Preface
Cayin (Zhuhai Spark Electronic Equipment Co., Ltd) founded in 1993 is one of a few entrants in the personal audio space with extensive background in two channel audio. After building a steady following with their tube amplifiers, Cayin expanded its reach to personal audio with products ranging from digital audio players (DAPs) to headphone amplifiers and even in ear monitors (IEMs). Even in such crowded spaces, Cayin surprises their users with steady stream of innovations. From modular N6ii DAP (with R2R module) to launching the N8 as the first portable tube flagship class DAP and more recently the C9, a portable balanced tube headphone amplifier. With each new product release, Cayin further refines its approach to sound and showcases their core values of innovation and delivering value to customers.

Introduction
Today, we will be covering the N8ii, the second release in the N8 family. The original N8 shocked the world the first flagship implementation of KORG Nu-Tube in a DAP. The convenience of a tube amplification system enclosed in a DAP was a marvel and many users took to the N8’s unique and pleasurable sound, including myself. During development of N8ii, Cayin collected feedback from N8 users to help guide development of N8ii. Among the feedback collected, the most desired feature improvement was to upgrade the unbalanced KORG Tube circuit to a true balanced tube amplification circuit. Taking their learnings with N6ii and feedback from N8, Cayin set out to develop a N8 successor which can address users’ needs and requirements in rapidly evolving market.

A New Platform (Android+ROHM)
In the DAP world, Android or Non-Android is a matter of philosophies. Some folks prefer the purist experience, where software obsolescence isn’t a possibility. Others prefer built in streaming ability and an access to a wide array of functions that only Android DAPs can support. Cayin has assessed the market and determined Android provides their users great enough value to incorporate it into their flagship DAP. Cayin has adopted the Snapdragon 660 platform with plentiful 6GB of RAM, indicating Cayin expects N8ii to hold the line as a flagship for several years. As someone who’s used nearly every Android flagship DAP, DAPs which adopt Snapdragon 660 provide a nimble, stable experience which works well with nearly every music related app from UAPP to Apple Music and even YouTube. Users should not be concerned about Snapdragon 660’s performances in the context of an audiophile music player. Cayin has shipped N8ii with Android 9, a step back from the competition (Shanling M9, Sony WM1ZM2) which currently support Android 10 and Android 11 respectively. This is not due to a limitation of Snapdragon 660, but rather a limitation placed by Cayin. Cayin’s DTA technology works to bypass Android’s down sampling (SRC bypass) and keep audio in the lossless domain, however DTA is only supported by Android 9 currently. As Google has retired Android 9 in fall of 2021, it would be beneficial if Cayin could provide guidance for future Android 10/11 support. As of N8ii’s initial release, you can expect to use nearly any music app without issue but looking several years into the future, it becomes unclear which apps/features may no longer be supported on Android 9.

The specifications and development story of N8ii have been covered in detail by @Andykong. If you are interested in learning further detail about N8ii such as Nu-Tube design, amplifications and ROHM DAC please see the posts below. I highly recommend giving these posts a read:

Digital Audio Design with ROHM BD34301EKV
Balanced Vacuum Tube Amplification in DAP with 2x Nutube 6P1
Discrete headphone amplifier with DAO (Class A/AB) and DOM (P/P+)

Industrial Design and Ergonomics
If the N8 was a splashy statement to the world showcasing unique design aesthetics, the N8ii is a story of refinement and practicality. N8ii is one of the larger DAPs on the market and blurs the boundary between ‘portable audio player’ and ‘transportable audio player’. N8ii’s hallmark design feature is the side windows where the user can be treated to a view of the glowing dual Nu Tubes. This unique side mounted Nu-Tube design was crucial to allow a dual tube specification to fit in a mobile device such as the N8ii.






Display
The display is 1280*720. While this is a lower resolution display compared to the competition, I view this is as benefit. As N8ii doesn’t need to process high resolution graphics, this saves on CPU utilization/battery life and aids the N8ii to remain performant throughout its life cycle. The display is a vivid OLED and displays album artwork beautifully.

Below the screen is a RGB LED which will display a certain color corresponding to the bit rate of the music being played. Personally, I do not care for such features, and I am happy to find an option to turn off this light entirely. Thank you Cayin for thinking of this small touch

Knobs and Buttons
Cayin learned some lessons from the original N8, particularly the volume potentiometer and media control wheel. These input mechanisms often felt ‘mushy’ and not well-defined during operation. In some instances, these knobs were prone to failure. N8 users including myself had to send in my original N8 for repair due to issues with the input wheels. Furthermore, the original N8 depended on metal spacers that needed to be stickied on to the device for compatibility with official Dignis leather case. Cayin has learned from this design misstep, and with N8ii they have created one of the best volume potentiometers I’ve ever used on a DAP. This wheel clicks nicely and is exacting in actuation. Volume adjustment is assisted by a 4 channel JNC NJW1195A chip more info. Adjusting volume is a joy and feels satisfying with each experience. The side buttons click firmly and do not require excess pressure for actuation. Cayin has executed wonderfully on the learnings from the previous N8 and created buttons and knobs which feel at home for a TOTL device.



Ports
Towards the bottom of N8ii are the headphone and digital interface ports. To accommodate external amplifiers Cayin incorporates high quality LO stages so a user can connect N8ii to their line of tube amplifiers. Sporting both a 3.5mm and 4.4mm LO, the user has flexibility to use N8ii with balanced or unbalanced amplifiers. Please note, even though the 4.4mm port is shared as a PO, Cayin has designed a separate LO circuit for 4.4mm so the user is not at a disadvantage with either LO configuration used. I2S is supported via PS Audio’s specification, so finding compatible cables shouldn’t be challenging.



Sound
General Tonality

• Neutral/transparent sound, a departure from Cayin previous house signature
• Scales IEM technicalities without adding flavor

N8ii is characterized by its neutrality, crystal clear resolution, and its ability to reveal the best technicalities I’ve heard from my IEMs. For the most part, the player will act ‘invisible’ with the gear you pair it with and scale up performances accordingly. Do not expect N8ii to layer any character to an IEM. If you find an IEM bright, the N8ii will render it bright. The treble is a little uncontrolled at times depending on the IEM and can have a ‘jagged’ character. The soundstage is possibly the widest I’ve experienced from a portable DAP and complements wider stage IEMs such as Elysian X well. N8ii provides the underpinnings an ‘audiophile’ sound and deserves the TOTL moniker touted in the marketing campaigns. Given N8ii’s transparent sound profile combined with ‘supercharge’ P + mode, I could see N8ii being used to evaluate gear technicalities for comparative assessments.



SS Timbre

• Cleaner signature profile, veering into clinical
• Treble can be sharp

With SS timbre engaged, the treble has the most sparkle and can have a ‘jagged’ or sharper presentation at times. For those who desire a more clinical sound signature, the SS Timbre will deliver. This signature leans more neutral than the C9 SS mode and may surprise avid Cayin fans. Some IEMs such as Elysian X do not benefit from this mode, as I found this synergy to push into the fatiguing area (Metropolis.EXE). My preferences fall into the ‘warm’ signature, so listening to SS Timbre at first gave me the impression of N8ii adding a zing in the treble. Over time however, I found N8ii is simply presenting the IEM as it is without any ‘character’ or coloration added. This presentation works to the advantage of IEMs such as Aroma Audio Jewel where the slight undertone of warmth in Jewel is preserved and not overemphasized as I found on DMP Z1. Another pairing I particularly enjoyed was XE6. N8ii's strengths of wide soundstage, crisp presentation and neutral characteristic complements XE6's warmer presentation and provided a synergy superior to the one I found on DMP Z1.
When combined with P+ mode, this presents with the most fatiguing presentation on N8ii, however the synergy depends on the IEM and personal preferences. Those who prefer a ‘reference neutral’ Lotoo house sound may end up using SS Timbre exclusively and this is who I think N8ii is designed for. SS Timbre serves as a reminder the old Cayin house sound is left behind, replaced by a more conventional ‘hifi neutral’ presentation we’ve come to expect from Lotoo or FiiO.

