Violectric V226

Disclaimer
The Violectric V226 was very kindly made available to me on a long-term loan by Dune Blue and Violectric. No incentive was given for a favourable review.

V226 features

• Analogue stereo inputs, unbalanced via RCA
• 1 digital input, USB-C with up to 32 bit and up to 384 kHz for PCM signals, DSD 64 256
• 32-bit DAC with typical 130 dB dynamic range and -115 dB THD+N
• +/- 18 dB Pre-Gain for a perfect match of the DHA V226 between source and headphones
• Volume control with Alps RK 27 attenuator, big 38 mm massive aluminium knob
• 4 powerful amps offering 3500 mW Pmax into 100 Ohm and 23 V RMS into 600 Ohm
• Delayed coupling of the headphones to the amp after power-on
• Headphone path and line-out path individually switchable
• Headphone outputs: 1 x 4-pin XLR, bal. / 1 x Pentaconn, bal. / 1 x ¼” jack, unbal.
• Line stereo outputs: unbalanced via RCA
• 1 toroidal transformer, > 22.000 uF filter capacity
• Price: €1,399

Links:
https://www.violectric.de
https://www.facebook.com/Violectric-1888795031341510/
https://duneblue.com
https://www.facebook.com/Dune-Blue-411457505632614/

Preamble
A couple of years ago my friends at Dune Blue, the specialist head-fi distributor for The Benelux and Scandinavia, introduced me to Violectric by lending me their V380 DAC/amp. At the time (and to my eternal shame) I did not know much about this highly regarded German brand. Dune Blue's kind introduction quickly rectified this gross negligence. The V380 became a wonderful introduction into the world high-quality desktop amps and DACs, as well as into the delights of a neutral desktop source done right.

The performance of the V380 was impressive and it proved to be an extremely capable and versatile tool. Like a Swiss army knife, the V380 effortlessly adapted to anything I wanted to use. From planar headphones such as the Final D8000, to high-impedance legends such as the Sennheiser HD650, to extremely sensitive IEMs such as the Empire Ears Wraith, the V380 did it all. No hiss with the IEMs, not breaking a sweat driving the headphones to their full potential, and all sounding great. So, when I once again found myself in need of such a versatile source, I knocked on the door of Dune Blue to see if they still had the V380 around. Instead, they suggested I could also take its newly released little brother, the V226, for a spin. Well now, there is a coincidence! I had previously asked Fried Reim (the man behind Violectric) for a unit of the V226 to review, which unfortunately did not happen. Not being the type to pester people for review units, I kindly left it at that, but I remained very curious about the V226 nonetheless. In the spirit of 'all good things come to those who wait', I now got the opportunity and of course I agreed. Moreover, Dune Blue and Violectric worked together in order to allocate a unit for a long-term loan. Thanks guys!

This time there was a specific tool I needed and it posed a particularly paradoxical challenge. My plan was to revive my 'Masters of Classical Music' series (a series about finding the very best gear for listening to classical music) and I really wanted the aforementioned Wraith to be the next instalment. The challenge here was that the Wraith need both a lot of power to fully engage the older generation estat drivers, as well as an extremely clean source due to their impedance of only 4 Ohms and a sensitivity of 117 dB/mW (141 dB/V). Normally it is not the end of the world if the Wraith are not driven by a source with sufficient power, you just lose a little treble extension, but they remain very enjoyable. With the Masters of Classical Music series, however, this treble extension is essential to push the Wraith from 'good' to 'amazing'. Within this context the Wraith actually work as a type of stress test for any source. I tried quite a few, even those with special 'noise reduction' features, and none have really been able to make the Wraith shine like I know they can. Closest was the Shanling M8 DAP, which still amazes me at how clean it is while using its "turbo gain" feature. The V380 of course did better, but I didn't have that around anymore. What about its little brother then? How well does the V226 perform? Let's have a look and find out...



Unboxing
At times like this I often wonder why I even bother writing an unboxing section, but let's try and stick to the format for a comprehensive review.

As I mentioned in my review of the V380, the people at Violectric are sensible people. Under the motto “tools, not toys”, they packed the V226 in a box with a lot of Styrofoam to ensure safe transport and didn't bother with a lot of fancy details to create an 'unboxing experience'. (If the experience of unboxing an item you bought has to come from the box rather than the item itself, you probably wasted your money.) Other than that, the box simply contained the V226, the power cord and a manual. Simple and to the point, just how I like it.




Design
The V226 is a beautiful piece of equipment with an understated elegance to it. Where brands such as VivA Audio produce amps that can be painted in any colour to match your interior, or indeed your Lamborghini Huracan, Violectric's designs are more purposeful. At a distance it looks like a fairly unassuming black box with dials and switches, but when you get closer you start to see the attention to detail. Every aspect of the V226 looks and feels like it has been designed not to impress the observer, but the user. Close up you see the lovely brush work on the 5mm thick aluminium front plate. Every dial and every switch feels solid, and the V226 soon entices you to turn it on and plug your headphones in.

The layout is logical on both the front and the back. At the front (from left to right), there is the buttery smooth volume dial that feels solid and is easy to use. This is followed at the top row with the input (RCA 1, RCA 2, USB) and output (Headphone, Off, Line Out) switches, below which sit the 6.3mm single ended, 4-pin XLR and 4.4mm balanced headphone outputs. On the far right it ends with the On/Off button. On that subject, the headphone outputs are temporarily cut when turning the V226 on (i.e., delayed coupling) in order to protect any connected headphones from interferences. This takes about five seconds and I can say from experience that I greatly appreciate this sort of extra safety feature and it is a testament to Violectric's attention to detail for the actual day-to-day use of the amp.



At the back we find the power socket on the far left with indicated what voltage the unit is set to, either 230V or 115V. This can however be manually switched inside of the V226 (see the manual for instructions). The power socket is followed by the RCA out and Pre/Post button. On the right side are the inputs that can be selected at the front, so again, RCA 1, RCA 2 and a USB-C socket for the digital USB input. Below the USB socket sit the Pre-Gain switches and I love these. These DIP switches allow the user to set the headphone amp pre-gain for each channel and offer seven settings; Off/0dB (all switches down), -18dB, -12dB, -6dB, +6dB, +12dB and +18dB. Note: To achieve -12dB, both -18dB and +6dB switches need to be switched on (up), while for +12dB the +18dB and -6dB switches need to be switched on (up). You can put the switches in other settings, it won't harm the V226, but it won't do anything either.

Especially with highly sensitive IEMs, I find that I can combine the -18dB setting with the volume of my transport (usually Tidal playing on my MacBook Pro) to allow me to set the volume dial to its 'normal' listening position of 12 o'clock. This provides plenty of room to play with the volume and should reduce the self-generated noise from the amp to an absolute minimum (more on that later).



The V226 itself is a really nice size and I actually prefer it over the size of the V380. I have plenty of desk space to place even a much larger amp, but I like the small compact size of the V226. Perhaps it is an indication of how chaotic my desk looks when I work, compared to the neat minimalistic images I create for my reviews. The manual states that the V226's overall size is 170 x 49 x 306 mm. I think a typo slipped in there because the height is actually 69 mm instead of 49 mm. It is a very nice size and should be easy to fit on any desk, except for perhaps the smallest of student desks.



Under the Hood
The V226 is a pre-amplifier, balanced headphone amplifier and DAC in one and within Violectric's line-up represents the entry-level 'DHA' option. The ones above it are the V3802 (an updated version of the V380 I previously reviewed), the V5902 and the top-of-the-line V5902 Pro, before moving onto Violectric's high-end sister brand Niimbus. -Pardon me, I appear to have started drooling.- Each DHA offers more features such as 32-bit resampling, Balanced and XLR inputs, and a 256-step relay, as well as power and performance upgrades. The V226 might thus on paper feel fairly basic compared to the more feature rich higher-end models, but thanks to its outstanding performance achieves the same 'Swiss Army knife'-type of versatility as the others.

The heart of the V226 is the amp, which is the successor to the V200, V280 and V281 amps that Violectric previously offered. It is a powerful amp that consists of:
"4 powerful amps offering 3500 mW Pmax into 100 Ohm and 23 V RMS into 600 Ohm".
Here we again see how sensible Violectric is, as even their marketing is transparent. Max power is delivered at 100 Ohm and max voltage at 600 Ohm. Indeed, the manual has a neat table that shows exactly what amount of power and voltage corresponds to what resistance. Here you go:



Because of the Wraith, I actually started to become interested in these power curves and found that information about this is almost never given with DAPs. DAP manufacturers like giving the highest possible figure and leave it at that. Knowing exactly what you are buying is important and so I greatly appreciate the information that Violectric includes. That might well be more common for desktop gear than portable, but then it would underline that the portable industry still has some growing up to do.

The DAC is based on Cirrus CS 43131 with a typical 130 dB dynamic range and a THD as low as -115 dB. Here you do miss out on the 32-bit resampling offered on the higher-end models, which is able to achieve 180 dB dynamic range. I used this feature on the V380 and felt the difference was noticeable enough to simply leave it on all the time. The V226's DAC comes with a USB-C terminal and supports PCM signals up to 32 bits and 384 kHz sample rate as well as DSD up to 256.

The lovely big volume dial is connected to an ALPS RK27 potentiometer. Quite honestly, I am not enough into these technical details that I can say anything sensible about it. However, the manual provides some background on the choice. (I could paraphrase it here and pretend to be a very technical reviewer, but that would be disingenuous and people who know me a little, know I am a 'music lover' audiophile rather than one who is more into the technical aspects.) Indeed, for a lot of the technical aspects I can highly recommend reading the manual. Rarely have I found a manual as useful as this. I am a man after all, and male stereotyping demands I ignore manuals and instead bash the IKEA cupboard with a hammer because the pieces won't fit how I think they should fit.



The amp's self-generated noise is claimed to be inaudible and I of course put this to the ultimate stress test by using the Wraith. When I did, I was very surprised that indeed the noise level is exceptionally low. There is some hiss noticeable in the background, but it remains at a level so low that it is barely noticeable once the music starts playing. Only with classical music is it noticeable during very quiet sections or chamber music such as Vivaldi's The Four Seasons. I didn't find it to be very distracting even though I am extremely sensitive to hiss. All-in-all I found the performance here very impressive when you consider that at 16 Ohms the V226 is already putting out 1,500 mW. So already I can say that the V226 passed my rather paradoxical test. That said, it does make me very curious whether or not top-end models such as the V5902 Pro or Niimbus US 5 Pro could get the Wraith dead silent.

As indicated, I am a music lover-type of audiophile and all these things are relevant to me only in relation to the quality of the sound.

Sound
For the sound impressions I worked similar to a few of my recent reviews. I have taken my time and simply used the V226 instead of going through my standard review routine of focusing on an extended critical analysis. I find that when I listen casually, I often more readily notice those aspects that most clearly characterise what I am reviewing. These are more important than tiny nuances that might or might not be relevant to anyone else listening to the same setup. My descriptions therefore end up being uncharacteristically (for me) generalised. That is not because I have not done a proper job of reviewing, it's just that I did the review slightly differently and did not always make notes while listening. This is in every way a down-to-Earth, real-world review that I hope gives a good idea of what you get with the V226.

For listening I used a wide variety of different gear. IEMs include the Final A8000, DITA Audio Dream XLS, Empire Ears Wraith and 64 Audio U18s. Earbuds were the Astrotec Lyra Collection, FiiO FF3 and the high-impedance (300 Ohm) TGX Ear Serratus. For headphones I was unfortunately limited to only the HD650. The transport was generally my MacBook Pro (2020), although I did use the V226 briefly for gaming with my PS4.

To quote Violectric:
"The roots of the headphone amplifier circuitry can be found in its praised and award-winning predecessors: the V200, V280 and V281. At its core, the DHA V226 features a similar natural but smooth and pleasing sound."
The terms "natural", "smooth" and "pleasing" capture the sound of the V226 very well, although I would add one extra term: "musical". This is where I think Violectric have done an exceptional job. The V226 is a joy to listen to and worked with every headphone, IEM and earbud I tried. The result was always music as it in my opinion should be, thoroughly enjoyable.

There is a particular balance here that I think Violectric aimed for, and succeeded in achieving. The technical performance of the V226 is very good with a natural transparency that does not overdo things and push into a more analytical or clinical sound. The foundation seems to be 'nice neutral' (i.e., a high-quality neutral) with an added bit of warmth for smoothness and musicality. Although it never feels like distinct colour is added. It is subtle and means the V226 pairs well with everything. It allows you to drift away comfortably with the sound of your favourite headphones and I think the V226 will be very popular because of it. It's easy to love and has the technical performance to impress.

The HD650, in this case paired with 4.4mm balanced Eletech Inferno aftermarket cable, is a great illustration of this. I found its pairing with the V226 to result in a warm and enveloping sound that was utterly gorgeous. Especially the warm and organic bass, and luscious mids felt like a comfort blanket. Every time I listened, I would get lost in the soundscape. Not that it extended very far, it is the HD650 we are talking about after all, but it was incredibly 'smooth' and 'pleasing'. There was also a great sense of realism to the vocals, which further increased the intimacy of the experience. As a music lover audiophile, this type of presentation is exactly what I am after.



This sense of realism was also very noticeable with the Serratus. These high-impedance earbuds already have great timbre and a naturalness that makes the music more tangible, and the pairing with the V226 once again worked like a charm. The V226 tames the lower treble lift a little to where it becomes less noticeable and helps the Serratus balance a bit better in my opinion. The overall result is tremendously musical and again I found myself instantly lost in the music.

The Wraith in turn are IEMs much closer to neutral, but with an incredibly well-done timbre and imaging. They present a grand soundstage and the result is once again absolutely gorgeous. There is such a wonderful naturalness and smoothness to the V226 that allows classical music to flow like velvet and helps to convey the emotions of the music in the most delicate and tangible manner. It reminds me of why I previously used the V380 as the source for my Masters of Classical Music with the Vision Ears VE5.

Every other pairing I tried resulted in much the same impressions. The V226 is genuinely natural, smooth, pleasing and musical, without forgoing any technical performance. Again, you could push for a more revealing and detailed sound with higher clarity, but it would come at a cost of what I think makes the V226 so special...

...sorry, I had to pause writing there for a second. I was listing to Vivaldi's The Four Seasons and L'Estate, Presto started. This is exactly why these days I prefer "casual" listening for my reviews. All of a sudden I got goose bumps and every thought stopped while I was swept away in the music. I don't think a more analytical amp could be present L'Estate with this much emotion and such velvety smoothness, sweeping me away in the music. Utterly gorgeous!

I wish I had the opportunity to try it with a dedicated DAC to see how much that would affect the performance of the amp. Unfortunately, I don't and so I will leave the discussion about the DAC to others who are better equipped for doing so.



Conclusions
The Violectric DHA V226 is a wonderful amp, DAC and pre-amp. It offers excellent technical performance combined with a natural, smooth and thoroughly enjoyable sound. It is easy to love and highly versatile thanks to a combination of high power, extremely low noise and a number of different headphone out options. This means the V226 will drive virtually anything from the most sensitive IEMs to high-impedance headphones. Build quality is excellent and the size is small enough to make it very practical for those who are short on desk space. At its price of €1,399, I feel the V226 offers excellent value and I am actually hoping to save up for one.

TGX Ear Serratus

Disclaimer
I would like to thank Jim of TGX Ear for providing me with the Serratus earbuds in exchange for my honest opinion. No incentive was given for a favourable review.

Serratus

• 300 Ohms
• Blue Sapphire PET diaphragm
• Pure silver cable
• 3.5mm single ended or 4.4mm balanced termination
• Price: $199

Links:
https://www.tgxear.com
https://www.instagram.com/tgxear/


Preamble
I have been an earbud enthusiast for several years now and I love the form factor. Despite the eternal struggle to get a secure fit, I use them on a daily basis. More than any other gear I have around. However, because “audiophile grade” earbuds are quite a niche over here in Europe, there are not that many opportunities to try out the more interesting ones. I have been lucky to receive a few earbuds to review, yet I always had the feeling I was not really hearing the full potential of the earbud form factor. All too often I heard people talk about earbuds sounding like headphones and none of those I had heard were quite delivering that sort of presentation. I suspected this was perhaps because the earbuds I reviewed were all low impedance for easy portable use. So, when Jim of TGX Ear got in touch and asked me if I was interested in reviewing a pair of his high impedance ‘Serratus’ earbuds, I was obviously very interested. When he indicated the Serratus were tuned for classical music, I felt the sudden urge to do a little happy dance.

Founded by Jim Park, TGX Ear is a fairly new brand with roots that are decades old. Jim is one of those people who has music and engineering running through his veins. It all started growing up in a home that was always filled with classical music. His mother was a piano teacher and so from an early age Jim was exposed to the constant sound of one of the three upright pianos in their home being subjected to various degrees of torture by his mother's students. The wide range of talents visiting their home meant that Jim developed a trained ear for distinguishing between the skilled students and those who meant the piano tuner would be coming around again that week. Jim himself preferred the violin. He started playing the violin from a very early age and kept it up for nearly thirty years.

This is how Jim developed his ear for music quality. Of course, that meant a standard pair of headphones or earphones simply would not do and he started modifying those from an early age as well. He developed his engineering skills through trial and error over the years. From there it became pretty much inevitable that he would combine all his skills in the development of his own earbuds. TGX Ear was born.

I had come across a few pictures of Jim's first earbuds on Head-fi, although I wasn't aware that the Serratus were already the fourth model he developed. The Serratus have been such a step up that the previous three models were ready for retirement. At the time of writing, I believe there are already three more models: Tantalus (no.5), Alpha (no.6) and Ripples (no.7) being the latest. But that is a bit misleading because there are also different versions of various models such as the Bell Tantalus, which have a small bell-shaped shell and a very nice red version of the Serratus. Even then I feel I have barely scratched the surface, with various custom options popping up on the Head-fi forums and hints about a number of new models in the works. There have even been rumours about IEMs coming from TGX Ear, but Jim tells me he has not made a decision on that yet.

For now, if you like earbuds and especially if you have custom requests, TGX Ear is a great place to start looking.

Unboxing
The unboxing experience is as basic as you can get it. Just a small and practical case with inside the Serratus and a few accessories. Even there it is limited to just the foams, an instruction card on how to wear earbuds and a branded pin.




As far as I am concerned this is perfectly fine and all you need. There are some accessories that I can think of that would be a good addition, such as ear hooks or rubber surrounds for those who have fit issues. And in fact, when I mentioned this to Jim, he indicated that he would be including rubber surrounds with all his earbuds as standard. How about that for service!

Build quality and fit
From what I understand the Serratus have a fairly standard plastic flathead earbud shell. That means you know what to expect if you are familiar with those. This immediately exposes my relative ignorance when it comes to earbuds, because this is the first time I have used earbuds with this type of shell and I was surprised by how well they fit (more on that in a bit). Beyond the fit, my experience with other plastic earbuds is still limited (shees, you'd think I built up more expertise than this by now), but the Serratus feel pretty much as I expected. Just simple plastic shells that are nice and light while still durable. Inside the lovely transparent shells are the brightly coloured, 300 Ohms Blue Sapphire PET diaphragms with on the right side a small red detail to identify which side is which.

The pure silver cable feels quite premium and has a good suppleness to it. The termination is 4.4mm balanced (you can also opt for 3.5mm single ended) with a simple design for the plug.

As I explained, the fit was very good for me. Pretty much the most secure I have been able to achieve with earbuds. Still not perfect though and I found that especially the left side would tend to fall out if I was more active. My primary conclusion from this test being that my ears are very likely to be asymmetrically shaped and now my OCD is not happy with my ears at all. Jokes aside, the fit depends entirely on your ear shape and so my findings will not provide much for you to go on. Always best to see if you can try it for yourself. Or keep an eye out for accessories such as the rubber surrounds mentioned earlier or ear hooks, in case you are already aware of difficulties with fitting earbuds. Alternatively, there are of course the other shell options that TGX Ear can offer.



Source
Usually this is only a short section where I merely mention the specific sources I used for the review in order for people to know how I got to my impressions. With the Serratus being 300 Ohms tiny little earbuds, I found it important to spend some time to explore the consequences of various sources on the performance of the Serratus.

From my little experiment, I can say that for optimal performance a powerful source is essential. Important here is to note is that this is separate from the volume level that can be achieved.

To test this I used a $3,000, TOTL DAP, the Lotoo PAW Gold Touch -aka "my precious"- and compared that to more powerful, less expensive sources. With the LPGT I get plenty of volume and the Serratus sound nice enough. However, despite the source being a TOTL DAP, the Serratus do not set themselves apart from other earbuds I have heard. When I switch to a powerful source such as the Shanling M8 (Turbo gain) or EarMen Angel (Gain+), that's when the Serratus come alive and perform considerably better than I expected from such tiny little earbuds.

Jim explained that this has to do with maintaining the accuracy of the loud transient peaks and preserving dynamic range. This is consistent with what I hear, even though I can't explain it in technical terms. When I listen with a powerful source the image is cleaner, more accurate, better separation, more air, a bigger stage, etc. Across the board the Serratus simply perform better. Even with a superb source such as the LPGT, the lack of power causes a fuzzier image that doesn't feel as big as I know the Serratus are capable of creating.

Underpowered the Serratus still sound fun and engaging, but when powered properly they genuinely transform and perform at a much higher level. This means that when you consider buying the Serratus, you have to also consider the source you have available for them. If you do not yet have a powerful source, then these $199 earbuds can quickly become a lot more expensive because you have to add the cost of another source or they will end up underperforming for their price. If you already have a good quality desktop source, then the Serratus will offer outstanding value because you get their full potential without requiring any additional investment.

For this review I ended up relying primarily on the EarMen Angel because I felt a more neutral source paired better with the Serratus.



Presentation
The Serratus have a well-balanced and natural tonality. Emphasis feels to be primarily placed on timbre and detail retrieval, with a notable lower treble lift to increase the clarity of note articulation. That lift can be pushing it a bit for some, especially if they are sensitive in that area, but I expect this is an intentional trade-off in order for the Serratus to perform as well as they do. And they do perform impressively well.

What struck me most about the Serratus is the presentation as a whole, with two aspects working as a rock-solid foundation. Jim has been able to achieve an incredibly lifelike timbre that is presented through clear and precise imaging. I guess this is what Jim was talking about when he said the Serratus were tuned for orchestral music and concertos. The image is very stable and thanks to a large and airy stage, the Serratus present the positioning of the individual instruments of the orchestra with great clarity against a deep dark background. I can honestly say that I have never heard earbuds do this (probably due to my limited experience), only ever IEMs, and only ever higher end IEMs.

Each instrument is not only clearly presented, every one of those sounds lifelike. I intentionally use the term "lifelike" here because it is something more than "accurate" or "natural". I actually ended up reaching for my HD650 (paired with the Eletech Inferno aftermarket cable) to do a quick comparison and indeed, the Serratus have in my opinion a very similar quality timbre. That is not the only similarity I found. Remember how I had never heard earbuds sound like headphones? Well, the Serratus have that quality. They sound far bigger than their small size would lead me to expect and again reminded me a little of the HD650. I don't mean that the Serratus are the HD650 in an earbud. There are notable differences as well, such as the more pronounced lower treble lift, but in these two aspects they did remind me of those iconic headphones.

The bass on the Serratus is very well done. Nothing excessive, but a good quality bass that has proper extension into the deeper regions. It is a very well controlled bass, although I wouldn't call it tight or articulate. It is more of a natural bass with enough control to position bass instruments correctly. For instance, a tympani sounds lovely and full of texture without overpowering any other instrument. There is a good level of impact that works perfectly well for more popular music too. This gives the Serratus more versatility that I had initially expected.

The mids are gorgeous with that lifelike timbre, which not only works well for classical, but is great with acoustic music all-round. I don't find the mids on the Serratus particularly forward or pushed back in any way. To my ears the balance is really well done and just right for classical music. The vocal foundation feels good and natural, but the lower treble lift unfortunately takes away from that. I used the Serratus for some general-purpose listening and voices in games or on YouTube (etc) can come across a little nasal. This does reduce the versatility of the Serratus somewhat.

The treble has of course the lower treble lift I already mentioned, but that is of course not the whole story. The treble extends really well to add plenty of air to the Serratus' presentation. There is also a lovely, slightly cooler sparkle to the Serratus that allows small treble details (e.g., triangles in symphonies) to come through with plenty of clarity.



Comparisons
I was considering doing a couple of comparisons with the Astrotec Lyra Collection and the FiiO FF3, but ended up deciding against it because it simply does not make sense. The TGX Ear Serratus are in a different league, they are aimed at a different use and require a different source. I find comparing them could lead to confusion. Where earbuds such as the FF3 are great for easy portable use even with a phone, the Serratus are only portable if you have a portable source powerful enough to drive them to their full potential. I therefore prefer to underline this difference and (hopefully) avoid disappointment for those who are specifically looking for easy portable use.

I do believe Jim might be working on lower impedance earbuds, so there might be options coming up from TGX Ear for this as well.



Conclusions
The Serratus are great high-impedance earbuds that excel at timbre and imaging. The tonality creates very lifelike sounding instruments in classical or acoustic music and there is a lot of detail coming through. The presentation is big and airy and resembles headphones more than IEMs. The only potential issue for some can be the notable lower treble lift.

Some different versions of the Serratus are available, both cosmetically and (I believe) in the shape of the shells for those who might get a better fit with smaller shells. The accessories are very basic, but TGX Ear makes up for that with very personal customer service and various custom options.

EarMen Angel

Disclaimer
I would like to thank Miroslav from EarMen for providing me with the EarMen Angel portable DAC/amp for this review. No incentive was given for a favourable review.

EarMen Angel Specifications

• Inputs: USB-C (Charging), USB-C (Data) and S/PDIF (COAX/TOS)
• Outputs: Single End 3.5mm, Balanced 4.4mm
• DAC: ES9038Q2M
• Audio: DSD 256 DoP / Native DSD 512, DXD Up to 768 kHz, PCM Up to 768 kHz, MQA Rendering, MQA Full decoding, OFS, MQA, MQA Studio, MQA Auth
• Battery: 2 x Li-Po 3000mAh
• Charge : Use 5V >= 2A adapter
• Dimension: 152 x 27 x 66mm (L x H x W) 6" x 1.05" x 2.6"
• Weight: 340 gr / 0.75 lbs
• Price: US$799/€799

Links:
https://www.earmen.com
https://www.facebook.com/EarMenAudio/
https://duneblue.com (distributor)
https://www.facebook.com/Dune.Blue.Distribution

Preamble
For some time now I have been moving into desktop audio, starting almost two years ago with the purchase of the venerable Sennheiser HD650, reviewing an entry-level desktop stack and getting lucky with Dune Blue (the Dutch distributor for brands such as EarMen) lending me some cool stuff to try out. I must however admit that it has only been with baby steps since that time because of budget-related issues. Or perhaps I should say “Barnie-related issues”, as that is the name of the canine culprit quite literally eating away my budget. I guess that is why I have been interested in intermediate solutions that sit somewhere between a DAP and a full desktop setup. Those offer the advantage of portability, while adding the power usually reserved for a desk-bound setup. They always seem like an affordable and very versatile alternative. The recently released EarMen Angel is a perfect example and when I saw it, I immediately contacted EarMen who kindly sent me over a review unit to satisfy my curiosity.

EarMen is a relatively new company, but comes with some serious ‘pedigree’ behind it (pardon the pun, I have dog for brains). That is because EarMen is a sister-company to Auris Audio, which is renowned for its super high-end amplifiers, DACs and turntables. Most of their products are well out of my reach even without taking Barnie’s dinner into account, but they have been firmly on my radar for their ‘Euterpe’. The Euterpe is a beautifully designed all-in-one headphone tube amp and DAC that also functions as headphone stand and I love that design. Indeed, Auris Audio creates gorgeous products often using natural materials such as wood and even leather. That does of course come at a price and this is where EarMen comes in.

EarMen’s products are designed different from Auris Audio in that they are meant to be accessible to more people. EarMen seems to aim at bringing the Auris house sound down in size and price so that everyone can enjoy it anywhere. That last bit is also a key difference. EarMen started with a focus primarily on portable use and producing products that cater to the needs of modern users. Even though I used to pride myself on my ability to avoid streaming music (such blasphemy!), I have now become a full convert and feel lost if I don’t have access to my precious Tidal. It is a new way of experiencing music and that requires new tools for the job. EarMen set out to produce those tools by combining quality and convenience. They have branched further out recently with the release of a very interesting series of desktop products. These include the CH-Amp, Tradutto DAC and Staccato streamer, to make up for a very capable stack. Of course, EarMen are still best known for their portable solutions such as the TR-Amp and Donald DAC, as well as the pocket-sized Eagle, Sparrow and Colibri DAC/amps. The Angel is the latest addition to their portable solutions and seems to be a bigger brother to the TR-Amp.

The Angel was designed by Filip Tot. I know that because it says so on the Angel itself. Indeed, on the EarMen website you will find his story of the development of the Angel. It is a personal touch from what seems to be a company where its employees are encouraged to explore and innovate freely. I greatly appreciate that because all too often we (audiophiles) tend to forget that behind the products we use there are passionate people working long hours. I know from experience what it is like to dedicate an unhealthy amount of time and energy to achieve a result, only to be forgotten by those who benefit from it. Acknowledging Filip Tot’s many hours of work to develop the Angel is a wonderful gesture of appreciation.

Unboxing
Those who know me, know I generally prefer a simple unboxing that gets straight to the good bit and that is exactly what you get with the Angel: A no-nonsense black box that opens up to reveal the user menu with underneath the Angel itself. A few accessories are included as well. Two adapters for use with the COAX/TOS input, as well as a USB-C to USB-C cable.

The cable is a little bit stiff and I did not find it the nicest cable to use when I connected the Angel to my MacBook Pro. I prefer a more supple cable so I can push the cable to lay exactly how I want it. Or more accurately, how my OCD wants it because I need my workspace ordered just right to minimise distractions. My guess is that most people will consider it just fine for desktop use, but perhaps not ideal for portable use where a shorter, suppler cable is more practical. Still, most cables I have seen included are USB type A to type C and with increasing standardisation to type C, this cable is more future proof.






Design
The design of the Angel is very nice. The housing looks like it is the same type of CNC machined, high-grade aluminium housing as was used with the TR-amp, except that the Angel is a larger size. It makes for a sturdy feeling design. It also looks gorgeous with that blue colour. I have a soft spot for blue and love this colour. Darker would be perfect for my own personal preferences, but this gets close and probably better compliments the red of the TR-Amp.

On the bottom are rubber feet for secure placement, but it is of course the front and the back where all the action happens. At the front, from left to right are: The 4.4mm balanced out, the 3.5 single ended out with above that a LED indicator (with a surprisingly large number of things it can indicate), the Gain+ button with its dedicated LED located below, line out switch and finally the volume control that doubles as the on/off switch. On the back there are (again from left to right): The USB-C charge port, USB-C data port, S/PDIF (COAX/TOS) input, 3.5mm single ended line out and finally the 4.4mm balanced line out.




In terms of practical use everything feels very satisfying to use. Funny to use a word like “satisfying” here, but every aspect of the Angel gives that sort of feedback when I use it. Like someone -I’m looking at you Filip- spent a silly amount of time fiddling with buttons and dials until he found the ones with just the right kind of feel. Even the noises the Angel makes sound like it was done with great care and attention. Switch to Gain+ and the Angel gives this pleasing ‘click’ to confirm you made the right choice when you pushed that particular button. Even when switching off, the click the Angel makes seems to gently say “goodbye”. I dare say Filip, you need to get out more and work on your vitamin D production.

Another thing I noticed was that whenever I changed something, like switching headphones/IEMs or the Gain+ setting, the volume seemed to reset. It might not seem that important, but this is such a key feature to me. I previously reviewed the Dethonray Honey H1 DAC/amp and with that one I had to turn the volume wheel after pushing the gain button to activate the higher gain, which all too often caused a significant volume jump with sensitive IEMs. I got so traumatised by it that I still don’t dare keep my IEMs in when switching anything on any other piece of gear. Because of this feature, the Angel has now become my therapist, helping me recover and become confident again in pushing buttons while wearing IEMs.

Is the design of the Angel flawless? Not quite. When I used the DITA Dream XLS with the 4.4mm balanced plug, I found that the left side cuts out if the plug is fully pressed in. Basically, it needed a small spacer to fit correctly. It could be argued that this is down to the plug, not the Angel, and indeed I have come across cable manufacturers who included such spacers with their cables. Equally, I have not had this issue with other devices myself. I therefore share this observation free from judgement. Which is a posh way of me saying I will spare you the audio equivalent of a philosophical ‘chicken or egg’ debate.



Under the Hood
The Angel is a fully balanced DAC, headphone amp and pre-amp with a battery for portable use. The battery is a two-cell battery with 2 x 3000mAh, which will give you - I am quoting the website here- “many hours” of use. That is not a very specific specification (and the box actually states “up to 8 hours”), which I expect is because the battery life depends on how you are using it. That is at least my own experience. With IEMs and Gain+ on I could get a fair number of hours use, around 6 to 8 hours, which is consistent with what is on the box. With the HD650 that seemed to have reduced quite significantly. Mind you, I did not keep a timer at hand and simply used the Angel. Based on that experience I feel that for on-the-go use with sensitive IEMs or easy to drive portable headphones, battery life is good. With harder to drive headphones it might be somewhat limited, but then it is more likely that it will be behind a desk with ready access to a charger. Charging should be quick, less than 3 hours, when using the correct charger, i.e. one with a 5V >= 2A adapter. I used one from Apple that stated it was 5V and 2.1A, but for some unknown reason that took much longer to fully charge the Angel.

The DAC section is based around the ESS ES9038Q2M chip and decoding goes up to PCM 768kHz/32, DSD256 via DoP (Native DSD512) and full MQA. The amplifier is fully balanced and the signal from the DAC to the headphone out is only amplified to minimise distortion. As expected, the Angel can provide plenty of power with 7.2 Vrms from the single ended headphone out with Gain+ on and 8.5 Vrms from the 4.4mm balanced headphone out with Gain+ on. If my calculation is correct, that is up to 2.2 W. With the line out it is the same for the pre-out, 7.2 Vrms SE and 8.5 Vrms balanced, with direct out at 1.5 Vrms SE and 3 Vrms balanced.

All that power means that in use the Angel runs a little warm, but certainly not hot. I felt it was more like a nice and cosy handwarmer. (Does it show our energy bills are up this Autumn?) You will unlikely be able to fit the Angel in the pockets of your jeans, but should you have jeans capable of accommodating it, then the temperature will not be a threat to any parts of the anatomy.

Sound
Of course, all the specs and all that power need to translate into sound. These days I work on my reviews in a less analytical way than I used to and much more actual use. I find that by doing that, I get to know the products I review better and actually still notice subtle differences. As such, I have used the Angel extensively with a wide range of different earbuds, IEMs and headphones on order to get a good feel for how well it performs.



