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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: Cowon.

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Intro.

After reviewing Plenue M2, Plenue 2, Plenue R, Plenue 2 mk2, and now Plenue L, one would think that by now I should be able to figure out the logic behind Plenue DAPs naming. While numbers make sense, I still don't know what these individual letters refer to. But there is one thing I’m certain about – Cowon is not chasing after the latest trends and instead focusing more on the sound performance as their top priority. The company has been in business since 1995, and to reach this level of longevity, especially in today’s competitive market, they chose to stand out from the crowd by perfecting the formula of the original Plenue release.

Plenue 1 was introduced back in January of 2015, and now 4 years later we have the latest incarnation of that original flagship, Plenue L. It’s hard to believe that throughout all these years Cowon continued to use Cortex A9, 1.2GHz dual-core CPU, 3.7" AMOLED Touch display with 480x800 resolution, JetEffect 7, nearly the same GUI, and the same Linux based OS. The core of the Plenue design (in 1/2/2 mk2, M/M2, S, and L) hasn’t changed, but the rest got upgraded and enhanced with internal storage reaching 256GB, using the latest AKM and ESS DACs and SoundPlus high performance TI amps, and implementation of balanced outputs.

What surprised me the most was the subtle evolution of Plenue 2 into Plenue 2 mk2 followed by an unexpected step forward with Plenue L, which in my book could be called Plenue 3. So, let's proceed to my review of the latest flagship from Cowon and find out more about what this Plenue L (PL) brings to the table.



Unboxing and Accessories.

The unboxing experience of PL is very straight forward with an all black formal-dressed box which looks and opens like a jewelry case and arrived with a traditional silver ribbon around it. The back of the box has a detailed spec in silver, though print is very small and not easy to read. When you lift the cover up, PL is in a secure form fitted cutout which can be lifted like a tray to find a leather case and accessories underneath of it.



Cowon doesn't spoil us with a lot of accessories, but the included one are usually top quality. The micro-USB cable, used for charging, data transfer, and usb dac connection is very durable. Quick guide and warranty card look neat. I also received as a bonus a film screen protector, but I know it's optional and probably can be purchased from Cowon separately.



My favorite accessory here is the leather case. Plenue own leather cases are always of a high quality, optional with lower end models and included with higher end. I loved the original P2 leather case, with the only complaint of covered buttons being not easy to feel. In P2 mk2 Cowon stepped it up with a custom Dignis leather case which used a genuine Italian Minerva leather. PL comes with the same case, just slightly modified to fit the updated shape of the chassis. This Dignis case is made of red leather, complementing PL chassis color nicely, though from my P2 mk2 experience after some time the corners of the red leather turn darker.

The case has an open top where the DAP slides in, and a generous opening for micro-usb and HO ports at the bottom. uSD card can’t be accessed unless you take the DAP out. There is also a cutout window underneath the wheels to reveal LED lights under the knobs. On the left side, power button has a round imprinted shape with a symbol that is easy to feel. Playback buttons are squared, with Play/Pause in the middle that sticks out more, making it easier to ID when sliding your finger. On the back there is a cutout with a recessed metal right-angle insert, creating a 3D effect pattern.

I love this case but wish it would have been in a different color, not identical to P2 mk2.



Design.

PL looks very similar to P2 and mk2 and still feels very solid and comfortable in my hand, has a sturdy brass gold micro-polish alloy metal chassis, carbon fiber glass back panel, and a front touch screen with an assignable home button at the bottom (like in other Plenue models). The footprint of the DAP is very compact, measuring 67.9mm x 119.1mm x 16.5mm and only 199g in weight. It's identical in width and thickness to P2/mk2, only a few mm taller. The only drawback here, due to headphone jack at the bottom, if you use headphones with a straight connector plug and like to keep your DAP in the pocket, PL should be placed with knobs facing down, making volume adjustment not as comfortable in your pocket. If you have right angle cable connector or L-shaped adapter, you can place PL in your pocket with knobs facing up. Most of my cables are 2.5mm terminated with a straight connector, and I use L-shaped 4.4mm short adopter which works out perfect in my case.



On the left side at the top you will find a power button and underneath - hardware transport buttons (Play/Pause in the middle and Next/Prev above and below it) – all round metal buttons with a nice tactile response when you press them. Also, on the left side at the bottom you have microSD slot which Cowon conservatively mentions as 256GB card, but the latest higher capacity cards usually work fine, and of course you get 256GB of internal storage. At the bottom, you have micro-USB connector for charging, data transfer, and USB DAC connection, 4.4mm balanced and 3.5mm unbalanced (combined with optical digital out) HO ports. At the top in the upper right corner you have 2 identical wheel knobs with a soft click action as you turn it. While some other manufacturers implement a bar guard over the top or around the sides of their volume wheel, here Cowon used a different approach with kind of a bridge bar guard protecting only the bottom part of the wheels. If you look closer, these wheel knobs resemble a brass wind instrument buttons, the actual inspiration behind PL design.

Around the base of the wheels under the guard, you have LEDs surrounding the volume wheel and the multi-function wheel. Both LEDs could be disabled, but when enabled you either see a white led pulsating when screen is off or white/red LEDs lit up when corresponding wheel is being turned. Also, red LED lit up during charging. While these wheels were a bit loose in P2/mk2 designs allowing to operate them with one finger, in PL they’re tighter and require two fingers to turn them.



Under the hood.

While P2/mk2 design used AKM AK4497EQ DAC, in PL Cowon made another leap forward with a desktop grade top of the line ESS ES9038Pro DAC. Also, like in other Plenue DAPs, you have a low jitter dual clock precision TXCO oscillator. And in the heart of the DAP you still have ARM Cortex A9 1.2GHz dual-core processor since we are not running a demanding environment requiring a lot of processing power. But you still have plenty of power to easily decode and process any lossless or lossy audio formats, such as DXD, DSD (DFF, DSF), FLAC, WAV, AIFF, ALAC, APE, MP3, WMA, OGG, WV, and DCF. Also, it finally supports DSD256, while P2/mk2 was only up to DSD128.

Display is the same 3.7" AMOLED touch screen with a basic 480x800 resolution and deep rich colors. As I mentioned before, PL has 256GB of built-in memory and microSD card expansion. In addition to 3.5mm single ended HO which doubles as optical digital output, PL also has 4.4mm balanced HO, a welcome step up from previous 2.5mm BAL (in P2). Per spec, SE 3.5mm port is rated at 2.1Vrms with output impedance of 0.9ohm and balanced port boosts the output to 4.05Vrms with output impedance of 1.8ohm. Based on the rough calculation, balanced output of PL can drive over 500mW into 32ohm load. Also, I'm glad the output impedance went down in comparison to P2 mk2 model.

The rechargeable battery is the same 3,050 mAh Li-Po @ 3.7V which you can charge in under 4hrs using 5V/2A charger. In my testing with occasional screen on while playing a mix of mp3 and FLAC files, I was getting closer to 9hrs of battery life, as it was advertised by manufacturer. Of course, as expected, when you play hi-res DSD files which requires more processing due to native decoding, the battery life will decrease. While this is a typical average battery performance which is OK for AK4497EQ DC, it's very impressive for PL considering it uses a more power hungry ES9038Pro desktop grade DAC.

As I mentioned already in my P2 and P2 mk2 reviews, I like being able to use the wheel to adjust the volume, and as you start turning it, the touch screen also gives you an option to swipe volume up/down. With multi-function wheel, it’s a great idea to be able to assign different functions, but the only one that makes sense to me is when using it as a 2nd volume control knob which has a coarse tuning – faster volume change using 2 steps at a time vs regular volume wheel being one step at a time. There are other functions you can assign to this wheel, like for example DAC filter roll-off, JefEffect selection, PREV/NEXT, REW/FF, and Brightness, but I found those to be less practical.



GUI.

If you owned any of the Plenue DAPs in the last 4 years, there is zero learning curve once you turn PL on. It's one of the advantages of the closed OS where you can keep consistency in interface between different models and put more focus into the actual sound tuning and exterior design. Of course, there will be some variations driven by features of a newly introduced DAC or some other enhancements, but everything is easy to figure out and very intuitive even for those who are not familiar with Plenue DAPs.

With a few words about the display, I know some might find 480x800 resolution to be not the greatest, but for displaying artwork and other elements of the GUI it was more than enough. It’s not the highest resolution but, for example, the analog needle of level meter display wasn’t choppy and looked very convincing. The AMOLED display is crisp with nice vibrant deep colors. I personally never put too much emphasis into the display quality unless I’m planning to watch videos, movies, or play games, but even for a basic operation a lag in touch screen response can ruin the experience. Here, the touch screen response was on a level close to my smartphone.

When you turn the power on with a start up time depending on the database update, the DAP goes into the main playback screen where you will find a clear layout with a very efficient interface. Starting with notification bar, upper left corner will show you icons corresponding to playback modes and selected dsp effects, in the middle there will be a current time, and upper right corner will have a volume level, gain setting (IEM – low, headphone – high), "B" indicator when balanced HO is connected, and a battery indicator, though I wish it would show a numerical value of the remaining capacity.

Right below notification bar there is an icon which takes you to Music Selection screen. In there you can navigate up to the top level to select between Folders, Favorites, list of All songs, sort by Artist, Album, Genre, Playlist, and New. Under each selection, you have another icon which brings up either Add to favorites (a song or a folder) or Search using a touch-keyboard with a full alphanumeric search. Next to Music Selection screen icon, you have the area for artist and song name with a scrolling text. To the right is Playback Setting icon which I will talk about separately. I know, it sounds like a lot, but everything is very intuitive and easy to figure out without a need for a manual.

The main screen with an album artwork occupies upper half of the screen, and if there is available lyrics, you will notice a corresponding icon in the upper right corner. Clicking on the album/song art will zoom in to provide you with a more detailed info view about the song format, and while scrolling down from there you will see all the corresponding tags. Underneath the album/song art, you have quick shortcut icons to enable/disable Looping, enable/disable Shuffling, and a choice to play a Single track or tracks from a current Folder or to play All tracks. Below it is a playback control Play/Pause and Next/Prev touch buttons to skip or forward through the track. Also, you have a playback bar to fast forward/back through the track to a desired point by swiping through it, and this scroll bar will be either below or above playback buttons depending on the selected skin. All the way at the bottom, you have L/R channel level meter in either analog needle dial or digital bar displays.



There are quite a few customization options to change the skin of the GUI where you can switch between analog or digital level meter, including turning it off, as well as 6 different skins which affect the layout and graphics of the touch controls. Going back to Playback Setting you will find a plethora of other shortcut options, such as Setting, Adding current track to favorites, selecting JetEffect DSP effects, Replay a selection of the track (lets you select start/stop marker), Activate auto rotation (normal view in a portrait mode, tile view in a landscape mode), select Headphone mode On (high gain) or Off (low gain), Remove silence (gapless), set the track skip interval, set Rewind/FFWD speed, Select a skin and a level meter, show time elapsed or remaining, and load the background image used in the menus.

In Setting you have access to select a specific JetEffect preset or to modify your own user preset, Music setting with many options already described in the shortcut Setting menu above. The only addition here is a DAC filter roll-off where you have a choice of Fast (min), Slow (min), Fast (linear), Slow (linear), Apodizing, Hybrid, and Brickwall. Display setting has a selection of Language, Brightness, and User Presets (from 4 to 16), and option to show the song change. Timer for a sleep timer, auto off, auto display off, and to set the actual time in notification bar. AI Audio with AI volume, JetEffect, shuffle, and shuffle options. System setting with selection of Hearing Protection (volume limiter which can be enabled/disabled now), multi-function button assignment (music play screen, browser, settings, or volume), button lock, lock screen (on/off), Multi wheel, L/R Balance, LED (on/off), USB mode (MSC or MSC/DAC), usb DAC power (from PC/smartphone or internal battery), database update, loading defaults, formatting internal memory, and Info. As I mentioned already, there are 6 functions you can assign to multi-wheel, but the only one that made sense to me was Volume (at double step adjustment).



AI Audio was already introduced in P2 mk2 update, and here are more details about it:

AI Volume – enabling this feature makes the volume between the tracks remain at the same level. Some might have noticed that different audio tracks have variation in loudness, and this AI Volume feature normalizes the levels. But it doesn't normalize the tracks by compressing them, like it's done in WM1Z which I personally don’t like. Instead, it’s done in a very transparent way without ruining the dynamics.

AI JetEffect – enabling this feature randomizes JetEffect presets, which I think is done based on the ID tag of the song genre. I wasn’t too crazy about this feature since JetEffect can really alter the sound, while I prefer to be in control of this setting. It’s a fun feature, but if you decide to enable it, make sure to select AI Volume as well because some of the JetEffect presets can really change the volume. When both AI Volume and AI JetEffect are enabled, volume variation is down to a minimum.

AI Shuffle – I’m still trying to figure out how it differs from a regular shuffle, when enabled. It does come with additional settings, where you have Shuffle by Preference (normal, high, and reverse) and Shuffle by Time (normal and high). In my opinion, AI Shuffle is just an enhanced version of a regular Shuffle Play where you have additional controls, such as Preference and Time.



In my opinion, JetEffect 7 DSP effects is the crown jewel of Plenue DAPs. You get a total of 66 presets with 50 pre-defined ones and 16 user-defined. Furthermore, you have access to 10 Band semi-Parametric EQ where each band has 3 selectable values: 63/76/92, 112/135/164, 200/240/290, 350/430/520, 620/750/910, 1.1k/1.3k/1.6k, 2k/2.4k/2.9k, 3.5k/4.2k/5.1k, 6.2k/7.5k/9k, 10.9k/13.2k/16k. You can adjust every band by +/- 12 steps and select bandwidth (Q) of each frequency as normal, wide, or narrow – turning this EQ into semi-Parametric EQ.

Next you have BBE+ effects with BBE exciter/enhancer in 10step adjustment, Mach3Bass 10step bass adjustment, 3D Surround 10step adjustment, and MP on/off harmonic-compression restoration effect. There is also Chorus effect which you adjust in 10steps and can select between 3 chorus, 2 unison, and 3 flange types, and Reverb effect adjustable in 10steps where you can select Chamber, Room, Club, Hall, Auditorium, Cathedral, Stadium, Canyon, or Long reverb types.

JetEffect DSP effects of Plenue DAPs is a great tool if you like to tweak the sound, if you want to fine tune the performance, and if you need a powerful EQ tool.



Sound Analysis.

In this test I was using PL with 64 Audio U18t and Campfire Audio Solaris (both balanced) while playing the selection of my favorite test tracks, such as Agnes Obel “The curse”, Sandro Cavazza “So much better” (Avicii remix), C-Bool “Never go away”, Ed Sheeran “Shape of you”, Galantis “Hunter”, Iggy Azalea “Black widow”, Indila “Boite en argent”, Robin Schultz “Oh child”, David Elias “Vision of her”, and Michael Jackson “Dirty Diana” to analyze the sound of this DAP.

I did compare the sound out of the box and 100hrs later after standalone burn-in, and was surprised to find a noticeable difference, perhaps due to capacitors burn in? Out of the box the tonality of PL was nearly identical to P2 mk2 which puzzled me at first. After the burn in, I hear PL to have a tighter, better controlled, more articulate, layered bass with a deeper extension and noticeably more textured rumble. Also, the lower treble became a little smoother, more natural. I made these observations while comparing to P2 mk2.

The signature of PL is still closer to neutral with a more revealing natural tonality and excellent retrieval of details, reaching micro-detail level. The sound is very layered with an impressive separation, especially from balanced output. The same with vertical expansion of dynamics which I expected to stand out once I read 128dB Signal-to-Noise ratio spec.

Soundstage expansion is very spacious in every direction with a precise imaging of instruments and vocals placement. Of course, this is all based on how I hear it with selected pairs of IEMs I used for testing but considering that I have tested dozens of sources - I can draw a conclusion that PL lets the soundstage of any earphone/headphone open to their full potential.

Another thing that stands out with PL is its nearly pitch-black background with zero hissing even with sensitive IEMs like Andromeda and Solaris. Even from a high-power Balanced output, there was hardly any hissing when I'm idling the playback or dropping the volume down to zero during the playback. With such quiet black background, the transient response of note on/off is very fast, making the details pop up with more clarity and cleaner edge.

I already mentioned significance and superior quality of the Balanced output in PL a few times, and there is a good reason for that. Besides a difference in output power, Single Ended requires about 7-8 more volume clicks to match Balanced output, there is a noticeable difference between their sound performance. BAL output soundstage is wider, and it's quite noticeable. Also, BAL output has blacker background, making its sound tighter and with faster on/off note transient. In contrast, I find SE output to be a little less resolving and with an overall warmer tonality.

Also, I was quite impressed with DSD playback performance of BAL output, something I rarely test since I have only a handful of DSD high res tracks. With PL, while testing DSD64/128/256 files, in comparison to LPGT, SPK SS, and DX200Ti (w/amp8), the sound has the most holographic soundstage expansion with the best vertical dynamics I heard out of these 4 flagship DAPs.

Digital Filters:

As it was mentioned already, ES9038Pro DAC offers a selection of 7 digital filters: Fast (mix), Slow (min), Fast (linear), Slow (linear), Apodizing, Hybrid, and Brickwall. These digital filters do affect the bass performance, almost like there is a band-pass filter around sub-/mid-bass since upper mids/treble weren't affected, though the effect is subtle. Here is what I hear:

• Fast (min) -> Slow (min): slow has a subtle effect of a slight sub-bass attenuation, giving more power to the mid-bass punch.
• Fast (min) -> Fast (linear): linear adds a little bit of rumble in the sub-bass, it's a subtle effect.
• Fast (linear) -> Slow (linear): similar effect to when comparing fast/slow "min".
• Fast (min) -> Apodizing: apodizing rolls off deep sub-bass rumble, making bass a little leaner and a touch faster. This effect is a little more noticeable than fast->slow.
• Fast (min) -> Hybrid: I hear a little more sub-bass rumble, but also the attack/speed of the mid-bass is a bit slower; this effect is more audible when focusing on kick drums.
• Fast (min) -> Brickwall: I hear a little more punch in the mid-bass, this effect reminds in of the brickwall compressor with a focus on low end, trying to help the kick drum cut better through the mix.

All these changes are subtle, but if you have earphones/headphones with a good low end extension and a set of trained ears, you can spot the difference after careful listening.



Pair up.

In my pair up test I had PL set in high (headphone) gain and noted either BAL or SE connection and volume level in every case.

64 Audio U18t (BAL, V49) - wide soundstage expansion, more balanced signature, revealing natural tonality, especially in mids (vocals), good low end extension, nice airy treble with a controlled sparkle.

64 Audio Fourte (BAL, V49) - wide soundstage expansion, more v-shaped signature, deep visceral bass, lean lower mids, revealing upper mids, sparkly bright treble (not harsh) with a nice definition. Due to elevated bass and extra sparkle, mids perception pushed a little back.

64 Audio U12t (SE, V70) - wide soundstage expansion, more balanced signature with mids pushing a little forward, bass being closer to neutral, though with a nice extension, mids being neutral and natural, still with a good retrieval of details, treble having a nice airy extension with a well-defined sparkle. Good pair up, though the sound was a bit raw.

iBasso IT01s (BAL, V45) - wide soundstage expansion, nicely balanced signature with a deep low-end rumble, natural revealing mids with great retrieval of details and slightly out of your head presentation, good airy treble extension with a well control crisp sparkle.

Noble K10UA (SE, V58) - wide soundstage expansion, nicely balanced signature with a very good low-end extension and a nice mid-bass punch, more natural revealing mids which are slightly pulled back, and a crisp revealing well controlled non-harsh treble.

Westone W80 (SE, V54) - wide holographic soundstage, nicely balanced W-shaped signature with deep laidback bass, fuller body natural mids (slightly pulled back in quantity and with more out of your head presentation), and airy treble with a well-controlled sparkle.

Sennheiser IE800S (BAL, V61) - wide soundstage with further out of your head depth expansion, slightly v-shaped signature with a deep sub-bass rumble and a nice mid-bass punch, more neutral lower mids, natural detailed upper mids, and crisp airy treble. Bass is more noticeable here, almost between the v-shaped and slightly L-shaped signature.

Empire Ears Legend X (BAL, V57) - wide soundstage expansion, pure L-shaped signature with deep bass that goes low with a resonating sub-bass rumble and hard-hitting mid-bass punch, neutral natural detailed mids, and well controlled treble sparkle. This is probably the most bass I heard from LX out of any pair up, and while the bass is clearly dominating here, it's still well controlled.

Campfire Audio Andromeda (BAL, V35) - wide soundstage expansion, a balanced signature with a more forward mids presentation, deep rumble, laid back mid-bass, more neutral lower mids and brighter more revealing upper mids, and crisp airy non-fatigue treble.

Campfire Audio Solaris (BAL, V31) - wide soundstage expansion, very nicely balanced sound signature with a natural revealing tonality, deep sub-bass rumble, fast mid-bass punch, natural revealing mids, crisp airy non-fatigue treble extension. Great pair up.



VE ZEN ZOE (BAL, V80, 320 ohm) - wide soundstage expansion, nicely balanced signature with a laidback organic natural tonality. Deep warm laidback bass, full body smooth natural mids, very well controlled treble definition. Quite detailed for a laidback smooth sound.

Oppo PM3 (BAL, V80, Planar magnetic) - wide soundstage expansion, smooth balanced signature with a very good retrieval of details. To my surprise, here bass goes deep and hits harder than usual, very well controlled without any spillage into lower mids (very rare for PM3 pair ups). Mids have full body and sound very natural with a little brighter more revealing upper mids, and a moderate treble with a good definition. This pair up was quite unique for PM3.

Audeze EL8C (SE, V100, Planar magnetic) - wide soundstage expansion, noticeably mid-forward signature, though there is a nice sub-bass extension and fast mid-bass punch, just that the quantity of low end is closer to neutral level. Lower mids are lean, upper mids are brighter, more analytical and treble is very crisp. I do hear a little bit of metallic sheen in this pair up. This wasn't my favorite pair up with EL8C since tonality was too thin and revealing for my taste.

Audio-Technica ATH-R70x (SE, V106, 470ohm open back) - wide holographic soundstage, nicely balanced signature with a natural revealing tonality. Unlike other pair ups, here the sub-bass rumble goes deeper, and mids-bass has a nice punch, the bass is very well controlled and nicely layered. Mids are natural, smooth, revealing, excellent retrieval of details, and treble is airy, expanded, and a has a nice natural sparkle. In this pair up, bass comes out and shines and so does excellent retrieval of details in mids.

Beyerdynamic T5p2 (BAL, V66, Full size Tesla) - wide soundstage expansion, nicely balanced signature with a natural revealing tonality. Deep sub-bass rumble with a punchy mid-bass, more neutral lower mids and natural revealing upper mids, along with a crisp airy well controlled treble. I do hear in this pair up mids being slightly pulled back, but it's done in a tasteful way, giving a little more power to the bass and crisper definition to treble.

Previous Plenue DAPs had a satisfying pair up with IEMs, but not with full size more demanding cans. PL breaks that mold with some great full size pair up surprises.



Comparison.

Here I tested and compared PL vs other DAPs, volume matched in each comparison using U18t (w/Leo II cable) and Andromeda (w/stock cable). Of course, you need to keep in mind that PL lacks Bluetooth (especially duplex receive/transmit BT to stream from smartphone) and the ability to run apps due to no WiFi and app store support. If that's your important requirement, PL is not for you. But if you are into a pure playback and need a flexibility to shape the sound - JetEffect DSP effects and PL's semi-Parametric EQ are among the best.

PL vs theBit Opus#2 - a similar soundstage expansion, with PL being just a little wider. In terms of tonality, PL sounds more natural, smoother, while in comparison #2 is a bit raw and brighter in tonality. Also, PL has a more expanded dynamics with a better layering and separation of sounds. I wouldn't say #2 is congested, but I'm just hearing PL a little better in this technical performance. Also, #2 has a lot more hissing in comparison to nearly dead quiet PL when used with Andro.

PL vs iBasso DX200 w/AMP1 - very similar soundstage expansion, both in width and depth. DX200 with default amp tonality is a little brighter, making its sound more reference while PL sounds a little smoother. In terms of sound signature, PL bass is more neutral while DX200 sub-bass has a little lift in rumble. Technically, they both have a similar sound dynamics expansion and layering/separation of the sounds. Used with Andro, DX200 has more hissing.

PL vs Luxury & Precision L6 - very similar soundstage expansion, both in width and depth. Regarding tonality, due to higher output impedance of L6/BAL out, without iEMatch L6 bass is leaner and tonality is a lot brighter in comparison to a more natural neutral PL. With iEMatch, the signature and the tonality of L6 is a lot closer to PL, except PL treble is a little smoother and more natural in comparison. Technically, they are on the same level with dynamics expansion and layering/separation. With Andro, PL is nearly dead quiet while L6 has a noticeable hissing.

PL vs Astell & Kern SP1000 SS - very similar soundstage expansion, just with PL being a little bit wider. In terms of tonality, SPK is smoother and a little bit warmer in mids, while PL is more neutral and a little more revealing in mids. Both have a similar treble rendering which is more natural and less peaky. Technically, I feel PL has a little better layering/separation where I hear a little more air between the layers, while SPK is smoother and more musical in comparison. With Andro, SKP has a touch more hissing, while PL is nearly dead quiet.

PL vs Sony WM1Z - very similar soundstage expansion, just with PL being a touch wider. In comparison, WM1Z has more sub-bass rumble with a little stronger mid-bass punch and a little more sparkle in treble, while rendering of mids is nearly identical in both DAPs. So, the tonality is rather similar, but the signature change stands out, especially due to stronger bass impact in 1Z. Technically, they are nearly identical when it comes to dynamics expansion and layering/separation of sounds. With Andro, 1Z has a touch more hissing, while PL is nearly dead quiet.

PL vs Lotoo Paw Gold Touch - very similar soundstage expansion, just with LPGT being a touch wider. This comparison has a lot of similarities. While both are neutral and very resolving, I can still spot a difference in a blind test with LPGT being a touch more neutral and slightly wider in soundstage while PL having a little deeper low end, a bit more revealing upper mids, and a touch more sparkle in treble. Technically, they are a good match with a similar dynamics expansion and separation/layers between the sounds (you can hear more air between the layers). Both are also nearly dead quiet with Andro.

PL vs P2 mk2 - Plenue L exterior is very similar to Plenue 2/2mk2. Interface is nearly identical as well. Of course, you get ES9038Pro DAC and a more powerful 4.4mm Balanced output. I hear PL with a more holographic 3D soundstage and improved imaging in comparison to Plenue 2/mk2, also the sound is more dynamic, more layered, especially when playing higher res DSD files. PL has a tighter, better controlled, more articulate, layered bass with a deeper extension (more textured rumble). Also, the lower treble is a little smoother, more natural. Perhaps there is not as big gap in tonality, but in terms of sound performance you can really hear the difference. Plus, with a lot more powerful BAL output, you can easily drive demanding headphones more efficiently in comparison to P2/mk2.



Other connections.

USB DAC.

I'm not a big fan of using a dedicated audio player as USB DAC because I usually look at a DAP as a portable standalone source. If you are not happy with an audio output of your computer, there are plenty of dedicated USB DAC choices. But in some cases, when you are traveling and don’t want to bring multiple pieces of equipment, using DAP as USB DAC has its advantage.

Using PL as USB DAC was very straight forward. Drivers were installed automatically as soon as I connected PL to my Win7 ThinkPad T430s, there was no need to install custom drivers. When connection is detected, you have a choice from the touch screen to either select USB DAC or USB MSC (for a file transfer). Once you select USB DAC, my laptop volume was set to the max and I was able to adjust the volume from PL. The only negative here, DSP effects are disabled when in USB DAC mode.

In terms of the sound quality, playing the same song from laptop while using PL as USB DAC vs playing it directly from PL - there is a noticeable sound difference where the quality is higher playing it from PL directly. Using PL as usb DAC is convenient to enhance your laptop audio output, but for the best audio fidelity I recommend playing audio directly from PL. Also, seems that after you disconnect PL as usb DAC, it automatically powers down since there is no way to turn off DAC mode without rebooting PL.



Optical Out.

PL vs PL + Micro iDSD BL - In this pair up test with iDSD the sound is a little warmer and has a deeper low end impact when compared to listening directly from PL which has a more transparent tonality with a more linear low end response. The rest is similar. It's a great option to be able to use PL as a digital touch screen transport driving external DAC/amp supporting optical input. Also, in this pair up the volume can only be controlled from iDSD.



Line out.

Plenue DAPs don't have a dedicated Line Out port, and instead they suggest setting volume to the max in high gain where the HO acts as LO and there shouldn't be any distortion. I have verified this in the past with previous Plenue DAPs but didn't have interest to try it with PL since I found 3.5mm SE output to be inferior to 4.4mm BAL and I don't have any BAL amps to test it with 4.4mm output.

Conclusion.

While I never had a chance to hear Plenue S, based on every other Plenue DAP I have tested so far, PL is got to be my favorite one to date. I honestly don't know why Cowon chose to call it L and what it even means, but Plenue L clearly follows the design evolution of P2 -> P2 mk2 -> PL with a very similar exterior design which almost calls for this DAP to be P3. But, regardless of what it's called, PL is their new flagship DAP which takes all the previous legacy elements and ups it with an updated audio performance optimized around the latest desktop quality ES9038Pro DAC and high power 4.4mm BAL output.

Cowon philosophy was always focused on sound performance as their highest priority. Even so they did implement a basic Bluetooth functionality in Plenue R model, it seems that Cowon is one of the few companies who doesn't care as much about streaming or app support or even the latest trend of duplex BT to stream from the smartphone. That certainly will play an important role when you're choosing your next flagship DAP. But if high resolution audio playback from a local storage is your top priority, and you are looking for a lightweight, compact portable DAP with a fast customizable interface, top quality audio performance, high power BAL output (low noise and hiss-free), beautiful design, and very powerful JetEffect DSP effects for sound shaping - Plenue L deserves a serious consideration.

I have access to a lot of flagship DAPs, but not all of them are portable enough for everyday use on the go. In the last month Plenue L got a lot of mileage when I’m choosing which DAP I bring with me to work because it's one of the smallest and the lightest flagship players in my review rotation. Unfortunately, other flagships are getting bigger, heavier, less portable, so I’m glad Cowon is in tune with consumers demand, still keeping the portability and the sound quality as their top priorities.

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The product in this review was loaned to me for the review purpose in exchange for my honest opinion. The review was originally featured on my blog, and now I would like to share it with my readers on Head-fi.

Manufacturer website: Lotoo. Available for sale from MusicTeck.

One thing I would like for people to be aware of, LPGT purchased in some of the countries in Asia (S. Korea, Japan, and Mainland China) will not have English language as an option, while others (SGP, HK, etc) will have it. This only affects units purchased in Asia, so please make sure to check with your distributor/retailer before making a purchase, especially if you are ordering from overseas or asking someone who is traveling in Asia to get one for you.

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Intro.

It has been exactly 3 years since I reviewed the original LPG, Lotoo's flagship DAP which has been introduced almost four years ago and still has a cult following by many audiophiles and reviewers who continue using it along with the latest A&K and Sony flagships. So, what made this DAP to stand the test of time? There are many factors, such as optimized custom OS, build like-a-tank compact design, powerful output to drive variety of headphones and earphones, and its well-known Parametric EQ. But regardless of its relevance, sooner or later the DAP will start showing its age, especially when it’s a non-touch screen device with audio playback only functionality.

I heard rumors about Touch screen LPG version back in 2017, even with a possible release date before Xmas of that year. Don't know exactly what happened and why it was delayed, but I assume that product wasn’t ready for prime time, or maybe they decided to revise the design. Lotoo usually doesn’t spoil us with many releases, and seems they take their time to get it right, to make it last, to futureproof the design. Even after LPGT announcement back in April of this year and showcasing Touch at various global audio shows, only now they are rolling out a global release since the firmware is finalized and all the promised features are implemented and thoroughly tested.



Unboxing and Accessories.

I still remember LPG unboxing experience, unfolding the origami-like silver cover and trying to figure out how to open the box with its swing-out compartments. LPGT unboxing is more straight forward while still maintaining its premium level. Finally, it has the “golden touch” with a golden sleeve cover featuring their signature Apollo Sun God pattern.



Inside you will find all the essentials with a manual, a pair of tempered glass screen protectors (one was included as a spare), a cleaning cloth, and a premium USB/USB-C braided cable. My favorite accessory was a premium leather case.



The included leather case fits LPGT like a glove, enhancing the grip, and protecting from scratches and minor drops. The case covers SD port at the bottom and keeps USB-C charging/data port open. It also covers the playback/power buttons on the right side with an easy to feel indented outline/shape around the controls. The top of the case is open, giving full access to Headphone/LO ports and the golden wheel.



Design.

It was interesting to see how Lotoo transformed their original non-touch LPG into a touch-screen version. The focus of any touch screen design is usually a glass display which can look boring. To make the shape unique, Lotoo carried over the same outline around the volume wheel, paying their homage to the original LPG. The size of LPGT is bigger, 68.6mm x 119mm x 21mm and the weight is 293g. Then, above its 3.77” IPS Retina LCD touch screen (with 480x800 resolution), you will find the original shiny gold volume wheel with a secure guard around it. In my opinion, the golden wheel with its Apollo Sun pattern is still the focus of the design. And just like in the original, you can configure its direction to change volume either clockwise or counter-clockwise. The level of configuration and customization in LPGT is very impressive, you can even configure to double tap the screen to wake it up.



Bottom of LPGT hosts a full-size SD card with a dust cover, just like in the original LPG. Don’t expect micro SD and there is also no internal storage, so you must use SD card. Those are still easy to buy, or you can use micro SD with SD card adapter. Next to it is USB-C port for charging of the DAP, data transfer, and USB DAC connection. Right there you can already see that you no longer need to deal with a proprietary LPG charger, and you finally got USB DAC functionality.

Nothing is on the left side, and the right side has 4 round metal buttons with their functionality etched on the surface. 3 playback control buttons (play/pause and skip) are grouped closer while a power button (also used for screen on/off) is a little further away. Play button has a bump identification (for a blind id) if you are planning to use Touch without a case, while with a case on this bump is irrelevant. Either way, buttons have a nice tactile response, with or without a case.



The top of the DAP, besides already mentioned volume wheel with a “breathing light” underneath, also has 3.5mm single ended and 4.4mm balanced outputs with a flexible configuration. Single-ended 3.5mm low impedance output uses LME49600 op-amp (TI high performance, high current HiFi headphone buffer), has 125dB SNR spec with 500mW max power output, and can be selected as Headphone output or Line out, where as HO can be set to high/low gain and have independent L/R balance adjustment. Balanced 4.4mm low impedance output uses OPA1622 op-amp (TI high performance SoundPlus HiFi audio opamp), has 127dB SNR spec with 500mW max power output, and can be selected as Headphone output or Line out, where as HO can be set to high/low gain and have independent L/R balance adjustment.

While LPGT is a little bigger than original LPG, it still feels compact and lighter (relative to SP1000, WM1Z, and N8), and easy to operate with one hand. And it’s still build like-a-tank with its aircraft aluminum alloy chassis and Corning Gorilla Glass 5 display with anti-fingerprint and DLC coating.



Under the hood.

In the heart of LPGT you will find the AKM flagship AK4497EQ DAC, but in addition to AKM DAC, Lotoo also implemented AKM AK4137EQ up-sampling chip. On the fly you can up-sample PCM to 768kHz and DSD to DSD256. Up-sampling is Enabled in the Settings and based on my brief testing, it’s not a gimmick but the real deal. The same as Lotoo's own operating system being the real deal - optimized and super fast with a boot up time of about 2-3 seconds.

LPGT supports all the popular lossy and lossless formats up to and including DFF, DSF, ISO, FLAC, APE, WAV, AAC, ALAC, MP3, WMA, M4A, and OGG, with PCM sampling rates 32kHz-768kHz. It also supports DSD64, DSD128, DSD256, and DSD512 with corresponding sampling rates of 2.8MHz, 5.6MHz, 11.2MHz, and 22.4MHz. I didn’t notice any lag or glitches when switching between different file formats or during Gapless playback (which usually buffers ahead), thanks to its multi-processor architecture which handles multiple tasks in parallel.



I already mentioned about the implementation of TI OPA1622 SoundPlus opamps on 4.4mm BAL output and TI LME49600 High Performance opamps on 2.5mm SE output. To my surprise, both ports have the same output power, rated up to 500mW, and I confirmed the output level to be in a perfect match when switching between SE and BAL headphone ports. Each of these ports can be selected as Line Out as well, to drive external amplifier in either Single Ended or fully Balanced connection.



USB DAC is supported without a problem when you connect Touch to computer or smartphone. You can also take advantage of LDAC wireless protocol with 2-way Bluetooth 4.2 support (LDAC 96kHz/24bit, up to 990kbps). With duplex BT support, you can either pair up with wireless headphones and speakers or connect Touch as a wireless Receiver to your Smartphone which enables wireless high-res streaming to LPGT. I tested it with my Galaxy S9 which supports LDAC and was able to stream Spotify wireless without a problem.



Unlike LPG with its proprietary charging connector, now you can take advantage of USB-C port, to charge its 5400 mAh battery which should yield a playback time of up to 10hrs. I will have to run multiple charge/discharge cycles to verify this when I get my longer-term review sample. There also a nice feature of when connecting USB DAC to either select "computer" so you charge the battery or USB DAC Phone, so you don't drain your phone battery.



There’s also WiFi interface, but its current implementation is only for over-the-air (OTA) download and update of the firmware. I’m not sure if there is a plan for any native plugins support in the future, but for now WiFi functionality is limited only to OTA fw downloads which I verified to work without a problem.



GUI - Interface and Playback screen.

In less than 3 seconds after pressing the power button on LPGT, you are greeted with the Main interface screen where you will find shortcuts to Play list, Songs, Artists, Album list, Folders, and Settings at the top, and currently playing song with transport touch controls below it. Songs, Artists, Albums sorts your file according to the selection, while Playlists shows favorites, recent playlists, and all songs. In Albums you have two views, as a list or large artwork thumbs. Folders let you browse by file folders on your SD card. Tapping on the currently playing song brings you to Playback screen, and you can always get back to the Main screen by swiping the screen up.



The swiping up has a cool visual animation effect of the screen shrinking up as you drag your finger across until it disappears, and you are back to the Main interface screen. I captured this effect in screenshots below by taking separate pictures with my camera – very smooth transition effect.



When you swipe down notification bar, you have access to a few essential shortcuts, such as Playback mode, Enable/disable Bluetooth, Volume hold/lock, Enable/disable XSC (hardware up-sampling), and separate selection of 3.5mm and 4.4mm headphone output Gain. You will also find song search at the top, and brightness control bar at the bottom of the expanded notification bar screen.



The Playback screen is very straight forward with embedded artwork occupying top half (if one is available, if not, there is a default artwork) and multiple views underneath which you can access by swiping to view artwork, detailed song info, lyrics (if embedded), and Spectrum Analyzer bars view, just like in LPG. There is a shortcut in the upper right corner to delete the song or to add to playlist.



Below the artwork screen, you will see a transport control scroll bar, and underneath of it a playback control buttons, including playback mode on the left and EFX on the right. EFX brings up PMEQ (Parametric EQ II) and ATE (Acoustic Timbre Embellisher) presets and custom PMEQ presets, coincidentally identical to the ones found in LPG. It seems that a handful features have been carried over from the original LPG. Also, in the PMEQ list you can find the custom Parametric EQ presets.



In my opinion, Parametric EQ (PMEQ) feature of the LPG was a big deal since it allowed a very precise and accurate sound-shaping control. While I don’t use EQ on regular daily basis, I do rely on it when it comes to providing fine-tuning feedback to IEM manufacturers where LPG is my go-to tool for precise narrow cuts and boosts while sweeping through frequencies. Of course, dealing with a tiny screen and LPG push-button controls can be frustrating when tweaking PMEQ. With a large touch screen and visual interface, this experience is night’n’day where you can easily select from a drop-down menu a filter type, F0 center frequency, gain in decimal increments, and Q width of the band while watching the adjustment on the graph above. My only wish here is to be able to drag the peak on the graph itself to adjust the gain from a touch screen.



GUI - Settings and Features.

When it comes to Settings, LPGT probably has more options than I have ever seen in any other DAP. The main Settings menu is split into Basic Settings (covering Play, Output, and Player settings), Sound Settings (covering Hardware decode, EQ, ATE, and Filter settings), Bluetooth (which also covers BT DAC), SD card management (with available space, files, and format menu), LPGT Info and Model (covering device/model info, software, hardware, wireless version), On-line Update (for WiFi OTA update), and other legal info and Factory Reset to get back to Defaults.



When you go into Play settings, you will find available Play modes (loop, shuffle, single repeat, and sequence) all of which can also be selected in Playback screen, Sleep timer, show lyrics, enable XRC hardware up-sampling, and File switching effect where you find Gapless setting (tested to work perfectly).



Output setting has a detailed control of each 3.5mm and 4.4mm ports where you adjust the L/R balance, select output type (headphone or line out), select output gain (in headphone mode), and select if you want Line Out volume to be fixed or adjustable. You can also adjust Bluetooth volume setting, DSD gain compensation, and VU Meter setting. Here, you are in control of every single config detail.



Player setting gives you more control of LPGT hardware where you can enable/disable Breathe light (underneath volume wheel, if you want to save battery), Double-click to wake up the DAP by tapping on the screen when it’s off, locking keys, selecting Volume key direction (clockwise, counter-clockwise), Power management with auto power-off and screen off, and Language selection.



PCM and DSD Filter selection gives you even more controls of the sound. Under PCM filters you have access to select one of 6 different filters associated with AKM4497EQ DAC, and you can also select Low Pass Filter under DSD filters.



Sound Analysis.

Regardless of how impressive the DAP may look and operate, at the end of the day people will be buying it for its sound performance because you don’t need $3k paper weight with a golden wheel. When I received LPGT loaner, in the back of my mind I was thinking – new DAC with the same opamp chipset on SE output and a different opamp chipset on BAL. Thus, I was curious about what sound changes should I expect since Lotoo moved from TI PCM1762 to AKM AK4497EQ DAC.

I think many LPG fans will be pleasantly surprised since the changes in sound are not that drastic. LPGT has a more neutral sound signature with a very accurate transparent tonality. The sound performance still stands out with a great transparency and layering, something LPG is well known for, except LPG has more sub-bass rumble while LPGT is more balanced and more neutral in that respect.

When it comes to soundstage expansion, I find it to be naturally wide. But I wouldn’t exactly call it holographic, especially when compared to some other DAPs (covered in Comparison section of the review). Instead, LPGT soundstage has more focus with a slightly confined width and more out of your head depth. Surprisingly, when you switch to “Headphone” PMEQ preset, the sound becomes more 3D holographic, which makes me kind of doubt if PMEQ is only about “EQ” without any other DSP effects. But with all EFX off, the sound has above average width, identical to LPG.

Up-sampling is another secret weapon of LPGT which I kept permanently on during my testing. Without it, sound performance is close to LPG, but once you enable it – the dynamics of the sound expands with a noticeable improvement, including better layering and separation of sounds as I hear it while testing with different hi-res IEMs. The change is not night’n’day, but it’s noticeable enough to appreciate the fine-tuning.

Another noticeable difference in performance between LPG and LPG is a pitch-black background with no hissing even in high gain, balanced, and with volume down to zero (my extreme test condition) using sensitive IEMs like Andromeda and Solaris. That was very impressive and a bit rare for a high-power DAP.

As I mentioned already, both 3.5mm Single Ended and 4.4mm Balanced headphone outputs have an identical power out where the volume level was the same when switching between the ports with the same pair of IEMs. Also, between SE and BAL, the tonality and the sound sig are nearly identical, with the only difference of BAL having a little wider soundstage expansion. While I usually find balanced output background to be blacker, here it was on par with single ended output.



Comparison.

In this review section, sound comparison was done using LPGT 4.4mm headphone balanced output, with all the effects off, and up-sampling turned on while using 64 Audio U18t with EA Leo II balanced terminated cable and Pentaconn 4.4mm adaptor. In every comparison I made sure to match the sound level between DAPs. Also, I only going to cover a sound difference as I hear it. Obviously, every flagship has their own set of features and functionality differences.

LPGT vs LPG – I find soundstage width to be very close, just with Touch being a “touch” wider. Also, very similar sound signature and tonality, where the only difference I hear is a little more sub-bass in LPG. In terms of sound performance, I hear LPGT having a little better layering and improved dynamics when up-sampling is on. Also, LPGT has blacker background which makes the sound tighter due to a faster transient response of notes on/off transition. LPGT has no hissing with sensitive IEMs, while LPG does.



LPGT vs Sony WM1Z (4.4mm BAL) – I find their soundstage expansion to be similar. WM1Z has a warmer tonality with a bass that has a little more impact, while in comparison Touch is more neutral and more transparent (less colored). Both have a dynamic layered sound, but I hear just a little bit more air between the layers in Touch due to its more neutral signature. To my ears, WM1Z has a more analog warmer tonality, while LPGT has a more precise reference sound.

LPGT vs A&K SP1000 SS (2.5mm BAL) – I hear SPK to have a more holographic soundstage with a wider sound, while the depth is the same; in contrast – LPGT staging width is more focused. In terms of tonality, SPK with the latest fw has more bass impact and smoother treble response at the top in comparison to a more transparent (less colored) and more neutral sound signature of Touch. I also find Touch to have a blacker background.

LPGT vs Cayin N8 (Solid State 4.4mm BAL) – I find N8 to have a more holographic soundstage with a wider sound, while Touch has a more focused staging. In terms of the tonality, N8 sounds a little bit warmer and smoother and has a little more low-end impact (especially in mid-bass) while they have a similar sub-bass rumble. In comparison, Touch has a more transparent balanced sound with a reference tonality, and a blacker background with an improved layering when up-sampling is enabled.

LPGT vs iBasso DX200Ti (4.4mm BAL w/amp8) – I find DX soundstage to be a little wider, while both have the same soundstage depth. DX sound has more bass impact and a touch more treble sparkle, while Touch has a more neutral transparent signature. Both have a sound with great dynamics and a decent layering and separation. Also, both have a black background, but Touch noise floor is probably lower since I hear zero-hissing performance with sensitive iems in comparison to DX.



Pair up.

LPGT has plenty of power to driver some of the most demanding full size headphones and at the same time take care of high sensitivity IEMs without any noticeable hissing. Here is how I hear Touch pairs up with some of the headphones and earphones.

Audeze EL8C (SE, full size closed back, planar magnetic) - I hear an elliptical shaped soundstage expansion, wide with a more intimate depth. Nice warm punchy bass, smooth natural mids, crisp treble. In this pair up I don't hear any metallic sheen sound artifacts in treble. The only thing is vocals being slightly "nasal" in tonality. It's not a bad pair up at all, especially since the treble is under control and not harsh.

Beyerdynamic T5p2 (BAL, full size closed back, dynamic) - I hear a wide soundstage with more out-of-your head expansion. Bass has a deep sub-bass rumble with a stronger mid-bass punch. Natural smooth resolving fuller body mids. Crisp well controlled treble. The sound has a very organic tonality with a natural resolution.

Audio-Technica ATH-R70x (SE, full size open back, dynamic) - I hear a very spacious open soundstage, in both width and depth. Tonality is very natural with a nicely balanced signature. Bass goes deep and punches nicely through the mix, mids are very natural and highly resolving at the same time, very soulful rendition of vocals. Treble has a natural crunch to give sound great definition without any exaggerated sparkle. This is a perfect example of R70x sound, without any coloration and exaggeration.

Campfire Audio Solaris (BAL, DD/3BA hybrid IEM) - I hear a holographic soundstage expansion, tight punchy bass with a deep extension, natural resolving mids with a perfect mix of organic revealing tonality, and crisp airy treble with great definition and excellent control. I hear the sound to be very natural in this pair up.

Campfire Audio Andromeda (BAL, 5BA IEM) - I heard soundstage with more out of your head expansion. Punchy warm bass, not as tight, with slower decay. Brighter resolving mids with a bit of a leaner body. Crisp well controlled treble with moderate airiness. As previously mentioned, no hiss with Andro and Solaris was a very pleasant experience.

Westone W80 (BAL, 8BA IEM) - I hear a holographic soundstage expansion. Smooth natural laid back tonality, deeper low end expansion with some extra sub-bass rumble and punchy mid-bass, overall bass is more relaxed, not as tight. Mids are full bodied, warmer, organic; with natural retrieval of details, nothing too revealing. Treble has some sparkle but it's more controlled and smooth.

Empire Ears Legend X (BAL, 2DD/5BA hybrid IEM) - I hear a very wide soundstage expansion with a nice depth, not too close or too far out of your head. Bass slams hard with a visceral rumble and a tight well controlled mid-bass punch. Mids are naturally resolving, with slightly north of neutral lower mids and detailed organic upper mids, treble is crisp and well controlled. While I usually prefer to knock down about 3dB around 60Hz when listening to LX, here I actually enjoyed extra bass since it was not as overwhelming.

64 Audio U18t (BAL, 18BA IEM) - I hear a holographic soundstage expansion. A textured sub-bass rumble with a little extra quantity, tight mid-bass punch with a good control and separation from mids. Neutral natural lower mids, natural revealing upper mids with an excellent retrieval of details (not on micro detail level, but very good nevertheless), and crisp sparkly airy non-fatigue treble. Upper frequencies are a little more revealing, but still in a natural controlled way. While in some pair ups U18t could sound more mid-forward, here the signature was more balanced.

64 Audio Fourte (BAL, DD/3BA hybrid IEM) - I hear a holographic soundstage expansion. Deep visceral bass, excellent sub-bass extension with a velvety rumble, warm analog mid-bass punch with a little longer decay, though well controlled to separate from mids. Lower mids are south of neutral, leaner in body, upper mids are revealing and on micro detailed level, while treble is very crisp and sparkly. Overall, the signature is more v-shaped, to please treble-heads who love the impact of a deep bass.



Conclusion.

It’s hard to ignore LPG when testing LPGT. After spending a few weeks with LPGT loaner, I found the sound sig to be similar to LPG. Except, you no longer hear LPG's sub-bass boost, and instead, LPGT is more neutral and more transparent. In terms of sound performance, LPGT up-sampling improves the layering and sound dynamics. The other noticeable change is a dead quiet black background even with sensitive IEMs. But overall, I think Lotoo decided to stick to the same sound sig formula even though LPG uses TI PCM1762 while LPGT uses AKM AK4497EQ DACs. Coincidentally, LPGT 3.5mm output uses the same LME49600 opamps as LPG, and even its 4.4mm output with OA1622 opamps was tuned to sound nearly the same as 3.5mm output.

So why would you consider Lotoo’s latest flagship DAP or would want to upgrade from LPG? Because of all the new features where Touch adds USB DAC, Bluetooth with a duplex LDAC to turn this DAP into a wireless BT DAC (streaming from your phone), USB-C charging (no longer need proprietary charger), touch screen with a very responsive interface and a fast OS bootup (2-3 sec), updated Parametric EQ II, included EFX presets which you can apply in USB DAC and Bluetooth modes, and even WiFi for OTA firmware updates. You also get on-the-fly up-sampling and support of DSD512. And not to forget Line Out from both 3.5mm and balanced 4.4mm outputs if you want to drive external fully balanced amplifier.

Bottom line, there are a lot of similarities in sound between LPG and LPGT, but I think it was done intentionally because Lotoo was never planning to introduce a significant update to its sound signature. LPG was released 4 years ago, and even the last year (2017) refresh was mostly cosmetic with a few internal optimizations. In my opinion, the idea behind LPGT was to enhance LPG with missing features, to bring it up to current flagship standards. LPGT is like LPG on steroids, or you can call it an Extreme Makeover of LPG!

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The product was loaned to me for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: Cayin. Available for sale on MusicTeck.

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Intro.

I was introduced to Cayin products over 4 years ago when I reviewed their portable C5 amp which I still use to this day. Ever since that review, I had the opportunity to test and to review all their portable DAPs and was always pleased with their products and associated price/performance ratio. But Cayin is not only known for their Portable HiFi audio, but also many award-winning desktop sources and amplifier systems they have been designing and manufacturing over the last 25 years since 1993 when Zhuhai Spark Electronic Equipment Co., Ltd. (Cayin parent company) was founded.

Cayin Family.



While I consider myself to a be a portable gear audiophile, focusing more on DAPs and IEMs, it doesn’t stop me from admiring (read it as “drooling over”) the elegancy of desktop systems when attending CanJam NYC in the last two years. For anybody who visited Cayin table during these or other audio shows, you can’t deny being captivated by the design of their HA-1A and HA-300 tube headphone amplifiers where they used only the best possible material and the top of the line components. And I’ll be lying if the wish to see this cold stainless steel with a warm tube glow in a pocket-friendly design never crossed my mind.

Apparently, Cayin had this on their mind as well, preparing to introduce the latest TOTL flagship N8 DAP on their 25th anniversary. But the idea behind this release was more than just "spare no expense" for the best material and the top components. Cayin wanted to be unique by challenging themselves with being the first manufacturer to introduce a portable DAP with dual sound signature design based on using both solid state and triode vacuum tubes.

I do have to warn you, this is going to be longer than usual review. I get pinged every day by many of my readers, and aware that choosing a flagship TOTL DAP is a journey. Even regardless of a small selection of options, people still spend months researching and comparing. Therefore, when I talk about the Design, I don’t just describe what you see, I go into details of how it functions, and Under the Hood doesn’t just list the spec but offers my opinion about it. Some might even find the GUI section useful, so you can get a good idea about the SW/FW features, and Pair up section is massive, so you can get a better feel about the sound. Overall, the review is clearly partitioned with bold headlines, multiple pages, and the index of where you want to jump if you prefer to skip a section. So, get some popcorn and let’s take a closer look at what I found after spending the last month with N8.

Unboxing and Accessories.

As usual, I would like to acknowledge the packaging details since I see that Cayin put a lot of thought into the presentation of their latest flagship product, besides just a protection during the shipping to your doorsteps. N8 arrived in a large size cube shaped box with a silver outer shell that had a cutout window at the top, revealing the sketch drawing of the DAP on top of the actual storage box. I thought it was clever to have the storage box cover open along an angled line instead of the usual boring straight cut, giving it a little more dramatic opening presentation. With N8 out of the secure foam storage tray, you quickly realize the heft of the weight in your hand, but more about it later.



What impressed me the most was not only the presentation of the box, but the content of the included accessories where you know right away you are dealing with a premium product.

As expected, you will find a very comprehensive Users Guide, along with a warranty and QA certificate, and a few hi-res audio labels. Underneath the foam tray with N8, you will find another storage tray with a tempered glass for the display screen and a leather case (probably pleather?) next to it. I know that my review unit is part of the early production batch where the case had a bit of a fit issue. But I have been reassured by Cayin that issue was corrected moving forward. In the same tray there was a premium braided Type-C USB cable used for charging, data transfer, and USB DAC connection.