Tube Timbre

• Slight variation of N8ii’s signature, smoothens the treble for less fatiguing listen
• Does not provide ‘classic’ warm tube sound

Cayin has chosen to implement Tubes to affect the texture of instruments and rolling the ‘jagged edges’ of the treble, rather than imbue warmth on the music. This may puzzle listeners at first, as we’ve come to expect ‘gooey, warm’ characters of tubes. This is not the case with N8ii. If one desires a neutral signature, but finds the SS Timbre too fatiguing with the IEM, Tube will ‘tame’ the presentation by smoothening the treble slightly to allow for a wider synergy. When using JH Jolene with Tube Timbre, I could tell the tube was delivering new textures with electric guitar while preserving the neutral signature and keeping treble tamed (Pearl Jam, Alive). Using Elysian X (the most accomplished IEM for treble presentation I’ve used), confirms Tube Timbre rolls off the treble harshness to allow for less fatiguing listening. After going through the SS and Tube Timbres on N8ii, I found myself using Tube Timbre almost exclusively across all my IEMs. It seems Cayin has doubled down with the new sound signature on N8ii and chose the tubes to allow a slight variation on this new house sound, rather than offer the consumer a wholly different presentation.



P+ Mode

• Increases engagement factor of IEM (forward sound presentation)
• Can ‘double’ your IEM collection depending on preferences

As described by Cayin, the P+ mode boosts the voltage and increases the power output of the headphone amplifier. This will provide more headroom for the transducer you use; however I’ve found the synergistic matchup is IEM dependent. In general terms, P+ mode will bring the music (mids in particular) forward and the song will take up more of the stage (Welcome to the World of the Plastic Beach, Gorillaz). This results in a more engaging presentation which can work against some IEMs which are highly energetic to begin with. For instance, Elysian X with P+ mode pushes the lower mids forward and gives a presentation akin to the Empire Ears Odin. Such a presentation isn’t to my liking as I find the bass too anemic relative to the forward mid emphasis. Some listeners may enjoy this presentation; however, I would need to take a few tabs of MDMA to fully enjoy this ‘super tweak’ version of Elysian X (particularly for Metropolis.EXE). In contrast, a delicate and relaxing sounding IEM such as Jewel benefits from P+ mode (Beneath the Mask, Persona 5). The sound is pushed up forward, resulting in a more engaging sound. P+ mode on Jewel benefits with piano solos, the added energy in the mids and smoother treble (Tube mode Class AB) and allows for a concert like experience (Chopin, Leif Ove Andsnes). P+ mode has doubled the utility of Jewel for me and it’s hard to go back to a player without P+.
In summary, P+ mode acts as a Dr. Jekyll/Mr. Hyde for your IEMs, which variant you prefer (P vs P+) is up to your preferences. Cayin has executed brilliantly on providing delivering the user added value to existing gear. By offering an engaging and more forward presentation, P+ mode practically doubles your IEM collection with the added sound variant offered. Hats off Cayin!



Class A/AB

• The differences in sound are challenging to detect
• Hard to find a reason to pick one over the other

For those interested in the details of Cayin’s Dual Amplification Operation please read @AndyKong’s informative post here. To summarize, Cayin has implemented Class A and Class AB operation modes in a digital media player. Class A operations are inefficient however offer a sweeter, smoother sound which can be beneficial for simpler music such as instrument solos and vocals. Class AB offers faster dynamics across a large frequency band and tends to work better with highly dynamic music such as electronic, metal and others. In the two channel hifi world, Class A is generally favored over Class AB due to the belief Class A offers more natural and pure sound. The disadvantage to this is large inefficiencies with heat and energy consumption. In theory, a class A amp can achieve 50% efficiency with inductive output coupling or 25% with capacitive coupling. In real world, we see efficiency figures much lower than this and this is not accounting for the large amount of heat Class A amplifiers produces and we are noticing more manufactures beginning to adopt a Class AB amplification design with Class A bias. In my experience with Class A and Class AB amplifiers in two channel audio, I prefer Class A or Class A biased gear as they impart a sweeter natural tonality which complements instrumental solos and vocals. In general, Class A amplifiers lend to a specific sound signature (especially in the transients) and over time such characteristics can be identified reliably.
After many hours (over several days) of careful listening and switching between nearly all my IEMs, only the Campfire Equinox allowed me to elucidate the slight difference between Class A mode and Class AB mode on N8ii. The music was tighter in presentation (smaller stage) and sweeter, this was advantageous with simpler passages with less dynamics (24 Caprices for Violin, Julia Fischer). Class AB had a wider stage and handled dynamics better, particularly the bass presentation with EDM. Even in the case of Equinox, this was still a very subtle change and required critical listening to detect. With all other IEMs in my collection, across many genres of music the audible differences between Class A and Class AB seemed to be beyond my hearing ability. After this experience, I began questioning the value proposition of providing users a choice between Class A and Class AB and whether Cayin could have focused on delivering a different feature which delivers users more noticeable results.
Flicking back a few pages back in my journal, I found some listening notes when I evaluated C9. The differences between Class A and Class AB seemed to be more noticeable and did give me reason to switch to between modes depending on the music. With violin solos for instance, Unique Melody Mason Fabled Sound, Solid State, Class A mode provided a sweetness to the violin and a more natural transient than the corresponding Class AB mode (24 Caprices for Violin, Julia Fischer). Listening to the same music on N8ii, I was not able to appreciate these nuances between the Class A and Class AB. Granted, N8ii is a full feature Android DAP and there are some design constraints compared to a dedicated amp such as C9. Hopefully C9 owners will be able to provide their feedback on the differences between the Class modes of N8ii and C9. I am unable to provide a direct comparison, so take my opinion on this matter with a grain (or fistful) of salt. My experience of Class A vs Class AB on N8ii lead me to deliberate on the concept of ‘burden of choice’. If implementing different classes of amplifications are not reliably producing differentiated results, then why implement this technology the first place and burden the user with additional choices that may leave the customer with more questions than answers?



Hiss Tests
I would warn Campfire Audio users that hiss is still audible even on Low Gain (P mode, 3.5mm). With other IEMs in my repertoire (4.4mm balanced), hiss was not noticeable between all the gain settings (on P mode and P+ mode).

Usability

• More transportable than portable
• N8ii slips out of bundled leather case when plugging in IEMs
• Need 30W+ charger for simultaneous charge+play

Given the sheer number of components enclosed in the small space, expect this device to get quite warm during operation. Unlike DAPs from Sony or Lotoo, do not expect to use this device in a pocket or an enclosed compartment (such as fanny pack) for an extended period. This DAP requires ventilation and is best at home on a desk. As mentioned earlier, the size and weight of N8ii skirts the line of transportable and portable, but in practicality I view it as a transportable DAP. There have been reports of N8ii not being able to charge during high power operation, however this is due to using a charger less powerful than 30W and a thermal limitation (leads to protection circuit activating). If you use a more powerful charger (30W+), the N8ii will be able to draw enough power during playback. Through user feedback, it seems the thermal limitation is due to using the N8ii with the provided leather case. Without a case, N8ii can dissipate heat more effectively to enable a charging+play usage without the protection circuit activating.
An ergonomic snag I’ve discovered about the case is how it tends to slip out when you plug a connector into it. Be advised to have a finger or two braced at the top when plugging IEMs and such into N8ii. Another note, the sides of the leather case slightly bulge outward. This is likely due to the design of the player and how the case is formed. When using media control keys, you will feel a slight air gap before the buttons are clicked. After a few days of operation, I did acclimate to this, however I would like to see new cases have a snugger fit around the sides to allow more direct interaction with the media buttons.
Generally, the Android software is implemented well. Apps are quick to respond with no noticeable lag. There are some bugs however. At the time of publication, there is a ‘swipe to unlock’ bug which kicks me into the app drawer selection mode every time I unlock my N8ii. This is quite annoying, and I hope Cayin addresses this with a software update. Double tap to wake screen feature is slow to activate and hopefully can be optimized in an update as well.