Overall, I think the Angel performs very well and is a highly versatile DAC/amp. EarMen describe the sound they are after as “neutral, natural and clean” and that is exactly how I would describe the Angel. It is a very neutral and clean presentation with a natural and realistic feel to it. Music comes alive without the Angel imposing its own characteristics onto it too much. There are still some characteristics that do come through. Most notable for me was a very tight bass. There was still plenty of depth and texture to the bass, but it was kept very well controlled. The mids felt super clean and natural, and for me this was the main strength of the Angel. Not that the mids are somehow overemphasized, rather that they were very accurate and realistic. The treble had a hint of energy to it. Nothing offensive or anything like that, just a really well-balanced touch of sparkle.

I expect that a lot of people will love this tuning. For me personally, I tend to prefer a hint more warmth and an ever so slightly smoother treble. That is however because I am used to the Lotoo PAW Gold Touch, which is a $3k TOTL DAP and it is unrealistic for the Angel to perform at that level. Considering the price difference though, I feel the Angel actually gets a long way there and has its own strengths. The presentation feels crisp and clear without becoming dry, which is not easy to achieve. With everything I tested the stage felt large and airy with excellent positional information.

As indicated, I tested a wide range of different pairings from ultra-sensitive IEMs to hard to drive headphones. It was only when I brought out my most challenging IEMs that the Angel started to show the first signs of limits to its versatility. The Empire Ears Wraith are both ultra-sensitive and demanding because they need a lot of power to fully engage their estat drivers. The Angel drives them wonderfully well, but there is some waterfall hiss in the background. It is hardly noticeable while the music is playing and only becomes apparent in silent sections of the music, so not ideal for (for instance) classical music. The Empire Ears Phantom also have a little bit of hiss, though less than the Wraith. Beyond those two all other IEMs I tried, such as the 64 Audio U18s and DITA Audio Dream XLS, had a clean background. Earbuds paired great, from the easy to drive FiiO FF3 to the 300 Ohm TGX Ear Serratus. The power of the Angel is also sufficient to drive the HD650 comfortably. All this shows the Angel is suitable for a very wide range of pairings, making it highly versatile. Of course, that versatility is increased by the wide range of sources you can pair it with. Heck, because the Angel has an optical input (far too many DAC/amps only have optical output, which doesn’t make sense to me) I have been able to pair it with my PS4 and game with the HD650.



Conclusions
The EarMen Angel is a highly versatile, portable DAC/amp. The sound is a high-quality neutral that in my opinion gives a taste of what truly high-end neutral sources are capable of. It is a clean, neutral sound that avoids becoming dry and maintains a natural and realistic feel. It offers a lot of power and a clean background with all but the most sensitive IEMs. The Angel has a solid build quality with great attention to detail in its design.

FiiO FF3

Disclaimer
I would like to thank FiiO for providing me with the FiiO FF3 earbuds in exchange for my honest opinion. No incentive was given for a favourable review.

FF3

• 316L stainless steel polished shell in Cosmic Silver or Elegant Black
• Bass enhancing acoustic flute design
• Ultra-fine copper-clad aluminium Daikoku voice coil
• 14.2mm beryllium-plated dome + PU gasket diaphragm
• New generation twist-lock plug, swappable 3.5mm SE and 4.4mm termination
• High-purity silver-plated monocrystal copper cable
• Price: US$99.99

Links:
https://www.fiio.com
https://www.facebook.com/FiiOAUDIO/

Preamble
About two years ago I reviewed the FiiO EM5 flagship earbuds. The story behind the EM5 was that it was always going to be one of the pet projects of FiiO’s founder James Chung. It started as early as 2017 and the aim was not to come up with a market-oriented product, but rather something like a proof-of-concept or a “let’s see what we can do for the fun of it”. Fast forward to today, I think it is safe to say the EM5 were a very successful proof-of-concept. I suspect that because of that success, FiiO took what they learned and set out to produce a new line of earbuds that are intended for a wider market. This new line is starting with the FF3 and rumour has it that FiiO also have higher end FF5 earbuds in development for release later this year. Exciting times for earbud enthusiasts!

Although I don’t have access to a wide range of earbuds, I do consider myself an earbud enthusiast. In fact, I have a pair of earbuds that have been with me for well over four years and I still use them on a daily basis, which is more than any other piece of gear I own. So, when I heard FiiO had released the FF3, I quickly reached out for a review because I was very curious how far FiiO’s earbuds had progressed.

Unboxing
The unboxing is a fairly standard affair and I tend not to dwell on it too much. That said, there are a few interesting things to note here.
When opening the box the first thing seen is the quick start guide. Usually this is not that interesting, save for the description of how to change the interchangeable plug and how to mount the foams. However, I assume the guide has been printed for the FF5 as well as the FF3 earbuds because there is also a description on how to use the MMCX assist tool. The FF3 do not have a detachable cable and therefore I think it is safe to expect the FF5 to feature a detachable cable with MMCX connectors.





Removing the quick start guide reveals the FF3 sitting all pretty and shiny in the top half of box. Below that is a black cardboard box with plastic hard case inside. It might not feel as luxurious as the leather case that came with the EM5, but I really like these hard cases. I have several Peli cases for when I want to store something as safe as possible and one of those I always use when travelling because of how tough they are. I would say that these are never a bad choice.

Inside the case are the 4.4mm balanced replacement plug and three bags with foams: Bass, Balanced and Crisp foams. There are six pairs of each included, which is a healthy amount and in my opinion this is important for earbuds because the foams wear out frequently.



Build quality and fit
Look at them… How gorgeous do the FF3 look! The polished stainless-steel shells look amazing and nothing like I would expect for earbuds at this price point. Okay, let’s not get distracted by the sparkles…



The FF3 have a wonderful and solid feeling build quality. The stainless-steel shells are a little heavier than most earbuds, yet still well balanced when wearing them. In other words: they do not pull down and simply sit comfortably in your ears. The ergonomics are also pretty good. I always have problems with earbuds and to my deepest disappointment, I could not get a secure fit with the EM5. The ergonomics on the FF3 have been noticeably improved to where they sit fairly secure in my challenging ears. It is not perfect and the right side sits more secure than the left side, which tends to fall out occasionally. Still, for me this is the best fit I have found with earbuds and I can happily wear them while I am working behind my desk without any worries.

Moving down, the cable is a great quality one. Fairly thin and very supple, it has a good balance between light weight so as not to pull on the earbuds too much, while still having the weight to avoid tangling. At the end of the cable is of course the new generation interchangeable plug. I was a big fan of the previous design, but this one is even better. FiiO have managed to create an interchangeable plug that is not any bigger than a regular one. The mechanism also feels very solid, making it effectively indistinguishable from a regular plug.



Source
Because of the interchangeable plug, I have been able to use the FF3 with a wide variety of sources. Everything from straight out of a MacBook Pro, to the Lotoo PAW S1 dongle, the EarMen Angel portable DAC/amp and high-end DAPs such as the Shanling M8 and Lotoo PAW Gold Touch (LPGT).

Initially I decided to use the LPGT for the analysis because of its neutral and incredibly transparent sound. However, as time went on I started using the M8 and Angel just as much. The M8 is a slightly warmer, more analogue sounding source and that pairing was wonderful. The Angel is more neutral and has a lot of power, which seemed to work very well for the FF3 too.



Presentation
As soon as I started listening to the FF3, I was convinced these belonged in a special category I have with only a handful of gear in it. This category is essentially my “best of…”, but then a best of for enjoyment. Gear I never tire of listening to and that always brings a smile to my face. It doesn’t require a specific signature or technical performance, rather it is about the pure joy of music. The venerable Sennheiser HD650 is one of those that I have in this category. I always seem to enjoy the music so much more when I listen with the HD650. I forget about nit-picking over details and over-analysing everything, instead I simply drift away in the music. The FF3 have that same effect on me, which actually makes reviewing them that much harder because I keep forgetting I am supposed to analyse the sound.

At the core of the FF3 is a signature that is fun, musical and versatile. It is a “safe” tuning that I think everyone will enjoy. Of course, there is the option to play around with the different foams that are supplied to tweak the sound a little for extra warmth or brightness, but personally I think the “balanced” foams are the sweet spot.

I usually don’t pay much attention to claims in the specifications such as “bass enhancing acoustic flute design”, but from the EM5 I remember that FiiO is able to get excellent bass performance from a pair of earbuds. With the FF3 the acoustic flute designs once again seems to be more than empty marketing hype because the bass is very good on these. It is a well-controlled bass that has physicality, texture and detail at a level that really surprised me. There is presence to (for instance) a bass guitar without harming the overall balance. It feels like FiiO have been very effective at using this bass as a foundation for the signature, which is what gives the FF3 that thoroughly enjoyable character. The mids that follow are clear and surprisingly airy with good separation and positional information. Give the FF3 a good source and they do seem to scale quite well in this regard. The soundstage is quite large and holographic. It is not a flat stage stretching out in front of you, instead you genuinely feel immersed in the music. The treble is polite and inoffensive, yet has enough presence and extension to avoid the FF3 sounding dark and rolled off. In my opinion the treble balances really well to create that always enjoyable tuning that make the FF3 so easy to love.

Resolution and detail are really good. I can’t compare to many other earbuds, so I have to be a little careful in my statements, but I am certainly surprised. In my experience earbuds tend to struggle in this area, depending also on how the fit works for any given person, yet the FF3 seem to render a lot of detail and texture even when they move around a little bit (i.e. with a less optimal fit). It just always sounds good.



Comparisons
-Astrotec Lyra Collection-
The Lyra Collection are a staple in my head-fi diet and the most used gear in my inventory. I use them on a daily basis, and have done so for over four years now. They are considerably more expensive than the FF3 at $299, and their intensive use means the FF3 have one heck of a mountain to climb to come out on top, but let’s see.

In terms of build quality, the Lyra Collection have a much lighter design. The shell is constructed with a very light-weight aluminium and the cable is made up of eight very thin wires (four copper, four silver-plated copper). Although they have stood up to years of intensive use, which is a testament to their build quality, I still find the cable to feel somewhat fragile. Obviously, it is not, otherwise it would have broken by now, so the Lyra Collection have a deceptively light and strong build quality. The FF3 on the other hand have more weight to them thanks to the heavier stainless-steel shells and sturdier cable. It inspires more confidence, although I have obviously not been able to subject the FF3 to a similar level of use to test if that also results in a higher durability. A big advantage of the FF3 is of course the interchangeable plug, allowing use with both single-ended and balanced sources.

A comparison of the differences in fit between these is interesting. For my ears the Lyra Collection have always been problematic. They won’t sit in place by themselves. The FF3 have a much better design in that regard, for my ears at least, and will stay in place reasonably well. This means the FF3 give me the best of that characteristic earbud experience. However, the Lyra Collection came with an ace up their sleeve, ear hooks. I use them with small “shark fin”-like ear hooks that secure them in place perfectly. It is the sort of accessory that I was missing with FiiO’s EM5, which did not stay in my ears securely at all, otherwise those would have long since replace the Lyra Collection as my daily users. The FF3 don’t really need them, which is great, but it would still have been nice to at least have the option. That said, in terms of accessories the FF3 come with a much larger supply of foams and that is an essential advantage because intensive use means the foams will wear quickly.

In terms of sound, it is not really a comparison, the FF3 easily outperform the considerably more expensive Lyra Collection. When l compared the two back-to-back the Lyra Collection come out as especially fuzzy, veiled and rolled off. The stage is much smaller and a lot of detail seems to get lost in what I used to associate with the physical limitation of the earbud form factor. The FF3 prove my misconception and it is a testament to the outstanding sound quality of the FF3 that they have rendered my sound comparison here so short.



Conclusions
At the risk of sounding like a complete shill, I think FiiO have hit a homerun with the FF3. The FF3 are so easy to love and the price feels like a sweet spot where they can be considered premium earbuds, yet remain within a price range where they are accessible for many people.

The tuning is tremendously enjoyable with a good balance and surprisingly good technical performance, especially in detail and resolution. The FF3’s bass is excellent with great physicality, texture and detail, it is complimented by clear and airy mids, and a wonderfully easy going treble that extends well.

Build quality feels premium with the added advantage of an interchangeable plug for use with both 4.4mm balanced and 3.5mm single ended sources. They are easy to drive and will scale with higher end sources. Ergonomics are very dependent on individual ear shape, but it feels like FiiO have improved on previous designs to create a more secure fitting shape.

In short, the FiiO FF3 are highly recommended.

MMR Gáe Bolg

Disclaimer
I would like to thank Joseph Mou for providing me with the MMR Gáe Bolg in exchange for my honest opinion. No incentive was given for a favourable review.

Gáe Bolg

• 5 Custom Tuned Balanced Armature Drivers Configuration
• 1 Tweeter, 1 Vented Mid-High, 1 Mids, 2 Vented Lows
• 4-Way Passive Electro Frequency Division
• TriBore Waveguide
• GB Acoustic Chamber™
• Frequency Response: 20Hz-40kHz
• Impedance: 25ohm
• Noise Isolation: -18db (UIEM)
• Price: US$1,199 (Lite) or US$1,399 (Complete)

Links:
https://metalmagic.co
https://www.facebook.com/Metalmagicresearch/
https://www.qobuz.com

For a free 1-month trial of Qobuz visit: https://duneblue.com/portfolio_page/qobuz/

Preamble
Last year I introduced Metal Magic Research, or MMR for short, when I reviewed their unique flagship hybrid IEMs the Thummim. Named after a mythical spear, the Gáe Bolg continue the tradition at MMR to do things a bit different from others, be it this time at a much more affordable price point and with a balanced armature only design. Balanced also seems to be the name of the game with Gáe Bolg. Where the Thummim are unique, crazy even, with tons of energy and the most extraordinarily spherical soundstage I have ever heard, the Gáe Bolg feel more conventional, balanced and extremely versatile.

In fact, Gáe Bolg fit a category I recently saw promoted for the VxV by FiR Audio, which was termed ‘EveryDay Carry’, or EDC for short. I am not into the EDC scene, I can however imagine what IEMs would have to be like to fit into an EDC load out. Such IEMs need to have an excellent build quality to take everywhere, a comfortable fit for using them all day long and a versatile signature because you will want to listen to all your music using them. Gáe Bolg fit this to a T.



I have had Gáe Bolg over for quite a while now and had initially planned a regular review. However, because of the highly versatile nature of Gáe Bolg and coincidentally being offered a 3-month trial from Qobuz, I saw an opportunity to do something I have always wanted to do. We are in this hobby because of the music, yet our focus on gear tends to distract from that to a point where many often forget to enjoy the music. I have already started a review series dedicated to classical music where I put the music first and use the gear as a means to an end. In other words, the IEMs should be seen as the tools we use to enjoy our favourite music. For Gáe Bolg I wanted to spin that concept around and use their versatility to explore new music using Qobuz’s 70 million songs and over 220,000 Hi-Res albums. Yes, I copied Qobuz’s marketing line there, but the point here is that having versatile IEMs and a silly big catalogue of music to dive into must be an audiophile’s equivalent of skinny dipping into Willy Wonka’s chocolate river.

This is also why I kept delaying this review. I didn’t really want to write it because I was enjoying the music too much. I just wanted to keep going like an Energizer Bunny. I kept checking Qobuz’s new releases and album suggestions, friends kept sending me tips on what albums to try and some of those albums I just kept playing again and again because I loved them so much. I can write all the sound impressions I can think of (don’t worry I will write some), but this more than anything is a testament to how nice the Gáe Bolg are to listen to and just how versatile they are.

Unboxing
Reviewer’s privilege, I received the Gáe Bolg a little before their official release and for me they simply came in a metal round case without any packaging. MMR were however kind enough to send over pictures of the full presentation and they did a really nice job of creating something special. The box displays the IEMs neatly alongside a metal product card and a unique looking leather case. From what I understand a full set of Acoustune tips is included as well.



Images courtesy of MMR.

With the IEMs comes of course the cable and which one you receive depends on the version of the Gáe Bolg you bought. Gáe Bolg is offered in a ‘Lite’ and a ‘Complete’ version and the Lite comes with a regular stock cable, whereas the Complete comes with the premium Eletech Prudence. One added advantage of the Complete version is that you can choose the termination in standard 3.5mm single ended, 2.5mm balanced or 4.4mm balanced. The Lite only comes in 3.5mm single ended.

Build quality and fit
When I had Gáe Bolg in my hands for the first time, it struck me just how detailed and well thought out the design is. It is gorgeous to look at, feels great in the hand and a lot of attention must have gone into finalising the fit and finish. In no way do I feel this is any less than what you get with the flagship Thummim, despite the considerable difference in price.



The most obvious feature is the three-dimensionally designed faceplate that is CNC’d from aluminium and takes inspiration from the mythical spear after which the Gáe Bolg were named. The beautiful satin red colour with its sandblasted finish contrasting against the matt black backplate is incredibly well done and coincidentally nearly impossible to do justice in pictures. The other side is super smooth, also from aluminium and designed with optimised comfort that I think worked out really well. I have used the Gáe Bolg for countless hours and never experienced any discomfort from them.

Similar to Thummim, Gáe Bolg uses an acoustic chamber to control the tuning. I expect this acoustic chamber is once again 3D printed with great precision onto which the drivers are mounted.


Image courtesy of MMR

The stock cable is a very nice one, as far as stock cables are concerned. Nothing too fancy, but sturdy, comfortable and with nice parts. Of course when you go for the Complete version you get the Eletech Prudence included and that is a very nice cable. Prudence is a 26 AWG silver-plated copper that is clearly a step up from most spc cables. At 26 AWG it is a little thicker than the stock cable and because of how supple it is, you don’t notice the difference. The parts on Prudence are of a very high quality and gives a bit of added bling to Gáe Bolg.

Gáe Bolg Lite vs Complete
The big question with Gáe Bolg is of course whether or not it is worth paying the US$200 premium for the Eletech Prudence upgrade of the Complete version. Prudence usually sells for US$249, so you get a nice discount on it, and there is of course the option for a balanced termination in either 2.5mm or 4.4mm. But what about the sound?

In my opinion Prudence has a noticeable impact on sound quality. It doesn’t change the character of Gáe Bolg as such, I don’t think any cable can significantly affect the character of IEMs, but there are some improvements nonetheless. The stock cable has a somewhat warmer presentation. Prudence reduces that a little bit by tightening the bass and giving it more impact, which instantly gives Gáe Bolg a little more dynamics. Overall clarity is improved and the stage becomes larger both in terms of width and depth, and airier to give an even more spacious feel. The main benefit of this can be found in the imaging. Imaging is already good with the stock cable, but Prudence (in my opinion) elevates it to another level. Suddenly the music seems to be presented with more precision and better positional information, thanks in part to a blacker background.



I am not sure, but in all honesty I would not be surprised if Gáe Bolg were tuned with Prudence in mind. Although I am always reluctant to outright recommend gear, especially a cable, I genuinely think that it is worth considering the upgrade if your budget stretches that far. You won’t really miss out with the stock cable and some might even prefer the slightly warmer sound, but if you want to get the extra edge in performance then going for the Complete version is an excellent option.

As such, my impressions will be with Prudence to represent the Complete version.

Source
I have used Gáe Bolg with a number of different sources and I honestly think they pair well with everything, although I personally like them especially with a more analogue sounding source such as the Shanling M8.

-Dethonray Honey H1-
The Honey H1 is a USB DAC/amp and a darn good one at that. I don’t think it quite gets to the level of the higher end sources I use, but it is a great performer for its price. The Honey H1 worked wonderful for streaming using my MacBook Pro.

With the Honey H1 the Gáe Bolg get a lovely smooth presentation that is easy-going and has a fluidity to the notes that makes them especially pleasing to listen to for longer periods of time.

-Lotoo PAW Gold Touch-
A recent addition to my DAP stable and the highest performer of the DAPs. With the LPGT the Gáe Bolg get a crisper and clearer presentation with more bass impact and overall a more dynamic feel. The stage is larger and more airy, and the background gets Lotoo’s trademark deep darkness.

-Shanling M8-
My primary streaming DAP for reviews. The M8 gives the Gáe Bolg a more analogue sounding low end with a bit more growl. The Gáe Bolg get a highly dynamic presentation with a smoothness similar to the Honey H1, but with a bigger and more airy stage.

-Violectric V380-
The Violectric V380 is a neutral high-end desktop DAC/amp and I used it primarily for comparisons, as it has two 6.3mm SE headphone outs, making it particularly useful for A/B-ing. The V380 scales the Gáe Bolg very nicely, imbuing them with more dynamics, a bigger stage and more air.

Presentation
The Gáe Bolg are wonderfully balanced IEMs that I feel show something I would describe as an exercise in moderation. Now don’t think that what I mean is anything boring or subdued, the Gáe Bolg are anything but, it is rather in the balance that MMR have struck with them. The Gáe Bolg have a rich sound that is thoroughly enjoyable and doesn’t push anything too far. The stage is large and airy, which is complimented with full sounding notes so that that stage is really nicely populated. With few instruments going on there is focus and detail, yet when the music builds up in complexity, the stage starts to fill up and creates a highly dynamic and enveloping musical experience. There is intimacy to it, while never feeling congested or harming separation and detail.

The bass is well controlled, but quite full sounding at the same time. It has weight to it and is perhaps not the fastest most articulate bass, but I think that is the point. It is tuned without going too far, so that it starts to build up a rich and relaxing signature that is still highly versatile. Mids have a hint of warmth and again that richness with clear vocals that are very nice. Not the best vocals, but good clarity and density nonetheless. Treble is smooth and a little bit laid back without harming sparkle or reducing the airiness too much. I won’t say it is entirely linear, but what it is, is balanced. By not pushing anything too much, the Gáe Bolg are tremendously versatile and enjoyable. I have listened to a lot of different music and they do it all very well. Mind you, I don’t think that these are the most accurate in terms of timbre and so with classical music you do start to notice it a little. Yet at the same time it never bothered me because it was so enjoyable.

The Gáe Bolg are like a high quality chocolate mouse that does not have the pretentiousness that comes with a Michelin Star. This is no plate left mostly empty with a tiny scoop in the middle and silly garnishing. This is proper pudding that avoids artificial flavouring because it is naturally rich. That makes the music so enjoyable. It is rich, but doesn’t sound “off”. In fact, it sounds just right. Let’s take a closer look at that…

As I have explained, I got new music from everywhere to try out and here is a selection of some of those albums that I think illustrate the sound of the Gáe Bolg very nicely.



Yeahman - Ostriconi
Just to illustrate how arbitrary my selection criteria were for albums, I picked Yeahman’s Ostriconi out of the new album releases of the Qobuz front page simply because the album art looked peaceful. Indeed the album is very relaxed and seems to have some world music influences that the DJ mixes with electronic. The album also shows how wonderful it is to just explore because I absolutely love this album. It is cheerful, feels positive and bright. Tell me you don’t cheer up when hearing Baixi Baixi.

The Gáe Bolg adapt to this incredibly well with their clarity and balance, where the bass is delicious and acoustic instruments sound fresh. The track Soupe Fue has a wonderful sparkle to it with a thick and lush bass line that always gets me moving in my seat. Imaging is once again great and it surprised me how far away some details of the track are (towards the end of the track on the left). Strings have a really nice crispness with just a hint of bite, but again in moderation, as you can hear in the track Sakoneta.

Minco Eggersman - Unifony
This one I happened to come across while looking at Dune Blue’s (a distributor I sometimes collaborate with) Facebook page. They were promoting the Final D8000 headphones together with Minco Eggersman’s second Unifony album and I happened to have Dune Blue’s demo unit of the D8000 over, so good enough excuse to have a listen.

This album has a very relaxed, sort of minimalist flow to it, not unlike Ludovico Einaudi. It is super relaxed and the Gáe Bolg render it really well. Imaging is excellent with great positional information and so the layers build up really well, as you can hear in the build up of the track Hunt. Because of the Gáe Bolg’s richness the pace feels slow, relaxed and enjoyable, which is complimented with a little bit of crisp clarity to for instance horns, strings and piano notes. The track Whisper shows off this contrast between the slower, heavier bass line and the crispness of the piano notes.

Porcupine Tree - In Absentia
Less arbitrary was the tip I got from my Twister6 colleague Anirudh (Animagus), who is a professional musician, producer and all-round music expert. He recommended I give the progressive rock band Porcupine Tree’s album In Absentia a go, as it is highly regarded for its production as well as the music itself. I am completely new to prog rock (as far as I am aware anyway), but this is another album that has quickly shot to the top of my favourites.

The track Trains shows off the Gáe Bolg’s very nice vocals as well as some excellent acoustic guitars sections that I think Gáe Bolg render really well. The solo sections get me air-guitaring along as if I have any idea on how to play the guitar. Under that layer of vocals and acoustic you get that meaty bass with pretty good impact from the kick drum. Talking about air-guitaring like an idiot, one of my favourite tracks is Wedding Nails, which the Gáe Bolg give a ton of energy, nice crunch on the electric guitars and a great image that feels hollow, like sound resonating in an abandoned building that is quite eery. Interestingly, I think Joseph Mou seems to have a talent for tuning for guitars. Those always sound great. I had that with the Jomo Trinity, the Thummim and now the Gáe Bolg. The opening of Blackest Eyes shows off the imaging and richness of the Gáe Bolg really well. Starting with a sound that feels like it is flying around your head with great panning action before it bursts into gear and you get this sense of the music enveloping you.

Goldfrapp - Felt Mountain / Black Cherry
My friends on Head-fi know I have a soft spot for female vocals and one of my friends recommended Goldfrapp. He suggested that I start with Felt Mountain, but I ended up listening to Black Cherry more. On Felt Mountain, which is a more conventional album, tracks like Paper Bag shows how wonderfully intimate and hauntingly beautiful the Gáe Bolg can render Allison Goldfrapp’s voice.

In the end I loved Black Cherry more because of its energetic vibe and great use of synths. There is lots going on in tracks like Crystalline Green, where the imaging of the Gáe Bolg works great in balancing intimacy with somehow still a great sense of spaciousness. My favourite track has to be Tiptoe, which I was listening to the first time while cooking dinner and it had me dancing through the kitchen. Here the Gáe Bolg have that balance with richness and crisp sounds layered, but always with easy-going, fun and punchy musicality.

Snarky Puppy - We Like It Here
Snarky Puppy is forever being plugged by my friend and reviewer for the Headphone List, Deezel. So after having heard him talk about it for so long, I had to give it a go. It is a type of instrumental jazz fusion and can get very layered, with lots going on.

In the opening track Shofukan, you get a sense of how the Gáe Bolg don’t push things too far. Horns in it sound great, but don’t have the bite you often get. I quite like that bite, but this smoother presentation is what makes the Gáe Bolg so wonderful for long listening. It still sounds exciting and yet never gets fatiguing. In Jambone things get feel quite hectic and it has lots going on, yet the Gáe Bolg allow you to hear every element without pushing separation. Again it is that moderation I feel the Gáe Bolg have that makes them so wonderfully easy going. It has a great guitar solo as well.

Max Richter - The Four Seasons (recomposed)
What about classical music? I think regular readers of my reviews know how much I love classical music. Here I find the Gáe Bolg less in their element, as critical clarity, separation and transparency are not quite there. The Gáe Bolg have nice clarity and such, but there is a soft edge around instruments that is not as suited to classical music if you are being critical. However, it is also exactly that softer edge that gives Gáe Bolg their charm and classical music is still very enjoyable to listen to. Because of this characteristic I actually found that Max Richter’s type of classical music works very well.

I know Vivaldi’s The Four Seasons very well, having included it in my series Masters of Classical Music for the Vision Ears VE5. Max Richter’s recomposition of it adds a modern twist that benefits from the richness of the Gáe Bolg, while violins still sound rather fruity on top of that richness. (I’m starting to get hungry from all the food analogies.)

To be honest, I actually don’t like this recomposition at all. And why the heck is there a fifth “Shadow” season? The Four Seasons, Max, just four. But irrespective of that, I do think the Gáe Bolg have the richness that works for this twist on classical music.

Comparisons
For comparisons I switched back to the stock cable for the Gáe Bolg and used the Violectric V380 desktop DAC/amp with my MacBook Pro as a source for streaming the different albums from Qobuz. The V380 comes with two single ended 6.3mm headphone outputs and thus makes it ideal for direct comparisons, with only minor adjustments in volume needed between IEMs.

-Campfire Audio Ara-
The Campfire Audio Ara are price right in the middle of the Lite and Complete versions of Gáe Bolg at US$1,299. In terms of build quality the two are very similar, although the designs are completely different. The Gáe Bolg come with a much more elaborate design in aluminium and a striking colour, where the Ara look more industrial by comparison with a bare titanium shell. I personally prefer the look of the Ara, as it has been one of my favourite designs ever since I first saw it with Campfire Audio’s similarly designed Andromeda. I can however see others preferring the more intricate design of the Gáe Bolg.

In terms of sound I find the Ara to have a more intimate presentation with a smaller stage, less air and more forward vocals by comparison. The Ara are also a bit brighter in the treble and have relatively more mid-bass presence. The Gáe Bolg have the larger, more airy stage and I feel perform beyond the Ara in terms of imaging and clarity. The bass is tighter, faster and more impactful, and while the treble is not as sparkly as that of the Ara, I find that Gáe Bolg still manage a more dynamic overall feel with nice energy in strings.

I think the Ara have perhaps the edge in build quality with the titanium instead of aluminium shells and a better stock cable, but the Gáe Bolg are in my opinion the better performers in terms of sound.



-Vision Ears VE5-
The Vision Ears VE5 are once again similar in price starting at €1,250 for the Signature Edition universal. In terms of build quality you get very different propositions with the VE5 being made out of resin and the Gáe Bolg out of metal. Obviously this makes the VE5 much lighter and Vision Ears offer them in CIEM and custom universal, so that the fit can be perfect and the design entirely the way you want it.

In terms of sound there is a big difference in presentation. The VE5 have a uniquely focused presentation that is more intimate, yet presents instruments with greater clarity, against a blacker background and with more air around them. They also have some of the very best vocals available. By comparison the Gáe Bolg feel bigger, more dynamic in their presentation, not quite as clean or focused, but more fun, even though I find them very nice for classical music as well. The Gáe Bolg are in my opinion the more versatile, whereas the VE5 are the more accurate sounding IEMs.

This comparison is more apples vs oranges and I think both have a lot going for them. For versatility the Gáe Bolg have it, where the VE5 offer less versatility in exchange for one of the most unique and beautiful presentations I know. If anything, these two are complementary.

-FiR Audio VxV-
The VxV came in just as I was finishing up this review and make for the most interesting comparison. The VxV are explicitly marketed as “EDC” and sit at a very attractive price of US$999 just under the Gáe Bolg. The VxV feel purposely designed as ‘carry everywhere’ IEMs with an excellent build quality that is similar to the Gáe Bolg, but more understated in their design. The VxV are smaller and lighter, and in terms of comfort I think both do really well. The VxV however have the advantage of the Atom pressure release module that is very effective combating fatigue. The stock cable of the VxV is also very nice, incredibly supple and of a higher quality than the stock cable of the Gáe Bolg.

In terms of sound this has been a really difficult comparison because these are very close and yet have a slightly different presentation. The Gáe Bolg feel more linear and balanced with a more spacious stage and perhaps more airiness. However, while the VxV have a more forward feel to them that gives a sense of intimacy, the Atom module still generates a spacious presentation and separation of instruments is outstanding, as well as imaging. The VxV feel a little warmer and even more dynamic than the Gáe Bolg and with better vocals, but don’t have the richness that makes the Gáe Bolg so nice. The bass is really tricky because both have a nice bass. The Gáe Bolg feel like there is more weight behind it, whereas the bass of the VxV has more texture and impact.

These two are incredibly close and it is hard to pick one over the other. I personally prefer the VxV, but listening to the Gáe Bolg never makes me feel like I want to switch. The choice here is really down to personal preferences and budget, but both are excellent performers.



Aftermarket cables

-Eletech Prudence 8-
I had initially planned to try out a number of different cables, but this review was already getting very long and so I decided to skip cable rolling, except for one. The Eletech Prudence 8-wire version because how could I not try out what the effect would be of doubling up on the fun supplied by the standard Prudence.

Doubling wires can have unpredictable effects and in this case I was a little surprised by the result, although pleasantly so. Prudence 8 pushes back the presentation a little to make it feel less intimate and not quite as rich due to a smaller note size and a little less warmth. In return Prudence 8 adds air and clarity with a tighter and more impactful bass and a bit more sparkle. To me it does not harm the musicality at all and it is a very enjoyable pairing. However, I don’t know if I might prefer the standard Prudence, I quite like the intimacy and the enveloping rich feel that Gáe Bolg provide with it.

Conclusions
If it was not clear yet, I love what MMR have done with the Gáe Bolg. From the build quality to the comfort and from the optional cable upgrade to the highly versatile and enjoyable sound, the Gáe Bolg offer a very complete package. The rich, yet balanced sound is never fatiguing and will work with every type of music. That is also why this review took me way too long to get written. Too much time spent enjoying the music [smug grin]. I can highly recommend a demo!

Violectric V380

Disclaimer
The Violectric V380 demo unit was kindly offered to me on loan by Michael Wongso of Dune Blue, distributor for Violectric. No incentive was given for a favourable review.

V380 features

• Balanced headphone output with 4-pin XLR, 2 single ended outputs with 6,3 mm jack
• Line-out, stereo, 1 x unbalanced via RCA, 1 x balanced via XLR
• Headphone path and line-out path individually switchable
• 2 analogue stereo inputs, unbalanced via RCA
• 3 digital inputs, opto and coax with up to 24 bit and up to 192 kHz capability, USB with up to 32 bit and up to 384 kHz for PCM signals, DSD 64 - 512
• 32 bit resampling/reclocking with 180 dB dynamic range, modes: On/Off/Best
• 2 x 32 bit D/A converters per channel with -112 dB THD-N and 123 dB dynamic range
• +/- 18 dB Pre-Gain for a perfect match of the DHA V380 between source and headphones
• 4 powerful amps offering 5.000 mW Pmax into 50 Ohm and 21 V RMS into 600 Ohm
• 1 toroidal transformer, > 26.500 uF filter capacity
• Price: €2,255.87, US$2,499.95

Links:

• https://www.violectric.de
• https://www.facebook.com/Violectric-1888795031341510/
• https://duneblue.com
• https://www.facebook.com/Dune-Blue-411457505632614/

Preamble
For a while now I have been meaning to get into desktop audio. No scratch that. For absolutely ages I have been meaning to get into desktop audio. Unfortunately, for the most part of my audiophile-being-ness I was living in a tiny flat in London where we simply did not have the space, nor the quiet environment to enjoy desktop audio. Nothing ruins a nice session with open-back headphones like living under the approach to Heathrow Airport and having planes pass over every 30 seconds. Rather than having to wait for the wind to change favourably for a rare opportunity to listen while the planes approach from a different direction, I just put it off until better times. Now that I am living in a sleepy village and have an office space in our attic to run cables far away from inquiring puppy teeth, those times have finally come.

While orienting myself I got talking to Michael Wongso of Dune Blue. Based in the Netherlands, Dune Blue is an EU distributor for around 20 brands and focuses mainly on the Benelux and Scandinavia, but also Poland, France and the UK, making a network of over 70 dealers throughout Europe. Michael highly recommended I give the Violectric V380 a try and was kind enough to send me over his demo unit for long enough that I could develop a good feel for what it has to offer.