All these accessories are useful for any DAP, but Cayin went a step further by including custom adapter cables as a bonus accessory kit. You’ll find Type-C USB to 3.5mm coaxial cable for S/PDIF coax output (popular with Chord DACs). You'll get Type-C USB to RCA (female) coaxial adapter for S/PDIF coaxial output. You'll even get a rare custom 4.4mm to balanced XLR adapter to use with balanced Line Out. Also, you'll get a premium right angled 4.4mm (male) to 2.5mm (female) balanced headphone adapter to connect 2.5mm TRRS terminated headphones with N8 4.4mm balanced output.

Keep in mind, Type-C USB coax adapters here are custom, to be used only with Cayin DAPs where coax connection is brought up to USB-C connector. These will not work with your smartphone or other USB-C equipped devices.



Design.

I know we all have different opinions, but I always find Cayin products to have some original design elements which make them stand out from the crowd where you can't mistake it from a distance, even inside the case. N8 is no exception. Of course, there is a personal preference if you like it or not, and there is no argument that the beauty is in the eyes of the beholder. You can judge it from the pictures in this review, but also keep in mind that pictures not always do the justice to the actual product.



Out of the box, you are looking at a DAP with a dimension of 128mm x 70mm x 21mm and a noticeable weight of 380g. Obviously, it's a portable device, and you can carry it in your pocket. But it's not going to be the same experience as carrying N5iiS in your pocket due to the size and the weight. The shape of N8 is asymmetrical, not an issue to hold it in one hand, but I do strongly recommend using the included case to enhance the grip since it has a slick all stainless steel PVD coated chassis and a curved Corning Gorilla 3 glass on the back.

The focal point of the design is 3.2" IPS touch screen with 480x360 resolution, a triangular Home button with a multi-color smart LED behind it (different colors corresponding to sampling rate, could also be disabled), and 2 knob/dial with a silky-smooth gold finish on the right side. The overall size of the top glass screen is about 4.5", while the actual visible display area of the touch screen is 3.2", a physical triangular home button underneath of it, and a sloped down beveled edge of the chassis extended below it. I personally find the shape of the Home button to be quite original, no other DAP has anything like that.

Left side of the DAP has no controls. At the bottom you have Reset pinhole, I2S Digital output port, micro-SD card spring loaded open port (supporting up to 512GB cards), and Type-C USB port for charging (supports QC2.0 fast charging), data transfer, USB DAC input, and digital output with provided adapters. The I2S Digital Output via HDMI Type-C connector adopts the pin definition of PS Audio I2S system. This interface is not compatible with standard HDMI audio/video interfaces, and Cayin can't guarantee compatibility with other equipment brands supporting I2S digital interface. But they certainly do guarantee compatibility with all Cayin DACs that support this interface.

The top of the unit has headphone and line out ports. First is 4.4mm Balanced port which is shared and can be selected between Headphone output (1.2ohm impedance, 122dB SNR) or Balanced Line Out (4.3V output). The balanced headphone output is only connected to Solid State amp. Next to it is a single ended 3.5mm Headphone output (0.6ohm impedance, 120dB SNR) which can be selected as Solid State or Tube output. Since this port already shared between two output signatures, there is a separate dedicated 3.5mm Line Out port next to it, rated at 2.1V.

In the upper half of the right side you have golden Volume knob which also doubles as a push button power and screen on/off control. It has a nice click action as you turn in, and it’s easy to operate with a thumb, but I wish it would have a better-defined diamond-cut texture around it to enhance the grip. Also, since this power button is sticking out, you need to be aware not to push it accidentally in the bag which going to turn on the DAP. No issues with “accidental” shutting down since it requires Power Off confirmation.

The Playback Control Dial has a spring-loaded mechanism where turning it up/down skips the track, while pushing it works as Play/Pause button. Play/Pause operation is very useful since it’s very easy to find the dial, but I found that skipping tracks was easier to operate with N8 in front of me, rather than blind in my pocket. Especially when you are trying to fast forward/back through a track, it’s easy to misfire and skip the track by mistake. Also, in a pocket there is a higher chance of accidental pressing of Play/Pause.

A very simple workaround is to activate Key Lock to lock individual Volume control, Play/Pause control, and up/down Skip control. If you prefer to carry your N8 in a bag or a backpack, the easiest solution is to disable external controls through Key Lock and use HibyLink to control the playback from your phone or while streaming apps from your phone to N8. When you are listening at home or at work, you have more control over external playback/volume dials. The key here is to find what works better for you depending on how you are planning to use Cayin N8.



Under the hood.

In the heart of N8 you have a dual AKM AK4497EQ DAC, with a playback support of all the popular lossy and lossless audio file formats, including PCM decoded up to 32bit/384kHz, handling DSD up to DSD256 and even SACD-ISO. I went back and forth switching between mp3, flac, and DSD (DSD64, DSD128, and DSD256) files, and didn't experience any noticeable lag in the audio playback. To support the size of all these high res files, N8 offers 128GB of internal storage and micro-SD card expansion with up to 512GB (more flash cards supporting it now). Plus, you can add storage via USB OTG.

As previous mentioned, the display is 3.2" IPS with resolution of 480x360, nothing special by today's smartphone standard, but considering it's not intended for apps or video playback - this is more than adequate. The embedded artwork looks good with deep rich colors, viewing angle is great too, thanks to IPS display, and visibility even in a daylight wasn't too bad at all, though I did have to bump the brightness a bit higher. One surprise was a massive capacity 3.7V 7000mAh battery to support all the analog and digital circuits, including NuTube. The battery is massive but thanks to Quick Charge QC2.0 support the full charging takes just a little over 4hrs.

Regarding the battery life, in a worst-case scenario using 3.5mm output and switching between Tube and Solid state (the only time when I had the screen on) while playing a mix of mp3/flac files, I was able to get around 8 hours of playback time in HIGH2 mode. Switching to a standard mode gives you approximately one more hour and using only Solid-State output adds more time to battery life. This is a desktop grade (tube output and high output mode) performance DAP which obviously going to be power hungry. Of course, with a bigger battery you can last longer, but I assume the battery selection was based on a space limitation inside the DAP. Considering plenty of power hungry heat generating components inside N8, even for a worst-case scenario this is not a bad playback time. And speaking of heat generation, Cayin applied a special Panasonic heat absorption PGS (pyrolytic graphite sheet) to the components with a high heat generation to direct the heat energy to stainless-steel chassis, turning it into a heat sink.

The internal circuit topology of N8 is split between Solid State output, offered from a balanced 4.4mm HO and a single ended 3.5mm HO, and Vacuum Tube output from a single ended 3.5mm HO. I'm sure some will question why no balanced output using Vacuum Tubes? Cayin is the first manufacturer to implement Korg NuTube 6P1 (https://korgnutube.com/en/) (a dual channel triode vacuum tube) in a DAP design. NuTube takes more room and drains more battery, and there was not enough space inside of N8 to accommodate 2x NuTube tube modules and a bigger battery. Besides, even for a single-ended output, NuTube amplifier soundstage can rival some other balanced DAP outputs I've tested in the past.



Btw, one of the reasons NuTube hasn't been used as widely in portable audio designs is because of the microphonic effect associated with it. To resolve this problem, Cayin designed a custom-built shock-absorption silicone housing and a spring-loaded suspension system. Also, you need to keep in mind, we are not talking about a conventional fragile glass vacuum tube. While NuTube operates exactly like a triode vacuum tube, the tech behind it is based on a vacuum fluorescent display technology, like LED. These NuTube modules require less power than a traditional vacuum tube, smaller in size, have a much higher reliability with 30,000 hours of continuous life expectancy, all that while still providing a sound characteristics of vacuum tube sound. And just like with a vacuum tube, there is a warm up period. In case of NuTube it’s 5sec, where every time you pause the DAP and hit play or when switching between Solid State and Tube you must wait 5sec for a warm up. It's a bit annoying, but I'm sure it preserves a battery life.



Another interesting feature of the design is High Impedance High Output mode where both amplifier outputs (solid state and vacuum tube) can either work in a standard mode or with a boosted power supply driving the amplifier circuit. In theory, the advantage of this mode is when you are using N8 to drive high impedance more demanding headphones, while low impedance IEMs shouldn't be affected. In practice, I did hear a difference which I noted in the pair up section of my review. The output power rating of N8 is very impressive, where in standard mode you get 230mW (SE) and 480mW (BAL) while in HIGH2 mode you get 400mW (SE) and 750mW (BAL) under 32ohm load. Or when using 300ohm headphones (load), you can expect 50mW (SE) and 200mW (BAL) outputs. This is very impressive for a portable DAP.

Cayin N8 also features Bluetooth v4.2 with aptX (in Tx only) and a dual Tx/Rx mode. This means you can pair it up with external headphones, speakers, and use N8 as a wireless Bluetooth DAC paired up with your smartphone or tablet, to stream audio directly or through apps. Furthermore, it also supports WiFi to retrieve OTA (over the air) firmware updates. But you can also update the firmware by downloading the files directly from Cayin website and doing a local update.



GUI.

Cayin continued their partnership with Hiby Music, and N8 interface has an all new updated look. Please keep in mind, this custom software was optimized for maximum audio performance and it's not Android based. Also, I like covering details of the interface and settings because I get asked many questions about supported features, and sometimes I don’t have DAP in front of me (or the battery needs to be charged), or in case with N8 it will have to be sent back after the review and I won't have future access to it.

The new N8 GUI is split into two main screens to simplify the navigation and operation. The so-called Home screen has a clear layout when browsing songs by Folders (to access your local storage, micro SD card, or attached USB OTG storage, as well as scanning the music), Classify List (Recently played songs, tagged My Favorites, or custom Playlist), Songs (every song in alphabetical order), Artist (every artist in alphabetical order), Albums (all albums in alphabetical list), and Genres (based on id3 tag). Underneath of browsing section, you have an area for the currently played song with an artwork thumb (if one is embedded), name of the artist/song, file type and remaining time, and Play/Pause button. You can skip the song by swiping left/right. By tapping on the song or pressing Triangular Home button, you can get to Playback screen. To return to Home screen, just press and hold Home button.

In Playback screen you have a more expanded view of embedded artwork if one is available. If not, Cayin has their own picture artwork. The artwork could be swiped to the right to display detailed song info or to the left to display lyrics (if embedded). Above artwork you also have brief info about the file type and in the upper right corner 3-dots shortcut to bring up a menu with play mode selection, current playlist (by default shows songs in the current folder), tagging as my favorite, adding to a playlist, or deleting the file. Underneath the artwork, you have a scroll bar to fast forward/back through the song and current time position vs total song duration. Below it you will find a song name, touch buttons to skip the track and play/pause button. The screen and controls are very clear and easy to read.



The Notification bar displays all the relevant info at a glance, including small icons showing volume level, playback and play mode, gain setting, digital output setting, EQ, and a battery status with a percentage. When you swipe Notification bar down you have a set of 8 shortcuts to choose the Gain (low, med, high), enable/disable Tube (when using 3.5mm output), switch between STD or HIGH2 outputs, Headphone or Line Out selection of balanced output, Enable replay gain, switch USB mode (data or usb DAC), digital output selection (S/PDIF or I2S), and DSD output (D2P, DoP, or Native). Every shortcut has a clear label and a graphic icon for an easy identification when it's enabled or disabled. Underneath of the shortcuts you have brightness control slider and selection of Music Setting, System Setting, and About. About gives you a model number, local and micro SD storage info, fw version, and WLAN/MAC address and OTA.



Music Setting brings up a comprehensive menu with Play Mode (order, single repeat, random, list repeat), DSD output (D2P, DoP, or Native), DSD gain compensation (up to +6dB), breakpoint resume (off, song, or location), Gapless on/off, max volume, startup volume, Crossfade on/off, L/R Balance, PCM digital filter (sharp or slow - surprisingly not all AKM filters are available), EQ (10band with +/-12dB custom adjustment, 8 genre specific presets which could be modified), Plays through folders and albums option, and displaying album art option.



System Settings starts with WiFi on/off, Bluetooth on/off (including HibyLink on/off and aptX on/off), Language selection, Font Size (small, middle, big), Backlight time, Lock screen (very useful to enable/disable), Key Lock on/off and Key Lock setting (with individual controls of Volume, Play/Pause, and Up/Down skip - each one can be enabled/disabled separately), Led on/off (for triangular home button), Idle shutdown and time, Scheduled power off and time, Reset, and System upgrade.



With every menu choice under Music and System setting, the available options are displayed in a pop-up window at the bottom of the screen with a clear graphics and easy to read text, so you know exactly what you are selecting. I found the GUI to be organized in a very logical way, everything is easy to find and self-explanatory, and the most important - you have text and graphic icons, so everything is easy to id. Also, navigation is relative fast, I didn't notice any lag.

Within weeks of its release, Cayin already had fw1.1 update available, and at the time of writing this review fw1.2 should be just around the corner. Just like with any initial fw release, nothing is 100% perfect, but based on my experience with previous Cayin DAPs they do listen to customer feedback and pay close attention to bug reports. Based on my testing of the initial fw1.0 and follow up fw1.1 update, it already felt like a mature firmware, I didn't experience any crashes, and it already has most of the promised features.



Sound Analysis.

There is a good reason why I titled this review as Dr. Jekyll, Mr. Hyde. While many daps are relying on a sound signature of the DAC and solid state opamps used in phone amplifier section, here Cayin gives you a choice of two audio signatures based on amplifier section, Solid State and Vacuum Tube. And on top of that, you get HIGH2 (High Output, High Impedance) mode where thanks to their two-stage power supply control used with line driver and internal headphone amplifier circuit you can change the sound characteristics further when increasing the supply voltage of all OPA1622 SoundPlus HiFi OpAmps from TI.

Even with all these variables, it’s clear that 3.5mm Solid State (SS) output has a typical Cayin house sound signature with a fuller body sound and a more neutral resolving tonality. This neutral tonality leaves more headroom for warmer “changes” when switching to Tube output. It has a very precise layering and separation of the sounds, typical of AK4497 DAC performance I’m used to, and a very good soundstage expansion and decent imaging even for a single ended output.

When switching from 3.5mm SS to Tube, soundstage perception widens (becomes more holographic) and the sound becomes a little more laid back. Tube sound change is not very drastic, but it’s noticeable enough with addition of a more analog flavor to the sound where the tonality becomes more organic, more natural, a little warmer and smoother, especially in mids where I hear a fuller body with a more forward presentation, and treble where I hear a little less sparkle. The change in the sound here is more of a refinement by taking the edge off the digital colder tonality. At the same time, the sound is still very dynamic and resolving, and the blackness of the background is not affected too much.

In a summary, the tube output adds warmth and analog texture to the sound and brings mids a little more upfront without adding a distortion or taking away resolution. But don't expect Tube output to have a more pronounced “tubey" sound associated with desktop vacuum tube amps.

When you compare 3.5mm SS (single ended) to 4.4mm SS (balanced), you can hear more power where I had to turn the volume down. Soundstage is wider, and it sounds to me like it has the same width and holographic expansion as Tube output. Other than that, these Solid-State outputs are very close in tonality and presentation. The only difference I hear is soundstage expansion and output power.

In some pair ups, going from Standard (P) output to HIGH2 (P+) gives you an improvement in bass response with a deeper lifted sub-bass rumble and a stronger mid-bass slam. Plus, I hear more body in the lower mids. In some cases, it even improved the soundstage expansion. For more details please read my Pair Up section of the review. As I mentioned already, this mode boosts the voltage of headphone amplifier stage which changes the characteristics of opamps. While this mode was implemented specifically to drive more demanding higher impedance headphones, surprisingly I also hear improvements with average and low sensitivity IEMs.



Comparison.

During this test I was using 64audio U18t w/EA Leo II cable, volume matched in every comparison. I will only focus on sound characteristics which is still the most important factor, but you must factor in all the features. At the flagship level many manufacturers have DAPs with excellent sound performance, but there are still variations due to a difference in sound signature and soundstage expansion. And of course, you need to figure out your requirements regarding the internal/external storage capacity, battery life, support of hi-res formats, output power, direct or remote streaming, access to apps, Bluetooth protocols, etc. In the comparison below, I noted if I was using N8 in either Solid State (SS) Balanced (4.4mm) or Tube Single ended (SE). And the same with a DAP of comparison, either SE or BAL.

N8 (SS, BAL) vs A&K SP1000 SS (BAL) - In this comparison N8 soundstage is a little wider and the sound is more holographic. In terms of the performance, these are very close, everything from layering of the sounds to their separation and dynamic expansion, but there is a difference in tonality. SPK is a little smoother and has a little fuller body sound, while N8 is a little leaner in comparison and has a more reference tonality with a little stronger mid-bass punch. SPK SS with its earlier fw1.06 used to be on par with N8 (or maybe even brighter), but A&K follow up fw updates (at fw1.11 now) made the sound smoother, especially with a warmer upper end. With Tube output, N8 becomes smoother and warmer, adding a little more body in lower mids than even SPK CU.

N8 (Tube, SE) vs Sony WM1Z (BAL, direct source) - In this comparison I still hear N8 having a little wider soundstage. Tonality/signature is close, but N8 is a little warmer, smoother, and has more analog flavor, especially with a little more laid-back presentation of the sound. With N8 having more analog flavor and warmer sound, in comparison to that I hear 1Z having better separation and more precise layering, just keep in mind when comparing N8 with solid state – the performance is close. But under the original test conditions, they both aim for a smoother, fuller body, more analog sound, but NuTube gives it additional dimension and pushes it further. Though, when you enable Vinyl Processor digital effect on WM1Z, you get the tonality closer to smoother-analog flavor of N8. Maybe it’s not totally the same, but it’s closer in tonality.



N8 (SS, BAL) vs iBasso DX200Ti (amp8, BAL) – In this comparison N8 soundstage is a little wider with a more holographic perception. Technically they have a very similar performance, perhaps with N8 having an upper hand in layering of the sounds, but I think it's due to N8 having more revealing tonality in this comparison, where DX200Ti w/amp8 is warmer and smoother. Of course, you tip the scale in the other direction when you use N8 with Tube output where the sound is smoother and warmer in comparison to amp8.

N8 (SS, BAL) vs L&P L6 (3.5mm) - with an exception of N8 soundstage being a touch wider, in this comparison I hear nearly identical sound, both in terms of tonality and technical performance. As expected, Tube output will change the sound, but when you compare the solid state N8 output to a lower impedance single ended output of L6 (it’s balanced output has high impedance) – I hear way too much similarities in tonality and technicality.

N8 (SS, BAL) vs N6 (3.5mm) - It has been a long time since I re-visited N6, and I was surprised to hear how wide and expanded its soundstage is, almost on par with N8. N6 sound tonality is brighter and more revealing, while N8 has a more natural tonality with a fuller body sound. In terms of technical performance, I hear N8 as having an edge with better layering and separation of the sounds, plus N8 sounds a little more dynamic. Another difference, which is hard to ignore, a higher level of hissing in N6 when tested with sensitive IEMs.



Pair up.

This test is going to be different from my usual pair up analysis. Due to dual output mode with Solid State and Tube amplifier and the variance of HIGH2 output (P vs P+), I felt like I’m dealing with 3 different sound performances I need to cover in pair up. Thus, for every IEM or Headphones under the test, I will describe how it sounds being used with Solid State (SS) or Tube, and I also will note Single Ended 3.5mm (SE) or Balanced 4.4mm (BAL), as well as P vs P+. I also mentioned in every test which cable I used with headphones.

Regarding “hissing” comment, people look at it in a different way. I call it an “idle hissing” test where I bring the volume down to zero and hit Play to see if I can hear anything with sensitive IEMs (no high impedance DD or full size, those are usually fine). In most of the cases that “waterfall” hissing no longer audible when music volume is up, unless if you hit a quiet passage in the song with not as many layered instruments/vocals. I don’t call it a true hissing test, and of course it has a lot to do with impedance and sensitivity of IEMs. I don’t want to confuse or to mislead my readers, just want you to be aware exactly what I’m doing in this test.

64 Audio U18t w/EA Leo II - low impedance average sensitivity 18BA iem:
· (SS, SE, P) - wide soundstage, deep rumbling bass, leaner revealing mids with a slightly pushed back presentation, crisp airy treble. Going to P+ brings up more sub-bass with a deeper rumble, including extra body in lower mids which get pushed slightly more forward. Going to BAL/P+ widens the soundstage.
· (Tube, P) - the sound is a little warmer, with a fuller body, and a more balanced signature. Going from P to P+ adds a little more body to the lower mids and makes bass go deeper and slam harder.
· With volume down to zero - hissing hardly even audible.

64 Audio N8 w/PWA No5 - low impedance low sensitivity 9-driver hybrid:
· (SS, SE, P) - wide soundstage with a balanced smooth signature, leaning toward the L-shaped. Bass hits very hard and has more forward presentation. Switching to P+ gives bass even more power, pushing closer to L-shaped signature. Switching to BAL/P widens the soundstage, tightens the bass, and brings mids a little more forward, and moving to BAL/P+ gives even more power to the bass slam.
· (Tube, P) - very wide soundstage with a balanced signature and smooth musical tonality. Bass goes deep and hits hard, feels like listening to big floor speakers, but it's not overwhelming and rather well controlled. Mids are smooth, natural, and very detailed. Treble is crisp and well controlled. Switching to P+ pushes bass a little harder, and I personally preferred going back to P. In this pair up I liked Tube/P the best.
· With volume down to zero – dead quiet background.



Sennheiser IE800S w/stock – single dynamic driver:
· (SS, SE, P) - a mildly v-shaped signature with a natural tonality, deep extended bass, natural mids, crisp treble. Going to P+ extends sub-bass rumble, going deeper and with more texture. Going to BAL/P+ expands soundstage wider, making the sound more holographic.
· (Tube, P) - tube output improves the signature by bringing up mids more forward, making the sig more balanced, and making the soundstage as holographic as BAL Solid-state output. P+ makes bass go deeper where I preferred P instead since the sound was more balanced and less fatigue.
· With volume down to zero - dead quiet, no hissing.

VE Zen ZOE w/PlusSound Exo hybrid - 320ohm earbuds:
· (SS, SE, P) - wide open soundstage, warm natural laid-back sound tonality, balanced signature. With P+, I hear more clarity in mids. Very interesting how in these high impedance earbuds the P+ has a different improvement factor. Going to BAL with P+ widens and opens the soundstage more, while the sound is still laid back and organic, but retrieval of details noticeably improved.
· (Tube, P) - the sound is smooth as a butter, soundstage is open and wide, but the sound became smoother in comparison to solid-state which affected retrieval of details. I think in this pair up due to an already warm/smooth original nature of these earbuds, to my ears solid-state has a better synergy.
· With volume down to zero - no hissing what so ever (and these never hiss due to high impedance).

Campfire Audio Andromeda w/ALO SPC litz - high sensitivity lower impedance 5BA:
· (SS, SE, P) - wide soundstage expansion, deep textured bass, more revealing yet still natural mids, well controlled treble. Going to P+ adds more body to lower mids, making signature more balanced, and making bass more layered and multi-dimensioned. Going balanced expands the soundstage and makes signature more balanced.
· (Tube, P) - brings mids more forward with a more natural organic tonality, makes treble smoother and more natural, expands soundstage wider.
· With volume down to zero – a noticeable hissing, also heard in quiet passages of the songs.

Ultimate Ears UERR w/stock - average impedance/sensitivity 3BA:
· (SS, SE, P) – above average soundstage, very neutral tonality with a relative balanced signature, and a slight more forward presentation of mids. Going to P+ brings more weight to the lower end, and I can hear more rumble in bass now. Going to BAL expands the soundstage and improves dynamics and layering of the sound.
· (Tube, P) - the signature is still balanced but the tonality has a little more analog color, more texture, not as neutral anymore. Going to P+ adds more rumble to the sub-bass and more body to the lower mids. This is by far my favorite pair up combination with UERR.
· With volume down - zero hissing, dead quiet.

Audeze EL8C w/stock - planar magnetic, full size closed back:
· (SS, SE, P) - very wide soundstage, brighter and more revealing tonality, with a more mid forward signature. Bass goes deep, fast, textured; mids are lean and revealing, and upper mids and treble don't have any metallic sheen. Going to P+ just adds a little extra weight to the sub-bass, giving it a deeper rumble. Can’t test BAL since I only have SE cable.
· (Tube, P) - in comparison to solid state, mids come more forward and have a little more body and treble has more control. Going to P+ adds more texture to the sub-bass and a little more slam in mid-bass, and adds more body to the lower mids, giving mid-range a more natural tonality. Tube/P+ is probably the best pair up with EL8C I heard to date.

Beyerdynamic T5p 2nd gen w/TWag v3 - full Tesla driver closed back:
· (SS, SE, P) - wide open soundstage, smoother warmer tonality, balanced signature with a great low-end extension. Surprisingly, upper mids and treble here are noticeably smoother in comparison to what I'm used to hearing. Enabling P+ has a very subtle, hardly noticeable effect of just adding a little more texture to the bass. Going to BAL/P gives soundstage a more holographic perception and opens the mids with a more revealing tonality. Switching to BAL/P+ makes bass punch a little harder. Really liked BAL/P+ pair up, keeping the sound natural, balanced, and still with an excellent retrieval of details.
· (Tube, P) - wide soundstage, with a smooth natural tonality and balanced signature; great sub-bass extension with a deep velvety sub-bass rumble. The sound is smoother and a little more laid back in comparison to solid-state. Switching to P+ gives the sound faster bass punch. While I enjoyed natural tonality of tube output here, I preferred going back to BAL/P+ of solid state output to give the sound a better definition.



Oppo PM3 w/stock bal - planar magnetic, closed back:
· (SS, SE, P) - wide soundstage, balanced signature with a warm tonality, thicker organic mids/vocals, crisp treble. Going to P+ makes bass tighter, punching a little harder and with more control, and makes lower mids a little leaner, giving the sound more transparency. Going to BAL/P+ opens-up soundstage even wider, making sound more holographic, and mids more transparent with an improved retrieval of details. The tonality is still natural, but I hear a lot less coloring and more transparency. Again, probably one of the best PM3 pair ups I heard.
· (Tube, P) - wide soundstage, balanced signature with a warmer smoother tonality and some coloring. Going to P+ makes bass tighter and mids more transparent, still smooth and natural but less colored and with better retrieval of details. I still like Solid State with P+ pair up better, but this one was pretty good too. For sure, PM3 benefits from higher output voltage.

Audio-Technica ATH-R70x w/stock SE - high impedance (470ohm) open back:
· (SS, SE, P) - holographic open soundstage, very natural tonality with a nicely balanced signature. Deep sub-bass rumble, organic sweet mids, well controlled sparkly treble. Going to P+ adds more texture to the bass without affecting mids. Only have SE cable, so can't test BAL here.
· (Tube, P) - soundstage is as open and holographic, but tonality is a little smoother with mids having a fuller body. It's a very subtle change, more of a sound refinement. Going to P+ adds a little more coloring to the mids, which I wasn't too crazy about, preferring going back to P where the sound was more transparent.



Wired and wireless connections.

Cayin N8 offers a very comprehensive selection of wired and wireless connections. Here is what I tested, and my impressions about it.

Wireless/Bluetooth.

Bluetooth Rx with Galaxy S9 smartphone (wireless app streaming) – introduction of BT Rx is truly a blessing for many manufacturers since you don’t need to be responsible for Google Play and supporting various apps. Instead, you let your smartphone handle heavyweight lifting of the apps and pair up your DAP wireless to the smartphone, turning it into a Wireless DAC to steam apps. This pair up was very simple, enable BT in N8, and search for it from your phone. While in BT Rx mode, I was able to walk away from my S9 about 50ft in open space and the connection with N8 was still solid while I was streaming Spotify.



With the latest FW2.0 update and implementation of duplex LDAC Bluetooth codec, now you can transmit wireless with a support of up to 96kHz in both Tx and Rx modes and a maximum transmission rate of up to 960kbps.



Bluetooth Tx with wireless headphones (with Momentum 2 Wireless HD1) – The dual bi-directional Bluetooth means also that you can pair up any wireless headphone with N8. Once you put your headphones into pair up mode, scan for it from within N8, and connect within second. Make sure to have apt-X enabled if headphones support it. The wireless coverage across open space was like in my BT Rx test, almost 50ft without a problem. While in theory this is a universal BT protocol, I went back’n’forth with Momentum 2 pairs up with my phone and N8 and hear a more balanced sound when paired up with N8.



HibyLink between N8 and Galaxy S9 – while some mistake it for a wireless link, thinking it enables streaming from a phone to a DAP, this is just a convenient way to control your DAP remotely where your smartphone becomes a remote display/controller of N8. In case of N8, HibyLink has an added value, especially if you are planning to use N8 as a transport or as a DAC in a desktop setup and can control it remotely from across the room. Plus, as I already mentioned, it’s very convenient to Lock controls, keep N8 in a backpack or jacket pocket, and control it remotely from your phone.

External AMP pair up.

N8 + FiiO E12A (3.5mm LO) – while comparing N8/E12A vs N8, I hear E12A pair up to be warmer and smoother, while directly from N8 (using its internal amp) the sound is more revealing and more reference/brighter. I use E12A in this testing with many DAPs due to its transparency, letting me hear the “sound sig” of the DAC. From this testing, it sounds like N8 built in amp brightens the sound a bit.



Digital Out (DAC/amp) connection.

N8 + Oppo HA-2 w/Shanling L2 cable - while I'm aware that I'm suing N8 as a transport and HA-2 dac/amp dictates the tonality of the sound, usually HA-2 with its ESS DAC gives me a brighter sound. Here the sound was quite natural when tested with N8 as a transport.



USB DAC support.

Once you install the latest universal Cayin USB Audio Driver (V4.35.0), N8 is recognized right away when connected to Windows 10 (tested with my ThinkPad T470 laptop). During the playback, N8 was displaying the sampling rate and bit depth of the song and you can control the volume from the DAP. I played many tracks from my laptop using N8 as USB DAC and then compared the same tracks from standalone N8, and I don't hear any sound difference. I know it’s an overkill to use N8 as USB DAC, but for anybody interested it’s available.

Conclusion.

While every manufacturer has their own flagship DAP, it seems that many TOTL DAP discussions often start with SP1000 and WM1Z. With Cayin N8 in the picture now, I think you can have the best of both worlds and then some. The reason I’m saying “both worlds” because N8 offers the best of each DAP sound quality fused with Cayin’s own portable and desktop systems by combining the high-resolution dynamic sound of AK4497 DACs, expanded holographic soundstage of balanced and single ended outputs, power of solid state amplifier and analog warmth of vacuum tubes, high output mode of the desktop grade performance, and a solid stainless-steel build quality.

I always try to stay neutral in my reviews, encouraging people to do their homework, trying to figure out their budget first, trying to decide which features are must have, what can you live with and without, how are you planning to use it, etc. N8 doesn’t make SP1000 or WM1Z obsolete, because each one still offers its pluses and minuses, and you need to do your own homework to decide which one will suite you better. But in my opinion, moving forward the discussion about TOTL DAPs can’t be complete without N8 as one of the serious contenders next to SP1000 and WM1Z.

Also, the implementation of Korg NuTube in N8 design is not just a buzz word. It’s not coincidental that Cayin was the first manufacturer to implement these in their portable DAP design because they have many years of experience designing desktop vacuum tube amplifier systems and many successful DAP releases in the last 4 years since introduction of N6. Implementation of NuTube was just the next logical step by bridging portable DAPs and desktop systems into a new breed of a portable desktop performance N8 DAP.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: Oriolus Japan. Available for sale directly from Oriolus or Penon Audio, or by request from MusicTeck.

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Intro.

Attending CanJam NYC'18 early this year has left me with many great impressions, but one pair of IEMs stood out, to the point where I got a bit obsessed and couldn't get the sound sig out of my head. The only way to overcome this obsession was to get these back into my ears, and I feel very fortunate to be able to review Oriolus Mellianus (Mell), named after the silver oriole which is a species of bird in the family of Oriolidae. I tried to think about the meaning of this name, wondering if "silver" plays a more significant role here, perhaps related to a pure silver cable or the Titanium alloy faceplate with its silver glow. But regardless of the name, this "bird" has a singing voice with a unique sound tuning.

Oriolus, as a company, was found in 2015 under the umbrella of Cyras Co. in Japan, and, in addition to a few popular IEMs, already released a portable DAP, DAC, and Amps. Last year Cyras also added a premium line up of IEMs under Hyla name, including 10BA silver-shelled Nerva X which some might consider as an upscale variation of Mell. Both iems caught my attention at CanJam, and I came back 3 times to Oriolus table to audition and to compare these two models. At the end of the day, for my personal taste the neutral-balanced signature of lightweight Mell won over a more bass driven fun signature of silver Nerva X. Oriolus Mellianus (Mell) universal IEM is the one I would like to share about in this review.



Unboxing and Accessories.

IEMs arrived in a large all back, cardboard box with a magnetic flip cover and silver "Oriolus" name on the top, staying consistent with a silver theme. Inside, there was a velour covered foam insert with a secure cutout for IEMs and the cable, and another cutout for a custom genuine leather case. All together it had a jewelry box presentation.



The roomy leather case hosted all the accessories, including S/M/L foam eartips, not Comply but another generic brand, silicon eartips in SS/S/M/L sizes, and one pair of large double-flange silicone tips. The included shirt clip had a separate cable-clip attachment, always useful to reduce microphonics when cable is rubbing against clothes.

As mentioned already, leather case was very roomy with a large magnetic flip cover, enough room for IEMs and a thicker cable. But I think the biggest surprise here were the included adapters. With the original Mell cable being 2.5mm terminated, Oriolus included adapters to convert to 4.4mm BAL, 3.5mm BAL, and 3.5mm SE. Furthermore, the housing of the adapters was made from African imported ebony wood which is very dense and durable. The same ebony wood material was used on the cable termination plug, y-splitter, and even a chin slider.



Cable.

The included premium removable cable uses single crystal pure silver wire, and according to Oriolus it’s imported from US and based on oil-immersed process (though not officially stated, I can see it looks just like TWag v4 cable). I’m familiar with single crystal cable manufacturing process which is used to improve the purity of the wire, but not sure if I came across oil-immersed process description before. The cable has a standard 1.2mm length and 2pin 18k gold plated standard 0.78mm connectors that fit securely into recessed socket of the shell. Only right 2pin connector has a red dot marking which is aligned with a red dot on the Right shell.

As mentioned already, plug is terminated with 2.5mm TRRS balanced connector which has a rare ebony wood housing, the same material used for a short cylindrical y-splitter and round chin-slider. Cable wires are on a thicker side, probably 22-23 AWG gauge, 4 separate conductors, all inner-twisted with a stiffer insulation jacket. The overall cable does feel a bit stiff and has some microphonics effect, thus if it bothers you – use the included cable/shirt clip. There is no memory wire, but it has a pre-shaped earhook heat-shrunk tube which I welcome due to a thicker springier nature of the cable.



I was satisfied with a cable pair up and the cable quality, despite it being on a thicker side. But that didn’t stop me from trying other premium cables, and here are the results of my cable-rolling.

I was using SP1000 SS as a source in every comparison, making sure the volume is matched to compensate for any level drop due to difference in wire impedance.

Stock Silver to Effect Audio Ares II 8wire - Doesn't change tonality too much, and instead adds a little more body to lower mids and overall sound, makes mid-bass punch just a bit stronger, and takes a little edge of the treble, making it even smoother. Soundstage is the same.

Stock Silver to PlusSound Tri-Copper - Upper mids and treble are very similar, but I hear more body in lower mids, sub-bass rumble is a little deeper, and mid-bass punch is a little stronger. Soundstage is the same.

Stock Silver to PWA 1960 4wire - When you think the soundstage couldn't get any wider, 1960 pushes the boundary even further with a little more width and depth. Sub-bass has more rumble, mid-bass hits harder and faster, lower mids are as neutral but upper mids are a little more revealing, treble has a little more crunch and airiness. Switching to 1960 does make the sound a little more revealing and a little less organic in comparison to stock cable.

Stock Silver to Effect Audio Horus - Interestingly enough, in this pair up the upper mids are pushed a little more forward and treble sounds crisper and brighter. The sound is more revealing, not as smooth organic as the stock cable, and a little colder in tonality. Soundstage was a touch wider, but I wasn't too crazy about this pair up since it took away the naturalness of Mell's tuning.

While for my personal taste I found Tri-Copper cable pair up to be the best with Mell, in general I wouldn't worry about cable rolling since the included pure silver premium cable has a great synergy with Mell, and it sounds more like a pure copper rather than pure silver. Due to a stock cable being a little thicker and stiffer, I could only imagine people switching the cable to upgrade the ergonomics of it, rather than sound.



Design.

Mell comes only in universal clear shell design, using a medical grade material from Germany. The shape of the shell is very compact, probably one of the smallest 10BA driver shells I have seen in a while. For 10BAs, the shell design ergonomics is excellent, and it has a very comfortable fit. Thanks to a transparent thick wall of the shell, you can also appreciate the full and clear visibility of every driver, internal wiring, and crossover components.

The “Oriolus” marking on the inner side of the shell, above the serial number, is color coded with red on the Right side and blue on the Left side. Faceplate panel is made from a titanium alloy with an etched Oriolus name. While CIEM design option is not available, meaning that you can’t customize these, I still find Mell to have an elegant look and a very compact design. The only thing, nozzle is on a wider side (about 6.5mm), not an issue in my case since I got wide ear canal opening (and use the largest eartips), but it could be an issue for those with a narrow earcanal.

Inside the shell, there are 10 Balanced Armature drivers per side, a mix of Knowles and SONION BAs. What’s interesting, the design has a 3-way crossover, with 4 highs, 4 mids, and 2 lows, but the nozzle has 4 bores, 3 smaller ones and one large one. I can clearly see two BA pairs going to one bore opening, and other three BA pairs going to their individual bore openings. Regardless of how drivers are partitioned and connected to sound tubes going to bore openings in the nozzle, what counts the most is how the sound mixes together in your earcanal when it leaves the nozzle, and I will cover that in the next section of the review.



The fit.



Sound Analysis.

I analyzed Mell sound performance across different sources while playing a variety of test tracks, such as Agnes Obel “The curse”, Sandro Cavazza “So much better” (Avicii remix), C-Bool “Never go away”, Ed Sheeran “Shape of you”, Galantis “Hunter”, Iggy Azalea “Black widow”, Indila “Boite en argent”, Robin Schultz “Oh child”, David Elias “Vision of her”, and Michael Jackson “Dirty Diana”. Also, Mell went through about 100hrs of burn in before I started analyzing it, just playing tracks in the loop, though I didn’t notice any significant changes in sound.

Mell is a neutrally tuned IEM. But when i say "neutral", I don't mean neutral "flat" like, for example, UERR. Instead, it has more of neutral-balanced signature where nothing is overemphasized, and everything is perfectly balanced. Mell has a neutral signature with an even natural tonal balance of a transparent effortless layered sound across the entire spectrum. While you can hear a deeper sub-bass extension and maybe a little extra sparkle in treble, there is hardly any coloring of the sound, it's very transparent and has an excellent retrieval of details even without a need to sound analytical.

Another very interesting observation is how coherent all the drivers sound. It feels like a continuous transitional flow from low end, through mids, and into treble. Certainly, a neutral signature without too much of extra emphasis on any parts of the FR helps in creating the coherency. But nevertheless, it does feel like one coherent driver.

The sound is well layered with a clear separation between the layers, where every instrument and vocals are easy to distinguish, nothing ever gets congested or veiled. And as I mentioned already, the sound is very transparent (not colored at all).

Soundstage has a large expansion, both width and depth, taking an oval shape with not too much of out of your head depth, but still with the sound having a little bit of holographic spacing. I don't mean it like 3D holographic, but rather more like an oval shape holographic. With such expansion and sound layering, there are no issues with accuracy of the instruments and vocals positioning within a space. To my ears, the imaging is convincing and natural, the way how you would see/hear instruments with performers on stage.

In more details, bass has a pretty good sub-bass extension, goes deep with a nice textured rumble, not too much elevation, but you need to be sure to select a pair of eartips that gives you the best seal; this could make-or-break the bass extension here. Mid-bass has a nice punch, not overly aggressive, but also not exactly neutral-flat either. It's not the fastest or the tighter mid-bass, has a more natural attack and decay, perhaps a little slower than other BAs but not quite as slow as dynamic drivers. Overall bass is well controlled, layered, natural, having a performance somewhere between BA and DD.

Mids are neutral, especially in lower mids where you shouldn’t expect a thicker or a leaner body, and I think that's also contributes to coherency of tuning and how smoothly bass transitions into mids without any extreme separation. Upper mids are neutral, natural, but still very detailed. In many cases, a combination of neutral and natural can smooth the sound too much, making it more laid back, taking away some clarity. Here you have a combination with a balance of many different peaks in upper mids and lower treble (2k, 3.5k, 12k, even a little 7k bump) when you sweep the FR, also confirmed when I measured with Veritas. The mix of all these peaks yields a smooth natural tonality with an excellent retrieval of details.

Treble is well controlled while still maintaining a natural clarity and sparkle, thanks to a balance between small bump around 7k and peak around 12k. Treble does sound natural to my ears. I think what's important here is not only the frequency, but also the quantity of the peaks, creating a more balanced tonality when tuned properly. Also, the airiness is OK, but the treble doesn't extend too far and starts to roll off after 12k, which adds more to a natural tonality of this IEM.



Comparison.

In each comparison I used SP1000 SS as my sources. Also, each pair was volume matched for consistency.

Mell vs Westone ES80 - Mell soundstage is wider, but ES80 has a little more depth pushing sound further out. While I consider both to be neutrally tuned, the biggest and the most noticeable difference here is the sub-bass, where Mell goes deeper and has more rumble while ES80 roll off with a politer sub-bass extension. Mid-bass is similar here, maybe with Mell punching a touch harder, but I think I got that perception based on Mell bass being a little faster and tighter, while ES80 mid-bass is a little more relaxed in comparison. Both have similar neutral lower mids, while Mell upper mids are a little more revealing in comparison to ES80 upper mids being smoother and more organic, but still not too far off. Both exhibit a similar retrieval of details in mid-range. Treble has a lot of similarities as well, having a natural well controlled non-fatigue sparkle. ES80 was a big step for Westone, away from their usual lush signature. Mell tuning is for those who want ES80 with a deeper sub-bass and a little brighter and airier upper frequency tonality.

Mell vs 64 Audio U18t - In this comparison I hear both Mell and U18t having nearly identical soundstage expansion, in both width and depth. Once you start comparing their signature and tonality, you will also notice a lot of similarities in bass with a similar sub-bass extension and mid-bass punch, but U18t bass feels even faster, with a performance more typical of BA drivers, while Mell is somewhere in between of the speed of BA and the full roundness of Dynamic driver. Moving up to the mids, you will hear more difference with U18t lower mids being a little leaner in comparison to a more neutral Mell. Upper mids are brighter and more forward in U18t, while Mell sounds a little smoother and not as forward, but despite the difference in presentation and tonality, both offer a similar level of detail retrieval. Their treble performance pushes them even more apart, with Mell being more natural, smoother, and with a more moderate sparkle, while U18t being brighter, with more sparkle, and more airiness. The choice here will be based on a personal preference of tonality.

Mell vs UM Mason V3 - Both have a very similar soundstage width, maybe with Mell being a tiny bit wider, but overall the width is nearly identical. With depth, I feel like Mell pushes the sound/vocals a little bit further out of your head, while Mason brings it a little closer to you, giving it a more intimate feeling. In bass comparison, Mell bass is closer in sub-bass extension/rumble to Mason (with bass module closed), when Mason port is open, sub-bass attenuates down. In mid-bass, Mason packs a little more punch, while Mell is staying closer to more neutral quantity, but overall the bass is similarly layered and has the same tight control. With an exception of mids presentation, where as I mentioned Mell gives it more space while Mason brings it closer and makes it more intimate, the tonality and the layering of the lower and upper mids are nearly the same. Treble is where I hear more difference with Mell being smoother and more natural, while Mason having more sparkle, being brighter and crisper. But in a summary, these are not too far off in tuning and performance.

Mell vs oBravo ERIB1C - I know some might question, why compare DD/PMD hybrid to 10BA iem? Well, aside from bass, these have a lot more in common. Starting with a soundstage, semi-open design of ERIB1C has nearly the same width as Mell, while ERIB1C depth is more holographic out of your head, even further out then Mell. Despite ERIB1C having a dynamic driver low end, it's a lot more neutral than Mell, while Mell has a deeper sub-bass extension and stronger mid-bass punch. Mids have a lot of similarities, both having a neutral lower mids and smoother natural upper mids with a very similar level of detail retrieval. The variation in soundstage depth gives mids a little different perception since ERIB1C pushes them further out of your heard, but once you adjust your focus, you quickly realize how similar they are in tonality and transparency, maybe with ERIB1C being just a touch smoother, but not too far off. With treble, while I hear ERIB1C extending further and Mell having more sparkle, they both have a well-controlled natural treble tonality. What strikes me the most here, we are comparing miniature planar magnetic driver to multi-BAs, where I find tuning similarities.

Mell vs Ultimate Ears UERR - Of course, how can I talk about neutrally tuned IEM without bringing up UERR. In this comparison, I find Mell to have a wider soundstage, while both have the same soundstage depth. UERR bass is a lot more neutral, something I consider to be flatter, while Mell has a noticeably deeper sub-bass rumble and a stronger mid-bass punch. Lower mids are similarly neutral, without any additional boost or attenuation, while upper mids slightly vary with Mell sounding more natural and smoother while UERR being a little brighter and sounding a little raw in comparison to Mell. While both have a treble with a similar sparkle and extension, the tonality of Mell is a little smoother and more natural while UERR pushes a little brighter here. I still consider both to be neutrally tuned, just at an opposite spectrum of it, especially when it comes to the low end and the treble.



Pair up.

From Mell spec, it has 36ohm impedance (a perfect average to make it sound great even with higher OI sources), and 109dB sensitivity, a little below average which requires a few extra volume clicks.

A&K SP1000 SS - very wide soundstage expansion, zero hissing, neutral signature with a natural tonality, a little extra sub-bass rumble, neutral lower mids, clear detailed natural mids, well defined treble with a natural sparkle. This is my baseline pair up.



Sony WM1Z - very wide soundstage expansion, zero hissing, neutral signature with natural revealing and slightly brighter tonality in upper mids/treble. In this pair up, sub-bass has a great extension but a little less rumble in comparison to SPK. Mids are a little leaner, and I hear upper mids and treble being slightly more revealing and a little brighter. This pair up wasn't my favorite since I preferred a more natural tonality of SPK pair up.

Hiby R6 - very wide soundstage expansion, zero hissing, and no effect of 10ohm output impedance since this is 36ohm iem. Signature is more neutral-balanced, with a natural revealing tonality, nice deep sub-bass rumble, punchy mid-bass, natural revealing upper mids, and a nice crisp treble. It takes SPK SS pair up to the next level with an improved retrieval of details, though SPK is a little smoother and more organic in comparison. Really enjoyed this pair up; perhaps high output impedance is good for Mell.

FiiO X5iii - wide soundstage expansion, nearly zero hissing - hard to believe but output is quiet, and I usually use X5iii specifically to check for hissing. Sound sig is more neutral-balanced with a warmer smoother more organic tonality. Sub-bass rumble goes deep, and mid-bass has a little more punch here. Lower mids are neutral, upper mids are detailed, natural, organic, treble has a nice well controlled sparkle. I was surprised with this pair up since many IEMs do hiss with X5iii, while here it was down to minimum, hard to even hear it. In this pair-up Mell don't have the most detailed sound, instead it's the smoothest and the most organic.

Lotoo PAW Gold - very wide soundstage expansion, zero hissing. The signature is more neutral-balanced with a natural revealing tonality. Bass is very punchy and tight, but sub-bass extension here is not as deep as in other pair ups. Lower mids are neutral and upper mids are more revealing but in a natural non-analytical way. Treble is very crisp, but not harsh. In this pair-up I actually hear upper mids/treble to be a little brighter in comparison to other ones.

iBasso DX200Ti w/amp8 - very wide soundstage expansion, zero hissing, neutral balanced signature with a natural revealing tonality. Bass has a deep sub-bass extension and nice fast mid-bass punch, neutral lower mids, natural revealing upper mids, and a very nice crisp treble which still maintains a natural tonality. This pair up felt like a more refined version of R6. I think this was probably my favorite Mell pair up, with the best sound transparency.



Conclusion.

In the intro of my review I mentioned that I wanted to hear Oriolus Mellianus again, so I can get the sound sig out of my head, but instead I became more addicted to this silver bird. I have heard, tested, and compared a lot of flagship IEMs, and after a while the excitement drains out because every new IEM is just a variation of something you heard before. With Mell, it’s something different, and I feel that it stands out and complements other IEMs I have tested. This IEM is not trying to excel in bass slam or mids micro-details or treble sparkle. It just flows naturally with an even transition across entire frequency range. It’s not flat or fun and not laidback or energetic, it just sounds neutral, natural, balanced, and enjoyable for many hours of non-fatigue listening.

I talked to a few other people who also auditioned both Mellianus and Nerva X and preferred X because they wanted more bass and more treble sparkle. We all have different sound preference and I don’t expect everybody to appreciate Mell the way I do. In my opinion, Mell emphasizes more on quality rather than quantity in everything from the sound tuning to the design. And even so I wasn’t too crazy about cable ergonomics, the pair up with stock pure silver wires is excellent, and with access to so many other premium cables, I still went back to the stock one. If you get a chance to audition this pair of IEMs, don’t miss the opportunity.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: 64audio. Available for sale directly on 64audio website, as well as other places like Audio46 and Music-Sanctuary.

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Intro.

You can say I was living under a rock, because when I heard about the introduction of 64 Audio first signature series model N8, I wasn't too familiar with a name of Nathan East. It's embarrassing to admit, but I thought to myself that I will Google his name to find out who he worked with so I can discover a new music to hear where the inspiration for N8 tuning came from. Imagine my surprise when I found that Nathan is a renowned session bassist who contributed to some of the biggest names in the music industry over the last 40 years, from Michael Jackson, to Eric Clapton, Phil Collins, Elton John, Donna Summer, Lionel Richie, Cher, Kenny G, Celine Dion, Usher, Savage Garden, BB King, Beyonce, Seal, Michael Buble, Diana Krall, etc., and of course his contribution and performance on Random Access Memories album by Daft Punk.

I guess I wasn't the only one, because even Nathan's website mentions "You have been listening to Nathan East your entire life, but you just never knew it." So true. Plus, knowing a background of the musician's work can give you a good idea what to expect from the tuning of this CIEM. Another clue was the association with a model "8" which was known in the previous 64 Audio line up as the most basshead-friendly monitor. 64 Audio typically associates a model name with a number of drivers, while here it was a combination of various things. Since Nathan wanted more low end impact and less high-fi sound, association with previous "8" made sense, though this is a hybrid design with a single DD and 8 BAs, total of 9 drivers. And due to one tia driver, originally it was N8t, but got renamed to N8 which sounds more like "Nate", thus a reason why it's not A8 or A8t.

I spent almost a month testing this pair of IEMs, with many hours in the last few weeks when I went through a catalog of Nathan's releases, including his recent track "Daft Funk" where he collaborated to create a funky tune in the spirit of Daft Punk "Get lucky." Finally, I'm able to share with you my impressions about this latest 64 Audio release.

Unboxing and Accessories.

Unlike previously reviewed U12t/U18t/Trio/Fourte, N8 arrived in a small compact storage box with a picture of Nathan East on the cover, acknowledging these are signature series earphones with “Nate” behind the sound tuning. This is a similar compact box I remember from U12 and U6 reviews, where once a sleeve is off and the cover is lifted, under the cover you will find a Quick Start Guide with various volume advisory guidelines and a guide how to properly fit CIEMs in your ears.

The sleeve itself features Nathan’s signature on the side, and the cover also features a quote from him with a signature underneath. I thought it was ironic how you can see his signature on outside of the box and can hear his “sound” signature inside of it.



In addition to round 64 Audio sticker, the other included accessory is a custom storage case with a small removable dehumidifier, cleaning tool, and a shirt clip. As I mentioned in my previous reviews, it would have been a cool idea to have a shirt clip function as tweezers to grab apex module since they are not as easy to remove from CIEM shell of N8. My personal trick is to use one of those chip-extractor tweezers which you can find on eBay for a few dollars.

In this storage case, everything from a wide easy to handle latch to an air valve eliminating build-up of inner case pressure when you close it, to individual earpiece storage sections with removable rubber lining and a custom built-in cable winder, a spot to plug right angled headphone connector and to place the included round dehumidifier container, as well as a built-in organizer to hold securely a shirt clip (included), a cleaning tool (included), and pockets to hold 2 sets of apex modules – all this was custom tailored and well thought of. There is even enough room if you decide to use a thicker replacement cable.

When you place the order, you can also specify if you want your name to be etched on the top of the case to personalize it. While many companies use off the shelf Pelican or Otterbox storage cases with a pre-cut foam inserts, 64audio went one step further with their own custom designed case which protects your investment and keeps everything organized inside.



Cables.

N8 arrived with 64 Audio own premium ultra-low resistance, silver-plated copper (SPC) cable which is available in either black or pearl white matte finish and could be selected during the order as either 48” or 64” (additional fee). If you need a different termination and want to use the same SPC wires, 64 Audio also offers Premium Cable where you can choose 2.5mm or 4.4mm balanced plug and recessed vs non-recessed 2pin connectors.

The stock cable, which is called “professional cable”, is offered with 3.5mm headphone plug which has a right-angled plastic mold connector with a nice grip. The cable itself feels durable and very flexible, and comes with 4 separate inner-twisted conductors with a tight rubbery shielding, and no microphonics effect. The y-splitter is a heat-shrink tube, nothing fancy, and the chin-slider is a clear tube with enough friction to keep it from sliding freely. Toward the earpiece connectors, you have a memory wire which you pre-shape for comfort. The 2pin connector is universal and works well with a recessed 2pin shell sockets, and it’s conveniently color-coded with a Red dot for the Right side and a Blue dot for the Left side. Also, 2pin connector plastic mold is slightly angled, making the bend of the memory wire more natural and comfortable over your ear. Personally, I'm not a big fan of memory wire, but I'm sure performing musicians who have to move around on stage will appreciate it.



Aftermarket cables.

I'm a cable believer because I hear the difference, either a subtle or a more pronounced, and I have mentioned in many of my other reviews that intent of my testing with different cables is not to stir up a controversy, but rather to share my experience of what I hear. Feel free to skip this section if the talk about cables offends you. In this test, I used N8 w/M15 module and compared various cables to 64 Audio stock SPC cable. I did volume match by ear because many of these multi-conductor thicker cables have lower impedance which usually results in a louder sound that could be misleading when analyzing and comparing to a stock cable. Many of these cables are from Music Sanctuary where you can also order 64 Audio C/IEMs.

