored nicely. A double-edged sword. For someone who only owns audiophile recordings and only listens to jazz or classical music, this is not too bad. Personally, I also listen to a lot of metal and the Utopia 2022 is a good alternative to the Composer, as it also reproduces poorly recorded material quite well.

With the Composer, Austrian Audio has achieved a great success and for the price of 2500€ you get a really well-made headphone with a great sound quality for which you don't have to invest another budget in expensive amplifiers. Technically, it is on a par with the Utopia 2022 and for half the price! Even if the Susvara sounds a little better overall in my opinion, you have to put the price in perspective. The Susvara together with the Niimbus is already 12,000€ (without DAC!). For the Composer, a cheaper DAP will do and then for 3000-3500€ you get a sound that is 90% as good as the Susvara + Niimbus combo. By the way, my personal copy of the Composer is already on its way to me from my trusted dealer, Heiko Boss (Audition6)! I see this energetic, fast and ultra-precise performance as a welcome change from my other headphones.

The FIBAE 7 Unlimited is the top model from Custom Art, which is based in Poland. Custom Art was founded in 2012 by Piotr Granicki and now has 12 years of experience in the field of IEMs. The first top model was the Harmony 8 in 2014, which was continuously improved to become the Harmony 8.2. At some point, the generation of FIBAE models was introduced, culminating in the FIBAE 7 Unlimited. The name is derived from "Flat Impendance Balanced Armature Earphone" and was the first system in the world to ensure that an IEM always maintains the same frequency response on DAPs and source devices with different output impedance. This eliminates the problem of always experiencing a slightly different sound with different DAPs, as these usually have a slightly different output impedance. The usual range is between 0.1 Ohm and 2 Ohm.




The FIBAE 7U is available as a Universal and Custom IEM. I am testing the Universal here. As the name suggests, the FIBAE 7U is equipped with 7 BA drivers. Two for the bass range, one for the lower mids, two for the upper mids and two top-firing tweeters. You can tell from the size of the IEM that there are no 12 or more drivers on board, which has a positive effect on the weight and, above all, the comfort. The part is so light and comfortable that you forget you're wearing an IEM after a short time. The workmanship is fantastic and the design contributes to a high-quality overall impression. Other designs are also available on request.

The scope of delivery includes a hardshell case from EVA which was specially designed for Custom Art. And finally a case is included that also fulfills the practical part. Because in addition to an IEM, I also want to store my other accessories such as cables and eartips together. Other manufacturers usually provide small round storage boxes made of metal or leather, which offer very little space and you always have to stuff the IEMs with cables into them. Custom Art has solved this better with this case!




In addition to a cleaning brush, silicone eartips in 3 different sizes, a pair of double flange eartips and a warranty card, a high-quality copper cable from Null Audio, namely the Arete model, is also included. You can choose between different connection variants for the cable. I received the 4.4mm Pentaconn version.

With the 7U, Custom Art has taken the feedback from customers and reviewers about the first FIBAE 7 (without Unlimited) to heart and further improved its tuning. The result is more sub bass, a slight reduction in the mids and improved treble through the use of an improved crossover with a specially 3D-printed waveguide. The aim of this model is a neutral tuning that tries to find a good balance between neutrality without sacrificing musicality and fun. And I can say that it has definitely succeeded!

For the test I also use my iBasso DX320 MAX Ti, which I only have to run in low gain with the FIBAE 7U, as the Custom Art IEM with its 12 ohms and 122dB sensitivity is very easy to drive.



With a price of 1500€, the FIBAE 7U is certainly not a cheap IEM, but its sound and technology are similar to those of the U12t and Cadenza 12, making it a lot cheaper than the competition!

The tonality is similar to the U12t when using the M15 module. The U12t has slightly more bass and sounds a little warmer. The Cadenza 12 sounds a little punchier at the bottom thanks to the DD drivers, but doesn't have the same quality as the other two. Overall, the FIBAE 7U is a bright IEM that never sounds too sharp in the treble for me. Of course, the eartips and the cable also play a role here. The SpiralDots fit the FIBAE 7U like a glove in terms of sound and deliver a frequency response that is absolutely coherent. The copper cable supplied also fits the Custom Art very well. I cannot recommend a pure silver cable for this IEM. I briefly tested my Lavricables Grand Line IEM and then went back to the copper cable. It is not necessary to get more out of the soundstage or the resolution with the 7U. It's already great as it is!

The bass range is as good as it can be with BA drivers. There's enough sub bass, the kickbass punches you in the ear nice and dry and crisp and the audibility is really fascinating. A U12t can't quite keep up with that and neither can the Cadenza 12. It also trumps both in terms of speed. I have to get out my Multiverse Mentor, which shows everyone where the hammer hangs in terms of BA bass. The texture and feel of the bass then goes to the Multiverse Mentor, which also uses a BCD to help.

I also really like the mid-range. Voices and acoustic instruments are emphasized with a minimal presence and you almost think the vocals and instruments are playing right in front of you, they are so vividly presented.

The fact that this minimal boost in the mid-range is not distracting at all ensures the wide and deep imaging of the stage. Alongside the bass, this is another highlight of the FIBAE 7U. In terms of instrument separation, it beats the U12t and Cadenza 12 and is only beaten by the Multiverse Mentor, which for me has the most holographic stage imaging in the IEM sector.

The treble has endless resolution. Here it plays along with the really big IEMs. In addition, the treble never tends to be sibilant if you use the right eartips. The high airiness is also a feature that needs to be emphasized.

Overall, I like how this entire tuning seems coherent and in flow with each other. Perhaps the use of fewer drivers in contrast to the U12t and Cadenza 12 also contributes to this overall presentation. According to the motto "Less is more!".

My own collection of IEMs also consists primarily of IEMs with umpteen drivers. I have always lost sight of one attribute and that is comfort. Now that I have an S15 and now also a FIBAE 7U as a comparison to the IEMs with 12 drivers, this significantly better comfort is of course immediately noticeable. And if you really listen all day with IEMs, this is something you should always keep in mind. For me, however, I usually don't listen with IEMs when I'm out and about, but rather enjoy 1-2 albums at a time at home. The transparent fit of the IEMs doesn't play the biggest role here.

For 1500€, Custom Art has launched an outstanding neutral IEM that doesn't have to hide from higher-priced models. I like its sound even better than a U12t or Cadenza 12 and it is therefore my new reference in the field of neutral IEMs. I can warmly recommend the FIBAE 7U to audiophiles who are looking for an acoustic magnifying glass that teases everything out of a recording without neglecting musicality and fun. In the current price structure of IEMs and in view of its technical capabilities, I can even call it a bargain!