Now I will admit that I was not very familiar with Violectric, but quickly found out they have a very good reputation among audiophiles. Violectric is a company from the German brand Lake People, so named because its headquarters is located close to the picturesque Bodensee (Lake Constance). Established by Fried Reim, Lake People has been an acclaimed brand in professional audio for 35 years. With Violectric Lake People established a brand that is aimed at the high-end HiFi market and was recently joined by the ‘let’s go even higher-end’ brand Niimbus. The products from these brands are defined under the company’s slogan “tools, not toys”. Nothing too flashy to look at (still looking very good though), but the highest quality under the hood.

I had not really planned on writing a full review, maybe just some impressions, but given I had enough time, I went for it anyway. In a way I actually felt compelled to write because the V380 has taught me a few new things about what high-end desktop gear has to offer beyond what I have experienced with high-end portable gear. It is also a very refined tool that I found worked wonderfully well for reviewing purposes.

Unboxing
I often include pictures and a brief description of the unboxing, but honestly I did not see much sense in doing that here. Under the motto “tools, not toys” the V380 is packed in a box with a lot of styrofoam to ensure safe transport and that is pretty much it. The V380 comes only with the bare essentials: a power cable, a USB cable and an instruction manual. A refreshing no fuss, no “unboxing experience” type of unboxing. I love it! Yes, I sometimes quite like unboxing lavishly designed boxes, but that usually has more to do with enjoying the creativity people put into it rather than the actual experience. Deep down inside I am perfectly happy with a functional box and getting to the good stuff without delay. In that sense I think Violectric is very much a brand after my own heart. (In other ways as well, as I greatly appreciate their focus on local production and working with local suppliers.)



Design
As indicated by the slogan “tools, not toys”, the V380 has a fairly simple looking design without anything flashy going on. I will revive a term I have not used in a long time and might have promised never to use again because it is not actually a real word, but rather something like academic dribble spouted by people who want to appear intellectual. The design feels “utilistic”. That is, something aimed at a specific use and designed around that. However, I don’t really feel the V380 has an industrial feel to it or anything clunky and heavy. It is a basic black box with switches and a dial, but at the same time the finish is really nicely done and I love the finish on the front plate that has a lovely texture to it. Everything also feels great in my hands when I use it. The finish does show marks very easily, so people who can be a little OCD about that sort of thing (guilty as charged) will likely spend a lot of time giving it a wipe to make sure it looks all nice and pretty.




Most of the controls can be found at the front. Starting from the left there is the volume dial that feels very nice to use. It is light and easy to control without any noticeable wobble. Next to that you will find in the top row a selection switch that lets you choose between the RCA-1, RCA-2 and digital in. For the digital input there is an extra selection switch for choosing between optical, coaxial and USB.

In the row below you can find the switch to select between ‘headphone out’, ‘off’ and ‘line out’, with next to it the switch for the upsampling, which can be set to ‘on’, ‘off’ or ‘best’. Next to the switches, on the right side of the front panel, are the headphone sockets with at the centre a balanced 4-pin XLR and on either side a 6.3mm single ended. To my surprise, I actually found that having two single ended headphone outs was very useful for doing comparisons.

At the back you find the power cable socket on the far left. Next to it are the digital inputs with USB, optical and coaxial. On the analogue side the inputs consist of two times RCA with next to those the DIP switches of the headphone amp pre-gain that offer five settings; off/0dB (all switches down), -18dB, -6dB, +6dB and +18dB. I found the -18dB to be great for creating more room to work with on the volume dial when listening to sensitive IEMs. On the right side of the back panel there are the line outputs with an unbalanced RCA and balanced XLR outputs with a button to switch between pre and post.

Under the Hood
The V380 is a pre-amplifier, balanced headphone amplifier and DAC in one. On paper it looks like a less feature rich and more affordable version of the flagship V590. So perhaps this is a good time to go through some of the differences.

It starts with the volume dial, which in the V590 is motorised so that it can be adjusted with the remote control that is included as standard. Here is also an added extra that the V590 has, which is the option to upgrade to the “Pro” version with a 256-step attenuator. This will allow much finer adjustment of the volume and, from what I understand (I couldn’t try it myself), will have a positive impact on sound quality.

Next to the volume dial on the V590 is a dial for adjusting the left/right balance, something the V380 does not have. The V590 also uses buttons rather than switches for selecting the analogue input, digital input, resampling and output selection. Resampling has more options. Where the V380 has on, off and best, the V590 offers off, 1x, 2x, 4x and best.

At the back the V590 has several extras as well. At the digital input side there can now also be found a 3-pin balanced input. The line out of the V590 now has DIP switches for adjusting the line out gain between off/0dB, -18dB, -6dB, +6dB and +18dB. The analogue side also gains 3-pin XLR balanced in on the V590.

In terms of hardware the V380’s and V590’s DAC sections are both based on the AK4490 DAC chips where the V590’s reclocking is done with a higher-end Femto clock compared to the Pico clock in the V380. From what I understand the dynamics of the V590 DAC is a step up from the V380.

The V590 is fitted with two 25W toroidal transformers and has 35,000 uF filter capacity, where the V380 only has one 25W toroidal transformer and 26,500 uF filter capacity. The power output from the amp is noticeably higher on the V590, 6.4W at 50 ohms compared to 5W at 50 ohms on the V380. I asked Dune Blue about this because I was curious what it would mean in practice for very demanding headphones. The V380 might be able to drive headphones such as the Hifiman Susvara well enough, however the V590 will be more capable of driving them to their full potential.

Overal I think the V380 is similar enough that it makes for an interesting option for people who can’t quite stretch their budget to the V590. Like the V590 the V380 looks like it has a fully developed DAC, amp and pre-amp, so that none can be considered an “add-on” feature. From what I have read on the DAC and amp of the V590, both are capable of competing with stand-alone versions and I therefore expect that to be the case with the V380 as well. That is a little bit of speculation though, as at the moment I don’t have the means to test that for myself.



Looking at the V380, the DAC supports up to 24 bit, 96 kHz for the optical in and up to 24 bit, 192 kHz for coaxial, while for USB it supports PCM up to 32 bit, 384 kHz and DSD 64 - 512. It also has a resampling option for 32 bit, potentially generating up to 180 dB of dynamic range. I tested the resampling to see if it was just a gimmick and found that there was indeed a noticeable difference and therefore I left the setting on “best”. I did not really see any reason to do otherwise.

The amp section is pretty powerful. It peaks at 50 ohm where it delivers 5 W, but still produces 1,450 mW at 300 ohm and 740 mW at 600 ohm. Output impedance for the headphone amp is super low at 0,15 ohm for unbalanced and 0,3 ohm for balanced. Voltage output is also high at around 20-21 V from 100 ohm upwards. The noise floor however is claimed to be inaudible and I put that to quite an extensive test and found that the V380 really does have an exceptionally low noise floor. That makes it especially interesting for people such as myself who enjoy using IEMs even with their desktop gear.

For the test I started with the Campfire Audio Ara, which have an impedance of 8.5 Ohms with a sensitivity of 94 dB/V (73 dB/mW) and they seem to pick up any background noise with ease. With the V380 I found them to be almost perfectly clean and with the pre-gain at -18 dB I had a nice amount of room to work with on the volume dial. I say almost, because there was the slightest noise as I switched the headphone output from ‘off’ to ‘on’, something that was a little clearer with the Vision Ears VE5. The VE5 are rated at 21 Ohms and 122 dB/mW (139 dB/V). Still, the noise level was extremely low and did not bother me in the slightest. In fact, I only noticed it when I was specifically looking for it and while working on a different review with the VE5 I completely forgot about it. While I was finishing up this review another set of even more sensitive IEMs came in, the Empire Ears Wraith, which have an impedance of only 4 Ohms and a sensitivity of 117 dB/mW (141 dB/V), yet they need a very powerful amp to drive their four electrostatic drivers for the super high range. Even my most powerful DAPs, the Lotoo PAW Gold Touch and Shanling M8, could not drive those adequately and so I had to try the V380. Not only does the V380 drive them with ease, the noise floor is still remarkably low and only really noticeable if you look for it.



So in short, high power, high voltage, high damping and extremely low noise. It makes the V380 a highly versatile DAC and amp combo. On a side note here. For anyone in the market for just an amp, you can expect there to be a HPA V340 version at some point as well (indicated on the V380’s back panel).

Sound
To test the sound I used both headphones and IEMs. The main headphones were the venerable Sennheiser HD650 and Dune Blue was kind enough to send me over the Final D8000 for a while. For IEMs I used a variety such as the Vision Ears VE5, DITA Audio Dream XLS, CustomArt FIBAE Black and Campfire Audio Ara. Mainly the Vision Ears VE5 though, as I was using the V380 for another review with those.

As I am new to desktop audio I unfortunately can’t look at the performance of the DAC and amp individually because I do not have a stand alone DAC and amp that I could use instead. Neither do I have speakers to put the pre-amp through its paces. My impressions are thus limited to the V380 as a DAC/amp combo.

If I would describe the V380 in general I would say that the sound is neutral, but unlike I have heard it from any of my portable gear. It is neutral and highly transparent, yet it has a smoothness to it that I feel should make the V380 warmer than it is. It is not warm, it is not cold or clinical either and it is very pleasant to listen to. When I described it to a friend of mine, he termed this ‘Nice Neutral’ and from what I understand it is not something that is easy to achieve. The V380 also has wonderful clarity and great dynamics to give it something musical. Now, I will admit that because this is my first time with a high-end desktop DAC/amp I am probably easily impressed, but I am enamoured with the V380. Where I would normally gravitate towards a warmer sound, the V380 has given me a new perspective on neutrality that I find compelling and I just want to explore more of.



It might seem overkill to drive IEMs using a high-end desktop DAC/amp, but I found that the V380 scales IEMs beautifully and beyond what I am used to with portable DAPs such as the Lotoo PAW6000 and Shanling M8. I had initially planned to write the VE5 review in my ‘Masters of Classical Music’ series with the Shanling M8 as the source, but given I had the V380 available I wanted to take a closer look at the difference. The V380 really showed its strength when I came to testing the Andante (second movement) of Tchaikovsky’s String Quartet No.1. This highly emotional movement is famous for purportedly bringing writer Leo Tolstoy to tears during its performance. What I found was that the V380 rendered a clearer image with greater transparency, better bass control and improved dynamics over the M8. More important was that the presentation really let the VE5 shine in rendering the emotion of the piece. Where the M8 did a wonderful job, the V380 would almost make me weep alongside Tolstoy. Based on that I felt happy to relegate the M8 to streamer/transport duty.

Of course headphones make more sense and when I got the V380 in, I immediately ordered one of the most well-known headphones to use for the demo, the Sennheiser HD650. Because I bought the HD650 especially to have them around for the demo, I felt I needed to do something extra to at least be able to say something sensible about the scaling of the HD650 with the V380.

I started by listening with a DAP, the Cowon Plenue 2, in headphone mode. It is a reasonably powerful DAP that I think did an okay-ish job. I did not have to increase its volume to the limit, but clearly it did not drive the HD650 to their full potential either. Poor bass control and brittleness in the treble were testament to that. I then added the Dethonray ha-2 portable amp, which added plenty of power, and that improved things to where the HD650 were enjoyable and like they were getting there. Still not very airy, lacking some control in the bass and still a bit of brittleness in the treble. With the V380 it felt like the HD650 were properly transformed into highly enjoyable headphones. They became airier with better extension at both ends, better bass control, good clarity and a lot more texture and detail going on. Now the HD650’s popularity made sense to me and I found myself waiting for every moment where I had an opportunity to have another listen. It is the sort of sound I can listen to all day.



Dune Blue also sent over their demo unit of the Final D8000, headphones I have been very curious about for ages. Immediately it struck me how much richer and more dynamic the D8000 sound compared to the HD650. The D8000 also has a much more spacious and airy presentation compared to the intimacy of the HD650. Not completely unexpected because of the price difference of course.

I think the pairing of the D8000 with the V380 sounded wonderful. The D8000 had an incredibly good low end with a somewhat warmer mid-range tonality and energetic, but never fatiguing treble. Dynamics of the D8000 felt great and they adjusted easily to the type of music I was playing, from classical to rock. With classical the bass exhibited great control and the midrange tonality was excellent with instruments exhibiting great timbre and leaning somewhat towards a fuller sound against a wonderfully black background. With rock the low end came up with great authority, clear and accurate vocal and plenty of sparkle up top. It was so musical, so energetic that I could not get enough of it and just started browsing all my music.

While these are not the most extensive impressions and lack proper comparisons to other amps and DACs because I simply do not have access to those -please do take my views with that caveat- I still feel confident enough to say that the sound of the V380 is absolutely excellent. Getting this level of transparency in a neutral sounding DAC/amp and have it sound as pleasant as this is no mean feat. I am really impressed by that. For me it was a very clear illustration of what high quality desktop gear is capable of delivering beyond what I know from the high-end portable gear I am most familiar with.



Conclusions
The Violectric V380 is a highly versatile DAC, headphone amp and pre-amp combo where none can be considered an add-on feature. Performance is impressive and can be used to drive anything from the most sensitive IEMs with almost no noise to some of the most demanding headphones out there, as well as active speakers. At its price the V380 offers a very interesting alternative to the flagship V590 for those who are unable to stretch their budget quite that far, but are looking for high-end performance with a similar level of versatility. As a reviewer I can say that the V380 feels like an ideal tool to cover the whole range of gear I review and the sound is perfectly suited for reviewing purposes, as well as just kicking back and enjoying the music. It is neutral and crystal clear while also thoroughly enjoyable thanks to a surprisingly pleasant and dynamic character. Personally, I absolutely loved every second I was using the V380 and I kept wanting to listen more, which I think is the best indication of how beautiful it sounds. It is just so thoroughly pleasant while performing at a very high technical level.

Shanling M8

Disclaimer
I would like to thank Shanling for providing me with the M8 DAP in exchange for my honest opinion. No incentive was given for a favourable review.

M8 Specifications

• CPU: 8-core Qualcomm Snapdragon 430
• Storage: 4GB RAM + 64GB RAM + 2TB Expandable
• System: Open Android 7.1
• DAC: AKM AK4499EQ × 2
• Bluetooth chip: Qualcomm CSR8675, support Bluetooth 5.0,
• Hi-Res: 768 kHz/32 bit, DSD512 native
• Screen: 5-inch 1080p Sharp display
• Bluetooth transmitting support: LDAC/HWA/aptX HD/aptX/SBC
• Bluetooth receiving support: LDAC/HWA/aptX LL/aptX HD/aptX/AAC/SBC
• Output: Interchangeable 3.5 mm+2.5 mm+4.4 mm+3.5Pro sockets
• Output power: 840 mW@ 32Ω (balanced), 260 mW@ 32Ω (single-ended)
• Wireless interface: 2.4/5G dual-band WiFi, support MIMO
• Other functions: WiFi transfer/SyncLink/DLNA/AirPlay
• Battery life: 14h (single-ended); 9h (balanced)
• Battery: 7000 mAh
• Charging: support QC3.0 fast charge.
• Dimensions: 138 x 80 x 20 mm
• Weight: 342 g
• Price: US$1,659

Links:
https://en.shanling.com
https://www.facebook.com/ShanlingAudio/

Preamble
Back when I wrote my first review of a Shanling product I took some time to get to know the company’s history and found out that although in recent years Shanling has made a name for itself with value oriented products, they made some pretty high-end HiFi gear in the past. That past experience, it seems, is now resurfacing with Shanling stepping things up for their portable products. Shanling’s new DAPs are leading the way in this trend with the M6 Pro already at a price point I would consider ‘higher up’. The flagship M8 however, has moved Shanling firmly into the high-end, even ‘Top-Of-The-Line’ segment. Not quite at the highest price point and thus still in a way close to its value oriented roots. Then again, Shanling still has a trick up its sleeve with the transportable modular all-in-one M30.

Talking about tricks, when Shanling first announced they were developing the M8 there was mention of it having interchangeable headphone sockets and I was immediately intrigued. So I followed every bit of news after that, eagerly waiting to see pictures of what exactly that was. Eventually though it became clear that the M8 was more than just a one trick pony and that Shanling had every intention of developing a true flagship DAP. I will admit that while interested, I was also sceptical because other companies have moved up from value oriented to the high end with mixed results. So did Shanling’s prior experience with high-end HiFi gear give them an edge while developing the M8? Let’s find out!

Unboxing
Unboxing the M8 provides you with a truly premium experience, although Shanling has not pushed it over the top. The outer cardboard box is a very nice one with its own unique colour and which opens up with the front folding out to reveal the actual wooden box itself. The wooden box is just what I like to see with TOTL equipment. It is beautiful and gives you the feeling of having invested in something precious, which at this price it is. Some people might buy and sell expensive gear like they have a money tree growing in the garden, but for most of us mere mortals a DAP like the M8 is a big investment and having a stylish and sturdy box for storage is really good to have.





The top layer has the M8 itself alongside which you will find a very good quality leather case that houses the interchangeable sockets and the tool used for changing those. Below the M8 is a charger cable, two screen protectors and a warranty booklet.

Alongside the M8 I also received the leather case Shanling offers for it, which is nothing much in terms of unboxing, but the case itself feels and looks like premium quality. It does show small scuff marks fairly quickly, but I like that and I think the case will develop a great look over time.

Design
There is no getting around it, the M8 is a big DAP. It measures 138mm x 80mm x 20mm and comes in at a hefty 342g as indicated in the specs, although I weighed it at 355g on my own kitchen scales with a microSD card inserted. This is not a DAP that you can fit comfortably in the pocket of skinny jeans. Then again, such jeans are an assault on male fertility, so men should avoid them to begin with and women could use it as an excuse to get a designer handbag to match the M8. (Middle aged men… Whatever you do, nothing, and I mean absolutely nothing, can justify reviving the bumbag.)

Still, the M8 is not the heaviest DAP I have come across, Sony’s WM1Z and Astell & Kern’s SP2000 Copper both weigh a solid 100g more at 455g and 432g respectively. Not to mention Astell & Kern’s older copper DAPs with the matching amps, which I believe come in at over 600g combined. The M8 is in my opinion still a portable, although starting to move towards where I feel the limit would be for me personally. I can see myself taking the M8 along to work for instance, but during the commute itself I would probably prefer a smaller DAP. Especially under the sort of pre-Covid circumstances back in London where I was crammed into the Piccadilly line tube like a sardine, something like the Shanling M0 was a much more convenient solution. Avoids embarrassing conversations that start with: “Is that a DAP in your pocket, or are you just happy to see me?”





While big, the M8 is very well built around a one-piece, high-grade aluminium chassis. At the front you can find an excellent 5 inch, full HD screen that has vibrant colours and is really crisp and clear. I actually installed YouTube just to see what it was like and image quality is great. The large size of the screen also makes it very practical for watching videos and you get great sound to boot. The back has a high-quality plastic cover with two transparent sections under which you see the Shanling logo and the usual “hi-res” type of information. It is a tiny and fairly insignificant detail, but I really like how these are not the usual stickers or printed on. This gives a little bit of depth perception that adds to the overall feel of refinement of the M8.



The sides have a nice indent for good grip, which is similar to what you see on Sony’s WM1A/Z except now in Shanling’s own very clean style. On the right side you can find the on/off volume button and a small light indicating when the M8 is switching on or being charged. On the left side there are the three standard control buttons: back, play/pause and forward. The buttons feel really good, solid and responsive, and I can imagine someone spent time on getting the feel of the buttons just right. It is another detail, but one you really notice when you use the M8 a lot and at this price point such details are important for the overall perception of quality, which is very good.



At the bottom there is on the right side the memory card slot with a cover, which I like to think it gives a little extra protection against dust and dirt. In the middle is the USB-C connection for charging and DAC function. Then moving to the top we find the finishing touch to a very clean look: the single interchangeable headphone socket. The interchangeable socket system is of course a key design feature and so I will treat it separately.

Interchangeable sockets
Shanling have come up with something really unique in response to an increasing number of balanced terminations that are offered on the market. The system they came up with is, as far as I am aware, unique and allows easy switching between the standard 3.5mm Single Ended out and 2.5mm, 4.4mm and 3.5mm Pro balanced out. It also offers the prospect of more modules being added at a later date to add to the versatility.




It is very easy to use and feels solid. It works by sliding the included tool over the top of the module that is in the M8 and simply pulling it up. There is some resistance for a secure fit, but it doesn’t require a lot of force either and so should not cause for concern that you might break something. It is a smooth system. Placing a different socket is simply pushing a new one in, which I usually do with the tool, but I don’t think that is necessary. In terms of orientation it is fairly straightforward because there is a ball locking mechanism. On the module you will see a little ball and that needs to point outwards. You can’t really go wrong with it because it doesn’t fit the other way around.




The interchangeable socket system is a very clever solution for the problem that there are too many different terminations out there and more coming, like the increasing popularity of the 3.5mm Pro. This system essentially future proofs the M8 because more modules can and will be added. For instance, at the time of writing Shanling is developing an RCA module for the M8.

Is it the perfect solution? I am not sure. I appreciate that Shanling has been working on a solution that is more elegant than having a DAP full of holes (multiple sockets). There is however the question of durability with frequent changes of the modules. The interchangeable socket might in time form a weak point when changed regularly, but I am not sure if that is the intended way of using the system. For me, I plugged in the 4.4mm balanced and rarely touched it after that. I even often used an adapter for the few times I was using a 2.5mm plug. Only if my reviews required regular use of a different socket type did I change it and then I planned it so that I wouldn’t have to change back constantly.

I see the system mainly as a useful way for customers to adjust the M8 to their preferred socket type and have the option to change to another type later on. So less intense use than constantly swapping and more about future proofing the M8. Something of an alternative to Shanling fixing a single socket and marketing different versions of the M8 based on socket type in order to keep the clean look and more space internally, while still being able to offer the M8 with every output. (If you get my meaning.)

That said, I do find I miss the combination of 3.5mm SE and 4.4mm Balanced, as IEMs generally come with a 3.5mm cable stock, but I use 4.4mm most of the time. The best solution in my opinion is still a cable with an interchangeable plug such as DITA's Awesome plug or similar solutions offered by DUNU and FiiO.

All in all I do applaud Shanling for coming up with this innovative solution and expanding it beyond the standard output sockets. That is also where this system has a distinct advantage, being able to offer more sockets for a wider range of uses than traditionally found in DAPs.



Under the Hood
As I indicated before, I was initially a little sceptical about the M8 because I have perviously seen DAPs with on paper excellent specs, only to find out the implementation of the different components was suboptimal. The M8 immediately draws attention to its dual AK4499EQ flagship DAC chips and often times people don’t look beyond that. However, implementation is key to getting the most out of those DAC chips.

Shanling clearly have done the work to optimise performance of the DAC chips and every other component they have included, the sound is testament to that. I am not one to dissect the circuitry, as I am more concerned with what it sounds like and how it works in practice, but you can find details on the internal tech on Shanling’s website. Some key features are a newly developed current-to-voltage conversion stage and a graphite cooling system that dissipates warmth through the chassis of the M8. That does mean the M8 can run quite warm if pushed to the maximum of its performance. I found no real issues even after streaming lossless music for several hours and the M8 in its leather case. It was just slightly warm to the touch. That will likely be different with something like MQA in combination with a lot of screen time.

The M8 is a very powerful DAP capable of putting 840 mW at 32 Ohms out of its balanced out. Single ended, although connected at the same socket, automatically uses different circuitry and is limited to 260 mW at 32 Ohms. I did some tests with my most sensitive IEMs, the Empire Ears Phantom and Campfire Audio Ara, and both showed no signs of any noise. Three gain settings also help to adjust to whatever IEMs or headphones you might connect. Perhaps the M8 won’t do hard to drive planar or high impedance dynamic driver headphones, I was not in a position to test it because I don’t have a balanced cable for my HD650 yet, but I expect a lot of full size headphones will work just fine from the balanced out.

The M8 is without doubt a power-hungry DAP, but thanks to a 7,000 mAh battery it is possible to get up to 9 hours of playback while using the balanced out. In my experience that is about accurate, although I used the screen and WiFi a lot, which decreased battery life a bit. Overall, I have been pleasantly surprised by the battery life, which is usually a pet peeve of mine ever since I stopped using my old Sony that came with an insane 30 hours of battery life.

GUI
The M8 is an open Android-based DAP with at its core the Qualcomm Snapdragon 430 processor with 4 GB of RAM and 64 GB of internal memory. Shanling have developed the M8 with what they call their AGLO system, which stands for Android Global Lossless Output, that allows all apps to fully benefit from the M8’s sound quality without Android dragging it down. One thing to note here is that the M8 is based on Android 7.1 and that is starting to feel like it is getting on a bit. I mean this in the sense that some apps might possibly not support it anymore in the near future. I am really not sure about that because I don’t know how such cycles work, but it would have felt better if it were a newer version. For a DAP in this price range I hope they might be able to update this to a newer version at some point, just to get more milage out of the DAP should app support become an issue. Then again, popular streaming services such as Tidal still support Android 6, so it likely won’t be an issue any time soon either and maybe I am just being a little bit of a digital hypochondriac.

Booting up the M8 immediately tells me that it is an Android-based DAP because it is a lot slower than the pure music DAPs I am used to. In fact, both switching on and off takes a fair amount of time more than I am used to, although still a lot better than my Android phone. Once up and running though the M8 feels fast and smooth.

The interface will be familiar to anyone who owns an Android-based DAP or phone. It has the familiar drop down menu with a number of quick access buttons such as for the gain setting, audio settings, mode (Android or Prime), headphone out/line out, switching between DAP and USB DAC and things like WiFi/BT/AirPlay. The settings menu is also fairly standard for Android and so is easy to navigate. Also available on the home screen’s bottom right corner is a button for support that will take you to a menu from where you can easily update the firmware, find the user guide, an FAQ and details for contacting Shanling. I really appreciate that menu.





For playing music the main interface will be Shanling’s own Music app. While you can opt for a distraction-less Prime mode, that mode is essentially just the Shanling Music app running outside of the Android environment. The M8 will boot up in Prime mode if you switch it off with Prime mode active and so the M8 can feel more like a pure music player. Beyond that there is no difference in the interface when playing music.

The Shanling Music app is nice to use, but in my opinion fairly basic and with a few refinements still needed. For one, I had issues with it not loading my music library properly. Shanling explained this had to do with how the library is loaded soon after booting up the M8 and their software team is working on ironing that out. Another feature that I usually did not worry about, but found myself missing while listening to classical music, was gapless playback. This too Shanling told me is a high priority for the software team. The app itself works smoothly and offers basic functions, including a 10-band equaliser with three custom settings and a few presets.



Of course being open-Android, the M8 will allow you to install any third party app you might prefer instead of Shanling’s own Music app.

Apps/Streaming
The Shanling M8 now comes with something very important, full Google Play store support. That means you can buy and use all the apps to their full extent. I usually don’t really use any of them, but with the M8 I ended up using several.

Because the Shanling Music app did not yet offer gapless playback, I tried out several apps as alternatives: Neutron, Hiby Music and FiiO Music. I bought Neutron on my phone and it took a little while to figure out how to activate it on the M8, there is a setting in Neutron that needs to be activated before other devices will allow Neutron to install without having to pay twice. Nothing to do with the M8, just Neutron being weird. Both Neutron and FiiO had functional gapless playback, but unfortunately Neutron had a terrible waterfall hiss that made it unusable. Hiby offers gapless in theory, but that did not work consistently and I could not figure out what was causing it, as a friend had no such issues on his Shanling M6. In the end I ended up using the FiiO app for whenever I needed gapless.



For the first time I also got a subscription to a streaming service called Idagio, which specialises in classical music and offers lossless streaming in their Premium+ subscription. I have used it extensively and never had issues with streaming. The M8’s WiFi worked well to keep up with it and the only problems I encountered were with the Idagio app itself, which kept crashing every time I was browsing and listening at the same time. Apparently the app is not much of a multi-tasking talent.



Video playback using YouTube was great, as the M8 has such a nice crisp and vibrant screen. It also takes advantage of the AGLO system to get the best possible sound quality.

All-in-all I found myself using the M8’s full Android features a lot more than expected and did not run into too many problems. For Neutron it might simply be that the app is not yet compatible with the M8, where the M6 and M6 Pro are already listed as supported.

Sound
For analysing the sound of the M8 I used a wide variety of IEMs, such as the DITA Audio Dream XLS, FiR Audio M4, Vision Ears VE5, 64 Audio Tia Trio and Campfire Audio Ara. I primarily used the balanced 4.4mm and 2.5mm sockets and Shanling’s own ‘Shanling Music’ app, as well as the Idagio Premium+ (lossless) streaming service. For music I used a very wide variety such as jazz, EDM and rock, but I also used the M8 extensively as a source for reviews in my ‘Masters of Classical Music’ series.

The big question with a high-end DAP like this is of course always: How does it sound? At its price point you can expect the sound to be very good and I think the M8 actually sounds well beyond “very good”. The M8 has outstanding sound quality, both in terms of tonality and technical ability. Shanling claim “reference class performance” with a “smooth, pleasing and slightly warmer sound” and that is exactly how I would describe it.

The M8 is a highly transparent DAP that presents notes in a very natural way without any articulation in order to increase perceived details. It instead very accurately renders textures and details, which gives the M8 a very pleasing, yet impressive sound. It is slightly warmer, but only a hint I would say, without harming clarity and it offers a very large stage. For my classical music review series I specifically used the M8 with the FiR M4 (with DITA Audio Oslo) because of how it pushed the M4’s stage to incredible proportions while also taming some of the brightness the M4 have.

I have seen a lot of comments about the bass and one could be mistaken for taking the M8 as some sort of “bass head king”, but it isn’t. The bass in my opinion is not exaggerated, rather it is a very high quality analogue type bass with incredible texture and detail, and great extension. I adored the pairing with the 64 Audio Trio (with PlusSound Exo GPS), which was spectacular for its bass. In the midrange the M8 is very natural sounding with a slightly thicker note. It became quite clear early on that the M8 has a particular talent for rendering instruments such as violins, but when I paired the Vision Ears VE5 (with Effect Audio Lionheart) I was also very impressed by its vocal performance, which pushed the VE5’s vocal to even greater heights with outstanding clarity and density. The treble is extended and very smooth, which helped tone down the M4 a little while maintaining both air and sparkle. Something that also came back with the Trio, which sparkled beautifully in my opinion.

As the M8 is a very powerful DAP there is of course the invariable question concerning noise level (hiss). I tested this with the Empire Ears Phantom (with Eletech Plato) and the even more sensitive Campfire Audio Ara and both stayed perfectly clean. So I think it is safe to say that noise is not an issue with the M8, even with very sensitive IEMs.

Comparisons
-Lotoo PAW6000-
When I reviewed it I called the Lotoo PAW6000 the quintessential pure music DAP and it offers a very different proposition from the Android-based M8. The PAW6000 has a proprietary UI, does not have apps or even proper WiFi for that matter. Because of its simpler system, the PAW6000 boots up considerably faster and I personally find the UI much more intuitive to use compared to the Shanling Music app. The PAW6000 also has one of the very best PMEQs out there and offers a lot of versatility even though it is a pure music DAP. Basically, everything it does, it does extremely well. It is smaller in size with an outstanding build quality very similar to the M8. The M8 is a lot bigger and heavier, but also offers an outstanding quality screen that the PAW6000 can’t match.

In terms of sound both offer a very high-quality sound, as you can expect at this price point. The PAW6000 offers a deep black background that is something of Lotoo’s trademark feature and I personally love how vividly notes contrast against that background. It also has a slight hint of note articulation that brings a some added excitement and energy. The M8 by comparison does not quite have that deep black background and the notes do not have the articulation. Rather than that excitement and energy, the M8 has notes that feel more complete, more natural. This results in a more transparent note and here the M8 really shines. Initially it might not feel as detailed as the PAW6000, but eventually textures and details start to come through in spades. The bass is more textured, detailed and feels more realistic, where the bass of the PAW6000 feels punchy, yet dark and relatively flat by comparison. The PAW6000 is just not quite as natural. The midrange also feels more organic and alive with the M8 than with the PAW6000, although the latter still have the high contrast by vividly painting its notes against that deep black background. The treble also feels more natural than that of the PAW6000, which has the articulation that gives especially strings a bit more bite.

As a reviewer I always try to be descriptive, share my opinion with some restraint and try to avoid bias as much as possible. Here though I will state a very clear bias I have because I think it adds something important. I am hopelessly biased in favour of Lotoo. I love the brand’s philosophy and I love the PAW6000, which has been my go-to DAP for all my reviews ever since I got it. The million dollar question thus is, can the M8 win me over against such bias? And yes, I think I can safely say that it has done so. There are some practical issues I have with the M8. It is very big, doesn’t start up as fast, I am not a big fan of Android-based DAPs, the Shanling Music app is not as refined and intuitive as Lotoo’s UI and I really miss having a 3.5mm SE out alongside the balanced out, but other than that the M8 has won me over completely. I love the sound quality, I have discovered the convenience of streaming, the interchangeable sockets are also super convenient to have and the criticisms I mentioned before are actually very minor compared to the overall refinement and quality of the M8.

Pair ups
Although I mentioned a few pairings already, I still wanted to highlight a few to provide a good sense of the strengths of the M8.

-64 Audio Tia Trio-
I paired the Trio with the PlusSound Exo GPS cable and pairing this with the M8 provided great synergy. The Trio get a very analogue-type bass that is full of texture and detail, quite lush and at the same time punchy and physical. It rumbles more than I am used to. The treble gets a very nice, somewhat sweet sparkle and the overall feel is musical and fun.

-FiR Audio M4-
I used this pairing in my classical music series because combined with the DITA Audi Oslo cable, the pairing with the M8 produces the biggest and most natural feeling stage I have heard so far. It felt like a concert hall and as if the M4 were scaling beyond my usual PAW6000. The PAW6000 also made for quite a bright pairing that was toned down by switching to the M8 and midrange notes became a little warmer and fuller sounding, that in my opinion really helped with the timbre of acoustic instruments.

-Vision Ears VE5-
A superb pairing together with the Effect Audio Lionheart cable. I find this pairing to be among the most natural sounding I know and transparency is fantastic. The midrange is beautiful with outstanding vocals that are clear and have great density. The M8 makes the stage of the VE5 bigger and yet they still maintain something that feels intimate and focused.



Connections
The M8 has a wide range of connection types that give it great versatility. The Qualcomm CSR8675 chipset offers full BlueTooth 5.0 support with LDAC, LHDC, aptX HD and SBC transmission and reception, as well as additional aptX LL, aptX and AAC reception. It has 2.5/5G WiFi with WiFi file transfer support and firmware updates.

For wired, it has USB DAC function with up to 32 bit/768 kHz and native DSD512 support. It has a software Line Out that sets the volume to LO voltage level and this works with every module, as well as USB digital out. I have used the digital out with the Violectric V380 desktop DAC/amp and it works very smoothly. The M8 automatically recognises a DAC/amp has been connected and when unplugged switches back automatically as well.