Last, but not least, I usually mention that despite the sound changes during cable rolling, nothing is night'n'day. In theory, cable shouldn’t function like an EQ to drastically change the sound, it’s there for refinement of it. Plus, N8 is equipment with LID tech to minimize sound variation due to output impedance of sources. But the changes here were quite noticeable. Perhaps it’s a combination of 6ohm N8 impedance along with these low impedance cables. Just keep in mind, the original N8 sound was tuned in collaboration with Nathan East who wanted a specific tonality which has been achieved using a stock cable. But it doesn’t mean you must stop there. Here is how I hear the sound changes relative to bass and mids as I was swapping cables while testing N8. These observations are relative to a stock SPC cable, while I was using SPK-SS as my source.

- Stock SPC cable - powerful bass impact, clear smooth mids.
- EA Ares II - a little more bass impact (hitting it even harder), and more clarity in mids.
- PWA No 5 - more balanced bass (slight reduction in bass impact relative to stock cable), and more clarity in mids.
- EA Lionheart - a little more bass impact, and warmer mids.
- HSA Aurora - more balanced bass (slight reduction in quantity), and more clarity in mids.
- PlusSound Tri-Copper - more balanced bass (slight reduction in quantity), more forward mids with more clarity.
- PWA 1960 2W - more balanced bass (reduction in quantity and more articulate quality), better layered revealing mids with a wider soundstage.
- PWA 1960 4W - more balanced bass (reduction in quantity and more articulate quality), better layered, more revealing, and higher resolving mids, with a wider soundstage. Scales up 2W performance.

What I found here, if you want to scale up the performance of N8, more toward audiophile hi-fi quality where you have a more balanced bass with a reduced quantity (relative to a stock cable) and a more revealing crisper mids/treble - pure copper cable seems to do the job. And you don’t have to spend a fortune since something like No 5 ($150) pairs up great, though to my surprise Ares II lifted the bass (I wasn’t too crazy about that pair up). You can scale up this change with Tri-Cu or 1960 4W, but expect to pay a lot more for a cable.



Design.

Even so I’m not a big fan of CIEMs due to issues with a fit and my ear canal anatomy, in some cases there is no other choice and as of now N8 available in CIEM shell only. But I’m pleased to say that fit of N8 was perfect, they got it right from the first try. Once 64 Audio has your impressions and stores it digitally (though scanning), they can recall and edit it using a proprietary software, and 3D print it whenever you are getting a new pair of CIEMs.

But everything starts with 64 Audio Designer where you have a plethora of choices, starting with half a dozen of 3D printed shell colors, and a huge selection of faceplates (22 standard, 8 glitters, 4 glows, 8 wooden, 4 wooden burls, and 11 exotic material). You can also customize the logo with either 64 Audio or Nathan's “NE” signature initials in either gold or silver, or upload your own custom artwork. I’m sure, if someone has a custom color in mind, you can contact their customer service. Don’t forget, you can also customize the storage case with a user name and initials. Also, once the order is placed, you get a login to track every step of CIEM development and manufacturing, something I haven't seen with any other company. There is no instant gratification with CIEMs like you would have with a faster availability when ordering universals, but at least you are not in the dark when waiting for your monitors.

The shells I received were all black with a glossy piano finish of hypoallergenic hard acrylic material. Faceplate was black as well with a gold logo of 64 Audio (left) and NE signature initials (right). I found Nathan East "NE" initials to make a really cool custom artwork. Another addition to the faceplate is a replaceable apex module (providing a fatigue-free listening experience with no ear pressure build up), finally a hybrid design from 64 Audio where the module can be replaced, unlike Fourte and Trio.

2-pin socket is recessed, making cable connection more secure, especially for performing musicians on stage. Furthermore, I also find a tighter seal of a recessed socket to provide more protection in keeping moisture and dirt away from cable pins. On a side of the shell, close to the socket, you will also find a large vent for a dynamic driver. Last, but not least, inner side of the shell has a model number, serial number, and owner's initials, in red (on the right side) and in blue (on the left side).

Inside the shell you have a hybrid design with a 4-way crossover partitioning 9mm low Dynamic Driver (DD), 6 mid BAs, 1 high-mid BA, and 1 tia high BA. The total number of drivers is 9 while this hybrid CIEM has "8" model number. Balanced Armatures (BA) are typically self-enclosed with a single opening port, while you can think of tia as an open BA driver where one of the enclosure walls is removed, to enable direct-radiating of the inner diaphragm which no longer has a 4-wall confinement. Tia driver is usually positioned in the nozzle, next to the grill since it has to be closer to your earcanal. As a result, N8 doesn't have sound tube bores going to the nozzle, and instead has a mesh covering it up.

Another tech included with N8 is their Linear Impedance Design (LID) of crossover where despite a low impedance (6ohm), N8 should be compatible and sound the same when paired up with different sources, regardless of their output impedance.



The fit.



Sound Analysis.

I analyzed N8 sound performance across different sources while playing a variety of test tracks, such as Agnes Obel “The curse”, Sandro Cavazza “So much better” (Avicii remix), C-Bool “Never go away”, Ed Sheeran “Shape of you”, Galantis “Hunter”, Iggy Azalea “Black widow”, Indila “Boite en argent”, Robin Schultz “Oh child”, David Elias “Vision of her”, Michael Jackson “Dirty Diana”, and Nathan’s own “Daft Funk” as well as Daft Punk “Get lucky” where the man himself played the bass. Also, considering hybrid design of N8, I let it burn in for 100hrs to make sure its dynamic driver is fully conditioned, though I didn’t hear too many changes, except for the bass settling down just a bit.

N8 has a very smooth natural musical tonality with a signature on a borderline of balanced and a tilt toward L-shaped due to enhanced bass emphasis. The sound is organic, smooth, full bodied, and still manages to be resolving with a great retrieval of natural tonality details. N8 doesn’t have a high level of audiophile clarity one would expect due to high res tia driver, certainly not an analytical level of detail retrieval due to a musical natural tonality. But the sound never gets muddy or congested unlike some other similarly tuned IEMs

Soundstage is very wide and open, approaching holographic level. As a result, the imaging of the sound is pretty good with a convincing positioning of instruments and vocals where you can easily pin point everything.

The sound has a natural transparency, and while being smooth and leaning toward the warmer tonality, I don't hear as much coloring. The sound is clear and without veil or muddiness. I hear a good separation of instruments, but not necessary the best layering.

In more details, bass hits with a noticeable authority, and has a deep visceral sub-bass extension with a powerful analog rumble, and a strong rounded mid-bass punch with surprisingly decent decay control. Lower mids are not too thick, more toward a neutral leaner side, while upper mids sound natural, detailed, a little laid back and still resolving. Treble is well defined and well controlled, not too bright, natural and with a moderate level of airiness.



At the time of wring this review, N8 was listed on-line with M15 module only, but 64 Audio mentioned on Head-fi that soon an option for M20 will be available as well. My review unit arrived with both M15 and M20, thus I figured to compare them. For those who are not familiar, M15 gunmetal color module has 15dB isolation and 2 venting holes under the cap, while M20 silver color module has 20dB isolation and a single-vent pinhole.

While in other 64 Audio IEMs, M15 vs M20 can make a more drastic sound difference, here the difference was rather small. What I'm hearing is a very subtle change where with M20 the mid-bass hits just a little harder, while with M15 soundstage is a little wider. I personally preferred M15 due to a slight reduction in bass slam and more open and airy soundstage. In terms of isolation, I found N8 CIEM to offer a similar level with either of the modules.



Comparison.

In these comparisons I used C/IEMs with their stock cables, driven from SPK-SS, volume matched for consistency.

N8 vs EE Legend X - both have a great soundstage expansion (width/depth), but N8 is more holographic, spreading a little wider. With bass, LX is more aggressive and slams harder, while N8 with its own elevated bass slam has less quantity and sounds more balanced relative to mids and treble. Also, N8 bass has a little more control, due to slightly shorter decay of bass notes. Both have lean lower mids, but due to an enhanced bass impact LX lower mids sound thicker in comparison to N8 which has more controlled bass. Another similarity is both have mids with a natural tonality, though LX is more neutral while N8 is a little warmer and more forward in comparison. While tonality of mids is similar, the presentation and forwardness really do affect the signature, making N8 more balanced and LX more L-shaped. When it comes to treble, here I hear more sparkle with more revealing details in N8, while LX remains more neutral and smoother. Plenty of treble clarity and details in both, but N8 has more sparkle.

N8 vs UE Live - Live soundstage has a little more intimate feeling, having a little less depth and width, doesn't mean Live is lacking in soundstage expansion, just that N8 pushes it deeper and wider. Both have a very powerful deep analog bass, but N8 hits a little harder and its bass is faster and tighter, while Live bass has a little less impact, more rounded, and has a bit longer decay. Both have a natural organic mids, but Live mids have a little thicker body and more intimate closer presentation, while N8 mids are a little more revealing and presented more out of your head, related to their soundstage difference. With treble, the extension is similar in both, more controlled and with less airiness, but Live is crisper in tonality, giving upper frequencies a little more sparkle, which makes N8 sound a little more natural. One more obvious difference is around the 8k peak. This peak is on a borderline between higher definition and sibilance, and depending on the quality of the recording, can swing either way. When I took FR measurements (with Veritas coupler) of both N8 and Live, their FR had a striking similarity, yet they handle this 8k peak differently. You can throw in a poorly recorded track at N8, and it will handle it with more forgiveness in comparison to Live that brings up harshness of a poor recording.

N8 vs Westone W80 – Here I found W80 to have a little more soundstage depth, while N8 has more width. When it comes to bass, N8 certainly has an upper hand in both deeper rumble of sub-bass and more slam in mid-bass. W80 bass is elevated but not to the same level is N8, and it (W80) has a shorter decay and more control. That results in a leaner lower mids of W80, while in comparison N8 lower mids have more body. But it reverses in upper mids where N8 has a better retrieval of details while W80 is smoother, a little more distant, and more laid back in comparison to N8 which is more focused and has a more detailed upper mids. Also, N8 treble is a little crisper in comparison to a smoother and more organic treble of W80.

N8 vs 64 Audio U12t - Both have a similar soundstage depth, and while U12t has a nice staging width, N8 is still wider. As expected, the bass difference will be very noticeable with N8 having a lot more sub-bass and mid-bass impact while U12t being more neutral in comparison. Just keep in mind, I'm not saying U12t bass is neutral, only in comparison to N8 it's noticeably attenuated. Lower mids of U12t are also leaner in comparison to a fuller body and a more neutral lower mids of N8. Upper mids are different as well, with U12t being brighter, more revealing, and more transparent in comparison to a more natural organic tonality of N8 mids. And the difference continuous into upper mids where U12t is brighter, crisper, and airier, while N8 is smoother, more natural, and with a tighter control of tia driver. The sound tonality between these too is quite different where N8 has a fuller more organic natural tonality with a bigger bass impact while U12t is leaner, more revealing, and more balanced.

N8 vs 64 Audio Trio - Both have a similar soundstage depth, while N8 is just a little wider in staging width (closer to N8, but still can't match its width). With bass, Trio has a nice sub-bass rumble which approaches N8 in depth, but still doesn't hit as hard as N8, and overall bass is a little faster in Trio. In a way, Trio’s bass comes close in quality and balance but scales down in quantity when compared to N8. Lower mids are a little bit leaner in Trio, while N8 has a little thicker body in comparison. Upper mids have a very similar tonality and sound presentation, perhaps with N8 being a little bit smoother and more organic, while Trio is a little brighter and a touch more revealing. Treble in N8 is more controlled, well defined, yet a little smoother in comparison to Trio crisper and airier treble. When listening and switching between these, it felt like N8 is a scaled up bassier version of Trio, sort of like a Trio on steroids.

N8 vs Campfire Audio VEGA - Both have a similar soundstage depth, while N8 staging is a little bit wider. With bass, the extension and the impact are nearly identical. The only difference here is N8 bass having a little more control with a shorter decay, giving lower mids a leaner body, while Vega's bass decay is longer, making bass not as tight as N8. Mids have a lot of similarities as well, being natural, smooth, detailed. Perhaps, presentation of the mids in N8 is a little more intimate while Vega is more out of your head. The big difference here is in lower treble where N8 is more natural, smoother, more organic, while Vega is brighter, splashier, a little harsher in comparison (especially with poorly recorded tracks). This is another example where N8 is more forgiving when it comes to poorly recorded tracks.



Pair up.

In each source pair up, I was using 3.5mm HO port and a stock cable. With many DAPs, going balanced sometimes widens the soundstage, but switching to a different cable with a balanced termination can also contribute to changes in tonality, so I kept everything stock for consistency. N8 is easy to drive considering its 105dB sensitivity which might need only a few extra volume clicks, and also due to its LID tech where the low 6ohm impedance didn’t seem to cause any issues with different output impedance sources.

A&K SP1000-SS - a very wide and open soundstage, smooth organic tonality with natural musical details. Excellent bass extension with a velvety sub-bass rumble and elevated mid-bass punch, but the bass is not too aggressive. Mids maintain good body, a little laid back, while treble is well controlled, very natural and slightly relaxed in tonality.

Sony WM1Z - relative to SPK-SS, here soundstage width is a little narrower, bass hits a little harder with a longer decay which adds a little more body to the sound and makes lower mids thicker. Also, I hear more sparkle in treble in this pair up.

FiiO X7ii w/AM3A - relative to SPK-SS, sound signature is more L-shaped (bass hits harder), and the tonality is smoother, including both mids and treble. Soundstage is expanded with a very impressive width.

Lotoo Paw Gold - relative to SPK-SS, LPG has more sub-bass rumble, goes deeper and hits harder, and treble has more sparkle and airiness. Soundstage was similar.

Luxury & Precision L6 - the sound it somewhere between SPK-SS and LPG, where bass hits a little harder and treble has more sparkle and airiness, but not quite on the level of LPG changes.

Cowon Plenue 2 mk2 - relative to SPK-SS, P2mk2 has a very similar bass impact, and natural mids tonality, though also being a little more revealing and transparent. Also, the treble is a little more crisp and airy in comparison.

Hiby R6 - relative to SPK-SS, R6 has a little stronger bass impact (both sub-bass and mid-bass), very natural organic mids with more transparency and some improvements in detail retrieval, and crisper and airier treble with a better extension. Also, soundstage is as holographic.

DX150 w/AMP7 - relative to SPK-SS, the soundstage is wide but not as wide as SPK, the bass impact is very similar, tonality is very similar, being smooth and organic, with great retrieval of details. While SPK has a superior technical performance, tonality had a lot of similarities.

Shanling M0 - relative to SPK-SS, M0 delivers a little stronger bass impact, and bass itself is very tight and well controlled. Mids have more transparency, a little brighter, and even with some improvement in detail retrieval, all at the expense of tonality being less organic now. Treble is crisper with M0.

Galaxy S9 smartphone - a little stronger bass impact, natural smooth detailed mids, and crisper treble. Like M0, the sound here is not as layered or separated on the same level as other flagship DAPs.



Conclusion.

When I started to listen to N8, it took me a little while to adjust my ears to its unique tuning since I'm used to a more revealing sound, such as U18t with Horus cable. But as I shifted the selection of music from synthesized EDM tracks to songs with real acoustic and electric instruments, more natural percussions, soulful vocals, and other non-synthesized natural tonalities, I quickly realized the added value of N8 smooth natural sound signature. I wouldn't call it a basshead tuned CIEM because the focus here is not necessary on making the bass bigger and harder, but rather making it deeper and more analog with a rich full body natural tonality across entire frequency range.

The signature of N8 is an interpretation of Nathan East sound preference, where 64 Audio incorporated his tuning suggestions into their 9-driver hybrid. It will definitely appeal to many stage and studio musicians and performers. It will also be welcomed by bassheads who are not only after the quantity of the bass, but appreciate the analog quality of it. And by switching to pure copper cable, as noted early in my review, you can scale up (relatively speaking) the performance of N8 to a more revealing audiophile quality while still keeping the natural tonality of the sound.

Last, but not least, the sound sig of N8 doesn't exactly overlap with other IEMs I have access to, and instead complements many of them. As a result, N8 is easy to recommend to audiophiles who want to try something new and different, something more natural and less analytical, something to tickle their inner-basshead senses, instead of another incremental upgrade of their existing revealing IEMs. And if you get a chance, make sure to listen to 64 Audio IEMs at CanJam shows, local distributors (for example, Music-Sanctuary in SGP or Audio46 in NYC), or if you are in US - take advantage of their Loaner program.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: Ultimate Ears Pro. Available for sale directly from manufacturer or other distributors, like Music Sanctuary.

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Intro.

Ultimate Ears is not exactly the type of manufacturer who likes to shock us with surprises, yet early this year (in April) they made 2 announcements nobody expected. First one was the introduction of two new hybrid models (UE 6 Pro and UE Live), a step forward from their traditional all-BA designs, and the second one was a new IPX cable system in collaboration with Estron A/S who are well known for their popular Linum cables. Being quite familiar with UERR and UE18+ Pro, I couldn't resist to check out the sound tuning of their new flagship 8-driver hybrid UE Live and to find out more about their new IPX cable connector.

This is not my first UE write up, I have reviewed UERR in the past, and still consider it as one of my go-to IEMs (no pun intended since their universal version is actually called To-Go). UERR has a unique tuning which appeals to performing musicians, music producers, and audiophiles, while UE18+ Pro has more of an audiophile appeal. Which tuning route the latest UE Live will follow and will it be able to dethrone both UERR and UU18+ Pro? Let's find out!



Unboxing and Accessories.

With a modest smaller size black cardboard box and a magnetic flip cover, there is nothing flashy about the minimalistic packaging UE Live arrived in. Once cover is lifted, inside of a jewelry like presentation with satin material covering foam cutout, you will find a round puck case. This case has an aluminum plating on outside (I can feel it being cold to the touch) and a plastic shell inside with a soft foam lining. The top of the case is threaded which makes it easier to open the cover without IEMs flying out (unlike the aluminum UERR puck case back when I reviewed those).



I have seen other similar puck cases, but they are usually all metal and very heavy, or plastic and not as durable. This one has a combination of aluminum (for durability) and plastic (for lightweight) which you can also customize with your name on the top, though it's still not exactly pocket friendly. Also, included was a cinch bag to protect IEM shells from scratches inside the case, and a cleaning tool/brush. Furthermore, I found instructions manual with a guide to how to wear CIEMs, how to take care of them, and tips about safe listening.



Cable / IPX connector.

All my flagship IEM reviews usually include a separate cable section where in addition to cable description I also talk about cable rolling (trying different cables). It's a very common practice among audiophiles who want to fine tune the sound, to squeeze a few more ounces of performance improvement, often at diminishing return cost. I don't want to get into the argument about cables and the sound, will just leave it at me being a cable believer because I do hear the difference.

But if your target audience is a group of performing musician, cable requirements will change because #1 priority becomes durability of the connection, making sure it will not fail under extreme conditions of sweat, earwax, makeup, and wire strain during stage performance. That was a reason why all UE CIEMs in the previous gens used a less common 0.74mm 2pin connector housing designed with a guard sleeve that wrapped around the shell socket to protect from dust and moisture or the accidental pulling on the cable. This type of a connector requires more force to unplug the cable, but it wasn't enough for UE.

I can only assume, as part of the feedback while continuing to improve the design, UE wanted a connector with the same benefits and easier locking mechanism while adding a higher audio quality wires. The result is Linum SuperBax cable with super low 0.75ohm impedance and a custom IPX connector. This Linum cable is made of 6 Litz conductors, each with 7 individual strands, where each strand is made from a silver-plated copper with enamel. A very strong cable, tested to withstand a pull force of up to 60N, with a skin friendly and UV safe TPA material jacket which yields zero microphonics.

The cable has a total of 4 inner-twisted conductors, terminated with a right angled 3.5mm SE molded connector, molded plastic y-splitter, and a chin slider with a locking mechanism where you squeeze sides to extend inner part which slides out to allow easy adjustment and then slides back in to securely lock it in place. Above the splitter you have 2 inner-twisted conductors going to each side of the earpiece, terminated with a new IPX connector bullet. The connector reminds me a little bit of mmcx, but it's smaller, tighter fitting, doesn't spin easily, and has a very secure yet easy to disconnect locking mechanism. The connectors are color coded with red (right) and black (left), have IP67 rating (waterproof), and guaranteed for up to 3,000 disconnect cycles.



The cable is available in either 50" or 64" variants, and it's a very durable, sweat-proof, weatherproof, lightweight yet strong, and offers a decent audio performance. There is a little bit of memory effect when you unwind it, but it straightens out quickly. Of course, I can't compare it to other cables since no others are available yet with IPX connectors, but I'm very familiar with SuperBax cable which I have been using for years and have plenty of experience with to conclude the improvement in resolution and transparency when compared to stock OFC cables, and a great pair up with multi-BA IEMs, thanks to its super low impedance.

While only offered now with 3.5mm Single Ended (SE) termination, Linum is looking into various balanced 2.5mm TRRS connectors, and I also received one of their prototype balanced cables. It's the same cable, just using one of the BAL connectors Linum has under consideration, which appears to be a high-quality plug with a very comfortable grip and all metal housing. I even decided to run a quick test with Linum IPX SE vs BAL using SP1000 SS as my source.



In theory, IPX SE should sound the same as IPX BAL w/SE adapter. But to my surprise, while tonality remained nearly the same, the soundstage expansion was: BAL > BAL w/SE adapter > SE. These are two identical cables where the only difference is SE connector vs BAL w/SE adapter, and apparently the combination of the connector/adapter makes a difference where I hear a wider soundstage. Of course, in general, the advantage of a balanced terminated cable is being able to use BAL output of your source where in many cases you have a lower noise floor and a wider soundstage expansion, among other benefits. Just remember, switching a termination connector is a not a magic that going to improve your sound. The key here is a synergy with a source that has a properly designed balanced output.



Design.

UE Live is available only in custom fit (CIEM) which requires ear impression from a professional audiologist or using UE 3D Ear Scanner system. If you are a returning customer, your impression is stored on digital file for a fast recall and 3D printing. The customization is done using UE Designer where you have a choice of 20 colors, 10 wood finishes, 10 pattern finishes, 4 specialty material, or a custom artwork when it comes to the faceplate. The shell itself stays clear, and I noticed it was more transparent and less "cloudy" then UERR. I know UE been trying to improve their 3D printing process, trying to reach a compromise between the shell clarity and the thickness of the walls for more durability. They are certainly making a progress.

Inside you will find 6 Balanced Armature drivers, 1 True Tone Plus (improved over the original True Tone) BA driver, and one 6mm dynamic driver. All 8 drivers are partitioned into 3 Lows, 4 Mids, 1 High/Mid, and 1 High with 4 distinct channels routed into precision tooled branched acoustic audio paths which get combined into one going to a single bore opening in the nozzle. Also, to minimize (and simplify) crossover components, each driver is customized and tuned for a specific bandwidth.

The overall sensitivity is a little lower, at 105 dB, and the impedance of 10ohm is also on a lower side, all of which shouldn't be a problem when using low impedance SuperBax cable and when paired up with low output impedance source. I will cover sound analysis, comparison, and pair up with different sources in the follow up sections of my reviews.

UE Live fit was perfect, and using these CIEMs with Linum SuperBax was very comfortable, can hardly feel it. As I mentioned before, I didn't experience any microphonics, and isolation was pretty good, according to UE these should offer 26dB of isolation. UE also offers the ambient feature option (need to specify in UE Designer when building the CIEM) which allows for the stage sound-bleed, so you can hear more ambient stage atmosphere at expense of some attenuation in low-end. It's an option which some stage performing musicians might find useful.



The fit.



Sound Analysis.

I analyzed UE Live sound performance across different sources while playing a variety of test tracks, such as Agnes Obel “The curse”, Sandro Cavazza “So much better” (Avicii remix), C-Bool “Never go away”, Ed Sheeran “Shape of you”, Galantis “Hunter”, Iggy Azalea “Black widow”, Indila “Boite en argent”, Robin Schultz “Oh child”, David Elias “Vision of her”, and Michael Jackson “Dirty Diana”. Also, UE Live went through about 100hrs of burn in before I started analyzing it, just playing tracks in the loop, to make sure its DD is fully conditioned.

UE Live has a reversed J-shaped sound signature (not quite L-shaped and not exactly V-shaped) based on a boosted low-end impact and some lift in lower treble. The tonality is rich, smooth, lush, musical. As a result, UE Live tuning yields a sound which is full of natural organic details that have more focus on warm smooth naturalness rather than high resolution or high clarity. Basically, you get a full bodied thicker sound with an analog quality bass slam, organic lush mids, and well-defined treble, except for a peak in lower treble around 8k which puts a little more emphasis on "s", though to my ears it's not harsh or sibilant.

Soundstage is wide, audibly above average but not super wide, and with a nice depth, not exactly too intimate or too far out of your head but rather somewhere in between. Soundstage scales up/down, depending on the source, and can feel narrower with my phone and a lot wider with SP1000. Imaging is OK, but due to a warmer smoother sound and a low-end lift, don't expect a super accurate positioning of sounds.

You can already guess, this is not an audiophile tuned IEM with anemic bass, analytical retrieval of details, or transparency with zero coloring. The sound is lush, laid back, with a rich tonality and thicker body, and yet it's not congested or veiled. I'm not sure if this has to do with a precision of crossover design or the bandwidth limited accuracy of every driver tuning, but UE made it work where the bass is big and analog, doesn't have as fast decay, yet it coherently blends with the mids instead of "bleeding" into the mids.

Starting with low end, you have a deep smooth velvety sub-bass rumble which is elevated but not too overwhelming, and a slower attack rounded mid-bass slam which is linearly balanced with sub-bass. Mid-bass also has a slower attack, with an overall bass having a typical analog quality dynamic driver response. This is not a tight layered bass, it's big, it goes deep, it drives the sound signature. This is a type of bass you would expect from floor standing speakers with big subs. For my preference, I was OK with its quantity and didn't feel it was overwhelming. Also, in my opinion, it will please both bassheads and "regular" audio enthusiasts.

With mids, lower mids are north of neutral, with a thicker fuller body. I was on the fence if the thickness of lower mids is due to mid-bass bleed, but as I mentioned already, the bass is big yet somehow controlled, thus to my ears I consider these having a fuller body by tuning. Upper mids are smooth, organic, lush. They do have a natural warmer tonality with plenty of clarify, but don't expect high level of micro-details here. Vocals, both male and female, do sound very rich and natural, except for some poorly recorded tracks where 8k peak (lower treble) can accentuate “s”, depending on your ear sensitivity.

When you move up to a treble, this one caught me by a little surprise. It's well controlled, clear, has not a bad definition, but starts to roll off after about 12.4k (based on my measurements and multiple sine sweeps). Don't expect a typical 12k peak to give you higher definition. UE really went for a smooth lush sound, while maintaining its definition with a boost around 8k. As a result, you have a peak between an infamous 6k sibilance and popular 12k high definition marks. This way it worked well to preserve the clarity without adding extra crunch or sparkle. With a roll-off of a treble extension, don't expect too much airiness either.



Comparison.

In each comparison I used SP1000 SS and Plenue 2 mk2 as my sources. Also, each pair was volume matched for consistency.

UE Live vs UE18+ Pro - relative to U18+, Live soundstage expands a little wider while the 18+ has a little more depth and more out-of-your-head perception. When listening to both IEMs, the first thing that stands out is the difference in bass response where Live slams harder with a deeper chest pounding sub-bass rumble and a boomier mid-bass punch, giving the sound a more analog "big" speaker feeling, while U18+ sub-bass has a leaner sub-bass rumble and a more neutral mid-bass, more typical of BA driver performance. The same with lower mids, you will hear a thicker and fuller body sound with Live, while 18+ is leaner, above neutral but still leaner when compared to Live. With mids, both have organic musical mids, but Live has a more natural smoother tonality, while 18+ sounds more revealing in comparison. Also, 18+ mids are more forward due to a better balance with the bass. With treble, each has a unique tuning where Live puts more emphasis around 8k and then rolls off the treble to keep it smoother, while 18+ starts to roll off after 6k and then has a distinct peak around 12k to give the sound more sparkle and higher definition. These differences are what keeps me from referring to Live as an upgrade of 18+. Instead, I find them just following two different tuning paths, where Live is suited better for musicians who want a thicker and more analog bottom end with more natural smoother mids and less treble emphasis, while 18+ is for audiophiles who want a more balanced natural revealing tonality with a better treble extension and definition. Also, Live is more efficient, doesn't have to push volume as loud as 18+.

UE Live vs 64 Audio N8 – In this comparison, Live soundstage has a more intimate feeling while N8 is a little wider and more further out. Both have a very powerful deep analog bass, where N8 hits a little harder in mid-bass and has a faster and tighter overall bass, while Live bass goes deeper, more rounded, and has a bit longer decay. Both have a natural organic mids, but Live mids have a little thicker body and more intimate closer presentation, while N8 mids are more revealing and with a more forward presentation. With treble, the extension is similar in both, more controlled and with less airiness, but Live is crisper in tonality, giving upper frequencies a little more sparkle, making N8 sound smoother. One obvious difference is around 8k peak. This peak is on a borderline between higher definition and sibilance, and depending on the quality of the recording, can swing either way. When I took FR measurements (with Veritas coupler) of both N8 and Live, their FR had a striking similarity, yet they handle this 8k peak differently. You can throw in a poorly recorded track at N8, and it will handle it with more forgiveness in comparison to Live which can be more brutally honest.

UE Live vs EE Legend X - While Live has a decent soundstage expansion, LX goes wider and further out of your head with a more holographic expansion. The biggest difference here, which jumps at you from the first second of listening, is the bass impact which is overwhelmingly more powerful in LX with a more elevated sub-bass rumble and a lot harder hitting mid-bass. Those loathing after a basshead level bass would probably prefer a faster LX slam, while Live bass is more relaxed and with a slightly reduced quantity and longer decay. Both have a thicker fuller body lower mids, and natural organic upper mids, though I find Live upper mids to be a little more revealing while LX is a little smoother in comparison. But in general, mids between these two have more similarities. With treble, Live has a more pronounced 8k peak while LX keeps it under control, but then Live rolls it off while LX picks it up with 12k peak to give its upper treble more sparkle and crisper definition. Still, in my opinion, the most noticeable difference here is in bass response where LX hits a lot harder which I found a little overwhelming for my personal taste.

UE Live vs W80 - Both have a very similar soundstage width, while W80 has more out-of-your-head staging depth. In this comparison the upper hand in bass slam goes to Live which has more sub-bass and mid-bass quantity, going deeper and slamming harder, while W80 with its enhanced low-end response feels more neutral, a little faster, and with shorter decay in comparison to Live. Lower mids are also a little leaner in W80, closer to neutral, in comparison to a fuller body thicker lower mids in Live. In terms of tonality, upper mids (vocals) are closer in comparison, maybe with W80 being a little brighter. The biggest difference here is in presentation which is more forward in W80 while pushed a little back in Live. Part of it also has to do with a signature where W80 bass is more balanced, helping to bring mids more forward, versus Live where the bass has more focus while pushing mids a little back.

UE Live vs CFA Vega - I hear Vega with a wider soundstage, while both have a similar staging depth. In this comparison, Vega stands out with more sub-bass rumble and a harder hitting mid-bass slam. It felt like Vega bass scales up in quantity while trying to maintain a similar quality, maybe just with a little shorter decay. Both have a similar above neutral fuller body lower mids, and quite similar natural organic upper mids. There is a little resemblance here, perhaps with Vega upper mids being slightly more forward. When it comes to treble, both have a very similar 8k peak in lower treble, which is a little more pronounced in Vega. Either monitors are not as forgiving when it comes to poorly recorded tracks, especially with sibilance. Mid-treble has some variations where Live sounds a little smoother due to a sharper roll off, while Vega has a touch more shimmer. But overall, with an exception of scaled up higher quantity bass (Vega), these have a lot of similarities in mids and treble.



Pair up.

From Live spec, it has 10ohm impedance (lower than an average), and 105dB sensitivity, which is also on a lower side. Usually, with lower sensitivity you need to push volume a little harder, but to my surprise I had to lower the volume down by about 10 clicks. In my pair-up notes below I noted the connection type (balanced or single ended) and the volume level. With an exception of my smartphone, everything was tested balanced, and with WM1Z and DX200 w/amp8 - I used 4.4mm adapter.

A&K SP1000 (BAL, v54) - wide expanded soundstage, rev J-shaped sig, smooth rounded bass, clear organic mids (nicely balanced), sparkle in lower treble. Overall sound is lush and smooth.

Cowon Plenue 2 mk2 (BAL, v44) - wide expanded soundstage, rev J-shaped sig, smooth bass with a little extra kick, clear organic mids (slightly pushed back, more intimate), a little more sparkle in lower treble. The sound is still lush and smooth.

Hiby R6 (BAL, v37) - wide soundstage, rev J-shaped sig, bass sounds a little faster and tighter, and has a better balance with mids which are smooth and detailed. Treble has a bigger roll-off here, even 8k peak in lower treble is slightly attenuated. I suspect 10ohm output impedance of R6 to have an effect here.

iBasso DX200Ti w/amp8 (BAL, v48) - very wide soundstage, the sound sig is more balanced here, even so bass still has stronger impact, while mids are more forward and more revealing (in a natural way), and treble has more sparkle, even some additional crunch. Probably one of my favorite pair up.

Sony WM1Z (BAL, v63) - very wide soundstage, maybe even wider than DX200Ti/amp8, the sound sig is more balanced, the bass has a deep sub-bass rumble and a faster attack and shorter decay of mid-bass punch which has more control. Mids are natural with a more revealing tonality and layered sound. Lower treble has more accentuation on "s", with an overall treble being brighter and crisper. Another great pair up to my ears, but at the same any poorly recorded track with sibilance will be more fatigue since it gets more accentuated. I enjoyed it similarly to DX200Ti.

FiiO X5iii (BAL, v32) - even so soundstage has a nice expansion and the overall sound sig was more balanced, I couldn't get pass the "waterfall" of the background noise hissing which is quite strong here.

FiiO X7ii (BAL, v26) - wide expanded soundstage, rev J-shaped sig, smoother rounded bass, clear organic mids (slightly pushed back, more intimate), sparkle in lower treble. A little bit of background hissing/noise. To my ears, not a bad pair up, just lacking some dynamics.

Samsung Galaxy S9 (SE w/adapter) - a little narrower soundstage, bass has a slight sub-bass roll off, while mid-bass is faster and has a nice punch. Signature is more V-shaped. Mids are a little brighter and less organic, and lower treble is peaking with a little bit of sibilance.



Conclusion.

Not the first time I mentioned this, but in the last few years we all got a little spoiled with so many flagship releases that push our expectations to the next level with a desire for more drivers, thirst for more resolving tuning, need of more complicated crossovers, and craving for fancier aftermarket cables. There is nothing wrong with incremental updates and relative improvements, but I realized that even with some of these improvements a new flagship doesn't have to dethrone the old one. And certainly, a new flagship doesn’t have to follow a set of predefined rules. A company could have multiple flagships, coexisting and targeting different audience, with some preferring UE18+ Pro or UERR, and others going for UE Live.

I do think that UE Live was tuned to please musicians as their primary target, as well as audiophiles who want a more natural organic tonality with more low-end analog quality impact and less treble emphasis. This tuning is not as forgiving as some other smoother tuned natural tonality IEMs because there is a little bit of spike in lower treble, but even with that – the sound is not fatigue or harsh. Another thing that stands out for me is the included SuperBax premium Linum cable with a new IPX connector system ($250 value) which shows that UE takes every aspect of the design very seriously because musician rely on it and us, audiophiles, also get the benefit of this meticulous process improvement. UE updated all their CIEMs with this new connector, and I’m curious now if any other manufacturer will follow it.

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The product was provided to me on loan for the review purpose in exchange for my honest opinion. The review was originally posted on my blog and now I would like to share it with my readers on head-fi.

Manufacturer website: Unique Melody, available on MusicTeck.

While using my new Galaxy S9 to take pictures, I didn't realize the resolution was set to a wide panoramic ratio, so the pictures in this review will look wider than usual.

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Intro.

While the latest 16BA UM Mason V3 (MA3) is their ultimate flagship, I think this spotlight could be easily shared with 12BA UM Mentor V3 (ME3) which has been released at the same time and packed with the same flagship features I covered in my recent MA3 review. Both are equipped with dB-Go low-end tuning module, innovative Dual-Tone cable, updated shell manufacturing, and identical accessories. At the same time, they do vary in sound tuning and technical performance which I will go over along with a comparison to other IEMs and my usual pair-up summary with different sources.

Due to similarities, this review will have many recycled parts from my MA3 write up since unboxing, accessories, cable, and even design are nearly the same. If you already familiar with these sections, you can skip straight to the sound analysis, otherwise, let's get started with unboxing.



Unboxing.

ME3 arrived in a giftbox quality all black textured cardboard box with a glossy "UM unique melody" dark print on the top. It's a bit plain and would have been nice to have maybe a teaser artwork with a 4pin cable connector and maybe a crown of the tuning module. Obviously, makes no sense to put a picture on the cover of the box since both Custom and Universal shells are customizable. Other than that, unboxing experience is very basic, and under the cover you will find a dense foam insert with cutout pockets for storage case (with IEMs inside) and the rest of the accessories.



Accessories.

The included accessories are carefully selected without fillers. Considering my loaner pair was universal, it should include 2 sets of eartips: S/M/L genuine brand name Comply eartips and should come with S/M/L/XL silicone eartips, though some Comply tips were missing, probably from the previous reviewer. Furthermore, you will find a piece of cleaning cloth, I guess to remove any fingerprints off the shells. The rest of the accessories will be common between universal and custom models.

The plastic warranty card (the size of a credit card), has a printed S/N, website address, and a service email. But if you look closer you will find a hidden flat usb stick that flips open. UM will include a separate pdf file with pictures of the IEM, product features overview, warranty info, and even a color guide for different shell options.



The storage case is a hefty titanium matte puck with a threaded secure cover and a soft felt lining to protect IEMs inside. While similar shape puck cases are starting to become more common, those are usually lightweight and have a pop-up cover where the content ends up flying out when you open it. This one was a more "luxurious" high quality storage case that will make a great paper weight on any desk. Though great for storage and roomy to fit ME3 with Dual-Tone cable, it's not very practical as a travel case, so you will have to get another one, more pocket friendly.

Cable is part of the accessories, but I will describe it separately in the follow up section of the review. The other remaining accessory is a unique Magnetic Earphone Clip (MEC) which you can use both for cable storage and as a shirt clip. Made from of soft leather material, there is a strong magnet to hold it together, and you can use it magnetically "clipped" to a shirt (sideways) or secured at the neckline of a t-shirt (pointing down). A little metal loop attached to MEC is where you put the cable through to secure its attachment to a shirt or a t-shirt. You can also use it on a wrapped cable to organize it for a storage. Maybe not a big deal for some, but it's very different and unique, compared to other shirt-clips I have seen. Perhaps UM can offer it as a separate accessory for sale.



Cable.

At the first glance, the cable looks like it has a regular braided 4 conductor design with flexible dual color shielded wires. Upon closer examination, you'll notice a proprietary 4pin metal socket with a securing bolt (smaller than JH type of socket). When you read the included instructions on usb-stick, you realize this is not an ordinary cable, but a Dual-Tone cable with a separate 8-core 6N purity single-crystal copper and silver wires. Make no mistake, this is not a hybrid silver/copper cable, you have 2 separate cables inside of one.



In more details, Dual-Tone is a 4-conductor braided soft cable which contains two cables that you switch by flipping L/R sides. This is a very clever mechanism where you have 4pin threaded female connector at the cable side, with 4 wires attached to each pin, while the male side of the connector (in the shell) only has 2 pins connected to internal drivers. As you flip between L/R sides, you are switching between either left side or right side of 4pin connector of the cable to engage with 2pin connector on the shell. To keep track of which side is which, 90deg housing mold has 1-dot and 2-dot ID bumps: 1-dot left, and 2-dot right is silver side, 2-dot left and 1-dot right is copper side.

Cable itself is very soft, not too heavy, with 4 separate conductors: 2 with silver wires in a blue jacket and 2 with copper wires in a brownish jacket. You have a choice of 2.5mm, 3.5mm, or 4.4mm termination when ordering. The gold-plated plug has a nice short custom metal housing, different from other popular brand name connectors I have seen in the past. Also, there is a clear heatshrink strain relief. Y-splitter is a piece of heatshrink transparent tube, and so does the chin-slider. You can't even see these, creating a continuous visual of Dual-Tone wires. Above y-splitter, wires are twisted. At the plug, you have 90-deg transparent plastic connector mold and a memory wire.



Regarding the sound difference, the change is not as drastic as you would expect with some separate pure silver and pure copper cables. I do hear a similar bass and treble response and presentation, while the biggest change to my ears is in mids and lower treble where copper cable gives you more body, more weight, a little extra thickness with slightly above neutral tonality. With silver cable, lower mids are neutral which gives more room for upper mids to come forward and give the sound a little more clarity and a perception of wider staging expansion. As a result, I do hear some improvements in detail retrieval when using silver side of the cable, while copper cable gives the sound more musicality with a smoother and more organic tonality. While I preferred silver side for MA3, here with ME3 I liked the copper side which also affected the treble, keeping it smoother.

Conveniently, you don't have to carry multiple cables, and can judge for yourself if you do or don't hear a difference in sound between two different types of wires. The only drawback here is a proprietary connector which means you are stuck with Dual-Tone wires cable and can't try other cables unless aftermarket manufacturers get a hold of this new 4pin threaded connector.



Design.

The Mentor V3 model features 12 Balanced Armature drivers, with a 4-way crossover and a driver partitioning of 4 lows, 2 lower mids, 2 upper mids, and 4 highs. Shells have a 5-bore design with 4 sound tubes per each group of drivers, and 5th bore allocated specifically for dB-Go tuning module. Each bore is reinforced with a metal tube for an improved structural stability. In case of Universal shell, as the one I received, the tip of the nozzle is all metal with a wax guard screen covering the internal bore openings which are not exposed like in CIEM. With an exception of 4 less drivers (half of mids drivers) and a different tuning, the internal design of ME3 and MA3 is very similar.

But regardless of custom or universal, in theory each one is approached like a custom design except you will need to provide your ear impressions from audiologist for CIEM. UM has a very friendly on-line IEM Designer tool where you can customize the shell color, the faceplate color, the canal color, add custom faceplate art, logos, etc. There are dozens of different color and finish selections, and every change gets reflected in real time in IEM Designer tool GUI. In there, you can also customize the termination of the cable and even pick the finish of the titanium storage case.

The shells itself feature UM new acrylic design, created using the layered technique to strengthen the build. I was told that UM invested in a very high-end 3D printer that allows them to print a very thin shell, especially useful for consistency between universal IEMs. Then, they add layers of finish by hand, including optional Dreamweaver fiber design where the actual strings of fibers are included, resulting in a nearly handmade customized product, even for universal shell.

According to UM, the module (dB-Go) provides acoustic dampening with a pressure attenuation and a real-time low frequency adjustment between 20Hz and 100Hz which I confirmed in my FR measurements and found to affect only the quantity of the sub-bass rumble. The effect is not subtle, but quite noticeable where sub-bass rumble goes from neutral (when both dials are open, turned toward you) to more present, boosted rumble (when both dials are closed, turned away from you). What impressed me the most is how precise this tuning it. I heard no effect on mids or treble. I don't even hear too much effect on mid-bass, the focus is mostly on sub-bass.

Regarding the effective range of the tuning, the crown of the dial is surprisingly small, yet has a good grip and easy to turn. The only problem, turning range is only half a full rotation. With a small diameter dial wheel this is on a level of a micro-tuning which going to drive anybody with OCD crazy. For me personally, I settled on either fully closed or open, like an on/off switch of sub-bass boost. I think this is the most practical use of this dial. Though there is some resistance, it has a continuous turning without any click action to indicate the exact position. Also, once you are placing shells in your ears, it's quite possible to bump the dial if it's somewhere in the middle. Turning the dial either closed or open is the easiest way to have a consistent control of the bass between left/right sides.



The fit.



Sound Analysis.

Since Dual-Tone cable and dB-Go module offer you a combination of 4 sound sigs, for my sound analysis I decided to use the one with a copper cable side and dB-Go closed to enable sub-bass boost. This combination offers a more balanced sound signature with more weight in the low end and more controlled highs at the top. It's all a matter of a personal sound preference, and I know some might prefer more energy in the treble or maybe a more neutral bass. Either way, you have choices to fine tune the sound to your liking by utilizing dB-Go module and Dual-Tone cable in addition to tip-rolling if you have universal model and can switch between eartips to control the seal of earcanal.

Even so I said that relatively speaking copper side and closed dB-Go port yield a more balanced sound sig, the sound itself still has more emphasis on bass with additional treble sparkle, making overall signature to be leaning toward v-shaped. If you go to another extreme with open dB-Go to flatten the sub-bass and silver side of the cable to brighten the top end, signature shifts more toward the mid-forward sound.

The sound itself is very resolving, and with a brighter lower treble it can reach a micro-detail level of resolution without sounding too harsh or fatigue. If you find it too bright for your taste, you can switch to MA3 for a smoother and more organic top end where I had to switch to silver cable to bring out more details.

With a soundstage, I find it to have a good out of your head (but not too far out) depth, and above the average width. Once you switch to Mason V3 and hear how wide it expands, you realize that Mentor v3 doesn't exactly reach that level. But it still gives you a good sense of instrument placement and sound positioning, without exaggerating the imaging.

The layering and separation here is excellent, where every sound detail could be easily distinguished. Neither Mason nor Mentor sound congested or veiled, but in a relative comparison Mentor with its more revealing upper frequencies has better separation of sounds in comparison to a smoother and more reserved natural tonality of Mason.

I already mentioned multiple times that I preferred to bring up extra sub-bass by closing the dB-Go port, adding extra sub-bass rumble which adds a layer of texture with extra weight under the fast punch of mid-bass. With sub-bass off, bass sounds more neutral and more typical of BA performance, while dialing it up gives the bass a more analog dynamic texture. Bass is still articulate and well controlled, not on a basshead level, but you will notice its quantity.

Lower mids are neutral with either cables, though I do hear a little more body when switching to copper cable, and a little more transparency and neutrality with silver cable. Upper mids are clear, detailed, revealing, and very nicely layered. The tonality is a bit on a brighter side, but I still hear vocals to sound realistic, either male or female.

Treble is crisp, very well defined, not harsh but with plenty of crunch and airiness which can scale up with different sources and by switching Dual-Tone cable. Relative to Mason v3, here the 12k peak is more elevated, giving treble more energy and crisper details. It's not fatigue, but if you prefer a smoother and more natural upper frequencies tonality, it could be a bit too much for you.



Comparison.

As I mentioned already, for all sound evaluation, comparison, and pair up testing, I kept ME3 with a copper side of the cable and sub-bass fully engaged using dB-Go module. The volume was matched in every comparison.

Mentor v3 vs Mason v3 - MA3 has a noticeably wider soundstage in comparison to ME3 which has more depth than width. Both have a very similar bass response with ME3 having just a little more punch, but sub-bass extension and rumble are very similar. With lower mids, MA3 is a little more neutral while ME3 has a bit more body. Both have a very similar detailed transparent upper mids with a natural tonality that is tilted a little more toward revealing brighter side, without crossing analytical threshold. Treble is where I hear the most difference between these two, where MA3 is smoother and more controlled, while ME3 has a more prominent peak, giving it more crunch and higher definition with a brighter tonality extension. As a result, Mason v3 sounds more neutral and more balanced, while Mentor v3 has a mild v-shaped sig with a little more emphasis on bass and treble.

Mentor v3 vs Maestro v2 (a.k.a. Mason v2) - Here, soundstage expansion is closer in width. MA2 bass has a little more sub-bass rumble and lower mids have more body (a little different from Mason v3). ME3 mids have noticeably better layering and separation and more transparency, while MA2 mids are a little more organic. Treble is also quite different where MA2 is smoother in comparison to crunchier and brighter ME3.

Mentor v3 vs HiFiMAN RE2000 - I found this to be an interesting comparison due to some similarities. RE soundstage is a little bit wider. Both have a very similar mid-bass impact, while RE subs have a little more quantity. Lower mids are nearly identical, while upper mids are more natural in ME3, while RE upper mids are brighter and thinner. Also, RE treble is splashier while both do have a bright crisp treble. I know, from my description above it sounds like they are different, but they are not too far off. The most noticeable difference is in upper mids where ME3 sounds more natural, more organic (not warm, but more natural).

Mentor v3 vs Noble K10UA - both have a very similar soundstage expansion. K10 bass has more sub-bass while mid-bass punch is similar. Also, K10 has a little more body in lower mids while ME3 is more neutral. Upper mids are different as well where ME3 is more revealing, while K10 is a little smoother, and the same goes for treble where ME3 is brighter and crisper while K10 has a little more control and less crunch.

Mentor v3 vs 64 Audio Tia Fourte - Fourte has a little wider soundstage and a more depth, with more out of your head spacing. ME3 bass is a little more neutral in comparison to warmer subs of Fourte. Lower mids are very similar. Upper mids are more natural and more realistic in ME3 while Fourte has their presentation a little more out of your head and brighter, more revealing. When it comes to treble, here I find them to be quite similar, both very crisp, detailed, and energetic.



Pair up.

With 22-ohm impedance these IEMs are very easy to drive, though with 108 dB sensitivity I had to turn the volume a few clicks up. Here is how ME3 pairs up with various audio sources. I will also note if I hear any hissing. SPK was my baseline pair up and others were compared to it.

A&K SP1000 SS - absolutely hiss free; above average soundstage width; neutral punchy bass with a textured sub-bass extension that has a more neutral quantity; neutral lower mids, natural-revealing upper mids, bright crisp extended treble.

Lotoo LPG - a very faint hissing; a little wider soundstage (in comparison to SPK), bass has a little more rumble, the rest is very similar with a neutral lower mids, natural-revealing upper mids, and bright crisp treble, maybe just with a little more crunch.

Hiby R6 - without iEMatch, the sound is very similar to SPK, just a little thinner and a touch brighter. But with iEMatch I hear a noticeable more rumble in the sub-bass and treble is a little smoother, with more control. Because of this change, the sound is more balanced. Hiss free. This was one of my favorite pair ups with iEMatch for Mentor 3.

iBasso DX200 w/amp1 - very similar above the average soundstage and hiss free performance. Bass quality and quantity is nearly the same as well with a punchy mid-bass and nice sub-bass extension that has more neutral quantity. I hear lower mids being more neutral and upper mids more natural-revealing, while treble here is a little brighter and crisper, more in line with a reference nature of the AMP1. Something like AMP5 would pair up better here.

FiiO X5iii - tried this pair up knowing it's a warmer source. Soundstage is similar, above the average. Sub-bass has a little more rumble, similar mid-bass punch, smoother more organic mids and treble is more under control. But unfortunately, hiss is very noticeable, and the sound doesn't have a good layering and separation. This was my least favorite pair up.



Conclusion.

Unfortunately, some of the audiophiles who are looking for flagship IEMs with TOTL tuning limit themselves by focusing only on models with the highest number of drivers, thus missing a few gems. In my opinion, I consider both Mason V3 and Mentor V3 to be UM current flagships. They both feature dB-Go bass tuning module, innovative Dual-Tone copper/silver dual cable, and a new shell design. And while Mentor offers 12BA drivers vs Mason with 16BA, besides the price, the main difference here is the tuning, especially the treble where it all comes down to an individual sound preference.

As I mentioned in my Mason V3 review, these IEMs were not tuned for those seeking an enhanced low-end impact, but if you want more treble energy with a higher resolution sound - Mentor V3 is your best bet, while Mason V3 will be your more "natural" spacious bet. And once you figure out your sound preference, either of these models will offer a premium build, fine-tuning sound options, and two-in-one premium bonus cable. Every manufacturer is trying to stand out from the crowd, especially when it comes to flagships. Here, Unique Melody accomplished it with both Mason V3 and Mentor V3 models.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: iBasso.

For the reference, my DX200 review on Head-fi.

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Intro.

It’s not the first time I mentioned that before there used to be a clear line between entry level, mid-fi, and summit-fi DAPs, separated by sound performance, supported features, and the price. Today, these lines are blurred where some entry level models have more features than upper tier ones, the sound performance difference is not that drastic, and the price gap varies. You can't stop the flood of new releases, which makes it harder for consumers to narrow down their choices and doesn’t make it easy on reviewers when people ask for recommendations.

But one thing hasn't changed, many audio enthusiasts are still looking for the gear with the best price/performance ratio, and iBasso’s latest DX150 certainly hits the target. Plus, this DAP keeps a lot of the original DX200 functionality and design cues, including a modular amp design, at a fraction of the price. Along with DX150 and its new stock AMP6, my review will also cover their newly released AMP7 and AMP8 (and comparison to AMP6, along with AMP3 and AMP5) since every amp module is fully compatible with DX150 and DX200. So, without further ado, let’s proceed!



Unboxing and Accessories.

In comparison to DX200 with a more dramatic diagonal-split box, here you will find a more traditional top-cover packaging box, still with a secure foam-fitting cutout, and exterior silver sleeve with a multi-language spec on the back. It’s understandable that you need to distinguish unboxing experience from a premium flagship model, though you still get quite a similar feeling when unboxing either one.



Accessories include a high-quality premium braided-sleeve USB-C charging/data cable, short Coax cable, and Balanced burn-in cable with a load (for a “quiet” burn-in so you don’t have to use your headphones). Also, included was a suede leather case, similar in design to DX200 case, but a little thicker in comparison.



Stock case.



As a replacement alternative, MITER offers a leather case for DX200/DX150, and to my pleasant surprise it comes without their signature kickstand, keeping it slim while still offering an enhanced grip, scratch protection, and covered imprinted playback control buttons.



Design and Under the hood.

From the first look it’s clear that DX150 design was based on their DX200 flagship. It has nearly identical dimensions of 128.5mm x 69mm x 19.5mm, and almost the same weight of 245g (DX200 is 240g). You’ll also find the same layout with a large 4.2” 768x1280 resolution display on the front with a removable amp module underneath on the back. SPDIF digital transport port is still on the top (supporting both coax and optical mini toslink), next to it is USB-C port and a power button in the corner inside of the guard bar that wraps around upper right corner where you have a volume wheel on the side and hw playback Play/Pause/Skip buttons going down. The only difference here is a volume wheel being open while DX200 has a guard bar over it, and the wheel itself having deeper notches for a better grip when turning it with a thumb. Another difference is a display being nearly flush with chassis vs DX200 having a raised display. You will still find a single uSD card on the left side, while ports on the bottom will correspond to a specific AMP module in use.