Conclusion
The N8ii is a bold departure from Cayins previous DAP house sound. Supporting full Android, different timbres, different Class amplification modes and competent LO’s, it seems Cayin threw the kitchen sink at this project. Undeterred by AKM chip shortage, they turned to ROHM and created a new reference class sound However in doing so, they lost the romantic sound of the N8. This is not a pro or a con, merely a preference in sound. Some prefer a neutral sound signature, while others (including myself) prefer a warmer/richer sound profile.
I appreciate what Cayin has done with N8ii. Heat issues aside, the P+ mode injects new energy into IEMs, allowing you to extract more value and joy out of existing gear. As this hobby is becoming more expensive, getting new joy out of existing gear by simply flicking a (virtual) switch is quite valuable.

To those considering N8ii, I suggest to view N8ii not as an iteration of N8 but as a completely new DAP. I feel N8ii should have been released as N9, as the difference in sound signatures between N8 and N8ii is significant. I appreciate N8ii’s technical ability, reference level sound quality and P+ mode. While practicality of portability and differences between Class A/AB leave some room for improvement, N8ii lives up to the promise of being a TOTL Android DAP with reference level technicalities. While the sound signature isn’t for me, I can recommend it for those looking for a neutral-sound TOTL Android DAP. Taking price into consideration however, if you don’t need an all-in-one solution like a DAP and prefer a neutral-high resolution presentation N8ii goes for, then I would dare to say a Hugo2+2Go could serve your needs better.


Music used during evaluation:

Preface and Disclosure
I would like to thank @bluestorm1992 who very generously loaned me his personal LP6 Platinum and made this review possible. I would also like to extend my appreciation to @ActuallySparky who was patient enough to guide me in the scary world of photo editing software. This review is framed around my personal preferences, these are subject to change over time. If you have any questions about this review or my preferences, please drop a comment below or send a PM. Disclosure, I have been on an ‘advanced interest’ list for the LP7 Ti pre-orders (via Musicteck) since April 2021. After experiencing LP6 Platinum, I put plans to acquire a DCS Bartok on hold (which I have demo’d). This is probably an indicator for what’s to come…

Review Equipment:
Headphones: MDR Z1R, HarmonicDyne Zeus, Verite Closed (Stabilized Edition), Hifiman HE560
IEMs: Moondrop Illumination, Unique Melody Mason Fabled Sound, BLON B03
Comparison Systems: Cayin A02+Cayin C9, Shanling M8, Sony DMP Z1

Setting the Stage
Throughout the years, we’ve noticed the rise of audiophile class digital audio players (DAPs). While Sony may have pioneered audio players, with the first release of the Walkman in 1979, most audiophile DAP offerings we find on the market today are supplied by Chinese firms, mostly powered by Google’s Android. While there are exceptions, particularly at the higher end segment such as Sony or Astell & Kern, most of us likely own a DAP from brands such as iBasso, FiiO, Shanling or Hiby. I am grateful such companies have pushed relentlessly forward, outcompeting each other, seemingly with a new product reveal every few months. The result of this competitive landscape has left the end user with excellent options at nearly every price segment. Over the past few years there has been an expansion of products in the summit tier space. Personal audio companies such as Astell&Kern have kickstarted the summit-tier DAP market several years ago with the AK240. Fast forward to now, with the release of Sony’s DMP Z1, personal audio companies are beginning to address the emerging need of space efficient cost-no-object personal audio systems. Some have raised the question why such products are needed in the market. For those unfamiliar, property prices in cities such as Jakarta, Hong Kong and Seoul are quite high. So much so, that modest speaker systems or even large tube amplifier headphone systems are essentially unfeasible even to those with high earning power due to living space constraints. It is no coincidence population dense areas such as China and Singapore represent the main growth centers of the personal audio industry. To that end, competition in the burgeoning summit-tier DAP space has taken shape in Shanling’s M30 platform, FiiO’s M17, iBasso’s DX300 MAX and Luxury & Precision’s LP6.

Within this lens, perhaps it becomes easier to understand why products such as DMP Z1 or LP6 have a place in the audio world, particularly in Asia. Such summit-fi DAPs are made for those who can afford speakers systems that may cost double or triple that of a flagship DAP but ‘settle’ with gear such as Unique Melody Mason Fabled Sound + LP6 due to its convenience and portability. Other headfier’s may prefer DAPs as it serves an appeasement to the wife, a subtle alternative to flashy speakers in the living room serving as a constant reminder to our SO and/or progeny of how far down the rabbit hole we have gone. Or just maybe it’s easier to ‘sneak’ a DAP in a drawer and lead a double life as a headfi hobbyist. Regardless of the use case, there is a growing demand for this segment, and one should expect this market to expand over time.

Luxury and Precision





L&P has its beginnings in 2014, when it was cofounded by Peng Wan (aka Mr. Wan) a former GPU Product Manager of AMD China. Prior to cofounding L&P, Mr. Wan served as a Lead for Colorfly’s audio/hifi department and had a hand in developing the Colorfly C4. One can observe Mr. Wan’s aesthetic influence already in the Colorfly C4 and would serve as a design blueprint for future DAPs under his direction. While L&P is known for its R2R range of DAPs, it has an extensive product range listed on the website (L5, L5 Pro L6 etc), most of which employ AKM DAC chips. However, at the very pinnacle of the L&P product family stands the LP6 line (at the time of writing this review). The LP6 family of products represents the best of L&P, a result of no expense spared engineering and craftsmanship to achieve the very best high-end audio experience Mr. Wan can envision. The LP6 family consists of a few variants of LP6 devices. This includes the ‘base’ model LP6 Gold, the limited edition LP6 Platinum (which I am covering today) and the LP6 Titanium. LP6 Gold is the standard LP6 model, whereas the LP6 Platinum is a Japan only release with 40 units made. The LP6 Gold and LP6 Platinum share the same electronics and differ only in aesthetics. The LP6 Titanium (also a limited edition) however doubles the amount of R2R chips from two to four and has a more powerful headphone amplification stage which was explicitly optimized around the Sennheiser HD800. The LP6 Titanium is designed to replace desktop gear for those who either do not want or cannot accommodate larger amplifier units. Whether LP6 Titanium delivers on this premise is something I’ve yet to verify. Only 199 units of LP6 Titanium were ever made and retail price was $5980 USD. For LP6 flagship series of DAPs, Mr Wan has chosen to implement R2R. To appreciate this choice, I will briefly cover this technology.

Climbing the ladder
To enjoy digital music, DAC systems are necessary to convert the source file from the digital domain (music file) to the analogue domain (sound waves for our ears). On the DAC market today, you will find two types of DAC technologies, delta sigma (DS) or resistor ladder (R2R). DS DACs today contain chips from either ESS Sabre or AKM AK series chips. These chips are ‘off the shelf’ and are readily available to manufacturers due to the modern miracle of large-scale chip manufacturing. Since these DS DAC chips are premade, manufactures such as SMSL or Topping simply design a circuit around whichever DAC chip they choose and manufacture these boards at a larger scale. This allows for DAC manufactures to provide high performant DAC systems at nearly every price segment imaginable. However, there are some compromises with using DS architectures. Even if well measuring, DS systems share a common ‘flaw’ due to digital filtering processes native to the DS signal path, such as oversampling, demodulation and noise shaping. There is a great article which goes into more detail about how these processes can alter sound (https://sw1xad.co.uk/delta-sigma-vs-nos-r2r-dac-designs/). In short, the real-world effects of digital signal manipulation can negatively impact musicality by introducing oversampling artefacts such as ‘ringing’. Such digital processes are integral to a signal being processed in a DS DAC; a user is forced to listen to music with these extra steps in the signal path which can detract from the listening experience. In the DAP world, much like smart phones, economies of scale are crucial to be able to cater to lower price points. Therefore, nearly all DAPs on the market employ DS chips. This is not to say nearly all DS DAPs are of poor audio quality, in-fact one of my favorite DAPs of all time is the Shanling M8. However, from a technical point of view, there is room for improvement with an opportunity to eliminate the excessive digital filtering processes found in DS devices. To achieve the ‘purest’ audio playback (sans digital filtering), one needs to look to a non-oversampling (NOS) architecture.