Conclusions
With the M8 Shanling have firmly established themselves in the portable high-end with a very refined, high quality and beautiful sounding DAP. A lot of attention to detail went into it and the only area where some improvements can be made is at the software level. The implementation of the AK4499EQ DAC chips has been done very well and the sound quality reflects that, it is a very high quality reference sound with a hint of warmth and a natural feel. It is refined and does not resort to any tricks to add a perception of detail. Build quality is great and the system runs super smooth with full Play Store support. Last but not least, the highly innovative interchangeable headphone socket adds versatility that will extend beyond just the different types of standard headphone out. Excellent job Shanling!

Campfire Audio Ara

Disclaimer
I would like to thank Ken Ball of Campfire Audio for providing Twister6 with the Campfire Audio Ara and Alex/Twister6 for letting me borrow them for this review. No incentive was given for a favourable review.

Ara

• Drivers: 7 balanced armature (4 x low, 1 x mid, 2 x high)
• Frequency Response: 10Hz–28 kHz
• Sensitivity: 94 dB SPL @ 1kHz: 7.094 mVrms
• Impedance: 8.5 Ohms @ 1kHz
• Shell: Machined Titanium
• Tuned Acoustic Expansion Chamber™ (T.A.E.C.)
• PVD Black Stainless Steel Spout
• Connectors: Beryllium / Copper MMCX

Links
https://campfireaudio.com
https://www.facebook.com/campfireaudio/

Preamble
Campfire Audio, the last and longest stay on my list of “elusive brands”. Those brands who’s products I really wanted to demo and/or review, but never had the opportunity. In fact, as well as the last, it was also the first brand on that list. When I started out in this hobby in 2016 Campfire Audio had just released the Lyra II and those were firmly on my radar as my first set of serious audiophile IEMs. I liked what I read about their signature, the build quality looked superb and they felt like they would be a great investment to start this hobby out with. Alas, I did not get the opportunity to demo them and did not dare order them blindly through a dealer in Austria, while I was living in the UK (the best solution I could find at the time). Ever since, Campfire Audio remained on that list with a number of different IEMs I was very curious about. IEMs such as the Andromeda (of course), Vega, Comet, Atlas, Solaris and recently the custom Equinox with the shallow ‘audiophile’ fit as an option alongside the deeper ‘Artist’ fit. -I have had issues with CIEMs in the past and would love a shallow fit CIEM to get the benefits of a custom fit, but not the issues I had in the past. Plus, I am a sucker for a high-end single dynamic driver IEM.- Even the Cascade headphones keep drawing my attention now that I have developed a craving for a desktop setup. Last but not least, the Ara came on the scene and seemed to present something quite special. So when Alex suggested I give them a go, I leapt at the opportunity to finally spend some quality time with IEMs by Campfire Audio.

Aside from the IEMs themselves, I think Campfire Audio is a really interesting brand. It is one of those companies that started out by one man slaving away in his basement on something he was absolutely passionate about. In this case it all started in 2009 with Audio Line Out, better known these days as ALO Audio, by Ken Ball. ALO produces a variety of products from cables and interconnects to some very interesting amplifiers. I always loved the look of the Continental Dual Mono portable Tube/Solid State hybrid amp. (And indeed, I never had the opportunity to try one out.) Campfire Audio developed from the same passion that drove ALO and it introduced some really innovative IEMs with outstanding build quality and a surprising commitment to keeping prices at fairly sane levels. At the moment of writing the most expensive IEMs that Campfire Audio have on offer are the Solaris Special Edition at US$1,899 and while still expensive, they sit considerably below the general trend for flagship IEMs. The Ara I am reviewing here go for US$1,299, which feels almost cheap if we forget that we audiophiles have a rather warped understanding of value in our pursuit of sonic bliss. I personally find it a very attractive price point and can only applaud Campfire Audio for keeping prices accessible for us mere mortals.

Unboxing
Campfire Audio have done a very nice job with the box by keeping it simple and effective. The Ara come in a small neat box that looks like it is a box of luxury chocolates, which unwraps and opens up to reveal a blue case and a box with accessories. The case is a very nice one made from sustainably harvested cork. It feels great and it is a perfect size for carrying around while keeping enough space to store the Ara even with a bigger aftermarket cable and an adapter (or something like that). The Ara can be stored using a small bag with two pockets to prevent the IEMs from bumping during transport. There are three such bags with two holding a healthy selection of tips. These are a set of silicone tips, foam tips and my favourite Final E-tips. Further included are a cleaning tool, a Campfire Audio pin, instruction manual and warranty card. Simple, effective, nicely done.





Build Quality and Fit
If there was one thing that had me interested in Campfire Audio for such a long time, it would be the build quality. Just from looks alone I loved what I was seeing and now that I have the Ara in hand, I can safely say that they live up to expectation. The whole design is quite intricate, but exceptionally well executed to the highest standard and competing comfortably with IEMs like the MMR Thummim that cost well over three times the price. I actually see several similarities between those two IEMs in terms of build quality, as aside from both having titanium shells, the Ara use a similar 3D printed interior onto which the drivers are mounted. The Ara do not use typical crossovers, but instead optimise the drivers’ performance through what Campfire Audio call their Solid-Body internal chamber design. This incorporates the tuning chambers directly into the final earphone’s print. The dual high frequency drivers further benefit from Campfire Audio’s Tuned Acoustic Expansion Chamber (T.A.E.C.) to produce better extension and clarity. This finely tuned interior is then placed inside the Ara’s Grade 2 titanium billet shells that look and feel absolutely amazing. This is the way to this reviewer’s heart. Using titanium and leaving the machined material raw, while combining that with a design that screams “use me, use me as much as you like”. Yes, the end result feels darn good. The Ara are IEMs that I have no doubt will take intensive use in their stride and only become more appealing as wear and tear changes the finish to reflect the use. At least, I personally really like that and feel that gear that is loved should be allowed to tell the story of many hours of use, rather than by being kept in pristine condition.




The Ara come with a silver-plated copper Litz cable that feels really rather good. It might at first glance be mistaken for a cheap stock cable, but when you look more closely and (importantly) use it, the cable proves itself to be a much higher quality. It is fairly thin and supple to make for a very comfortable cable to use and thankfully there is no memory wire to ruin the experience either. The MMCX connectors have also received a boost by being made from Campfire Audio’s custom Beryllium Copper to improve strength and durability. Despite my love of flashy aftermarket cables, I really like this one, as it was clearly designed to do a job and do it well for a long time. A perfect match for the shells.



The fit of the Ara is a dream for my ears and I rarely get such a good fit so quickly with IEMs. I went straight for the Final E-tips because I generally end up using those anyway and never felt the urge to change anything. I get a very secure fit with a great seal and even after hours of use the Ara are still comfortable. It will no doubt vary from person to person, but as far as I am concerned Campfire Audio nailed it with the ergonomics of the shells. They are as light and comfortable as they are strong.

Source
As Campfire Audio is known to produce highly sensitive IEMs, I decided to do a brief test and see how the Ara would perform with various sources. For this I used a streaming service I discovered recently called Idagio. Idagio is dedicated to classical music and so right up my alley. I started with my Sony XA2 phone and while I believe the XA2 is a pretty decent phone for sound (as far as mobile phones go), it was not a great pairing at all. The Ara had a constant ‘waterfall’ hiss that was quite prominent and they sounded brighter with brittleness in the treble. Switching to my MacBook Pro (mid-2012) reduced some of the hiss although still quite prominent to the point that I personally would not use it like that. The MacBook also maintained a similar brighter, somewhat brittle signature. Switching from my MacBook’s 3.5mm headphone out to the Lotoo S1 (connected to the MacBook) removed the hiss completely to my ears and the Ara became a little warmer and smoother. I still did not quite get to where I heard them with my usual review DAP, the Lotoo PAW6000. Part of this was down to the lower resolution streaming that Idagio’s free service offers (at 192 kbps) compared to my own lossless CD-rip files (when comparing the same album). This illustrated that the Ara are also quite revealing and benefit from a quality source in terms of both hardware and the music itself. Just as I was finishing up this review I also got in the Topping E30/L30 DAC and amplifier stack, and decided to give that a go with the Ara. I used the PAW6000 as a transport and found the Ara became noticeably warmer and lusher sounding, although with some brittleness in the treble again. Surprisingly, the E30/L30 stack was very clean and no noticeable hiss at any gain setting. I found this pairing more musical with a bit more emotion to it than with the PAW6000.

All listening was done with the Lotoo PAW6000 through the 3.5mm SE out.



Presentation
When I first started listening to the Ara they reminded me of the Vision Ears VE5 and so I initially felt they had a strongly mid-centric signature. That is perhaps not entirely so, but my initial reaction highlights two key aspects in the presentation of the Ara. First, the Ara have a kind of “black tie event”-type of presentation similar to the VE5. Second, the mids of the Ara are really nice, especially the upper-mids are excellent and give power to female vocals. Where the VE5 emphasised the mids, the Ara are by comparison more flat throughout, especially in the bass and lower mids, lifting slightly from the upper mids into the lower treble. This creates a somewhat brighter signature with a reference quality that is not too clinical either, as the Ara have enough warmth to prevent that. It balances between clinical and musical where the music feels very sophisticated, like sitting at a black tie event listening to a meticulously rehearsed performance. Positional information is precise and clear, nuances in tonality are presented cleanly and the level of detail is outstanding. Detail retrieval is easily on par with much more expensive IEMs.

The stage of the Ara is a decent size, but not very big compared to some of the IEMs I have heard recently. It is a fairly cube-shaped stage with perhaps a little more depth than width so that it still feels spacious (out of your head). With a lovely airy presentation the Ara manage separation with ease even without the extreme width some IEMs are able to present. I generally prefer a letterbox-type stage where there is plenty of width and depth to help separate instruments and vocals, which I find works best with classical music. The Ara don’t do this to such an extent and so in choral pieces such as Bach’s Cantata #140 the choir feels like it is placed on a much smaller stage. This could result in congestion, but the Ara manage to maintain air around individual groups within the choir so that they are easily heard, yet at the same time manage to blend the vocals in a very natural way. It creates a more intimate setting that once again feels like an exclusive private performance. Even though I personally prefer the grand scale of IEMs such as the DITA Dream XLS (my current favourites for classical music), the Ara deliver a beautiful performance that still draws me in completely.

Tonality of the Ara is what I would call neutral natural. Instruments have a natural tone without too much added warmth so they don’t sound full, yet still maintain clear tonal distinction even among similar sounding instruments. While there is some brightness to the Ara, they still maintain a smoothness that feels easy going. Brass instruments for instance on occasion lack some authority in my opinion, although violins on the other hand do have very nicely textured strings that makes them quite powerful and very exciting to listen to. It is here where I found something that surprised me a little. While the Ara feel wonderfully smooth, when I listen for longer, a couple of hours perhaps, I will unmistakably feel fatigue setting in. This means the Ara are likely on the bright side for treble sensitive people such as myself. While it is there, it still does not prevent me from listening for longer sessions because the Ara are just that enjoyable and I will take the little fatigue for what it is. For people less sensitive to treble I think it will not be a problem at all.

Bass
With four bass drivers I think most people would be inclined to expect a prominent bass with a lot of power and extension to generate a deep growling rumble, but the Ara have none of that. It is a much more linear bass with plenty of detail, but not much in the way of physicality when it comes to impact. I also find that there is some lack of texture, but that could simply be because I have recently been listening exclusively to IEMs with dynamic drivers for the bass. When listening to cello solos such as Yo-Yo Ma’s Bach Cello Suites it certainly does not feel like the Ara are missing anything in this regard, as the cello sounds accurate and very detailed. It simply feels more restrained; all the information is there, but is presented in a way that feels like everything is being held back a little. What I mean here is not that the bass feels rolled off in any way, rather it is toned down a notch. When I listen to Carbon Based Lifeforms’ Polyrytmi the Ara give this sense of the bass tone digging deep and extending quite well, but there is just that reservation to it. It feels like a balance has been found where the information is conveyed accurately and yet care has been taken not to push that information forward too much. This level of control generates a highly articulate bass that is very capable of generating fast and exciting drums. As such the Ara are great at conveying the drums in metal music such as Disturbed or punk such as Green Day. There is not a whole lot of colour there and so it might not be ideal for some, but for those who enjoy a linear bass response with a reference quality to it, the Ara certainly deliver on that.

Mids
As I indicated earlier, the Ara are somewhat mid-centric IEMs, although not too strongly. The Ara’s mids shows a slightly more pronounced emphasis on the upper mids and this is quite noticeable with vocal music where female vocals have a more power to them and as such are capable of overpowering male vocals a little in choral pieces. This is not to say that male vocals are lacking, it is more a matter that those do not have quite the power female vocals have. At lower volumes (of the voices) the balance is just fine, but once voices start to rise and the power of female vocals becomes more apparent, male vocals start to fall behind a little in my opinion. Male vocals solo sound excellent and have a great sense of realism to them.

There is not a lot of warmth throughout the mids, just enough to add a hint of naturalness and that works to the benefit of timbre, which I think is accurate, natural and pretty much uncoloured. I really enjoy listening to piano’s with the Ara, whether it is a Haydn Piano Concerto or Agnes Obel. With piano’s though you get a good sense of where the Ara start adding their brightness, as keys higher up get a hint of sharpness and do not sound as smooth and natural as lower down. This seems to be the case with a lot of instruments. Woodwinds generally sound smoother compared to violins. Violins have wonderful texture to them, but again can bite a little in the upper registers.

Treble
Although the Ara have a brightness to them that at times can be a little sharp, I still feel the treble is fairly linear and well extended. There don’t seem to be any particularly noticeable peaks, there is a fair amount of sparkle and lots of air. It is not perfectly smooth though and that is of course what I mentioned before. There can be some sharpness in the lower treble, which is where I am most sensitive and what is likely causing the signs of fatigue I experience after a while. However, because it is only minor and the rest of the treble is smooth and a little toned down (much like the bass), it is not a big problem for me and I will happily enjoy the Ara listening to sparkly and treble-filled music like Tchaikovsky’s Nutcracker.



Comparisons
-DITA Fealty-
This comparison was the first that sprang to mind because the DITA Fealty are similarly priced and I consider those neutral-natural in their tonality as well. However, the Fealty are based on a single dynamic driver instead of the balanced armatures of the Ara and so present a different approach with a seemingly similar goal.

In terms of build quality the Fealty are made out of aluminium instead of titanium, making them a little lighter while still durable. I think the Ara feel more durable because of the titanium, but the Fealty give me that feeling of luxury a little more, which I think also has a lot to do with their outstanding cable. The stock cable from the Fealty is the first cable I have never seriously considered replacing with an aftermarket one because of the excellent ergonomics and the highly versatile Awesome plug that allows easy switching between balanced and single ended plugs. It feels more like an aftermarket cable and won’t be mistaken for anything cheap, like I had with the Ara’s stock cable at first glance.

The Ara and Fealty both have a neutral, natural tonality, with the difference that the Fealty are more forgiving and push details less forward, which results in a sense of liquidity in the notes. Notes on the Fealty flow more organically and it makes them more inviting for sitting back and immersing yourself in the music. I absolutely love that quality, but it might not be for everyone and in my opinion requires some time to adjust to, where the Ara are more obvious in their character, with more clarity and air around instruments and vocals. The Fealty have less emphasis on the upper-mids, which I think balances them a little better. To me a big difference in presentation is in the stage, which with the Fealty is more like a letterbox; wide, deep, but not much height, where the Ara trade some of that width with height in order to get more of a cube shaped stage. I personally love how the Fealty’s presentation works for classical music and jazz, but I also find that the Ara have more versatility in the types of music they work well for.

-FiR Audio M4-
The FiR Audio M4 are a considerable step up in price, but an interesting comparison nonetheless. The M4 also have an uncoloured signature with some brightness to them, although there are some notable differences between the two as well. In terms of build quality and accessories I think the two offer very similar propositions with excellent build quality that feels like it was designed to be used and both include an excellent quality stock cable. Both also have great cases included where the FiR case feels a little more premium because of the leather, but Campfire Audio include a larger selection of tips, which is not very expensive, but is very practical. All in all very similar and not something to make much of a difference between the two.

In terms of sound I find the M4 less mid-centric and they have a brighter signature that is lacking that hint of warmth that makes the Ara feel more easy-going and natural, resulting in leaner notes with the M4. The M4 compensate for this with a larger dynamic range that can add emotion more strongly. The bass of the M4 is perhaps similarly linear to the Ara, but at the same time it is considerably more physical, textured and is more dynamic where it can go from seemingly absent to very energetic and engaging. The mids of the M4 are similarly uncoloured, although a bit less warm and not as smooth as the mids the Ara, neither are the mids as forward on the M4. Vocals on the Ara give more a sense of intimacy compared to the M4, something I personally prefer, but the vocals on the M4 have more density making them more clearly defined. Despite having less warmth, I find the M4 can produce more nuances in tonality than the Ara. In the treble the M4 are less forgiving than the Ara and I generally don’t use the M4 with the PAW6000 because that pairing is too fatiguing for me (switching the stock cable for the DITA Oslo cable resolves this for me). The stage of the M4 is considerably bigger and feels more open due to the tubeless design and Atom pressure relief module. In terms of the level of detail, I think the Ara come especially close and that is quite a feat because the M4 are very detailed to begin with. The main difference is that the Ara present that detail in a slightly more forgiving way.



Conclusions
I have really enjoyed my time with the Campfire Audio Ara. After such a long time wanting to try out some of Campfire Audio’s IEMs, I can happily say that the Ara have lived up to expectation. The Ara are slightly mid-centric, neutral-natural sounding IEMs with a reference character, but enough warmth to avoid sounding too clinical. The Ara give a sense of sophistication to their presentation that feels precise and with intent, everything is exactly where it belongs. They have some brightness to them that can be a hint fatiguing for those of us more sensitive to treble, but a general smooth and easy-going character still makes them a joy to listen to. Build quality is outstanding and I think the Ara have a lot to offer for their price point.

FiiO EM5

Disclaimer
I would like to thank FiiO for providing me with the FiiO EM5 earbuds in exchange for my honest opinion. No incentive was given for a favourable review.

EM5

• Drivers: 14.2mm beryllium-plated diaphragm
• Frequency response: 10Hz - 20kHz
• Sensitivity: 109dB at 1mW
• Impedance: 32Ω at 1kHz
• Cable: 4-stranded 120 cores Litz sterling silver cable
• Plug: Twist-lock with swappable 3.5mm SE and 2.5mm/4.4mm balanced plugs
• Price: US$299.99

Links:
https://www.fiio.com
https://www.facebook.com/FiiOAUDIO/

Preamble
Earbuds? Yes, earbuds. The eternal paradox in my audiophile life. I don’t review them much, I have not heard many of them, I can rarely even find them for sale where I live, and yet they are my most used piece of gear. I love listening to top-of-the-line IEMs that cost thousands and yet when I heard FiiO was releasing a pair of $300 earbuds my heart skipped a beat. Flagship earbuds? Oh yes please!

What is it that turns some audiophiles to a form factor with such strong and inherent physical limitations? I can’t really explain it, but there is something very pleasant about using earbuds. It is an open and unintrusive form factor that is easy to use and comfortable. That is not something you can always say of IEMs. I remember one manufacturer recommending lubrication if you had trouble using their recommended triple flange silicone tips. That’s lube, rubber and ribs, but I am not sure if pleasure comes into it. Headphones too are not always the pinnacle of comfort. Some manufacturers seem to dispense with it altogether and go full Frankenstein. It leaves me wishing they would just go the whole hog and add jumper cable clamps as connectors for the headphone cable to finish off the look completely. At the end of the day it is the simplicity of the earbud form factor that I find so attractive. It is why I use them on a daily basis and why I always return to them when I want a break from IEMs.

I guess that might be part of the reason why FiiO’s founder James Chung was so nostalgic about them that in early 2017 he decided to set out developing modernised earbuds worthy of a “flagship” status. FiiO have published a detailed account of the R&D story on Head-Fi and from that it is clear that the EM5 were always going to be a pet project. Not a market-oriented product, but rather something like a proof-of-concept or a “let’s see what we can do for the fun of it”. FiiO is well known for producing affordable products with a high bang-for-the-buck ratio, so why not do something different for a change? Why not cater to a niche just to see what is possible? I like that!

Unboxing
The unboxing experience is a fairly standard affair. A big black box that opens up to reveal a top layer with the earbuds sitting comfortably in the foam, their glossy shells and sterling silver cable shining in the light, which I of course completely failed to capture in my picture. Photographic ineptitude aside, it is always a nice sight to see something displayed like this. When you pay this much for earbuds, their unboxing reveal might as well draw full attention to the earbuds in question. Below the top layer are a leather carrying case and the 2.5mm and 4.4mm balanced plugs, as well as three boxes with each carrying six pairs of foams: bass, balanced and crisp. It is a good selection of accessories, although there is something missing that I will come to in the next section.






Build quality and fit
With earbuds there is always a challenge to achieve a good build quality while keeping the weight down as much as possible for comfort. Quite often I see very expensive earbuds still being built around the ubiquitous cheap plastic shells, which are light and durable, but not exactly in keeping with the high-end price tag. Other manufacturers go with metal shells, which are befitting the higher price tag and I personally really like it, but does add quite a bit of weight. FiiO found an alternative by using their 3D-printing expertise and I like the result they achieved. The shells are made of a smooth and seamless resin that feels very sturdy and a lot better than any other plastic earbuds I have come across. Granted, that is not that many earbuds, but this feels more like solidly built IEM shells, which is not what I had expected and a pleasant surprise.

Moving down FiiO added a high quality fixed cable. I saw a lot of comments about the cable not being replaceable, but I agree with FiiO that something like MMCX connectors would just have added bulk and weight, while this is the most elegant solution. The cable itself is a pure silver cable and well designed. It is a high quality, ergonomic cable that I expect accounts for a large part of the $300 price tag of the EM5. It is fairly supple, but does exhibit some memory, as the review unit has kinks in the cable where it was bent in the packaging.




At the end of the cable is FiiO’s own changeable plug. This immediately resolves one issue that some people might have with a fixed cable, that you can’t switch to balanced unless you re-terminate. With the changeable plug it is easy to switch from single ended to balanced and from 2.5mm to 4.4mm. I am a huge fan of this and FiiO’s solution is very good. I have used others like DITA Audio’s Awesome plug and FiiO’s plug is small to the point that it adds barely anything to the size of a regular plug and the locking mechanism is very elegant. I do find it does not feel quite as solid as the Awesome plug, but even after switching many times over the course of this review FiiO’s plug has proven reliable.



As for fit, this is an area highly dependent on a person’s ear shape and mine are admittedly crap for earbuds. I almost always have issues and so too with the EM5. They just won’t sit securely if I move around a little, or even when I eat something. Here FiiO could have done people like me a huge favour by adding ear hooks. Those were a blessing with the Astrotec Lyra Collection and I like the small ‘shark fin’-shaped ones to secure the earbuds in place, but those were not possible to fit on the EM5. I was able to use the bigger ones from Astrotec on the EM5 and while a solution, I did not find it quite as comfortable for longer use.

Source
All listening for this review was done with the Lotoo PAW6000 from its 4.4mm balanced out. I also used the EM5 extensively with my MacBook Pro using the Lotoo S1 and its 4.4mm balanced out, directly from the 3.5mm single ended out of my MacBook Pro, from the 3.5mm single ended out of my Sony XA2 phone and occasionally from the Cowon Plenue 2 from its 2.5mm balanced out. The EM5 always performed well and are clearly easy to drive to their full potential, so no worries whatever your source.



Presentation
I honestly did not know what to expect from the EM5. I had used the similarly priced Astrotec Lyra Collection on a daily basis for well over two years, but something suggested to me that FiiO really did push the form factor to a new level of performance. The EM5 also had the “bass-enhancing acoustic flute design” I did not really know what to make of. After giving them plenty of time to run in, I was ready to sit down for a serious listening session and…
No, still listening.
and…
Don’t bother me now, can’t you see I’m listening.
and…
Maybe I should go to sleep, but I’m still listening.
Pretty much that. Even with the might of multi-thousand dollar IEMs the EM5 managed to captivate me. Every time I started listening while I was doing something else I caught myself dropping whatever it was to close my eyes and just sit there enjoying the music. FiiO really did do something special here.

The EM5 have quite a forward presentation that sounds more like IEMs than what I am used to from earbuds. Everything sounds detailed and controlled from the bass on up and while the stage is very spacious, nothing seems to suffer a loss of texture from the open form factor. There is great width and especially depth to the stage where notes contrast cleanly against a surprisingly black background. The signature is well balanced with a controlled yet fun bass, forward sounding mids and good treble sparkle.

Of course it depends on the foams you are using. The bass foams felt to me a little fuzzy or veiled, the balanced foams felt really good with just the right amount of smoothness, but I also liked the added clarity and a little bite from the crisp foams (which felt to me the same as using no foams, except that gave no grip for a secure fit either). My impressions are mainly based on the balanced foams. The sound also depends a great deal on how the earbuds sit in your ear, so ‘YMMV’ is very much applicable here.

Bass
The ‘acoustic flute’ that is such a prominent feature in the design of the EM5 certainly seems to be doing its work. I initially expected a more booming bass, but instead the EM5 have a surprisingly tightly controlled and high quality bass. I personally feel that while it does not extend to the sort of depths I am used to with IEMs, the bass of the EM5 extends very well for earbuds. If you add a little EQ the EM5 are actually capable of a bit of rumble. Switching to the ‘Dance’ PMEQ setting of the PAW6000 I found the EM5 really good fun for down-tempo EDM with a meaty and impactful bass that feels unusual for earbuds due to its physicality. Without EQ the EM5’s bass sounds a little tame for the same music, but perfectly balanced for acoustic music and classical. What surprised me most was just how much detail the bass of the EM5 is able to deliver. It is the sort I would expect from IEMs, but not earbuds. There is texture and detail to a tympani in classical symphonies, the double bass accompanying Caro Emerald feels substantial and a cello solo by Yo-Yo Ma is a joy to listen to with a very realistic tone. With pop music like AURORA or Walk the Moon the bass is tight and has excellent physical impact to bring fun and excitement.

Mids
If you like your vocals, and I definitely do, then the EM5 will cater to your needs with forward, more intimate sounding vocals with a little sweetness. Vocals are clean, clear and realistic. In fact, the mids are very clear and have a crisp quality to them even with the balanced foams, and I mean that in a very positive way. Notes are quite articulate, but the EM5 stay well clear of sounding thin. The mids are organic and realistic and thoroughly enjoyable. My favourite vocals such as Agnes Obel and Hannah Reid sound alluring, and especially with Madeleine Peyroux the EM5 deliver the sweetness of her voice with wonderful intimacy that instantly draws me in. Accompanying instruments sound natural and lively with great tonality. This makes the EM5 especially well suited to acoustic music with an intimate setting, but they are equally at home with classical music. There is also a liveliness to the EM5 that brings fun and energy with pop music, but I do think the EM5 start falling short a little when moving to metal. Perhaps “falling short” is a little overly critical, it is not bad at all, but simply does not show off the strengths of the EM5. Give the EM5 Agnes Obel’s ‘Brother Sparrow’ and you are really in for a treat.

Treble
The treble of the EM5 is a very good quality with lots of sparkle and a bit of bite. Perhaps I am getting more used to treble, or the EM5 simply don’t push too much in the area where I am most sensitive, but I like it. The EM5 can be a little unforgiving depending on the quality of the recording where the treble will sound a bit bright, leaning towards a colder, harsher treble, although I would say that it is never sibilant. When I listen to classical music with soprano vocals there is more bite to those then I usually prefer and this could be a bit much for people sensitive to that. The treble also gives a bit of extra bite to strings such as from guitars or violins. For violins this is an advantage because the EM5 render surprisingly well-textured violin strings for earbuds and it makes them a joy to use for the articulate playing styles in Paganini’s violin concertos. When the music has a sweeter treble in it like Tchaikovsky’s Nutcracker the EM5 render that as it is intended with a wonderful sparkle that gives that unmistakable feeling of Christmas.



Comparisons
-Astrotec Lyra Collection-
The similarly priced Astrotec Lyra Collection have been my daily earbuds for well over two years now and I love those to bits. A comparison to the EM5 though feels like two completely different propositions. The EM5 are warmer and fuller sounding earbuds with a bigger stage, whereas the Lyra Collection have a more intimate stage and a much leaner note size. Where the Lyra Collection sound unmistakable like earbuds, the EM5 present music much closer to what I would expect from IEMs. The EM5 have a more prominent and higher quality bass with more detail, impact and extension. The bass of the Lyra Collection feels rolled off and anaemic by comparison. In the mids it becomes more interesting. The EM5 have a clearer midrange with more forward vocals, but the Lyra Collection actually sound to me as having the more natural midrange and are more capable of conveying tonal nuances. The Lyra Collection feel more delicate, where the EM5 are a little heavier handed due to their forward presentation. The treble of the Lyra Collection is more rolled off and sweeter, but that also makes them more forgiving than the EM5. The Lyra Collection is an easier listen, smoother and less forward then the EM5. I actually think this makes the EM5 more suitable when there is environmental noise because details are pushed more forward and are not as easily lost as with the more subtle Lyra Collection.

The Lyra Collection have a very nice build quality and they have held up well over the years, but the EM5 feel more solidly built and the cable is a clear step above the thin wires on the Astrotec. The Lyra Collection comes with fewer foams, but does have the all-important ear hooks, which is countered by the EM5’s excellent changeable plug. Not sure which of those I find more practical, but the ear hooks have the biggest impact for users who do not get an optimal fit.

In my opinion the EM5 are a step above the Lyra Collection, but I won’t be retiring those any time soon either.

Conclusions
If you have not guessed yet, I am very impressed by the FiiO EM5 and I genuinely think that FiiO have been able to achieve something that pushes earbuds to a higher level of performance. I have to reserve some judgement because I don’t have a great overview of current top-end earbuds, so please take that into account, but I would be surprised if at this price point there are many contenders out there to take on the EM5. (I would love to know if that were so.) Even at their arguably very high price tag of $300, I feel the EM5 should definitely on the radar of anyone who enjoys a good earbud.

MMR Thummim

Disclaimer
I would like to thank Joseph Mou of MMR for providing me with the MMR Thummim in exchange for my honest opinion. No incentive was given for a favourable review.

Thummim

• Triple hybrid with 9 drivers: 1 x bespoke 9.7mm Foster dynamic driver, 2 x Vented Mid (BA), 2 x Highs (BA), 4 x Electrostatic
• Crossover: 4-Way Passive Electro Frequency Division
• TriBore Waveguide
• Eletech Proprietary Internal Litz
• Frequency response: 10Hz-80kHz
• Impedance: 35 Ohm
• Price: US$4,499

Links:
https://metalmagic.co
https://www.facebook.com/Metalmagicresearch/

Preamble
Metal Magic Research, or MMR for short, is a brand new company with a familiar face, Joseph Mou, best known as the founder of Jomo Audio. When I first heard about MMR I did not really know what to make of it. Jomo is a more traditional IEM company, but MMR... Metal Magic? That sounds suspiciously like alchemy! Indeed, that is the whole philosophy and theme behind the company. MMR is a collaborative brand where a number of industry veterans have come together to let their brains run wild and to pursue some of the craziest ideas that result from it. A bit like alchemists used to do. You might think that Joseph must have lost his mind, but remember that even the great Sir Isaac Newton could not resist the lure of alchemy. Newton spent many years of his life secretly conducting alchemical experiments in an effort to find the mythical philosopher's stone. Of course Newton did end up (temporarily) loosing his mind because of mercury poisoning, but I think Joseph prefers to work with other metals.

MMR launched at Canjam Shanghai 2019 with four IEMs in three series. The Metal Series comes with two CIEMs based around balanced armatures only: the 5-driver Gáe Bolg and the 11-driver Balmung, both named after mythical swords. These will see all metal universal versions launched later in 2020. The Magic Series has the triple hybrid, 4-driver (1 x DD, 1 x BA, 2 x electrostatic) Homunculus, named after the small human being that was created in a laboratory by the 16th-century alchemist Paracelsus (he even published the recipe, but refused to show it in public). The Philosopher's Stone Series is, as the name implies, the flagship series with the triple hybrid, 9 driver (1 x DD, 4 x BA, 4 x electrostatic) Thummim, named after the objects Urim and Thummim that were part of the breastplate of the prophet Aaron, used for divination and seen by alchemists such as Paracelsus as signifying light and perfection.

If it is all starting to sound a bit far-fetched and over the top, then at least the marketing team have done their job because that looks to be the intention behind it. To advertise the brand's unconventional philosophy. It seems to me to be a risky strategy, but I always like it when people dare to be different. So now the question becomes... Is Joseph the audio industry's Nicolas Flamel?

Unboxing
The unboxing experience of the Thummim is a bit mixed in my opinion. These are very expensive IEMs and so it is a bit disappointing to see only the bare necessities included: the IEMs, a cable and a set of tips, all fitted neatly inside a leather case. At this price point I would expect opulence, a filthy decadent over-the-top type of opulence, which sadly isn't there. What is there, however, has been well thought out and so you are getting quality and something unique.







The outer box will feel familiar to those of us who like a good quality whisky: a sturdy cardboard tube, like the one your favourite bottle of whisky comes in, which is covered with graphics to give off an alchemical vibe. It opens up to show (carefully wrapped in paper) a beautiful leather case shaped like an ancient papyrus scroll. It opens up like it too, with something that feels like unrolling ancient secrets to reveal the philosopher's stone. There they sit, the Thummim monitors, like two precious stones alongside the Eletech Plato cable and a set of Acoustune tips. All the tools needed for the discerning audiophile to imbue life into their music, and they are darn good quality tools as well. Plato is a very high-end cable, which I reviewed here previously and has become a favourite of mine to pair with the Empire Ears Phantom. The Acoustune tips too are great quality, although I personally usually gravitate towards Final E-tips (not this time, but more on that later). The case is completely unique and something you could easily put on display or set on a desk. If only MMR had put this in a small mahogany chest with a key shaped like something out of the mind of M.C. Escher that once turned released five different locks to open up with a mysterious fog pouring out, golden light permeating through it and that 'angels singing ahhh' sound effect.

Build quality and fit
In alchemy metal is seen as something that is, in a way, alive because it grows inside the Earth (yes, Newton believed that too, even before he went mad from huffing mercury fumes). The Thummim are of course not grown, but the milling process does transform the titanium into shells that harness the heart of music. The heart in this case being a 3D-printed chassis on which the drivers are installed. This method of construction forgoes the need for sound tubes and provides a very high degree of precision with an accuracy of up to 25 microns to fine-tune the acoustic path from driver to the nozzle. The BA and electrostatic drivers also do not have the traditional port and instead fire straight into the chassis. The BA drivers are from Knowles, the DD driver is from Foster and the electrostatic drivers are from Sonion, which are driven by their new second-generation transformer to improve efficiency. Once the chassis and drivers are installed and connected up with Eletech's proprietary internal wiring, the lifeless metal becomes the embodiment of musicality. When I first saw the Thummim I also noticed that the nozzles (made from aluminium with chrome coating) are empty and so act like horns, which Joseph explained to me helps to amplify the higher frequencies. The end result is a set of superbly built IEMs that feel very solid, while not being too heavy either.