I know some might not find these “cosmetic” changes to be as significant, especially when DAP is inside the case, but I personally feel that it refines the original DX200 design and gives it a slicker look when out of the case. Also, it gives an easier access to the volume wheel. Of course, all is a matter of a personal preference, and as a matter of fact the limited edition DX200Ti version also implemented a design change where the display is flush with chassis.

Under the hood you will also find many similarities, and a few significant changes. You still have Android 6.0, and the stock sw still requires side-loading apps, though Lurker’s free ROM takes care of that by enabling Google Play and adding some other extra features and optimizations (more details in GUI section of the review). You’re still running on 64bit 8 cores A53 CPU, with 2G LPDDR3 RAM, single uSD, and USB DAC using XMOS XU208 chipset. Still have 802.11 (b/g/n/ac) WiFi, but according to iBasso now supporting both 2.4GHz and 5GHz bands. And still have Bluetooth 4.1, though without aptX support (at least for now). And as it was mentioned already, the same 4.2” Retina display with 768x1280 resolution.



Even 3.8V 4400mAh battery is the same, though battery life was improved due to a different DAC and other optimizations. For example, I can get solid 11hrs of mp3 playback using IT04, connected to BAL HO of AMP6 in Low Gain with volume set to 65/150. When I switch to AMP7, using another IEM with a lower sensitivity (Tin T2, 102dB) in Low Gain with a volume set to 92/150, I can get 10hrs of playback. I’m sure going to AMP8 with its balanced output and higher power will reduce it probably by another hour (per my experience with DX200).

So, what are the other changes? Internal storage is down to 32GB from 64GB in DX200, and there is a new system clock architecture, fully synchronized with TXCO and PLL which supposed to make switching between different clock rates more seamless. Also, a big plus, introduction of PD2.0 quick charger which is compatible with QC2.0 standard, meaning faster charging time when you are using QC2.0 compatible chargers. But the biggest change is stepping down from dual ES9028Pro DAC (DX200) to a dual AK4490EQ DAC (DX150). This change is the key behind a difference in sound signature and performance between these DAPs. AK4490EQ is still a very capable DAC, able to support PCM with sampling rate of 8kHz-384kHz (with 8-32bit depth) native, and DSD64/128/256. But it’s not on a flagship level like 9028Pro which can handle up to DSD512, among other differences.

There is no doubt that DX200 is iBasso’s flagship DAP, and DX150 is a scaled down version which can’t sound the same or better. But if you add up all the changes and analyze all the pros/cons, plus consider that it’s still based on a modular design with interchangeable amps, iBasso DX150 is not too far off, meaning they didn’t cut too many corners while actually did cut the price.



GUI.

I usually go into extra details describing the user interface and all the features/settings under the main audio playback app. In case of DX150 which runs on Android 6.0 and uses Mango audio app as its default audio player, it makes no sense to go over everything again since it’s identical to DX200. Thus, please refer to GUI section of my DX200 review. The only additional option in DX150 is Sound Styles in Android Settings menu which I’m going to talk about in Sound Analysis section. But the main difference here is that DX200 comes with Android (Mango app) and Mango native modes, while DX150 has only Android (Mango app) mode. And even that’s not a showstopper since the latest Lurker’s ROM for DX150 adds it.



I already mentioned Lurker’s ROM for iBasso DAPs many times, and there is a good reason why I think it’s a must have upgrade for DX150 and DX200. By default, these Android DAPs don’t come with a Google Play store, meaning to install the apps you need to find corresponding apk files and side-load it manually. Lurker’s ROM, which is FREE, gives you access to Google Play, along with additional optimizations and other goodies.



To find out more about it, visit his page at: https://github.com/Lurker00 with a direct links to the latest DX150 fw here and DX200 fw here. He is usually very good with updates, and his firmware becomes available the same or the next day after iBasso releases their own official update.

But before you start with Lurker’s custom ROM, please visit the official link from iBasso to download their Factory Tool (http://www.ibasso.com/uploadfiles/download/FactoryTool_v1.39_DX200.zip) which includes in a zip file a very detailed instructions how to install drivers and use batch tool to update the fw manually (instructions for DX200 are the same for DX150). You don’t need this tool to install regular iBasso fw updates, those are usually downloaded, copied, and installed from within DX150/200 DAPs. But to install Lurker’s ROM, you will need this batch tool for a manual ROM flashing. It’s a very simple procedure, and included instructions are easy to follow. Plus, once you install the driver, after that you just run the tool, load image file, and quickly flash the DAP. Once it’s done (get confirmation within a tool), disconnect the DAP, reboot it, and the update starts automatically. Plus, you don’t have to worry about your songs on internal and external storage, they will not be erased. And even if you do need to run Factory reset (recommended after FW updates), you can select option not to erase internal storage media files.



Sound Analysis.

This is usually the shortest section of my DAP reviews since Pair Up and Comparison sections are where you will find more details to get a better feel for the sound of a DAP in a relative comparison. The sound analysis of a DAP is based on the description of how you hear it through various headphones, so you are describing the sound of the synergy between headphones and the source.

I went through many IEMs and full-size headphones to find a common sound-performance denominator. In a summary, I hear DX150 w/stock AMP6 to have a neutral sound signature with a warmish natural analog tonality. That natural tonality with good retrieval of details especially shines through in mids when listening to vocals. Another thing that stood out was an excellent low-end punch. The soundstage expands wide and it scales up going from 3.5mm SE to 2.5mm BAL outputs (AMP6). Furthermore, I find DX150 to have a very good expansion of dynamics as well as layering and separation of the sounds which also scales up going to AMP7 and AMP8.

Based on the stock AMP6, when going from 3.5mm to 2.5mm ports, balanced output has noticeably more power (better efficiency with 12 less volume clicks), a little wider soundstage, and a slight improvement in dynamic range, while the tonality is nearly the same.

Also, DX150 offers a Sound Style mode available in Settings menu under Sound & Notification, where you have a choice between Standard and Full Sound modes. After going back'n'forth, I found Full mode to have a slightly wider soundstage and a little tighter sound. The effect is subtle and does vary between different headphones, depending on their sound signature and technical performance.



Furthermore, based on Digital filters of AKM DACs, while analyzing the sound with Sharp Roll-off I hear a faster attack and more sparkle, with Slow Roll-off I hear the attack to be a little slower while sparkle is the same, and when switching to Super Slow Roll off I hear the slower attack and less air/sparkle in comparison to other filters. The other two filters were Short Delay with either Slow or Sharp roll-off which I hear the same as corresponding filters with and without short delay.

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DX150 with AMP6, AMP7, and AMP8 amp modules.

Intro.

Having a modular design is both a blessing and a curse. Amplifier section of the DAP is one of the critical parts of the path to a headphone output which can either make it or break it the final sound. It can also change the tonality and the sound characteristics, as well as give you access to a balanced output, boost the power, or lower the noise floor while improving SNR. In a traditional DAP you are stuck with a built-in amp section and specific output ports, and if you want to change it, you must use LO to patch in external amp or digital out to connect to external dac/amp. Modular design is an elegant solution to replace the amp section while keeping the same DAP footprint, without a need for an external stack.

So, you can consider that as a blessing, especially since in case of DX150/200 you can upgrade the sound and performance for $200 per module. A curse is when you have more than a few choices and end up splitting hairs, trying to figure out which one to get. I already covered AMP3/4/5 in my separate review here. Now with introduction of AMP7 and AMP8, you have more choices in addition to stock AMP1 (DX200) and stock AMP6 (DX150). With AMP2, AMP4, and AMP4s no longer available, you are down to AMP3, AMP5, AMP7, and AMP8 as your optional amps to consider for upgrade. It’s still a lot of choices, but you need to consider your headphone termination, 3.5mm SE, 2.5mm BAL, or 4.4mm BAL, and if you do or don’t require LO, because some of these amps have big internal caps and not enough room for LO port.

AMP design/spec.

Just as a preface, AMP7 and AMP8 are the latest offerings from iBasso and they implement a new discrete circuit design with both high voltage and high current output. Both amps offer +/-8V high voltage swing which should improve the dynamics of output, and high output current of up to 2700mA to benefit low impedance multi BA/hybrid IEMs. This is an impressive spec, and to achieve this high voltage and current while still maintaining low output impedance, iBasso had to use discrete components, typical of desktop amp design.

As a quick summary of each available amp card:

AMP7 discrete single ended amplifier card
- 3.5mm SE: 3.2Vrms, S/N 122dB, output impedance 0.3ohm
- 3.5mm SE HO and LO

AMP8 discrete balanced amplifier card with Pentaconn 4.4mm port
- 4.4mm BAL: 6.2Vrms, S/N 125dB, output impedance 0.38ohm
- 4.4mm BAL HO only

AMP3 high voltage swing balanced amp card
- 2.5mm BAL: 6Vrms, S/N 124dB
- 2.5mm BAL HO and LO

AMP5 high voltage swing single ended amp card
- 3.5mm SE: 3.2Vrms, S/N 121dB
- 3.5mm SE HO and LO

AMP6 (stock DX150 amp)
- 2.5mm BAL: 4.8Vrms, S/N 118dB
- 3.5mm SE: 2.4Vrms, S/N 117dB
- 3.5mm SE HO and LO, 2.5mm BAL HO

AMP1 (stock DX200 amp)
- 2.5mm BAL: 6Vrms, S/N 125dB
- 3.5mm SE: 3Vrms, S/N 122dB
- 3.5mm SE HO and LO, 2.5mm BAL HO

AMP comparison.

Since this is DX150 review, the following comparison will focus on sound changes I hear going from a stock AMP6 to other amp modules. I also included a comparison between AMP7 and AMP8, since I received a lot of questions about it. All my sound impressions were collected using iBasso IT04, 64 Audio U18t, and Beyerdynamic T5p 2nd gen headphones. Due to a difference in output power, I tried to volume match as close as possible in every comparison. Also, please keeping in mind this is how I hear the difference, so it's my subjective opinion.

AMP6 -> AMP7: the same volume level between SE outputs, wider soundstage (SE of 7 is even a touch wider than BAL of 6), blacker background, a little more transparency and slightly better layering in 7, and 7 is a touch brighter and a little more revealing in comp to 6.

AMP6 -> AMP8: the same volume level between BAL outputs, wider soundstage, more transparency, tighter bass with a bigger impact, a little more treble sparkle, improvement in layering and dynamics, blacker background, the sound has a little more body and more revealing in comparison.

AMP7 -> AMP8: 8 has more power, needs less volume (SE vs BAL outputs), 8 has a little wider soundstage, bass has a little more impact, tonality is very similar but overall sound of 8 is tighter, has blacker background and improved dynamics.

AMP6 -> AMP3: very similar performance and tonality, perhaps 3 having slightly better dynamic range expansion. Actually, with 3 having a lot better S/N spec, I expected a bigger difference but 6 performed very close.

AMP6 -> AMP5: again, despite a difference in S/N spec, the performance is not too far off, especially when comparing 5 to 6 SE, though 5 has a fuller body with a little warmer tonality. The difference is more obvious when comparing 5 to 6 BAL which is a little brighter in comparison to 5 SE.

Bonus comparison.

DX200: AMP4 vs AMP8 - soundstage is nearly identical. Also, mids and treble are very similar, the noticeable difference is in low-end where amp8 bass has a little stronger punch with a deeper extension, giving the sound a little more body, while in overall comparison amp4 has a little better layering of the sounds.

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Comparison.

In this comparison section I was using IT04, U18t, and T5p2 during listening and comparison between different sources, all volume matched for a consistency.

DX200 w/amp8 vs DX150 w/amp8: 200 has a blacker background, more transparency (less coloring), better layering and separation of the sound. In comparison, 150 sounds a little smoother and a bit warmer (not as transparent) and with some reduction in dynamics. Soundstage is very close. In terms of design, these have a lot of similarities, from the same display, presence of volume wheel, the same ports (between stock amps), similar storage (internal 32GB vs 64GB) with both supporting a single uSD, same RAM and battery capacity, interchangeable amp modules, Android OS, etc. While DX150 doesn't have native Mango, when you install the latest Lurker's ROM you get that enabled as well. The main difference is in DACs which explains the edge in DX200 sound performance. But then, DX150 has quick charge and costs almost $400 less. If you want to squeeze every ounce of performance and get the best, DX200 over DX150 is a logical choice. But if you are on a budget and want the taste of DX200, DX150 definitely worth your consideration.

DX150 vs Hiby R6 - very similar soundstage expansion when comparing balanced HO; in terms of tonality R6 is brighter and a little leaner while DX has a fuller body and a little warmer and smoother (more analog) tonality with a little harder hitting bass. Both have a very similar technical sound performance. In terms of the spec, both have 32GB internal storage with uSD expansion, 3.5mm/2.5mm outputs, touchscreen and android interface. DX has volume wheel vs R6 with +/- buttons, and I know some might have preference for a physical wheel. R6 comes pre-installed with Google Play, out of the box DX150 needs to be side-loaded with apps, unless you install free Lurker's ROM which adds Google Play (which I recommend). In terms of Android/app performance, R6 with a faster processor and 3GB of RAM has an edge, as expected. With audio performance, R6 has high output impedance and in many cases with IEMs requires iEMatch. Also need to keep in mind DX advantage of interchangeable amp modules. I have been asked about this comparison a lot, and I suggest to figure out your DAP feature priorities and make a list of pros/cons since these have a similar technical performance with a difference in tonality which going to affect pair-up of headphones with different signatures. Plus, keep in mind if you either want a fast smartphone-like Android performance (R6) or the flexibility of replaceable amp modules to enhance audio performance (DX150).

DX150 vs Cayin N5ii - both have a similar soundstage expansion; they also have a similar neutral-warmish fuller body tonality, but N5ii has crisper treble while DX treble extension is a little smoother in comparison, as I would expect due to ESS vs AKM DACs. I also enjoyed how both pair up well with many headphones and result in nice hard hitting low end response. In comparison, both have a volume wheel, hw playback buttons, 3.5mm/2.5mm HO, touch screen interface (though DX150 is more responsive), both have internal 32GB of storage, while N5ii has dual uSD vs DX with a single one. While N5ii has Google Play already pre-loaded, its Android experience is rather limited in comparison to DX with its open Android 6.0, but remember that DX needs Lurker's firmware for Google Play or to side-load each app. Due to 2GB of RAM (DX) vs 1GB (N5ii), Android experience with interface and apps is faster on DX. And of course, DX interchangeable amps set it apart.

DX150 vs FiiO X5iii/X7ii - lots of differences here with X5iii. DX soundstage is wider, tonality is a little more neutral, background is a lot quieter in comparison to a strong hiss level of X5iii with its warmer tonality. Also, DX sound is more dynamic, with a better separation and layering. Both have volume wheel and external hardware playback controls, touch screen interface, 32GB internal storage, single uSD for DX and dual for X5iii, and of course big advantage of interchangeable amp module for DX. While X5iii comes pre-loaded with Google play and DX by default needs to be side-loaded, installing Lurker's fw evens out the field and Android performance and screen response is faster in DX with 2GB of RAM vs 1GB in X5iii. I know some will ask about X7ii comparison since it's a modular flagship version of FiiO DAPs, and in terms of a performance X7ii has more similarities with DX150 except for tonality where X7ii is more neutral while DX150 has a more natural warmer tonality with a punchier bass impact. In terms of the design, once you install Lurker's ROM, they are on par with a similar Android experience and full access to Google Play, though X7ii has 64GB of internal storage and dual uSD. Despite X7ii modular design with replaceable amp modules, I still find iBasso amps design to offer higher level of performance.

DX150 vs Cowon Plenue R - DX soundstage is a little bit wider, while both have a very similar signature and tonality, and overall a very similar technical performance. In terms of design, both have 3.5mm/2.5mm, touch screen interface, volume wheel in DX vs volume buttons in PR, both have single uSD, while internal storage is 32GB in DX and 128GB in PR. Both have a very responsive touch interface, but PR doesn't have Android OS and no access to apps, while DX can run any app and has interchangeable amp modules. The main advantage of PR is JetEffect dsp effects and more compact size, that's about it.

DX150 vs theBit Opus#3 - DX soundstage is a little wider; the tonality of #3 is a little brighter and leaner in comparison to a fuller body and a little warmer, smoother, and more analog tonality of DX. Both have 3.5mm/2.5mm, touch screen interface, volume wheel, single uSD expansion, with 32GB internal storage in DX and 64GB internal storage in #3. The big difference here is of course replaceable amp modules of DX150 as well as open Android OS, while Opus#3 can only be side-loaded with apps though painful steps due to a closed Android OS.



Pair up.

In this pair up testing I was using DX150 with a stock AMP6, and short delay sharp roll off filter setting. I also included comments about my personal pair up preference, referring to various amp modules. Furthermore, I noted High gain (HG) or Low gain (LG), Volume (v) level, and either SE or BAL outputs, depending on the cable termination. As my usual disclaimer, this is how I hear it, so take it as a subjective opinion.

iBasso IT01 (DD), LG, v76, SE - wide soundstage, v-shaped fun signature, bass hits hard (both sub-bass rumble and mids-bass punch), lower mids are lean while upper mids are detailed and natural; treble is very crisp and airy. Stock AMP6 was my favorite pair up since AMP7 pushed mids a little back and AMP8 made bass stronger. Obviously, a matter of a personal sound preference.

iBasso IT04 (3BA+DD hybrid), LG, v68, BAL - wide soundstage expansion, very balanced transparent sound, deep sub-bass rumble (with more rumble in comparison to some other pair ups), fast mid-bass punch, lean lower mids, natural revealing upper mids, very detailed vocals, and crisp airy treble with a good control. AMP7 wasn't too different but AMP8 did scale it up to a next level without boosting the bass too much, just adding a little more body to the sound, giving it a little more analog flavor, improving layering, resolution, retrieval of details, and making the sound a little more holographic. While I enjoyed AMP6 pair up, AMP8 pair up with IT04 is really good. If you think about it, for $1.2k (DX150+AMP8+IT04) you can have all-in-one hi-res solution for the price which is less then some flagship IEMs.

Beyerdynamic T5p 2nd gen (full size Tesla), HG, v80, BAL - very balanced natural smooth tonality, wide soundstage, nice rumble and good mid-bass impact, smooth natural mids, nice treble sparkle. The sound has more body and not as lean and bright like in some other pair ups. I tried these in both low and high gain, and found high gain to improve mids tonality, making it a little more natural. Also, I prefer AMP7 in this pair up, giving sound a little more transparency.

Audeze EL8C (Planar magnetic), HG, v108, SE - neutral revealing tonality, wide soundstage, bass goes deep but quantity is neutral, mids are neutral and revealing as well, a little intimate, treble is crisp and detailed and without metallic sheen. The sound is lacking some body. Here, since I only have stock SE cable, I can't try it with AMP8, but AMP5 is a little better match, giving more body to the sound.

VE ZEN 2 Omega (320ohm earbuds), HG, v90, BAL - wide soundstage expansion, very smooth natural organic tonality, deep analog rounded bass with a nice sub-bass rumble, fuller body natural detailed mids, well defined controlled treble. While pair up with a stock AMP6 is pretty good, I liked AMP8 pair up a little better since it made sound more transparent, faster, tighter. The beauty of Omega version of Zen is replaceable cables where now I can switch to balanced and try different sources with different cables.

64 Audio U18t (18BA, 9ohm impedance), HG (v56), LG (v70), BAL - was going back'n'forth between high and low gain setting, the sound is very balanced, expanded, detailed, very nicely layered under both gains, but dynamic expansion is better in high gain, though due to low impedance in HG there is a touch more hissing in comparison to low gain. In LG the sound is a little smoother. The pair up of U18t is great with stock AMP6, as well as AMP7 and AMP8.

UM Mason V3 (16BA, lower sensitivity), LG, v77, BAL - wide soundstage expansion, very neutral revealing tonality, good low-end extension with a moderate impact, lean transparent mids, great retrieval of details, crisp airy treble. If you want more body, AMP8 does scale up the performance here, probably my favorite pair up, especially since it adds more punch in low end.

UE UERR (3BA), LG, v78, BAL - surprisingly a very wide soundstage, a nicely balanced neutral natural tonality, great sub-bass rumble, punchy mid-bass, neutral natural detailed mids, crisp airy well controlled treble. While it can scale up with some other amps, I liked this pair up the most because sound remained very balanced across entire FR, and the tonality was very natural and still detailed. AMP7 was my 2nd favorite pair up after stock AMP6 with UERR.

Westone W80 (8BA, 5ohm impedance), HG, v61, SE - tried between low and high gain, and there is no comparison, high gain brings more details to the mids, with a sound being faster and punchier, while low gain makes mids a little veiled. In high gain, the sound has a very balanced signature with a natural organic tonality. Great sub-bass rumble and a strong mid-bass punch, fuller body natural detailed mids, well controlled detailed treble. AMP7 expanded the staging making it more holographic and made sound a little bit smoother.

Campfire Audio Andromeda (5BA, higher sensitivity, lower impedance), LG, v52, BAL - high gain is no-go here due to hissing, low gain has hissing as well, but attenuated. Soundstage is nicely expanded, very wide. Bass goes deep and has a strong impact, mids have fuller body, sounds more natural, slightly pushed back, treble is very crisp and airy. I tried AMP8, but hissing was too strong, as well as bass hitting a bit too hard. AMP7 pair was excellent, lifting some veil off.



External wired/wireless connections.

Both DX150 and DX200 now feature Bluetooth DAC/amp option which allows iBasso DAPs to be paired with your smartphone or a tablet to transmit audio wireless. Due to bandwidth limitation, I’m sure not all hi-res lossless files will be supported, but I still need to test everything. In theory, people play their high res DSDs from internal storage anyway, and this feature is more convenient when you are away from WiFi and can use your phone as a hotspot for audio streaming to your DAP used as an external DAC/amp. Or if you just want a wireless DAC/amp setup. And of course, if you want to improve the sound of your smartphone and save its battery during audio playback, this is also a great option. Pair up was easy, just need to enable the toggle under BT setting of DX150 and let your smartphone search to pair up with a DAP. Don’t pair up with your phone from DX150, only pair up with DX150 from your phone in order for this to work.



You can also use Bluetooth connection from within DAP to pair up with wireless headphones. I tested it with Sennheiser Momentum 2 Wireless, and M2W pair up was fast, yielded clean detailed sound, not exactly on par with my Galaxy S9 aptX connection, but close enough considering DX150 doesn’t support aptX. The only concern here, the same pair of M2W and DX200 was operating 55-60ft across the open space, while M2W and DX150 range was down to 30-35ft.



USB DAC function is supported, and just like with DX200, I wanted to verify it and aware from others that it's working without a problem. But unfortunately, my aging Windows laptops at home have issues with Thesycon USB drivers due to security signature setting. So, I didn’t get a chance to test it.

You can use DX150 as a digital transport to drive external DAC/amp from SPDIF output, using either coax or optical (mini toslink) connection. I verified it with iFi Micro iDSD BL, using provided short 3.5mm/coax cable as well as my short mini-toslink optical cable. In this pair up, I hear a more neutral detailed sound, typical of Micro iDSD signature. You can use both DX150 volume control and micro iDSD volume control. Switching to optical, also works great but the first time the fit was tight and I had to apply a bit of force to get the plug in. Using optical connection, I hear the sound to be a little cleaner and more transparent in comparison to coax cable.



Not sure if this is officially supported, but I was also able to use DX150 USB Digital Out as a transport to drive HA-2 portable dac/amp. I did get it to work with DX150 and Oppo HA-2 using Shanling L2 usb-c to micro-usb cable, but the sound was on a brighter side, and I wasn't too crazy about this pair up. Not sure if this is going to be a matter of trial'n'error with other external DAC/amps since I couldn't get it to work with Micro iDSD.



Depending on amp module, if it does or doesn’t have LO, you can connect external amplifier to DX150 Line Out, bypassing its internal amp section. For this test I used a neutral E12A to compare DX150 HO vs DX150 LO + E12A. From this testing, I can hear E12A and AMP6 to have nearly the same neutral tonality and a nice dynamics expansion. This means that DAC output is a bigger contributor to a neutral-warm tonality which is typical of AK4490 - the signature of DX150 DAP with its stock AMP6.



Conclusion.

It's very easy to get confused when looking at and comparing DX150 and DX200 DAPs, considering there is a lot of overlap. Especially when you look at the exterior design, modular amp support, flush mounted screen, and updated volume wheel area, some might even think by mistake that DX150 is an upgraded version. But you have to be realistic. No company in their right mind will release a cheaper model and make it superior in performance to kill the sales of their flagship. So the fact still remains, DX200 is iBasso's current flagship, utilizing a higher end premium DACs with improved sound performance in comparison to DX150.

But at the same time, DX150 is not too far off and with some of the amp modules the gap is even closer. That's what gives this latest iBasso release a very impressive price/performance ratio. Its neutral sound tuning with a warmish tilt will pair up great with many headphones, giving them a more natural tonality, its selection of different amps (shared with DX200) will allow you to upgrade the sound while still keeping the same DAP chassis without a bulky exterior stack up, and its WiFi and Android OS will let you run any app on DX150, either side-loaded or with full access to Google Play if you install Lurker's fw. iBasso has been pushing the envelope of price/performance ratio with many of its latest releases, and now after DX200 and DX150, it will be interesting to see what the upcoming DX120 brings to the table.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: iBasso.

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Intro.

I'm still getting used to saying, here is a new IEM flagship from iBasso, a company well known for their DAPs. But at the same time, iBasso is probably one of the few companies who managed to expand their original products portfolio and still able to keep a focus and to maintain a very good price/performance ratio with all their releases. The latest DX150 DAP is one of the examples of how much they carried over from DX200 flagship at a fraction of a price. While, IT04 is their new flagship IEM where they did step up in price and performance, relative to IT03, but in my opinion kept it reasonable.

There is no coincidence why I mentioned IT03 because I have a feeling IT04 will attract a lot of current IT01 and IT03 users, and others of course, who are ready to upgrade to their next flagship without breaking the bank. Don't want to get ahead of myself, but it felt like IT04 started with IT03, upgraded it with an additional Knowles BA driver (total of 3xBAs) and 10mm graphene dynamic driver (found in IT01), added a premium cable with an adapter (CB12s, sold separately for $110), and finetuned the sound to a more mature balanced signature (in comparison to a more fun tuned IT03).

Here is what I found after spending the last few weeks of testing iBasso IT04 hybrid IEM.



Unboxing and Accessories.

Just like with any other iBasso product, regardless of the price, packaging is premium, and you will find on the cover a reference to "InTune" which is also featured on IT04 faceplate. There could be a lot of interpretations of its meaning, and I will share my thoughts in the Conclusion of the review.



Surprisingly, you won't find a leather case with IT04, but the included all metal aluminum puck storage container has a soft velour insert setting to showcase these IEMs like a jewelry on the display. It makes for a great presentation, but I'm sure many will remove it to place IT04 inside with a cable attached, and probably will switch to their favorite pocket friendly slim case when on the go.



Furthermore, inside of accessories box you will find a cable and an adapter, and a ton of included eartips. I'm not exaggerating, there were 6 sets of eartips, 5 sets of silicone eartips (S/M/L pairs each), and a set of M/L foam eartips. Finding the right eartip for universal fit iems is important to control the seal and the isolation. The included eartips vary in the springiness of the cap, depth of the cap, diameter of the cap, and length of the stem. Surprisingly, while I'm usually not a big fan of foam eartips, I liked the included ones the most since they were very comfortable and didn't degrade the sound.



Included stock cable is their premium CB12s cable which is a hybrid 8-conductor design with SPC (silver plated copper) and Copper wires. The wires are very supple, nice flexible lightweight design that will not weigh down the cable. The plug is 2.5mm TRRS terminated and features the same aluminum housing design matching the y-splitter, chin slider, and mmcx connectors. In addition, they include 2.5mm balanced to 3.5mm single ended pigtail adapter.

Pigtail adapters give you a flexibility of extending the cable instead of extending the plug (like with a short adapter). Also, for the best performance, it's always important to have matching cable wires in the pigtail adapter, exactly what you find here. And for your AMP4, AMP4s, and upcoming AMP8 needs with 4.4mm balanced connection, you can use iBasso CA02 adapter to go from 2.5mm to 4.4mm balanced, though I wish they would design a pigtail version of it as well.

Another positive thing about the cable - NO MEMORY wire and no pre-shaped flexible earhook tube either. Wire is very flexible, has a soft non-microphonic shielding, stays put behind your ears, and can be secured further by adjusting the chin slider to bring left/right sides closer together. The standard mmcx connection with the shell is tight and very secure, doesn't spin freely, but keep in mind that cable will not be easy to disconnect, especially since the aluminum housing of 2pin connector is a bit slippery.



Sound Analysis and Comparison to IT03.

In this analysis/comparison section I used both IEMs with their stock cables. IT03 performance does scale up with a cable upgrade, like the latest CB13 or even CB12s, but for consistency I kept cables stock. Ironically, CB12s is a stock cable of IT04.

The first thing I usually notice when start listening to headphones is the soundstage, and here both have the same staging depth which projects the sound more out-of-your head, while IT04 also adds more expansion to soundstage width. The signature of IT04 is more balanced, with a more revealing, brighter, transparent tonality. In comparison, IT03 is more v-shaped where the mids are thicker, a little warmer, not as forward as in IT04, and you have more emphasis on bass and treble with a little smoother tonality. I do hear IT04 as being more resolving and more transparent when compared to IT03.

The bass extension is similar, though IT03 has a little more sub-bass rumble and mid-bass punch. IT04 bass feels a little tighter, faster, and more controlled. Also, due to a more forward presentation of mids in IT04, its bass is more balanced and has a perception of less impact in comparison to IT03. Lower mids in both are closer to neutral, where IT03 lower mids are a little north of it with more body, while IT04 lower mids are a little south of neutral, with a leaner body. Upper mids in IT04 are more forward, brighter, more transparent, with improved resolution that leads to a better retrieval of details. In comparison, IT03 mids pushed a little back, have a smoother warmer tonality which leads to a little less resolution and less transparency in comparison to IT04. I don't hear IT04 as more analytical, but rather more revealing, leaner, and balanced with improved resolution and transparency. With high frequencies, both have a well defined crisp airy treble extension where IT03 has a little more sparkle while IT04 has a little more control.

Imaging in both is pretty good, with a relatively accurate placement of instruments and vocals, sound never gets congested, well separated and layered, though IT04 has an upper hand here due to its more transparent tonality and wider soundstage. Another interesting observation, while testing with lo-fi sources, I found IT04 to have a wider soundstage expansion which makes me wonder if it has something to do with its 16ohm impedance that pairs up better with higher output impedance sources vs IT03 (8ohm) which pairs up better with lower output impedance DAPs.

Overall, I find IT04 sound signature and tuning to be more mature (more audiophile tuned), more balanced (improved coherency), more revealing, more transparent and with higher resolution. In contrast, IT03 has a smoother tonality with a fun tuning and more emphasis on bass and treble where mids are pushed slightly back, not as forward as in IT04.

IT04 vs IT03.



Design Comparison.

In terms of the design, both have a very similar ergonomics with custom universal built, but there is one noticeable improvement. The nozzle of IT04 is a little longer, and as a result you don't have to push IT04 as deep into your ear as you would with IT03. Those who had issues with IT03 shell comfort due to a corner mold piece of the inner side of the shell pointing toward concha symba area of your outer ear, now there is a little more distance between IT04 shell and your ear. I also noticed a finer mesh grill on IT04 in comparison to IT03. I don't accumulate too much wax, but I would expect IT04 to do a better job of keeping small particles away from entering the nozzle.



Without a doubt, premium CB12s cable (included stock with IT04) is a big step up as well, in terms of ergonomics (thinner wires), flexibility (more pliable), 2.5mm termination with a separate 3.5mm pigtail adapter, and a design with matching aluminum plug, y-splitter, chin-slider, connectors and adapter connectors. Also, mmcx connectors in the shell don’t stick out as far as in IT03, and connection is tighter, not easy to turn the cable. This is another plus, because when joint is loose, you get dirt and moisture inside, affecting the reliability of the connection.

The faceplate of IT04 has a more premium design with a carbon fiber artwork and InTune label. I do like it, but also wish the little iBasso triangular logo would have been featured somewhere in the corner of the faceplate. Of course, this is just a personal nitpicking comment based on my preference since I like that little logo. Overall, IT04 shell looks more compact and more premium.



Comparison.

4-driver IEMs are not as common, and I have more 3-way hybrids/BAs and 5-driver hybrids/BAs, but the refinement of IT04 sound tuning pushes it closer to higher end performance iems. Here is how it stacks up against different 5-driver IEMs.

IT04 vs Simgot EM5 – EM5 is less efficient (needs to push volume louder), soundstage depth is very similar with out-of-your head expansion, while width is a little more expanded in EM5. Sub-bass extension and depth, along with mid-bass punch, are very similar in quantity and quality between these two, a typical articulate dynamic driver performance, and that’s where all the similarities end. Lower mids in EM5 are a lot leaner, lacking body in sound, while IT04 is more neutral with fuller body. Upper mids in EM5 are more revealing, a lot brighter and crisper, more micro-detailed, while IT04 is smoother, more natural, still very detailed, but more toward the organic tonality. With treble, both are well defined and crisp, but EM5 is splashier and has a lot more sparkle in comparison to a better controlled and more natural IT04 treble.

IT04 vs Westone UM Pro 50 v2 – With UMPro being a musician performance iems, I’m not surprised that it has a narrower soundstage with less depth in comparison to a more expanded soundstage of IT04 (both width and depth). UMPro bass hits harder, but it’s not as articulate or controlled as IT04 bass which is tighter and more layered. Lower mids in UMPro are thicker with a lot more body, in comparison to a more neutral lower mids of IT04 which make mids less congested. Upper mids are more laid back and smoother in UMPro, while IT04 is more detailed, more revealing, and more forward in presentation. Both have a nice treble sparkle, but IT04 has a better treble extension. The biggest difference here is presentation and retrieval of details in mids.

IT04 vs Fidue Sirius – The first thing I noticed is the difference in soundstage width, where IT04 expansion is noticeably wider. The next big difference is in sound presentation and sound signature where Sirius has a lot more bass impact which makes its signature more v-shaped in comparison to a more balanced sound signature of IT04. While lower mids in IT04 are neutral, Sirius is a touch above it, which adds more body to the sound. Moving on up from there, upper mids and treble are nearly identical in tonality and retrieval of details. The main difference here is IT04 mids being more forward, while Sirius upper mids pushed a little back. Aside from a more noticeable harder hitting bass of Sirius, these two have a similar tonality, though you do need to keep in mind that Sirius costs almost twice as much as IT04.

IT04 vs Campfire Audio Andromeda - While soundstage depth (the out-of-your head expansion) is very similar, IT04 still has more width. With bass, Andro hits harder with a deeper subs and punchier mid-bass, but the bass is not as tight or as articulate as IT04, where IT04 dynamic driver sounds tighter and has more control than Andro's BA drivers. Lower mids of Andro are thicker and with more body, while IT04 is leaner and more neutral. IT04 upper mids have more transparency and more revealing while Andro is a little smoother. Another big difference here is treble where Andro is brighter and has a more noticeable 7k peak, while IT04 has more control and sounds more natural. The most noticeable difference in this comparison is bigger bass and thicker lower mids of Andro which makes the sound more congested in comparison to a more balanced and more transparent and layered sound of IT04.



Pair up.

16ohm impedance and 110dB sensitivity is a good combination for a pair up with variety of sources, which also makes it quite easy to drive.

iBasso DX200 w/AMP4 - very wide soundstage expansion that wraps around you; balanced revealing layered sound with a little more mid-forward emphasis. Still, very coherent tuning with a transparent sound. Black background, great expansion of dynamics, no hissing.

iBasso DX150 w/AMP6 - wide soundstage expansion (but not as wide as DX200 w/AMP4); balanced layered sound with a little more sub-bass texture/rumble and a bit smoother mids when compared to DX200 w/AMP4. It's a great pair up, but also a good reminder that as great as it sounds, DX200 w/AMP4 has an edge in technical performance with improvement in transparency and layering, while DX150 w/AMP6 is a little smoother and with a little more bass. Also, I hear a little bit of hissing with IT04, but not too much.

Hiby R6 - very similar wide soundstage like in DX150 w/AMP6; the sound is balanced but with more emphasis on low end, bass hits a little harder here, mids are a little smoother, a touch warmer, and treble has a bit less sparkle. Overall sound is a little smoother, a little less transparent, and a bit less revealing in comparison to DX150, but it does have a perfect black background and not a hint of hissing.

FiiO X5iii - wide soundstage expansion; the sound is balanced with a little more emphasis on mids. Overall tonality is smooth, warm, not as layered or transparent, also not as high level of sound separation like in the DAPs above. Plus, hissing here is strong, becoming distracting.

A&K SP1000 (fw 1.0.8) - very wide soundstage expansion that wraps around you; balanced revealing layered sound which has as much emphasis on bass as it is on mids and treble. Technical performance, in terms of layering, separation, dynamics and transparency, is on par with DX200 w/AMP4, but SP1000 has a little deeper sub-bass rumble. Black background, no hissing.

L&P L6 - very similar to DX200 w/AMP4 and SP1000, in terms of a technical performance with a high level of layering, separation, great dynamics expansion, but the overall sound is a just a bit smoother and sub-bass goes deeper and mid-bass hits a little harder. Plus, soundstage is wide, but not as wide as DX200 and SP1000. Also, deep black background and no hissing.

Galaxy S9 phone - surprisingly very wide soundstage, on par with DX200 and SP1000; sound sig is balanced, a little more on a smoother, and even a touch warmer side. Though it doesn't have a technical performance of other high-end DAPs, the sound is on par (if not even better) with some other mid-fi DAPs where I hear a good layering and separation, and good sound dynamics.



Conclusion.

The first time I heard IT04 was at CanJam NYC earlier this year, and got an instantaneous impression of a more mature tuning. I mentioned the word "mature" a few times already, and the reason why I keep bringing it up because I find IT03 and IT01 to be more fun tuned, with more emphasis on low end and treble, meaning they are not as balanced tuned as their InTune older sibling IT04. Actually, I was thinking about the meaning of "InTune" label. It's catchy and could have many different interpretations where your IT04 is in-tune with your sound source, in-tune with your music taste, having in-tune coherency of 4 drivers, or just being in-tune with your everyday life.

I also don't think it will be out-of-tune with your wallet, since even with a higher price, when you factor in premium CB12s cable ($110) with included adapter, new 10mm DD from IT01, stepping up in Knowles BA driver count, and updated tuning - the price gap between IT03 and IT04 is not that big and quite reasonable, considering today's market of $2k-$3k flagships. IT04 has a great balanced signature, transparent natural high-resolution sound, pairs up well with many sources, and tuned to work with every genre of music I threw at it. Definitely a great example of budget friendly all-rounder flagship IEM from iBasso.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with all my readers on head-fi.

Manufacturer website: Simgot, available for sale on MusicTeck.

This is a combined review of Simgot latest EM3 vs EM5 hybrid IEMs.

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Intro.

When the original EN series from Simgot was introduced, it received a lot of attention due to its unique shell design and build quality. As they say, you only get one chance to make a first impression, and EN700 nailed it. Today you will find a lot of pretty shells with an empty content when it comes to some Chi-fi IEMs. EN series went through a few transformations of their own, from EN700 to EN700 Bass, and later perfecting it to EN700 Pro which I still enjoy and recommend to people who are looking for quality budget IEMs with removable cables. Following the success of EN series, Simgot decided to introduce a new EM series.

The new series has 3 models, EM1 (single dynamic driver), EM3 (hybrid with DD and dual BAs), and EM5 (hybrid with DD and quad BAs). The focus of this series is to appeal to audiophiles who are looking for a more resolving tuning, need a decent removable cable, and prefer a premium shell design. Simgot EM series also features brand name quality drivers, such as Knowles TWFK-30017 and SWFK-31736. In my review I will focus on EM3 and EM5, and will combine these reviews together due to a nearly identical packaging and accessories, similarities in design, and upgraded EM5 tuning relative to EM3. Now, let’s find out more.



Unboxing.

The unboxing experience of EM3 and EM5 is very similar, which could be looked at as both a positive and a negative thing. Each pair arrives in a giftbox quality large premium cardboard box with Simgot logo and a metal tab at the bottom, etched with a model number. Under the cover, there is a large foam cutout for a leather storage box and iems, with everything else under the foam layer.

Fur sure, it looks and feels premium, and provides a satisfying unboxing experience, except for the part that EM5 is an upgraded pricier version where some might want to see more. Perhaps, packaging can remain the same while EM5 can get more accessories, to make it standout. For example, a balanced cable wouldn’t be a bad idea.

EM3 unboxing.



EM5 unboxing.



Accessories.

Just like with packaging, expect similarities in accessories. Both have the same manual/warranty card, and the identical storage travel case. Not sure if it’s a real leather or pleather, but this a high quality nice looking case with Simgot logo on the top and “Salute to Art and Science” slogan on the bottom, lined up with a soft material and with an elastic pocket for extra storage. The cover stays securely closed under a spring-loaded hinge, and this travel case can easily fit the pants pocket, though it is a bit on a larger size.

I will talk about the cable in the next section where despite a different shielding and purity of wires, both use a premium 4core hybrid design. Eartips selection is also similar, despite EM3 set having a black core to match its dark shells and EM5 having a white core to match its transparent shells, with 2 sets of S/M/L silicone pairs that vary in diameter and depth. You need to look closer to see the difference where one set is wider and shallower, while the other one is narrower and taller. Eartips selection is critical to achieve an ideal seal which going to affect the sound signature. Wider eartips will give you more seal, enhancing the bass, while narrow ones relax the seal. And the depth/height of eartips will vary the distance between your eardrums and drivers which could affect the soundstage perception.

EM3 accessories.



EM5 accessories.



Cable.

Overall cable design has a lot of similarities, considering both feature a 4-core hybrid design with single crystal copper and silver-plated copper OCC wires. The obvious difference is the wire sleeve, which is like eartips, matches the shell design with EM3 cable featuring an all-black shielding and EM5 cable featuring a transparent shielding where you can see wire details. But according to Simgot, the wires itself have a different level of purity, and they selected more premium wires with a different level of coating and production techniques in EM5 cable.

When you interchange these cables between EM3 and EM5 – you will hear subtle differences in sound with EM5 cable being brighter and more revealing to my ears. Also, please keep in mind, Simgot use these specific cables when tuning corresponding EM3 and EM5 models.

As far as the cable exterior design goes, starting with a headphone plug you have 3.5mm gold plated TRS metal housing connector which has a single piece frosted transparent rubber sleeve over the top, which enhances the grip and extends to provide a strain relief. All wires are inner-twisted, 2 separately twisted L/R pairs twisted again below the y-splitter. Y-splitter design matches the headphone plug connector, the same metal cylinder with a rubber sleeve. Chin slider is a matching metal only piece.

Closer to earpieces, you have a pre-shaped springy earhook, no memory wires. Earhook has a fool loop which wraps around your ear for a wire up fit, the only wait to wear these. The 2pin connector housing is clear plastic and has 110deg angle. 2pin connector has standard 0.78mm pins, but the connector housing itself is proprietary since it extends to cover the shell joint which creates a seamless look when cable is attached. Basically, you can use any standard 2pin cable with either EN or EM series IEMs, but their own cables can only work with Simgot IEMs to create that seamless secure junction look where you can’t even tell that cable is detachable.

While Simgot tuned their IEMs using included premium cables, it’s still fun to try it with different aftermarket ones, to see if you can fine tune the sound further. I didn’t want to go crazy with super fancy expensive cables, so decided to compare Simgot copper/SPC cable to Effect Audio’s pure copper (Ares II) and gold/silver plated copper (Lionheart).

EM3: stock to EA Ares II -> very similar presentation of bass and treble, but mids get more body and sound a little smoother. Also, I hear a little more rumble in sub-bass.

EM3: stock to EA Lionheart -> more rumble in sub-bass, bass it tighter, mids are a little smoother with more body in lower mids, yet I hear a better retrieval of details and more transparency.

EM5: stock to EA Ares II -> similar to EM3, mids get a little more body and sound a touch smoother, there is some additional rumble in sub-bass, and treble is just a touch smoother.

EM5: stock to EA Lionheart -> similar to EM3, I hear a little more rumble in sub-bass, mids have a little more body in lower mids and sound smoother, and treble is just a touch smoother as well.

As I mentioned already, both IEMs come with good pair of cables, and it's not necessary to buy a new one unless you want to refine the sound a little further. If you have any pure copper cables, I do recommend giving them a try since they help with adding a little more body to the mids and taking an edge off the treble sparkle.

EM3 cable.



EM5 cable.



Design.

When the original EN700 was released, many referred to it as HiFiMAN HE1000 mini clone. That all metal shell had an eye-catching design and high-quality build. In my opinion, EM series stepped it up to a whole new level with a new original design where this time it’s not going to be mistaken for any clone.

Both have shells with a very similar shape, reminding me a little bit of slim guitar pick teardrop, with 2pin connector extension piece attached at the top. They both have the same layered faceplate insert, in a scaled down shape of the shell and a round metal circle on top. And similarly, facing-in you have a DD venting port. Both shells are plastic, with EM3 being dark brown with a little bit of transparency and EM5 being clear and fully transparent. Both have a gold-plated nozzle which feels like a lightweight aluminum material (it’s colder to the touch than a plastic shell, thus I assume it’s metal), and a mesh covering the tip of the nozzle.

Simgot certainly tried to distinguish one model from the other with EM3 having a dark shell, black cable, and eartips with a black core, while EM5 has a transparent plastic shell, transparent cable sleeve, and eartips with a white core. On the inside, you will find some similarities as well, plus additional drivers in EM5 model.

EM3 is a hybrid IEM with 10mm dynamic driver and dual Knowles TWFK-30017 balanced armature drivers. EM5 is also a hybrid IEM with the same 10mm dynamic driver and dual Knowles TWFK-30017 BAs and on top of that dual Knowles SWFK-31736 BAs. Both have the same 101dB sensitivity and 16ohm impedance. When I measured EM3 vs EM5, I found a very similar FR response up to 5kHz and only the variation in lower/mid treble with EM5 having more accentuated peaks, suggesting that’s where the energy of additional SWFK Knowles drivers is focused on. I will discuss this in more details in Sound analysis section of the review.

EM3 design.



EM3 fit.



EM5 design.



EM5 fit.



Sound analysis.

Let me first start with EM3 sound analysis which I find to be like a baseline core of EM5 tuning. Then, I will go into more details of EM5 sound which I feel was derived from the original EM3 tuning where they share the same DD and dual BA drivers. In my sound description I used multiple sources to make sure my analysis is consistent.

Also, following tracks were used while analyzing and comparing these iems: Agnes Obel "The curse", Avicii "Lonely together", C-Bool "Never go away", Ed Sheeran "Shape of you", Galantis "Hunter", Iggy Azalea "Black widow", Indila "Boite en argent", Robin Schultz "Oh child", David Elias "Vision of her", Michael Jackson "Dirty Diana", and Counting Crows "Big yellow taxi".

EM3 sound analysis.

EM3 is tuned to have a mid-forward signature that has a more revealing upper frequencies tonality. It has a very good retrieval of details with a nice level of clarity. The sound is on a brighter side, not exactly as smooth and musical as the previous EN700Pro tuning, instead being leaner and more revealing. EM3 doesn't color the sound much, keeps the mid-bass at a neutral quantity level with a deep sub-bass rumble, whips lower mids into a leaner shape, and pushes upper mids more forward while keeping treble well defined, extended, and under control.

The sound separation and layering is pretty good, keeping instruments and vocals distinguished and easily identified within a mix.

Soundstage has a surprisingly good width and depth, with more depth which pushes sound a little more out of your head, giving you more space in front of the stage. It's not exactly at full holographic level, but has a good imaging with a convincing placement of instruments.

In more details, bass has a good deep extension with a deep velvety rumble. Mid bass is fast and punchy, not too aggressive but punches through the mix well. Despite a hybrid design with DD bass driver, this is a fast driver with faster attack and shorter decay, articulate, and very controlled without any spillage into lower mids. Both sub-/mid-bass are relatively balanced, though there is more tilt toward sub-bass. Despite having a mid-forward tuning, in my experience other similar iems compromise sub-bass by rolling it off and keeping mid-bass neutral and boring. Here, maybe the quantity is more neutral relative to mids, but the quality shines with a nice rumble.

With mids, lower mids take a little dip to accentuate more the upper mids, which makes them sound leaner. As a result, EM3 tuning lacks some body which goes along with a more revealing mid-forward signature of these iems. Upper mids are the focus and the shining star of EM3 tuning where you have a linear continuous lift between 2k and 5k. Mids are nicely layered and very transparent. Also, surprisingly, despite a leaner tuning, vocals rendition is pretty good, not as organic, but very clear, detailed, and focused.

Treble has a very good extension, typical of some high-end IEMs, but in case of EM3 the treble peaks are more subdued (but not rolled off), giving the sound just enough airiness and precise definition, but keeping it more controlled and less fatigue.



EM5 sound analysis.

Surprisingly, up to a lower treble, EM5 is tuned very close to EM3. And this is not something that I just hear, but also able to confirm it in my measurements with Veritas coupler. It’s quite impressive how the focus of 2 additional drivers went into improving the treble performance with crisper definition and higher level of airiness and clarity.

The signature is still mid-forward and tonality is even brighter and more revealing, but the focus here is shifted to upper mids and treble, thanks to a more prominent 12k peak. As a result, I feel like there is more air between the layers, and the retrieval of details is closer to analytical level. At the same time, it makes sound a little colder and dryer, but brings more crunch and airiness with improved retrieval of details. With that shift, low end impact feels a little more neutral.

I also noticed a perception of soundstage expanded a little wider. The depth is the same, but width has improved, now giving the sound a feeling closer to holographic expansion.

Bass, both sub-bass and mid-bass, are closer to EM3, thus my EM3 description is still very much applicable. Lower mids are also nearly identical: lean and scooped out a bit. Upper mids follow the same EM3 DNA with a similar mid-forward presentation but as I mentioned already, the sound feels a little more layered, more analytical, and as a result a little colder.

Treble is where you have the most noticeable difference with 12k peak pushing higher, giving the sound a sharper definition, more brightness, and more crunch. Also, I hear more airiness. If you are sensitive to brighter upper frequencies, as myself, the side effect of this improvement will result in a little harsher tonality. It's not sibilant or too fatigue, but after extended listening I personally preferred a more balanced treble tuning of EM3 which took some edge off the upper end. If you want more treble energy and crisper details, EM5 is the way to go over EM3.



Comparison.

I'm going to combine EM3/5 in the comparisons to other IEMs due to similarity in bass and mids, while noting separately about EM5 treble difference. In every test, I volume matched each pair.

EM3/5 vs EN700Pro - EM soundstage is noticeably wider while both have a similar depth. EN bass hits harder, deeper sub-bass, more impact in mid-bass, but overall bass is not as controlled and not as articulate as EM. EM lower mids are leaner and more neutral while EN is thicker and with more body. Upper mids presentation of EM is more forward, more layered, more resolving, while EN is smoother, warmer, detailed but not as resolving and pushed a little back in comparison. EM treble also has more sparkle, more control, better definition. Besides a superior technical performance, the main difference here is EN being warmer, smoother, less layered, while EM is more audiophile tuned with a better technical performance, improved resolution, more forward mids, and wider soundstage.

EM3/5 vs iBasso IT03 - both have a very similar soundstage expansion, in both width and depth. IT bass hits harder, both in sub-bass and mid-bass, while EM is more neutral in comparison. EM bass is a little faster with a shorter attack and a shorter decay. Lower mids are not too far off, though I feel IT gives a sound a little more body. IT mids have a pushed back presentation, as detailed and resolving, but smoother and a little warmer, while EM mids are pushed more forward, brighter, colder, and even more resolving in comparison. With treble, IT has a more noticeable 6k peak which can get a bit harsh with some poorly recorded song, while EM 6k peak is more under control. The treble between IT and EM3 is very similar, while EM5 pushes it to the next level with more sparkle and crispiness.

EM3/5 vs Campfire Audio Andromeda - Andro has a wider soundstage with more depth, making it more holographic in comparison. While Andro bass slams harder, they both have a similar sub-bass extension, while mid-bass in Andro is slower. In comparison, EM bass is leaner, more controlled, faster and with a little better articulation. Lower mids in Andro have a little more body, while EM is neutral. While I wouldn't call Andro a mid-centric tuned, it's more W-shaped tuned where mids have a similar presentation as EM. Both have a similar upper mids, detailed, resolving, layered; the only difference with EM upper mids being a little leaner while Android is a touch smoother/warmer. With treble EM3 is smoother an a little rolled off in comparison to Andro, while EM5 is as crisp and bright, just the lower treble 6k peak in Andromeda is more defined and could be harsh depending on pair up.

EM3/5 vs HiFiMAN RE800 - remarkable resemblance between these two, especially EM5 vs RE800. With soundstage, both have a very similar soundstage width and depth expansion. RE has a touch more sub-bass rumble, but overall both have a fast, articulate, well controlled bass. With mids, both have lean lower mids and bright, resolving, micro-detailed, layered upper mids. EM3 treble is more controlled and a little smoother in comparison to more aggressive treble of RE. Contrary to that, EM5 treble is on par with RE800, except RE has a spike around 6k which makes it more sibilant with poorly recorded songs.

EM3/5 vs Westone UM Pro 50 v2 - while soundstage depth is similar between these two, EM has more width. UM Pro 50 bass his harder, more sub-bass rumble and more mid-bass impact, but bass is not as tight or controlled as EM which is leaner and more articulate and faster. Big difference here in lower mids where EM is lean and has less body, while UM is ticker and with more body. Upper mids are smoother and warmer in UM, while more forward, leaner, and brighter in EM. UM treble is a touch smoother than EM3, and a lot smoother than EM5. Biggest difference here is UM Pro 50 having more bass slam and more body in lower mids.

EM3/5 vs 64 Audio U4-SE - very similar soundstage expansion, in both width and depth. In tonality, this comparison reminded me of the one with UMPro50, where U4 bass slams harder with a healthier sub-bass rumble and a punchier mid-bass, while EM had a great sub-bass rumble and mid-bass punch, but it's scaled down in quantity. Both have a tight well controlled bass. Lower mids of U4 have more body but not very thick, while EM in comparison is a lot leaner. Upper mids of U4 are smoother and warmer, while EM is more revealing, more transparent, and more micro-detailed in comparison. With treble, EM3 sounds similar to U4SE, but EM5 steps it up with more sparkle and more crispiness.

By a number of requests after posting this original review, I added a comparison between EM3 and a few other popular 3way hybrids.