This is where R2R steps in.







R2R (R/2R) refers to a resistor ladder configuration of two values, R and 2R. A ladder of resistors consisting of R and 2R is constructed, either as discrete surface mounted resistors or within a silicon wafer chip. It works by the principle of superposition, where switching on binary (digital) inputs adds more voltage (analogue) at the output. A key feature of R2R is the audio signal going through a R2R pathway isn’t subject to the mandatory digital filtering processes used by DS DACs. In this way, R2R in NOS mode can be considered ‘better’ than DS DAC architecture. While modern favorite R2R DACs employ discrete surface mounted resistors such as Kitsune’s Holo May or Denafrip’s Terminator, there are some of us who are familiar with classic R2R wafer chips such as Philips TDA1543 or Texas Instruments PCM1704K series found in older hi-fi gear such as Magnavox or Krell KAV CD Players respectively. L&P offers both types of R2R implementations. The P6Pro is L&P’s implementation of the surface mounted discrete ladder DAC, while the LP6 series employs a silicon wafer R2R architecture.

Industrial Design
The LP6 Platinum is defined by hard edges, liberal use of wood and exposed screws. Picking LP6 up, this device is as dense as it looks, seemingly packed to the gills with advanced hardware. It seems no expense was spared in this design, as expected for a product which occupies the flagship slot in L&P’s lineup. In the hand, the LP6 feels similar to the Hiby R8, one of the heaviest DAPs I have used recently. The LP6 is not a device you would want to run around with. One will appreciate the LP6’s tight tolerances as there are no panel gaps between the wood and metal to be seen. Upon closer examination however, this narrative of careful design intent begins to unravel, revealing some user interface oversights.
If we look at the side buttons (right side of the device), we can see chunky sized media control buttons. These actuate with shallow satisfying clicks due to the high-quality ALPS switches. However, these media buttons are labeled quite poorly. Even when photographed in optimal studio lighting conditions, it’s quite difficult to make out the engravings on these side buttons. A user will likely need to memorize these functions as these buttons aren’t concave or convex to allow a user to ‘feel’ these functions.







Moving to the top of the device, we notice an array of headphone ports consisting of ¼ inch jack (PO), 4.4mm jack (PO) and a 3.5mm jack (LO). It’s quite unusual to see a full size ¼ inch jack on a portable player, the last time I saw this was on the Colorfly C4, another of Mr. Wan’s designs. The 3.5mm jack does serve as true LO, an interesting choice for a modern flagship DAP. I suspect the next generation will move the LO function to the 4.4mm. For those who prefer to use 4.4mm as the LO, one can use the 4.4mm PO as a pseudo LO for devices like the Cayin C9. Mr. Wan states the LP6 generates such a low distortion at maximum volume on 4.4mm, double amping in this fashion can be used without noticeable distortion. Having used this combination across many of my gears, I can testify there was no noticeable distortion in any music I tested. Adjacent to the trio of sockets, you’ll find a volume control. This volume wheel turns as smooth as butter as L&P implemented a high-quality ALPS volume pot. Furthermore, this volume control is unique as it’s entirely analog. However, there are some quirks with this, notably it is impossible to determine your volume level via the software as the volume control mechanism functions entirely in the analog domain. This may not have been an issue if it were not for the lack of adequate labeling on the volume controls. First, there is no visual aid to tell the user in which direction volume is increased or decreased. Second, there is no indication on the wheel itself to communicate to the user how loud one is listening. If you perform frequent volume adjustments, this can become a tricky exercise. This becomes even more pressing as LP6 uses one of the most aggressive amplification systems I’ve encountered in a DAP, any erroneous turn of the wheel may cause intense discomfort or worse. I have accidentally blasted my ears on more than one occasion.





My comments so far can be applied to LP6 Gold and LP6 Titanium. However, there are a few aesthetic differences with the LP6 Platinum that sets it apart from other members in the LP6 family. First, the LP6 Platinum is coated in Platinum instead of Gold. This lends itself as a more subtle looking DAP rather than the Rolex-inspired Uber Yellow 24k Gold which a few of my Persian friends would be proud to own Moving to the rear of the device is where one can appreciate the main distinctive feature of the Platinum model, the Echizen lacquerware treated wood. Echizen lacquerware is a traditional Japanese craft and has its origins in approximately 1500 AD from Sabae City (Kawada area). This technique is adored for the luster and rich color schemes it produces. As with much of Japanese artisanship, one must be trained for many years to specialize in one step after which the artisan will receive a title corresponding to what technique they trained in. Such titles include kiji-shi (woodworking specialist), nuri-shi (lacquer application specialist), and chinkin-shi (inlaid gold decoration specialist). One can imagine the kiji-shi who spent time meticulously coating the wood to create a rich and highly polished appearance one can observe on the LP6 Platinum. It’s a shame only 40 of these were made, and only for sale within Japan. From what I’m told there is very strong demand for the LP6 Platinum in the Chinese secondhand market, so perhaps L&P would consider a wider release for future special editions.

In summary, we have observed a few points. L&P has crafted a device which clearly communicates a no expense spared approach to DAP design. From case materials and artisan craftsmanship to physical components such as ALPS switches and the volume pot, one can appreciate the ToTL vision L&P’s design team has. However, there are some design oversights which detract from the user experience such as lack of adequate button labeling and confusing volume controls. Such shortcomings are not something I would find in a DAP in the $1000 range let alone one that commands approximately $4000.


Internal Hardware and Electronics
Product model: LP6 (gold version)
Display: 3.5 inches, IPS screen, OGS structure
Resolution: 480*320
Body material: brass gold plated
Master: 1812C
DAC: 2 ultra-high linear industrial grade R2R DACs
Crystal: Ultra low phase noise -160dB active crystal
Operational Amplifier: EXCELS V-O
Amp : EXCELS EP-A
Auxiliary processor: Intel large-scale FPGA
Power Management Wafer: AXP216


As covered earlier, this DAP utilizes two R2R silicon wafer DAC chips to achieve a natural sound. There is little information on the R2R chips used in this player, upon asking Mr. Wan directly he answered, “it is secret ”. I pressed further and he mentioned “We have the ability to design our own chip. However, the amount is too small, the investment is high, and given the chip shortage situation it is economically inappropriate to manufacture and design fully custom chips”. LP6’s marketing material indicates R2R chips are off the shelf R2R chips which are then customized by L&P to their specifications (via laser and PVD), instead of fully custom chips.
However, the R2R wafer chip is just one part of the LP6 system architecture. Most curiously, the package of LP6 comes with an Intel sticker. When was the last time your DAP came with the same CPU sticker as your gaming PC? It turns out L&P worked with Intel to design a FPGA specific for the LP6 family to serve several key functions:

1. R2R DAC performance multiplier
2. Digital Filter
3. Advanced custom EQ
4. Lossless DSD PCM conversion
5. Low jitter SPDIF OUT
6. Large bandwidth bridge chip
7. Precision clock source

The custom nature of the LP6 exclusive Intel FPGA highlight L&P’s design intent with the LP6 line. Every decision and specification are in service to attain the best audio experience possible. For example, the FPGA is designed to operate within a specified power range, so the CPU does not interfere with other electronic systems. Furthermore, L&P have separated the power supplies to both the digital block and analog block to improve noise isolation. The power supply system for each block have been further discretized to each of their subsystems. For instance, the analog circuit power supply is separated into three separate servo power supply subsystems, designed to mimic a desktop DAC decoder, desktop preamplifiers and power amplifiers respectively. This extensive approach to power supply design highlights thoughtful circuit design to deliver the best audio quality possible. For instance, L&P have installed the analog power supply on the reverse side of the circuit board to improve noise isolation.
Moving to the built-in memory, we can observe more evidence L&P’s approach to no expense spared design. Built in memory is expected, however the onboard 64GB is quite low considering competing devices such as Astell&Kern’s S2000 is offering 256GB. What caught my eye was the type of memory used, error correcting code memory (ECC). This memory spec is generally found in workstations, mission critical servers and other professional equipment. As I’ve never seen the inclusion of such a high-grade component in a DAP before, I asked Mr. Wan about this and included his direct response below.