Images courtesy of MMR

The Thummim of course look crazy and like most other people I had my reservations about their comfort because of all the sharp angles. However, the inside of the shells is actually a lot more comfortable than expected and I had no issues with them. It took me some time to find the right tips, which ended up being the double flange Accoustune tips that MMR included, and once I found those I could use the Thummim all day without the slightest hint of discomfort. Although the fit will vary from person to person, I don't expect too many problems for most people.





One thing to note is the 4.4mm balanced plug on the Plato cable. When I started using it with my Lotoo PAW6000 I found the fit very tight. So tight in fact that I initially switched to the other Plato I have, a 2.5mm balanced version that I could use with an adapter, and contacted Eric Chong of Eletech to enquire about the tightness. He explained that they have been using a thicker rhodium plating on the 4.4mm plug and that this will wear down over time. They will be looking into reducing the thickness of the plating, but for the current plugs it should be perfectly fine to use, as the plating will wear down and not damage the socket on your source.

Source
Listening was done with the Lotoo PAW6000 from the 4.4mm balanced out without using any EQ settings, as well as some with the Lotoo S1 dongle from my MacBook Pro. (On a side note: Using the S1 in its UAC1 mode, I also had a great time with the Thummim on my PS4.)



Presentation
When I first sat down to listen to the Thummim I had great anticipation and was expecting to be wowed as soon as the music started, but instead I was actually more confused. Coming straight from more neutral, fairly uncoloured IEMs, the Thummim were shockingly different. This told me that I needed some time to adjust to them and that is also something I will advise anyone demoing the Thummim: Allow yourself time to adjust. The Thummim are unapologetically bold and musical, with a warm signature that still manages to produce a lot of detail and texture. Most of all, the Thummim genuinely have what MMR describe as an "inconceivable spherical soundscape". The stage is among the biggest I have heard and wraps around the head in a unique way where at times sound feels like it is coming from all possible directions. The whole presentation is one of energy and fun at a very high technical level. The dynamics of these is incredible and it is a joy to listen to something like Wolf Alice's 'Your Loves Whore', which displays that dynamics really well. A deep hitting bass, thick and warm, great vocals and sparkling highs, all set inside this incredibly spherical stage where the thick notes fill up the space to completely envelop you in music. Play something like Melokind's 'TschonniBonni' and you get a real sense of what the Thummim can do in terms of imaging. Notes will dance around your head like the monitors pose no physical restriction to them.

It is a testament to the technical capability of the Thummim that they are able to resolve as much detail and texture as they do considering the level of warmth in the signature. People who enjoy a moderately warm and technical sound like that of the 64 Audio U12t will likely find the Thummim too warm. I can really enjoy it, but will draw the line at classical music. While I love a big stage for classical music, I find the Thummim are too warm and the bass too dominant for something like classical symphonies. The signature is simply too dark and while instruments are separated exceptionally well, I find they lack the crisp clarity that I have come to prefer for classical music. The tonality is also a bit off with some instruments such as woodwinds, where I think they loose a little of their distinction due to the warmth. That is however offset by sweet, alluring vocals, which are wonderfully smooth. No prominent lower treble lift to give them articulation, just smooth and somewhat sweet vocals with great density so they separate well, even against the powerful bass. The treble is really well done with a lovely sparkle, great extension and what I personally consider a very natural tone.

I have used the term once before and the Thummim again remind me of Marmite (a food spread popular in Britain). If you don't like this sort of sound, it might all be too much, but if you do, you will absolutely love it and there will be nothing quite like it.

Bass
This is probably the most polarising aspect of the tuning, as the Thummim have a warm and muscular bass that does not seem to have a soft peddle. It can dig very deep and has a meatiness to it that makes sure its presence is known. For classical music this is, in my opinion, too much because the bass section comes too far forward and it warms up midrange instruments a bit more than I like. Favourite symphonies of mine, such as Beethoven's 5th, loose nuances that are key to the emotion of the piece. There is however an incredible amount of detail and texture to the bass and, sticking with classical music, listening to an instrument such as the cello is quite something else. With solo pieces it is almost like sitting inside the body of the cello where you can sense every vibration running through the instrument.

In reality though I think it is best to avoid classical and instead let the Thummim loose on something with a bit more energy. They seem to be all about musicality and that thumping bass works a treat with something like the Rolling Stone's album 'Blue & Lonesome'. It has been a long time since I last heard this album with such a tangible image of the performance taking place in a smoke filled bar. Here the bass adds colour in the most musical way and I absolutely love that. It is a raw, heavily textured bass with great physicality to set a pace. Sometimes that pace is quite articulate, at other times it feels more resonate and slow to emphasise the mood of the song. It feels a lot like a live performance with chunky subwoofers. It also provides a superb sense of raw power to metal such as Device or Disturbed. Oh yes, no wishy-washy feebleness, but enough grunt to make a One Direction fan cry inconsolably... okay, that might not actually be such a special feat. Let's just say it is the most grunt I have ever heard. And how about Within Temptation! It is jaw dropping! "Grand" isn't the word. It is a magnificent metal symphony with an incredible balance between that raw power and the clear vocals of the ever-stunning Sharon den Adel. Play to the Thummim's strengths and they treat you to a genuinely unique experience.

Mids
Speaking of vocals, the Thummim do those very well. Vocals are a bit on the sweeter side with great density to separate them clearly against whatever else will be going on. So Sharon den Adel's voice is clearly distinct from the powerful instruments alongside her. You might think that due to the warmer signature female vocals will end up being too warm, but I am impressed by the clarity those maintain. Soprano voices are genuinely soprano and reach sky high, although the slight sweetness tones down the natural sibilance that might occur. With large choral pieces the Thummim layer the voices really well and female vocals are not drowned out by the deep and powerful male vocals. It is not a subtle distinction between the voices like you get with more neutral IEMs, instead the Thummim give power to every voice. Combined with the huge stage and its spherical shape, the Thummim once again manage to create a unique image of choral music and I actually enjoy it a lot more than I do classical symphonies.

To get back to symphonies, I feel the mid range is just a bit too warm and lush, which makes especially woodwinds warmer than I would like them to be. I will admit here that I have recently gravitated towards IEMs that are less warm than I previously used for classical and so for some people the Thummim might well be exactly how they like it. The thicker mid-range notes make for a bolder and more dramatic presentation that is incredibly dynamic and feels very physical. With most other music I think the Thummim are superb. They have some incredible guitars that have crunch like the bass has grunt and much like I found with the Jomo Trinity, the Thummim build up the layers in the music by giving each layer a ton of energy and texture. Details in guitars are great and you pick up the techniques used surprisingly clearly.

Treble
Because of the muscular bass the Thummim must have something powerful at the other end of the spectrum to provide balance and they do indeed have it in the treble. The treble is wonderfully natural sounding to my ears and extends very well, adding enough air to blow away most of the warmth that would otherwise cause congestion that would make Central London at rush hour feel deserted. It is a great balance where the treble does not come across as splashy at all. I never found any harshness or anything like that, although a mere hint of brightness can be found with lower quality recordings. With good quality music (lossless CD rips and up) it sounds heavenly and cymbals like in Wolf Alice's 'Blush' have a wonderful sparkle and natural resonance. It is a little on the sweeter side, so not an overly crisp and clear sparkle, and very well positioned within the image to provide a thoroughly comfortable listening experience hour after hour without a hint of fatigue. Detail in the treble is also excellent and there is a great sense of texture to it.



Aftermarket cables
Usually I like to include a number of different aftermarket cable pairings and one of my selection criteria is that the cables should synergise well. Cables can make changes to the sound, but it is not always predictable what those will be because it depends on all the elements in the chain and especially how a cable pairs with the IEMs. For this review I tried out a number of different cables including the Effect Audio Cleopatra, the PlusSound Exo Gold-Plated Silver, the PlusSound X6 Tri-Copper and the Effect Audio Eros II 8-wire. Most cables I felt emphasised the already prominent bass and that was (in my opinion) too much of a good thing. Only the Eros II 8W had a somewhat decent synergy, with a more mid-centric and smoother result. I initially thought about writing about that cable in more detail, but ended up deciding against it because I found it took away so much of what makes the Thummim special that I could not consider it worthwhile. It took away a lot of the spherical character of the stage, reduced bass extension and sparkle in the treble. Switching between the cables I felt that the Eros II 8W made the Thummim boring (not really, but relatively speaking) and every time I went back to Plato a smile came back on my face... "Oh yeah, that's the stuff!" Given the special nature of Plato, it might well be that this pairing is key to producing the unique characteristics of the Thummim. That is however just a suspicion and I would have to try more cables to say something sensible about it, but I don't have access to any of the cables I think might be contenders (eg. PW Audio 1950s).

Comparisons
Although I do not have access any IEMs in this price range, I still found a few IEMs that for one reason or another made for an interesting comparison.

-64 Audio Trio-
When I started to listen to the Thummim, the Trio were the first IEMs that came to mind for a comparison because of their hybrid design and warmer, more engaging signature. The Trio have a more intimate feel to them and the signature is a bit brighter overall with a slightly more controlled bass and more prominent treble. I personally have no problem with the treble of the Trio, but it could be a hint too bright for some people. The one thing that has continually impressed me with the Trio is their versatility and I have greatly enjoyed them with every type of music, from rock to classical.

The signatures have some similarities in that the bass is meaty, vocals are very good and the treble is nice and extended. The Thummim though take everything up a notch, adding more colour, more excitement and a much bigger and more enveloping stage. The bass is meatier, guitars have more crunch and only in the treble does it tone things down to feel a bit sweeter and more natural. The Trio are more balanced, more normal, almost boringly so by comparison. The Thummim are over-the-top pantomime compared to the Trio's Shakespeare. That is not to say that the Trio are perfectly balanced, Shakespeare did write plays such as his farcical The Comedy of Errors after all, just relatively speaking when compared to the Thummim. Where the Trio have some semblance of restraint, the Thummim push unmistakeably for musicality and outright fun.

-DITA Audio Dream XLS-
The Dream XLS feel like an interesting comparison because they also have a titanium shell and a very high-end feel to them, even though they are around half the price. In both cases I would say you are getting a very well thought out package. DITA however do go a step further with more accessories and they have the advantage of the versatility offered by the Awesome plug. In that sense I would have liked to see a couple of pigtail adapters with the Thummim to have a stock 2.5mm balanced cable with 3.5mm and 4.4mm adapters. I think this would have added to the luxury feel.

In terms of sound these two are apples and oranges. The Dream XLS are very refined and entice you into the music, gently revealing an incredible level of detail and texture. The Thummim are by comparison heavy handed and overwhelm you with gobs of detail, texture and energy. That level of energy is far beyond the Dream XLS, but the level of detail and texture is a lot closer. Because the Dream XLS are nowhere near as warm, they are capable of conveying more nuances in the texture and detail, which is why I feel they excel for classical music. The imaging of the Dream XLS also suits classical music better because the layering is exceptionally well done. The Thummim on the other hand present the image in this unique spherical space where notes feel unrestrained, which comes into its own much more with band-based music and the sort of EDM I enjoy so much. In that sense the Dream XLS are more conventional, where the Thummim distinguish themselves with a completely unique experience.

-Empire Ears Phantom-
When talking about warm and enveloping IEMs with great musicality, I feel the Phantom can't be ignored. Coming straight from the Thummim the stage of the Phantom feels tiny by comparison and I needed a second to adjust to the difference in tuning. The Phantom are more mid-centric and the mid-range tonality is exceptionally well done, with full sounding, lifelike instrument and a great level of nuance in their timbre. The Phantom do have a slight lower treble lift to add a bit of bite to brass instruments that is not as present with the Thummim and so the Phantom can be less forgiving in some cases. The great timbre of the Phantom is an important reason why, despite the smaller stage and warmer signature, I still love these for classical music. They add a sense of drama and intimacy that I greatly enjoy. The Thummim of course add a lot more drama, do away with the intimacy and still manage to completely envelop you with music due to the thicker note size. The Phantom are far from lean, but definitely feel like it compared to the Thummim. I have also hailed the Phantom for their outstanding bass quality, but it is subdued compared to the meaty and textured bass of the Thummim. The Phantom are "dynamic driver-like" in their bass, the Thummim make it unmistakable that there is an actual chunky Dynamic Driver (intentionally capitalised and I should probably have used bold as well) at work.

Apart from sound the Thummim of course have their outstanding build quality, which is something that the Phantom simply can't match. As much as I love my Phantom, I still baby them because I find the shells too light and worry about any bump they might get. The Thummim I happily take anywhere at any time, confident they will cope with almost anything.

-FiR Audio M4-
The M4 make for a very interesting comparison because those also have an energetic signature, but one that is more restrained compared to the Thummim. The M4 are a lot closer to neutral than the Thummim and back to back the M4 will feel quite bright, with a very crisp and clear treble, uncoloured mid range and a very tight bass. It therefore takes some adjustment when moving back and forth between these. I rate the M4 as outstanding technical performers, with one of the best bass out there, but comparing to the Thummim is even more apples and oranges than with the Dream XLS. The M4 are very energetic and a joy to listen to, but the treble can give some issues, which I experience when paired with a more reference-type of source like the Lotoo PAW6000. I actually ended up switching to the Cowon Plenue 2 for my review of the M4. No such issues with the Thummim, although they seem somewhat brighter from the PAW6000's 3.5mm SE out (compared to balanced), which I switched to because the stock cable of the M4 is 3.5mm, whereas with the other comparisons I had balanced cables available.

The comparison is similar to the others in that the Thummim bring a more muscular and heavily textured presentation. The M4 can retrieve a lot of detail and texture of their own, but it is much more subtle by comparison. They are also more balanced and brighter than the 64 Audio Trio with a leaner note size, so the differences are only amplified in their comparison with the Thummim. Much like the Trio, the M4 do classical music really well and I find that the mid range tonality is very accurate and uncoloured. I definitely have to blame the M4 for pulling me away from warmer IEMs in recent times because of this mid range and as such, they emphasise the thick and coloured mids of the Thummim. Interestingly when it comes to the energy of a track like Wolf Alice's 'Yuk Foo' the level of energy conveyed by both is surprisingly close. The M4 are tighter and brighter, but stand up to the Thummim surprisingly well. Even in their stage the M4 can produce a spacious feel not unlike the Thummim, although the Thummim appear to bend the laws of physics a lot more in order to produce sounds from every corner. It feels mostly like a difference in tuning, with the Thummim being warmer and having a muscular type of energy, while maintaining a very fatigue free presentation, where the M4 have more bite and can be more fatiguing for treble sensitive people (like myself).



Conclusions
The Thummim are truly unique and thoroughly musical IEMs with a slightly crazy styling and excellent build quality. They come stock with a very high-end cable, although further accessories are limited. I would hesitate to recommend these flat out to anyone, not so much for their price, but rather more for their tuning that might be taking it a little too far for some people. For those who do like a thicker sound with lots of energy, the Thummim do it at the highest level and offer a truly unique experience. The stage is huge and incredibly spherical, which is filled up with thick notes, lots of detail and gobs of texture to completely envelop the listener in their music. I can't say I ever had a listening experience quite like it. Truly unique!

FiR Audio M4 - Good Clean Fun (Very Good Clean Fun)

Disclaimer
I would like to thank FiR Audio and Project Perfection for providing me with the M4 in exchange for my honest opinion. No incentive was given for a favourable review.

M4

• Drivers: 1 x dynamic driver (low), 3 x balanced armatures (mid, high)
• Frequency response: 10hz - 20Khz
• Impedance: 6.4ohms
• Proprietary tubeless design
• 3rd gen Atom pressure release system
• Price: US$1,899

Links:
www.firaudio.com
www.facebook.com/FiRaudio/
www.pp-distribution.com
www.facebook.com/projectperfectionsg/

Preamble
FiR Audio is a relatively new name in the industry, as it was founded only in 2018, but the person behind the brand is considerably better known: Bogdan Belonozhko. I was going to say here that Bogdan is one of the "famous Belonozhko brothers", but that sounded too much like it could be a trapeze act and would not have been entirely accurate either because I believe there are some Belonozhko sisters out there too. Then I thought about saying Bogdan is part of the "Belonozhko family", but that made it sound more like a New York crime family. So Bogdan is just Bogdan, part of a family that has become very well known and respected within the audio industry. Formerly a CEO at 64 Audio, he left that company to his brother Vitaliy and went his own way with FiR Audio. I think with FiR Audio Bogdan built up a very interesting company that sets itself apart from many others by offering not just IEMs, but also the tools to keep those in tip top shape.

One of the first FiR products I came across was The Headphone Vac, an IEM vacuum cleaner that comes in two sizes and features a bunny holding corn as a logo. Why a bunny holding corn? Because the Vac was supposed to be produced in Iowa where there are (of course) more members of the family, cousins this time I believe, and the "ears" of corn is what a bunny lives on during winter. Quite clever actually... Bunny ears, corn ears, IEMs you put in your ears and a family that breeds like rabbits. (Just kidding on that last one.) Especially for performing artists such tools are a really sensible investment in order to keep their monitors in optimal condition, which should provide them with a longer life as well. For audiophiles it can also help avoid the agony of having to send their precious IEMs to the manufacturer for cleaning, or worse, repairs that could have been avoided. To me this suggests that Bogdan and his team at FiR Audio are not just trying to push their IEMs, but aim to offer a complete package that recognises the investment their customers make.

Unboxing
The M4 come in a satin black box with golden FiR bunny logo and the model of your IEMs. The box is the same for the other FiR IEMs (the M2, M3 and M5), but with subtle differences in the graphics. Opening up the box reveals a personal note from the FiR Audio team and behind it the first layer with the M4 themselves and the cable, which is covered by a small black card with FiR Audio sticker. Removing the first layer reveals the second one with a leather case and warranty card. The case is great and I think has the most useful design of the various cases I have come across. It is a round case that works perfectly for storing the IEMs with any cable attached, as there is enough space for even chunky aftermarket cables (save for something ridiculously oversized as a flat braded, 12-wire SilverFi R5). Because it is round it allows the cable to curl up more naturally so it does not tend to develop awkward bends over time, which is something I sometimes have when storing in (for instance) a rectangular Peli 1010 case. The case is also made of leather and so is soft enough to protect the IEMs when moving around, where some harder cases also seem very hard on the inside. The design of the case is very nice with the FiR Audio logo embossed on it, a beautiful colour that coincidentally matched the case of the Cowon Plenue 2 I used for this review and then a really clever way of storing the tips at the bottom. FiR Audio include a basic selection of tips with foam, silicone and a set of double flange tips, plus (of course) a cleaning tool.







Build quality and fit
The build quality of the IEMs is superb. It is an all-metal design and I am a huge fan of that because to me it always inspires confidence that I can use them without too many worries. I would happily stuff these in a pocket and not worry about it, while with resin shells I am often too concerned about possible cracks developing when I do that. The big thing with how FiR Audio designs its IEMs is that they have a completely tubeless design. The aim with this is to get the IEMs to produce a more natural sound than you usually get with IEMs by increasing the air volume available within the monitors. Usually IEMs are designed with sound tubes running from the drivers and this means only the volume inside of those tubes is available for the sound. By removing these tubes the whole inside of the shell becomes available, which means a lot more air volume for the sound to develop. FiR Audio combine this with their third generation pressure release system called Atom, which is like Adel and Apex, and it counters the occlusion effect you normally get with IEMs very effectively. This makes the way you perceive the sound feel a lot more natural, like it is coming from beyond the IEMs. The shells have a great ergonomic shape that is very comfortable and because wearing them does not build up any pressure within the ears, it does not really feel like wearing IEMs at all.




The included cable is a good quality and very supple one built up with 8 thin wires. There is no memory wire in them, just pre-bent heat shrinks that are a little longer than I usually see, but it did not affect comfort. One thing of note is that the connectors for the universal models are MMCX instead of FiR's own RCX connectors that come as standard on their CIEMs. I understand that the reason for this is to cater to those audiophiles who like to use aftermarket cables. On the one hand I like that they went with a more common connector for the universals, on the other I do find it a shame not to have the advantage of the more reliable RCX connector.

Source
Listening was mainly done using the Cowon Plenue 2 and some with the Lotoo PAW6000. While the Lotoo is my main DAP for reviewing these days, I switched to the slightly sweeter sounding Cowon because it resulted in a better treble response for my personal sensitivity (discussed in more detail below). I also switched tips from the included stock tips to (I believe) Sony tips that also slightly helped reduce the treble issues I was having. This combination worked perfectly for me and avoided all earlier issues.

Presentation
The signature of the M4 is what I would call fairly uncoloured, with a very well done lift in the bass to add pace and impact, and a subtle bit of excitement coming from the lower treble. So perhaps you could say the M4 have a slight U-shape, but really well balanced and I am not sure if "U-shape" is really the best description here. I don't have them around anymore or I would have certainly have included a comparison, but the M4 remind me (from memory) in many ways of the 64 Audio U12t. In case of the M4 though it comes with added excitement from the bass and a little from the treble. Where the U12t never quite did it for me, the M4 have gone from strength to strength the more I used them. I like a bit (or often "a lot") of colour to IEMs and the M4 add it in a very subtle, but extremely well balanced way. In my first impressions I wrote the following:

" My first impression is that these might well be perfect for people who do not like too much colour to their sound, but are looking for some fun and excitement with a (very) high level of technical performance."

This feeling has only been strengthened over time. The M4 are exceptionally good technical performers that find a near perfect balance between accuracy and fun. High praise, I know, but it is something that stems from many hours of listening and a continued sense of surprise by just how good the M4 are with every type of music I used them for. They are highly versatile and impress with everything from Beethoven to Pearl Jam. In that sense they remind me of the 64 Audio Tia Trio, which also kept surprising me with their versatility.

The tubeless design in combination with the Atom pressure relief system helps to generate a spacious stage that is very wide and deep with good height, giving a very natural feel to the presentation. Coherency is great and I personally do not find that the hybrid design is causing the sort of separation between the bass and the rest of the signature that sometimes seems to happen when different driver types are used. Everything works together harmoniously. Separation is great with lots of air around instruments, as well as providing accurate and stable positional information. To be honest, apart from a slight issue I had with the lower treble lift hitting my sensitivity on occasion, I can't really fault the M4. Contenders in the category "desert island IEMs" (if you can only bring one set)? I think so.



Bass
Oh my... Oh my, oh my... The M4 really impress with their bass. This is not an Empire Ears Legend X-type of 'I have my head stuck in the subwoofer' bass (which, let's be clear here, I adore and has left two Weapon IX sized holes in my life ever since I heard them), but this is without a doubt one of the very best quality bass I have heard. I have been analysing this bass from every angle, using every type of music I have and it always sounds "right" in every single aspect. The bass is very well controlled so it does not muddy the mids and its placement always seems to be exactly right. This might well have to do with the placement of the dynamic driver within the tubeless design, where I believe the dynamic driver sits at the back of the shell.

Listening to the Rolling Stone's 'Hoo Doo Blues' is great. The track has a very prominent kick drum, which the M4 reproduce with an incredible amount of body, texture and detail, yet it does not in any way interfere with rest of the instruments or Jagger's voice. Everything remains super crisp and clear. The physicality of the bass is much the same. Combined with that outstanding level of detail and texture, it gives a very clear representation of the instrument. Bass instruments have a very realistic sense of size and weight to them, but they never overwhelm. Similarly the Tuba in Tuba Skinny's 'Jazz Battle' sounds big and bold and gives you a sense of the size of the instrument, yet it is so impressive to hear how well it is controlled. Classical music? Yes, there too. Bass instruments sit in the back where you would expect to find them and still you get an unmistakable sense of their size and the physicality of the instrument to an extend that I have not yet encountered.

The bass in general extends very well and is capable of a proper rumble and the physicality I mentioned already, which together with a very tight nature is also great for popular music and EDM. It is quite an articulate bass that does not feel particularly slow or sluggish, despite being produced by a dynamic driver. Imagine Dragon's 'Thunder' has a really nice heartbeat to its bass, not super quick, but very nice and precise with just enough resonance to give that heartbeat body. It makes the track wonderfully engaging and fun.

Mids
The mids are not as full as I would normally like them to be and initially I was worried that the leaner mids would come at the expense of a natural timbre. I don't think I could have been more wrong here. If anything the mids are accurate, very accurate. I often use Beethoven's 5th symphony conducted by John Eliot Gardiner to get a good sense of timbre and I was very impressed by what I heard. Out of nowhere came some of the most accurate sounding woodwinds I have heard so far. Not full sounding, but accurate and so easy to distinguish different instruments, even those very close in tonality were distinguishable with ease. The piano sounded very good too, not quite up there with the Rhapsodio Eden (which were addicting for piano), but a joy to listen to nonetheless. When listening to Chopin Nocturnes it is amazing how much detail there was in every single note. Because the Nocturnes are solo piano pieces, you get a genuine sense of every note and the weight with which it is being played. The M4 reveal this in great detail and give an accurate sense of the dynamics between the notes.

Vocals are very clear and balanced. They do feel somewhat recessed and I don't think the M4 distinguish themselves with particularly dense vocals. There are definitely a few IEMs I would prefer for vocals due to a more forward position and greater density. Still, the M4 are very good for vocal music nonetheless. Female vocals are clean even at the highest octave, while male vocals have the chestiness to distinguish them clearly. So in choral pieces this means that neither male nor female vocals are favoured and placement of the different voices comes across very clear and precise.

Treble
The treble of the M4 is very well extended and offers an exciting, yet well-balanced sparkle. There is a lower treble lift that, while using stock tips and the PAW6000, was on occasion pushing it a little too far for my treble sensitivity. For instance the track 'Flight 420' by Astronaut Ape had treble details and sparkles that were fatiguing for me to listen to. However, this depended on specific album and even individual tracks. The album 'Interloper' by Carbon Based Lifeforms, which is a similar type of down tempo EDM with lots of details and sparkles in the highs, did not give me any issues. Of course by switching tips and source I avoided the issue altogether and 'Flight 420' became perfectly safe for my treble sensitivity.

The sparkle the M4 produce is very clean and extremely detailed. Cymbals sound great although they can, depending on the recording, have a slight brightness that I don't feel is entirely accurate. Then again, with decent quality recordings it does sound very detailed and accurate, so perhaps there is your explanation. Not so much the M4, but rather their revealing nature also revealing poor quality in recordings.

DITA Oslo cable
Usually I will include a few interesting cable pairings in my reviews, but with the MMCX of the M4 I am unfortunately not able to do that. All the cables I have available have 2-pin connectors and I don't have those nifty little adapters in order to use them with MMCX IEMs. However, Project Perfection did send along one cable for me to try out: the DITA OSLO cable. @twister6 has reviewed it separately (link), but this time Project Perfection specifically wanted us to have a look at the synergy with the FiR M4.

The OSLO cable is a very high purity copper cable that has been specially treated and as such the name stands for Oil-Soaked Long-crystal Oxygen-free (OSLO). The build quality of the cable is great. It is a fairly thin and very supple cable that comes (in this case) with high quality MMCX connectors, the signature round DITA Y-split and of course the Awesome Plug, which I am a very big fan of. Since the DITA Dream XLS came with its own OSLO-XLS cable, I have been using this cable a lot and found it very comfortable. The main difference here with this OSLO cable and the M4 is that the connectors sit on top of the M4's protruded sockets and that makes it a little high compared to the M4's stock cable where the connectors slide over and sit nice and flush. Not a big deal, but if the OSLO's MMCX connector would sit the same way, I think it would improve comfort even further. Of course that would be an issue for other IEMs where the MMCX sockets are recessed, so perhaps it is unavoidable.



The OSLO cable also comes with a little bottle of the oil solution that is used to treat the cables, which can be used on the connection of both the Awesome plug (i.e. the four connectors you see when changing the plug) and the MMCX (or 2-pin) connectors. An aftermarket cable supplied with a bottle of oil, you say? Cue the snake oil comments! Given the hostility of some to anything to do with aftermarket cables, I think that is quite a gutsy move. Even I was sceptical about it, but I gave it a fair try anyway.

And to be fair, if you call it a "contact enhancer" it all becomes a bit less controversial. I used it on two IEMs that have seen a lot of use, just to see if I could notice a difference. It was not possible to A/B because once it's on, it's on and I wasn't going to clean the connectors and reapply it several times. I am dedicated to doing thorough reviews, but I do have my limits. I first tried it with my DITA Fealty and felt that perhaps there was indeed a slight improvement in clarity, or perhaps just a cleaner and a little more stable sound. The difference was not huge and to be honest, I doubt I will ever use it purely for sound improvement. However, there was one point where I did find it incredibly useful and that was when I applied it to the Final E4000. Those have seen a lot of abuse as part of my boot camp review, where I went running in the pouring rain, the freezing cold, the blistering heat and had sweat pouring over the MMCX connectors during indoor bike trainings (talk about a thorough review...). By now the connectors have started suffering from frequent cut outs and I was about to accept their sad demise. Applying the contact enhancer however completely solved the issue and it gave the E4000 a new lease of life. So in that sense it was unambiguous that it indeed helped improve the quality of the connection.



The pairing of the M4 with the OSLO cable is a really good one where I feel the synergy between the two is bringing a few notable changes. The overall brightness of the M4 is toned down a little to the point where I can use the PAW6000 as a source again without having any problems with the treble (still using the Sony tips though, but purely because I get the most comfortable fit with those). The stage seems to open up even more than it already was and creates one of the biggest stages I have heard so far that stretches very wide with great depths, although height still seems to be similar. The bass of the M4 gets even more texture and a bit more body without loosing the tight control or impact. The little bit of extra warmth this generates helps to make the mids a little fuller and I feel this gives the mids a bit more naturalness. That is of course because it is more in line with my own personal preferences, as I tend to prefer a slightly warmer signature. Because of this the mid range also gets a little bit of the liquidity I mentioned in my review of the DITA Dream XLS, where in a very similar way to the Dream XLS, the M4 and OSLO pairing gives this sense of the notes flowing from one instrument to another. This is something that I felt very clearly with choral music, where for instances in Bach's Cantata #140 the voices flowed almost like water (hence the term "liquidity") without negatively affecting separation. Treble I feel is quite significantly affected -perhaps due to my sensitivity- and becomes sweater. I personally think this gave cymbals a more natural sound, less bright than with the stock cable, but still very well extended and incredibly detailed while having a great sparkle. That worked brilliantly for my treble sensitivity. [insert: big grin happy face]

I think the synergy between the OSLO cable and the M4 is very good and that combined with the comfort of the cable and convenience of the Awesome Plug, it makes for a very good upgrade from the stock cable. It is a little warmer and so it will depend on personal preferences if that is the direction you would wish to go.

Comparisons
-64 Audio Tia Trio-
These are very similar IEMs in terms of build quality and driver configuration (4-driver hybrid vs 3-driver hybrid) and so I initially expected the M4 to be similar to the Trio -I know, I am not always the most logical person- but they differ more than I had expected. The Trio are darker sounding, giving them a more laid-back feel compared to the M4. The M4 push details forward more clearly and yet present it in a way that feels more open and natural. Not that the Trio have the occlusion effect, their own tubeless design and built in Apex pressure release system is also very effective, but it seems like FiR Audio have managed to improve on it with the M4. The bass of the Trio feels a bit looser and woollier compared to the bass of the M4 and the M4 seem to dig a little deeper, keeping it tighter and retrieving more texture and detail at the same time. The mids of the Trio are perhaps a little warmer, but here I find that they share a similar natural tonality. The treble on the Trio feels a bit more polite and I personally never had any issues with it.

Overall I think these are both excellent technical performers and the main difference is in their tuning. The Trio are more easy-going, as well as more fun and engaging in my opinion, whereas the M4 are a little more restrained (i.e. good clean fun) and push details more clearly forward. I feel the M4 have the upper hand in pure technical performance, but it can be a bit misleading because of the Trio's darker signature. With both I have this same sense that the more I listen, the more impressed I am by what they are capable of. If it is between these two, then I think it mostly comes down to personal preferences. I personally prefer a slightly darker signature, so in that case the Trio has the edge, but at the same time I can't ignore the bass of the M4, it is just too good.

-DITA Dream XLS-
I recently reviewed the Dream XLS and already did a comparison there, but I wanted to include it again based on the longer time I have now spent with the M4. These two IEMs are very different and the M4 are definitely the more energetic ones that bristle with energy. If I compare the two with, for instance, Wolf Alice's 'Yuk Foo', the difference in energy is really noticeable. The Dream XLS are much more subdued in the bass and the treble, although the detail and texture is at a very similar level, the M4 simply push it forward a lot more. The treble of the M4 also has a bit more brightness and there are sparks flying with this track, which is not something that can be said with the Dream XLS. Mids of the Dream XLS are a little fuller and warmer and they are comparatively speaking, more mid-centric than the M4. The level of detail is really close, although as I mentioned it is presented in a different way. Both the IEMs excel at it and you will be hard pressed to find others that can do it quite like this: lots of detail and yet non-fatiguing. Be it with the caveat that, depending on your own treble tolerance, it might be good to roll tips with the M4 and use a relatively smooth source.

Build quality with both is excellent and you really get IEMs that will no doubt last a long time. In terms of fit I think the M4 work a little better for me personally, but I have always liked the fit of Bogdan's IEMs (I count previous and current models of 64 Audio's IEMs here too because he was involved in their development). The Dream XLS do have the edge in giving a more luxurious feel and those come with a better stock cable, but they are a bit more expensive as well.



Conclusions
With the M4 FiR Audio have produced a highly versatile set of IEMs that have a fairly uncoloured sound with a well-balanced bit of excitement coming from the bass and treble, while performing at a very high technical level. I always enjoy exploring IEMs and will generally find things I really like about them, but it is rare that I am so consistently impressed by IEMs as with the M4. They work for every type of music I have tried and always perform at the highest level regardless of price. With only a minor caveat concerning the lower treble lift, I can highly recommend a demo.

DITA Audio Dream XLS - Enticing musicality

Disclaimer
I would like to thank DITA Audio and Project Perfection for providing me with the DITA Dream XLS in exchange for my honest opinion. No incentive was given for a favourable review.

Dream XLS

• Driver: Single Ultra-linear 10mm Dynamic Driver Gen. XLS
• Frequency response: 10-25,000Hz
• Sensitivity: 104 dB
• Impedance: 22 Ohms
• Connection (Plug End): DITA Awesome Plug 2.5mm TRRS, 4.4mm TRRRS and 3.5mm Single Ended
• Connection (Earphone End): XLS 2-Pin
• Cable: OSLO-XLS Cable
• Chassis Material: Aerospace Grade Titanium with Sapphire Crystal Faceplate
• Splitter: Stainless Steel and Sapphire
• Colour: Obsidian Black
• Price: US$2,299

Links:
https://ditaaudio.com
https://www.facebook.com/DitaAudio/
https://www.pp-distribution.com
https://www.facebook.com/projectperfectionsg/

Preamble
As a reviewer I enjoy trying out all sorts of gear from companies with a wide range of different philosophies behind their products and I love exploring that diversity. It is fascinating to get in touch with the people behind the product, some of whom are mad scientists, while others very talented artists or they just radiate passion for their work. Some companies though resonate with me more than others and those are companies like DITA Audio. DITA make products that steer away from short product cycles with lots of hype, instead they take their time to develop "perennial" (sorry, I've been gardening a lot lately) products with meticulous attention to detail. I deeply appreciate that. It is a sort of paradox that while I review because I am interested in exploring many products, I am also someone who loves to cherish things. Many of the items I have bought for my various hobbies go through their entire life cycle while I own them. So as a reviewer I am biased towards products that I feel have a lasting value. I am also a sucker for single dynamic driver IEMs, so naturally DITA is a company that stays firmly on my radar.