EM3 vs Oriveti New Primacy - EM3 soundstage is just a touch wider. NP mid-bass hits harder, while EM3 bass is more balanced, more linear. I also hear a little more sparkle in treble with EM3, while NP is equally well defined, but has a touch less sparkle. The biggest difference here is in mids, where EM3 has a lot more neutral lower mids and brighter, more transparent upper mids while NP lower mids are thicker with more body and upper mids are a little warmer and more organic. Also, EM3 mids presentation is pushed a little back in comparison to more forward NP mids.

EM3 vs Hi-fi Boy OSv3 - Here, OSv3 has a little wider soundstage. While mid-bass is similar, OSv3 sub-bass has more rumble in this comparison. Also, EM3 lower mids are more neutral in comparison to a fuller body OSv3 which also gives OSv3 upper mids a warmer, more organic and less revealing characteristics. EM3 with it's more neutral lower mids have a thinner, brighter, more revealing upper mids. Both have similar treble, just with EM3 having a little more airiness. Overall OSv3 is warmer, smoother, while EM3 is more transparent, more layered, and more revealing.

EM3 vs Dunu DN2000J - With soundstage, DN is a little wider and more out of your head. The sound signature is similar, actually very similar here. While EM3 might have a little deeper rumble, overall the quantity and quality of the bass in both are rather similar. Lower mids are also similar with a more neutral tonality, and the same goes for upper mids where you have a more transparent, more revealing brighter sound. The big difference here is in treble where EM3 has more control and a more natural sparkle, while DN has a little more sibilance and a brighter crunch (and I'm actually using foam tips with DN).



Pair up.

In this pair up testing, I used only 3.5mm connection. Both EM3/EM5 are easy to drive, though due to its 101dB sensitivity, EM series requires a few more clicks to raise the volume to my preferred listening level.

Cowon Plenue 2 mk2 - w/EM3 I hear a wide soundstage, dynamic sound with a deep rumble and punchy mid-bass, mids are forward, clear, brighter, detailed, treble is crisp, well controlled. EM5 treble is crisper, brighter, a little more extended. Both pair up great here.

Cayin N5ii - w/EM3 soundstage is wide and even deeper, sound is closer to W-shaped with more sub-bass rumble and a little stronger mid-bass punch, making sound more balanced. Mids are still forward, bright, detailed, colder and more analytical, treble is crisp and extended. EM5 pair up pushes treble with more crispiness, making it brighter and more sibilant. Personally, I prefer EM3 in this pair up.

Shanling M3s - w/EM3 soundstage is wide and a little deeper, sound is more balanced with deeper sub-bass rumble and stronger mid-bass munch. Mids are a little forward, very detailed, and have a hint of smoothness here, treble is crisp and well controlled. EM5 has a very similar sound in this pair up with an exception of brighter and crisper treble which is tolerable, not as harsh as in N5ii pair up, and the sound is a little airier. Both pair up great.

Lotoo PAW Gold - w/EM3 soundstage is still wide but a little narrower in comparison to other pair ups, while staging depth goes deeper. Sound is more balanced, more w-shaped where mids are not as forward due to a stronger mid-bass punch and more lifted treble. Mids have more micro details and improved layering, treble is crisper and lifted a little more. EM5 adds a more piercing treble which makes sound crisper. LPG gives treble a lift which works ok with EM3 but for my personal taste not as much with EM5.

FiiO X7ii - w/EM3 soundstage is wide and has a nice depth. The sound is dynamic, more mid-forward signature here. Bass goes deep, punches fast, mids are forward, bright, very detailed, a little on a colder analytical side; treble is crisp and extended. EM5 pushes treble higher in quantity with crisper, more vivid details, making it brighter and harsher and giving it more air. Unless you like your treble crisp and sizzling, EM3 pairs up better here.

TheBit Opus#2 - w/EM3 soundstage is wide and goes a little deeper, the sound is more balanced with W-shaped signature where bass is lifted a little more, though mids are still pushing forward. Bass goes deep with a nice beefy rumble, mid-bass punches hard, surprisingly mids have a little more body, giving them a touch more organic tonality while still being detailed and layered, treble has a nice sparkle and well controlled. EM5 mids are a little more forward due to more energy and crisper treble which is brighter and more lifted, but still tolerable. Both pair up great with Opus#2, and together with EM3 it was one of my favorite pair ups.

Hiby R6 - w/EM3 soundstage is wide and deep, great pair up without a need for iEMatch, sound is more balanced with bass lifted, mids more balanced, and treble is a little up too. Sub-bass rumble goes deep and mid-bass has a fast and powerful punch. Mids are a little smoother while still being micro-detailed, layered, and not as cold; treble is crisp and very well defined with a good extension and airiness. EM5 gives treble more clarity and sparkle, making it a little brighter, yet still under control. Both pair ups are great, and EM3 is also among my favorite here.

A&K SP1000 SS - w/EM3 soundstage is very wide and has more depth, the sound is more mid-forward with a brighter tonality. Very nice sub-bass rumble and fast punchy mid-bass, mids are micro-detailed, layered, transparent, a little more on a colder more analytical side, while treble is very crisp and airy. With EM5 the sound is similar except treble is brighter, crisper, a little harsher, and right on the edge of sibilance without crossing it. Here, I preferred EM3 pair up better than EM5.

Sony WM1Z - w/EM3 soundstage is wide and has more depth, the sound is more mid-forward with a brighter revealing tonality. Sub-bass rumble goes deeper, mid-bass is fast and punchy, mids are micro-detailed, layered, more analytical, treble is crisp and well defined and still under a good control. With Em5, treble becomes crisper, harsher, and more sibilant. Here, I preferred EM3 pair up over EM5.



Conclusion.

Simgot slogan of "Salute to Art and Science" could be easily interpreted as them paying as much attention to the art behind the design as they do to the science behind the tuning. And it’s true. I know it probably sounds cliché, but this new EM series takes Simgot iems to a whole new level of a more mature audiophile tuning with a more expanded soundstage, a deeper sub-bass rumble, more revealing and resolving mids, and extended airy treble. And the design is pretty cool too!

But what I found the most interesting here is how much EM3 and EM5 have in common. We are not looking at two entirely different tuned iems, but rather at EM5 as an enhanced treble version of EM3. That will be the deciding factor when choosing between these two iems, in addition to a price difference due to extra Knowles drivers and higher-grade cable. For me personally, I preferred EM3 with its more controlled smoother treble extension. But if you want an airier more micro detailed sound with enhanced treble, EM5 will suite you well.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: Alpha & Delta.

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Intro.

I have been focusing on so many flagships that sometimes overlook interesting budget releases. I still get a lot of those for review, but not everything catches the attention, especially due to my limited time. I have reviewed Alpha & Delta debut AD01 about 3 years ago, and remember being quite impressed with a sound and a build quality, especially build quality. New D6 caught my attention because right away I noticed a non-detachable cable and 3-year warranty, indicating that AD has a lot of confidence in durability of their design. But the biggest surprise came when I started to listen to it.

While they have a nice mid-forward sound out of the box, when I used Veritas coupler to measure FR, I noticed a significant boost in low end response. That’s not what I heard when listening to D6 with my ears. Looking closer, I realized that while I pushed these IEMs into a coupler for measurement, the core of eartip slid all the way to the back, covering the front vent. That’s how I discovered this “easter egg” trick to turn D6 into dual sound signature, controlled by eartip placement on the nozzle. It was my “Eureka” moment, and I even went back to check other D6 reviews, though nobody mentioned that.

That sealed the deal for me to start working on the review, to share with my readers not only about these iems in general, but also about how you can “flip” the bass boost switch depending on eartip placement. Here is more about it.

Unboxing and Accessories.

Packaging here has a bit of an “old school” feeling with a clear display window so you can preview IEMs even before opening the box. It’s a nice touch, considering many manufacturers today have a solid packaging box with some artwork print on the top. D6 was securely wedged in a foam cutout, with all the accessories underneath.



Accessories include a pair of ear guides (that’s an old school for sure) which might come handy if you want to wear D6 wire up, a shirt clip, a pair of foam eartips (non-Comply), and 9 pairs of silicone eartips in various shapes (3 sets of S/M/L, one silicone rounded, one silicone with a more cone-shape, and one hybrid with thicker core). Those are basic accessories, but to take it to the next level, AD included a leather case and a leather cable wrap. I have seen some budget iems with a leather case, but those are usually pleather glued cases. Here it feels and smells like a genuine quality leather, both a case and a cable wrap.



Design.

In the heart of the D6 is a 10mm dynamic driver inside of a very lightweight metal bullet shell housing with a dual air chamber acoustic design. They even went as far as licensing technology behind HDSS (high definition sound standard) to ensure low distortion, higher clarity, and improved soundstage expansion. The back (faceplate) of D6 shells has AD logo and HDSS label to show the licensed tech inside.



Top of the shell has a vent for the back venting of the driver, while the nozzle of the shell has a front venting at the bottom. The front vent, which is easy to miss, is the key to its unique dual sound sig. In theory it wasn’t designed to have dual signature, so you can refer to this as a mod. But it’s so easy to control that I consider this to be almost like a feature due to a very noticeable sound difference. The nozzle has a mesh cover and a lip at the tip, to protect eartips from sliding off, followed by what appears to be a notch which works as a stopper to keep the front vent open.

So, when you push the eartip in, it stops after that notch, leaving the vent open. But if you slide it further to the back of the nozzle – it closes/covers the front vent. I will refer in my sound analysis to sound with vent open and closed. Just one thing you must keep in mind, when closing the front vent, you are not only controlling the bass response of the sound, but can also introduce a driver flex (that click when you insert the iem in your ears) because you are blocking front air escape. That could be fixed by tip rolling, to relax the seal which eliminates driver flex and reduces the bass slam when vent is closed.



The cable is attached to the shell at the bottom and has a flexible rubber strain relief. That rubber boot/strain relief has L/R imprinted on the inside, but it’s nearly impossible to see that marking. Instead, the left side strain relief has a bump which is easy to feel, being an indicator of the left side since shells are identical otherwise.

Cable is truly high end, with 8 braided SPC (silver plated copper) conductors. Yes, it’s a pity that cable is not detachable because it’s high quality and would have been great to use with other iems. I can only guess that due to dual air chamber design, the detachable socket would have been sticking out too far, and perhaps AD tried to avoid that. But keep in mind, they have a lot of confidence in reliability of these IEMs, thus include 3-year warranty. So, with cable, you have 4 braided conductors on each side going down to a nice cylindrical y-splitter with Alpha & Delta logo, and then continue in a neat 8-wire braid down to 3.5mm single ended TRS connector.

Wires are soft and have a nice clear shielding, and even with 8 wires in the braid, the cable is still flexible. There is a little bit of microphonics, but it’s not as bad and you have included shirt clip if it bothers you. The L-shaped headphone plug is nice, with rubbery housing and metal boot, and it has a very cool spring strain relief. The only wishful thinking considering multi-core design – too bad it’s single ended and not balanced terminated, though I do have to remind myself this is still a premium cable with an under $100 product. One thing that was missing here is a chin-slider which would have been a good idea, not as much when you wear wires down, but when you attempt to wear them up. You can probably make a DIY chin slider with a rubber band.



The fit.



Sound analysis.

D6 has a rather unique sound signature due to a dual vent design where depending on the nozzle vent, either closed or open, the low-end response of the sound will vary significantly. With vent open, when eartips are not pushed all the way in, you have a mid-forward sound signature where depending on pair up the bass will either be neutral-flat or neutral-balanced. With vent closed, when eartips are pushed all the way to the back, the sound sig is more balanced with a fuller body due to an elevated bass impact. In either case, the overall tonality is more natural and revealing due to presentation and rendering of mids, but it's not too bright or harsh. Even with vent closed and bass being elevated, the retrieval of details is pretty good, and you get a decent separation and layering of sounds for an entry level model.

Soundstage has a very good width and depth, way above the average width, a more typical oval shape with a sound slightly out of your head. Positioning and imaging of the sounds is good, not the greatest, but pretty good. With vent open and more emphasis on mids, I heard a better imaging, while with vent closed and more bass impact, for some reason positioning of some of the instruments where closer to the center.

In more details, bass is very much controlled by a vent in the nozzle. When it's open, bass is neutral flat, with a slight variation between pair ups where it could get a little bit lifted. It has a good extension, but closer to a neutral quantity. As soon as you close that vent, the mid-bass slam scales up significantly and the sub-bass rumble also gets a boost in quantity. It feels like someone flipped a bass switch on. With a “neutral” bass, there is more control and shorter decay with an average attack, while the “elevated” bass has a little bit of spillage into lower mids, giving it more body without muddying it.

Lower mids can vary from neutral to being slightly below neutral due to vent being open/closed. With vent closed, you can certainly sense more body in the sound. With upper mids, when vent is open you have more emphasis and a little less body, so they take a front stage with all the focus, becoming more layered, more separated, with a great retrieval of details, but not on micro-detail level, keeping it still natural. With vent closed, upper mids get a little more organic tonality and some additional warmth.

Treble is consistent between vent closed/open, being well defined, crisp, very extended, with a natural airiness. Depending on pair up, the level of crunch can vary, and I even heard a hint of sibilance found paired up with R6 which has 10ohm output impedance, but with iEMatch it got smoother. With many other sources, lower treble was under control. Treble has plenty of clarity and a very good extension. When I did quick measurements, as expected, I saw a peak around 12k (gives a nice clarity and definition to a treble), and then further up there was another peak in treble extension.



Comparison.

In these comparisons, I stacked up D6 against a few other IEMs in a similar price/performance category, and made a note of the effect of nozzle vent open/closed position. In every case IEMs were volume matched, and I tried to focus on a technical and sound breakdown comparison.

D6 vs Oriveti Basic - D6 has a wider soundstage, both in width and depth, while Basic soundstage expansion is more intimate. When it comes to sound signature, Basic is L-shaped with a serious low-end slam, especially with a focus in mid-bass. D6 with its vent closed has a noticeable bass lift, but it's more balanced across FR, giving a sound more tasteful v-shaped signature, instead of shifting the attention to low end. With vent open, D6 bass is significantly more neutral in comparison to Basic. In lower mids, Basic is north of neutral since bass does spill in there, while D6 with vent closed has more neutral lower mids and with vent open even a bit south of neutral. Upper mids are smoother and warmer in Basic, while D6 is more layered, more revealing, still organic but not as warm and more transparent. Treble has more sparkle and better definition and extension in D6 as well.

D6 vs Simgot EN700 Pro - D6 has just a slightly wider soundstage, while both have the same staging depth. When it comes to overall signature, EN700 Pro is right between the D6 with vent closed and open. 700Pro bass is more elevated than neutral bass of D6 with vent open, yet 700Pro mid-bass doesn't have as much slam in comparison when D6 vent is closed, though sub-bass extension is similar. With lower mids, both have neutral presentation (with D6 vent closed). Upper mids in EN700 Pro are pushed a little back, a little brighter and less natural in comparison to a more balanced (when vent is closed) mids of D6 which also sound more natural and more layered. Treble definition, crunch, and extension is similar between these two.

D6 vs iBasso IT01 - Another very interesting comparison. While IT01 soundstage is wider, both have a similar depth expansion, a little more out of your head. With a sound signature, IT01 is a classic example of v-shaped tuned IEM, while D6 even with a vent closed has a more balanced signature across FR. IT01 bass hits a lot harder in mid-bass, while D6 w/vent closed does have a nice slam but it's rather polite in comparison. Both have a similar sub-bass extension, though IT01 has a little more rumble. D6 with vent open is night'n'day in comparison when it comes to bass since it's too neutral. IT01 lower mids are little more recessed in comparison to more neutral D6. Upper mids have some similarities in tonality, being natural, layered, and still very detailed, but in IT01 - upper mids are pushed more back, while D6 has them more forward, with a more balanced presentation. Both have a very well defined crunchy treble with a nice extension and airiness, but IT01 has a little more sparkle while D6 is more natural in that regard. I think those who find IT01 bass slam a bit overwhelming and want mids to be more forward, will enjoy D6 with a vent closed.



Pair up.

With impedance of 16 ohm and sensitivity of 105dB, D6 is very easy to drive, maybe just needs a few extra clicks of volume since sensitivity is a bit on a lower side. Also, I didn’t hear any hissing in any of my pair up examples.

A&K SP1000 SS - Very wide soundstage with excellent depth as well. Sound signature is more balanced with vent closed, where I hear a deep sub-bass rumble, punchy elevated mid-bass; neutral lower mids, forward upper mids with a great layering and separation, and transparent natural tonality, and great retrieval of details; treble is crisp and well defined, extended with a nice airiness, and overall having a natural crunch without being too harsh or splashy. With vent open, bass is flat neutral, extended but has a neutral quantity; lower mids a little south of neutral, upper mids are more forward, brighter, very natural, layered, excellent retrieval of details; and treble is crisp, airy, and extended. With vent open it has a more mid-forward signature, but a little smoother at the top.

Cayin N5ii - Very wide soundstage expansion with a nice out of your head depth. As expected, sound sig is more balanced with vent closed and more mid-forward with vent open. With vent open the bass is flat, and when it's closed - the mid-bass slams even harder. Mids have excellent retrieval of details, nice layering and separation, and have a more natural tonality. Treble in this pair up has more sparkle, more crunch, higher definition, still very extended and airy. This pair up is a little brighter in tonality.

iBasso DX150 - Very wide soundstage expansion with an excellent depth. With vent closed, sound signature is balanced, though pushing a little close toward the L-shaped due to a deeper and stronger sub-bass and more mid-bass impact. With vent open, bass is neutral, but a little more elevated with a more noticeable sub-bass rumble in comparison to other pair ups. Lower mids are neutral, while upper mids have a very natural organic transparent tonality with an excellent retrieval of details and nice layering and separation. Treble is well defined, with a moderate crunch, great extension, and polite airiness. This pair up is a little smoother.

Shanling M0 – I hear a wide soundstage with an excellent depth. With vent closed, sound signature is a little more L-shaped, though still closer to balanced, but I do hear a little more sub-bass rumble. Mid-bass impact is strong for sure. With vent open, bass is neutral, but not exactly flat, still has a nice sub-bass extension with a textured rumble and a bit of a punch in mid-bass. Lower mids are neutral with either vent open or closed. Upper mids are natural, detailed, not as layered as in other pair ups, but sound does have a good separation. Treble is well defined, crisp, a little on a brighter side, but not harsh or splashy.

Hiby R6 - Very wide soundstage with an excellent depth. Was very curious about this pair up due to 10ohm output impedance, which in theory shouldn't affect a single dynamic driver iems. With vent open, the sound is more mid forward, but bass has a nice extended sub-bass with a tight mid-bass punch, above neutral level. With vent closed, the sound signature is more balanced, but the bass is not as elevated as I heard it with other DAPs. It's above the neutral, has a deeper sub-bass with more rumble and stronger mid-bass punch, but it's more balanced against the rest of the spectrum. Lower mids in either case are neutral, and upper mids are very layered, nicely separated, excellent retrieval of details, and slightly brighter tonality. Treble is bright, crisp, airy, very extended. It's not harsh or splashy, but it does have a little bit of sibilance with a few of the tracks. When adding iEMatch in series, there is hardly any change in tonality, but that hint of sibilance was absolutely gone.



Conclusion.

Lately I got a few pings from people with a collection of flagship C/IEMs who are looking for something “budget” to use on the go. I know, “budget” is a relative term, especially when you look at $1k-$3k flagship prices. Also, “budget” means cutting some corners to meet that budget. With D6, I don’t think Alpha & Delta had any intentions to cut corner, they tuned it to a specific sound signature, made a durable design backed by 3-year warranty, included a high quality permanently attached cable so there is no fiddling with connectors, and provided a set of cool accessories. And on top of that, obviously unintentionally, gave D6 the ability to mod the sound by sliding the eartip to cover the front vent. As a result, you get a fun little “budget” IEM in sub $100 price range. It’s a nice choice to consider if you want to give your TOTL a break or if you can’t decide between mid-forward signature or balanced sound with more emphasis on low end.

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The product was loaned to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: Astell & Kern.

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Intro.

Prior to this review, the first and the last A&K DAP I had a chance to test was AK120ii. Now, 3 years later, I still feature it in majority of my reviews as part of pair up testing with various IEMs and full-size headphones, and in comparisons to other DAPs in a similar price/performance class. So, when my readers ask me why I still use AK120ii (I get that question a lot), the answer is because that’s the only A&K DAP I had access to and because it’s still relevant. The meaning of relevance in today’s DAP market feels almost the same as in smartphone market, and coincidentally has a lot to do with catering to streaming apps, Android implementation, and hardware to support it, which makes some DAPs obsolete in a short period of time after the release. A&K focus seems to be more on sound quality and user experience first, without worrying too much about general app support. That's how they keep OS lean, fast, and optimized. And even so they provide access to Tidal (current audiophile choice for streaming), we are not talking about open Android with a freedom to install other apps.

Recently, after getting the opportunity to spend a few months with A&K current flagship A&ultima SP1000, this DAP became a permanent fixture in all my latest reviews. I already posted a mini-review focusing on SP1000 SS vs CU comparison while I had CU unit on a short loan, and now I'm ready to share with everybody my thoughts about SS version. Just as a heads up, I can't comment on comparison of SP1000 to the previous AK380 flagship since I don’t have any experience with it. But you can certainly expect my usual detailed analysis of the design, user interface, sound performance, comparison to other summit-fi DAPs, and an extensive guide to pair up with many different earphones.

I find it very important in this review to be clear about which firmware version I’m using, thus I will be specific about it. According to the official statement from A&K, there shouldn't be a sound difference between firmware updates within each specific SP1000 model, and the sound should only vary between the models, such as SS vs CU. Personally, I do hear a difference between fw updates which I have described in my SS vs CU review, though I don’t have a definitive explanation why there is one and still wonder if it has anything to do with tweaking of AKM filters by manufacturer, which users don't have access to. But either way, let's take a closer look at what I’ve found after spending the last few months being permanently attached to this DAP.



Unboxing and Accessories.

I decided to combine these sections together since a big part of the unboxing is a beautiful wooden giftbox SP arrived in. Covering the wooden box, there is an all-black packing paper box with a signature "A" and Astell&Kern logo name on the front, and a detailed small print spec in 10 languages (including in English) on the back, plus a packing list of everything included. But the fun starts once you open the paper box to reveal a star of this unboxing - a wooden display giftbox.

It like how everything was packed inside of a wooden box with Astell&Kern name on the top cover. My only comment here, there is no latch or hinges to hold the cover securely attached, so be careful when lifting it up or moving it around, making sure to hold it from the bottom. Inside you have a foam cutout under the cover where you will find a leather case, and a foam cutout inside the main part of the box which holds SP1000 SS, quick start guide, warranty card, 2 sets of front/back film screen protectors, usb-C cable, and a neat SS pin for the uSD card tray latch release, designed in a shape of "A" logo. For sure, it felt like a premium unboxing experience, setting the tone for a flagship product waiting ahead of you.



A-logo uSD tray pin was a nice touch, just be careful not to lose it. 2 sets of screen protectors were also thoughtful in case if you mess one up during installation or lift it up when sliding into a case. The included standard USB-C high speed cable for charging, data transfer, and usb DAC functionality is high quality, thick, with a durable shielding, and most likely with proper gauge wires. With a fast charge mode support, it's important to use a quality cable for high speed charging at higher voltage.



As expected, A&K included a quality premium leather case with SP model. The case fits like a glove, with a generous opening for usb-C connector at the bottom, covered play/pause/skip buttons on the left (though a bit shallow when you slide finger over the case), a fully open top (where you slide the DAP in), and uncovered upper right corner going from the volume/power wheel and all the way up. Inside the case you have a soft suede material to protect DAP from scratches. The case looks great and gives this large size dap a more secure grip when handling it.



But my favorite case for SP model is Artisan Series Patina leather case from Dignis. The quality of Dignis work and material selection needs no introduction. This new model for SP1000 comes in 2 finishes, navy and brown, and takes a long time for one craftsman to dye by hand to get a perfect aged patina finish. It’s often listed as out of stock because it’s a very time-consuming process, requiring the long wait until the next batch is ready.

Besides enhancing the grip and protecting the DAP from scratches and minor drops and bumps, the inner soft lining gives a nice cushion, there is one more advantage to this case. Like a stock case you have a generous usb-c port opening at the bottom, covered transport control imprinted buttons on the upper left side (though, easier to feel), and a large opening at the top where you slide the case in. But unlike a fully open upper right-side corner of the stock case, Dignis carefully crafted its design to cover the upper right part of chassis, protecting the DAP and avoiding the bend of the front upper corner of the case, plus having a neat cutout for the volume knob. You do have to be careful when sliding SP1000 in and out of this case, and should refer to the instructions provided by Dignis.



Design.

A&K latest flagship is a big DAP in every sense of the word. It has a big sound, a big display, and it’s bigger in size. With dimensions of 75.8mm x 132mm x 16.2mm, on par with some of the large screen smartphones and a few of my other big size DAPs, I still consider it to be portable, but it might not be pocket friendly for everybody due to its 388g (Stainless Steel) or 418g (Copper) weight. This is just part of a tradeoff for having a large 5” high definition touch screen and additional weight associated with either SS or CU chassis.

The focus of the design is the large 5" touch screen occupying the front view, with a touch home button below the visible display area - a great feature to get back to the main Playback screen from any other screen. The front view of the DAP is nearly symmetric between the bevel sides, with a crown-patterned volume wheel on the right which also functions as a power button when you press on it. As a power button it has a typical functionality of short press to turn the screen on/off or a long press to turn the power on/off, with confirmation to shutdown which requires touch screen acknowledgement. The volume wheel is easy to turn using one finger, though it's not loose and has some resistance with a click action felt for every rotation turn.

A&K DAPs were always known for a physical volume wheel, but in SP1000 to improve the ergonomics they decided to combine it with a power button for an easy reach - a good idea considering large size of this device. Basically, you don’t have to take your hand/finger off the volume wheel after the adjustment if you want to turn on/off the display. The design of the volume wheel has a detailed crown pattern, typical of a wrist watch. It certainly adds to the appeal of the DAP, since even inside of a leather case the wheel is still visible.

On the left side you have Play/Pause and Skip controls, three little buttons located in the upper part of the left side. They do have a nice tactile response and spaced evenly with enough room in between to avoid pressing an adjacent button by mistake. Plus, Play/Pause has a bump for an easy id. The only problem, majority will have SP1000 in a leather case with buttons covered, and stock case has a shallow imprint where it’s not easy to id play/pause in the middle when quickly brushing your finger across. That’s why I liked a better definition of imprinted buttons in Dignis case.

The top of the DAP has fully open access to 3.5mm headphone port which also used for Line Out and Optical out, and 2.5mm balanced headphone port. Right next to it, there is a flush mounted micro-SD card tray which keeps the dust away and needs the included A-pin (or any other pin) to open it. I have seen other manufacturers starting to implement a similar micro-SD card tray design, but what I like here is that tray is accessible with a case on. This way you don’t need to remove a leather case to replace micro-SD card.

At the bottom you have USB-C port which is used for charging (including Fast Charging), data transfer, USB DAC connection, and USB OTG external device connection. Next to it there are docking contact pins for future A&K expansions. The back of the DAP has an asymmetric carbon fiber inlay and a small round cavity in the upper right corner used probably for securing of docking accessories. And of course, the metal chassis of the frame around the sides and the top/bottom are made of either Stainless Steel (SS) or Copper (CU) metal. I assume CU finish has some anti-oxidation coating.



Under the hood.

While we can argue that it’s not the chipset but how you implement it that makes a difference, at the time of its release SP1000 was one of the first manufacturers to introduce the latest flagship AKM AK4497EQ DAC, using 2 separate DACs for the left and the right channels. A&K didn’t share any further details about the design of the internal headphone amp section, but certainly it’s more powerful from the balanced output in comparison to their previous flagships. While single ended output is still 2.2Vrms, balanced output almost doubled to 3.9Vrms, which roughly translates under 32ohm load to about 475mW of power. This is plenty of juice to drive even some of more demanding headphones which I’m going to cover in the pair up section of my review. I was also impressed with SNR spec of 122dB in balanced output which certainly reflects in improved dynamics of the sound.

The touch display is a very responsive 5” high definition (720 x 1280 resolution) screen. By smartphone standards this resolution is average, but considering this is audio only playback device, it’s more than adequate. The interface is very fast, thanks to octa-core CPU. I didn’t notice any lag, and the navigation and audio decoding was a breeze. You need this processing power to be able to get flawlessly through audio decoding while supporting all the popular lossy and lossless formats of WAV, FLAC, WMA, MP3, OGG, APE, AAC, ALAC, AIFF, DFF, and DSF, with PCM rates up to 32bit/384kHz and DSD rates up to 11.2MHz (DSD256).

And for high resolution files you have plenty of storage with internal 256GB of NAND flash storage and microSD external memory expansion up to the latest largest capacity card. Furthermore, USB-C OTG supports external hard drive storage or usb stick expansion. You also get a decent battery life, thanks to 3,400 mAh li-po battery where I verified 11hrs 45min playback time of mp3/flac files in a loop with a screen off using IEMs connected to 2.5mm balanced output. Of course, this is a best-case scenario, but that’s what I use in DAP comparison. Also, when you need to charge it back up, SP1000 now supports a Fast Charge which takes under 2hrs to get it from empty to 100%. You can either use a regular 5V/2A charger or a Fast 9V/1.67A charger.

To support fast charging and to speed up data transfer, SP1000 also features USB 3.0 Type-C interface for charging, data transfer, and USB DAC functionality. You still have WiFi 802.11 b/g/n (2.4GHz) support for OTA firmware updates and SPOTIFY streaming, and Bluetooth v4.1 Wireless supporting A2DP and AVRCP profiles, and aptX and aptX HD protocols. Also, in addition to 2.5mm BAL output, 3.5mm SE port is multifunctional for headphone out, line out, and optical digital out.

But probably the most impressive part of this spec is that A&K went from their previous AK380 flagship to SP1000 with an upgraded DAC (from dual AK4490 to dual AK4497EQ), higher balanced output power (from 2.2Vrms to 3.9Vrms), bigger display (from 4” 480x800 to 5” 720x1280), faster CPU (from dual-core to octa-core), faster USB data bus (from USB2.0 to USB3.0), and even faster charging (from general 5V @2A to fast charge 9V @1.67A), while the price remained the same. True, the price is still at a premium level, but this was a HUGE upgrade while the price didn’t change.



GUI.

I’m often being asked why I go into so much details describing the GUI. I review a lot of products, including many DAPs, and often asked numerous questions after the review, days, weeks, and many months later. Sometimes I don’t have DAP in front of me at that moment, and it’s easier to “reach out” to my review if I don’t remember the answer off top of my head. Also, you can think of this GUI section as a user guide, to make sure you didn’t miss any hidden gems.

Once you press the Power-crown and after waiting for about 10sec as you are greeted with “A” symbol, you arrive at the Main Playback screen of the SP1000, also accessible by pressing a touch Home button at the bottom of the screen. Thanks to a large 5” display, there is plenty of room for a clear view of the interface with all the controls out in the open. The embedded artwork (with cover art) window occupies top half of the screen, tapping on it expands the view and shows lyrics if one is available. Swiping artwork window left/right skips to prev/next song in your playlist. Above it you get a summary of song format (file type, bit depth, and sampling rate), with a link to Now Playing (where you can edit/modify from within) in the upper right corner and a link to Navigation Menu in the upper left corner.

Right under the artwork window there is a thin strip of transport control to fast forward/back by swiping through the song. Of course, you can also do that by holding Next/Prev touch buttons or physical playback control buttons, but I have a feeling majority of users will probably prefer to take advantage of touch-swiping through the song. While this control strip is narrow and requires user to be careful where you tap, A&K came up with a clever way for you to see the current song position as you swipe by turning the whole artwork window into semi-transparent transport control and literally expanding the swipe area to the entire screen when you touch and hold it.



In the lower half of the screen you have a row of controls with a left arrow (taking you back to the current folder you are in, along with a storage info), ‘+’ to add to the playlist, ‘…’ with a link to a detailed ID tag song info, and two right-most icons to control the playback by selecting play all, repeat, repeat one, play through and random. The playback section also gets reflected in notification bar area of the DAP, all the way at the top. Below this row of controls, you have a song name with an artist and album name, and 3 playback touch buttons with Play/Pause in the middle and Skip Next/Prev on the sides. The buttons are large and adequately spaced so it’s easier to tap them.

The Navigation menu, accessible by pressing “A” in the upper left corner, takes you to a list with various Sorting option (song, album, artist, genre), Playlist, Folder view, MQS, CD library, Store access (Groovers+ and TIDAL), and Settings. You can also access this screen by swiping display to the right from the main Playback screen, where you can also swipe to the left and get into Now Playing screen. Under every sorting option you have other options to add songs to playback queue, different layout to view album (single, double, or triple columns), view artist with every album under each name, genres according to id tags, and my favorite Folder browsing which also gives you extra info about internal storage.

Settings menu is very important, but you can also access some of the shortcuts by swiping the screen down to see what’s available in Notification area where you can toggle Wi-Fi, Bluetooth, EQ, USB mode, external usb, AK connect, Line Out, Gapless, Wheel lock, and shortcut to the main Settings menu. Many of these toggle options don’t just enable the functionality, but if you long press on it – will take you to the menu of that functionality. In the main Settings screen you have Wi-fi, Bluetooth, AK Connect, then Equalizer, Gapless, Line Out, L/R Balance, Playback setting (location where you add the songs in now playing and other options to add a song), CD ripping (for external ak unit), usb mode (MTP or USB DAC output), usb audio (DSD converted to PCM or DoP), S/PDIF conversion (upon connection, enabling selection of bit depth and sample rate). Other options are DAP related, like brightness setting, date & time, device name, language, keyboard, Power settings (power, screen, sleep setting). And of course, Update, System Info, and Default settings reset.



Despite AK4497EQ DAC support, access to DAC filters is not enabled. Would have been nice, but A&K is very specific about sound tuning of their DAPs. Another thing is EQ. One Pro EQ preset is available and it makes the sound smoother, making it more natural and more organic. Otherwise, there are no genre specific presets, but you can create your own ones. EQ interface is very polished and has two modes, Main and Advance. In the main mode you have standard EQ sliders covering 20 bands (30, 45, 60, 90, 120, 180, 250, 380, 500, 750, 1k, 1.5k, 2k, 3k, 4k, 6k, 8k, 12k, 14k, and 18k) where you can either slide the bar or use a more precise 0.1 adjustment of the gain, as well as scrolling through available frequencies. And as you adjust, it gets reflected in the lower right corner, showing you overall shape of the EQ. Switching to Advance, turns EQ adjustment into semi-Parametric with a full GUI view of the EQ shape where underneath you have FREQ band selection (a choice of only 20, thus it’s not fully parametric), Gain selection in 0.1 and even 0.01 micro adjustments, and Q bandwidth selection in 0.1 increment adjustments.

This semi-PEQ interface looks great and has a perfect layout, but the actual adjustment has a very subtle effect on the sound. I was a little puzzled by this, because +/- 5dB adjustment of any band (the slider range) should be more audible, but not in this case. I personally don’t use EQ, so it’s not a big deal for me, but if you are a frequent EQ user – please be aware.

The whole interface is very intuitive, has a very logical layout, and very easy to read and to navigate. I like the big display with its big control touch buttons and easy to read menus. I like Home touch screen button which always takes you back to the main playback screen, and I like the notification bar at the top with all the available info (volume setting, playback setting, enabled controls, battery icon with percentage indicator and time display), and I like shortcuts to the main controls once you swipe the notification bar down.



Sound Analysis.

The first thing you notice when start listening to SP SS is the width of the soundstage. When I first tested it with fw 1.06, I found it to be the widest soundstage expansion I heard from any DAP to date. With fw 1.07 it shrunk a bit, and then expanded back in fw 1.08, though never reaching the level of the original ultra-wide expansion. But nevertheless, in fw 1.08 soundstage width is still very impressive. SP has a good natural staging depth too, more out of your head than intimate, but the sound is not exactly ultra 3D holographic (though, came close in some pairs up), rather more oval shaped, spreading from far left to far right, yet with boundaries to keep it realistic rather than exaggerated. I’m not saying that it will make your IEMs or closed-back headphones sound like open-back, beyond their tuning. But based on my experience of testing many different DAPs, SP pushes the performance of iems/headphones to their absolute limit.

SP SS tonality is closer to neutral-brighter side with a precision of micro-detail retrieval. It’s especially noticeable in mids and lower treble where you have excellent layering and separation of the sounds. For someone who wants to spend hours analyzing every single detail of your hi-res recording, you can really get lost nitpicking every sound while listening to this DAP. With the original fw 1.06, the tonality was colder, more analytical, but the follow up 1.07 and 1.08 updates added a little more natural body to the sound and took an edge off the treble. As mentioned already, A&K official statement is that firmware doesn’t change the tonality, and I’m not going to argue about it, just want to describe what I’m hearing because to my ears with 1.08 update SP1000 SS had a tuning which reached a happy balanced medium between what I heard with CU (fw 1.06 with a warmer thicker fuller body sound, and still a great resolution and layering) and SS (fw 1.06 with a colder analytical sound and an ultra-wide soundstage expansion).

It's always a matter of personal preference and will also depend on a pair up synergy with different IEMs/headphones and their corresponding sound sig. As I always point out in my DAP reviews, when you are describing DAP sound, you are talking about a pair up synergy with iems/headphones you’re listening to. Thus, I always choose a more balanced and less colored IEMs to analyze the sound of DAPs. So, when I tested and compared SS vs CU, I found them to have more similarities in upper mids/treble tonality, while the bass and the lower mids is where I hear the bigger difference. SS has a more neutral bass with a little less sub-bass rumble and slightly less mid-bass impact, and a little leaner lower mids, giving the sound a more neutral tonality with more analytical precision. CU has a little fuller sound with deeper sub-bass rumble and more body in lower mids, giving the sound a warmer, smoother, and a more natural tonality. Upper mids and treble are close between SS and CU, but I do hear a little more crunch with SS, especially noticeable with some electric guitar tracks. The sound resolution is very similar, and both have a great vertical dynamic sound expansion with an excellent retrieval of details.

Also, in both SS and CU variants, I found a common difference between balanced 2.5mm and singled end 3.5mm ports where soundstage shrinks a little bit and the background is not as black anymore from a single ended port.



Comparison.

All comparison was done using SP1000 SS with the latest fw 1.08. I used 64 Audio U18t, UM Mason V3, and Senns IE800S for sound evaluation, matching the volume between the sources.

SP1000 SS (fw 1.08) vs Sony WM1Z (fw 2.0) - I’m sure many will be interested in a comparison to WM1Z since at the current moment these two are the top choices for many audiophiles looking for a summit-fi portable source. Soundstage expansion was very close in fw 1.07, though after 1.08, SP is a little wider. Tonality does vary, where I hear WM1Z to sound warmer. Both have excellent technical characteristics with a very good dynamic expansion of the sound. In a more detailed sound analysis, WM1Z has more emphasis on sub-bass rumble and mid-bass punch while SP bass is more neutral, tighter, and with shorter decay in comparison. Both have very resolving layered mids, where SP has more transparency and more micro-details while WM1Z is a little warmer, smoother, and more musical. Also, both have a great treble extension, though I still think WM1Z has more sparkle while SP (especially after 1.08) has a touch smoother treble. With some of my earphones where I have a more pronounced 12k peak, in comparison to 1Z, SP pair up took an edge off the treble.

SP1000 CU (fw 1.06) vs Sony WM1Z (fw 2.0) – I only had CU w/1.06 for a short period of time and based on my testing heard a very similar soundstage expansion between these two. Also, WM1Z still had a little more warmth in tonality, deeper and beefier sub-bass with more rumble, and a stronger mids bass impact. CU bass is a little tighter, has a little less sub-bass quantity, and a little shorter decay in mid-bass. Furthermore, CU has a little smoother treble, while WM1Z has a little more sparkle in treble. Both have a warmer tonality, but WM1Z just a little warmer. Also, WM1Z lower mids are a touch leaner in comparison to CU.

Both SP1000 SS/CU and WM1Z are on a bigger and heavier side, and depending on a chassis material, the weight is: SP1000 SS 388g, SP1000 CU 418g, and WM1Z 452g. While WM1Z is the heaviest, it’s a little narrower, giving it a slightly better grip if you have smaller hands, though SP is slimmer/thinner. But either way, these are not lightweight pocket friendly DAPs, though I can still make an exception for SP1000 SS model which I can tolerate in my pocket. In terms of a design, both offer large internal storage, uSD expansion, large touch display, though SP1000 display is bigger and overall OS navigation is a little faster and more intuitive. WM1Z battery performance is by far superior. Furthermore, you have SP with a standard usb-C connection while 1Z uses a proprietary connector.

I got used to WM1Z navigation quickly, but out of the box it had a steeper learning curve. The volume knob of SP was also a plus for me since it’s faster to adjust vs buttons on WM1Z, but it’s an opposite with larger hardware Play/Pause/Skip buttons on WM1Z versus smaller identically shaped ones on SP. Difference between 2.5mm vs 4.4mm balanced connectors will have a polarizing effect since many people already invested into 2.5mm cables and will have to use either adapters or to re-terminate or to get a new cable. Direct Line Out and Digital (optical) Out is another advantage of SP over WM1Z, for those who want to pair up their source with external components without investing into adapters or dealing with docking stations.

Both offer Bluetooth connection supporting aptX and aptX HD for higher resolution wireless pair up, while WM1Z also supports Sony’s proprietary LDAC protocol if you have their wireless headphones. Neither one has Android OS with app support, but many audiophiles will prefer access to TIDAL offered by A&K, though you should keep in mind: no off-line storage/listening. Furthermore, WM1Z offers more sound-shaping options with a more practical EQ adjustment and other DSP effects. Overall, each DAP has its Pros and Cons, and none of them are showstoppers preventing a user from enjoying the best these DAPs have to offer in terms of sound and usability. It will all depend on user’s personal preference and which features have a higher priority. And, similar to flagship IEMs/headphones, you will have to choose your sound signature of preference for the best synergy with your favorite IEMs/headphones.



Here are more comparison examples of SP1000 vs other flagship DAPs. SP1000 SS had the latest fw 1.08.

SP1000 SS vs Lotoo PAW Gold - SP has a wider soundstage in comparison to LPG. In terms of tonality, SP is more neutral and transparent in comparison to LPG where tonality is smoother with noticeably more sub-bass rumble and stronger mid-bass impact, and more sparkle in treble. Both have a very dynamic layered sound, but SP has more transparency and a more neutral tonality, while LPG adds more punch and sparkle to the sound. Also, when it comes to sensitive iems, LPG has more hissing. In terms of usability, SP offers a significantly bigger touch screen display vs a much smaller non-touch LPG screen, and also offers access to TIDAL streaming, Bluetooth, and Optical digital out. Plus, LPG has no internal storage and uses SD card only. On the other hand, LPG has excellent Parametric EQ (one of the best) and a selection of DSP sound shaping effects, and overall, it’s a lot smaller and more pocket friendly.

SP1000 SS vs iBasso DX200 w/AMP4 - SP soundstage is a little bit wider, but DX200/4 is not too far behind. DX200/4 tonality is a little bit brighter and a touch rawer, while SP flows a little smoother in comparison. I wouldn't say SP is warmer, it's not, just a little smoother in comparison. One of the noticeable differences is the low-end response where mid-bass of DX200/4 punches through a little harder, while both have the same sub-bass rumble. And with treble, I hear more sparkle with DX200/4 while SP is more neutral in comparison. Both have a very dynamic layered sound, though SP is a little better when it comes to layering. Modular design of DX200 has an advantage of different sound sigs depending on amp module selection, where AMP4 (4.4mm module which unfortunately has been discontinued) elevates its performance to SP1000/WM1Z level. And it also has advantage of side-loading apks to run Play Store app. SP dedicated interface is faster and more responsive, while DX200 is relying on running full Android OS. Furthermore, SP offers more internal memory and has a more solid SS/CU chassis build. Also, SP has advantage of aptX HD. DX200 w/AMP4 is not going to destroy SP audio performance, but it can offer a great alternative if you are on a budget or want an additional DAP with a modular design and access to Android.

SP1000 SS vs theBit Opus#2 - Both have a similar soundstage expansion, maybe with SP being a touch wider, #2 doesn’t lack in soundstage width. Here, I hear Opus#2 having a little brighter tonality due to a higher energy in treble. In comparison, SP is smoother, more musical, and more neutral in tonality. They both have a dynamic expanded sound, but SP sounds more natural and more balanced in comparison to #2 which is a bit rough in treble area by comparison. Also, from a technical perspective, SP offers a better layering of the sound. Both offer a solid design, volume knob, similar playback hardware controls, optical digital out and 2.5mm balanced out, though SP has more internal memory. While Opus#2 can be side loaded with apps, it’s a cumbersome process since its Android OS is closed. aptX HD advantage of SP is a plus, as well as a robust TIDAL support for streaming. Similar to DX200 w/amp4, Opus#2 is another good alternative for audiophiles on the budget, especially after recent price drop.

SP1000 SS vs Cowon Plenue 2 mk2 - SP soundstage is wider, while I hear P2 with a little more depth. In terms of tonality, SP is a little smoother and more natural in comparison to P2 being a little brighter in comparison. They both have a very similar low-end response, while treble is smoother in SP. P2 mids are a little more revealing, but not as transparent or resolving as SP. Both have a good dynamic expansion of the sound, but SP sounds more natural, more transparent, with better layering and sound separation. I know, P2 is not Cowon’s top model, but I still consider it at their lower flagship level. Plenue has a compact size, and a very fast responsive OS and JetEffect dsp effects and semi PEQ, all of which are impressive. But it does fall a bit short in sound quality when compared to SP, and limited without access to TIDAL and no Bluetooth which SP does offer.

SP1000 SS vs FiiO X7ii w/amp3a - Right away you can hear a narrower soundstage expansion of X7ii in comparison to SP. SP tonality is smoother and more musical in comparison to X7ii being a little more revealing and rougher, though both are relatively neutral, just with X7ii having a little more energy in treble. Here, another noticeable difference, in addition to soundstage, is a vertical dynamics expansion of the sound which is by far superior in SP. I also hear a noticeable improvement in layering and separation of the sound when listening with SP. FiiO’s X7ii is their current flagship and does offer a modular design, similar to DX200. It also has an advantage of full open Android OS with access to Play Store and all the apps, but that’s about it since SP offers a superior audio performance and faster user interface, as well as more internal storage and aptX HD support. But nevertheless, I don’t want people to discount other manufacturers flagships which offer more budget friendly alternatives at a fraction of SP price, though you have to be realistic about their performance relative to SP.

Pair up.

Due to SP1000 SS soundstage expansion and its unique neutral signature with transparent revealing tonality, I was looking forward to hearing how it pair ups with many of my IEMs and some full-size headphones. I was especially pleased with SP treble control (in fw 1.08 specifically) which helped to keep upper end of many full size and iems under a smoother control. In each pair up I noted the cable, either balanced (BAL) or single ended (SE) connection, and the volume level. Keep in mind, balanced output of SP1000 model is 3.9Vrms (roughly 475mW based on 32ohm load), and because single ended output has less power, volume had to be pushed harder.

Beyerdynamic T5p 2nd gen (TWag v3 BAL cable, Vol 85) – nearly holographic soundstage expansion, in all 3 dimensions. The signature is very balanced with a natural tonality, deep sub-bass extension with an excellent textured rumble and punchy faster mid-bass impact, mids are natural, resolving, transparent, but a little on a smoother more organic side, not the usual more analytical side; treble has a great extension, crisp but not harsh or too bright, airiness is more under control here. A very natural balanced sound, probably one of the best pair ups with T5p2 I heard to date.



Audeze EL8C (stock SE cable, Vol 111) - very wide soundstage with a nice depth expansion as well. The signature is close to balanced w-shaped, though leaning a little toward v-shaped with bass and treble being a little more forward. Tonality is on a leaner more revealing brighter side, but under control without even a hint of metallic sheen which these are prone to. Bass has a leaner sub-bass and balanced punchy mid-bass, lower mids are lean, while upper mids are more revealing, brighter, micro-detailed; treble is very crisp and airy, but non-fatigue. Again, with a good control of treble these have a more natural revealing tonality.

Oppo PM3 (BAL OFC cable, Vol 85) - wide soundstage with a little more depth than width in stage expansion. The signature is balanced with a warm smooth and less resolving tonality. Bass has a very good balance between sub-bass rumble and mid-bass punch, though bass itself is not very fast and spills a little into lower mids which are on a thicker fuller body side. Upper mids are smooth, organic, warmer, clear but not very detailed. Treble is well defined but not as crisp or airy. It's a nice smooth warm laidback tonality, though not the best PM3 pair up I heard.

VE Zen (stock SE cable, Vol 108) - wide soundstage with lots of depth. A balanced signature with a natural detailed tonality, and a touch more emphasis in mids. Very good sub-bass extension with a nice doze of well controlled rumble without being too overwhelming, fast tight mid-bass (definitely more controlled than usual), leaner lower mids, organic detailed upper mids, and a nice well controlled treble sparkle. Here, Zen sounds a little leaner and tighter.

UM Mason V3 (stock BAL cable, Vol 71) - holographic soundstage expansion. A balanced sound signature, leaning a little more toward V-shaped due to mids being slightly pulled back, with a neutral and very natural tonality. Very deep textured sub-bass rumble with a fast and punchy mid-bass, very layered articulate well controlled bass. Lower mids are lean yet still with a nice body presence, upper mids have a great retrieval of details, with a very neutral, natural and smoother tonality. Treble is crisp, well defined, under control without being harsh or splashy, very natural and airy and with a great extension.



HiFiMAN RE800 (stock SE cable, Vol 86) - very wide soundstage expansion. V-shaped sound signature with a bright revealing tonality. Bass goes deep and has a thick texture; sub-bass is very analog like and mid-bass is rounded and hits hard. Lower mids are lean, lacking some body, while creating a dip to accentuate the bass; upper mids are clear, detailed, slightly pushed back, brighter and crisper. Treble is very crisp, vivid, revealing, and airy. I'm typically bothered by upper mids/lower treble of RE800 with other sources, while here it's a lot more tolerable and actually enjoyable because SP keeps treble under control.

HiFiMAN RE2000 (stock SE cable, Vol 87) - very wide soundstage expansion. Sound signature is more balanced with a fuller body and a more natural tonality. Excellent balance between sub-bass and mid-bass with a more linear rendition in comparison to RE800, sub-bass goes deep but not as thick, though still has an analog texture, mid-bass has a nice impact with a moderate speed of attack and decay. Lower mids are closer to neutral, with more body, upper mids are very detailed and natural in tonality, slightly pushed back but still balanced with the rest of the spectrum. Treble is crisp and very well defined without being too harsh or sibilant; nice treble extension with plenty of controlled airiness.

64 Audio Fourte (HSA RedCore BAL cable, Vol 62) - wide soundstage with out-of-your head expansion. Sound signature has a very distinct W-shape with a brighter tonality thanks to upper mids and lower treble. Bass is very analog-like and dynamic, deep sub-bass and well rounded mid-bass slam, but overall bass is a little slower and with a longer decay. Lower mids are fuller in body and upper mids have a good balance between natural and revealing tonality, not exactly micro-detailed but still with an excellent retrieval of details. Treble is crisp, on a brighter side, with a good extension and airiness, not splashy or harsh, but more vivid. I have to add that I’m using Symbio eartips here which add a little more body to the sound.

64 Audio U18t (EA Horus BAL cable, Vol 60) - holographic soundstage expansion. Very balanced sound signature with a coherent tuning of a more natural revealing tonality, a very resolving sound. Bass is tight and articulate with a deep textured sub-bass rumble and fast punchy mid-bass, all under control with a nice overall impact. Lower mids are close to neutral with a nice body presence, upper mids are very detailed, closer to micro-detailed level without being analytical, still have a natural tonality, layered and transparent. Treble is crisp and well defined, perfectly balanced without being too forward to rolled off, not harsh or splashy, yet extended and airy. In this pair up I hear a little more bass presence and more natural treble extension.



EE Legend X (stock Ares II SE cable, Vol 75) – nearly holographic soundstage expansion. L-shaped sound signature with a smooth natural tonality. Bass slam is huge with an elevated sub-bass rumble and fast analog-like quality mid-bass punch that hits very hard. Lower mids are neutral with a nice body presence, upper mids are organic, smooth, natural, and still very clear and detailed. Treble is crisp, brighter but not harsh, not super extended, but with a moderate level of airiness. Bass could get a bit overwhelming, and unfortunately SP EQ is not as effective to reduce it here.

Sennheiser IE800S (stock BAL cable, Vol 76) - holographic soundstage expansion. Slightly V-shaped sound sig with a natural revealing tonality. Deep sub-bass textured rumble, a rounded slower mid-bass punch with an overall analog quality smoother bass. Lower mids are neutral, a little leaner in tonality, upper mids have a natural tonality with an excellent retrieval of details. Treble is very crisp with a sharp definition, but not harsh or splashy, and with a controlled level of airiness.



Westone W80 (stock EPIC SE cable, Vol 63) - very wide soundstage expansion. Balanced sound signature with a smooth natural tonality. Deep textured sub-bass with a rounded slower mid-bass punch, analog textured less aggressive bass. Lower mids with a fuller body, a little north of neutral, and smooth natural clear upper mids with excellent rendition of vocals. Moderately crisp well-defined treble with smoother tonality and moderate airiness.

Westone ES80 (stock ALO Ref8 SE cable, Vol 88) - very wide soundstage expansion with a nice depth. Balanced sound signature with a more revealing natural transparent tonality. Deep sub-bass extension with a controlled rumble, punchy fast mid-bass, very articulate layered bass. Neutral lower mids with a good presence of body, very natural upper mids with an excellent retrieval of details. Crisp well-defined treble with an airy extension. Overall tonality is very transparent and natural.

CFA Andromeda (ALO Ref8 SE cable, Vol 51) - wide soundstage with more out-of-your head depth. More V-shaped fun signature with emphasis on bass and treble where mids are pulled a little bit back. Bass has a nice textured deep rumble with a strong mid-bass impact, where bass is not too fast or too slow, but well controlled. Lower mids are on a leaner side, while upper mids are more revealing, brighter, with excellent retrieval of details, but slightly pulled back presentation. Treble is crisp, airy, on a brighter side, nicely extended.

CFA VEGA (stock ALO spc BAL cable, Vol 59) – nearly holographic soundstage. V-shaped sound signature with a serious bass slam and sparkly treble where mids are a pulled back. Sub-bass rumble is deep but doesn't have as much impact as the hard-hitting mid-bass which slams hard and spills a little into lower mids which are still on a leaner side. Upper mids are clear, detailed, transparent with a brighter tonality. Treble is crisp, a little splashy, airy, extended. Here, bass definitely dominates the sound.

oBravo RA C CU (stock BAL cable, Vol 95) - holographic soundstage expansion on a level of open back headphones. The signature is a little more mid-forward with a very neutral super transparent tonality. Bass is extended, goes deep, but rather neutral, very articulate and multi-layered; lower mids are lean while upper mids are very transparent, layered, micro-detailed, a little colder, literally on analytical level, yet they are not bright or harsh at all. The same with a treble which extends pretty far, very crisp and sparkly, super resolving with a very vivid definition thanks to its 12k peak, but it's not sibilant or harsh or fatigue. The treble control of SP allows to exercise RA to its full potential without being harsh, while still retaining their super transparent tonality.