Question: Why use ECC memory in LP6 and only provide smaller capacity such as 64GB, whereas A&K S2000 include 256GB built in?
Answer: Generally, NAND flash has ECC mechanism. The newer process flash requires the higher the number of ECC bits, otherwise it may not be able to be read. Contrary to most people’s intuition, the smaller number of ECC bits translates to better stability and quality of the flash memory. For instance, 24-bit ECC flash is better than 40-bit ECC flash. You mentioned A&K, well this is generally implemented as EMMC. This can be understood as flash with an additional card reader chip, instead of using the ECC mechanism of the machine's main control SOC. This additional card reader chip compatibility and larger capacity flash support will be better, but it will increase more power consumption and electromagnetic interference. The general design philosophy of our products is to maximize sound quality for our customer. The pursuit of this necessitates us to minimize the interference and power consumption caused by additional chips, so we prefer to support small memory capacity to ensure best sound quality possible.

Such well thought out design excites me and reflects thoughtful engineering one would find in this price class. When looking at the power supply diagrams, Intel derived custom FPGA and high-quality components such as ELNA SILMIC II Caps, one can see where the R&D has been spent.
Moving to the amplification stage, LP6 utilizes EXCELS-VO op amps with the EXCELS EP-A amplifier to provide the most aggressive power delivery I’ve ever experienced from a DAP. This introduces the first drawback to the ‘over the top’ approach to electronics. For instance, when I use Moondrop’s Illumination via 4.4mm (Low Gain) I only need 4-5 millimeters of volume movement to get to my listening level. I’ve noticed some IEMs require an inch of volume pot turn, others require just 10 millimeters. In the Illumination’s case, it can be tricky to achieve a comfortable listening volume without encountering channel imbalance due to how little the volume pot needs to be adjusted. My MDR Z1R headphones require slightly over an inch of volume wheel turn to reach loud listening levels. While the LP6 is a powerhouse, I have found the power delivery curve too aggressive, especially for iems that use 4.4mm connection. Using the unbalanced port does help things, however my cables are hardwired to 4.4mm, and I would prefer not to use adapters (as this introduces a conversion step in the signal chain). One should note, the Titanium LP6 introduces an extra gain level, akin to Turbo mode found on the Shanling M8 or Hiby R8. This extra gain level allows LP6 Titanium to drive headphones such as HD800 with ease, which the LP6 Titanium was designed for. As a temporary measure, I use Cayin C9 with LP6 to create a usable volume range with more efficient gear. This arrangement works quite well due to LP6’s low distortion at high volumes, the THD is less than .0005% at full power. I did not detect any audible distortion when running LP6 via 4.4mm to C9 during my many hours of listening.

In summary, the electronics and system architecture of LP6 demonstrate L&P are not leaving any stone unturned with their implementation of discrete power systems, customized ultra linear R2R chips, Intel derived FPGA, and an amplification system that allows maximum volume PO with minimal distortion. It is impressive to see what lengths Mr. Wan have gone to create a truly flagship device, its quirks not withstanding. This LP6 is clearly a passion project, drawing on L&P’s years of expertise to create the most sophisticated portable audio platform I’ve encountered (save for perhaps DMP Z1).

GUI And Operating System


L&P eschews Android for their own OS. Some may prefer Android, but for a device as specialized as this, I prefer a non-Android option. Without the ‘bloat’ of Android, the CPU can be tuned directly for the OS to allow for a software experience which will not degrade over time. Those of us who use Android DAPs grow nervous with each successive Android OS release, waiting for the inevitable moment when the apps are rendered obsolete or slows down to becoming unusable. Such problems do not exist with LP6, as these products can be used for as long as the hardware remains viable. Instead of needing to upgrade constantly, users can hold on to devices for longer. This contributes to less e-waste which helps the environment and our wallets. I sincerely hope more manufactures consider the environmental impact of their products and factor product longevity into the device lifecycle.

Boot time takes only a few seconds and takes us to the main screen. At first, one may be dismayed to see the screen is bordered within the glass portion. However, this is a clever UI feature. Ordinarily, swiping from the top edge of a screen can be tricky especially if the screen reaches the borders of the device with a case framing the edges. For example, if a leather case is used with Hiby R8 or Shanling M8, swiping the Android drawer from the top becomes a delicate dance of the fingers with inconsistent results. With L&P’s bordered screen implementation, achieving full swipe down gestures occurs with better consistency than on my iPhone or Android DAP. I appreciate LP6’s bordered screen implementation, this is subtle and very useful.
The main menu offers standard options to access your music and clicking in and out of menus are quick and responsive. However, this is where I ran into a snag with L&P’s OS. Out of the box, the file system does not sort music correctly, even if tracks are numbered. For instance, if your music has numbered prefixes (1 – xxx, 2-xxx etc), the OS will not sort it according to numerical order. To ensure music is sorted in the correct order, one will need to download and run a script (Mac or PC) which tags every song on the SD card so the player can sort the files correctly. All music must be numerically labelled for the script to work, others music cannot be sorted. For a player not to have such a basic feature in the box is a significant oversight and running the script will need to be repeated whenever new music is added to the SD card. In addition, 1TB cards are not officially supported but have been reported to work by users.
At the home menu, one can access the pull-down menu which contains useful shortcuts to key features of the player. Due to the CPU being partitioned, with most of the CPU reserved for audio playback and EQ, OS GUI animations such as bootup logo and swipe down control panel will stutter in a slideshow like fashion. The control panel offers most functions are user would want to quickly access including NOS toggle, USB DAC toggle and Gain function among others. When accessing the file system and playing music, the OS is responsive. During music playback, swiping right on the album art reveals detailed song information. The advanced settings menu (from main menu) allows system level customizations such as sleep timer and media key map flipping. I do wish the panels on the main menu were customizable with function and placement, however like the players physical design, the software is utilitarian and just about gets the job done.

Disclaimer, LP owners have had issues pertaining to metadata, track sorting, with features such as track search or even gapless playback not yet available. The current state of the OS is the latest in a string of releases taking the LP6 from extremely limited functionality at launch to almost having basic functions we take for granted. Adding to this, CPU bottleneck becomes more apparent on lower tier devices such as P6 Pro, which many owners prefer to use in USB DAC mode due to poor software performance.

In conclusion, it seems clear from that L&P still has work to do with their OS. While the player can play music with some added steps, the end user software experience does not match the level of quality and attention L&P has given their hardware. While LP6 family of devices offer the ‘best’ L&P software experience due to the Intel FPGA, there are still some kinks that need to be worked out. I’ve observed several owners of P6 Pro and LP6 use them in USB DAC mode to bypass outstanding software issues. At this class of device, end users shouldn’t be subject to performing additional work (running scripts for instance) to accommodate poor software. There is some good news on the horizon. I inquired with Mr Wan about L&P’s priority with software and OS performance. Mr. Wan has noted software is the first aspect they approached to revise with the next generation of players, which are due early next year. The OS and CPU will be redesigned from the ground up to deliver a premium software experience befitting of a flagship.