Unboxing
This is usually the section of my reviews I add mainly for the benefit of those readers who are interested in seeing what comes in the box. For myself I generally don't care too much about it and just want to get to the good stuff ASAP. I have seen a few nice presentations with the packaging and occasionally did secretly enjoy it, but I can't really remember having an experience quite like I had with the Dream XLS. Perhaps it is because the box has a unique layout (as far as I have seen, anyway) or perhaps because it is a big box with loads of stuff or maybe it is because the box has a complete sticker set hidden away at the bottom. In any case, it genuinely impressed me and made it abundantly clear a lot of thought went into creating packaging that is befitting a >$2k pair of earphones.

The Dream XLS come in a large white box with minimal details in which you find the box proper. It is a large flat black box with golden details that opens up to reveal the Dream XLS monitors a 'service pack' covering the cable and a card with a personal note from Danny and Desmond, the co-founders of DITA Audio. Underneath the card are boxes with the hard case, the soft case and one containing a selection of tips and additional balanced plugs (both 2.5mm and 4.4mm) for the Awesome plug. The service pack has the manuals and importantly a metal card with the serial number on it. Once all the boxes have been removed a set of stickers is revealed on the bottom of the box.







I think the selection of items included is very good. The soft case is familiar to those who have owned other DITA products, as I have seen similar cases with (for instance) the Truth cables. The hard case looks like it was uniquely designed for the Dream XLS, made from tough leather with a cord so you can carry it around easily. I preferred using the soft case because I have the Dream XLS stored away safely in my designated audio drawer, but the hard case naturally offers more protection for on the go. The selection of tips is modest, but sufficient, with Final E-tips (my most used tips) and slightly wider bore silicone tips. That DITA included both 2.5mm and 4.4mm balanced plugs in addition to a 3.5mm single ended plug is great and what I would expect at this price point. It is such an important aspect of what makes the Awesome plug so versatile that leaving it out would have been a real miss.






I really enjoyed the unboxing experience and think DITA did very well to make it feel special and how you want it to be when spending this much money on a pair of IEMs. The only way to top it would be the sort of opulent wooden chest I have seen with the Vision Ears Erlkönig, which are twice as expensive.

Build quality and fit
That DITA have a meticulous attention to detail is abundantly clear from the build quality of the Dream XLS and the OSLO-XLS cable. The Dream XLS is based around a completely new 'ultra linear' 10mm dynamic driver that is housed in a solid titanium shell. A long long time ago, in a different life (sounds like I am starting a fairy tale here), I learned how to machine various types of metal and so it was very interesting to read the 'XLS Production Diaries' that DITA have published on their website. In those diaries they explain a bit more about the CNC machining and finishing of the titanium shells. It is not an easy process and precision is paramount to the performance of the monitors. When you look at the final product, you can really see how precisely the work has been done, as the units look flawless... just as long as you don't touch them with your bare hands because the ion plated obsidian black finish is a fingerprint magnet. The titanium shells have also been fitted with sapphire glass to cover the DITA logo for added durability, as well as a very clean look. I think it looks stunning and oozes quality. There is no doubt in my mind that these are built to last a long time.


Image courtesy of DITA Audio

Image courtesy of DITA Audio



The cable that is included is based on DITA's previously released OSLO cable, although specifically adjusted to fit the sound characteristics and looks of the Dream XLS. It has the same Oil-Soaked Long-crystal Oxygen-free (OSLO) wires and Awesome plug as the generally available OSLO cable, but the parts all match the colour scheme of the Dream XLS very nicely. The only parts that do not perfectly match are perhaps the clear XLS 2-pin connectors. I think it might have been nice if those had matched to obsidian black of the shells, but that is really nit picking. The connectors themselves are a great quality, nothing elaborate, but functional with a solid feel. The y-split matches the shells very nicely, as does the gold accent on the Awesome plug. The cable as such is fantastic and I love using it. It is very supple and comfortable, and together with the Awesome plug it deters me from trying any other cable, which is quite a statement for this pathological cable-roller. It is so convenient to have a cable that scores top marks in every aspect.

The Dream XLS are a joy to use and the fit works really well for my ears. I am aware that this might not be the case for everyone, so if you have issues with a shallower fit -the Dream XLS don't sit very deep- then it might be worth specifically checking if the fit will work for your ears. I have gone back and forth between the two types of tips and ended up settling with the wider bore silicone tips mainly because of a slightly more secure fit and tighter seal.

Source
All listening was done with the Lotoo PAW6000, a neutral DAP with excellent transparency for hearing subtle differences. I did not use any of the PAW6000's PMEQ or ATE settings.

Presentation
Before I go into the presentation proper there are two things worth noting. First, the Dream XLS appeared to change quite noticeably over time. I usually ignore any burn in effects and just let gear run for 100 hours before I start working on the review (as a courtesy to the manufacturer). With the Dream XLS I listened to them early on -how could I resist- and felt they had quite a noticeable lower treble lift and lacked some of the warmth I had expected beforehand. However, once past 100 hours, the Dream XLS sounded noticeably more balanced. The reason I noticed it so clearly was my second point, namely that the Dream XLS also seem quite tip sensitive. Where I usually use Final E-tips because I get a good fit with those and like what they do with the sound, I soon switched to the other, wider bore, silicone tips that were included. With the Final E-tips I found the Dream XLS somewhat fatiguing early on and the wider bore tips toned that down a little. However, after well passed the 100-hour mark, I went back to try the E-tips again and was surprised by how balanced everything sounded. Even with recordings that I knew were prone to sibilance I had no issues. I also found that male vocals got a bit more presence because of a slight warming of the signature, giving male vocals the chestiness they need. So although I tend to avoid any statements on burn in, I will make an exception with the Dream XLS and recommend a proper burn in of comfortably passed 100 hours.

The Dream XLS have quite a unique presentation that reminds me a little of the Fealty, the same DNA is there, but mixed with a certain reference quality. I would not call them all-rounders, but that is of course subject to personal preferences. For me they do little for EDM for instance, for that I feel they lack some excitement, but when it comes to acoustic music, jazz and classical I think they are a joy to listen to.



The Dream XLS present music in a very large stage that pushes the music out of the head in a way that I have not had with IEMs that often. It is very spacious and feels natural, like the sound is coming from beyond the monitors themselves. It is incredibly pleasant and made even better by the natural coherency that this single dynamic driver can offer. Separation is excellent, but instruments are not isolated or presented with a huge amount of air around them (although there is still plenty of air) and this greatly benefits coherency in the image. The music has liquidity to it where the notes flow from one instrument to another. It is a quality I am very fond of because it is where I find the soul of music, all the emotion that makes music such a unique medium for expression. All the while it remains easy to pick out every single instrument, even those way in the background. Every detail is presented very clearly, surprisingly so at times, and this is where I see that reference quality. All the information is there, and yet it is presented with a gentle smoothness that is incredibly seductive. The image itself is rock solid and positional information is without doubt among the very best I have heard. The tonality is what I would consider neutral-natural, similar to the Fealty. There is a hint of warmth throughout the signature, just enough to give instruments accurate timbre and give the signature a wonderfully dynamic nature. The Dream XLS don't push anything forward, they don't force musicality, instead they entice you into the music and reward you plentiful if you let them. I found that with the Fealty and the Dream XLS take that characteristic and lift it up a notch.

Bass
Contrary to what you might expect from the dynamic drivers, the Dream XLS are not IEMs that will sooth the inner bass head. I love physicality in my bass and there is very little of that to be found here. I would call the bass, to borrow a term, "unexcited". The bass extends deep, but feels a little attenuated lower down and the mid-bass kick feels toned down a notch as well. All in all, an understated bass that is positioned perhaps slightly back in the image. However, that does not mean it is boring or lifeless, it simply does not push itself more forward than it needs to. In classical pieces such as Bedřich Smetana's Ma Vlast 'Vltava' or Tchaikovsky's The Nutcracker 'The Battle' scene of Act 1, the capabilities of the bass are clearly displayed. It is dynamic and there is force to the instrument that portrays something like thunder -which in Ma Vlast portrays the current of the river Vltava- while that thunderous rumble is never overpowering. It is polite, yet capable of conveying exactly what the instrument is meant to convey. Here again I find something of a reference quality to it, as the Dream XLS' bass gives you a lot of information. It gives you all the detail and all the texture of an instrument, while restraining itself from throwing it in your face and muddling up the rest of the signature. It is exceptionally well controlled. Make no mistake, I love a bass that is right there in my face, rattling my jaw, and part of me wishes there was more of that with the Dream XLS, but I think it would ruin their unique characteristic, that effortlessness they have.

Bach's Cello Suite as performed by Yo-Yo Ma illustrates the strength of the Dream XLS' bass beautifully as well. It portrays the cello in a highly dynamic way, where you can hear the resonance in the body of the cello very clearly with the low notes, while it transitions more towards the playing techniques on the strings with the higher notes. There is a huge amount of detail in it and seems to pull all the layers of complex passages apart, while never sacrificing coherency.



Mids
The mids are very natural with excellent timbre. I am quite a fan of a warmer midrange with full sounding instruments and while the Dream XLS don't push it quite that far, they are a joy to listen to. I always come back to John Eliot Gardiner's rendition of Beethoven's 5th symphony for timbre because his orchestra uses period instruments, which he explained adds a unique layering to the performance. The Dream XLS perform incredibly well here. I dare say that this might well be the best I have heard it so far. The Dream XLS seem to pick apart the complex layering with ease and convey the subtle tonal differences with great precision and a wide dynamic range, yet notes always flow from one instrument to another with the liquidity I mentioned earlier. With a symphony so full of emotion as Beethoven's 5th, it is an absolute joy to listen to.

Vocals are positioned fairly neutral, not too forward and not pushed into the background either. I am a lover of great vocals and so don't mind it if vocals are a little more forward, as it can give a sense of intimacy when listening to my favourites like Madeleine Peyroux, Agnes Obel and London Grammar's Hannah Reid. The Dream XLS don't quite give that 'whisper in your ear' type of intimacy, but vocals are strong, with excellent definition and clarity. Initially I felt female vocals were favoured, but as I explained earlier, with time male vocals have come up nicely with good chestiness to deeper male vocals and it resulted in a better balance between the two. Female vocals might still have a slight edge due to an upper-mid emphasis, but that could also be because I was completely seduced by Elin Manahan Thomas (please don't tell my wife). The effortlessness with which the Dream XLS portrayed her voice gave it an almost ethereal quality when listening to her sing Handel's Ode for the Birthday of Queen Anne. It is a great example of how the Dream XLS can entice you into the music, where I found I simply stopped doing whatever I was doing to close my eyes and drift away on every subtle vibrato in her crystal clear voice.

Treble
Here of course the difference is most notable between a well-used pair of the Dream XLS and a pair that is fresh out of the box. The Dream XLS have a lower treble lift that is more noticeable early on, although it will always be there. It adds some excitement as it articulates note clarity, but it is an area where some people can be more sensitive, myself included. That is why I noticed the difference over time. After around the 100-hour mark I did not have any problems with it anymore, although I felt that at times some piano recordings still pushed it a hint too far on the higher notes, making the piano sound less rounded than I think is natural. For violins however it works a treat. When listening to Paganini's Violin Concerto #1 there was great articulation of the violin towards the end of the first movement, it gave me a tingling sensation as the bow jumped over the strings. There is so much texture and detail to the strings that it feels as if I can follow every individual finger movement and every touch of the bow.

The treble is well extended, although not pushed in a way where you get excessive sparkle. Much like the bass, the treble as an unexcited quality. There is a delicate sparkle that is always easy to discern, but never in your face or pushing background instruments forward. A sparkle in the background is reproduced by the Dream XLS exactly where it was intended to sparkle with all the detail you can imagine from it. Here too that imaging works exceptionally well, positioning and layering instruments with great precision.



Comparisons
-DITA Fealty-
The DITA Fealty have in recent times been my most used IEMs and so I was very curious to see how the Dream XLS compare. In pretty much every way the Dream XLS feel like a step up. Even though the Fealty have excellent build quality, the titanium shell of the Dream XLS feels even more solid and is finished to a higher standard as well. Both have excellent quality cables and it feels quite close here, but again the OSLO-XLS cable feels suppler than the Fealty's Fat cable and has a slightly more luxurious finish. The Fealty have one advantage in that they are a bit lighter in weight.

Sound-wise I hear a lot of similarities and would describe both as neutral-natural. The Fealty are a hint warmer throughout the signature with a smoother feel to them, making them a touch more forgiving. The Dream XLS are a little brighter, but without sacrificing the natural tonality. In technical performance the Dream XLS are a significant step up from the Fealty, offering a bigger stage with a lot more detail, texture and in general revealing more of the information in the music with greater clarity. I love what both have to offer and never feel like I am missing out when I listen to the Fealty, but I absolutely see the Dream XLS as a step up.

-FiR Audio M4-
Where the Dream XLS are based around a single dynamic driver, the M4 are based on a hybrid setup with three balanced armature drivers alongside a dynamic driver in a completely tubeless design and with FiR's 'Atom' pressure release system. The M4 are more U-shaped compared to the Dream XLS with an outstanding bass that goes a lot further to soothing my inner bass head, combined with a brighter overall signature.

Earlier I used the word 'unexcited' with the Dream XLS, but with the M4 the term 'excited' is more appropriate, although they are not over-the-top either. The bass of the M4 is still exceptionally well controlled and offers a lot of detail, but now with a proper rumble and great physicality. The mids of the M4 are leaner and the treble has a more prominent lower treble lift. Here I find the M4 less forgiving than the Dream XLS and it actually hits my treble sensitivity a bit too much with some recordings. Like the Dream XLS, the M4 offer a spacious stage with perhaps a bit more width and less depth by comparison.

Due to their different signatures I find the Dream XLS and M4 to be quite complimentary and I often find I have a clear preference for one or the other based simply on the music I want to listen to and the mood I am in.

-Empire Ears Phantom-
The Phantom might be designed around five balanced armatures, but I have always felt they had an almost dynamic driver character to them because of the level of texture they have on offer.

The Phantom again present something I would consider complimentary to the Dream XLS, although equally they can be seen as alternatives based on personal preferences. The Phantom offer a much more intimate stage, warmer signature and lusher mid range, compared to the spacious stage and neutral-natural tonality of the Dream XLS. The Phantom are much more coloured and add a sense of drama to the music. Timbre is excellent with both, but the Phantom add a fullness to the instruments that makes the mid range warm and comforting. They have outstanding transparency, but not the clarity and detail the Dream XLS offer. The Dream XLS make it easy to pick up details, whereas the Phantom reveal them more slowly. Both are very easy going, but they achieve it through different means and I am not sure which I prefer. I love the warm intimacy of the Phantom, which is great for jazz, but when I listen to the same music with the Dream XLS I am drawn into it just as much. Both can at times ooze musicality, although I would say that the Phantom are more versatile because they work for most types of music. For classical though I do prefer the spaciousness and balanced signature of the Dream XLS.



Conclusions
With the Dream XLS DITA Audio have achieved a complete package that offers everything from excellent build quality and sound to a great selection of accessories and the convenience of the Awesome plug. The Dream XLS have a neutral-natural tonality that is very easy going, but does require plenty of time to run in. Set in a very large 'out of the head' stage, the Dream XLS offer all the information in your music with great clarity and accurate tonality, while never pushing anything forward. As I said earlier, the Dream XLS entice you into the music and reward you plentiful if you let them.

Eletech Plato - Reveal All

Disclaimer
I would like to thank Eric Chong of Eletech for providing me with the Plato cable in exchange for my honest opinion. No incentive was given for a favourable review.

Plato

• 24 AWG (non-Litz)
• Flawless Monocrystal Bespoke Silver
• Maximus efficiency strand geometry; Kevlar infused
• Cryogenically Treated
• Eletech Bespoke Solder
• Eletech Customised connectors and Y-split
• FlexiMax Insulation™ (patent pending)
• Price: US$999

Links:
https://elementechnology.com
https://www.facebook.com/eletechsg

Preamble
Eletech (short for 'Element Technology') is the brand new company of a familiar face to many of us within the head-fi community, Eric Chong. For around five years Eric worked as the marketing manager of Effect Audio, a role that made him a very popular figure within the community. Always there for a chat at shows like Canjam or on the head-fi forums and social media. So when Eric decided it was time to move on, many (myself included) were very curious to see where this move would lead him. It led him to co-found his own company together with materials specialist Wang Wenfu. Straight away the pair also set up partnerships with companies such as Pentaconn to design and create unique sets of bespoke parts. The aim of this new company? To produce the crème de la crème of aftermarket cables.

Eletech launched in late 2019 with four cables in three different series. At the entry level the 'Virtues' series offers the pure copper 'Fortitude' at $199 and the silver-plated copper 'Prudence' at $249. The 'School of Athens' series shoots on straight to the high end with the $999 pure silver 'Plato', and for those seeking the absolute Top Of The Line, the 'Parnassus' series offers the exotic 'Iliad' at an eye-watering $1,799. It is one heck of an entry that is full of flair, and in that sense going for a Renaissance theme is very apt. Now it is just the wait for the Michelangelo inspired cable 'David' that needs to be censored in some countries because its plug is exposed.

The cable I will be reviewing here is 'Plato'. Part of the high-end 'School of Athens', it is currently the only cable in this series, although I have no doubt more will be added in the future. The name of the series is derived from the famous Renaissance fresco by Raffaello Sanzio da Urbino (imagine I said that with an accent like something out of the Italian scene from the movie Inglorious Bastards) or simply Raphael, as he is best known. It happens to be one of my favourite paintings, with at the centre stage the two leading figures in Western philosophy: Plato standing on the left with his finger pointing skywards, indicating his particular abstract form of philosophy, while his student Aristotle stands on the right with his hand gesturing towards the earthly realm as an expression of his more empirical philosophy. Does this have anything to do with audio? Nope, but I am still going to do my best to include a few Plato puns here and there.

Unboxing
All that Renaissance-inspired flair would be lost if there was no unboxing experience to match. Happily Eletech stepped up and designed something distinct from the norm. In a departure from using the ubiquitous satin black box, Eletech opted for a coloured printed box that opens up like a book. I am never much into unboxings because my poor impulse control means I always need to get to the goods as quickly as possible. The only purpose of an elaborate packaging thus seems to be to deter me from doing so. This box opens like a book, what more could I ask for!






Once open -completely ignoring the image of Plato on the front, the Doric columns on the side and the Platonic solids on the back... Got to hand it to Eletech for attention to detail- there is presented a nice metal plate and an even nicer leather case that holds the cable. The metal plate is really neat and it details, alongside the central icosahedron (the Platonic solid for water), the names of the series and the cable, with underneath the Eletech logo and name. I know it's not functional, but I have to give it full marks for presentation. The leather case on the other hand is very much functional and looks great! It is a handcrafted leather case with a sort of denim-style to it, quite rugged with bold elements and I expect it will actually look even better once it develops some user marks. It is also easily big enough to hold the cable paired with IEMs and still leave room to spare for, say, an adapter. Then of course there is the cable itself.

Build quality and ergonomics
Plato is a gorgeous looking cable. It is made of a Flawless Monocrystal Bespoke Silver, so a pure (very pure) silver cable for the rest of us, and its gauge is 24 AWG. Surprise #1; it does not look anywhere near as thick as I would expect a 24 AWG cable to be. I asked Eric about it and he explained that this has to do with the way the cable has been constructed. It depends on the thickness of the insulation, the geometry of the cable and whether it is Litz or non-Litz. Surprise #2; Plato is a non-Litz cable (the only non-Litz in Eletech's line-up). This is highly unusual these days because non-Litz cables can oxidise and indeed, the beautiful pristine silver of Plato can develop a black sheen over time. The decision to do this rested entirely on the consequences of a Litz design for the sound and Eletech opted for sound over aesthetics. Eric sent me a picture of a test cable to illustrate how this sheen develops over time. It turns brown at first and than black after that, but doesn't seem as offensive as the green oxidisation you get with copper.


(Image courtesy of Eletech)

It is still quite a bold move, as I expect not everyone will find this acceptable, but the end result is a cable that is about as thick as the more common 26 AWG cables. I do find Plato to be a little less supple than those cables, but not by much and I still think it is a very ergonomic cable. I hardly notice it is there.

The parts look unique and are of a very high quality. They are all made of an aluminium-alloy with engraved logos and this gives a solid feel to them. The details on the parts even seem functional. So for instance the triangular shapes of the 2.5mm balanced plug helps to provide a secure grip while plugging and unplugging. I did however notice that the fit with the balanced out of my Cowon Plenue 2 was not very secure and could come loose quite easily. I am not sure if this is just bad luck with the tolerances or if my DAP is showing its age a bit after such intensive use, but it is what I found. All my other sources and the 2.5mm to 4.4mm adapter all gave a secure fit.





The y-split looks great with the shape of a Doric column in chrome, a subtle design choice that I think works very well. Most important in my opinion though are the 2-pin connectors. All too often have I seen plastic covers on those that would come loose after a while and here Eletech have worked with the same aluminium-alloy to design quality, screw-type covers for the connectors that feel a lot more solid. I don't see these coming loose anytime soon and that is exactly what I would expect from a cable at this price point.

Source
Most of my listening was done with the Lotoo PAW6000 from the 4.4mm balanced out using a short adapter by Astrotec. Some listening was also with the Cowon Plenue 2 from the 2.5mm balanced out. Both are neutral sources with the Plenue 2 leaning a little more towards a natural sound and the PAW6000 a little more towards a reference sound. I primarily used the PAW6000 due to its greater transparency.

General characteristics

Here, said I, would it not be Prudent for those of us who have earphones that have been imbued with a hint of veil, to pair those earphones with a cable of silver pure that imparts them with transparency and air to blow away that veil for good?

Surely, said he.

Would it then not be most serendipitous for us owners of earphones warm and somewhat veiled to be in the presence of a Fortitudinous cable maker capable of offering within his line-up a cable with just this ability?

Most serendipitous indeed, said he...

Okay, I won't write my entire impressions as a Socratic dialogue (I couldn't find a way to slip Iliad in there anyway).

I always try to stress that with cables it is all about synergy with the IEMs because a cable does not have a sound in and of itself. This means that at times a less expensive cable can easily produce a better result over a more expensive cable simply because it synergises better. I still do feel that cables have some general characteristics, it is just that how those affect the sound of specific IEMs can be somewhat unpredictable.

In terms of general characteristics, I would say that Plato improves transparency and resolution by a not insignificant amount. It can help reduce the veil of warmer IEMs because it seems to pull back the mid- and upper-bass a little. This also reduces some of the bass impact, as well as producing less warmth to affect the mids. The mids can therefore end up with a little less body. Treble feels more extended while still smooth, adding air to a stage that feels much more spacious.

I would say that Plato is a fairly neutral cable that helps to expand the stage, make it more airy and improves resolution and transparency noticeably, but might not come across as the most natural sounding cable. I think this is why I really like Plato with my Empire Ears Phantom.

Pairings
-Empire Ears Phantom-
The Empire Ears Phantom have been my babies for quite a while now. I love the richness of their timbre and the warm, smooth tone is a joy for me to get lost in. While that has not changed, I did find myself tinkering with the EQ every now and then, just to see if I could fine-tune their sound a bit more. Pairing them with Plato actually gave a result similar to what I was looking for.

Plato expands the Phantom's stage very far and they change from intimate to open and spacious with lots of air. The warmth of the signature is reduced and this helps lift the veil to reveal just how good the transparency and resolution of the Phantom really are. It was like before I was confined to a small cave and seeing only the shadows of the music, and then I was released from my bonds to step out into the sunlight and see the music as it actually is (wink, wink, Plato's Cave).

As I indicated earlier, it does come at a cost of the Phantom's lushness in the mids. Notes become a bit leaner and the Phantom lose some of their signature timbre. I feel they can take it, although I think I might still be tempted to just occasionally roll cables simply because I have those around and I like my jazz warm and fuzzy and intimate. In general though Plato pairs outstandingly with the Phantom and it really opens them up.



Pairing the Phantom and Plato with the PAW6000 produced a really impressive result. Both the PAW6000 and Plato improve transparency and the combination pushed the Phantom to a level of transparency I had not heard from those before. This made Mozart's Requiem especially enjoyable, as I had never quite heard the placement of the choir and solo vocals as clearly as this. It was very precise and emphasised the dynamics of the piece.

-64 Audio Tia Trio-
I initially discarded the pairing of Plato with the Trio because I felt the reduction in the mid-bass was taking away too much of the fun I have with the Trio. I do not think Plato reduces the bass' extension, but rather the mid-bass kick and some of the body of the bass. I am quite a bass head at heart and so if I know IEMs can perform well there, I want to have it in spades. Plato just reduced it too much while I was in the mood for listening to EDM. Giving it another go later on and using less bass-needy music such as classical symphonies, I was suddenly very impressed by this pairing. The huge stage, heaps of air and the overall tonal balance was extremely nice and had a musical reference quality to it. I am still not convinced that this is an optimal pairing, at least not for me, and I suspect that (based on the description Eric gave me) a cable like Iliad would do better at keeping the Trio fun and exciting.

Still, this pairing is definitely not without merit. Listening to Paganini's Violin Concerto no.4, I don't think I have ever heard it with this kind of resolution. The ease with which this pairing rendered details was very impressive and even during a casual listen I caught minute details without any effort. The Trio of course also have the famous Tia treble and I have found that with some pairings it can be quite bright, especially when using a more reference-type source like the PAW6000, but with Plato I did not notice anything of the kind. Just a smooth and sparkly treble, despite the overall slightly brighter tonality.

Comparisons
-Effect Audio Eros II 8W (Phantom)-
The Eros II 8W has been my go-to cable for the Phantom for quite a long time now. I occasionally switched it, only to go back again because I felt it achieved the best result all round. Plato has certainly changed that and I think both cables pair outstandingly well.

Quite to my surprise Eros II feels more intimate and with a more forward presentation than Plato. Notes are fuller and more natural, and the overall feel to the Phantom/Eros II pairing is smooth and easy going. Plato on the other hand feels a lot more crisp and clear, revealing the true ability of the Phantom with a very high level of transparency and resolution. The stage too is far bigger and more airy with Plato, while with Eros II you still get a little of the veil from the slightly warmer tone. Everything is fuller with Eros II, lush bass, full voices and instruments, a similar treble, be it a little sweeter perhaps (but not by much). The Pairing with Eros II feels much bolder, whereas Plato adds a sense of refinement to the Phantom I had not expected.

In practical aspects Plato is thinner and more ergonomic than Eros II, but that would be logical anyway considering the latter is a bespoke 8-wire cable. Parts are of similar quality, although of course the Eros II has the 2-pin connectors with the plastic covers (which have stayed in place securely on this cable).

These two pairings offer really interesting options for the Phantom and there is something to say for either. Eros II, even in its bespoke 8-wire configuration, is a lot less expensive than Plato and maintains a sound close to how the Phantom sound stock. Plato on the other hand seems to reveal everything there is to reveal with the Phantom and that level of transparency and resolution, the large stage and the overall imaging is really quite special. It is the reason why I expect Plato will be my Phantom's permanent companion for the foreseeable future.

-PlusSound Exo GPS (Trio)-
The Exo GPS has been my go-to cable for the Trio, although I do occasionally switch it with Cleopatra, which is another pairing I really enjoy. With all the cables I have tried though, I think the Exo GPS hits my sweet spot for the Trio and is a great example of excellent synergy. The most notable difference between the Exo GPS and Plato is found in the bass, where the Exo GPS provides more kick and body in quite an analogue way. Plato by comparison is more tightly controlled and reference-like in nature. There is also more air and detail in the bass, but I find it difficult to gauge which of the two cables digs deeper. Plato certainly digs plenty deep, it just doesn't come across as such if you feed it music that doesn't take advantage of it because it is such a tight and articulate bass.

At the other end of the frequency range the Exo GPS is the sparklier one when paired with the Trio and Plato slightly smoothens the treble to reduce some of the Trio's brightness. The mids of Plato are more linearly placed, while the Exo GPS pushes them a bit back, which is why I prefer the Exo GPS for the Trio, just to add a bit of fun and excitement. Of note though is the stage of the Trio/Plato pairing, which is astonishingly big and while listening to Rachmaninoff's Vespers I was absolutely gobsmacked by how incredibly realistic the venue was portrayed and how cavernously big the stage was. This was the sort of cave I would have no desire to leave.

In practical aspects Plato is surprisingly thinner than the Exo GPS, although the latter does have the edge in ergonomics because PlusSound's cables have an incredibly supple insulation. In terms of parts I think they are equal in quality, but with a different style. Plato is more refined and has a bit of bling-factor, while the Exo GPS parts have a more functional design that I always call 'utilistic' (built to be used).

-Effect Audio Cleopatra (Trio)-
Another cable I like to pair with the Trio is the Cleopatra. This pairing feels closer to the Exo GPS than Plato in that it has the fuller bass response and more treble sparkle, but Cleopatra also has more linear mids. Once again Plato has the tighter bass, while Cleopatra has a fuller more analogue sounding bass. Cleopatra has this more pronounced than the Exo GPS and the bass gets something like a wetness to it.

The treble on the other hand is more sparkly and an area where I have a love-hate relationship with the Trio/Cleopatra pairing, as it really reveals the Tia treble. This can be absolutely sublime at times, but with the wrong recordings I find it fatiguing as it hits my treble sensitivity. Nowhere have I found that with the Trio/Plato pairing, which has always been forgiving despite Cleopatra being the warmer cable. A warmer sound does not always need to be the smoothest one.

That warmth affects the midrange with Cleopatra in that instruments get a slightly more natural tonality and a fuller sound, but it does make the Trio sound a little fuzzy. With Plato that warmth is far more controlled, the stage expands a lot wider and there is a lot more air around instruments. So while instruments might have less fullness, their tonality still separates beautifully because each instrument is given space to shine. I loved this while listening to Saint Saëns' Danse Macabre that came across a lot clearer without loosing any of the emotion of the piece.

In practical aspects Plato still seems like it is a hair thinner than Cleopatra, but a little less supple. Both cables have the bling factor and similar quality parts, except for the 2-pin connectors, that with Cleopatra have the plastic cover (which here too have stayed in place securely).



Conclusions
Plato is a neutral cable with an emphasis on improving transparency and resolution over tonality. It can expand the stage quite significantly and adds a lot of air around instruments. I paired it mainly with warm IEMs, which works wonderfully well. So well in fact that it has earned a permanent place on my Phantom. The biggest downside is its non-Litz design that could lead to oxidation, with the upside that it does make for a very thin cable for 24 AWG. Parts on the cable are of an excellent quality and it comes with a great handcrafted leather case. Eletech has certainly made an impressive start!

Lotoo PAW6000 - The Quintessential Pure Music DAP

Disclaimer
I would like to thank Lotoo for providing me with the PAW6000 in exchange for my honest opinion. No incentive was given for a favourable review.

PAW6000 Specifications at a Glance

• Screen: 3.77 inch IPS GFF Retina LCD
• Dimensions: 112 x 65 x 18mm
• Weight: 225g
• Memory: Micro SD only (max 2TB)
• WiFi: For firmware update only
• Bluetooth: Bi-directional BT 4.2
• OS: LTOS
• DAC: AK4493EQ
• Amp: OPA1622
• Decoding: Up to DSD256
• Battery: 5,200 mAH Li-Polymer
• Playback: 16 hours
• Output 3.5mm: 300mW (32Ω)
• Output 4.4mm: 300mW (32Ω)
• SNR: 121 dB
• Channel isolation: -135 dB (balanced), -120 dB (unbalanced)
• Price: US$1,199

Links:
http://m.lotoo.cn/en_index.html
https://www.facebook.com/lotoopaw

Preamble
Lotoo was founded in 1999 as the professional audio brand of the Beijing Infomedia Electronic Technology Co. Ltd. It has made quite a name for itself with the release of the original PAW Gold, a DAP that still has a very strong following within the head-fi community. The PAW Gold is a unique DAP that combines a pure reference tuning with a design and OS that sets it apart from other DAPs on the market. This is something that has always piqued my interest in Lotoo and why I was very curious about the PAW Gold, the recently released PAW Gold Touch and the newly released PAW6000 (LP6K). I my opinion Lotoo makes choices that do not just distinguish their products from the rest, they seem to plan out every aspect in great detail in order to achieve an optimal result for the DAP as a whole.

Let me explain, as I think this is something that really sets apart the LP6K I am reviewing here. We audiophiles like to look at specs and I have seen a lot of people who judge purely based on that. In fact, some manufacturers play specifically into that by using components from expensive DAPs in their own more affordable products. This makes people very excited because it plays into the narrative that TOTL products are overpriced and that this DAP can do the same at a third of the price. We all love a great deal after all, especially if it means we can keep both our kidneys. What is ignored in that narrative however is that it isn't so much the components themselves that determine the resulting quality, it is their implementation. A DAC chip for instance is not that expensive by itself, but to get the most out of that chip is where the real challenge can be found. With the LP6K Lotoo has shown that this is exactly where they concentrate their efforts.

This is why Lotoo keeps piquing my interest. Their approach seems to be thoughtful and understated in order to produce a product that speaks for itself. They still need the exposure like any other company, but this is not hype-train gear for the masses, to me the LP6K is for serious audiophiles who want maximum control with minimum fuss. Obviously some of my previous reviews come to mind here. Indeed the FiiO M11 uses two of the same DAC chips as the one in the LP6K, and while a good solid DAP at its price point (I stand by what I wrote in my review), the M11 is nowhere near the LP6K.

As I hope I can clarify with my review, while missing some features valued by today's audiophiles, such as streaming services running directly on the DAP, the LP6K is an audiophile tool with a great deal of refinement.

Unboxing
The unboxing experience is nice, be it a fairly standard affair, as it is based on the ubiquitous satin black box with sleeve. Many companies use these and I can see why because it is a very classy presentation. As soon as you remove the sleeve and open up the box the LP6K is presented in all its glory and that is really what it is all about, that beautiful DAP. Underneath are two more layers of boxes. One with manuals, a cleaning cloth and two sets with screen protectors and cleaning wipes. The other layer holds a charger cable, which is very sturdy and has a decent length, as well as a high quality leather case. The case is very nice and fits snugly around the LP6K so there is no chance of it falling out accidentally. In all, it is a good selection of quality accessories without any superfluous items.