Wired and wireless connections.

Besides being a portable DAP, you can expand SP functionality as a transport to drive external DAC/amp, to use external AMP, or to turn the DAP into usb DAC. And of course, you don’t have to be limited to wired headphones, and can take advantage of Wireless Bluetooth connection. While WiFi is used for OTA (over the air) firmware updates, you also get access to TIDAL built-in app for streaming, though must be aware that off-line content is not supported. And, while you have plenty of internal storage and uSD expansion, you can also connect other external storage or use A&K own Connect server app to stream from your computer. Let’s take a closer look at these options.

Wireless/Bluetooth.

Majority of my wireless headphones support aptX, and for this test I used Sennheiser Momentum 2 Wireless (M2W) and B&W P7 Wireless (P7W). For a wireless source comparison, I used my Note 4 (N4) aging phone which also supports aptX codec.

With either SP or N4 paired up w/M2W, I could cover a distance of about 56ft away from the source in the open area, suggesting there is no handicapping of wireless antenna performance like with some other DAP manufacturers who reduce the power to save battery. Also, between these two sources I hear the same tonality, though I can get headphones louder with SP1000 and hear a little deeper sub-bass rumble.

In the same comparison with SP and N4 paired up w/P7W, I could walk away 52ft from SP vs 44ft from N4. Surprisingly, SP1000/P7W pair up provided 8 more feet of coverage. I do hear the same identical tonality, while the only difference is that closer to the max volume on my phone the sound gets a bit distorted, while SP1000 can go louder without any distortion. I have no idea why, but that’s how I hear it.

While aptX Wireless test using SP1000 vs Note 4 was a good indicator that SP performs on par with my smartphone, I was curious to try SP aptX HD codec in comparison to aptX. Using Bluetooth Wireless cable which supports both aptX and aptX HD codec, I connected simultaneously to Note 4 (aptX) and SP1000 (aptX HD) for a/b comparison. With the same set of IEMs, I can hear a noticeable sound difference where aptX connection has a looser bass with less control, thicker lower mids, and less clarity/sparkle in treble. While aptX HD connection has a tighter and a more articulate bass with a better control, more neutral lower mids (in comparison), and better definition of treble with more clarity and sparkle. While I always looked at aptX as a step up from a regular Bluetooth, HD takes it to a whole new level.



External AMP pair up.

I always find this to be a very important test because DACs and internal headphone amp circuit are crucial part of the DAP sound architecture. Thus, I like to use my neutral/transparent E12A portable amp to hear how the DAPs internal amp colors the sound. Using Line Out (enabled in SP setting menu or from pull-down navigation shortcut menu), I connected and compared SP1000 with and without E12A amp. Directly from headphone output of SP, I found a noticeable improvement in soundstage expansion, considering that I was using SE output in both cases for a more consistent comparison. Also, the internal headphone amp in SP1000 has a little brighter and more revealing tonality; bass and lower mids are similar, while upper mids are more revealing and treble has more sparkle and improved airiness in comparison. You can certainly pair up SP1000 with different external amps to color the sound. And keep in mind, LO output volume is not fixed, you can adjust it from the DAP.



Digital/Optical Out (DAC/amp) connection.

For this test I was using Optical Out of SP1000 vs AK120ii connected to iDSD BL. With digital output you are taking DAC and amp out of the picture. Some people say, it doesn’t matter which DAP you are using as a digital transport source, but apparently it does make a difference. In both connections I heard a clean, transparent, and very dynamic sound with a very wide soundstage and no distortion. But, compared to 120ii, SP1000 has a lot wider soundstage, much better imaging, and better dynamics where in comparison, the 120ii with iDSD BL sounds flatter and noticeably narrower. So, even with the same high-quality DAC/amp, digital transport section has an influence on the sound.



Streaming from computer.

I remember using this with AK120ii as well, so it's not only limited to SP1000. A&K provides a software called AK Connect, which requires user to install MQS Streaming Server program. Then, easily add folders on your computer you want to share, and from within SP1000 select your computer and navigate to stream/play the music. The sound quality was on par with the same songs stored locally on the DAP.



USB-C OTG connection.

Using a basic cheap usb-c OTG adapter off eBay (under $3), I was able to connect usb stick to expand the storage of the DAP. This could come especially handy when connecting external hard drive where you can use an adapter or connect it directly, depending on the cable.



USB DAC support.

Yes, you can also use SP as USB DAC which is an overkill, but could be convenient for some people. A&K provides all the necessary drivers, but I have an issue with a few of my Win7 laptops at home due to a security setting of my Windows version which is very picky about digital signature of installed drivers. Thus, I didn’t test USB DAC functionality, but well aware that others had no issues using it.

Conclusion.

One thing that surprised me at first about SP1000 was how little sound tweaking it offers. Besides choosing a model based on a chassis material where sound tonality differs, you don't have access to change AKM filters or to apply DSP sound effects or to select a genre specific EQ preset. Even PEQ makes only subtle changes in sound when being adjusted. But then I realized that I’m missing the big picture. Each SP1000 model has been already fine-tuned to its final sound perfection the way how A&K wants you to hear their flagship product. That's why I feel it makes sense to approach DAP reviews by treating each one as a black box, focusing and describing what I hear, how it compares, and how it pairs up.

While some might argue SP1000 is targeted at “money is no object” audiophiles, to me it’s like a flagship IEM/cable where you pay a premium to squeeze out every ounce of sound performance. And just like with any piece of flagship gear in this hobby, you should expect diminishing returns going up the summit-fi food chain. But if you want a premium DAP with a solid build quality, a very transparent and layered sound with super wide soundstage expansion, a decent power output to drive even some of the more demanding headphones, a large responsive display so you don’t have to squint your eyes reading menus or artist/song name, and a Fast charging to get you up and running quickly - even a year after its introduction, SP1000 is still one of the top choices to consider!

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: Unique Melody, available on MusicTeck.

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Intro.

Mage, Miracle, Merlin, Mentor, Maestro, Mason, ME.1 - what do these names have in common, besides starting with a letter M? They are all from Unique Melody (UM) which considered to be one of the first and longest-established IEM manufacturers in China. Founded in 2007, although the UM name was officially adopted 10 years ago in 2008, they have been at forefront of many multi-BA and hybrid releases, and continue making the news with their flagships despite a fierce competition. Today's IEM market is not the same as it was a decade ago, and you need more tricks up your sleeve to stand out from the crowd.

Don't get me wrong, the sound tuning is still #1 priority, but with IEM prices going up and other flagships pushing above 12 drivers, you need more to get audio enthusiasts attention. And that's exactly what UM Mason V3 (MS3) delivers, besides its impressive 16-BA driver config. It’s also packed with interesting tech bonuses, from sound tuning module to shell design and cable design, and original accessories, some of which I haven't even seen before. After spending the last 3 weeks listening and analyzing MS3, now I’m ready to share about my findings.

Unboxing.

MS3 arrived in a giftbox quality all black textured cardboard box with a glossy "UM unique melody" dark print on top of it. It's a bit plain, and would have been cool to have maybe a teaser artwork with a 4pin cable connector and maybe a crown of the tuning module. Obviously, makes no sense to put a picture on the cover of the box since both Custom and Universal shells are customizable. Other than that, unboxing experience is very basic, and under the cover you will find a dense foam insert with cutout pockets for storage case (with IEMs inside) and the rest of the accessories – everything packed very securely inside.



Accessories.

The included accessories are carefully selected and not saturated with fillers. I even discovered a few surprises.

Considering my pair of IEMs was universal, it should include 2 sets of eartips: S/M/L genuine brand name Comply eartips. Also, it should come with S/M/L/XL silicone eartips, though my review package didn't have it. Furthermore, you will find a piece of cleaning cloth, I guess to remove any fingerprints off the shells. The rest of the accessories will be common between universal and custom models.

The plastic warranty card (the size of a credit card), has a printed S/N, website address, and a service email. But if you look closer you will find a hidden flat usb stick that flips open. UM put a separate pdf file with pictures of my IEM sample, product features overview, warranty info, and even a color guide for different shell options. The funny part, I discovered this usb stick by accident, when I dropped the card and it flipped open.



The storage case is a hefty titanium matte puck with a threaded secure cover and a soft felt lining to protect IEMs inside. While similar shape puck cases are starting to become more common, those are usually lightweight and have a pop-up cover where the content ends up flying out when you pop it open. This one was a more "luxurious" high quality storage case that will make a great paper weight on any desk. Though great for storage, it's not very practical as a travel case, so you will have to get another one, more pocket friendly.



Cable is part of the accessories, but I will describe it separately in the follow up section of the review. The other remaining accessory is a unique Magnetic Earphone Clip (MEC) which you can use both for cable storage and as a shirt clip. Made from of soft leather material, there is a strong magnet to hold it together, and you can use it magnetically "clipped" to a shirt (sideways) or secured at the neckline of a t-shirt (pointing down). A little metal loop attached to MEC is where you put the cable through to secure its attachment to a shirt or a t-shirt. You can also use it on a wrapped cable to organize it for a storage. Maybe not a big deal for some, but it's very different and unique, compared to other shirt-clips I have seen. Perhaps UM can offer it as a separate accessory for sale.



Cable.

At the first glance, the cable looks like it has a regular braided 4 conductor design with flexible dual color shielded wires. Upon closer examination, you'll notice a proprietary 4pin metal socket with a securing bolt (apparently, smaller than JH type of socket). When you read the included instructions on usb-stick, you realize this is not an ordinary cable, but a Dual-Tone cable with a separate 8-core 6N purity single-crystal copper and silver wires. Make no mistake, this is not a hybrid silver/copper cable, you have 2 separate cables inside of one.

In more details, Dual-Tone is a 4-conductor braided soft cable which contains two cables that you switch by flipping L/R sides. This is a very clever mechanism where you have 4pin threaded female connector at the cable side, with 4 wires attached to each pin, while the male side of the connector (in the shell) only has 2 pins connected to internal drivers. As you flip between L/R sides, you are switching between either left side or right side of 4pin connector of the cable to engage with 2pin connector on the shell. To keep track of which side is which, 90deg housing mold has 1-dot and 2-dot ID bumps: 1-dot left and 2-dot right is silver side, 2-dot left and 1-dot right is copper side.

Cable itself is very soft, not too heavy, with 4 separate conductors: 2 with silver wires in a clear jacket and 2 with copper wires in a brownish jacket. You have a choice of 2.5mm, 3.5mm, or 4.4mm termination when ordering, and I picked 2.5mm TRRS balanced one. The gold-plated plug has a nice short custom metal housing, different from other popular brand name connectors I have seen in the past. Also, there is a clear heatshrink strain relief. Y-splitter is a piece of heatshrink transparent tube, and so does the chin-slider. You can't even see these, creating a continuous visual of Dual-Tone wires. Above y-splitter, wires are twisted. At the plug, you have 90-deg transparent plastic connector mold and a memory wire. I'm not a fan of memory wires, and together with 90-deg connector they limit a bend radius around your ear. I removed memory wire right away, which in my case improved the comfort during extended listening. Cable does have some microphonics, so the included magnetic shirt clip comes in handy when you walk around with your IEMs. Also, with a right eartips selection, sound isolation was excellent.

Removing memory wire:



Regarding the sound difference, the change is not as drastic as you would expect with some separate pure silver and pure copper cables. I do hear a similar bass and treble response and presentation, while the biggest change to my ears is in lower mids where copper cable gives you more body, more weight, a little extra thickness with slightly above neutral tonality. With silver cable, lower mids are neutral which gives more room for upper mids to come forward and give the sound a little more clarity and a perception of wider staging expansion. As a result, I do hear some improvements in detail retrieval when using silver side of the cable, while copper cable gives the sound more musicality with a smoother and more organic tonality.

Conveniently, you don't have to carry multiple cables, and can judge for yourself if you do or don't hear a difference in sound between two different types of wires. The only drawback here is a proprietary connector which means you are stuck with Dual-Tone wires cable and can't try other cables, unless aftermarket manufacturers get a hold of this new 4pin threaded connector.



Design.

The Mason V3 model I received for review is UM current TOTL flagship featuring 16 Balanced Armature drivers, with a 4-way crossover and a driver partitioning of 4 lows, 4 lower mids, 4 upper mids, and 4 highs. The CIEM shells have a 5-bore design with 4 sound tubes per each group of drivers, and 5th bore allocated specifically for dB-Go tuning module. Each bore is reinforced with a metal tube for an improved structural stability. In case of Universal shell, as the one I received, the tip of the nozzle is all metal with a wax guard screen covering the internal bore openings which are not exposed like in CIEM.

But regardless of custom or universal, in theory each one is approached like a custom design except you will need to provide your ear impressions from audiologist for CIEM. UM has a very friendly on-line IEM Designer tool where you can customize the shell color, the faceplate color, the canal color, add custom faceplate art, logos, etc. There are dozens of different color and finish selections, and every change gets reflected in real time in IEM Designer tool GUI. In there, you can also customize the termination of the cable and even pick the finish of the titanium storage case.

The shells itself feature UM new acrylic design, created using the layered technique to strengthen the build. I was told that UM invested in a very high-end 3D printer that allows them to print a very thin shell, especially useful for consistency between universal IEMs. Then, they add layers of finish by hand, including optional Dreamweaver fiber design where the actual strings of fibers are included, resulting in a nearly handmade customized product, even for universal shell. I can only judge MS3 based on universal shell I received, and found it to be very compact considering arrangement of 16 drivers and dB-Go module.

According to UM, the module (dB-Go) provides acoustic dampening with a pressure attenuation and a real-time low frequency adjustment between 20Hz and 100Hz which I confirmed in my FR measurements and found to affect only the quantity of the sub-bass rumble. The effect is not subtle, but quite noticeable where sub-bass rumble goes from neutral (when both dials are open, turned toward you) to more present, boosted rumble (when both dials are closed, turned away from you). What impressed me the most is how precise this tuning it. I heard no effect on mids or treble. I don't even hear too much effect on mid-bass, the focus is mostly on sub-bass.

Regarding the effective range of the tuning, the crown of the dial is surprisingly small, yet has a good grip and easy to turn. The only problem, turning range is only 180deg, half a full rotation. With a small diameter dial wheel this is on a level of a micro-tuning which going to drive anybody with OCD crazy. For me personally, I settled on either fully closed or open, like an on/off switch of sub-bass boost. I think this is the most practical use of this dial. Though there is some resistance, it has a continuous turning without any click action to indicate the exact position. Also, once you are placing shells in your ears, it's quite possible to bump the dial if it's somewhere in the middle. Turning the dial either closed or open is the easiest way to have a consistent control of the bass between left/right sides.



The fit.



Sound Analysis.

Between Dual-Tone cable and dB-Go module, your MS3 has 4 distinct sound tunings when you switch between silver and copper wires and dial in sub-bass boost.

In my sound analysis I decided to use a silver wire side of the cable with dB-Go module set to full sub-bass boost enabled. I find this combination to yield the most transparent, resolving, and still balanced tonality among 4 sound combination. It's great to have choices to fine tune the sound to your personal preference. Plus, going with universal version gives you tip rolling option to tighten or to relax the seal which also going to affect the sound. Of course, any sound description is a matter of subjective opinion.

I found MS3 to have a nicely balanced sound signature with a neutral, natural tonality, great transparency without any coloring, and excellent retrieval of details. Thanks to its dual-tone cable and dB-Go module you can tilt that scale toward a more transparent brighter side (w/silver cable) or a fuller body more natural side (w/copper cable). Plus, dB-Go sub-bass boost can shift the perception of sound from balanced (when fully on), to a little more mid-forward (when off). Regardless of ones believe or disbelieve in cables, just think of it as a fine-tuning mechanism where you are in control of tonal micro-adjustment.

The sound has a nice resolution, not exactly on micro-detail level but close to it. It has a mild level of smoothness, taking an edge off and giving the sound a more natural resolution. The coherence of driver tuning along with its balanced signature gives the sound a natural transition from low end, to mids, and through the highs, with all drivers working in a perfect unison.

Soundstage has a wide expansion, above the average for sure. The depth of soundstage is not too close/intimate and not too far out of your head, just think of it as sitting 3-4 rows in-front of the stage. MS3 has a natural oval expansion which gives a good sense of instrument and vocal placement with a relatively accurate positioning of sound, making it easy to pin-point everything. Bottom line, imaging felt natural and not exaggerated.

The layering and separation is pretty good, you can easily distinguish every sound. You do get a good sense of air between the layers and the sound is far from being congested or veil, but in my opinion, it’s still a little reserved due to its natural smoothness.

With the bass, I prefer dB-Go dial always closed to bring up that extra sub-bass rumble which adds a layer of texture with extra weight under the fast punch of mid-bass. With sub-bass off, bass sounds more neutral and more typical of BA performance, while dialing it up gives the bass a more analog dynamic feeling with a little slower attack, while decay is still short and tight. Bass is very articulate and well controlled. Just keep in mind, we are not talking about basshead level boost. So, if you prefer more low-end impact and warmer tonality, MS3 might not be for you.

Lower mids are neutral, but as I mentioned before, you have some level of control when switching between the cables, where to my surprise that's where I hear the most change, going from more neutral and transparent with silver cable to fuller with more body using copper cable. Upper mids are clear, detailed, revealing but not harsh or analytical. What I find interesting, I typically associate natural with a warmer tonality, while here the tonality is more neutral, yet I still hear the sound as being more natural and realistic, especially when it comes to vocals.

Treble is crisp and well defined, but not with too much crunch or too much airiness. I usually associate more air with extra “padding” in layering and separation, while here it's just natural, without any exaggeration. MS3 has a very good treble extension, and it sounds very neutral and accurate, not harsh or sibilant, without too much exaggeration considering presence of a slightly elevated 6k peak and a little attenuated 12k peak. One interesting observation, regardless of cable selection or dB-Go dial, treble always remained nearly the same between all these micro adjustments of tonality.



Comparison.

As I mentioned already, for all sound evaluation, comparison, and pair up testing, I kept MS3 with silver side of the cable and sub-bass full engaged using dB-Go module. The volume was matched in every comparison. I also noted which cable, if aftermarket one was used.

MS3 vs 64 Audio U18t w/Horus - Soundstage width is very similar, while U18t extends a little bit further, one extra row in staging depth. With dB-Go on, MS3 has a little deeper and beefier sub-bass in comparison to U18t, but when off – it’s more neutral than U18t. U18t mid-bass punch is a little stronger and feels a little faster in comparison to MS3, though I suspect here the presence of extra sub-bass is slowing down the attack of MS3. Lower mids in U18t are a little more neutral in comparison to MS3 which has a touch more body in comparison. Upper mids of U18t are brighter and more revealing in comparison to a little smoother and more natural upper mids of MS3. The same with treble, where TIA driver of U18t gives the sound more crunch and more air. In comparison, MS3 treble is still crisp and well defined, but under more control, though with a little better extension as I hear it. In this comparison, the main difference is in upper mids/lower treble where MS3 is a little smoother and more natural in tonality while U18t is more revealing and crisper.

MS3 vs 64 Audio Fourte w/Redcore - In this comparison Fourte has a wider and deeper soundstage, more holographic expansion, while MS3 is wide (a little less in comparison to Fourte) and gives you a feeling of being closer to the stage. Fourte sub-bass goes deep, even deeper than MS3, but it has less quantity than MS3. MS3 also has a bit stronger and faster mid-bass in comparison to Fourte. Fourte lower mids are south of neutral, while MS3 is the opposite way, with a little more body in a relative comparison. And again, upper mids and treble is where you will hear the biggest difference in sound, with MS3 being smoother, more natural, still very detailed, while Fourte is more analytical, brighter, and even more forward in comparison. MS3 treble is under more control and less harsh in comparison to a brighter and crisper treble of Fourte which also has more airiness. In both cases, with U18t and Fourte, if you want a more revealing, a more micro-detailed upper frequency sound with more emphasis around 6k and 12k peaks, 64 Audio is a better choice but if you want a more natural, smoother, and more neutral sound tuning, MS3 is the way to go.

MS3 vs UM Maestro w/Tri-copper - Both have a very similar soundstage depth, while MS3 is a little wider. In this comparison I hear Maestro bass having a little more sub-bass quantity while mid-bass quantity is similar, though MS3 bass is faster and tighter. Lower mids is where I hear the most difference where MS3 is more transparent and with a better retrieval of details in comparison to a thicker fuller body lower mids in Maestro which, relatively speaking, makes vocals sound a touch more congested. Upper mids are more neutral and more transparent in MS3, while Maestro is smoother and warmer. Treble tonality and presentation is very similar, well defined and under control, though MS3 feels like it extends further. Here, the transparency and thickness of notes in mids is what stands out the most to my ears, where I personally prefer MS3.

MS3 vs Noble K10UA - Here MS3 has a little wider soundstage while the staging depth is nearly identical. With bass, both have a similar balance between sub- and mid-bass and the same overall speed, but K10UA has a little stronger punch, while MS3 is a little more neutral in comparison. Both have a tight articulate bass. Lower mids have a lot of similarities as well, being neutral and transparent, while there is more difference in upper mids and treble. K10UA is brighter and a little more analytical in comparison to a smoother and more natural upper mids of MS3. With treble, K10UA has more crunch and a little more airiness, while MS3 has a little more control with a little less sparkle. Overall, MS3 tuning is more balanced with a more natural tonality while compared to K10UA, that one adds more "fun" in the lower and the upper end of the spectrum.

MS3 vs Sennheiser IE800S - IE800S soundstage has a little more width and depth, making it more holographic in comparison to MS3 which is still wide but doesn't have the same out-of-your-head soundstage experience. With bass, IE800S goes deeper with more elevated sub-bass and stronger mid-bass punch, which makes MS3 bass to sound a little more neutral in comparison. MS3 bass is faster, tighter, more articulate, and better controlled though. IE800S lower mids have a little more body in comparison to a more neutral MS3 lower mids. Upper mids here really set them apart with MS3 being smoother, more natural and still detailed, while IE800S is brighter, thinner, and even more revealing in comparison. Also, MS3 mids are presented a little more forward in comparison to IE800S. With treble, IE800S will be brighter, crisper, and a little harsher in comparison to a more controlled yet still well-defined MS3 treble. This is another example where upper mids/lower treble sets these two pairs apart.

MS3 vs Ultimate Ears UERR - MS3 soundstage has a little more width, but the depth is very similar. MS3 has an upper hand with bass presentation where you have more sub-bass rumble and stronger mid-bass punch, while UERR has a similar balance between sub-/mid-bass, but the quantity is more neutral. Lower mids have some similarities, though MS3 is still a little more neutral while UERR has a little more body. Upper mids in MS3 are more forward, more revealing, with better retrieval of details and transparency, while UERR is smoother and warmer and more neutral in tonality. Treble is nearly identical between both, with a very good definition and nicely controlled crunch and airiness. While I can sense some resemblance, and you can tune MS3 closer to UERR by attenuating sub-bass and switching to copper cable to make sound fuller and smoother, I feel like going back to silver cable and turning the bass on, scales up the MS3 performance beyond UERR tuning.



Pair up.

Wit 24-ohm impedance these IEMs are very easy to drive, though with 104 dB sensitivity I had to turn the volume a few clicks higher. Here is how MS3 pairs up with various audio sources. I will also note if I hear any hissing.

Cowon Plenue 2 mk2 - expanded balanced sound with a revealing natural tonality. The sound is very dynamic and has a good sense of natural smoothness without affecting retrieval of details.

Sony WM1Z - wide soundstage with a little more staging depth. Balanced revealing sound, though in this pair up I hear a little more sub-bass texture and stronger mid-bass impact. Mids are revealing but a little smoother and treble is a little brighter and with more crunch.

A&K SP1000 SS - expanded balanced sound with a more revealing transparent tonality. I hear mids in this pair up to be a little more forward and maybe a touch brighter. The same with treble, a little more crunch. Another noticeable improvement is better layering and separation of the sound.

Lotoo PAW Gold - just a touch of hissing, wide soundstage with a little more depth, balanced revealing sound. Bass is tight, articulate, with a little more mid-bass impact. Mids are a little more forward, great retrieval of details, treble has a little more crunch.

iBasso DX200 w/amp4 - very wide soundstage with a balanced revealing tonality. Great sub-bass rumble and punchy mid-bass impact. Mids are more revealing and a little more forward. Treble is crisp and airy, well under control.

FiiO X7ii - just a touch of hissing, very wide soundstage with a balanced revealing tonality. Excellent sub-bass rumble and punchy mid-bass, the bass is tight and articulate. Mids are very transparent, layered, with an excellent retrieval of details. Treble is crunchy and airy, extended and under control.

FiiO X5iii - noticeable hissing, sound is balanced but dynamics is flatter, and layering not as good. Bass is also not as articulate, though fast. Mids are a little more forward, clear and detailed. Treble is brighter and even has a hint of sibilance. Wasn't too crazy about this pair up at all.

Hiby R6 - wide expanded soundstage, balanced revealing tonality, very good sound dynamics. Nicely textured sub-bass rumble with a punchy mid-bass. Transparent, layered mids with a hint of natural smoothness and excellent retrieval of details. Very well defined crunchy extended treble. One of my favorite pair up. Excellent sound, doesn't need iEMatch. With iEMatch, upper mids are a little bit forward, but I still like the pair up directly from R6.

theBit Opus#2 - expanded balanced sound with a little more forward mids. Bass has a little more sub-bass rumble; mid-bass is tight with a nice fast punch. Mids are clear, detailed, slightly forward. Treble is crunchy, airy, and under control.

iFi Micro iDSD BL - wide expanded balanced sound. Deep sub-bass rumble with a fast, punchy mid-bass, tight articulate bass. Very transparent, layered mids with a touch of smooth tonality and excellent retrieval of details. Crunchy, airy extended treble with an excellent control. In this pair up bass hits a little harder.

Smartphone, Samsung Note 4 - slightly narrower soundstage, though still above the average, bass hits a little harder, mids are clear and detailed, but have a bit less transparency (I hear a little coloring), and I hear mids being a touch forward, treble is crisp, airy, extended.



Conclusion.

When it comes to flagship IEMs, it’s hard to find bad ones since every manufacturer puts their best effort into design and tuning. Usually it comes down to a preference of sound signature and being able to afford the asking price. And speaking of price, which usually comes up in all flagship discussions, when you factor in how much money people spend combined on various flagships and cables to get to their ideal sound, sometimes it worth investing extra to hit that sweet spot you’ve been looking for.

UM Mason V3 is not tuned for those seeking an enhanced low-end impact or an extra treble energy. This IEM is focused on delivering an accurate uncolored natural neutral tonality, and its transparent resolving balanced sound is enhanced with dB-Go bass module to give you more tuning flexibility at sub-bass level and a very unique Dual-Tone cable design to fine tune the tonality of mids. When it comes to flagship releases, every manufacturer is focused to stand out from the crowd, and in my opinion Unique Melody did accomplish that successfully with Mason V3.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on Head-fi.

Manufacturer website: Hiby.

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Intro.

It probably sounds cliché, but you have to be living under a rock if you never heard of Hiby. Maybe not as well known yet for their hardware, Hiby has been behind many DAP releases (FiiO, Cayin, Shanling, Hidizs, Questyle, and others) with their custom firmware, as well as their own popular music app for smartphones. And thanks to their Android OS software workaround, many of these DAPs are free of Sample Rate Conversion (SRC) limitation which down-samples the audio. I guess it was only a matter of time before they decided to release their own DAP – Hiby R6. Considering the accumulated experience while working with other DAP manufacturers, Hiby did their homework to come up with an impressive hardware spec to boost the Android performance, something you would expect from higher end smartphones.

In their debut release, Hiby decided to introduce R6 DAP through Indiegogo crowdfunding campaign, giving the project more exposure with a help of social media. The campaign was successful, over 575% funded, but a real surprise came later when they announced the shipment of the first batch of aluminum alloy R6 ahead of the proposed schedule - very rare for any crowdfunding campaign. Of course, nothing is perfect, and Hiby design decision of high output impedance did raise questions in audiophile community. But I found it to be not the end of the world, if you got iEMatch handy, and I will go into more details when discussing R6 pair up with numerous headphones in corresponding section of my write up. Now, let’s proceed to the review.



Unboxing and Accessories.

Here, unboxing was straight forward, with a basic black compact sturdy box, and R6 under the cover in a secure foam cutout. All the included accessories and documentation was underneath, found at the bottom of the box once you take the foam tray out. The back of the box had detailed highlights of the features with a graphic thumbnail illustration of each one.



The included accessories are basic, yet useful. You get "Hiby" branded usb-c charging/data cable (decent quality), and line out coax cable to connect digital output to external DAC/amp coax input (longer cable with a durable shielding). 3.5mm to 3.5mm line out audio cable was not included, though would have been appropriate here. You also get extra high-res stickers and a screen protector, while a pair on the front and the back has been already applied to R6. Plus, included is a pin-tool required to open the concealed uSD door to take out the tray with a flash card.



As part of Indiegogo stretch goals, a silicone case and tempered glass screen protector were also included. Silicone case is basic cheap case with covered buttons. It's actually not bad to enhance the grip and provide friction when placed on the surface, but it's not as "glamorous" as a leather case. Tempered glass has an advantage over a regular protection film in case if you have a direct impact which absorbs the shock, shattering only the tempered glass instead of the display.



The leather case is optional and cost $24 when ordered from IGG page. It has a dark blue color which from a distance almost looks black, and made of full-grain leather with felt inner lining to protect R6 metal finish from scratches. It has a slide-in design from the top, keeping the top fully open, and has generous cutouts around the buttons on both sides to allow direct access while keeping buttons recessed and safe from accidental pressing. It also has a generous opening at the bottom for usb-c port access. I like this case.



I was also told that MITER is working on a case for R6, and I will update the review once I get my hands on a sample. Traditionally, MITER cases use a soft leather and feature their signature kickstand to allow propping R6 up when watching video/movies.

But, the #1 Recommended accessory for R6 is iFi Audio iEMatch, a very compact durable pigtail dongle which reduces the output impedance and nearly eliminates the issue of R6 high OI. It’s available in 3.5mm and 2.5mm variants, where you can also get a cut-down 3.5mm Ear Buddy version with a similar functionality.



Design.

To make their DAP pocket friendly, Hiby kept design very straight forward and slick. You have a typical "smartphone" rectangular bar shape, 116 x 66 x 15 mm in size with 190g (aluminum alloy) or 275g (stainless steel) in weight, and 4.2" touch screen display occupying the front and glass panel on the back. While all the internal design/components are the same, you have a choice of either aluminum alloy or stainless steel (316L high-impact) chassis. Unlike some other DAPs, Hiby doesn't claim any sound difference between these two.

While the general shape of the DAP is rectangular, the top and the bottom has this slight recessed arc shape to give it a more unique look. The sides have a little rounded shape for a more comfortable grip, though I still prefer to keep it in the case to make it less slippery, especially with a glass back. Using a case enhances the grip and prevents it from sliding across a flat surface.

Left upper side of the DAP has Volume up/down (+/-) nice concave-in buttons with a tactile response. Keep in mind, once you press the button to change the volume, you also get on-screen volume touch control which you can slide up/down for a faster adjustment. Toward the lower corner of the left side, you have a concealed micro-SD card slot which opens with an included accessory pin. It's a small tray which is flush with chassis, keeping the card secure and dust free, similar to smartphone mechanism.

Right side has Power button at the top with a multi-color LED which indicates charging, playback, and different types of playback hi-res formats. Below it is 3 playback control buttons with a larger Play/Pause in the middle and smaller Skip Next/Previous above and below it. All the buttons have concave-in shape, etched with a corresponding functionality (except for Power button), rattle free, and have a very tactile click response. I like how they vary in size for an easier ID as you slide your finger, and I also appreciate the ergonomics of asymmetrical layout.

The bottom of R6 has usb-c port which becoming more popular with DAPs and allows high speed/current QC charging and faster data transfer. Plus, this port is used not only for charging, but also data transfer, USB DAC input functionality, and Digital Output transport control. The top of R6 has 3.5mm port which doubles as Line Out (LO) and Coax outputs (selected from audio settings menu). Next to it you have 3.5mm single ended (SE) headphone output and 2.5mm balanced (BAL) headphone output. Btw, I didn't find any screws accessible from the surface.



Under the hood.

As I mentioned in the intro, Hiby did their homework and picked top performance components. To ensure the Android 6.0 OS runs smoothly, Hiby stepped it up with Snapdragon 425 SoC Processor and 3GB of DDR3 RAM. While some other DAPs use 1GB RAM just to make sure you can run a streaming app, or 2GB of RAM to be able to run other apps, 3GB of RAM doesn't just enable you to run all apps, but to run it as efficient and as responsive like you would have with your smartphone. Internal storage is limited to 32GB, that's a pity, but you have uSD expansion to support the latest max capacity card. Plus, wifi streaming and LAN support expands the playback variety.

Audio processing is under control of dual ESS ES9028Q2M DAC, SoundPlus OPA1612 audio opamp (2x used as Low Pass filter), and TPA6120a (2x hi-fi stereo headphone amp) driving both single ended 3.5mm HO (120mW @ 32ohm, 118dB SNR) and balanced 2.5mm HO (300mW @ 32ohm, 120dB SNR). That's quite an impressive and powerful spec, though output impedance here is on a high side at 10 ohms. With a spec like this, you can play majority of hi-res lossless formats, such as FLAC, APE, WMA, WAV, ALAC, Apple LOSSLESS, DSF, DSDIFF where you have native support/decoding of DSD 128/256 and PCM up to 32bit/384kHz, as well as support of ISO DSD. Plus, support of lossy formats, such as MP3, AAC, WMA, OGG. Keep in mind, Hiby mentions to be able to bypass Android sample-rate conversion to ensure bit-perfect output from any app.

Its 4.2-inch touch screen IPS display is high-density 300 dpi, with an impressive resolution of 768x1280, supporting 16 million colors, and wide viewing angle. I know, these are just spec numbers, but when you look at the display, especially that color-splash wallpaper with its deep/rich colors, you will understand and appreciate the meaning of this spec. Furthermore, for a wireless connection, you have dual-band (2.4G and 5G) WiFi radio, and Bluetooth 4.x with aptX codec support.

The provided battery has 4000 mAh capacity and supports quick charging (QC 3.0) standard (140min to full charge), where you can use either DC 5V/2.5A or 9V/1.5A. While Hiby mentioned about 12hrs battery life which is impressive for high performance touch screen Android DAP, I actually found this number to be a little on a conservative side where in my best- case scenario I was able to get even more out of battery.

Before timing the battery performance, I let R6 run a few charge/discharge cycles to make sure battery is fully calibrated. I started with U18t and single ended cable, low gain, playing MP3 (320kbps, 44.1k/16bit) in a loop at a reasonable volume level with a display off, only occasionally turning it on to check the battery percentage. During this test, I got 12.5 hours of play time with 3% battery juice remaining. Later, I realized that I never turned the WiFi off, which I’m sure contributed to additional battery drain, thus making me believe that a best-case scenario would have been closer to 13hrs of total playback time.

Next, I switched to CFA Vega with a balanced cable, in high gain, WiFi radio on, pushing volume higher to drive these lower sensitivity IEMs harder while playing hi-res FLAC file in a loop. The result was 7hrs and 45min of playback time. Still not bad for this relatively worst-case scenario, though I’m sure with DSD files it would have been even lower, as expected. Btw, having LED indicator built into a Power button is quite convenient to get “visual” confirmation if you are playing a hi-res file without turning the DAP on.



Wired and wireless connections.

Thanks to a dedicated LO/Coax and multi-functional digital usb-c port, Hiby R6 has flexibility of many various wired connections to enable its use as a transport or to pair up with an external dac/amp. Here are some of the examples of my testing.

R6 vs R6/HA-2 – Using Shanling usb-c to micro-usb interconnect digital cable, I seamlessly paired up R6 with Oppo HA-2 portable dac/amp, using it as a digital transport. In comparison to a direct R6 connection, I found the sound with HA-2 to have a little more bass impact, but other than that it was very similar. Also, with external connection, your HO impedance changes according to the spec of a paired up device.



Micro iDSD BL – While trying to stay portable using DAPs, Micro iDSD is one of the few transportable DAC/amp exceptions I still use due to its sound quality and flexibility supporting various connections. Using a budget eBay digital cable with usb-c to full size usb, I had no issues connecting to iDSD and found the sound to be very clear and detailed with a punchy bass.



In comparison, I switched to use Coax output of R6 (needs to be selected in audio settings from pull down menu), where in this pair up I found the sound to be a little smoother and with a noisier background in comparison to digital connection above.



R6 vs R6/E12A – To take advantage of R6 dual DACs while bypassing its internal amp section, I switched to LO (the same menu option where I selected SPDIF above) to test R6 with FiiO E12A portable amp (my neutral amp reference) where I found the sound to be a little bit smoother and the background not as dark. Based on what I’m hearing, it sounds like R6 amps have a blacker background and a brighter tonality, leading to a more resolving sound.



While I’m not a big fan of using portable DAP as USB DAC, this “wired” feature is available with R6 and convenient on the go when you are traveling with your laptop and want to enhance the sound of its stock chipset. Here, after installing Hiby provided drivers, my Win7 laptop recognized R6 without a problem, connected as usb DAC, and it even displayed the sampling/bit rate of the song. The sound quality was the same as listening to R6 standalone.



For Wireless Bluetooth test, I used Sennheiser Momentum Over-ear wireless and B&W P7 Wireless full-size headphones. I tested their performance paired up with R6 vs my aging Note 4, though in both cases it should support aptX codec. I found that I could push headphone volume louder with R6 in comparison to my Note 4, not sure if there is some volume limitation for safety reason with my phone.

In more details, Senns Momentum are picky in some pair ups, but I found no issues with R6. I was able to walk across 50ft of open space, before the sound started to cut off. Comparing the performance of R6 vs Note 4, it sounded nearly identical, crisp, revealing, and with an articulate bass. With P7W, the transmission was clear across 55ft of open space, the sound was balanced and I enjoyed P7W deep bass impact. As a matter of fact, I’m hearing an even deeper sub-bass rumble when paired up with R6 over Note 4.



No wireless discussion could be complete without WiFi and Streaming performance. I had R6 connected to my ASUS RT-N66R router (oldy but goody), 5GHz band. While I was streaming Spotify, had R6 aluminum in a leather case placed in the front pocket of my shorts. Walked to the other end of the 1st floor, an open space of a little over 60ft, and had no issues with streaming, though I was down to 1 bar.

In general, I found R6 to perform like a decent smartphone (not exactly the latest TOTL, but an average smartphone), and with Google Play pre-installed you have access to many different apps, including streaming. I don’t stream too much using apps or from in-house server, but occasionally use either Spotify or DI.fm apps. I know many asked me about Tidal, but unfortunately, I have no account thus wasn’t able to test it. I’m aware that Hiby is working directly with Tidal to fix some minor compatibility issue and hopefully will be able to resolve it soon.



GUI.

While many Android DAPs feature a common interface found in smartphones and tablets, not many of them perform on the same level when it comes to GUI response and app compatibility. Here, thanks to Snapdragon 425 SoC and 3GB of DDR3 RAM, playing music, browsing internet, or streaming audio is a breeze. Plus, Google Play Store already pre-installed so you can start downloading apps without a need to side-load apks or installing custom ROMs.

Interestingly enough, while Notification bar has a familiar volume icon with a volume level, Bluetooth icon (when enabled), WiFi icon (when it's on), battery icon with remaining %, and a time, once you pull Notification bar down, unlike some other DAPs, you will find a very minimalistic set of short-cut controls: down to brightness adjustment, WiFi and Bluetooth controls, and Audio Settings. There is no general Android Settings icon, instead it's a separate shortcut on the main Android screen, also found in apps drawer.

Under Audio Settings in Notification menu, you will find Low Pass filter selection for ESS DACs which includes: Minimum phase, fast roll-off, and slow roll-off options; Multifunction Output selection between Lineout or SPDIF; Gain with Low and High settings; L/R channel balance slider; and Tonality (harmonics) selection of Reference, Warm, and Tube Amp. The Settings shortcut on the main screen takes you to a regular Android settings section with typical system settings of WLAN, Bluetooth, Data usage, Display, Apps, Storage, Battery, and others. Perhaps Hiby wanted to keep Notification bar less crowded, but I would have love to see Settings shortcut in the upper right corner where it could be accessible from any screen, instead of searching for the shortcut on the main Android screen.

Of course, you are free to run any audio app of your choice which going to have its own custom GUI, but since we are on a subject of Hiby DAP which comes already with its Premium Hiby Music v3 app, I didn't bother to use anything else, especially after I learned of MageSound 8-ball DSP effects. Hiby Music app is very user friendly and feature-rich, and its navigation on R6 is very fast, especially since its interface is very logical to navigate.

The main screen at the start has top bar with Music listing where you can navigate by a song Title with the ability to play all in Shuffle mode or to select individual tracks to add to Queue or to Playlist or to Delete. You can also navigate by Folder or sort by Album, Artist, Genre (depending on ID tag of your songs), or Private Cloud (DLNA/LAN or Baidu?). There is a separate tab for Favorites, Recently played, or Playlist. Also, there is an option to enable HibyLink to connect to your smartphone. Last, but not least, a Search menu. While going through these choices above, at the bottom you always have a visible playback bar with a currently selected song with navigation controls.



Tapping on that playback bar brings up the main playback screen, also with a clear layout. At the top you see a song/artist name with 3-dot setting menu next to it (add to playlist, share, EQ, show album info, and properties display). Below it, the top half of the display shows embedded artwork (if available), and you can swipe to the left to see if there is embedded lyrics, and one more swipe for a detailed info about the song. And speaking of detailed info, once playback starts, the sampling rate of the song is displayed in the notification bar, something I haven't seen with any other DAP yet.

In the lower left corner of artwork screen, you can tap to select playback mode: loop all, loop one, straight play through, or random playback. The lower right corner has a link to open current playback queue, based on either a folder where you are playing from or an album or playlist. Lower part of the screen has playback controls with Skip Next/Prev on the sides, and a large circle with Play/Pause in the middle and Fast Forward/Back navigation to scrub through the song. While I personally prefer a straight horizontal bar to touch-forward through the song, this Circle navigation bar became a signature control of Hiby app, and it's large enough for a precise control.

Also, I liked the EQ interface which you can access from the playback screen. First of all, unlike many other DAPs where enabling EQ drops the output by at least 3dB to avoid clipping, here the volume doesn't change but you have +/-12dB amp gain adjustment. Then, you have 10-band EQ (31,62,125,250,500,1k,2k,4k,8k,16k) with each band having +/-12dB adjustment. These 10 bands sliders spread across 2 screens, but the top of the EQ has a common graphics screen with a visual of all 10 bands so you can see the final EQ curve. Furthermore, in addition to a custom preset, you also have 8 genre specific EQ presets which you can modify further.



Hiby Music app comes with its own comprehensive Settings menu which can be accessed by swiping to the right from the main screen of the app. Here you can access Music Scan (scanning all or specific folder, with a number of scan options), Download manager (assuming, for songs?), Equalizer (as described above), MageSound 8-ball (Hiby own special effects), Plugin (available plug ins, currently with Parametric EQ and Joe's Sound Filed Enhancement plugin), Sleep timer, Settings (a very comprehensive set of music app settings), Quick guide, and About section.

I'm sure more plugins will be available soon, and I hope PEQ will get its own GUI since for now it's very low level basic interface. MageSound 8-ball is what many will be interested in. It’s a very comprehensive set of very useful effects that can really shape the sound with quite natural results. You can adjust the "temperature" by going from cooler/brighter to warmer/darker signature, adjust bass extension (from light to deep), bass texture (from fast to thumpy), note thickness (from crisp to thick), vocals (from recessed/crisp to more forward/smoother), female overtone, LF/HF sibilance level, impulse response (from slow/music to fast/hard) and level of air. At first, I assumed it will be more like an EQ adjustment, but the more you use it, the more you realize it's like DSP effect processing, reminding me of BBE/JetEffect in some way.



Bottom line, no matter what app I was using, everything was very responsive and super fast.

Sound analysis.

Usually, I like to get at least 100hrs of playback before any DAP sound evaluation, so after I received R6, it spent a week on a burn in, just playing random music in the loop while I switched between SE and BAL, making sure HO were loaded. As my usual disclaimer, DAP sound description is very tricky because you are describing the synergy of the DAP with headphones you are listening to. It’s easy to fall in a trap of describing the headphone signature, thus I usually go through a number of headphones, from neutral to more revealing, to find common sound characteristics relative to the source, rather than headphones.

In general, I found R6 to be a neutral DAP with a little tilt toward a brighter more revealing side. It has a rather wide soundstage expansion, both in width and in depth. It also stands out with decent dynamics, where, regardless of headphone pair up, the sound was always vertically expanded, never felt compressed. The background is black and hiss free even with most sensitive low impedance iems. Also, the transient response of notes on/off transition is clean and sharp, which makes details pop out faster. Though in the settings there is Tonality selection with Reference/Warm/Tube amp, all three sounded on a reference level to me. MageSound 8-Ball effect is where I was able to tweak tonality with a more noticeable effect. And, especially when paired up with more revealing analytical earphones/headphones, you can appreciate the level of layering, transparency, and separation between the sounds.

But there is one variable when it comes to a tonality since R6 has a higher than usual output impedance, 10 ohms, while today's typical DAPs have around 1 ohm or less. So, what does that mean? With majority of full size dynamic driver headphones and single driver IEMs or higher impedance headphones/iems, a pair up with R6 will have a minimum effect on a change of the original tonality as intended by headphone manufacturers. But a handful of low impedance multi-BA and hybrid IEMs will be affected to the point where the bass gets attenuated and the treble is a little boosted. The degree of this effect will vary, and I have examples in pair up section of this review. You can't ignore it, but it's also not the end of the world since you can use iEMatch (http://amzn.to/2tVhc1W) from iFi (either 3.5mm or 2.5mm version) to "restore" the sound.



Comparison.

In this comparison I used a few different IEMs, all volume matched, to compare how R6 stacks up against some other DAPs.

R6 vs FiiO X5iii - R6 has a more neutral revealing sound while in comparison X5iii is smoother, warmer and less resolving. With R6, bass is more articulate and better controlled, and there is more sparkle in treble. Two things that stand out for me, R6 has a blacker background (very noticeable) and a wider soundstage. X5iii has quite a noticeable hissing. Also, from a technical performance, R6 sound has more layering, better separation, better dynamic expansion. R6 sound is just cleaner and more detailed. And the same with Android performance, R6 is faster, more responsive, and more capable as a standalone Android device. X5ii does have dual uSD, more storage, and it has low OI, but in terms of sound quality and Android performance, there is a big gap between these two.

R6 vs Cayin N5ii - There are a lot of similarities in sound when comparing these two. Both have a similar soundstage expansion, though I noticed with some IEMs R6 sounds a little wider, not sure if OI and/or using iEMatch has anything to do with it. For example, I noticed this difference with U18t, while with IE800s connected directly - it was nearly identical in both soundstage and tonality. So, lots of similarities in terms of being neutral and with a more revealing tonality, though in some cases where I had to use iEMatch, the bass was a little more neutral and treble had a touch more sparkle. Both have a nice dynamic expansion of the sound and a black background. In terms of a technical performance, R6 has a little edge in layering, separation, and transparency of the sound. Besides output impedance, the biggest difference here is Android interface where R6 feels like a smartphone with a higher quality display and a very snappy Android performance. In contrast, N5ii presents itself as DAP first and Android device with Google Play and streaming capability second, like an add-on. Also, N5ii has an advantage of a dual uSD versus a single card in R6.

R6 vs FiiO X7ii - Similar soundstage expansion, though R6 is just a little wider. Also, R6 has a blacker background. Both have a very similar neutral revealing tonality with excellent retrieval of details, punchy extended bass, layered detailed mids, and well defined airy treble, though in some pairs up with R6, I hear treble being more extended. Besides the sound, there are also many feature similarities with both being a full Android DAP. But while they both support Bluetooth and wifi, and have open Android OS with pre-installed Google Play Store, the actual navigation and Android OS experience is on a much higher level with R6, while X7ii is slower and not as responsive as R6. Both have the same internal and external storage, but X7ii also has an advantage of replaceable amp modules.

R6 vs theBit Opus#3 - While I hear R6 soundstage to be a little wider, in terms of the sound signature these two are very close with a brighter revealing neutral tonality where in a blind test it's hard to even tell them apart. Even their technical performance, in terms of layering and separation of the sounds is very similar. They both have a more neutral, yet rather articulate and punchy bass, and a little brighter upper mids and crisp airy lower treble. Both have a similar black background. What sets them apart are the physical features. While #3 has 64GB of internal memory vs 32GB of R6, they both have one uSD. Also, both support Bluetooth and Wifi, but #3 has Android running in the background and it's closed, to the point where you have to side-load apps. R6 has a full open Android support with access to Google Play where you can easily install any app. So, while tonality and overall sound performance might be similar, if you want a true powerful android DAP, R6 is the way to go. Plus, 8-Ball sound shaping effects of R6 are a huge plus.

R6 vs Cowon Plenue R - Both have a very similar soundstage expansion, in width and depth. The difference here in R6 being more revealing and a little brighter while PR sound is smoother and a touch warmer in comparison. Both have a similar bass emphasis, though the tonality of PR gives it a little deeper perception. I'm also hearing R6 mids to be more layered with a little better separation of sounds. Both have a nice extended airy treble. While R6 has its MageSound 8-ball, Plenue has its advanced JetEffect. Both have Bluetooth to pair up with wireless headphones or speakers. That’s about it for PR, while R6 is a full android dap with Google Play store support to load any app, including streaming ones. In terms of storage, PR 128GB of internal storage and uSD card are superior to 32GB of R6 w/uSD. Also, PR has better battery life.



Pair up.

This is probably the most important section of my review because it covers how R6 pairs up with different full-size headphones and IEMs. There was no need to even consider iEMatch until I switched to IEMs.

Audio-Technica ATH-R70x (open back, full size dynamic) - wide airy soundstage expansion, a very balanced sound signature with more emphasis on mids, not necessary being mid-forward but just making them standout with a more natural tonality and effortless retrieval of details. Bass is very neutral, extends deep with a nice rumble, but a very neutral quantity, and the same with mid-bass, with an overall bass being articulate and layered. Treble has a nice neutral sparkle as well, not too harsh or rolled off, just a perfect amount for a natural definition of the sound.

Oppo PM3 (planar magnetic) - above average soundstage width with more depth. The sound is brighter in tonality in comparison to other pair ups, PM3 sound can get easily congested with some DAPs, here the sound was closer to neutral with a more revealing tonality, still smooth and a little laid back, not very layered or with improved separation. Warm sub-bass extension with a slightly elevated mid-bass - bass is typical of PM3, being slower, not as articulate, but it has a better control in comparison to pair ups with other DAPs where bass usually spills into lower mids. Here, lower mids do have full body, but they are not muddy or congested. Upper mids are smooth and detailed, while treble has a nice well-defined sparkle.

Audeze EL8C (planar magnetic) - wide/deep soundstage and a very fast sound, typical of planar magnetic driver performance. Bass is very neutral, being all about quality rather than quantity when it comes to sub-bass extension and mid-bass punch. Lower mids are lean, and the big emphasis here is on upper mids and treble. Mids are detailed, actually down to micro-detailed level, but they are also cold and more analytical. And the treble is a little too piercing, making the sound too revealing and less natural. It wasn't my cup of tea, but I'm glad to report there wasn't metallic sheen in the sound, like I find in some other pair ups.

Beyerdynamic T5p 2nd (Tesla, full size dynamic) - wide/deep soundstage, almost on a holographic level, and the overall sound is very balanced, with a natural neutral-revealing tonality. Sub-bass has a nice deep extension, but the quantity of the rumble is a little north of neutral. Mid-bass has a nice fast punch, with an overall bass being very articulate, layered and well controlled. This leads to a more neutral lower mids and micro-detailed upper mids, but with a more natural detailed tonality. Treble is crisp and airy, gives a very good definition to a sound.

VE ZEN (320 ohms earbuds) - above average soundstage width with more depth. The overall tonality is a little brighter and more revealing in comparison to how Zen pairs up with some other DAPs where it usually sounds a little smoother and more organic. The sound is actually faster and a little leaner. Bass goes down to a deep sub-bass extension with a very nice rumble. Mids bass has a fast punch, this is probably the "fastest" I heard Zen bass, being very articulate and well controlled. Lower mids are a little leaner, and upper mids are natural, transparent, with an improved retrieval of details. Treble has a nice sparkle, not too bright or too crisp, with a good extension.

Next, I tested a lot of IEMs where I made a note about pair up with and without iEMatch.

Sennheiser IE800S (DD) - the sound is balanced with a nice deep sub-bass extension, great mid-bass impact, very natural detailed mids, and a nice crisp airy treble. iEMatch reduces some of the treble definition, taking away a bit of sparkle and airiness. Wide soundstage. I prefer a direct pair up here.

Beyerdynamic Xelento (tesla DD) - very expanded soundstage, tastefully done v-shaped sound with upper mids pushing just a little bit back. Bass goes deep with a healthy sub-bass rumble and fast punchy mid-bass, lower mids are neutral while upper mids are natural and detailed, nice organic tonality, and treble has a nice controlled sparkle. With iEMatch mids are pushed more back. Direct pair up is preferred.

Campfire Audio Vega (DD) - nice soundstage expansion, a typical expected L-shaped sound sig, perhaps more like a reversed J-shaped since I can also hear a nice treble sparkle. Bass goes deep with lots of sub-bass and slower mid-bass, overpowering mids which are smooth and warm, and pushed back in their presentation, and a nice crisp treble. With and without iEMatch the sound is the same.

Campfire Audio Andromeda (5BA) - here, iEMatch is definitely a must-have because without it the sound has a very neutral bass with a rather forward upper mids and splashy treble and a very noticeable sibilance, which you usually don't hear from Andro. Once iEMatch added, it transforms into the sound I'm used to while listening with other sources - you get a fast mid-bass and a nice sub-bass extension which shines more with quality rather than quantity, neutral mids, detailed upper mids with a little brighter and more revealing tonality and crisp airy treble. iEMatch definitely brings Andro back to its fun signature.

iBasso IT01 (DD) - another example where iEMatch is not necessary, and it actually reduces the quality of the sound. Here with a direct connection you get a fun v-shaped signature with a deep and powerful sub-bass rumble and elevated mid-bass punch, neutral clear lower mids and revealing brighter upper mids, and crisp airy treble with a nice extension. iEMatch reduces the sparkle of the treble, turning v-shaped fun into a more L-shaped sound. I definitely prefer a direct pair up here.

iBasso IT03 (DD/2BA hybrid) - here, using iEMatch is actually a big plus. Directly connected, sub-bass and mid-bass becomes very neutral with upper mids and treble pushed more forward, and even some emphasis on sibilance. Once you connect iEMatch the sound change is back to expected tonality with a nice sub-bass rumble, faster mids-bass punch, a little pushed back but still detailed and brighter mids, and well-defined and controlled crisp treble.