As I was examining the design, electronics and software up to this point and taking tally of the number of the pros and cons of the LP6 there was a nagging thought in the back of my mind. What exactly does this DAP do that makes owners keep coming back to it, and even use it in dongle mode most of the time? In eager anticipation, I took out my gear and began my sonic adventure with LP6.

Sound Impressions
Demo Music

• Fall on Me by Andrea Bocelli
• Paganini 24 Caprices: Sueye Park
• We Are One by Yao Si Ting
• Sonorite by Tatsuro Yamashita Sonorite, Track 4 (忘れないで)
• Sugar by System of a Down
• Mozart Piano Concertos by Murray Perahia
• Essential Yo-Yo Ma by Yo-Yo Ma

General Signature

Thunderous.

The first thing to notice is the full, meaty and sheer power of the sound. This characteristic may be due to the amplification stage LP6 is using. At first listen, this thunderous and musical sound signature dominates everything. The sheer energy LP6 offers is somewhat similar to HiBy R8 in Turbo mode. However, R8’s Turbo mode increases treble energy and makes the music sound a tad ‘brighter’. This results in a presentation (relative to non-turbo mode) that swings closer to brighter side of ‘analytical’. The LP6 however manages to take the bass, midrange and treble, turn them each up to 11 and retain absolute control, a masterclass in density. This is a lively rendition and will give the listener a highly energetic and musical presentation. The sub bass in particular will impress, some may say it’s too sub bass emphasized, however LP6 balances this energy to other frequency bands to create a smooth yet highly engaging listening experience that makes other gear feel lacking. When evaluating the mids, I turn to a favorite song of mine, Fall on Me by Andrea Bocelli, a father-son duet. This song demonstrates how LP6 keeps the mids smooth and rich while presenting a level of energy that sounds natural and lifelike. Treble doesn’t stand out unpleasantly, details are effortlessly presented but without the edge of sharpness I get from this song with other gear at higher listening volumes. With string decay on Paganini Caprices, there is a sense of airiness but still retains overall highly energetic signature while LP6 works to extract every last detail from the music. LP6 is in service of natural sound decay, not just raw resolution. The key takeaway from LP6 is how dense yet natural and well balanced the sound is without fatiguing treble.

Pair Ups and Comparisons



Unique Melody Mason Fabled Sound
The Fabled Sound uses a Bone Conduction driver, which is dependent on the source gear. On 4.4mm, I can say Mason FS is the best match I’ve heard with LP6. LP6’s richness and musicality add just the right touch the Mason’s neutral tuning and complements it perfectly. What stood out immediately was the power to the sub bass and more engaging mids. While the treble on FS is still natural and restrained yet highly resolving with R2R air. The bass slams the out of the LP6, with added sub-bass even when comparing to Cayin C9. The midrange is where the FS varies in presentation according to the source gear, and LP6 injects enough energy into the midrange that squeezes every last drop out of the BC driver. The BC driver seems to be participating more in the music, this can be appreciated when listening to violin solos such as Paganini Caprices by Sueye Park.
Mason FS and LP6 is the most popular pairing amongst audiophiles in China with many purchasing LP6 specifically for Mason FS. This may seem excessive at the outset (it probably is haha), but after hearing this pairing I do understand why folks are doing this. It seems these two gears have a synergy that can only be compared to the MDR Z1R + DMP Z1.

Moon Drop Illumination
This is an efficient IEM and unfortunately is subject to one of LP6’s weaknesses. The volume pot only needs to be turned a few millimeters to achieve enjoyable listening levels, any further actuation may cause hearing damage to some. If the volume pot isn’t actuated enough however, there will be channel imbalance, so achieving the right positioning can be tricky. When dialed in, I cannot sense any tangible benefit of using LP6 with Illumination versus more affordable DAPs such as Shanling M8. While the Illumination is dead silent with zero hiss, the technicalities LP6 offers does not seems to translate effectively as the Mason FS. Given the issues of volume control and lack of synergy this is a combo that I cannot recommend.

MDR Z1R
This is an excellent pairing (requiring only 1/4 of volume pot turn), only beat out by the DMP Z1. The LP6 builds upon the Z1R’s characteristic bass boost, giving it excellent sub bass rumble while imparting the high energy on the signature. The result is a headphone listen that is even more fun than before, Track 4 on Sonorite by Tatsuro Yamashita showcases the LP6 giving the Z1R an edge in aggression with high density midrange and more rumble in the bass. DMP Z1 does almost the opposite, focusing on refinement instead of turning all the sonic characteristics to 11. LP6 is a showcase in in brute force and turns Z1R into a headphone I can headbang to rather than melt in my chair. These differences are quite subtle but are enough to push a song like Sugar by System of a Down, over the edge. The attributes LP6 brings to Z1R may be a negative for some, but if you wanted to know what ‘sixth gear’ of Z1R is, LP6 will squeeze every drop out of it. DMP Z1 on the other hand, gently guides Z1R into a sonic profile preferred by the engineers at Sony. This is a difference of philosophy, and I happen to prefer the DMP Z1 with the MDR Z1R. However, there is a strong case to be made for LP6 pairing as well.

Cayin A02+C9
Switching to other source reference gear such Cayin A02+C9 illustrate LP6’s unique sonic characteristics. Cayin A02 is neutral but doesn’t come off sounding linear either. This combination is a careful balance of Cayin house sound and neutrality. Music has a very slight emphasis in the bass with forward midrange and non-fatiguing treble. Compared to LP6 however, music sounds almost one-dimensional due to the lack of musicality and emphasis on detail retrieval. The A02+C9 is similar to the DMP Z1 in technicalities but without the smooth Sony house sound or the refined effortless airy treble. These are flavor differences, however when compared to players like LP6 or DMP Z1, A02+C9 seems robbed of engagement, instead offering a straightforward, no nonsense presentation. After listening to LP6 for a few hours A02+C9 in comparison sounds laid back, flatter with a ‘digital etch’ present throughout the music.

DMP Z1
Comparing to LP6 to the arguably the best DAP on the market, Sony’s DMP Z1 proved to be an interesting comparison. The DMP Z1 in comparison offers a very similar tonal character to the LP6 yet is restrained in delivery. DMP Z1’s superior volume control allows it to present the best dynamics I’ve heard across the spectrum of lower volume ranges. After close comparison, there is still a slight ‘digital’ character with DMP Z1 when compared to LP6. LP6 has a denser presentation, in contrast to DMP Z1 which seems to produce a wider, diffuse sound field. Note there is a difference between dense and intimate. Like DMP Z1, LP6 is not intimate. It will grow effortlessly with the music, but due to the high energy of LP6 (particularly in the mids), the music will appear to be closer. However, playing Murray Perahia’s Mozart Concerto’s will reassure the listener the technical staging of the LP6 is not to be put into question. Rather, due to the high energy nature of LP6, it will take a little while to get used to the staging if you’re coming from reference DS gear.

I do prefer the DMP Z1 technicality if only for the top-of-the-line dynamics for low volume listening. If the next generation L&P players addressed the LP6 limited volume range and aggressive power delivery, I would have a challenge picking one over the other. L&P did a tremendous job with LP6 tuning. The resolving nature and presentation of thunderous bass, energetic midrange and resolving yet natural treble trades blows with DMP Z1. I would call this a tie in the tonality department, but DMPZ1 gets the win with technicalities due to its superior dynamics across a lower volume range.

Conclusion
If I had to summarize LP6 in one word, it would be ‘potential’.