Design
I absolutely love the look and feel of this DAP. It is shaped a little bit like a brick with somewhat curved sides and I personally really like that. It is not the smallest or the lightest DAP, but it feels great when I hold and use it. Everything about it feels like careful thought was put into it, on how it would be used, what buttons need to be there and how you use them. Even access to the micro SD card slot is easy with the leather case on because a space has been cut out for it together with the USB type-C port at the bottom. On the right side there are four buttons (power, forward, back, play/pause) that have a really good size so it is easy to find them, even with the case on. On top there are the 4.4mm Pentaconn Balanced out and 3.5mm Single Ended out, as well as a lovely hint of gold in the volume dial. The volume dial is nicely protected and I have not had issues with accidental volume changes. Plus, it feels really nice and tactile. On a side-note here, it is possible to change the direction for volume up or down. So if you are used to a specific clockwise or counter-clockwise volume change, you can set your preference easily.






I have been using the LP6K a lot and find the design works really well. The thickness and the curves of the sides actually improve the grip and the size and weight sit very comfortably in my hand. I can easily reach all the buttons and the volume dial without loosing a secure grip and one-handed operation of the screen is easy.

Under the Hood
As I indicated in the preamble, the LP6K is equipped with the same AK4493EQ DAC chip as you might find in the FiiO M11, but Lotoo has by far the better implementation of this DAC chip. It is paired with the OPA1622 for the headphone amp. Now, I am a "music lover" audiophile and not that interested in all the technical details (I will leave that to other reviewers), but both the 4.4mm balanced and 3.5mm Single Ended out put out a healthy 300mW at 32 Ohms. More importantly, it is an exceptionally clean sound with a very low noise floor. Although I will admit that I do not have sensitive enough IEMs to put the LP6K really to the test here. My most sensitive IEMs are the Empire Ears Phantom and I managed to listen at high gain without the slightest hint of any hiss whatsoever. This is what keeps impressing me about the LP6K. It sounds so clean, so stable and with such a pitch-black background that it really makes every single note and every little detail pop out with great dynamics.

GUI
Because this is a pure music player, the GUI is fairly simple and yet I was absolutely amazed at how fast it was. When I first booted up the LP6K I was expecting that it would take a few moments at least to update the music library from the micro SD card I had inserted. So I was putting it to the side in order to do something else and even before the LP6K touched the table it was ready to go. I have noticed that album art can take a little longer to load in, but at least you don't have to wait until its done.

The main menu is simple, with buttons for making a Play List, to see your music based on Album, Artist, Songs or Folders, a Settings menu and at the bottom of the screen your current music. The current music screen is again very simple with aside from the regular controls a button that will take you to the EQ for the available PMEQ and ATE pre-sets. Listed there is also any custom PMEQ setting you might have saved.






From the home screen you can enter the Settings menu, which has a good selection of options with a few notable ones aside from those you might expect. It is simple yet effective. The Play and Player settings are very straightforward, except that if you select Language, you will find very few options there. Lotoo restricts the languages geographically and so you will not be able to select "English" if you bought the LP6K in China. The EU version I have is also restricted to just English. So this is something to be aware of if you are buying abroad, as it is embedded in the hardware and so there is no way to change it through a firmware update or such. The Output settings are very nice and again give the user a lot of control. Each out (4.4mm and 3.5mm) can be set individually: Left/right balance, gain and whether it is headphone out or line out. In the drop down menu it is also possible to adjust the gain setting individually if you want to get there more quickly.




Beyond that, the Settings menu has the Bluetooth connection and BT DAC function, online update via WiFi and of course that all important PMEQ. Let's have a look at that...

PMEQ
This is without a doubt one of the main selling points of the LP6K and why I consider it such a great tool for every audiophile who likes to have a lot of control. The LP6K is equipped with Lotoo's second-generation parametric equaliser (PMEQ) that offers a choice between 8 standard PMEQ pre-sets (Classic, Pop, Rock, Techno, Dance, Headphone, Jazz and Full Bass), 7 Acoustic Timbre Embellisher (ATE) pre-sets (Brighter, Sweet, Dental, Style 701, Style 990, Diffuse Field [Near Field] and Diffuse Field [Far Field]), as well as fully customised settings.

The pre-sets are quite useful and I found myself enjoying playing around with them a little. Most interesting for me personally were the ATE settings. The 'Sweet' setting tones down the LP6K just a hint to make for a smoother sound that I quite liked on days that I was already fatigued from work and just wanted to enjoy music in the most easy-going way possible. I used the 'Diffuse Field (Far Field)' setting quite a lot in combination with the Astrotec Lyra Collection earbuds while using the LP6K as a BT DAC as I was watching YouTube. I really liked that effect, for that specific purpose. Mostly though, as is usually the case with me, I did not care much for the pre-sets and my main focus was on the custom PMEQ.

The LP6K offers a highly versatile 5-band parametric equaliser. This means that you can adjust any frequency you like with a great deal of control. You can choose between a Low Shelf Filter (LSF), High Pass Filter (HPF) or Band Pass Filter (BPF), dial in the exact frequency you are targeting, set the amount of Gain you want and the width of the range you want to affect (Q).






Now, confession time, I have never cared much for using EQ, but that was mostly because I never had a proper EQ to work with (looking at you Astell & Kern). That changed a lot when I got the Cowon Plenue 2 and I really enjoyed experimenting with it because the Plenue 2 had an excellent EQ. The LP6K goes a step further still by allowing for full-on parametric EQing. This allows for much more precise control, dipping and lifting exactly the right frequency range you are after. It is great, albeit not easy if you are just getting into it. This is something that Lotoo seems to acknowledge, given that if you have made adjustments and press the back button, the LP6K offers the options 'save', 'save as...' and 'give up' (ie. quit without saving). Got to hand it to Lotoo for having a good sense of humour! The interface for making the adjustments is very easy to use and it is great to be able to see exactly what you are changing displayed in the graph above.

Sound
For analysing the sound I used the LP6K together with the DITA Fealty because the stock cable comes with the very convenient Awesome plug that makes switching between sources (4.4mm and 2.5mm) easy and avoids the need to use an adapter. I also used the 64 Audio Trio (PlusSound Exo GPS) and Empire Ears Phantom (Eletech Plato/Effect Audio Eros II 8W) with an adapter by Astrotec. I always listen to a wide variety of music from Mozart's Requiem to Caro Emerald and from Agnes Obel to the Rolling Stones. My aim is always to get a broad experience with the DAP that most closely resembles day-to-day use.

If the PMEQ is one of the LP6K's main selling points, then the sound quality is the other. I have been really impressed with it. The LP6K has a neutral tuning and yet I would not be tempted in any way to call it sterile or clinical, quite the opposite. It is a highly dynamic sound that I found addictive from the first time I listened and it has not changed since. The LP6K provides a more open stage that is very clear and airy. Moreover, I felt that the imaging was excellent. I can't compare this to TOTL DAPs, but it is the best I have personally heard so far. The image is very stable and the background is absolutely pitch black so that notes contrast very clearly against it. The level of detail that it helps retrieve is also very high and for a lover of classical music that is great because it helps to bring across nuances in the music much more clearly.



I always love listening to Paganini's Violin Concerto no.4 with the Fealty and using the LP6K I find that more details come through of how the bow dances on the strings of the violin with the various Martelé and Spiccato techniques. Paganini uses a lot of those techniques where the bow bounces on the strings and the different techniques give different accents to the note. It makes the difference between a slow romantic waltz and cheerful jumping around in song and dance. The combination of the LP6K's high dynamic range and level of detail makes this piece of music especially enjoyable. With Jazz, such as the smooth tunes of Madeleine Peyroux's California Rain, this pairing seems to emphasize each instrument and the vocals without pushing them forward too much. The black background works especially well as a backdrop against which the instruments are set, each with plenty of air around it while maintaining coherency. It is so easy to enjoy that one instrument when I want it, or just listen to the performance as a whole.

A setup I really loved was the LP6K paired with my Phantom and the Eletech Plato. Both the LP6K and Plato improve transparency and the combination pushed the Phantom to a level of transparency I had not heard from those before. They are generally quite lush with full sounding timbre and this setup toned that down and although the Phantom are somewhat sensitive, the background remained pitch black even when I tried the high gain setting. This made Mozart's Requiem especially enjoyable, as I had never quite heard the placement of the choir and solo vocals as clearly as this without loosing overall coherency.



Overall I am very impressed by the sound of the LP6K. It balances on a fine line between being analytical and musical, leaning just a little more towards the musical side thanks to its excellent dynamics, and managing to do that with all the advantages of an analytical sound. This is what in my opinion makes the LP6K such a great tool for the serious audiophile. It presents a foundation of technical excellence that combined with the PMEQ means you can adjust in any direction you might like and it will work great because that foundation is so solid.

Comparisons
I don't have many DAPs that would make a reasonable comparison. I really have just the one, which is the Cowon Plenue 2 (P2). It might be a bit dated, as by now Cowon has introduced two models succeeding it, the Plenue 2 mkII and the Plenue L, but it is an interesting comparison nonetheless, as it can still be found at a slightly lower price than the LP6K.

The P2 is a great DAP that I have used extensively for my reviews and the two DAPs are quite close, although I must definitely give the edge to the LP6K. The P2 is a bit warmer and can perhaps be said to have a slightly more natural tonality. The LP6K on the other hand has a larger and more airy stage, better dynamics, more detail retrieval and a blacker background. Interestingly, I find the LP6K smoother, despite the P2 being the warmer of the two. Both have an excellent EQ, but again Lotoo have gone the extra step to implement a fully parametric EQ that offers even more control. I say "even more" because Cowon's EQ is nothing to be sniffed at either and the vast number of JetEffect 7 pre-sets is great if you do not like fiddling around with the EQ yourself. And lets be honest, Cowon's EQ is pretty darn close to parametric as well.

Build quality of both is very similar and both come with very good quality cases. One significant different is that the Cowon comes with a 2.5mm balanced out, whereas the Lotoo has a 4.4mm balanced out. I have used the 4.4mm a bit more lately and I can see why so many people prefer it over the 2.5mm. I am even considering switching to it myself.

I love the P2 and I never feel like I am missing out when I use it, but I do feel that the LP6K offers a bit extra. Because I try to review as a day-to-day user, my measure is always how much I am inclined to use something and I found myself using the LP6K almost exclusively since I got it in.

Connections
Because the LP6K does not allow for apps to be installed, streaming has to be done by pairing it with your phone (etc) via the Bluetooth connection. I don't stream myself, but do sometimes use a DAC for my MacBook Pro. Unfortunately my MacBook is dated (late 2011) and this has caused some issue in the past with pairing other devices, which was once again the case with the LP6K. I am fairly certain this was entirely due to my MacBook because of the fact that I have had it with other devices as well. I also used it as a USB DAC with similar issues to those I had with (for instance) the FiiO K3 such as de-synching of videos.

Using the LP6K as a BT DAC was a lot of fun when I finally got it to work and I liked using the ATE setting 'Diffuse Field (Far Field)' in combination with my Lyra Collection earbuds so that the sound would feel more like it was coming from in front of me, instead of around me. I expect it should work fine with newer devices and to test it at least once, I also paired the LP6K with my Sony XA2 phone. With only a minor blip during the pairing (it took a couple of tries) I got it to work perfectly smoothly. The connection was also a lot better because with my MacBook I could not get up and walk to the kitchen without the connection failing, while with the XA2 paired I could walk around the house without any issues while leaving my phone on my desk.

Like I said, I don't stream and don't use Bluetooth that much, so this section can be considered 'baby's first BT steps'.

The LP6K is also able to connect via WiFi, but this is strictly limited to firmware updates. One issue a head-fi friend of mine had was that the keyboard does not support certain special characters that people do often use for their network passwords and it forced him to change his password before he was able to update the firmware. I did not have this problem, but it is something important to note and perhaps that a future firmware update can resolve this issue... which is rather ironic, now I think of it.



Conclusions
The Lotoo PAW6000 is in my opinion an amazingly good piece of engineering and as a pure DAP it performs superbly well with very few flaws. The few I found were only minor and in my opinion do not weigh in against the strengths the LP6K has to offer. It is a neutral but highly dynamic DAP with outstanding imaging and a pitch-black background. It has a fast UI, excellent build quality and a number of quality accessories such as a very nice leather case. Most of all, the solid foundation it offers in terms of sound quality is complemented by an outstanding PMEQ, which allows the user to change the sound in any direction. This makes the LP6K a powerful tool for serious audiophiles who want maximum control with minimum fuss. I can highly recommend a demo to anyone in the market for a DAP in this price range.

FiiO M11 Pro

Disclaimer
I would like to thank FiiO for providing me with the M11 Pro in exchange for my honest opinion. No incentive was given for a favourable review.

M11 Pro vs. M11 Specifications at a glance


Links:
https://www.fiio.com/Home
https://www.facebook.com/FiiOAUDIO

Preamble
The M11 Pro is one of the most highly anticipated DAPs of the year. FiiO's M11 was already a big hit earlier in 2019 and this was going to be the biggy: the M11 adorned with the three golden letters 'P', 'R' and 'O'. As irresistible as sticking an 'X' after a name, the golden moniker "Pro" made people flock like magpies to swoop in and scoop up the latest and greatest now adorned with extra shiny letters! Okay, clearly I am being tongue in cheek here. If anything the "Pro" designation caused mostly confusion, especially as FiiO made it known that it would see a return on their yet to be released M15 flagship as well. That is four DAPs (the M11, M11 Pro, M15 and M15 Pro) released in close succession with seemingly little to differentiate between them. FiiO explained this with an analogy to phones being released with similar iterations and I can see what they might be aiming for. Customers will have varying budgets and wish lists to try and hit their own personal sweet spot in terms of price, performance and features. FiiO's approach here seems to be an efficient way to create a number of 'sweet spot'-options for potential customers to choose from. Of course for the traditional audiophiles among us it is just confusing and they are left thinking... "Why not stop with the distractions and just release the M15 Pro already?" ...because old farts have more disposable income (= M15 Pro) than penniless students (= M11) or those sensible enough to save their end of year bonus (= M11 Pro). Not sure where that leaves the M15, but we will write that one down to middle management... maybe upper-middle management because it is rumoured to be fitted with dual AK4499 DACs.

Yes, still kidding there, but you get the idea. Every person has a budget and their own priorities and FiiO is trying to find a way to cater to as many customer wishes as possible. A bit confusing perhaps, but time will tell if it was a good decision or not.

Because the M11 and M11 Pro are so close, this review will focus mainly on the differences and I highly recommend reading my previous review of the M11 (link) for those things that have not really changed, such as the user interface and general user experience.

Unboxing
The unboxing experience is virtually identical to that of the M11. It is the same box with some updated graphics and opening it up reveals the M11 Pro with one noticeable difference: No clear TPU protective case. This was dropped because of limitations in the design process and with the supplier. FiiO concluded that they could not produce one for the M11 Pro that would meet their quality requirements. Not sure what to make of that considering the marginal differences in size: 0.5mm thicker and wider. Because I am not one to back down from a challenge, I squeezed the slightly bigger waste line of the M11 Pro in the M11's TPU case and although it does fit, sort of, I had to admit is was not the most secure fit either. Considering I did not like the look of it on the M11 to begin with, this was looking even worse and I happily abandoned my little experiment never to look back at it.





Accessories are the same with once again a 7H tempered glass screen protector already pre-installed, an SD card slot poky-thingamajig, some booklets, a USB charger cable and a coaxial adapter cable. Sweet and simple.

Design
As indicated the design is almost identical, except for a tiny increase in thickness and width that, at 0.5mm each, is so small it is quite challenging to capture in pictures. Another key change is the step back from two to only a single microSD card slot, a decision that came as a result of the issues the M11 had, requiring a reduction of speed of one of the slots (as I reported in my M11 review). This reduces the theoretical maximum storage of the M11 Pro to 2TB compared to 4TB with the M11.






Beyond these the M11 Pro is identical with the M11. It is the same bright and colourful 5.15" screen around the same angular body design with the same buttons and of course the 3.5mm single ended and 2.5mm + 4.4mm balanced out. So there is little else to say here that I did not already say in my review of the M11.

Under the Hood
Most of the changes are of course under the hood of the M11 Pro. FiiO kept the design around the Samsung Exynos 7872 CPU, which FiiO indicated will also be the case for the upcoming M15 and M15 Pro (including the same 5.15" screen). The main differences are found in the DAC and Amp used. Out are the AK4493EQ and in are dual AK4497EQ DACs, while the amp section has been replaced with a dual THX AAA-78 architecture. The THX amp is supposed to be a powerful, yet efficient one to result in a lower noise floor and less distortion. On paper the DAC/amp section should make the M11 Pro more natural sounding than the M11 and indeed that was what I found. In terms of power output though the M11 Pro is pretty similar to the M11, be it that the 3.5mm single ended out saw a boost from 255mW to 294mW at 16Ω, where the 2.5mm and 4.4mm balanced out dropped a little from 480mW to 460mW at 16Ω. Internal memory has also been increased and is up to 64GB ROM of which 52GB is available to the user, more than double of the 25GB (out of 32GB) that was available with the M11.



Something worth noting here is that the M11 Pro is considerably more power hungry than the M11. While the battery has been increased to 4,370mAh from 3,800mAh, battery life has decreased significantly from 13 hours with the M11 to 9.5 hours with the M11 Pro. As a result the M11 Pro will once again become quite warm during use and I saw some concerned comments on that, but FiiO have indicated it is nothing to worry about. I wouldn't do a good job of reviewing were I not to test this myself at the risk of burning a cheek. So while cooking dinner one evening, I stuffed the M11 Pro in the back pocket of my jeans and wiggled my bum while chopping the veg. The result once dinner was prepared? A warm M11 Pro, but no rosy cheek. So I can only conclude that there is really nothing to worry about.

GUI
Here very little has changed from the M11 and the few things that have changed, were also added via firmware updates to the M11. So in this regard there is nothing to differentiate between the M11 Pro and the M11. The M11 Pro still has the super fast and smooth interface I loved so much with the M11. I did make sure FiiO did not sneak in any additional boosts to the Pro's performance and used both side-by-side simultaneously to test that. Start up time was exactly the same and apps launched with the same speed as well.

One interesting addition FiiO has made since I reviewed the M11 is that there is now a 'Pure Music' mode available in the drop-down menu. This will take the M11/Pro out of Android mode and run only the FiiO Music player, meaning there are no other apps running in the background and you don't have to start up the FiiO Music player because upon starting up the M11/Pro it will automatically go there. This is a nice option to have for people who like the M11/Pro, but do not care for the Android environment and want to use it purely as a music player.



The FiiO Music app is also constantly being updated with features that can be helpful, although the execution of them is not always flawless just yet. I quite liked the idea behind the featured that allowed the FiiO Music app to automatically search for album art and so I made the mistake of putting it on. I say "mistake" because what happened was my inner-OCD's worst nightmare. The app indeed started adding album art, but this seemed to be completely arbitrary and so my darling dearest Caro Emerald had her exquisite 'Acoustic Sessions' album defiled by having album art uploaded from the 'Karaoke Version'. Some of my favourite classical music albums took on a quilted appearance with various album art files being applied to tracks on the same album. Now every time I start up the M11 Pro my OCD gives off a panicked scream and hyperventilates for 10 minutes before I can use it.



Other features though work fine, like FiiO Link that allows you to control the M11 Pro from your mobile phone. While I would never use it myself, I know a lot of people really love this sort of feature. So I gave it a whirl nonetheless and actually got it to work! That says a lot about how well it works because I am a complete doofus and FiiO can now safely add the label "fool proof" after having me test it.

Apps/Streaming
Here I will refer to my M11 review because nothing has changed as far as I can see. The M11 Pro still runs on a custom version of Android 7.0 without proper Google Play store support, meaning that for some very popular apps, such as the Neutron player, alternative ways of installing and verification must be found. The M11 Pro also still comes standard with ES File Explorer installed. As I mentioned in my M11 review, this app might not be secure and has recently been removed from the Google Play store as a result of various problems. It might be good to look at an alternative instead. Beyond that the M11 Pro delivers the same versatility of the M11 and those apps that do not require Play store support run fast and smooth.

Sound
In terms of sound quality I feel the M11 Pro is a clear step up from the M11. The M11 Pro has a more natural sound, although in my opinion it still hints a little towards a brighter, more analytical signature, but it is clearly more natural and a little bit warmer than the M11. The M11 Pro presents a larger stage that is more airy, more stable and has a blacker background. This was especially noticeable with classical music where the layering and the image as a whole felt more mature. Instruments separated better and contrasted more clearly against the black background, the tonality was more distinct and the dynamics of the music were improved. This gives a more immersive feeling to the music and makes the Pro more musical (engaging) than the M11.

End-to-end extension of the M11 Pro is better than the M11. The M11 seemed to have quite a rolled off bass and that has to some extent been improved with the M11 Pro. I still think it is not the most extended bass response. Treble extension is pretty good and this gives airiness to the stage, but here I think there is still a hint too much brightness. The treble is not the most natural and can give a slightly tinny result with some of my IEMs, like the Empire Ears Phantom. This is no doubt in part a tuning decision by FiiO and here I will put up a big bold disclaimer that I like a warmish natural tonality and a bit less emphasis on detail retrieval. For someone who prefers a natural tonality and likes to have details pushed forward a little more clearly, the M11 Pro might well offer a really good option. The mids are quite natural and I find that for instance with my Phantom the woodwinds come across a little less lush and thick than with my usual DAP, the Cowon Plenue 2. Notes are a little thinner, although far from anaemic and you still get a good sense of the instruments.

Speaking of the Phantom. With the M11 I did get a little bit of noise when using them on high gain, but with the M11 Pro I am not noticing it. The M11 Pro therefore appears to be cleaner, although I do not have hyper-sensitive IEMs like the Campfire Andromeda to test if the M11 Pro is noiseless with those as well.

Comparisons
-Cowon Plenue 2-
Because I already compared to the M11 above, I only really have one comparison to make here and that is with the Cowon Plenue 2. One of the reasons I was really interested in the M11 Pro is that it uses the same DAC as the Plenue 2, the AK4497, although the M11 Pro has two of them instead of a single one. I think this is also why several people have asked me about this comparison as well. It is interesting to see how well a new, but more affordable DAP stacks up against the senior with a premium price tag.

In terms of tonality there is actually a difference, even though they use the same DAC. The Plenue 2 is slightly warmer and more realistic in its naturalness, whereas the M11 Pro pushes the details a bit more forward through a brighter, although still natural tonality. The Plenue 2 extends better at both ends and achieves a higher dynamic range, making music come more alive. I also find that the imaging is better and the overall feel of the image is more refined. Are there aspects where the M11 Pro pulls ahead? Yes, the M11 Pro presents a larger and more airy stage, which I really liked and appreciated especially with classical symphonies. The sound is also more clearly detailed, which although it is not my own personal priority, will no doubt be appreciated by many who enjoy being tickled by lots of details coming through. In all, the M11 Pro goes a long way compared to the Plenue 2 and brings its own strengths that for some people could give it an edge.

Pair ups
Having talked quite a lot about the sound in general terms, it is interesting to look more closely at specific pairings to see how they synergise.



-FiiO FH7 (FiiO LC-2.5D)-
I previously reviewed FiiO's FH7 together with the LC-2.5D balanced aftermarket cable, so naturally I needed to try out their synergy with the M11 Pro. This pairing is really excellent and it is almost like they were made for each other... *wink* *wink* Clearly FiiO's own IEMs compliment their DAPs very well and using the red bass filters the result is clear, detailed and with a deliciously thick bass. It is a little on the bright side for my sensitivities, as I can be particularly treble sensitive, but it is very well balanced with lots of detail and tons of musicality. It is bright in the good sense, very even and not a hint of sibilance. So while it might be a little much for my delicate ears, those less sensitive will no doubt enjoy this pairing tremendously.

-64 Audio Tia Trio (PlusSound Exo GPS, 2.5mm Bal)-
The Trio offer a wonderful bass, as well as a wonderful treble for sensitive me, and this pairing was really nice. Still a little bit of a brightness similar, but less notable than with the FH7. With this pairing I loved going through my down-tempo EDM list such as Carbon Based Lifeforms and Astronaut Ape. 'Interloper' by Carbon Based Lifeforms was an album where I really felt that the Trio got the maximum benefit from the airy stage of the M11 Pro, which resulted in an almost ethereal treble complimented by a full, but not overwhelming bass. A really enjoyable pairing that felt similar to the FH7 pairing, be it a more mature version.

-Empire Ears Phantom (Effect Audio Eros II 8W, 2.5mm Bal)-
My "King of Timbre" paired quite well with the M11 Pro, reducing some of the warmth that characterise these IEMs and it made them a little less lush. Woodwinds lost some of their fullness and everything was a little less thick, which actually worked quite well. However, the M11 Pro seemed to highlight the Phantom's treble peak a little more than I am used to and I actually started to feel a little uncomfortable with it. Rather than their usual bite, it became a brightness that with some music got a little too much bite. Nothing too bad, but with some female vocals such as Caro Emerald and Aurora I felt it was brighter than I would like my Phantom to be.

-Dita Fealty (4.4mm Bal)-
This pairing was without a doubt my own personal favourite. The M11 Pro seemed to compliment the wide, letterbox stage of the Fealty and push it a little further than I am used to. They were also the first IEMs I tried because the Awesome plug allowed me to use the 4.4mm balanced out, and I was quite surprised. Listening to Paganini's Violin Concerto #4, I was impressed by the size of the stage. Indeed with all my classical music this pairing resulted in a very large and airy stage where I could really loose myself in the soundscape. I did notice that compared to the Plenue 2 there was a little less warmth, but it did not feel like anything was lacking.



Conclusions
The FiiO M11 Pro is much as its "pro" designation suggests a step up from the M11. It retains the same form factor, be it marginally bigger, the same screen and Exynos 7872 CPU to maintain a responsive and smooth user interface, and tops it off with a higher end DAC and amp section. The result is a more refined sounding M11 that offers a natural and detailed signature. The absence of Google Play store support is still a main point of criticism and the battery life can be disappointing if you intend to use the screen a lot for certain apps. Overall I think the M11 Pro is a very good value for money DAP and worth considering over the M11 if sound quality is your priority.

Stealth Sonics U9

Disclaimer
I would like to thank Stealth Sonics for providing the demo units for this tour and Jackpot77 of Audio Primate for organising the UK tour and letting me participate even though I escaped back to the continent last year. No incentive was given for a favourable review. This was originally posted as a single review, but adapted to fit the proper Head Gear sections, therefore certain sections will be the same as for the U2 (link) and U4 (link) reviews.

Links:
https://stealthsonics.com
https://www.facebook.com/stealthsonics/

Preamble
Stealth Sonics is a company based in Singapore and while a relatively new player in the IEM market, has had a decade or so experience in audiology/music technology in Southeast-Asia. I first came across them around the NAMM show in 2018 where Stealth Sonics launched their new IEMs. I enjoy occasionally browsing around to see what is new and what might peak my interest and Stealth Sonics certainly did the latter when I saw their universal IEMs. A bold design that made a statement: StealthSonics has Style. That is style, but then with a capital 'S', quite possibly it even needs to be italicised as Style. Whether or not it is your cup of tea is another matter altogether, but there is no denying that Stealth Sonics sets itself apart from the crowd. It is an extravert styling with bold colours and design elements, some of which are also functional (more on that later). For me, I am about as extraverted as a particularly agoraphobic hermit crab, so not quite my cup of tea although I do appreciate it when companies have their own unique Style.

It is not just the Style that sets Stealth Sonics apart. They have some really innovative ideas too. For one, their custom shells are coated with a proprietary lacquer that makes them extra hard. So hard that they can survive quite a large drop on a hard floor and that is not something I have seen very often. The universal shells too have some nifty design elements of which the Stealth Damping technology is the most noticeable because it looks like someone stuck a turbine engine to the faceplate. It is meant to help create a tight and clean bass response. The faceplates can however be removed to extend the bass, or replaced to make your universal Stealth Sonics IEMs look even more eye-catching.

Unboxing
The tour package contained the full retail packaging of the U4 to give an example of what you can expect when buying any of the three universal IEMs. So while I can only show the U4's unboxing, the experience should be the same for the U2 and U9 as well.







The universal Stealth Sonics come in a relatively big box covered by a sleeve with on the outside a picture of the IEMs and specifications. A bit more information can be found on the inside of the sleeve as well. The box itself has a carbon-like look and feel to it and opens up to display the universal IEMs in all their glory. Alongside can be found replacement faceplates. In the case of the U4 these are glossy blue, and I believe the U2's are red and the U9's black. Standard on all three are carbon-look faceplates. Below the IEMs is a generous size case, which contains a second cable with a mic, a bag with various ear tips (foam, silicone and double flange), adapters, an allen key for the faceplates, a microfiber cloth and a pouch. Overall a very healthy selection of accessories.

I believe that the regular cable is an SPC, although with all three IEMs it has a different colour: black for the U2, blue for the U4 and silver for the U9. The mic cable appears to be a pure copper one with clear insulation.



Build quality and fit
As I indicated earlier, the Stealth Sonics CIEMs have a uniquely strong build quality thanks to a special lacquer that strengthens the shells. The universal IEMs do not seem to be far off in that respect with a very durable feel to them, but it is a little deceptive because they are extremely lightweight. This low weight is purposely done to improve wearing comfort because Stealth Sonics aim at achieving long listening sessions (6-8 hours) without inducing signs of fatigue. Comfort is essential here and I do find that the low weight helps the IEMs to disappear while I wear them. The shell material below the faceplate also feels very soft and is very comfortable when wearing. The fit though was a little tricky for me to get right and I ended up using Final tips one size above my normal to get the best seal and most secure fit. I am not sure if I got the optimal fit, but time constraints meant that I could not spend too much time tip rolling. The reason it is a little tricky is because the stems are quite thick and short, so the fit becomes relatively shallow.





The included cable is quite a good one and comfortable to use, although the long ear guide did occasionally push and pull a bit more than I am used to because the cable did not settle around my ear. The cable's ear guides made the cable "float" (as it were) just above my ears because the shape of the bend is held very well, rather than something suppler that settles on the ear. Other than that it is certainly a quality stock cable that I think most people will be very happy with.

As mentioned, Stealth Sonics aim to achieve long, fatigue free listening sessions for their (C)IEMs and have fitted them with what they call a 'Klarity Valve'. This is a type of pressure relieve valve that helps minimise pressure build up during use. The vent of the valve can be seen on the inside of the shell, just alongside the 'L' and 'R' indicators of the monitors. I have had issues with pressure build up in the past and I find that the Stealth Sonics IEMs are about as comfortable as using IEMs with APEX/ADEL modules. I did not get any uncomfortable pressure build up and was quite happy to have the IEMs in my ears for longer periods of time.

Source
All listening was done with the Cowon Plenue 2 from the SE out.



U9 - The clear one

• Drivers: 1 x DD (Low), 8 BA (2 x Mid, 2 x High, 4 x Super-High)
• Crossover: 4-way
• Frequency response: 18Hz - 40kHz
• Sensitivity: 108dB at 1mW
• Impedance: 16 Ohms at 1kHz
• THD: <=1% at 1kHz
• Price: US$1099

Presentation
Contrary to the U4, I do feel the U9 are closer to a flat response and I would call it close to neutral, but without becoming dry and loosing their musicality. The U9 are clear, clean and musical with a surprisingly natural tonality to instruments. In that sense there is something of the Rhapsodio Eden to them. The overall tone feels quite bright (in the good sense) and clear, yet instruments still maintain a good body and accurate tonality. Perhaps not quite at the level of the Eden, but those are nearly twice as expensive.

The U9 have a very nice spacious stage that feels immersive and I find works well for classical music. The background is not as black as I would like, but perhaps that has something to do with the Klarity Valve, as the contrast of the notes relative to the background still feels very natural. IEMs with a very black background can have a strong contrast that although it emphasises details and textures, is not actually natural as such. Thanks to the spacious stage and the Klarity Valve, the U9 feel more like listening to headphones even though the stage is not as big. At times the low weight even made me forget I was wearing IEMs. It is a very natural way to experience classical music. The stage does seem to have a mind of its own and I find the imaging of one of my favourite albums, Caro Emerald's Acoustic Sessions, to be off somehow and I have not been able to put my finger on it. Other jazz, like my latest favourite track, Tuba Skinny's Jazz Battle, does feel better, so it could be down to a difference in recording and how that plays with the U9.

Bass
Where the U2 and U4 had a prominent bass, the U9 seem to take things a little easier without pushing the bass too far into the background. The bass is tight, precise, has great texture and hits with a healthy dose of impact, but is never overstated. It is exciting and that is very much what the U9 need to avoid becoming dry. The bass sets the rhythm and gets your feet tapping. The kick drum in the Rolling Stone's Hate To See You Go is a great example of this. At first listen with the U9 I did not expect them to be suitable for the Stones and yet the U9 got my bum shaking with ease. The bass is not just impactful, it has great texture and feels pretty fast and articulate for a dynamic driver. It works great with fast drums like in the Foo Fighters' Cheer Up, Boys (Your Make Up Is Running), which makes the U9 surprisingly musical.

I did try the U9 briefly without the faceplate and was quite surprised by the change, which instead of extending the bass made the U9 sound thinner instead. So while I previously questioned whether perhaps the Stealth damping technology did not work optimally, it does appear to do just that for the U9. The bass of the U9 is a very good quality bass that is capable of digging deep and hitting hard when it needs to, but avoids becoming to dominant.

Mids
The mids of the U9 are excellent and the reason I like the U9 for classical music. Instruments sound accurate and natural without becoming very full sounding. Now, I do like full sounding instruments, but it is a bit of a disadvantage with orchestral music and the U9 do very well in separating the different instruments. Layering is pretty good and the way the U9 reproduce the emotions of different classical pieces is even very good. While casually listening as I was doing something else, I often found myself getting increasingly distracted by the music, which was pulling me in and enticing me to close my eyes and drift away.

Vocals are perhaps not quite the U9's main strength. The balance between male and female vocals is not bad, although there is a slight preference for female over male. Moreover, vocals lack some definition. Like I indicated with the U2, I am quite spoiled here and so I have set the bar very high, which I think is fairer in the case of the U9 as these are Stealth Sonics most expensive offering. Again I suspect a slight upper-mid or lower treble lift I am noticing here. Nothing too bad mind and simply a consequence of a tuning choice, but if you love vocals as much as I do, I would suggest looking at alternatives. Nonetheless, vocals as such are nice and clear, which can be said for the mids in general as well. Very nice and clear to ensure nothing can escape your attention.

Treble
Where the U2 might have been a bit bright in the treble and the U4 a little attenuated, I feel the treble of the U9 is just about right. It is sparkly and yet maintains smoothness. So when I listen to Tchaikovsky's Nutcracker with the U9 there is a nice sparkle, but not too much, and a slight hint of sweetness to keep things smooth, but not too much. A female soprano voice also comes through very clear and clean with the natural brightness that was missing with the U4.

Cymbals sit well within the image and add sparkle op top, but remain in the background. Perhaps some people like a little more treble prominence, but I think this way the signature avoids becoming fatiguing despite the overall focus on clarity and detail. I have had the Rhapsodio Galaxy V2 over for a while, which also had a focus on clarity and details, and those were not for the faint of heart (and a dream for treble heads). I could listen to them, but would get fatigued after a short while. Not so with the U9. The U9 balance everything out very well and unless the bass would get a boost as well, I suspect any additional treble lift would ruin this signature.