Westone W80 (8BA) - low impedance multi-BA, you can safely guess iEMatch will be a welcome addition here. Direct connection gives you a slightly mid-forward signature since bass is more neutral and upper mids/treble are elevated. With iEMatch, the sound is balanced with a nice sub-bass rumble and punchy well controlled mid-bass, not too fast or too slow, neutral lower mids, natural detailed upper mids, and a crisp and well controlled treble. Very enjoyable pair-up, as long as you keep iEMatch handy.

Ultimate Ears UERR (3BA) - didn't expect this one, but with or without iEMatch the sound is nearly identical. I hear a very neutral natural tonality with a decent sub-bass rumble, polite mid-bass much, neutral lower mids and natural detailed upper mids, and well-defined treble with a controlled sparkle. Actually, a very good pair up.

Noble K10UA (10BA) - another surprise where the sound is the same with and without iEMatch. You get a very well-balanced sound signature with a good sub-bass rumble, elevated fast mid-bass punch, neutral lower mids, revealing brighter upper mids, and crisp airy treble. Plug these in directly and you are good to go.

HiFiMAN RE2000 (DD) - with a single dynamic driver I was expecting that iEMatch is not necessary, and found it connected directly to sound nearly the same as other sources, but adding iEMatch actually took down a layer of brightness from the upper mids and lower treble, making the sound more pleasant and less harsh. You still get a great dynamic driver quality sub-bass extension and surprisingly articulate overall bass performance, mids are more analytical and on a brighter side, while treble is crisp and airy, but upper frequencies are smoother in comparison to direct connection. This is just a matter of personal preference.

64 Audio U12 (12BA) - this is how the original U12 was intended to sound! It's not a secret that this IEM was tuned using higher OI source for performing stage musicians who use higher impedance wireless packs. The difference between R6 and any other DAP is around bass where with R6 bass is no longer bloated and overwhelming, you get a textured sub-bass rumble with a punchy mid-bass; with bass being well controlled without spilling into lower mids, and lower mids being north of neutral with a nice body but not muddy or congested, while upper mids are smooth and natural and still detailed, treble is well defined but not as crisp or airy. Adding iEMatch makes sound a little congested around lower mids, so direct connection is desired here.

64 Audio U12t (12BA) - learning a lesson from the original U12, U12t now features LID tech where the sound should be identical from any OI source. And indeed, when compared between R6 and other low OI daps - the signature is the same with a balanced sound sig where you have a nice bass impact, not too overwhelming and well controlled, neutral lower mids with a more natural-revealing tonality of upper mids, and crisp airy treble thanks to TIA driver. Adding iEMatch in series doesn't affect much the bass or the lower mids, but it does make upper mids and lower treble a shade smoother if you want to tone down the TIA sparkle.

64 Audio Fourte (DD/3BA hybrid) - this is the one pair up so far where the synergy between a dap and iem wasn't there, regardless of iEMatch or not. Adding this adapter does takes an edge off the upper mids/treble which could be a little too vivid for some, and regardless of the adapter the bass was still very accurate and with a nice sub-bass rumble and mid-bass punch, though both rather polite in quantity. But the main problem here were the mids which sounded a bit muffled to my ears, not the same as other DAPs. For me personally, this is not a good pair up.

64 Audio U18t (18BA) - talking about night'n'day difference, that's how I can describe the sound of these iems with and without iEMatch. Without, you have a very mid-forward bright signature with a neutral flat bass. Once iEMatch added in series, U18t transforms with a deep textured sub-bass rumble and fast mid-bass punch with a slightly boosted quantity, neutral lower mids, natural micro-detailed upper mids, and crisp airy extended treble. This is not even a question, if you want to use U/A18t with R6, iEMatch is a necessity.

Empire Ears Legend X (2DD/5BA hybrid) - the clever crossover design of this hybrid reassures there is no need to worry about iEMatch because with or without it the sound is the same. You get a powerful L-shaped signature with a deep impactful sub-bass rumble and elevated mid-bass slam, with bass being well controlled despite being a force of nature that you feel in your chest. Mids are very natural and detailed, not really pushed back, but being more in a background due to elevated bass, and the same with a treble which is well defined and with a polite crisp and airiness. This is a basshead audiophile iem and it hits hard with a bass. Actually, even harder in comparison to other dap pair ups.



Conclusion.

When you are entering a competitive market of today's mid-fi DAPs, you need to be able to stand out from the crowd. Many manufacturers respond to this challenge by offering unique looking designs or adding extra features or cutting corners to lower the price. Unless you have budget and resources of Sony or A&K proportions, smaller manufacturers focus on finalizing the hardware before the release, and then hoping to catch up with fw updates to fix remaining issues. Hiby is in a unique position where they are the one who help others to "fix" their fw issues, and as a result they are one step ahead of competition when it comes to fw/sw. And with that power, they're also in a position to cherry pick their own hw because they know how to optimize its performance.

That's exactly what happened in the debut release of Hiby R6 DAP. They picked a higher end SoC processor, the most RAM in comparison to other Android DAPs, top quality display, two premium ESS DACs, and also premium LPF and headphone amplifier opamp components. We are not just talking about another Android DAP release, but Android 6.0 with DTA (direct transport audio) architecture to ensure bit-perfect output (bypassing Android SRC). And this is not another ES9018 dual dac release, but they actually used higher end 9028 dac. And not a gimmicky balanced output, but actually BAL output with more than double the power of SE. And not just usb-c port because it's a new popular standard, but actually with a support of QC3.0.

It would have been nearly perfect, except for high output impedance which could be an issue with some IEMs. I intentionally put extra effort in pair up testing with many different IEMs/headphones to describe the effect of OI. And as you can see, it's not really the end of the world, and could be resolved with iEMatch. I'm not making excuses for Hiby, they learned their lesson and the upcoming R3 release already has lower output impedance. Also, I don't want people to get an impression that R6 is only about fast Android performance. It also has a very impressive sound performance, along with a collection of MageSound 8-Ball effects to further fine tune the sound to perfection. Yes, you might have to invest into iEMatch, but it's a small price to pay when you are looking for a top Android performance high-res DAP.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on Head-fi.

Manufacturer website: HiFi Boy, available for sale on Penon Audio.

This review is for a new 2pin version of OS v3, which was re-tuned from the original mmcx version of this iem.

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Intro.

While I have been focusing lately on higher end IEMs, sometimes I come across a budget gem which deserves a spotlight. I know that for some people "budget" will mean a different thing, but relative to many $2k-$3k IEMs I had the opportunity to test and to review, this $159 IEM from HiFi-Boy is quite affordable and has a great price performance ratio, along with a very addictive natural tonality.

Not much info is available about HiFi-Boy, except that it was launched by Chengdu Fallante Technology in China and its CEO, Mr. Chen, wanted to create a cost-effective high-quality IEM. In my opinion he achieved that goal, but I must give a credit to Penon Audio for featuring this IEM in their store so that audio enthusiast outside of China can discover it. Now, after spending a month with it, I want to share my experience using the latest updated (new 2pin version instead of the original mmcx) HiFi-Boy OS v3 (OSV3) iems.

Unboxing and Accessories.

The unboxing experience here is basic: a colorful sleeve over an average size sturdy box with magnetic flip cover. Once you remove the sleeve and open the box, you will find a foam cutout, securely holding a travel case and a few accessories.



Accessories are basic as well. You get a set of 3 pairs of silicone eartips (S/M/L). Surprisingly, I found the large size pair to give me the best fit with a perfect isolation, so no need to tip roll. You also get a roomy travel case, bigger than a typical round clamshell, with enough space for an aftermarket cable and a few other accessories. It's a cheap case, but very practical.

Obviously, a removable cable is also a part of accessories which I'm going to talk about it in the next section of the review. Also, included were an airplane adapter and 1/4" adapter, which I consider to be filler accessories; perhaps someone will find it useful.



Cables.

The included stock cable is very flexible, thin, and lightweight. The wires are silver plated copper with 5N purity of OFC core. The cable has 4 separate conductors, inner-twisted and not braided, with a clear insulation sleeve which reveals the silver plating.

The headphone plug is gold plated single ended 3.5mm with an aluminum housing that has a nice grip and a short strain relief. Y-splitter is a small transparent rubbery mold, and chin slider is also transparent, rubbery. There is no memory wire, instead you have a pre-shaped flexible earhook piece formed by a clear silicone heat-shrink tube. 2pin connectors have a clear rubbery housing and red/blue dots for a quick id of Right/Left sides.

I did find 2pin connector socket in OSV3 to be a little tight and slightly angled (very slightly). As a result, be careful not to force the connector too hard when plugging in cable.



Overall, it's a nice upgraded stock cable with a typical budget SPC wire performance. Since I have access to many different aftermarket cables, including Penon's own OS849 and GS849, I wanted to see if the sound of OSV3 will scale up using different wires.

Aftermarket cable pair up.

stock vs Ares II - soundstage is a little wider and overall sound is tighter and faster. I can hear the bass being faster and more controlled, especially when it comes to separation with lower mids. Lower mids still have full body, but a little leaner, with notes being not as thick. Upper mids are more forward, making sound sig more balanced, with improved retrieval of details. Treble is very similar.

stock vs Ref8 - soundstage is a little wider and overall sound is tighter and faster. I can hear bass being faster but not as fast as Ares II. Still, it’s an improvement over the stock cable. Lower mids are a little bit leaner, upper mids have improved retrieval of details, a little more forward, but not as much as Ares II. Treble has a little more sparkle.

stock vs OS849 - soundstage is a little wider and overall sound is tighter and faster. The bass quantity is very similar and maybe a touch more neutral in comparison; mids are a little more forward, making overall signature more balanced with an improved multi-driver coherency. The biggest difference here is upper mids/lower treble being a little smoother and a little less harsh, making the upper end to sound more natural. This is probably my favorite pair up.

stock vs GS849 - wider soundstage, as expected, and a tighter/faster sound due to a blacker background, just like with other cables. But I hear a little different effect on bass, where in addition to being faster and tighter, it’s also a little more elevated with a harder punch. Mids have more clarity, improved retrieval of details, but their presentation is similar to a stock cable, still being a little pushed back. Treble has more sparkle and more airiness. This cable pushes OSV3 performance more toward v-shaped sound sig due to an elevated bass and a brighter treble.



Design.

OSV3 has a 3-way hybrid design with a single 7mm dynamic driver for lows and 2BAs, one for mids and highs and the other one for ultra-highs. I assume it has a 3-way internal crossover, though to my surprise I can only see 2 bores in the nozzle which suggests that drivers are partitioned into two groups, under my assumption with each sound tube going to one of the bore openings. There is also a pinhole vent on the side of the shell, for a dynamic driver tuning. I didn’t see any pinhole around the nozzle, and can also confirm no driver flex. The faceplate has a HiFi-Boy symbol design, where you also have a selection of either all black shells, or red/blue shells according to right/left sides.

The ergonomics of the shell itself is what I call a custom-universal since it has a universal nozzle for eartips, and yet, it's sculptured to go into concha area of the ear to give you a more comfortable and secure fit, similar to StageDiver and iBasso iems. The shell is very compact, and according to manufacture, made from a resin material. My only comment here is that a tip of the nozzle doesn't have a big enough lip to hold on securely to eartips. Of course, it all depends on the eartip selection, but while tip-rolling, some of the eartips ended up in my earcanal after removing the shell. For me personally it's not a showstopper since I end up using stock eartip which have a very tight grip.

Another thing worth mentioning is that with a proper eartip selection, I was able to achieve a very good passive noise isolation. It was just perfect to tune out outside noise so I can enjoy the music.



The fit.



Sound analysis.

With OSV3 being a hybrid, I decided to let it burn in for about 100hrs before getting into a detailed sound analysis. I did briefly listen to them out of the box, and felt the sound was a little thicker before the burn in. It’s hard to go by memory, especially when changes are not as drastic, but after 100hrs of standalone burn in while playing a random song in a loop, I felt the sound opened a little bit, becoming more transparent, less congested.

In terms of tonality, OSV3 has a well-executed natural tuning with a mildly v-shaped signature where in my measurements and a sine sweep I found a little dip around 1kHz. The sound has a fuller body with an organic tonality, yet still very clear and detailed, just not too revealing or layered. Layering and separation is more on an average side, but the sound never gets congested or muddy, always under control with surprisingly good retrieval of details and a decent resolution of the sound. I was definitely impressed with a natural tonality of this IEM tuning.

I found OSV3 soundstage to be above average, not very wide in a test with many portable sources, except for SP1000 SS which turns anything into holographic soundstage where OSV3 had no problem scaling up. The soundstage depth extends further, but not too far out of your head. Positioning of instruments was relatively accurate, though I found them closer to the center. With some IEMs I tested in the past, this could affect the accuracy of imaging, but it worked OK for OSV3.

Now, for a more detailed analysis.

Starting with bass, these iems have a good low end extension, with a deep rumble that has a velvety texture. Mid-bass is average speed, not too fast or too slow, with an elevated impact but nothing overwhelming to be considered on a basshead level. Bass does have a little longer decay, giving lower mids more body, but still under control never muddying the sound. Overall, it’s a typical dynamic driver performance with an elevated quantity and analog DD quality, not as fast or articulate as you would find in BAs.

Lower mids have a nice body, above neutral and with enough control to give a smooth transition of bass into mids. Upper mids have a natural organic tonality with plenty of clarity and good retrieval of details, though obviously don’t expect it to be on a micro-detailed level. Here, organic doesn’t mean warm or smooth, but rather a more natural non-fatigue timbre which comes through shining especially with male and female vocals.

Treble has a good level of sparkle, but not too much crunch and reserved airiness. It’s enough to give the sound a good definition and at the same time to avoid any sibilance. It’s not exactly rolled off, just moderately tuned. Coincidentally, prior to receiving OSV3 2pin version, I had a chance to hear their early mmcx based model, and that one had a tuning with more forward upper mids and a little more crunch in treble. This new tuning is smoother and more natural to my ears.



Comparison.

In the following comparison, I tested OSV3 against a handful of IEMs using a more neutral Plenue 2 and a warmer WM1Z as my sources to get a better idea how they compare, while also making sure the volume is matched.

OSV3 vs Simgot EN700Pro - EN700 soundstage is a touch wider, while OSV3 has a more intimate stage feeling. Overall tonality of OSV3 is warmer with a fuller body and more v-shaped signature while EN700 is brighter, more balanced, with mids a little more forward. OSV3 bass extends lower with a deeper velvety rumble and punchy average speed mid-bass, while EN700 sub-bass has less quantity and mid-bass punch is more neutral in comparison. OSV3 lower mids have more body with thicker notes, while EN700 lower mids are lean and more neutral. Up from there, upper mids and treble have more similarities, though due to its neutral signature, EN700 has a perception of more forward and a little more revealing upper mids, while OSV3 upper mids are a little smoother and more natural in tonality. Both have a well-defined treble with a decent sparkle and moderate airiness, though EN700 is a little more airy and splashier at the top. The big difference between these two is the bass impact, more neutral in EN700 which gives mids a little forward presentation and more elevated in OSV3 which pushes mids a little back, giving this iem a more v-shaped sound sig.

OSV3 vs Oriveti New Primacy - remarkable resemblance between these two iems. Nearly the same soundstage width with only a little more depth in OSV3. Bass extension and impact almost the same, a deep sub-bass rumble with a nice velvety texture, and average speed elevated mid-bass punch, fuller body lower mids without being muddy or congested; clear, detailed upper mids with a very natural tonality, and very well defined sparkly treble with just a perfect amount of airiness. The only difference here is in presentation of upper mids, especially noticeable in vocals, where OSV3 have it pushed a little back, giving upper mids more depth/space, while Primacy has upper mids a little more forward, with less depth, closer to the listener. While the tuning resemblance is hard to miss, I still find retrieval of details to be better in OSV3.

OSV3 vs iBasso IT03 - IT03 soundstage is a little wider, while the depth is the same. Bass has a lot of similarities, in both cases going deep with a nice rumble and elevated mid-bass impact, though IT03 bass is a little faster. OSV3 lower mids are fuller, with more body, while IT03 lower mids are leaner, which contributes to a more v-shaped signature of IT03 in comparison to OSV3. Upper mids of OSV3 are smoother and more organic, while IT03 is more revealing and brighter. The same with treble where OSV3 is well defined but a little more rolled off and smoother in comparison to a little splashier IT03 treble with more sparkle and airiness. Overall, IT03 sounds more v-shaped and more fun tuned, while OSV3 is smoother and more naturally tuned.

OSV3 vs Westone UMPro30 v2 - another comparison with a remarkably similar overall tonality. Typical of Um Pro series, soundstage will be narrower in comparison to a wider OSV3 staging. But everything from sub-bass and through mid-bass and lower mids is very similar, just a few subtle variations. Like for example, OSV3 has a little higher sub-bass quantity, but the bass hits as hard as Pro30, though Pro30 mid-bass BA driver is just a bit faster. Both have full body lower mids and clear upper mids which are slightly pushed back in presentation, though retrieval of details is a little better in OSV3. Also, OSV3 has a little more treble sparkle where in comparison - Pro30 sounds more rolled off.

OSV3 vs UERR - starting with a soundstage, OSV3 is wider, while UERR is deeper with more out-of-your-head staging. In comparison to a neutral bass of UERR, OSV3 bass goes deeper with more sub-bass rumble and its mid-bass is more elevated with a stronger punch. Bass is probably the biggest difference in this case. Mids are very close in tonality (natural, smooth, detailed) and in technical performance (average layering and separation). UERR mids have a little more forward presentation, but only because of its more neutral bass impact. Treble has a lot of similarities as well, including a similar level of definition and extension, while the only difference is OSV3 having more sparkle and a little more emphasis on "sss", but never reaching a sibilance level. In a way, OSV3 is like an updated "fun" version of UERR with stronger bass impact and more sparkle in treble.



Pair up.

With an impedance of 19 ohm and a sensitivity of 109 dB, OSV3 is very easy to drive with any source I tried. And I actually tried quite a few, including my aging Note 4 smartphone and my old T430s ThinkPad. Usually the phone and laptop scale down the performance, especially my laptop with its noisy HO. But a natural tonality with a great retrieval of detail in OSV3 is quite forgiving, and I enjoyed the pair up even with these lo-fi sources. With high end DAPs, the sound only scales up as I found it below.

Plenue P2 mk2 (baseline test unit) - wide soundstage, slightly v-shaped signature, nice dynamic expansion, more natural smoother tonality with a good retrieval of details and an average layering and separation. Lows go deep and punch hard, mids are a little north of neutral, with upper mids being organic and detailed, treble is well controlled with a nice sparkle and moderate level of airiness.

Hiby R6 (high output impedance) - wider soundstage expansion with an overall sound signature being more balanced, where I still hear bass going deep and hitting hard (maybe a touch harder), mids being very detailed and natural in tonality, slightly more forward in presentation, and treble gaining more sparkle and more airiness (probably the effect of higher output impedance). Definitely a great pair up which improves the sound sig and makes the sound itself a little more transparent.

Lotoo Paw Gold (higher output power) - soundstage has the same width as baseline DAP, and the sound is still slightly v-shaped. The bass here (LPG) hits even harder, especially with a stronger mid-bass punch. Lower mids sound a touch leaner, upper mids a little more forward, but not by too much, and treble has a little more sparkle and airiness.

A&K SP1000 (high resolution, holographic soundstage) - soundstage is much wider, the sound is still slightly v-shaped. Sub-bass goes low but a little bit leaner, and mid-bass hits a little harder and sounds faster. Lower mids a little leaner, upper mids are more resolving, more detailed, still sound natural, but more transparent and layered now. Treble has more sparkle and airiness.

Sony WM1Z (high resolution, organic tonality) - soundstage is wider, the sound sig is still slightly v-shaped. Sub-bass goes low with a nicely textured rumble, mid-bass hits hard, but overall bass is well controlled and articulate. Lower mids are a little leaner, upper mids are resolving, very detailed, still sound natural with improved retrieval of details and blacker background. Treble has the same amount of sparkle and airiness.



Conclusion.

Before receiving 2pin OSV3 model, I had a chance to hear their original mmcx model, and I wasn't too crazy about the tuning where the bass was more neutral and the upper mids/treble where brighter and harsher. Of course, sound perception is a subjective thing, and I’m well aware that some of the budget Chi-fi brands are not always consistent with their QC. But as soon as I received 2pin version of OSV3, I quickly realized that HiFi-Boy updated not only the connector but also the tuning of these hybrid iems. I just wish they would have called it OS V4 to avoid the confusion with a previous version.

But nevertheless, this new "budget" IEM from HiFi-Boy definitely caught me by surprise with its natural detailed tonality and impressive low end extension. I was also very pleased how well it paired up with all of my sources, from lo-fi to summit-fi level, and how well it worked with any genre of music I threw at it. And to top it all off, these also have excellent design ergonomics with a comfortable fit and a great sound isolation. I already mentioned this in a few of my previous reviews that sometimes it's hard to go back to "budget" IEMs after being exposed to some of the biggest flagships in the industry. Moving forward, I can definitely see myself using and recommending OSV3 because I really enjoyed them.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on Head-fi.

Manufacturer website: Shanling, available for sale on MusicTeck and Amazon.

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Intro.

While being familiar with Shanling M2s DAP (reviewed here), the first thought that went through my mind when I saw M3s was “OMG, they stretched M2s!!!” I don’t think I have seen another manufacturer with 2 different models that have so much exterior design resemblance. But if you think about it, Shanling put a lot of effort into M2s design and ergonomics, and M3s is just a souped-up M2s with a noticeably better spec. Thus, without fixing what ain’t broke, they only extended the length (from 85mm to 113mm) while keeping the rest similar, to allocate more room for additional components.

In this new, or in theory updated design from the original M3, Shanling put their 30 years of experience in audio business to come up with a budget friendly very compact audio player that packs a lot of features and takes very little room in your pocket. I’m not gonna sound like a broken record and repeat again about market being saturated with mid-fi models, though I guess I just did So, let’s find out if Shanling was successful in their magic trick, and that extra 28mm of length paid off to take M2s to a whole new M3s level.



Unboxing.

M3s arrived in a compact packaging box wrapped in a white sleeve with a clear picture of the DAP, unlike a more mysterious outline of chassis in M2s packaging box. The back of the box had a brief list of main features, giving you an idea of what to expect, though the list was a bit hard to read.

With a sleeve and a cover off, you get a closeup of M3s inside of a secure foam cutout. From the first look, you just want to slide your finger across its smooth glass surface. Yes, it’s easy to get a wrong impression thinking it has a touch screen because of the smooth front edge-to-edge glass with a small wheel on the right side. With M3s out, underneath you will find a selection of various accessories I'm going to talk about next.



Accessories.

Here you will find 2 sets of screen protectors, considering M3s has a glass surface on the front and the back. Also, a warranty and a manual, along with a quick start guide. Furthermore, you will find a microSD card USB reader, a reset push pin which also doubles as a 3.5mm headphone jack dust cover, and USB-C charging/data cable. More and more manufacturers are switching to a new USB-C standard, so an extra USB-C cable never hurts. Also, an extra Hi-Res sticker was included. Keep in mind, there is one already in the lower left corner on top of the glass display, so remember to peel it off before applying a new screen protector.



The only thing missing was the case. I mean, the case is available in 4 different colors, though it's optional and cost only $15. This is a very nice soft pleather case which I found to be a must for M3s. A slick shape and a smooth glass back makes this DAP slippery in your hand. The case improves the grip and protects the glass on the back, thanks to a soft material on the inside. The case covers hw playback buttons and return button under the volume wheel (imprinted so you can feel it with your finger), and covers uSD slot to protect it from dust and accidental card pop-out. The ports at the bottom are open, though I wish there would be a bigger opening of the balanced output port to accommodate larger plugs. The other comment, I also wish the cutout around the volume wheel would be a little more open for an easier access, though having a wheel half-covered protects it when in a pocket.



Another optional accessory which I recommend is Shanling L2 cable. The usb-c to micro-usb cable is necessary to connect M3s as a digital transport to external DAC/amp, and this cable will work with many other DAPs for the same purpose as well. Similar cables are available on eBay and amazon, but some of them are poor quality, many eBay cables don’t even work. This L2 cable has a very durable build with braided silver-plated copper conductors, right angled gold plated micro-usb connector, and 304 steel usb-c connector. At $25 a pop, I think this cable is a good investment to use with Shanling and Cayin daps, among others.



M3s as a transport driving HA-2 w/L2:



Design.

M3s has a slick candy bar shape, very pocket friendly, measuring only 113mm x 53mm x 14.5mm with a weight of about 135g. It’s literally a scaled-up version of M2s, only longer in length. The DAP comes in 4 colors, black, blue, grey, and red. It feels very solid in your hand, though it does feel a little slippery with a glass back cover on top of the aluminum shell. The front of the DAP is also covered in glass, giving you an impression of a touch screen, though it’s not. The actual visible Retina screen area of the display is 3 inches, but the front glass extends beyond that, covering edge to edge.

The top of M3s has a power button, with a typical long press to power on/off and short press to turn screen on/off. To turn the unit on, just listen for a relay click when pressing and holding the power button. Left side has reset pinhole, followed by 3 hw playback control buttons with Play/Pause in the middle and Skip Next/Prev buttons on each side. MicroSD card slot is toward the bottom of the left side, supporting up to 256GB (and probably the latest 400GB as well) which is the only storage due to no internal flash memory.

At the bottom, you have USB-C port which is used for charging, data transfer, as well as USB DAC input and Digital output. Next is 3.5mm headphone output which can also be selected to function as Line Out from within Settings menu, and all the way to the right is 2.5mm balanced output. Right side at the top has a small wheel which is used for scrolling and navigation through the menus and selections. The wheel has a very precise control with a nice click action you can feel, easy to operate with a thumb, though still with enough resistance not to be loose. The wheel itself also doubles as a click button when you press on it, with a nice tactile feedback. Below the wheel is a small return button, to take you out of the current screen, like an escape button.

Overall, it’s a very nice-looking DAP, with a comfortable compact footprint, and a very efficient ergonomics of the controls enabling easy one-handed operation, though with a case on you need to find a comfortable angle to turn the volume wheel with your thumb.



Under the hood.

As mentioned already, you will find HD Retina screen with 3” display at 480x800 pixels 300PPI resolution. There is also a glass on the back of the DAP, leaving an all-metal CNC frame with a sandblasted coating surrounding the top/bottom and the sides of it. Another unique element carried over from M2s design is Japan imported ALPS multi-function wheel with a rating of 500,000 presses and 100,000 turns.

Despite its relatively small footprint, M3s is packed with a lot of features, which is a noticeable upgrade from M2s. Now it features a dual AKM AK4490EQ DAC, along with an optimized balanced design with 4-way LPF circuit (using two MUSE8920 opamps) and a 4-way amp circuit (using two AD8397 opamps). The design also features high accuracy dual crystal oscillators, 4 Panasonic FC audio capacitors and 4 Panasonic polymer tantalum capacitors, and two OMRON relays providing a circuit protection for single-ended and balanced outputs.

And speaking of outputs and headphone amp, the single-ended 3.5mm output is still rated at 130mW into 32ohm load, while balanced 2.5mm output now boosts the power to 230mW into 32ohm load, damn good for a small DAP. Also, Shanling took their customer feedback very seriously about output impedance, and now both outputs are under 1 ohm.

With all this hardware under the hood, M3s is capable to support hardware decoding of DSD256, PCM384kHz / 32bit support include: MP3, WAV, WMA, FLAC, AAC, ALAC, APE, ISO, DSF, DFF and other lossless audio formats, plus a support of cue, m3u, msu8. Just keep in mind, DSD is supported in wired connection mode with headphones plugged in. When you switch to Bluetooth wireless headphones, DSD files are not supported due to bandwidth limitation, which makes sense.

As part of Bluetooth wireless connection, you get two-way BT4.1 with AptX codec support. This is Duplex BT mode where you can pair up M3s with BT wireless headphones or pair up M3s with your Smartphone or another DAP supporting BT to act as a wireless Bluetooth DAC. This could come very handy to stream Spotify or Tidal from your Smartphone, transmitting it wireless to your DAP. Or, you can use Hiby audio app with HibyLink to control your M3s remotely.

As I mentioned already, no internal storage is available, but you can use microSD card up to 256GB, and I suspect the latest 400GB should be supported as well. Last, but not least, the internal 2600 mAh lithium battery will give you close to 13 hours of playback with mp3/flac files at an average listening volume. Listening to DSD files or with BT enabled will reduce the battery life, as expected. Also, full charging takes a little over 3 hours with 5V/2A charger.

GUI.

When you start M3s, identical to M2s, you are greeted with a familiar Menu selection, something you have seen in many other non-Android DAPs by FiiO, Cayin, and Shanling. No surprises here since Hiby fw/sw is behind this release, which mean that many will feel like at home navigating through M3s menus. Starting from the top, Now Playing will bring you the currently playing track, and My Music helps you sort by recent plays, open all, list of tagged My Favorites, as well as Album, Genre, Artist, or the Playlist. File Browser takes you to microSD card or OTG expansion storage, where you navigate by directories (my personal preferred way). As mentioned before, navigation is easy and under control using a scrolling wheel and pushing it to select the song or the settings.

Play Setting has an extensive selection of options with Maximum volume limit and Default volume setting, Resume mode (off, or by Location in a song or the Track itself), Gapless Playback or Fade in/out (both working quite well), 10 Band EQ with +/- 6 dB adjustment and different genre specific presets or a custom EQ setting. You also get 2 levels of gain setting, Low pass filter mode (sharp, slow, short delay sharp, and short delay slow, per AKM DAC setting), Gain replay, Channel Balance, Play Mode, and Folder skip on playback (on/off).

In System Setting you have a lot more options, including different ways to update the music, Bluetooth menu/setting, Backlight setting, auto-shutdown and sleep timer, different options for Screen locked operation (where you select which hw button function to enable), resume play, a few different Themes, Clock setting (always visible in notification bar and in the lock screen), USB mode (DAC or usb data), DSD output mode, HO/LO output selection, Language, About M3s, Restore factory settings, and System update (fw).



The main Playback screen will have the clock (can be turned off), volume level, and battery status in notification bar (notification bar is visible from every screen). Then, you have a large area of the screen dedicated to artwork of the song, if available, and at the bottom you can see info about the song format, the file index number from the directory or folder, the time scroll/scrub bar with a current time position and a total track time, the Song/Artist name, and Play mode on the left side or Favorite "heart" indicator on the right side. While in Playback screen, press'n'hold Volume wheel brings up a shortcut menu with Play Mode, Add to Playlist (either My favorites or a Custom playlist), Play and System settings shortcuts (per description above), and Delete file option. Also, press'n'hold of Return button in Playback screen takes you to the main "front page" menu.



Overall, all the menus and settings are easy to navigate, self-explanatory, with lots of options, and a fast learning curve even for those who are not familiar with Shanling, FiiO, or Cayin DAPs.

Sound analysis.

To my ears M3s has a neutral full body clear detailed sound with a smooth tonality tilted a little more toward the warmer side. A few years back, DAPs used to have a more differentiated tonality which made it more challenging to pair them up with different sig headphones. Now, more manufacturers tune their DAPs to have a more neutral tonality, with a tilt toward brighter or warmer side, giving a user an option to color the sound further with either external dac/amp or different signature headphones. In my opinion, it’s always better to start with a closer to neutral baseline sound and then to go from there.

I was also pleased that Shanling now features a low output impedance, making their DAP friendlier in pair ups with different multi-BA and hybrid IEMs. As a result, I found no issues affecting the sound like I have heard it with M2s. I tested M3s with many IEMs (from low to higher impedance) and a handful of full size (from planar magnetic to some more demanding higher impedance open backs, like R70x) and found this DAP to have a great bass extension, full body lower mids, clear, detailed, smooth, organic upper mids, and a treble with a nice level of sparkle. Keep in mind, you will hear a sound variation depending on headphones sound signature, but these observations above are the “common denominator” of what I hear between all headphones I used for testing.

Also, I found M3s to have a good dynamics expansion, the sound never felt compressed or congested, and it has a wide soundstage with a moderate depth that doesn’t expand too far out of your head, giving you a more elliptical space around you.

Furthermore, when comparing M3s single-ended vs BAL output, I can certainly confirm a higher power, noticeable by about 7 volume clicks which I had to crank up when switching to SE. Also, I found BAL soundstage to extend wider, as well as BAL output having a touch more sparkle in treble.



Comparison.

In the following comparison between Shanling M3s and other DAPs, I made sure to specify if it was done using SE (3.5mm output) or BAL (2.5mm output). As usual, I try to volume match between DAPs when doing a comparison, and try different pairs of IEMs and full size to find common trends in sound analysis.

M3s vs M2s (SE) - M3s has a more revealing, slightly brighter tonality while M2s sounds smoother. M3s sound is more dynamic and due to a more revealing (brighter tonality) I also hear it to have better layering and separation. The perception of M3s soundstage is a little wider, but it could also be due to more sparkle and airiness in the upper frequencies. Another noticeable difference is M3s having a tighter sound with a blacker background, suggesting an improved SNR (confirmed 115dB M3s vs 108dB M2s). In terms of the functionality, they are identical. With a design and performance, M3s has under an ohm output impedance, additional higher power balanced output, and bigger battery with improved playback time performance. Of course, price difference should be taken into consideration, and perhaps some of the advantage of M3s are not necessary if you are looking for the smallest DAP or the smallest digital transport.



M3s vs Cayin N3 (SE) - Well, I can't tell them apart, everything from a tonality to a soundstage expansion, and layering/separation of the sound is nearly identical. Furthermore, these have a nearly identical functionality, down to no internal storage with only uSD expansion, a very similar Hiby sw/fw, external hw control buttons, and two-way Bluetooth with HibyLink support. The deciding factor here will be a price difference with N3 being $130 cheaper, while M3s having a balanced output with a higher power to drive more demanding headphones.

M3s vs FiiO X5iii (BAL) - M3s has a wider soundstage, more revealing transparent sound with a brighter crisper tonality, and blacker background. X5iii is smoother, warmer, not as layered or transparent. Other than that, M3s only has one external uSD card while X5iii has internal 32GB storage and dual uSD card expansion. Also, M3s only has 2way Bluetooth and HibyLink support, while X5iii has Bluetooth and WiFi support with Google Play to enable streaming. Again, price difference should be taken into consideration as well.

M3s vs Aune M1S (BAL) - Both have a wide soundstage, transparent sound with excellent retrieval of details. When it comes to tonality, M1S is a little smoother, warmer, and more musical, while M3s is more neutral in comparison. Both don't have internal storage, only uSD expansion. M1S is playback only device, while M3s adds 2-way Bluetooth and HibyLink support.

M3s vs theBit Opus#1 (BAL) - Very similar soundstage expansion, similar level of transparency and detail retrieval, M3s tonality is a little more neutral and more natural, in comparison to #1 having a little more mid-bass impact and brighter treble. #1 has internal storage and dual uSD while M3s only has uSD expansion. As a bonus, M3s adds 2-way Bluetooth and HibyLink, while #1 doesn't have anything extra up their sleeve.

M3s vs L&P L3 Pro (BAL) - very similar soundstage expansion, similar level of transparency and detail retrieval, also very similar tonality from mids to treble, but L3Pro has more mid-bass impact and a bit smoother lower treble. Also, both have a single uSD card expansion, while L3 also has 32GB of internal memory. Even though L3 has a touch screen, you can only tap on it, can’t swipe it, while M3s uses a wheel and buttons for navigation. Also, L3 is audio playback only device while M3s adds 2-way Bluetooth and HibyLink support to pair up with a smartphone and wireless headphones.

M3s vs Cayin N5ii (BAL) - I hear N5ii to have just slightly wider soundstage and a little better dynamic expansion. In terms of tonality, N5ii is a little leaner while M3S has a fuller body, but in general they are not too far off. While M3s only has one external uSD card, N5ii offers internal memory and 2 uSD cards. Both have BAL output and external hw playback controls as well as a physical volume wheel. Also, both have Bluetooth for pair up with wireless headphones, plus M3s has access to HibyLink. One big difference, N5ii has is a touch screen while M3s doesn’t. Plus, N5ii supports WiFi and Android along with Google Play store which gives you access to apps, while M3s can only "stream" music by means of two-way Bluetooth with a HibyLink connection from a smartphone to control M3s.



Conclusion.

First, I would like to give Shanling a pat on the back for listening to their customers when it comes to output impedance. It’s not a showstopper, can be fixed with iEMatch dongle, and you can read my M2s review to find out more details. But the fact that Shanling listened to their customers and improved their headphone amp section to ensure low output impedance is a big plus. I personally found M3s to be a rather noticeable step up from M2s. Perhaps it looks almost the same from outside, except longer, has a similar OS, single uSD, two-way Bluetooth and HibyLink support, but going up with dual AK4490 DAC, balanced 2.5mm output with a higher output power, improved battery performance, and improved sound performance is more than enough justify M3s as an upgrade from M2s.

Perhaps M3s doesn’t have a touch screen and it’s not Android based with app support to stream audio. But there seems to be still many audio enthusiasts who are fine with buttons and navigation wheels, preferring a design with a smaller footprint. In the last few years Shanling made a name for themselves with M1 and M2s, as two very compact pocket friendly DAPs. Now, they took it up another notch by updating the design to be more competitive on audio performance level with other mid-fi DAPs, and I think they succeeded. They are facing a stiff competition, though they do have a few tricks up their sleeve with a balanced output, high power, two-way Bluetooth, and HibyLink, and a very competitive pricing. So, make sure to take all these Pros and Cons into consideration when you are deciding on your next pocket friendly DAP.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on Head-fi.

Manufacturer website: theBit, for sale on MusicTeck and Amazon.

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Intro.

Two years ago, when I was asked to review the original Opus#1, I agreed because the spec looked great on paper. I never heard of theBit and had no idea what to expect, but it turned out to be a nice surprise. Later, I was pleased to find enhancements in the sound and the functionality with every new fw update, and noticed the sale price to go down which also improved its price/performance ratio. theBit also stayed consistent with their follow up Opus#2 release, still a great flagship DAP to recommend. Opus#3 was an interesting release that paved the way for side-loaded app support which ended up in Opus#2 as well. But I think the value of Opus#1 was too good for many to justify upgrading to Opus#3.

Now, theBit decided to go back to their original hit release and update Opus#1 with a new Opus#1S model. 2nd gen updates are not uncommon, but not all of them focus on sound improvements, and often have a new exterior design along with a new DAC. theBit decided to approach #1S by leaving the exterior design untouched, keeping GUI nearly the same, and mostly updating the internal components, including the DAC. It's probably a bit of a gamble, but did it pay off? Let's find out in this review, which is going to be a short write-up mostly focusing on comparisons.

Unboxing and Accessories.

While the packaging box (in red) and the outside sleeve (in light grey) have been changed from the original colors, what drew my attention the most was an updated spec on the back of the sleeve. This is a very detailed General Specification and Audio Performance spec, something I wish all manufacturers would provide with their products.

Inside, you will find Opus#1S in a secure foam cutout, users guide, screen protectors, and usb cable. Keep in mind, the available leather case is optional, though it's still Dignis designed pure leather case. The good news, if you are upgrading from Opus#1 and already have a leather case - Opus#1S exterior design is identical and the original leather case fits #1S like a glove.

I know plenty of people who still use their original Opus#1 without a leather case. For me personally, I prefer a case to enhance the grip of the DAP. Besides, this Dignis case is high quality and doesn't "cover up" the unique lines of the chassis design, so definitely gets my recommendation.



Design.

As I already mentioned, exterior design between #1 and #1S remains identical to the point where you can easily take Opus#1 leather case and use it "as is" with Opus#1S because it’s not only has the same dimensions but also the same layout of all the buttons and ports. The only exterior difference are two new colors, blue and purple. My review sample arrived in purple color, and I found it to be dark enough to look like black.

You also have the same 32GB of internal storage and dual uSD card support to expand the storage up to 800GB. Still expect to find Volume +/- buttons on the left side, and Play/Pause/Skip hw playback buttons on the right side. Balanced 2.5mm port is at the top, and 3.5mm single ended port is next to it and still shared with Line Out and Optical out.

Here, you will find all the differences under the hood. At first, I thought there was a typo when I read CS43198 dual DAC, considering original DAC was CS4398. But it's not a typo, this is Cirrus Logic Next Gen new DAC with Master-HiFi features. Furthermore, internal headphone amplifier section was beefed up with a more powerful output.

For example, considering #1S balanced spec of 3.4Vrms vs #1 spec of 2.3Vrms, under 32ohm load that means approximately 165mW (#1) vs 361mW (#1S), which is still higher than #3. Furthermore, SNR spec was improved as well, and it's quite audible where you can hear a lot blacker background (#1S), hardly any hissing, and improved dynamics.



As a quick comparison summary of the specs, here is how #1S stacks up against #1 and #3:

Opus#1S

• DAC - Cirrus Logic CS43198 x2
  
• Output - BAL 3.4Vrms, SE 3.1Vrms
  
• SNR - BAL 125dB, SE 123dB
  
• Storage - 32GB, 2x uSD
  
• WiFi/BT - no

Opus#1

• DAC - Cirrus Logic CS4398 x2
  
• Output - BAL 2.3Vrms, SE 2.1Vrms
  
• SNR - BAL 115dB, SE 114dB
  
• Storage - 32GB, 2x uSD
  
• WiFi/BT - no

Opus#3

• DAC - Burr Brown PCM1792A
  
• Output - BAL 3.0Vrms, SE 2.5Vrms
  
• SNR - BAL 114dB, SE 114dB
  
• Storage - 64GB, 1x uSD
  
• WiFi/BT - yes

Another difference that stood out for me was a display quality. While you have the same 4" display size and the same 480x800 resolution, #1S stepped it up with IPS screen which has a much wider viewing angles and richer/deeper colors. Even #3, which suppose to have the same display with IPS screen, had duller colors.

Here is how Opus#3, #1, and #1S (all the way to the right) displays look like side by side:



GUI.

User interface in all Opus DAPs is nearly identical, regardless if it's #1, #2, #3, or #1S, thus I found no surprises here, except for one. In Opus#1 you had to select "B" from a pull-down notification menu to enable Balanced Out output, while #1S has Balanced port enabled automatically. I found it to be a very convenient change because on many occasions with Opus#1 I used to forget to enable BAL and then wonder why I don’t have any sound.

Everything else is identical with the same main playback screen which displays embedded artwork (if available, or default one from theBit) at the top, and shortcuts to add currently playing song to Favorite or Playlist when you tap on the screen, scrub bar to fast forward/back through the song underneath, and a golden Play/Pause round button and Skip Next/Prev at the bottom. You still get 10 Band EQ with 5 custom presents, gapless playback, and 3 levels (low/mid/high) of gain control.



Sound Analysis and Comparison.

I find Opus#1S to have a very neutral tonality across entire frequency spectrum. While listening with different IEMs and full-size headphones and comparing to other DAPs, #1S sounds like it adds zero coloring to the sound, trying to keep it true to the original recording. That can give you a perception of sound being a little colder and a little more revealing which is good when you are analyzing your headphones to hear their signature without any coloration. Perhaps, it’s lacking some body, especially in lower mids, but I think it's just part of a neutral tuning to stay as close as possible to the original recorded source.

Soundstage is wide, for sure #1S is wider than original #1. Also, the sound has a black background, making it tighter and faster, with faster transient of notes on/off, making details pop up with more clarity in comparison to #1. The vertical expansion of sound dynamics is good, not on the flagship level of other DAPs, but still pretty good for a mid-fi model which leads to a decent layering and separation of the sounds.

Comparison of #1S vs #1.

Though these DAPs have a similar neutral tonality, when it comes to a technical sound performance, there are some differences. The improvement in signal-to-noise ratio will be noticeable in #1S where you have a blacker background and nearly zero hissing, while #1 has some hissing with sensitive low impedance IEMs. #1S also has a better dynamics expansion and improved layering and separation of the sounds.

Another noticeable difference is #1S having a wider soundstage expansion, while depth perception remained the same. Other improvement is a higher output power where on average #1S is about 20 volume clicks lower than #1. Also, IPS display of #1S has a deeper and richer colors and wider viewing angle in comparison to #1 which is not IPS. I also noticed that #1 next to my phone has more EMI interference while #1S had no issues under the same test conditions, probably due to a better internal shielding. And last, but not least, I didn't have to select BAL output in #1S like I have in #1.



Comparison of #1S vs #3.

This is another interesting comparison since I found both DAPs to have nearly an identical sound, including the same soundstage expansion, the same dynamics expansions, and the same level of transparency, layering, and separation. Also, they both have the same black background and tight/fast sound with faster transient response of notes.

Where you find a difference is in output power, with #1S being more powerful, about 15 clicks difference in higher volume for #3 to match #1S. When it comes to a display, though both have IPS, I find #1S to have richer and more accurate colors. Also, dual uSD support gives #1S an upper hand when dealing with storage of high res files. But at the same time, #1S is an audio only playback device, while #3 has Bluetooth to connect to wireless headphones and WiFi with the ability to side-load apps, including for streaming. Last, but not least, #3 has a physical volume wheel while #1S has buttons like in original #1.



Other DAP comparisons.

Opus #1S vs FiiO X5iii - 1S has a wider soundstage; X5iii has more hissing with sensitive low impedance IEMs while 1S has no hissing; 1S has a blacker background, lower noise floor; 1S sounds more dynamic, airier, with more sparkle, while X5iii is less dynamic (a little more compressed peaks), not as layered, and not as much air between the layers. Both have the same internal 32GB storage, and two uSD cards to expand the storage. Both have a responsive touch screen, but FiiO runs full open Android with Wifi, Google Play store, and support of streaming apps while 1S has a closed Android system with no wifi and no app support. Also, X5iii has Bluetooth support to connect wireless headphones. Both have 2.5mm balanced output. Overall, FiiO has more features, while Opus has better sound quality.

Opus #1S vs Shanling M3S - 1S soundstage is a little bit wider; both are hiss-free and have a black background; I hear a difference in tonality where 1S is a little more neutral while M3S has a little more body in lower mids; also, I hear 1S to have a little more dynamic sound expansion with more airiness. In terms of the sound quality, the gap is not that big, though I find 1S to have an edge with a more neutral and transparent sound. The bigger difference is in overall design where M3S has no internal storage and only 1 uSD, while 1S has 32GB internal and 2 uSD card expansion. Both have balanced 2.5mm output. Also, M3S has a smaller display and no touch screen, while 1S has a big bright display and a very responsive touch screen.

Opus #1S vs Cayin N5ii - 1S soundstage is just a tiny bit wider in comparison to N5ii; both are hiss-free and have a solid black background with a low noise floor; 1S tonality is more neutral while N5ii has a little more body; in terms of a dynamic expansion, I hear 1S just a tiny bit better, but it's a small gap. Both have the same internal 32GB of storage and external dual uSD, and both have a balanced 2.5mm HO. While the sound quality is close, the biggest difference is N5ii having Bluetooth (wireless headphones connection) and Wifi with access to Play store and streaming apps.



Pair up.

It's clear that #1S offers a higher output power than #1, and as a result you can drive your headphones more efficiently since you don't have to push the volume higher. In general, I didn't find higher power to affect performance of IEMs as much, besides the differences I already noted above, such as wider soundstage and blacker background with less hissing. But full-size headphones with large dynamic drivers or higher impedance earbuds can have more sound improvement when driven with a more powerful source. Here are a few examples comparing Opus#1 vs Opus#1S performance, both in medium gain, playing the same track, where I also noted the volume "v" level and BAL (balanced, 2.5mm) vs SE (single ended, 3.5mm). Below is how I’m hearing the improvement going from #1 to #1S.

Beyerdynamic T5p2 (BAL) - #1 (v105) vs #1S (v85): wider soundstage, tighter sound, blacker background, more textured bass, a little more sparkle in treble; overall a touch less veiled.

Oppo PM3 (BAL) - #1 (v110) vs #1S (v90): wider soundstage, blacker background, everything else is identical.

Audeze EL8C (SE) - #1 (v130) vs #1S (v110): just a little wider soundstage, blacker background, and more body in mids.

Audio-Technica ATH-R70x (SE) - #1 (v140) vs #1S (v114): hard to spot a difference using these open back cans, but #1S sounds a little more transparent to my ears.

VE Zen (SE) - #1 (125) vs #1S (v105): very similar soundstage expansion and overall tonality, but #1S does have a blacker background and tighter sound.



Conclusion.

Even before I received Opus#1S for review, I got many questions asking how it compares to the original Opus#1 and if it worth the upgrade. If you are trying to decide between #1 and #1S, I would personally recommend go for the latter one since I found the sound quality improvement to justify the extra cost. As I mentioned already, #1S has a blacker background, tighter sound, better dynamics, and wider soundstage expansion, all of which makes this DAP more enjoyable. Also, higher output power will open a door to a better synergy with more demanding headphones.

In terms of an upgrade, the market has changed a lot since the original Opus#1 was released, and now you have more choices. If a pure music playback without Bluetooth and without access to Google Play and streaming apps is what you are after, and you want a straight forward simple audio interface with dual uSD (over 800 GB of internal storage) or you have a DAC/amp with an optical input and looking for a touch screen digital transport – Opus#1S is a very good option. In general, with so many choices, try to make a list of all the available DAPs within your budget, write down their Pros and Cons, figure out your priorities, and then decide which one is the right one for you.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on Head-fi.

Manufacturer website: Cayin, available from MusicTeck and Amazon.

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Intro.

When I saw N5ii spec for the very first time, I was a little surprised to find it having more in common with i5 than original N5. After receiving my review unit and placing it next to N5 and i5, I thought of calling it "iN5ii" There is no other way for me to describe the new N5ii DAP from Cayin but to call it as a crossover between these two models, picking up a balanced output and dual uSD cards from N5 and a nearly identical Hiby GUI and customized Android 5.1 with a touch screen and a similar volume wheel from i5. Along with a sticker price of $369, Cayin packed N5ii with lots of goodies, pushing the envelope of its price/performance ratio even further.

This new release enters a space in mid-fi market which is currently the most saturated when it comes to DAPs. It's a space where audio enthusiasts want something small and compact on the go, but with more power and more features to set it apart from entry level models (like Cayin N3) and without high expectations of summit-fi performance, something which Cayin is overdue for (how about the next flagship model?).

I remember when Cayin told me about their original plan of keeping N-models as non-Android based, while i-models will be Android based. N5ii is a crossover between N5 and i5, which looks like a "hybrid" on paper. But does it perform like one? I spent the last month using N5ii DAP (w/2.1en firmware), and here is what I found.



Unboxing.

Many companies put a lot of thought into packaging. I appreciate that, thus wanting to highlight it in my unboxing section. In case of N5ii, the outside sleeve is all black with a front featuring a glossy outline of the DAP with a focus on a volume wheel. Hi-Res Audio sticker in the lower left corner is the only touch of color in there. Flipping it on the back reveals detailed highlights of the design which is quite impressive.

The actual storage box underneath the sleeve is all black, with a company name and audio waveform logo in silver. Once a magnetic cover is lifted, you will find a user guide in the pocket under the cover, and the DAP wedged in a secure foam cutout, right next to the storage pocket with accessories.



Accessories.

Already pre-installed, N5ii has a tempered glass screen protector which is always good to have when dealing with a touch screen DAP. While film screen protectors keep scratches away, tempered glass usually shatters on direct impact, offering a real protection of the glass display.



You will also find a silicone protection case, a grey-ish rubbery semi-translucent case. It doesn't look too cheap or feels stretchable like some other dust/lint magnet silicone cases, and it does enhance the grip while keeping all the ports open. But it's not as premium looking as Cayin's optional "crocodile" pattern case you’ll find on Amazon or directly from MusicTeck. Yes, the case will set you back $30, but it fits like a glove, has a soft inner lining, distinct red stitching around the back, quality finish, and precise cutouts around the ports and volume wheel. Personally, I recommend upgrading to this case.

Stock case.



Optional upgrade case.



Another optional accessory is Cayin CS-30TCR usb-C to coax cable (to connect to external DAC/amp) and Cayin CS-40TC35 (intended for 3.5mm coax input DAC/amp like Chord Mojo or Hugo 2). The cables have a quality build and extra shielding to cut the interference. Since N5ii doesn't have S/PDIF direct output, these cables are necessary if you are planning to use this DAP as a transport to drive external DAC/amp. Both cables available directly from MusicTeck.



You should also expect to find usb-C to usb cable for charging, data transfer, and usb-dac connection, though it was "apple" white, instead of a "traditional" black usb cable. Either way, this cable will be easy to spot among all your other usb-c and micro-usb cables, though the cable jacket felt not as solid. Also, included were 2 extra Hi-Res Audio stickers.

Design.

From my previous experience of reviewing N6, N5, i5, N3, and now N5ii, I find that Cayin always tries to come up with an original design which makes them stand out from the crowd of saturated DAP market. Of course, what’s under the hood should count the most, but as they say – you only get one chance to make a first impression. With non-Android DAPs you have more room and more freedom to customize controls and chassis. When you are dealing with Android based design and full touch screen interface, it leaves you with very little room for extra design elements, so you need to be more creative. In my opinion, with i5 the focus of the design was their threaded cylindrical volume knob, which is scaled down and carried over to N5ii.

According to Cayin, N5ii is 9% smaller and 24% lighter then i5, and indeed, with dimensions of 115mm x 57mm x 15.3mm and approximately 150g in weight – it’s a very compact and pocket friendly DAP. With a very thin bezel around side and bottom edges, majority of the front panel is occupied by 3.65” touch screen. The top of the chassis above the display extends with a volume wheel in the upper right corner, guarded around the corner by chassis frame, instead of being exposed like in i5. N5ii unit had a volume wheel with a noticeable resistance and a click-feedback as you turn it with every adjustment step. Though the resistance of the wheel wasn't too tight, I still found it more comfortable to turn with 2 fingers.

The metal part of the front chassis has a brushed aluminum anodized finish, while all the way around the sides and the top/bottom I found a sandblasted finish which gave CNC aluminum chassis an extra non-slip grip and a very pleasant to the touch feel. The back has a glass panel with a laser etched pattern underneath, which could be slippery especially when you place it on the surface, but when you hold N5ii naked in your hand, that slippery back is compensated by a non-slip sandblasted grip of side panels. But either way, using N5ii with a case is a good idea, and that optional “crocodile pattern” pleather case is pretty good and doesn’t hide the design elements of the DAP.