From the the Platinum exclusive Echizen lacquerware treated wood, to the advanced hardware, it is clear LP6 is designed for enthusiasts with a penchant for luxury. A portable player that can power full size headphones with absolute confidence, providing a desktop quality reference R2R DAC for external amplifiers and a world class USB DAC, a feature proving more useful than I surmised. LP6 provides a summit class audio experience, but the path to get there will require some work. What many DAP companies (not just L&P) need to realize is that software represents half of the product, as software is a major factor determining the quality of the user experience. I hope DAP companies learn that patching software to address basic issues after a customer takes delivery of a product is not acceptable (looking at you, Shanling M30). To this day LP6 doesn’t perform gapless playback and requires computer scripts for tracks to be sorted correctly.

There is a lot of potential in LP6, there is nothing else in the portable player market approaching this level of performance or level of hardware present in LP6. LP6 even trades blows with DMP Z1. LP6 can even be considered a better value proposition when compared to a DMP Z1 (which isn’t pocketable). The question you need to ask yourself, is it worth paying $4000 USD for ‘potential’? For those who desire the best portable audio quality and can look past the shortcomings, it is. For me however, I don’t mind waiting for L&P to get it right with the LP7 generation. Until then, competition is coming with firms like Cayin looking to debut R2R players on the market soon. One can only speculate how these offerings will stack up to L&P’s new generation of devices. At long last, we’ll be able to witness the R2Renaissance in the headfi space and I’d like to extend my deepest thanks to our Asia-based headfi brothers in particular for driving the market to this point.

Disclaimer: Fusang and Fabled Sound Special Edition are similar iems. They both use the same driver topology. Fabled Sound differs by included a premium cable (Attila) and a limited edition luxurious shell design. I suspect this review can be applied to Fusang, however I have not auditioned the Fusang so I will leave such a comparison to others.


Music. That’s why we’re all here. This universal language that transcends limitations of spoken word. A language that can tell stories of pain or triumph, a drama from a different era. A tool to help us relax at the end of a stressful day or give us that extra push when needed. I have eternal thanks for the artists who can hone their craft of being able to stimulate just the right part of the brain at the right moment to evoke an emotional reaction. Whether we traverse the path of nostalgia or trying something new, these sonic visions are those that can be remembered for many years after.

Before and Now

A key contribution to this journey of musical enlightenment is of course, the gear. At times I do feel somewhat guilty, I can become too focused on the gear and not on the music. In an effort to get closer to the artist, one can engage in the gear chase or ‘upgrade-itis’. This is the endless search for the right gear and yet…still wanting a little more if possible. Many of us remember purchasing a gear, declaring it to be ‘end game’ on the forums, then only to upgrade it soon after. For some, it’s that touch of extra sub bass that’s needed for the visceral feel, for others more treble extension and wider soundstage for the desired sound.
For the past several years, the summit tier level of iems have yet to realize a breakthrough comparable to the explosion of developments in the low to mid tier of iems. Even accounting for the infamous Oriolus Traillii, with a nearly perfect record on Headfi, nearly all the iems on the market are currently using well known technologies (BA’s, EST’s, DD’s and in some cases planars).


These conventional drivers in iems, ranging from Blessing 2 Dusk to Oriolus Traillii, operate on the same principle however. Regardless of the driver technology the manufacturer uses, they all push air into the ear drum. This is known as Air Conduction (AC). While a Legend X can sound quite different from an Anole VX, one can somewhat appreciate the differences in sound signature in a written assessment. When perusing an iem review, many of us can quickly understand terms such as ‘DD slam’ or ‘BA bass’ without even auditioning the featured iem in question.
However a review of Mason FS will not be afforded the advantages of iems that have come before it. The Bone Conduction (BC) driver and how Unique Melody gave it the prominent role it plays in the Mason FS/Fusang requires one to demo it to understand. I will attempt to describe the magic behind the combination of BC and AC driver implementation, but I can’t stress enough how this iem (Mason FS and Fusang) requires an audition.

Topology


Mason FS employs a dual sided Bone Conduction driver (500Hz-20kHz) along with their 12 BA array. Bone conduction is a driver technology which is famously used by Unique Melody in their IEMs such as MEST. Simply put, bone conduction works by piezoelectric ceramics which bend metal vibration pieces. These metal pieces generate a vibration which travels through the IEM shell, your ear and to the temporal bone. The design intent of employing the BC driver is to add weight and density to music which conventional air conduction technologies are unable to replicate.

BC driver aside, the Mason FS employs 12 custom designed large sized BA’s arranged in a 4 Bass, 4 Mids, 2 Mid Treble and 2 Treble configuration. In conjunction with the BC driver, this system is controlled by a 5-way crossover.

Special Edition


In the box, Fabled Sound includes a cable specially tuned for Mason FS, the Attila. Attila is a collaboration with PW Audio and is an upgraded version of the 1960s 4 wire. I purchase cables based mostly based on aesthetics and ergonomics. My ears are not gifted enough to hear the differences in cables unfortunately. What I will say is Attila is a much-improved version of 1960s 4 wire and many Mason FS owners love Attila. However, those looking for minimal microphonics may want to look at TPU cables such as Eletech’s Iliad or Aeneid. Disclaimer, I am picky with microphonics and am switching out Attila with an Eletech Aeneid cable. Most of my testing with Mason FS has been with Attila, to best capture Unique Melody’s design intent.

Reference

I am lucky enough to straddle the headphone world, iem world and speaker world. I’m sure most of us can agree that speakers offer the very best audio experience possible. On the other hand, this requires space and money. Those with the funds for speakers may not have the space, and others may have the space but lack the required funds. One can stretch a dollar more in the iem world than the headphone world. This can also hold true for the headphone world when compared to the speaker world. The cost no object headphone system, Sennheiser Orpheus HE1 costs a mere 59k USD, while a cost no object speaker system can exceed 1 million dollars (not including room costs).

Nevertheless, speakers have this physical quality that no gear in the headfi world can replicate, regardless of price. It’s that feeling of a sound wave traveling through your entire body and allowing you to feel the music as if you were there. I played piano for nearly 10 years and have a good understanding of how a note should feel physically. Not just as a listener, but as a player. As much as headphones and iems try, they have not been able to overcome this challenge of physicality. This physical connection to music is perhaps why, up until this point, I’ve seen myself as a basshead (in the iem/headphone sphere), or at least someone who places a premium on bass presentation. When using iems and headphones, I am keenly aware the music is emanating from two points on my head (or in my ears). This goes for even summit level gear such as Oriolus Traillii and Hifiman Susvara.


Last year, I embarked on a home project to install a speaker system. Thankfully this project has been completed after several covid related logistic delays. However, my speaker journey led me to a discovery in how I enjoy iems/headphones vs speakers. With iems/headphones, I tend to prefer equipment that has a stronger bass presence but with speakers it seems I prefer reference leaning tunings. Perhaps this shift in personal preferences can be attributed to how elevated bass in iems/headphones may serve as a compromise to make up for the lack of physicality speakers can provide. The way a soundwave travels through the floor on a full range speaker and then propagates throughout your body contributes to the ultimate form of audio reproduction.

Feeling the Vibrations

Mason FS Showcase Music:

• Fall on Me by Andrea Bocelli
• Paganini 24 Caprices: Sueye Park
• We Are One by Yao Si Ting
• Sonorite by Tatsuro Yamashita Sonorite, Track 4 (忘れないで)
• Sugar by System of a Down
• Mozart Piano Concertos by Murray Perahia
• Essential Yo-Yo Ma by Yo-Yo Ma

The Mason FS has altered my listening patterns. Previously, I would reserve acoustic instruments and vocals with my full range speakers, as this this is what they were designed for. Mason FS allows me to take my speakers with me, wherever I go.