Conclusions
Stealth Sonics have come up with a very nice trio of universal IEMs. The U2 have a signature that is engaging and fun, and I am disappointed I did not have the Final E5000 around anymore because it I suspect the U2 would give those a fair bit of competition. The U4 feel to me like great quality stage monitors that offer the complete package, a smooth and fatigue free signature combined with a very light weight and all the advantages of the Klarity Valve to make them as comfortable as it gets for long, very long listening sessions. The U9 offer clarity and detail at a very high level, while maintaining smoothness and accuracy in the reproduction of instruments. Where the U4 feel like stage monitors, the U9 might lean more towards studio monitors, although without foregoing musicality.

Stealth Sonics offer all their IEMs with a healthy selection of accessories and pack their IEMs with unique technology and styling to set them apart from the masses. At their respective price points the U2, U4 and U9 are interesting propositions, especially for those who prioritise practical aspects such as durability, comfort and a fatigue free listening experience. I feel Stealth Sonics have done an excellent job to create such a complete package and look forward to what they will do in the future.

Stealth Sonics U4

Disclaimer
I would like to thank Stealth Sonics for providing the demo units for this tour and Jackpot77 of Audio Primate for organising the UK tour and letting me participate even though I escaped back to the continent last year. No incentive was given for a favourable review. This was originally posted as a single review, but adapted to fit the proper Head Gear sections, therefore certain sections will be the same as for the U2 (link) and U9 (link) reviews.

Links:
https://stealthsonics.com
https://www.facebook.com/stealthsonics/

Preamble
Stealth Sonics is a company based in Singapore and while a relatively new player in the IEM market, has had a decade or so experience in audiology/music technology in Southeast-Asia. I first came across them around the NAMM show in 2018 where Stealth Sonics launched their new IEMs. I enjoy occasionally browsing around to see what is new and what might peak my interest and Stealth Sonics certainly did the latter when I saw their universal IEMs. A bold design that made a statement: StealthSonics has Style. That is style, but then with a capital 'S', quite possibly it even needs to be italicised as Style. Whether or not it is your cup of tea is another matter altogether, but there is no denying that Stealth Sonics sets itself apart from the crowd. It is an extravert styling with bold colours and design elements, some of which are also functional (more on that later). For me, I am about as extraverted as a particularly agoraphobic hermit crab, so not quite my cup of tea although I do appreciate it when companies have their own unique Style.

It is not just the Style that sets Stealth Sonics apart. They have some really innovative ideas too. For one, their custom shells are coated with a proprietary lacquer that makes them extra hard. So hard that they can survive quite a large drop on a hard floor and that is not something I have seen very often. The universal shells too have some nifty design elements of which the Stealth Damping technology is the most noticeable because it looks like someone stuck a turbine engine to the faceplate. It is meant to help create a tight and clean bass response. The faceplates can however be removed to extend the bass, or replaced to make your universal Stealth Sonics IEMs look even more eye-catching.

Unboxing
The tour package contained the full retail packaging of the U4 to give an example of what you can expect when buying any of the three universal IEMs. So while I can only show the U4's unboxing, the experience should be the same for the U2 and U9 as well.







The universal Stealth Sonics come in a relatively big box covered by a sleeve with on the outside a picture of the IEMs and specifications. A bit more information can be found on the inside of the sleeve as well. The box itself has a carbon-like look and feel to it and opens up to display the universal IEMs in all their glory. Alongside can be found replacement faceplates. In the case of the U4 these are glossy blue, and I believe the U2's are red and the U9's black. Standard on all three are carbon-look faceplates. Below the IEMs is a generous size case, which contains a second cable with a mic, a bag with various ear tips (foam, silicone and double flange), adapters, an allen key for the faceplates, a microfiber cloth and a pouch. Overall a very healthy selection of accessories.

I believe that the regular cable is an SPC, although with all three IEMs it has a different colour: black for the U2, blue for the U4 and silver for the U9. The mic cable appears to be a pure copper one with clear insulation.



Build quality and fit
As I indicated earlier, the Stealth Sonics CIEMs have a uniquely strong build quality thanks to a special lacquer that strengthens the shells. The universal IEMs do not seem to be far off in that respect with a very durable feel to them, but it is a little deceptive because they are extremely lightweight. This low weight is purposely done to improve wearing comfort because Stealth Sonics aim at achieving long listening sessions (6-8 hours) without inducing signs of fatigue. Comfort is essential here and I do find that the low weight helps the IEMs to disappear while I wear them. The shell material below the faceplate also feels very soft and is very comfortable when wearing. The fit though was a little tricky for me to get right and I ended up using Final tips one size above my normal to get the best seal and most secure fit. I am not sure if I got the optimal fit, but time constraints meant that I could not spend too much time tip rolling. The reason it is a little tricky is because the stems are quite thick and short, so the fit becomes relatively shallow.





The included cable is quite a good one and comfortable to use, although the long ear guide did occasionally push and pull a bit more than I am used to because the cable did not settle around my ear. The cable's ear guides made the cable "float" (as it were) just above my ears because the shape of the bend is held very well, rather than something suppler that settles on the ear. Other than that it is certainly a quality stock cable that I think most people will be very happy with.

As mentioned, Stealth Sonics aim to achieve long, fatigue free listening sessions for their (C)IEMs and have fitted them with what they call a 'Klarity Valve'. This is a type of pressure relieve valve that helps minimise pressure build up during use. The vent of the valve can be seen on the inside of the shell, just alongside the 'L' and 'R' indicators of the monitors. I have had issues with pressure build up in the past and I find that the Stealth Sonics IEMs are about as comfortable as using IEMs with APEX/ADEL modules. I did not get any uncomfortable pressure build up and was quite happy to have the IEMs in my ears for longer periods of time.

Source
All listening was done with the Cowon Plenue 2 from the SE out.



U4 - The warm and smooth one

• Drivers: 4 BA (1 x Low, 1 x Mid, 1 x High, 1 x Super-High)
• Crossover: 4-way
• Frequency response: 18Hz - 23kHz
• Sensitivity: 114dB at 1mW
• Impedance: 13 Ohms at 1kHz
• THD: <=1% at 1kHz
• Price: US$499

Presentation
The U4 are presented by Stealth Sonics as having "the flattest response possible" and I think here we might have some Babylonian confusion going on because I would personally associate a flat response with neutrality and the U4 are anything but neutral. The U4 are warm, lush and very smooth, perhaps a little too much so. The U4 have an unmistakable veil that takes a while for your ears to adjust to. Once adjusted it is a signature that is incredibly easy going and about as fatigue free as it can get. The U4 present the listener with thick notes and a woolly smoothness that is really rather pleasant. It does come at a cost of some transparency and separation is nothing special, but it does work well to produce a signature that you can listen to all day without any issues. While I was going through different types of music I found that with down-tempo EDM, such as Carbon Based Lifeforms, the listening experience was incredibly mellow and I could just slowly drift away in the music. It would not surprise me if performing artists will appreciate this signature for their stage monitors, as details are still there and there is enough air to avoid congestion, but the smoothness helps to make the U4 a practical tool. Of course audiophiles might be more critical, but they are an annoying bunch of anal-retentives with their reviews and unpicking signatures rather than just enjoy the music... Oh yeah... *embarrassed cough* Let's move on, shall we.

Bass
The U4's signature is dominated by its bass and that is perhaps not so surprising once you learn that Stealth Sonics used the biggest, baddest BA driver they could find to produce it. Especially with the faceplate off the bass is capable of the sort of low-end growl that I would normally associate with dynamic drivers. With the faceplate on (Stealth damping enabled) the bass is really quite impactful and it gives great weight to, say, a kick drum.

Because the bass is so dominant, it does colour the signature all the way up and I feel this is what causes the perception of 'veil' across the signature that will be a matter of preference whether or not it is acceptable. For bass heads I think that without the faceplate the U4 produce a really satisfying bass and I dare say I wish Stealth Sonics had tuned the U4 with that bass in mind. In fact, after the U2, this experience with the U4 leads me to question whether or not the Stealth damping technology is the right solution. It definitely tightens and cleans the bass, but also seems to physically constrain it from resonating naturally, and the U4 have an awesome natural resonance there. Faceplate off, the U4 have a formidable bass performance that can compete with much more expensive IEMs.

Mids
Where I might differ in opinion on the flatness of the response, I do fully agree with Stealth Sonics that the mid range of the U4 is silky smooth. Instruments have a full sound and the warmth passed on to them by that incredible bass results in a natural-warm tonality that is incredibly easy going. Works great for mellow blues, although it does come at a cost of some details. Details are not entirely lost, but the U4 don't push them towards the foreground either.

Vocals are more balanced compared to the U2, as I find that with the U4 male vocals get the natural throatiness they need and there is more weight to them as well. Female vocals do get some sweetness added to them, but I personally don't mind that and is again fully in line with the mellow character of the U4. Even the sound of the brightest soprano reaches your ears like fluffy clouds, and the U4 manage it while maintaining very decent clarity at the same time. In that sense I feel that Stealth Sonics have found a balance that works well. Smooth and fatigue free while maintaining enough detail and clarity to ensure nothing is missed.

Treble
Like every aspect of the U4, the treble is as smooth and easy going as it comes. It feels a little attenuated, but with the extension needed to add enough air to counter the warmth of the bass. But the bass reaches even to this end and the treble is convincingly on the sweeter side, lacking some sparkle and natural brightness in (for instance) cymbals or brass instruments. I do like some sweetness to the treble, but when I listen to Tchaikovsky's Nutcracker I find that the sparkle is missing to add to the wintery/Christmassy atmosphere I love so much.

Here again I suspect that this is an intentional choice by Stealth Sonics to cater to the needs of the performance artist rather than the audiophile. The sparkle is there for the listener to pick out, but is not emphasised to avoid fatigue. I think this is a good choice. I often use IEMs to isolate myself from the environment while I work and as such can wear IEMs for very long periods of time, easily 10 hours a day, and for sessions this length of time the U4 would definitely be among my preferred IEMs regardless of price.



Conclusions
Stealth Sonics have come up with a very nice trio of universal IEMs. The U2 have a signature that is engaging and fun, and I am disappointed I did not have the Final E5000 around anymore because it I suspect the U2 would give those a fair bit of competition. The U4 feel to me like great quality stage monitors that offer the complete package, a smooth and fatigue free signature combined with a very light weight and all the advantages of the Klarity Valve to make them as comfortable as it gets for long, very long listening sessions. The U9 offer clarity and detail at a very high level, while maintaining smoothness and accuracy in the reproduction of instruments. Where the U4 feel like stage monitors, the U9 might lean more towards studio monitors, although without foregoing musicality.

Stealth Sonics offer all their IEMs with a healthy selection of accessories and pack their IEMs with unique technology and styling to set them apart from the masses. At their respective price points the U2, U4 and U9 are interesting propositions, especially for those who prioritise practical aspects such as durability, comfort and a fatigue free listening experience. I feel Stealth Sonics have done an excellent job to create such a complete package and look forward to what they will do in the future.

Stealth Sonics U2

Disclaimer
I would like to thank Stealth Sonics for providing the demo units for this tour and Jackpot77 of Audio Primate for organising the UK tour and letting me participate even though I escaped back to the continent last year. No incentive was given for a favourable review. This was originally posted as a single review, but adapted to fit the proper Head Gear sections, therefore certain sections will be the same as for the U4 (link) and U9 (link) reviews.

Links:
https://stealthsonics.com
https://www.facebook.com/stealthsonics/

Preamble
Stealth Sonics is a company based in Singapore and while a relatively new player in the IEM market, has had a decade or so experience in audiology/music technology in Southeast-Asia. I first came across them around the NAMM show in 2018 where Stealth Sonics launched their new IEMs. I enjoy occasionally browsing around to see what is new and what might peak my interest and Stealth Sonics certainly did the latter when I saw their universal IEMs. A bold design that made a statement: StealthSonics has Style. That is style, but then with a capital 'S', quite possibly it even needs to be italicised as Style. Whether or not it is your cup of tea is another matter altogether, but there is no denying that Stealth Sonics sets itself apart from the crowd. It is an extravert styling with bold colours and design elements, some of which are also functional (more on that later). For me, I am about as extraverted as a particularly agoraphobic hermit crab, so not quite my cup of tea although I do appreciate it when companies have their own unique Style.

It is not just the Style that sets Stealth Sonics apart. They have some really innovative ideas too. For one, their custom shells are coated with a proprietary lacquer that makes them extra hard. So hard that they can survive quite a large drop on a hard floor and that is not something I have seen very often. The universal shells too have some nifty design elements of which the Stealth Damping technology is the most noticeable because it looks like someone stuck a turbine engine to the faceplate. It is meant to help create a tight and clean bass response. The faceplates can however be removed to extend the bass, or replaced to make your universal Stealth Sonics IEMs look even more eye-catching.

Unboxing
The tour package contained the full retail packaging of the U4 to give an example of what you can expect when buying any of the three universal IEMs. So while I can only show the U4's unboxing, the experience should be the same for the U2 and U9 as well.







The universal Stealth Sonics come in a relatively big box covered by a sleeve with on the outside a picture of the IEMs and specifications. A bit more information can be found on the inside of the sleeve as well. The box itself has a carbon-like look and feel to it and opens up to display the universal IEMs in all their glory. Alongside can be found replacement faceplates. In the case of the U4 these are glossy blue, and I believe the U2's are red and the U9's black. Standard on all three are carbon-look faceplates. Below the IEMs is a generous size case, which contains a second cable with a mic, a bag with various ear tips (foam, silicone and double flange), adapters, an allen key for the faceplates, a microfiber cloth and a pouch. Overall a very healthy selection of accessories.

I believe that the regular cable is an SPC, although with all three IEMs it has a different colour: black for the U2, blue for the U4 and silver for the U9. The mic cable appears to be a pure copper one with clear insulation.



Build quality and fit
As I indicated earlier, the Stealth Sonics CIEMs have a uniquely strong build quality thanks to a special lacquer that strengthens the shells. The universal IEMs do not seem to be far off in that respect with a very durable feel to them, but it is a little deceptive because they are extremely lightweight. This low weight is purposely done to improve wearing comfort because Stealth Sonics aim at achieving long listening sessions (6-8 hours) without inducing signs of fatigue. Comfort is essential here and I do find that the low weight helps the IEMs to disappear while I wear them. The shell material below the faceplate also feels very soft and is very comfortable when wearing. The fit though was a little tricky for me to get right and I ended up using Final tips one size above my normal to get the best seal and most secure fit. I am not sure if I got the optimal fit, but time constraints meant that I could not spend too much time tip rolling. The reason it is a little tricky is because the stems are quite thick and short, so the fit becomes relatively shallow.





The included cable is quite a good one and comfortable to use, although the long ear guide did occasionally push and pull a bit more than I am used to because the cable did not settle around my ear. The cable's ear guides made the cable "float" (as it were) just above my ears because the shape of the bend is held very well, rather than something suppler that settles on the ear. Other than that it is certainly a quality stock cable that I think most people will be very happy with.

As mentioned, Stealth Sonics aim to achieve long, fatigue free listening sessions for their (C)IEMs and have fitted them with what they call a 'Klarity Valve'. This is a type of pressure relieve valve that helps minimise pressure build up during use. The vent of the valve can be seen on the inside of the shell, just alongside the 'L' and 'R' indicators of the monitors. I have had issues with pressure build up in the past and I find that the Stealth Sonics IEMs are about as comfortable as using IEMs with APEX/ADEL modules. I did not get any uncomfortable pressure build up and was quite happy to have the IEMs in my ears for longer periods of time.

Source
All listening was done with the Cowon Plenue 2 from the SE out.



U2 - The fun one

• Drivers: 1 x DD (Low/Mid), 1 x BA (High)
• Crossover: None
• Frequency response: 20Hz - 20kHz
• Sensitivity: 103dB at 1mW
• Impedance: 16 Ohms at 1kHz
• THD: <=1% at 1kHz
• Price: US$249

Presentation
The U2 have to my ears a mildly U-shaped signature with a solid bass that is balanced by a sparkly treble to add a bit of fun and musicality. The stage of the U2 is not the biggest, providing an intimate setting that is complimented by a somewhat holographic feel. It makes the U2 immersive and fun to listen to. While I would say the overall feel of the signature leans towards warmth, the U2 manage enough air to provide good separation and I did not notice much in the way of congestion, even with layered choral music. The background though is not the blackest I have come across. Perhaps I am spoiled, but the image lacks some crispness and definition. Not much of a problem though because the signature is musical enough that it will compel you to tap your feet nonetheless, making the U2 really good fun to listen to.

Bass
The bass of the U2 surprised me a little bit because it dug deep, was impactful and tight and yet I missed something I could not quite put my finger on. I suspected that this might have to do with the Stealth damping that Stealth Sonics incorporate in the faceplate and so I did a quick test without the faceplates, which immediately felt like the bass extended a bit better and resonated more naturally. I did not have enough time to do a thorough comparison, but it might be interesting to try out for anyone who enjoys an even deeper, lusher bass. I thought it worked quite well for the Rolling Stones, putting a bit more emphasis on the kick drum and bass guitar, but that might not always be what I aim for. With the faceplate on, the bass becomes tighter and more impactful, something that worked better for EDM. Although I will admit that my inner bass head always enjoys a deeper, lusher bass, even when it is strictly speaking not ideal. Of course you can have both in this case due to the U2's option to remove the faceplate or leave it on. It is however fiddly to do and I would prefer a simple switch (if it were at all possible with this particular system).

Mids
The mids are pretty decent. They are not the most natural sounding, but I will immediately state that as a mid-lover or 'mid-o-phile', I am very picky when it comes to my mids. The U2 sound far from artificial or thin, but lack some fullness and definition. Perhaps the U2 have a little too much emphasis on the upper-mids or lower treble, which is particularly noticeable through a lack of vocal density. In choral pieces such as Bach's Magnificat I find that male vocals lack some of the power they need to balance out the female vocals, but female vocals too lack some definition. Agnes Obel just does not sound like I expected based on the intimate setting the U2 produce. I might need to emphasise here that I do not have other IEMs in this price range for a comparison, so perhaps my bar is set to high and I am just a spoiled little brat because of the much more expensive, mid-centric IEMs I am used to.

Other than that the mids are nice and clear and even with classical music, which does not play to the U2's strength, I find that instrument tonality comes through very nicely. Move to proper fun music such as rock and the U2 perform really well.

Treble
The treble is a hint towards bright in order to provide the sparkle that compliments the fullness of the bass really well. It adds a little bite to guitar strings and indeed electric guitars sound pretty good. The sparkle and bite are not overly prominent and I don't think will give many issues to even the more treble sensitive souls among us. (Guilty as charged.) I always like to risk my life for my readers by testing for sibilance with a variety of soprano voices that are high enough to shatter my glasses even when I am using IEMs, and it was quite smooth with the likes of Elin Manahan Thomas.

The treble I feel is just about right to provide balance, a little bit of air and some clarity to the signature and it works really quite well.



Conclusions
Stealth Sonics have come up with a very nice trio of universal IEMs. The U2 have a signature that is engaging and fun, and I am disappointed I did not have the Final E5000 around anymore because it I suspect the U2 would give those a fair bit of competition. The U4 feel to me like great quality stage monitors that offer the complete package, a smooth and fatigue free signature combined with a very light weight and all the advantages of the Klarity Valve to make them as comfortable as it gets for long, very long listening sessions. The U9 offer clarity and detail at a very high level, while maintaining smoothness and accuracy in the reproduction of instruments. Where the U4 feel like stage monitors, the U9 might lean more towards studio monitors, although without foregoing musicality.

Stealth Sonics offer all their IEMs with a healthy selection of accessories and pack their IEMs with unique technology and styling to set them apart from the masses. At their respective price points the U2, U4 and U9 are interesting propositions, especially for those who prioritise practical aspects such as durability, comfort and a fatigue free listening experience. I feel Stealth Sonics have done an excellent job to create such a complete package and look forward to what they will do in the future.

FiiO M11

Disclaimer
I would like to thank FiiO for providing me with the M11 in exchange for my honest opinion. No incentive was given for a favourable review.

M11 Specifications at a glance

• Screen: 5.15", 18:9, 720p
• Dimensions: 130 x 70 x 16mm
• Weight: 223g
• Memory: 25GB internal (of 32GB ROM), dual micro-SD card slots
• Dual band 2.4/5G WiFi
• Bluetooth 4.2 (LDAC/aptX/aptX HD/SBC)
• OS: Custom Android 7.0
• CPU: Samsung Exynos 7872
• DAC: 2 x AK4493EQ
• Amp: 2 x OPA926
• Low-pass filter: 2 x OPA1642
• Decoding: PCM up to 32bit/384kHz, native DSD256
• Battery: 3800 mAh, fully charged in 2.5 hour
• Playback: 13 hours (SE, 'all to DSD' disabled)
• Output 3.5mm: 255mW(16Ω)/195mW(32Ω)/22mW(300Ω)
• Output 2.5/4.4mm: 480mW(16Ω)/550mW(32Ω)/88.5mW(300Ω)
• Output impedance: 1Ω (3.5mm), 2Ω (2.5/4.4mm)
• SNR: 118 dB (3.5mm), 118 dB (2.5/4.4mm)
• Channel separation: 72dB (1kHz/32Ω/3.5mm), 107dB (1kHz/32Ω/2.5-4.4mm)
• Price: US$449.99

Links:
https://www.fiio.com/Home
https://www.facebook.com/FiiOAUDIO

Preamble
As I mentioned in my review of the FH7 and LC-2.5D, FiiO announced 7 new products on one day back in March during its 2019 Spring Launch Event held in Guangzhou, China. One of those new products was the M11, FiiO's first Android-based "smart DAP", and before moving on to the M11 proper it might be useful to consider what FiiO has been doing in terms of the nomenclature that they have been using. I think that, like me, a lot of people have grown used to FiiO's players having the 'X'-name like the very popular X3 and X5 models that came in different iterations over the years. Recently FiiO switched to giving their players a name starting with 'M', such as the M6 and M9. I naturally assumed that because 9 was higher than 7, the M9 was the replacement for the X7-II, but that did not make sense based on the price and the specs. So I looked around and found that FiiO had deliberately switched from X to M because the newer models were not directly comparable to the previous lines. So we say goodbye to the venerable X1, X3, X5 and X7, and welcome the new M-line where the models up to the M9 can be seen as hors d'oeuvres to the launch of the M11 and later this year two or three more high-end models.

The M11 really does show that FiiO is looking in a new direction, as it runs a custom Android 7.0 OS that provides a very different experience from the straightforward Digital Audio Players (DAPs) of the past. That was also the main reason I was really looking forward to reviewing the M11 because I have absolutely no affinity with Android and wanted to see if it could open up new ways for me to enjoy my music and how I use my DAP in general. Sure I have an Android phone, but people who know me also know that my number is confidential information and I try actively to avoid using it whenever I can. My most used apps are Solitaire and the local council's garbage collection app. So my challenge to FiiO was simple... See if the M11 could drag my analogue backside into the digital age.

Unboxing
The unboxing experience is a fairly standard affair that still works very well. You remove the sleeve from the classy black box and as you open it up your new prize possession is revealed: There, seated snugly in black foam, sits the M11. (I removed the plastic and protective foil for the pictures. Nobody likes to see plastic in pictures.) Underneath the M11 was another layer with a box containing the SD card slot poky-thingamajig and a couple of booklets, and another small box with the USB charger cable and a coaxial adapter cable. That was pretty much it. A very simple selection of accessories and I am not sure what else I would expect here.







The M11 does come with a clear TPU protective case and (already pre-installed) a 7H tempered glass screen protector. The case I removed immediately because I did not like it one bit and the M11 is just too pretty to cover with something like that. Still, I imagine that there are plenty of people who will appreciate the added protection to keep their M11 in pristine condition. The screen protector is great and you don't really notice that it is there.

Design and build quality
As I indicated above, I think the M11 looks really pretty. It is a sleek yet angular design that looks nice and clean, and feels great when holding it. The M11 is still a substantial DAP and I think that is a very good choice considering that it is meant to function as an Android-based smart DAP. The 5.15" screen is nice and big, making it easy to use for everything that the M11's custom Android OS can deliver (more on that later). Along the outside, starting on the top, there is a single on/off button with a blue LED ring around it. The button can be pushed a single time for the screen to come on or switch off and if held it will switch the device on or off. On the left side there is a play/pause button, a volume wheel and a back/forward rocker button. The volume wheel feels great and is positioned in such a way that it can't be turned by accident and yet is still easy to use.







On the right side there are two micro SD card slots neatly hidden away. FiiO have included a tool that you can use to pop out the cardholders and theoretically you could add two 2TB cards here to expand the memory by 4TB in total. However, FiiO have acknowledged that there are some issues with high speed, high capacity cards. In particular the Lexar 512GB micro SD card has proven problematic and as a solution FiiO have slowed down the speed of slot 1 (the top one) and recommended for single card users to use slot 2 (the bottom one) as their primary. From what I understand FiiO are considering removing one slot from future batches of the M11.

Finally, on the bottom we find something that is quite notable. Alongside the central USB port there are not two, but three headphone outs. One 3.5mm Single Ended on the right side and on the left can be found the lovely chunky 4.4mm balanced out with a tiny 2.5mm balanced out alongside. My first reaction was to consider it overkill, but it is pretty handy nonetheless considering there is still no industry standard and it does not look like it will happen anytime soon either. Now I was able to use the Dita Fealty with the 4.4mm plug attached and that did feel like a much more solid connector. So credit where it is due, good job FiiO!

Under the Hood
A feature that FiiO has been keen to point out is that the M11 has been built around the Samsung Exynos 7872 CPU. This is a six-core processor that has a separate core for audio and so... I am not even going to pretend I know what it all means, as I am not a phone geek and enjoy this hobby for the music rather than the technical aspects. One thing is for sure, performance-wise this CPU works very well and it gives the M11 a really smooth and fast interface that feels no different from my Sony XA2 phone. Start-up times are quick (a few seconds) and everything runs without any noticeable delays. The scanning of music is a little on the slow side when using the FiiO Music app, but that is due to the app itself, as the Hiby Music app is much faster.



For the DAC FiiO went with dual AK4493EQ DACs, such as also used by Shanling in their M5s and so there is nothing too special there, however, looking at the power output of the M11 is a different story. The specs as FiiO gives them on their website are very decent for the 3.5mm SE out: 255mW, at 16Ω, 195mW at 32Ω and 22mW at 300Ω. But for balanced it is really impressively powerful with 480mW at 16Ω, 550mW at 32Ω (not sure if those numbers might have to be the other way around, but that is how FiiO has it on their website) and 88.5mW at 300Ω. That is a lot of power and FiiO do indeed include 300Ω headphones in their recommended range for the balanced out (max 150Ω for the SE out). I don't have 300Ω full sized headphones, but when I asked around some people responded that they were quite happy to drive their HD800 from the M11 and felt the result was acceptable. That adds a lot of versatility, as it means the M11 should be more than adequate for a wide range of headphones.

When in use, the M11 can get a little warm, especially on high gain and when 'All to DSD' is enabled, but it is nothing to worry about. FiiO have explained this is normal and within acceptable limits for the player. I also never found the player to get hot. (I mention this because I saw some comments where people were a little worried about it. No need. It is all good.)

GUI
The M11 is an Android-based DAP and as such booting up the player can feel a little different from traditional players and a lot more like booting up a phone. You don't go straight into a music player, but instead you get the familiar Android environment. A few apps have been pre-installed of which the FiiO Music app is of course the most important one. This is a fairly basic app that has some neat features such as changing background colours based on the colour of the album art, but it is not fully refined yet, as (for instance) album art loads inconsistently. I have had times where only a few songs from the same album showed the album art and other times where it was only shown for the main album, but not individual songs. Of course because the M11 is Android-based there is always the option of using a different music player app. I installed the Hiby Music app, which is not significantly better, but I found it a little more intuitive to use.




In either case it was less than optimal and did not feel as intuitive as using traditional DAPs like the AK70 or Plenue 2. For all the versatility that Android brings, it feels like the music player apps focus too much on looking flashy and adding non-essential features while neglecting their core task of managing music libraries and playback, which is what you buy a DAP for in the first place. Using an app for playback also means that some settings are integrated in the app, while others are found in the settings menu of the M11 itself. The settings menu has various options that will be familiar from your Android phone (if you have one) such as connection, storage and security, but there is also a specific Audio menu where you can find DAC filter settings and the 'All to DSD' function. I feel this creates the risk of the M11 getting cluttered with too many apps and losing the simplicity of a pure DAP. As such, I can imagine that some people might like the option of booting the M11 up in a pure music player mode. Sure that would defeat the purpose of having a smart-DAP in the first place, but the M11 offers enough performance and value outside of Android that it might still be interesting for some users. I would quite like the option of switching between two modes in order to have a clean and simple interface when I only use it for music and going back to Android mode for enjoying all the benefits that offers. And let's be clear here, it offers an awful lot.



Apps/Streaming
Before looking at apps there is something that needs to be clearly stated here: The M11 does not offer Google Play store support at this point in time. This is something that is very important to be aware of because it means apps need to be side-loaded and not all apps will work optimally. As such the user experience will feel different compared to an Android phone with full Google Play store support. I think that this is easy to underestimate and has led to some users being disappointed with the M11. FiiO have clearly been working on ways to make it easier, such as the FiiO Market, where some of the most popular apps such as Tidal and Spotify can be found, as well as third-party app markets such as APK Pure. This helps to make it easier, but can still feel cumbersome for people less well versed in the Android environment. Remember, I am strictly analogue when it comes to this and so I will admit that for me there was a learning curve, although definitely rewarding once I got the hang of it. Mind you, I have not emerged as the "Grand Wizard of all things Android" either.

Another thing that is good to be aware of is that the M11 comes standard with ES File Explorer installed. This app might not be secure and has recently been removed from the Google Play store as a result of various problems. It might be good to look at an alternative instead.




Although I will say that the Android platform is not yet running seamlessly on the M11, it does offer a lot of extras and I had a great deal of fun trying out different things (yes, Solitaire works too!). One of the Apps I really enjoyed using was SoundCloud. The app gave an error, warning me that it would not work without Google Play store support, but being the rebel that I am I just ignored it and contrary to the dire warning it worked just fine. Here the M11 was definitely able to give me more use out of my DAP because SoundCloud allowed me to explore new music more easily. For instance, I was finally able to listen to one of Stormzy's albums that was freely available on SoundCloud. Having lived in London for a few years, I was curious about it, but I generally don't listen to grime and so I was not immediately going to blind buy the album. This was a great way to give it a try. I strongly support this type of platform with decent free access because it does help to explore new music, after which you can support your favourite artists by buying their album. Sure, SoundCloud still injects ads to "stimulate" (read: pressure) you to go for the paid Go+ subscription, but it beats free Spotify as that was completely useless when I tried it.



Not all apps I tried would work well and for instance the YouTube app immediately closed every time I tried to start it up. Watching YouTube through the Chrome browser would work and going full screen would rotate the picture to fill the M11's screen (the M11 does not have the ability to automatically rotate the picture based on how you hold it), but there were serious issues with synchronisation. The delay was in the order of several seconds, making it unacceptable to watch.

Sound
All the versatility in the world is not going to make a DAP an interesting proposition unless it sounds good and the M11 does sound good. For my sound analysis I used a wide variety of IEMs. These included FiiO's new hybrid flagship FH7, the TP Audio Aurora, Custom Art FIBAE Black, Dita Audio Fealty, 64 Audio Tia Trio and the Empire Ears Phantom. For music I used a very wide variety from my favourite classical music such as Beethoven and Paganini, to Dire Straits, Marvin Gaye, Aurora, Tuba Skinny (great jazz!) and of course Stormzy, among many others. Basically I just used this DAP extensively with everything I have. Unfortunately I do not have current DAPs from a similar price range available for a comparison and my impressions are relative to my usual DAPs, the slightly older Astell & Kern AK70 (mkI) and the Cowon Plenue 2.



In terms of tonality the M11 has a slightly brighter tone, leaning more towards a technical rather than a natural sound. Straight away I noticed that with all my pairings the bass impact was a little less pronounced than I am used to and the treble was a bit more prominent. In terms of overall quality I feel M11 offers good sound for its price point and sits comfortably in the 'value for money' category. It does not quite get the transparency and natural tone I hear with the AK70, in part due to a tuning difference, and the imaging compared to the (much more expensive) P2 does not have the same precision or level of refinement, but considering the price the M11 performs well. The stage also has a good size, although not especially large, and the sound is detailed and articulate.

Despite its powerful amp, the M11 stays pretty clean. I used my Phantom to test for any background noise and was surprised that even from balanced on high gain the noise was well within acceptable limits. It was certainly there, but not that noticeable while the music was playing. Of course high gain for such sensitive IEMs is complete nonsense and on low gain noise levels were very low to inaudible.

For testing the difference between the SE and balanced out I used the Fealty with the very convenient Awesome plug that allowed me to switch between the two without the need for an additional adapter. The balanced out resulted in a larger stage with a slightly more balanced tonality because the treble was a little less bright. Transparency seemed to improve as well and I felt the image become a bit more stable and precise. Overall I considered it a notable improvement and would recommend using the balanced out if possible.

The M11 also offers another feature to improve the sound quality, namely through the 'All to DSD' setting. This is a function whereby the M11 scales up the PCM signal to DSD format during the digital to analogue conversion and as such will work natively on the M11 (thus also affecting third party apps). It seemed to me to make a small difference, but also came at a cost of battery life. Where I have been able to get the reported 13-hour battery life (SE, low gain), with 'All to DSD' activated that reduced significantly. Combined with using the balanced out, I got the impression I was burning through the battery in a matter of 5 hours or so, but did not time it precisely. It is therefore a feature that depends on your personal priorities whether or not it is worth using.

Connections
The M11 offers a whole host of connection options that I personally never use outside of WiFi, but are certainly going to be interesting for different users. One I have often seen people ask for is through the FiiO Link app that allows you to control the M11 from your phone. It is currently only supported for Android phones, but I am sure a lot of people will welcome this feature with open arms.

The M11 also offers DLNA/AirPlay, WiFi file transfer and 2-way Bluetooth. Although I don't use these myself, I have seen people use (for instance) the 2-way Bluetooth to work around the Google Play store restrictions by using their phone to run the apps and the M11 to provide the sound.

The M11 can also function as a USB DAC, which works intuitively (basically plug-and-play) and I had no issues while using it as such while connected to my MacBook Pro.

Conclusions
So did the M11 manage to hypnotise digitise me? Yes, I think it did. It certainly opened up more possibilities that I would more naturally use on my DAP rather than my phone, such as streaming services, podcasts and audiobooks. So, well done FiiO for modernising my antiquated backside.

The FiiO M11 is a highly versatile and good sounding DAP that sits firmly in the 'value for money' category. Its main downside is the lack of Google Play store support, which is not uncommon among Android-based DAPs. Its main strength is that the M11 is a very powerful, yet clean sounding DAP. So even if you don't care for additional apps, the M11 is well worth a serious look as a pure DAP. Stylish looks, a large 720p screen and a responsive and smooth UI make it a pleasure to use. I can highly recommend checking it out if you have the opportunity.