Starting from the left side, you have a small aluminum power button at the top with a corresponding etched symbol. On the right side, at the top you have transport control buttons with 3 evenly spaced small aluminum buttons where you have Play/Pause in the middle and Skip Next/Prev around it. Though buttons are small, they have plenty of distance in between to make sure your fingers don’t press two at a time. Down below the right side you have 2 spring-loaded uSD slots. The bottom has multi-functional USB-C port, used for charging, data transfer, USB DAC/amp input, and Digital Out output. The top, besides a volume wheel which is accessible from the front/back, also has 2.5mm BAL headphone out and 3.5mm SE headphone output which is also shared with Line Out port.

The front display panel also hosts a small charging LED in the upper right corner, and all the way at the bottom in the middle there is a touch “home” button which has a dual functionality of Go-Back with a single tap or Go-to-Home screen with a longer touch’n’hold.



Under the hood.

N5ii packs quite a lot for a mid-fi DAP in its price range. Before looking “under the hood”, the first impression comes from its 3.65” TFT IPS touch screen display with 845x480 resolution. It’s an adequate capacitive touch screen display for navigation of N5ii GUI, viewing embedded artwork of your songs, and running various apps. Also, since it’s IPS based, it has pretty good viewing angles. Does the display crisp enough and has vibrant colors to watch a high res videos or to play demanding games? Not really. In my opinion, with its Rockchip RK3188 processor and 1G of DDR3 RMA it’s probably not a good idea to run anything too CPU/graphic intense. It has a very capable quad-core ARM Cortex A9 processor with a quad-core Mali-400MP4 GPU, but it’s not intended to perform on par with your latest smartphone.

Furthermore, in this design Cayin decided to implement ESS9018K2M DAC along with a selection of high grade TI SoundPlus Audio OpAmps, a pair of OPA1622 for Left/Right channel current to voltage conversion and 3 individual OPA1622 where one is used for single-ended amplification and other two used for balanced output amplification. The design uses separate OpAmp components to keep SE and BAL parts of the circuit isolated and optimized for the best performance. Also, to reduce the jitter when handling different sampling rates, Cayin implemented three separate precision oscillators, covering multiples of 44.1kHz, 48kHz, and DSD signals. Altogether, the hardware can handle majority of lossy or lossless formats from mp3, wma, aac, ogg, ape, alac, flac, aif, wave, and all the way to sacd-iso and decoding up to DSD256.

While running customized Android 5.1, you get a support of BT4.1 and WiFi, and Google Play comes pre-loaded already, so you don’t need to side-load apks of your desired apps. Along with internal 32GB of storage, some of which as expected will be allocated to Android OS, continuing with a tradition of the original N5 you will get 2x uSD cards, supporting up to 400GB each. So, in theory you can have up to 832GB of storage space. More can be added through OTG USB connection, but for a portable use 2 uSD cards can offer plenty of storage, especially if you have a collection of high res FLAC/DSD files.

Internal battery capacity is 3000mAh, which could be charged fully within 3+ hours when using 2A usb wall charger. Cayin is staying consistent with their other designs, continuing using usb-c connector. In terms of a battery performance, I was driving IE800S from BAL output at a regular listening volume level, with medium gain, and audio priority mode enabled, and the uninterrupted playback lasted 11.5 hrs. I consider this as a best-case scenario since I was playing mp3 track. Switching to high res files, at a higher gain, and with more demanding headphones will reduce the battery life, as expected.

In terms of the actual headphone outputs, N5ii packs a punch with SE 3.5mm output rated at 150mW (32ohm load) with <0.4 ohm impedance and BAL 2.5mm output rated at 250mW (32ohm load) with <0.6 ohm impedance. 3.5mm output can also be switched to Line Out with 2V output level. Both headphone outputs have SNR spec of about 116dB-117dB, with a decent dynamic range and a black noise floor, more about it in sound analysis and pair up sections of the review.

Last, but not least, I would like to mention Audio Priority Mode. Not exactly a hardware feature, but a very useful “shortcut” you select from Notification bar to maximize audio performance by disabling WiFi, Bluetooth, shutting down 3rd party apps, and optimizing Android OS by turning off some of the background processes. It’s almost like a hardware acceleration mode to boost audio performance of N5ii. The only concern here, selecting AP Mode also disables EQ which needs to be enabled in future fw updates.



Wired/wireless connections.

Bluetooth/Wireless.

For this test I used N5ii and my aging Galaxy Note 4 phone with Senns Momentum over-ears M2 wireless headphones. With N5ii, I was able to listen to headphones without a problem 28ft away from N5ii, while 34ft away from my Note 4 phone. When comparing the wireless sound quality between N5ii and Note 4, I hear Note 4 to have a fuller body with more bass, while N5ii sounds a little thinner in comparison. Perhaps a difference is due to a lack of aptX encoding support in N5ii.



Digital out.

Using optional CS-30TCR usb-C to coax cable, I had no issues connecting N5ii to SPDIF input of that Micro iDSD BL DAC/amp. You can only use volume control on Micro iDSD, and the sound was very transparent, a typical Micro iDSD sound signature, no distortion or interference noise. I found it to be a flawless pair up with N5ii as a digital transport source.



Next, I tested digital out using usb-c to micro-usb cable (Shanling L2 cable), connecting N5ii to Oppo HA-2 DAC/amp. Once connected, HA-2 was recognized and the message popped up asking to allow Cayin Audio app to access USB device. Some of my cheap eBay cables didn't work, L2 is high quality and always works. And again, it was a flawless transparent pair up with N5ii as a digital transport source, and I was able to use volume control from HA-2 only.



Analog out.

In this test I used N5ii Line Out to FiiO E12A (my transparent portable amp used for testing since Cayin's own C5 colors the sound a bit). When comparing N5ii PO vs LO+E12A, I hear the direct sound from N5ii to be a little brighter and more revealing vs N5ii+E12A to have a little smoother body and deeper sub-bass extension. This suggests that internal head-amp section of N5ii makes sound a little brighter and more revealing.



USB DAC.

In this test I used ThinkPad T470 with Win10, and installed the latest Cayin USB Audio drivers v4.35.0. Driver install was headache free, N5ii was quickly recognized by my laptop, I found that I'm able to use a volume control from laptop and DAP, and also the sound quality was similar to standalone DAP performance.



GUI.

With a modified Android 5.1 running in the background, the main interface of N5ii is Hiby audio app, thus once you boot up N5ii, it looks more like a DAP with a dedicated audio interface rather than a smartphone. You are greeted with a main page (top-most Music tab) and Folder view with options to access internal memory, micro-SD cards, or OTG storage. Next to the top Music tab, you have List with favorites, frequently and recently played songs, and playlist. Then, Private Cloud for LAN connection, and Search which brings up QERTY android keyboard (like in a smartphone). Under Music tab, you can also sort by Album, Artist, Genre, and Tracks.

I typically use folder view as my default because I have many loose songs and not too many albums (mostly compilations). Plus, not everything is properly tagged, but when I click on Album all of them show up as a separate thumb with corresponding embedded artwork and number of tracks in the album; while single songs show up as 1-track album, and the rest is under Unknown. Clicking on Artist brings up a list with every artist, and when you click on each, it shows separate songs and albums under that artist. Clicking on Genres, bring up thumbs with common genres (most of mine under pop and dance and classic). Clicking on Tracks brings all the songs in alphanumeric order.

Swiping notification bar down (typical Android feature), gives you a quick access to WiFi, Bluetooth, Gain setting, PO/LO (headphone vs line out for 3.5mm port), enabling Audio Priority mode, USB-C Mode (between USB, MTP, and DAC modes), Idle shutdown, and Scheduled power off. At the bottom, you can also adjust the brightness level of the screen and the screen time out, as well as being able to access the full Android Settings menu by clicking in the upper right corner Setting Icon, right next to battery indicator with an exact percentage of capacity. Those with Android phones will feel right at home, while iOS users will need to spend a little bit of time getting used to it.

Swiping the main screen to the right, reveals more Setting options for Music scan (scan all or the specified folder), a very detailed Music Settings (gain, digital filter, DSD gain compensation, SPDIF Out, Play through folder, Start up and max volume, channel balance, breakpoint resume, gapless, album art, and lyrics display), Equalizer (10band paragraphic EQ with 31/62/125/250/500/1k/2k/4k/8k/16k bands and a few genre-specific presets), Third-party applications (Google Play store and other installed apps), Smart Cleaning (to terminate running application), Download path/manager, Sleep Time/Scheduled Power off, and About section (useful to check your fw version).

As I mentioned already, this is not a typical open Android interface, but a Hiby audio player interface on top of Android which you need to access to get to the apps, including Google Play store. I have installed a handful of apps, such as Spotify and some games. Everything seems to be working, though I do want to note that download is not the fastest, thus I still prefer manual FW updates. I use free Spotify and found no issues with streaming, it was up and running in seconds. But as I mentioned before, we are dealing with only 1GB of RAM and not the fastest processor/GPU intended for more demanding apps. So, you got to have realistic expectations. But in general, it’s a relatively fast touch screen interface for an audio player, just don’t expect it to fly like your smartphone.

Another thing to note, with Android support, users are tapping into 3rd party apps which can slow down or crash Android OS, something which is not under control of Cayin or Hiby. Thus, it becomes a double edge sword. Customers are asking for streaming, so manufacturers build their OS on Android platform. But that also opens a can of worms with people installing various apps which are not under control of the manufacturer and when something doesn't work, manufacturer gets blamed.



But one of the thing they are in control of is the main DAP interface, especially in Audio Priority Mode where apps and many background processes are disabled to optimize the performance. The main Playback screen has a clear layout with upper top half of the screen independent of selected theme, where you can see a song artwork (if one is embedded) which could be switched to lyrics view (if available with a song) or a very elegant vertical Stereo VU Meter. Underneath you have selection of controls with different loop modes (single, repeat, random, etc.), access to EQ, view the list of songs in a current playback folder, and being able to add to favorites. Also, a display of a song/artist name and playback controls with Skip Next/Prev and Play/Pause. But the layout of all these controls will vary, depending on Theme selection, a little shirt icon in the lower left corner of the artwork screen of the display.

I do like the layout and graphics of Theme #1, the original theme from i5, but the fast-forward circular bar wasn’t as useful since my thumb covers it up without being able to see the time marker. Theme #2 is nice except that fast-forward scrub bar is right underneath of song artwork/lyrics/VU meter section where sometimes it's hard to see the actual bar. On a few occasions when fast-forwarding through a song, I end up swiping to the lyrics screen. I like Theme #3 the best except that I would like the graphics for Play and Skip buttons to be updated with something better defined because those buttons are not easy to see due to inner shadow. Of course, these are minor details, based on my personal preferences.

My only comment here, I wish Cayin/Hiby would have the main Playback screen as their default Home view. Everything else should be accessible by going into Settings or another Menu. Otherwise, it gets a little confusing when you are greeted with a Music/Folder view (with memory/card/OTG shortcuts) every time you start N5ii.



Sound analysis.

I usually find a sound signature of the DAP is easier to describe when talking about its comparison to other sources or pair up with different headphones. But you can still come to a reasonable conclusion about individual sound performance of the DAP, derived from these comparisons.

N5ii tonality, though closer to neutral, leans more toward a brighter and a more revealing side. Don't expect a big bass impact or mids with a warmer fuller body. The sound is lean and a little on a colder side. It certainly is crisp and detailed with a wide soundstage, a nice dynamic expansion, and a sense of air between the layers of the sound. It pair ups great with neutral and warmer tuned headphones, and at the same time doesn't make brighter tuned one’s sound too harsh, though there were a few exceptions I mentioned in my pair-up analysis section of the review.

One interesting observation I found is between 3.5mm Single Ended vs 2.5mm Balanced outputs of N5ii. When comparing these outputs, though not necessary night'n'day difference, I do hear BAL output to be a little leaner in tonality, especially in lower mids, including a little less mid-bass impact and more sparkle in treble. This difference in tonality gives you an option to fine-tune the sound which comes in handy when dealing with different sound signature headphones and trying to find the best pair up synergy.



Comparison.

In the following comparisons, I put N5ii against other DAPs in similar price/performance categories. While using different IEMs for my analysis, I always try to volume match between sources.

N5ii vs i5 - when comparing the soundstage, I hear N5ii SE to be very close to i5, but when you switch to N5ii BAL, the soundstage has a wider expansion. When comparing sound tonality, need to take SE vs BAL into consideration as well. N5ii BAL is more neutral in tonality with a leaner low end and lower mids and more revealing upper mids and airier sparkly treble when compared to a fuller body i5 with a smoother upper mids/treble where you also have a little stronger mid-bass impact. But when you compare N5ii SE to i5, N5ii is closer in tonality because it has a little more body in lower mids and a touch stronger bass impact, through it's still more revealing in upper mids and has a little more sparkle in treble. Also, N5ii background is blacker with a minimum hissing when it comes to sensitive IEMs, while i5 has more hissing. Both have identical GUI interface, touch screen, support of BT and WiFi, and access to Google Play store and apps. From hw perspective, N5ii has 2x uSD cards (vs one in i5) and a balanced output (vs only SE in i5). N5ii also has smaller footprint.

N5ii vs N5 - based on comparison of BAL outputs, ii has a wider soundstage expansion and overall sound is more transparent, more layered, and with better dynamics. Also, ii blacker background with nearly zero hissing is a big step up from the original N5 where noise floor with sensitive iems was always an issue. In terms of overall tonality, N5ii has a more neutral leaner sound while N5 has more body and sounds smoother in tonality, also with a little less airiness in sound. While tonality improvement is a subjective thing, perhaps if you want a stronger bass impact and a smoother fuller body sound, you might prefer the original N5, but in terms of the design there is no question that N5ii is head'n'shoulders above its original predecessor where instead of small screen and all physical button and wheel navigation now you have a responsive touchscreen with external hw playback controls, a physical volume wheel, BT with wireless headphones support and WiFi with access to Google Play and various streaming apps. The footprint of N5ii is smaller and you also have 32GB of internal memory in addition to 2x uSD, while N5 only has dual uSD cards.



N5ii vs Opus#1S - 1S soundstage is just a tiny bit wider in comparison to N5ii; both are hiss-free and have a solid black background with a low noise floor; 1S tonality is even more neutral while N5ii has a little more body in comparison; in terms of a dynamic expansion, I hear 1S just a tiny bit better, but it's a very small gap. Both have the same internal 32GB storage and external dual uSD, and both have a balanced 2.5mm. While the sound quality is close, the biggest difference is N5ii having Bluetooth (wireless headphones connection) and WiFi with access to Play store and streaming apps. The gap between N5ii and the original Opus#1 is a lot bigger, while #1S closed the gap in sound quality, but still behind in features where N5ii has an edge.

N5ii vs X5iii - N5ii soundstage is a little bit wider, but the first thing you notice right away is a black hiss-free background in comparison to a rather noisy and hissing background of X5iii when testing with sensitive iems. There are also differences in tonality with N5ii being more neutral, more transparent, more layered, and having a better dynamics expansion in comparison to a smoother, fuller body, more musical, and slightly more compressed in dynamics sound of X5iii. Both have the same internal storage and dual uSD expansion, volume wheel and hw playback controls, as well as support of BT/wireless and WiFi with Google Play support. Besides sound quality difference where N5ii has an upper hand, another big difference is FiiO offering a full open Android experience with a bigger higher quality display and a typical Android-smartphone type of navigation, while N5ii still has Android experience that feels as an add-on, "hidden" out of sight.

N5ii vs M3S - Here the gap in sound quality is not too far off. While testing and comparing BAL outputs, I hear N5ii to have just slightly wider soundstage and a little better dynamic expansion. In terms of tonality, N5ii is just a little leaner while M3S has a bit fuller body, but in general they are very close. With sensitive IEMs, I hear a bit more hissing with M3S, but it's not too bad. While M3S only has one external uSD card, N5ii offers internal memory and 2 uSD cards. Both have BAL output and external hw playback controls as well as a physical volume wheel. Also, both have Bluetooth for pair up with wireless headphones, plus M3S has access to HibyLink. One big difference is N5ii having a touch screen while M3S doesn’t. Plus, N5ii supports WiFi and Android along with Google Play store which gives you access to apps, including streaming apps while M3S can only "stream" music by means of HibyLink connection to a smartphone.

N5ii vs DX80 - It has been awhile since I used DX80, figured will be an interesting comparison with N5ii. Here, I hear N5ii having a little wider soundstage expansion and a more neutral tonality while DX80 has a little fuller body, north of neutral, with a little smoother tonality, though both have a similar presentation of sparkly airy treble. Also, N5ii has a little better dynamic expansion. With sensitive iems, there is a lot more hissing when it comes to DX80, while N5ii has a blacker background. While DX80 has a touch screen, physical playback buttons, and a dual uSD card, N5ii adds an internal memory, volume wheel, BT/wireless support, BAL out, and WiFi with Android and app support.

N5ii vs R6 - I have been asked by a few people about this comparison, so why not. Obviously, the big difference here is output impedance where the sound will be affected if you are using some multi-BA IEMs, like, for example, U18t I was using in my sound test. It's not a showstopper since an impedance adapter, such as iEMatch, does a great job to “correct” R6, and that's what I have been using in this comparison. When you even out the output impedance ground, it makes an interesting comparison where I found tonality to be similar, including a very similar soundstage expansion and black hiss-free background. Of course, there will be some variations depending on pair up with different iems and full-size headphones, but if you add iEMatch into the equation, I found a lot of similarities in tonality and sound presentation, though R6 has a little edge in layering, separation, and transparency of the sound. Besides output impedance, the biggest difference here is Android interface where R6 feels like a smartphone with a higher quality display and a very snappy Android performance. In contrast, N5ii presents itself as DAP first and Android device with Google Play and streaming capability second, like an add-on. Also, N5ii has an advantage of a dual uSD versus a single card in R6.



Pair up.

In this test I only used a medium gain setting, and noted Volume level. In the below write up, please pay attention to SE (3.5mm) vs BAL (2.5mm) since BAL has a higher gain, thus a lower volume.

Audio-Technica ATH-R70x (open back, 470 ohm), SE v81 - very crisp detailed sound with an expanded soundstage. It took me by surprise, since I'm used to hearing a smoother sound when it comes to R70x. Here is was faster, righter, sharper, crisper. I did notice a little less sub-bass, and faster attack of mid-bass, neutral revealing mids, crisp airy treble.

Audeze EL8C (planar magnetic), SE v70 - no metallic sheen!!! that's the first thing I look for when pairing up EL8C, the sound is crisp but there is no metallic sheen, sub-bass extends deep with a moderate rumble quantity, mid-bass is fast, lower mids are neutral, upper mids are revealing yet sound natural, and treble is crisp (a little too crisp) but not sibilant and with a good airy extension.

Beyerdynamic T5p 2nd gen (full size tesla drivers), BAL v45 - very detailed tight fast sound with a wide/deep soundstage. Nice sub-bass rumble extension, fast mid-bass attack, well controlled articulate bass, neutral lower mids, revealing upper mids approaching micro-detailed level, crisp airy well-defined treble.

Oppo PM3 (planar magnetic), BAL v53 - smooth detailed balanced sound with a wide soundstage expansion. Well controlled laidback bass with a nice sub-bass rumble (not too much) and slower mid-bass punch. In many pair ups, PM3 bass spills into lower mids, here it had a good control, though lower mids are still full bodied and north of neutral. Upper mids are detailed, smooth organic. Treble is well defined, not too crisp or too airy, these cans don't have the best upper end extension, but it wasn't too prematurely rolled off either. Actually, pretty good pair up since PM3s are picky.

VE ZEN earbuds (320 ohm), SE v67 - wide/deep soundstage expansion, very balanced tuning with a sound signature that is more revealing than I'm used to with Zen. Overall sound is faster, tighter, more detailed, bass is leaner and faster, more articulate, mids are neutral, detailed, natural, treble is very well defined, crisp and airy. Overall sound is more neutral and revealing than usual.

64 Audio U18t, BAL v33 - revealing transparent sound with a wide soundstage expansion, deep sub-bass expansion with moderate quantity rumble, fast mid-bass punch, overall a tight articulate bass, micro-detailed natural tonality mids, crisp well defined airy treble.

64 Audio Fourte, BAL v33 - very crisp revealing sound on analytical level of detail retrieval, deep sub-bass rumble, average speed mid-bass, lean lower mids, micro-detailed upper mids, very crisp airy treble, sizzling with crunch, a bit too much in this pair up. Wide/deep soundstage.

Sennheiser IE800S, BAL v41 - a more balanced (W-shaped) detailed sound with a deep sub-bass rumble, slower laid back mid-bass, neutral lower mids, natural detailed upper mids, crisp airy treble. Upper frequencies are a little brighter, but not harsh or sibilant. Wide soundstage with more out of your head stage expansion.

HiFiMAN RE2000, BAL v46 - very revealing bright sound with a good soundstage width and depth. Bass has a good extension and a fast speed, but a little more neutral quantity. The same with lower mids, being very lean. Upper mids are thin and analytical, on micro-detail level. Treble is very bright and crisp and very airy. Upper mids/treble are thinner and more artificial in this pair up, sounds a little harsh.

Campfire Audio VEGA, BAL v32 - a v-shaped sound signature with a wide soundstage expansion. Bass is very powerfully, deep, tubey, loose, not very well defined or controlled, spilling into lower mids. Upper mids are clear and detailed, pushed more back, have natural tonality. Treble is crisp, bright, a little sibilant. Not the best pair up.

Ultimate Ears UERR, SE v42 - very neutral more revealing tonality with a wide (but not very wide) soundstage expansion. It's brighter than other pair ups. Neutral extended bass, here we are talking about quality rather than quantity, average speed, good control. Neutral lower mids, very natural detailed upper mids with improved retrieval of details, well defined clear treble, moderate amount of crisp airiness, not too much. Overall sound it a little more mid-forward, bass is more neutral than other pair ups, sub-bass rumble is rolled off here.

Beyerdynamic Xelento, SE v36 - very balanced sound signature with a wide expanded soundstage. Bass is north of neutral, still with a nice slam and textured sub-bass rumble, but quantity is reduced in comparison to some other pair ups. Bass is very articulate, well controlled. Lower mids are neutral, upper mids/vocals are very detailed and natural. Treble is crisp and airy, with a nice natural definition.



Conclusion.

I get a lot of questions from my readers, often asking what is the best DAP. And my reply is always the same with a follow up question about their budget. Once you know your budget, the next step is to figure out your requirements, do you need touch screen or not, do you want to stream audio or OK with a playback from internal storage, how much internal storage do you need, do you care about Bluetooth pair up, what headphones are you planning to use and how much output power do you need, etc. Unlike headphones where the sound signature has a higher priority, DAP search often starts with a price and a list of features to narrow down the available choices, and then to figure out the sound and pair up synergy. That's why you hear more often about headphones recommendations, rather than DAPs, when trying to upgrade the sound quality.

When it comes to N5ii, Cayin clearly did their homework when they introduced this $369 DAP with every feature you can imagine. I usually don't focus too much on the price of the DAP, but here it represents an impressive price/performance ratio. Touch screen - check! Internal storage and two uSD cards - check! Balanced output - check! Mechanical wheel and external hw controls - check! Compact size and decent batter life - check! Bluetooth - check! WiFi with Google Play and app support - double check! The sound quality is pretty good for a mid-fi DAP, a little more on a leaner brighter side, but it pairs up well with many iems and full size headphones.

I know its fw is still work in progress with some bug fixes and further optimization, and Cayin is about to release their 2nd major fw update (actually, fw3.1 became available as I was finalizing this review). I'm not exactly a power user who spends many hours a day every day with a single DAP. Instead, I'm a power reviewer who multitasks with many DAPs on daily basis, and I haven't encounter any fw showstopper issues preventing me from enjoying N5ii playback. N5ii is a very versatile compact DAP to enjoy your music on the go, and it does represent and combines the best of N5 and i5 designs.

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The product (pre-production prototype with a final tuning) was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with my readers on head-fi.

Manufacturer website: Empire Ears. Also available from Euphoria Audio.

I will update the review with images when will receive a final production unit.

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Intro.

It always makes me wonder what goes through manufacturer's mind after they release a new flagship. You can’t rest on your laurels for too long, and after a year or more, customers become anxious to see something new, something original, something worthy of their money for an upgrade or a side-grade. Not too long ago, Empire Ears were one of the first to introduce 14-driver flagship Zeus which added some oil to driver wars fire. Now, Empire Strikes Back (yeah, I wanted to use this phrase for a while!!!) with something new: 7-driver Legend X (LX) with a hybrid design of dual DDs and five BAs.

Multi-driver hybrids beyond a more common 3ways are not a shocker anymore, though dual DD hybrids are rare, especially for a custom model. But you need something more than just an impressive spec to stand out from the crowd, and you can guess that dual DD config can only lead to one thing – da bass!!! The bass can make or break the sound. It’s a beast with a power some IEM manufacturers struggle to control. Now, imagine mating it with BA drivers tuned for audiophile quality, and you get BASShead Audiophile IEM, which is the best way to describe LX. Empire Ears new line-up will have more models, in different price ranges, driver configurations, and sound signatures, but the focus of this review will be solely on Legend X and its performance.

Unboxing.

Since I only received the prototype model with finalized tuning, I don't have details about the final packaging, but was told to expect something similar to previous EE releases. I will update this section in the future, including pictures.

Accessories.

Just like with unboxing, I will have to update the Accessories section when I have a final production unit, but most likely you should expect a travel case, a cleaning tool, a selection of premium eartips if you have a universal model (EE has been featuring SpinFits in the past, but might use another brand name), and a premium Effect Audio Ares II cable.

I always point out the importance of eartips selection when dealing with universal IEMs. Eartips are responsible for a proper seal and isolation that plays a very important role in low end impact leading to tonal balance. With dynamic drivers, depending on venting of the shell, the seal can also play a role in driver flex, the click you hear when inserting IEMs in your ears due to an air pressure on the diaphragm of the driver.

Due to anatomy of my earcanal, I use only the largest eartips with all my universal IEMs. Here, I found that going one size smaller to a medium size helped relax the seal which nearly eliminated the driver flex, plus got the bass quantity to a more balanced level. In another observation, I found a wider bore eartips to enhance the bass, while narrow bore to attenuate it. For example, relative to my ears, I found SpinFit medium size narrow bore eartips to work the best for me, while large bore opening medium Spiral Dots to boost the bass quantity.

Eartips selection and fit is a subjective matter that will depend on your personal taste and ear anatomy, thus make sure to pay close attention and to experiment. Also, keep in mind, I can only comment about universal fit model I tested which allowed me to tip roll.

Also, I would like to add, even with Medium size eartips, I found LX to have a decent isolation.

Cable.

Legend X comes with premium wires, Effect Audio Ares II pure copper (UPOCC Litz Copper) brand name cable. This cable uses 26awg 4 conductors with a proprietary multi-size stranded design and a flexible insulation. The wires are very pliable and relatively lightweight. The plug is right angled gold plated Oyaide 3.5mm Single Ended. When placing the order, you will be able to select an upgrade with either 2.5mm or 4.4mm balanced termination. Y-splitter and chin-slider are plastic, 3D printed. 2pin connectors are standard, universal, and you also have a pre-shaped flexible earhook shrink-wrap tube for a more secure fit.

I tested LX with many premium high-end cables, including EA Horus, PWA 1960 4wire, EA Lionheart, Whiplash TWau, HSA Aurora, EA Thor II+, and PlusSound X-series tri-metal. I found all these cables to tighten the sound and to have some level of improvement in resolution and transparency, but at the same time they lifted the bass up and made treble a little brighter. I welcome more airiness and resolution in treble, but preferred to keep the bass where it was with Ares II. I also tested it with both PWA No5 and HSA Zen, both pure copper cables on the same level as Ares II, but ended up going back to Ares II because other two lifted the bass.

Effect Audio Ares II is known to have a wider soundstage, nice sub-bass extension but less rumble and a touch less mid-bass impact with smoother and more revealing upper mids and treble in comparison to some other pure copper cables. With all that in mind, it pairs up quite well with LX. Of course, if you have other replacement cables, go ahead and experiment with different pair ups. Otherwise, there is no need to invest into more expensive cables unless you want to improve/increase the resolution and the quantity of the low-end impact.

Design.

As already mentioned, Legend X is a 7-driver hybrid, partitioned into 2 Dynamic drivers and 5 Balanced Armature drivers. Utilizing a proprietary synX Crossover Network to fine-tune and to control every single driver, you have custom W9 (Weapon IX) dynamic driver subwoofers taking care of sub-bass and mid-bass, and 5 proprietary custom BA drivers by Knowles and Sonion, split between mids, upper mids, and highs. Every new Empire Ears model will have their own custom synX Crossover design, corresponding to the number and the type of drivers.

Another piece of tech utilized in Legend X and all other new EE IEMs is A.R.C. resonance control technology. Its initials stand for Anti-Resonance Compound which is a proprietary coating that eliminates unwanted vibrations and resonance within IEM. This compound actually serves as a dampener to absorb the unwanted resonance.

Regarding the exterior design, all the models should be offered in custom and universal fits, with the ability to customize them the same way as the rest of EE models. I'm not posting pictures of my prototype model, just in case if there were some final shell adjustment, like the shape and the length of the nozzle. But one thing I was told that universal model design will remain in the same compact shell. Obviously, the shape of CIEM shell will depend on your ear impressions, while universal IEM will have a common compact shell design.

Also, based on the driver partitioning, there will be 4 sound tubes leading to a tip of the nozzle where you have 4 bore opening. Plus, a careful examination of the shell revealed 3 small pinhole vents on a side, most likely related to DD.

Sound Analysis.

Legend X tuning is catered to basshead audiophiles. I have used these two words in the same sentence before, but I haven't heard anything quite like this tuning in the past because many IEMs with enhanced bass usually compensate it with extra treble definition to balance the sound. As a result, you end up with a v-shaped signature where the quality of mids tuning is compromised. LX is different. While I still want to refer to it as v-shaped tuned, if you shift your focus to mids/treble, this IEM sounds like having a fully balanced signature with an enhanced bass impact.

Bass tuning is definitely the highlight of LX, where sub-bass doesn't just go deep but hits hard with a rumble you don't just hear but actually feel in your chest. We are talking about smooth textured analog quality visceral rumble you expect to hear from full-size floor-standing speakers, packed inside of a compact shell and delivered by dual DD. Mid-bass is also very authorative and hits hard, not too fast or two slow, with a medium speed attack and an average decay, giving the bass plenty of control while transitioning into lower mids. Relative to each other, the sub-bass and mid-bass are well balanced, and overall bass is not too tight or too sloppy, but it's always present. For those who prefer a neutral bass, or more focus on mids/treble without relying on EQ adjustment, you probably going to be overwhelmed by its quantity, though I can't imagine anybody complaining about the quality. The presence of the bass adds a nice deep low-end texture and body to the sound which works quite well with jazz, classical, acoustic, and vocal music genres. But once you play EDM/Club, Top40 Pop, R'n'B, or Hip hop - the bass drum will hit hard, like you have full-size speakers in your ears. But it's still well controlled, and that's what makes this bass unique, and quite responsive under EQ adjustment where 3dB cut around 60Hz can tone it down for those who want a more balanced sound signature (my personal preference).

Lower mids are neutral, maybe even south of it, being a little leaner than neutral, creating a nice cut around 1k for a better separation between bass and mids. LX doesn't sound like a typical hybrid IEM with incoherent separation of DD and BA drivers. Even with a bass boost, there is still some coherency in the transition. I guess it has to be attributed to crossover tuning because even with the enhanced bass quantity, I still find the transition into the mids and upper mids to flow in naturally. Mids have a rather natural revealing tonality with a good presence between 2k-6k which has a decent retrieval of details, excellent transparency, and a nice layering and separation of sounds. That is the reason why I'm having a difficulty calling LX as a v-shaped IEM because of the mids presence and quality. Mids are not thin or analytical, and don't shine with too much micro-details. But at the same time, they are not congested, or warm, or smooth like some other IEMs with enhanced bass. So, I would classify LX upper mids as naturally-revealing.

Treble has a very good extension, plenty of clarity and details without being fatigued. It has a nice level of airiness to let the sound breath, but it all done in a natural way without being too exaggerated or too crisp. Some v-shaped IEMs overcompensate by pushing the treble harder, while here you have a good balance. For example, the cymbal crash has a tail with a natural realistic decay without any premature roll off or too much harsh ringing. As I already mentioned, treble has a natural non-fatigued tuning, and a perfect tonal balance without been too smooth or too harsh.

Soundstage of LX is another element of tuning which stands one the moment you put these in your ears, due to their very wide left to right expansion. The soundstage depth is average, not too far out of your head, closer to the stage, creating a more intimate elliptical soundstage field around my head. With such expansion, the imaging of LX has a very good placement of instruments and vocals with a relatively accurate positioning where you can pin point every sound without a problem. At least for me personally, I found positioning of vocals and instruments to be very convincing.

Again, despite enhanced bass, the layering and the separation of the sound is very good. Because bass is under control, nothing spills into mids, and the higher resolution and the transparency of the mids and treble keep all the sounds easily distinguishable, never getting congested or muddy. Despite its power, I don't find the bass to be a distraction, I can shift my focus to mids, and the sound is still very resolving.

Comparison.

Here is how Legend X compares to some other IEMs.

Legend X vs Trio - While Trio has a wide soundstage, LX extends the width a little further; with staging depth, Trio extends further from the front stage while LX is a little closer and more intimate. While both are hybrids with a dynamic bass driver, LX sub-bass and mid-bass slam harder, at least 3dB more in quantity. Both have a well-controlled bass without spilling into mids which is impressive, especially in case of LX where low end has a stronger driving power. Lower mids are neutral in both IEMs, actually a little south of neutral in LX, which helps with separation of bass from upper mids and treble, and then LX upper mids continue with a natural detailed tonality where in contrast Trio upper mids are more forward, thinner, and brighter, as well as more revealing in comparison. The same difference carries over into the treble where Trio is brighter, with more crunch and airiness while LX has the same treble extension, but it sounds calmer, more controlled, less fatigue, and still well defined and with a nice level of sparkle. The biggest difference between these two is in the bass slam, especially sub-bass rumble where LX has an upper hand, and treble definition where Trio's TIA driver gives it energy, while LX sounds more natural and less crunchy in comparison.

Legend X vs UERR - I know it is totally crazy to compare 7-way hybrid with 3BA IEM, but I keep coming back to this comparison because of both having a natural tonality of mids/treble. Starting with a soundstage expansion, LX has more width while both have a similar depth. Also, no surprises here, LX is heavily dominating in sub-bass and mid-bass quantity, going deeper and slamming harder. With lower mids, LX is a little south of neutral, while UERR is north of it, giving a little thicker body to the sound. But starting from upper mids and through the treble extension - there is a lot of similarities in tonality due to their musical nature. I do have to give LX more credit where the retrieval of details is on a higher level while UERR is smoother, but with an exception of the bass, these have more in common when it comes to upper mids and treble.

Legend X vs Fourte - Finally, we have a soundstage expansion match, with both having nearly the same width and depth. Sub-bass extension and mid-bass slam is noticeably bigger in LX, while Fourte has a more neutral sub-bass and slimmer and faster mid-bass. Both have a similarly tuned lower mids, south of neutral, and from there going up the difference is again quite noticeable where Fourte upper mids and treble are a lot brighter, more revealing, more micro detailed, while LX is smoother and more natural in tonality, with a lot less crunch and airiness. LX and Fourte have a very different tuning, but I know many will be curious if there are any similarities, which I didn't find.

Legend X vs U12t - Here is another interesting comparison, including similarities. Starting with soundstage, LX is still wider, but U12t has more staging depth. With bass, the sub-bass rumble and mid-bass punch quantities are very similar, but the quality differs between a faster and tighter U12t bass vs more analog quality LX with a dual DD which is thicker, slower and more natural in comparison. With lower mids, U12t is a little thicker which gives the sound more body, while LX lower mids are leaner in comparison. Upper mids have a lot of similarities in tonality, though U12t is a little smoother and more forward in presentation, while LX upper mids are a little more revealing when it comes to detail retrieval, and have a more layered sound. Treble has a lot of similarities in tonality and presentation, with U12t having just a bit of an edge in a crunch and airiness.

Legend X vs W900 - Another great hybrid for comparison. Without surprises, LX delivers a wider soundstage, while W900 has a little more out of your head depth. Sub-bass rumble quantity and mid-bass slam are close, but LX bass feels tighter and better controlled. The control of the bass is especially noticeable when it comes to lower mids where W900 is thicker due to some spillage, while LX is south of neutral, being leaner. Upper mids and treble have a very similar tonality and presentation, but a different level of layering and separation where W900 sounds a little more congested while LX is more resolving. The biggest difference here is in the lower mids where W900 is thicker and more congested.

Legend X vs VEGA - The soundstage is wider in LX while VEGA has more out of your head depth. With bass, finally we have a pair of IEMs with even more sub-bass rumble and stronger mid-bass punch where VEGA has an upper hand in this comparison. Both have a below neutral leaner lower mids to accentuate the bass. Upper mids do vary with LX being more natural, more detailed, less fatigue. 6k peak is more dominant in VEGA which in some pair ups can make the sound harsh, LX is definitely more natural in comparison. Treble is also brighter and crisper in VEGA, versus being smoother and more natural in LX. While VEGA was considered before as one of my top recommendations for basshead audiophiles, I think now LX can challenge that status.

Pair up.

Here is how Legend X pairs up with various sources, all from balanced HO (I was using my own Ares II 2.5mm terminated cable), except M2S and LPG which are single ended. In every pair up I found No Hissing, regardless of output impedance of the source.

Cowon Plenue 2 - very wide soundstage; powerful bass slam with a deep sub-bass rumble; natural, detailed, resolving mids; well defined crisp treble with a natural brightness and airy extension.

Shanling M2S (5ohm output impedance) - wide soundstage; very powerful bass slam with a deep sub-bass rumble; smooth, detailed mids with a good resolution; well defined crisp treble, a little less airiness. Overall tonality is smoother and warmer.

Lotoo PAW Gold - very wide soundstage: powerful bass slam with even deeper sub-bass rumble and overall bass being tighter and faster; natural, detailed, very resolving mids with great transparency; well defined crisp treble with a little more crunch, more brightness, and more airiness.

Cayin N5ii - very wide soundstage; powerful bass slam with even deeper sub-bass rumble and overall bass being tighter and faster; natural, detailed, resolving mids; well defined crisp treble with plenty of crunch and airiness.

A&K AK120ii - very wide soundstage; overwhelming bass slam with a very deep rumble; natural, detailed, resolving, transparent mids; well defined crisp treble with a natural brightness and airy extension.

Hiby R6 (10ohm output impedance) - very wide soundstage; powerful bass slam with even deeper sub-bass rumble; very natural, detailed, resolving mids with great transparency; well defined crisp treble with plenty of crunch and airiness.

FiiO X7ii - very wide soundstage; powerful bass slam with a deep sub-bass rumble, overall bass is tighter and faster; natural, detailed, smooth mids with a good resolution; well defined crisp treble with a natural brightness and airy extension.

TheBit Opus#2 - very wide soundstage; powerful mid-bass slam with a deep sub-bass rumble, overall bass is tighter and faster; natural, detailed, smooth mids with a good resolution, but overall mids presentation is pushed a little back; well defined crisp treble, a little smoother, and still airy.

iBasso DX200 w/amp4 - very wide soundstage; powerful balanced bass with well controlled mid-bass slam and deep textured sub-bass rumble; very natural detailed mids with high resolution and transparency; well defined crisp treble with a natural brightness and non-fatigue airy extension. By far my favorite pair up.

Sony WM1Z - very wide soundstage; powerful mid-bass slam with a deep textured sub-bass rumble; very natural detailed resolving mids with a great level of transparency; well defined crisp treble with a natural brightness and non-fatigue airy extension. My 2nd favorite pair up.

Samsung Note 4 - wide soundstage; powerful mid-bass slam with a deep sub-bass rumble; natural, detailed, resolving mids with a decent transparency; well defined crisp treble with a natural brightness and a good airy extension.

Based on how I hear it, I found DX200 w/amp4 to have the best pair up, while WM1Z was 2nd best, just with a little more bass slam. Other pair ups were good too. Pair up with R6 and Plenue 2 was the most flexible due to their DSP effect which help to adjust the tonality.

Conclusion.

I’m already anticipating a question if Legend X and Phantom (another all BA new release from Empire Ears) will be the new EE flagships. I didn’t hear the Phantom yet, will do that at the upcoming CanJam NYC, but based on my understanding this is an all new product line, outside of their Olympic series where Zeus remains the reigning king. The sound signature of Legend X opens a door to audiophiles and audio enthusiasts with a guilty pleasure of extra bass without sacrificing the resolution, the transparency, and the detail retrieval of the mids or the sparkle and the airiness of the treble.

What I’m trying to say, Legend X has a well-controlled bass, with an overall tuning that will appeal not just to bassheads but other listeners. In many IEMs, boosting or cutting the bass, can ruin the spectral balance. With Legend X, I enjoyed the extra presence of the bass while listening to jazz, classical, instrumental, and vocal tracks where it gave more body to the sound, making it more natural, yet still resolving. Switching to EDM or any current Top40 Pop/Urban where the bass drum kicks in, you get a powerful low-end slam. And in some cases, I did have to apply a 3dB cut around 60Hz to attenuate the bass down, to bring the mids more forward. But that EQ cut didn’t affect the tonality of the mids, just their presentation. That’s what I think will make Legend X appealing to different listener, its unique tuning, its control of the sound, and its “legendary” bass.

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The product was provided to me free of charge for the review purpose in exchange for my honest opinion. The review was originally posted on my blog, and now I would like to share it with all my readers on head-fi.

Manufacturer website: iBasso. Available from iBasso and Penon Audio.

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Intro.

I’m sure many are familiar with a phrase, don’t judge a book by its cover. In audiophile world, the same is true for: don’t judge a product by its price. In today’s competitive market, some companies raise the price to be taken seriously. Fortunately, iBasso is not one of them, and instead they do the opposite. For example, in their latest IT01 single Dynamic Driver IEM release, besides pricing it around $100, they also included a premium removable pure copper cable and a nice alloy case.

After having the opportunity to review their different products in the last few years, I probably shouldn’t be too surprised because iBasso always practice what they preach with every release, delivering quality products at a reasonable price. I said the same about their DX200 DAP, CB12 cable, IT03 IEMs, and even CA01 and CA02 adapters. Now, let’s find out if the same holds true with IT01 IEMs, and if these sound as good as they look.

Unboxing.

Budget or no budget, IT01 arrived in a premium packaging with a plain cover artwork that clearly spells out “Audiophile In-Ear Monitors”. The back of the sleeve has a detailed spec in 8 different languages, and adds highlights of the design describing the technology, cable, and the fit.

With an outer sleeve off, you will find a premium quality box with a magnetic flip cover, and all the goodies wedged securely inside of a foam cutout. Doesn’t look like they cut any corners in packaging, and it was still a satisfying unboxing experience.



















Accessories.

Included with IT01, you will find 3 sets of S/M/L silicone eartips. While I usually tip roll to find the best fit and isolation, digging into my stash of dozens of eartips, with both IT01 and IT03, I went for the largest included stock pair as my best choice. The caps of these eartips, between the sets, do vary in springiness, allowing you to find the perfect one suited for the best seal and isolation, and the most secure fit. In addition, iBasso also included 2 pairs of foam eartips (S/M size), which I found to be more comfortable than Comply.

Also, included was a metal alloy round puck case. While this case is not as comfortable to carry in a pocket when compared to other small zippered cases, it’s very secure and can withstand some serious abuse. Plus, this round case is roomy enough to fit IT01 with its premium cable. My only advice, when you open it up – do it over some surface because thing can go flying everywhere once you pull the top off.







Cable.

It’s very rare to see a premium detachable cable included with a “budget” IEM release. And when I say premium, I’m not talking about the looks, referring to so many budget cables on eBay or aliexpress which have a shiny look and junk low quality wires behind it. Here we are talking about a handmade 4-conductor loosely braided 4N-purity oxygen-free lightweight copper cable.

The termination is a standard single ended gold plated 3.5mm connector with a strain relief and a nice aluminum housing with iBasso Audio printed label. The braid is loose, making the cable more flexible. Y-splitter has a matching aluminum design, and so does a chin slider. Above y-splitter, cable is twisted, and closer to mmcx connectors you have a pre-shaped transparent flexible tubing piece forming an earhook for a secure over-the-ear fit which is a proper way of wearing IT01. Also, I found the cable has no microphonics.

MMCX connector is universal and housed inside of a translucent housing mold with a red/blue dot indicating Right/Left sides. The mating of the cable to the shell is very secure and snappy, but unfortunately pulling them apart is rather difficult. Not sure if it becomes looser after more disconnects, but ironically, I was fine with it since I found no need to cable roll. Just make sure if you do choose to disconnect the cable, always grip it by the connector housing and never pull on the cable.

















Aftermarket cables.

I did mention above that I found no need to cable roll, but just in case if anybody is curious, I tried it with a few other cables.

Stock CU vs CB13 - very similar tonality of the sound. One of the differences I hear is in soundstage depth where CB13 makes sound more holographic, pushing it further out. Also, with the bass, CB13 pair-up lowers the quantity of sub-bass and mid-bass, making it closer to the low end of IT03. It refines the sound without affecting its tonality. For sure, if you find low end impact of IT01 to be a little too much for your taste, CB13 can fix that.

Stock CU vs ALO SPC - very similar soundstage expansion, maybe with ALO giving just a touch more depth. Bass extension and impact are very similar as well, and so does the treble - being spot on. But I hear mids being a little more forward with ALO cable.

I don't have too many mmcx cables (a lot more 2pin cables), and in general, considering the price of IT01, it probably makes no sense to upgrade it with fancy cables costing 4x-5x times the price of IEM itself. I always encourage to cable roll with your existing cables, but in my opinion here iBasso carefully selected their own premium pure copper cable, used for finetuning of the IT01 sound. So, no need to go crazy with upgrades.





Design.

While being familiar with IT03 hybrid design (DD + 2BAs), some might assume that IT01 single DD design was a result of removing two BA drivers. Turns out, it was a brand-new design with an all new 5um ultra-thin multi-layered graphene diaphragm driver. These particular ultra-light and relatively stiff drivers are known for their fast speed and low distortion, to the point where it doesn't even need any additional damped material, just a very strong magnet, picked by iBasso here with a magnetic flux density of nearly 1 tesla.



In addition, iBasso's compact shell design has a dual cavity helmholtz resonators, responsible for its powerful bass. Closer examination of the shell also reveals two pinhole vents, on inner side of the shell and closer to the nozzle. While the shells are made from what appears to be acrylic material, the nozzle is all metal with a lip at the tip (to keep eartips from sliding) and a fine mesh covering the opening (to keep the wax away).

The design is available in red/blue - color coded for right and left sides, or in all black - a more classic look with a tinted black finish that has very little transparency. As I mentioned already, IT01 features mmcx connectors with a very tight and secure cable fit. The black shells I received have iBasso Audio IT01 printed on the faceplate, though the print is grayish and hard to see on the black background, creating a more stealth look.

The shells itself are more universal and compact in comparison to IT03 which I consider to be custom-universal due to their unique shape. In comparison, IT01 is smaller, lighter, and with a more ergonomic universal design to fit any ear.













The fit.



Sound analysis.

As suggested by manufacturer, I started to analyze IT01 sound after 100+ hours of the initial burn in. I found these IEMs to have V-shaped sound signature with a fast, articulate bass, brighter revealing tonality and crisp airy treble. It has an excellent retrieval of details and a good level of transparency. While the tonality is not exactly smooth organic, it's not too harsh or artificial either.

Soundstage is very wide, extending far left and right, while the depth is not bad but more on an intimate level, maybe a few rows in front of you. With such width, you can expect a good imaging with an excellent placement of instruments and vocals, where every sound is easy to pin point.

The sound is dynamic with a good level of separation and transparency though it could have been a little better if mids were more forward.

Bass really stands out in this tuning with a deep lifted sub-bass rumble and a fast well controlled articulate mid-bass punch. Bass hits hard, but quantity is not too overwhelming. If you prefer more neutral bass, these might not be for you. The speed of the bass is surprisingly fast for a single DD.

Lower mids are neutral, maybe even a little south of neutral, not as much body, and upper mids are very detailed, transparent, bright, though also a little colder and thinner, and pulled a little back. Despite v-shaped tuning, upper mids still have a rather good definition, just less organic tonality.

Treble is crisp and sparkly, with a nice extension and plenty of airiness. It's not harsh or splashy, and no signs of sibilance, and it does have plenty of energy to compliment the bass at the opposite end of the spectrum.





Comparison.

Without a doubt, many will be interested how IT01 compares to its bigger brother, IT03.

IT01 vs IT03 - starting with a soundstage, they have nearly similar width, maybe with 01 being a touch wider, and 03 having more out of your head depth while 01 is closer to a stage with more intimacy. The upper hand in bass belongs to 01 with more sub-bass rumble and stronger mid-bass impact, and, while 03 bass is north of neutral, 01 still dominates without overpowering the sound. With mids, the table is turned around where I hear 01 being more recessed and with more neutral lower mids and a little pushed back upper mids, while 03 has more body in lower mids and more organic upper mids in comparison to thinner upper mids of 01. With treble, it changes again, now 01 resumes the dominating position with more sparkle and crunch, leading to a perception of more airiness, while 03 has a great definition and extension, but smoother in comparison to 01.

Here how it stacks up against other IEMs.

IT01 vs Simgot EN700Pro - 01 has a wider soundstage while EN has a little more depth, extending a little further out. With a more balanced signature, EN has a tastefully elevated level of sub-bass rumble and mid-bass impact, while 01 goes deeper and hits harder when it comes to the bass. With mids, EN pulls more forward with more body in lower mids while 01 is more neutral, and more forward upper mids while 01 pulled a little more back. While being more recessed in comparison, 01 mids are more revealing with better retrieval of details, and EN mids are smoother and more organic. With treble, 01 has more sparkle and crunch while EN is smoother in comparison. Both have a well-defined treble, but that extra sparkle in 01 gives it a perception of more airiness. But the main difference here is 01 being more v-shaped tuned, while EN is more balanced.

IT01 vs HiFiMan RE600 - 01 soundstage is wider by a noticeable margin here, while RE has only slight advantage in soundstage depth, though closer to 01. Also, RE bass is a lot more neutral in comparison, with sub-bass being the most noticeable difference where 01 goes deeper with higher quantity. Both have a fast, mid-bass punch, but 01 hits harder. Both have neutral lower mids, perhaps with 01 being a little more south of neutral when compared to RE. Upper mids are more forward, smoother, more natural in RE while 01 is pulled a little back, thinner, and brighter in comparison. Both have a well-defined crunchy treble, but 01 still has more sparkle.

IT01 vs Oriveti Basic - 01 soundstage is wider, while they both have a similar depth, with Basic being just slightly further out. With bass, finally 01 has a match where Basic goes as deep and hits as hard, but the difference is that 01 bass is tighter, faster, and more articulate, while Basic is slower and more relaxed in comparison. Basic also has more body in lower mids, while 01 is more neutral, and Basic's upper mids are more forward, warmer, and smoother in comparison to more recessed, thinner, brighter, and more revealing 01 upper mids. When it comes to treble, Basic has as much crunch but nowhere near the same level of sparkle as 01 which sounds brighter and airy in comparison to Basic.

IT01 vs ATH-CKR10 - 01 soundstage is wider, while CKR has a noticeably more depth with a sound being more out of your head. While CKR has a nice sub-bass rumble and north of neutral mid-bass punch, it does not go as deep or has as much mid-bass impact as 01. Both have a similar neutral lower mids, while upper mids is where I hear the most difference. Besides CKR upper mids being more forward, they are brighter and less natural in tonality versus 01 being slightly pulled back with an equally brighter yet more natural, smoother tonality. Treble is nearly identical between these two.

IT01 vs IT03.






Pair up.

Based on the spec with 16-ohm impedance and 108 dB sensitivity, IT01 should be easy to drive from any source. Thus, I wasn’t expecting any surprises.

Cowon Plenue 2 - very wide expanded soundstage. V-shaped sound signature with a slightly elevated deep sub-bass rumble and a fast, articulate strong mid-bass punch. Neutral lower mids, slightly pushed back brighter revealing upper mids, and crisp sparkly treble. Black background.

Lotoo LPG - very wide soundstage with a little more depth. The sound has a little deeper v-shaped signature due to a stronger mid-bass impact, with the same deep sub-bass rumble, and a little more energy with more sparkle in treble. Upper mids are very resolving with excellent retrieval of details, and at the same time a little thinner and brighter. Very faint background hissing.

Sony WM1Z - very wide holographic soundstage with a little more depth. The sound is still v-shaped but has a little smoother tonality now. Bass still hits hard with a deep rumble and fast mid-bass, lower mids have a touch more body, upper mids are a little smoother and more organic, while treble has a lot more energy with more crunch and better definition, but it's not harsh or splashy. I can hear treble being wider in its presentation. Black background.

iBasso DX200 w/amp4 - very wide holographic soundstage with a little more depth. The sound keeps it's v-shaped sound sig, with tonality being a little more revealing. Bass is fast and very articulate, sub-bass rumble is nicely textured, mid-bass hits hard and fast. Lower mids are a bit south of neutral, upper mids are revealing, transparent, highly resolving. Treble is crisp, airy, well defined. Black background.

Galaxy Note 4 - soundstage is still wide, but not to the same extent as with DAPs above. Bass hits hard with the same level of sub-bass rumble and mid-bass punch, but it's a bit slower and not as tight. Mids are pushed slightly more back, still being bright and revealing, while treble is crisp and well defined.





Conclusion.

When I received IT01 and started my testing, I was curious to find out if iBasso cut any corners to bring down the price of IT01, but I couldn’t find anything to nitpick about. We are talking about premium quality packaging, premium removable cable and other accessories, unique graphene driver with a fun v-shaped tuning, and a compact durable shell with a metal nozzle. All this for about $100 makes it quite an impressive value.

At the end of the day, it all comes down to a personal sound preference. If you prefer a neutral signature with a more balanced sound and tamed down bass impact, these are not for you. The same, if you are looking for a more soulful mid-forward performance with a focus on vocals, these are not it. IT01 delivers a fun v-shaped signature with a clear detailed sound, a wide soundstage expansion, a punchy bass, and a crisp treble for modern audiophiles on the go. And, IT01 won’t break your wallet and doesn’t require a pair up with high-end sources to make it sound great. Perhaps, IT01 won’t replace its older brother IT03, but it surely compliments it nicely! The next stop, IT04!