Mason FS brings life to instruments (plucked strings, electric guitar, wind instruments, piano etc) and vocals. The sensation of a vocalist’s voice vibration travelling into my jaw approaches the authority speakers can deliver. This is likely due to the magic of the Unique Melody’s Bone Conduction driver implementation. Such a rendition is more intimate and speaker-like than anything else I’ve heard in the headfi realm. Listening to an orchestra, I feel sweetness of the strings and the meaty cello as if I am in the venue. FS communicates the texture of violin I’ve only felt when I briefly played one. This is beyond just bass, this is physicality. And this physicality is traveling through your ears and seemingly into your jaw.

This incredible presentation doesn’t just extend to classical music. The same holds true for rock, such as one of my favorite rock test tracks, Sugar by System of a Down (time code 0:20-0:30). Feeling the texture of the guitar in between Serj’s raw rendition reminded me seeing them live those many years ago.

Air Conduction drivers seem to be at a disadvantage in comparison. With other equipment, such as Oriolus Traillii or Hifiman Susvara, I felt that I was having the absolute best experience listening to a recording. The Mason FS combines the strengths of iems and physicality of speakers to create something unique and in its own category.

Mason FS allows you to feel the music as if you were playing the instrument or sitting inside the vocalist’s throat. This is unlike anything before it.


The Fabled Sound

Mason FS is tuned to be natural and reference oriented. Brief note on the tuning UM chose. This is neutral, but pleasant. Almost sweet sounding and very natural. The Mason FS will take after which ever source you pair with it. As I prefer slightly warmer house sound, I paired with the Shanling M8, and Shanling is one of my favorite house sounds. This gives Mason FS a neutral with a tilt towards warm. Other reviews have note Mason FS is neutral warm from the start, but I’m waiting for my N6ii to come back from repair to confirm this.



Regarding soundstage, this iem is has a spherical intimate staging. Think of a small jazz club venue vs a large opera house. This iem shines with solo performers that one would typically see perform in such smaller venues.

This tuning is a love letter to musicians. I am keen to see a classical musician or guitarist review this set. For those looking for a fun/engaging iem, this is not the one for you. Perhaps Unique Melody could create a Mentor FS to address this?

Bass
The bass presentation is well defined and accurate just as you expect from a BA. It’s not bloated, but firm and well balanced. The mid bass is slightly elevated, but perhaps this is the M8 influencing the presentation. This is not a lean bass presentation, however. For the longest time, I’ve owned single DD iems as BA bass didn’t provide me the authority that was needed. Not to worry with Mason FS. If the song requires a firm bass note, the Mason FS delivers with absolute authority. In this regard, Mason FS bass reminds of Wilson Audio bass presentation. The bass is reserved but when needed it will punch with absolute authority and is clean. The BC is taking a backseat here and is reserving itself for the mids.

Mids
This is where I find Mason FS beats out iems and headphones. This is where your money is going. The BC vibration creates this extra dimension with vocals, this ‘air’ that many folks are describing. The Mason FS gives vocalists their own dimension, their own room to perform. The echo I hear with Tatsuro Yamashita’s album Sonorite, Track 4 (忘れないで) gives atmosphere that I’ve only ever heard with speakers. The reverb in the track is lifelike, Yamashita’s voice is vibrating through your ears, the guitar feels like you’re strumming the strings, it’s unbelievable.
Paganini 24 Caprices by Sueye Park will bring any violinist to life. Hearing the vibrations is one thing, feeling them interact with the air is another.

I’m trying to be objective here, but this presentation so unique and a step above than everything else I’ve heard it caused a major reassessment in my headfi career. This isn’t a curveball UM has thrown, it’s a whole new ball game.

Treble
Restrained, in a good way. I feel UM has tuned the treble around the mids and pulled away unpleasant harshness one may find in a IER Z1R so the listener can enjoy the mids more. Given the BC is a full range, I think the BC assisting in the treble more so than in the bass section. Perhaps this is contributing to Mason FS’ nonaggressive treble presentation. I can see some calling the treble a weaker aspect of this set, but in the context of the mids and bass, the tuning is thoughtfully well done. For cymbals, xylophone and the triangle the BA’s and BC work to present an accurate rendition of the sparkle we expect from these instruments. For genres like EDM, this treble presentation doesn’t seem to work.

However, there are caveats to Mason FS.

First, you need the right music. EDM or synthetic music will not sound right with these. If we distill what Mason FS’ strengths are, we can anticipate its weaknesses. Mason FS needs music which generates vibration from an organic source. For a vocalist or an instrument, we can listen to the first rendition without any additional processing straight from the instrument. Synthetic music however requires processing through console and to a transducer, through which it is heard. It is an artificial recording in a sense. In this way, synthetic music like EDM is composed for air conduction drivers from day 1, whereas classical music recordings are attempting to capture the natural sound straight from the instrument. I love my EDM, and Mason FS just doesn’t work with this genre. To give you an idea, I prefer Blessing 2 Dusk for EDM. It will be interesting to see how Unique Melody approaches this challenge for the ‘wilder’ counterpart to Mason FS, the Mentor FS.

Next caveat, the staging is intimate. I’m not sure whether this is an intentional choice by Unique Melody or a limitation of the Bone Conduction driver, however at this level of iem I expect the gear to grow with the music. While orchestra does sound excellent on this set, it fails to replicate the venue to the degree my other reference gear can. When a recording starts adding multiple voices, multiple instruments, the Mason FS can’t seem to scale with the music.


The third caveat is Mason FS is a little picky with source gear. Mason FS does not require very expensive gear, but it does require the right gear. Perhaps a quirk of Mason FS leaning into the Bone Conduction for sound presentation. The DAP you pair Mason FS/Fusang with needs to exercise plenty of control to achieve the right dynamics. A popular choice with Mason FS is Shanling M8, I have been using this combination for most of the time I spent with Mason FS. On the flip side, Mason FS scales immensely with the gear you pair it with. Again, I suspect this is BC driver scaling. When I paired the Cayin C9 headphone amplifier with Shanling M8, the result was so good I ended up listening until the M8 ran out of battery.

Aftermath

After experiencing the marriage of BC and AC on Mason FS, I’m reassessing how to perceive value and sound in the headfi realm. We’ve witnessed pricing in this hobby shoot higher and higher with mostly incremental improvements on conventional technologies. Unique Melody however, offers a new approach in their high end offering and extracts a new dimension out of recordings. Mason FS and Fusang, are gear which showcase leaps forward in acoustic reproduction, technological innovation and almost live up to expectations the price tag set. At this level, I expect excellence in every genre at the very least. The fact I need to look to Mentor FS as a potential solution to Mason’s shortcomings in certain genres is a prominent negative. However, after using Mason FS, everything else just sounds off, empty and hollow. Factor in that you can get Fusang at $4580 (Musicteck will give you a better price if you ask) softens the blow somewhat.

One may do a double take at manufactures who charge similar prices for air conduction sets. Headphones, once touted as the superior alternative to iems, now stands challenged by bone conduction as well. Even the best gear like Susvara and Traillii are constrained by the fundamentals of Air Conduction, unable to deliver the extra dimensionality Fusang and Mason FS can deliver.

We are at the first inning with BC implementation in high end hifi gear. The key challenge UM needs to deliver is, can Mentor FS address the shortcomings with Mason FS and complement it? Can it provide the larger soundstage and work with synthetic music like EDM?

Closing one chapter, starting a new one
The question you need to ask, do you listen to the right music? Are you interested in a novel experience that may alter your perception of other gear? If so, get your packing tape ready, you may go down my path and sell everything. Unique Melody is offering, what I believe, the next chapter for iems and possibly the future of audio. I’m not sure where the journey will take me next, but I do know one thing. I am a bone head




Testing Equipment:
Sony DMPZ1, Shanling M8, Cayin C9, ifi ZEN DAC Signature
Eartune Fidelity U Tips (strong recc), Eletech Aeneid, Unique Melody Attila.