At the time this review was written, the Soundmagic ST80 was displayed with Asian links for purchase on the Soundmagic website. Here is a link to their listing of the product:
 
http://www.soundmagic.com.cn/index.php?c=content&a=show&id=362
 
Introduction
It was relatively early in my days of reviewing products when Soundmagic contacted me to see if I would be interested in covering their new flagship E80 and E50 earphones. Being a huge budget audio fan (still am) and having the E30 and E10, I was excited to see what Soundmagic would do with their new lineup. Although not a perfect product, the E80’s price to performance ratio in terms of sound quality was off the charts in my opinion. I gave the E80 a rave review for this reason. Here is a link:
 
http://www.head-fi.org/products/soundmagic-e80-in-ear-monitor-headphone/reviews/13331
 
When I attended the Axpona Audio Convention in Chicago on April of 2016, I ran into Jack of TekFX. If you aren’t familiar with TekFX, here is some information taken from their website:
 
 
TekFX is a distributer for two very popular brands, Fiio and Soundmagic. They are also a supplier for Micca Store, who is the main USA supplier of all things Fiio and Soundmagic related. They also sell a butt-kicking pair of bookshelf speakers. Here is a link to check out their store:
 
http://www.miccastore.com/index.php

When visiting Jack’s booth, I was able to try sample the X7 and seeing what firmware adjustments Fiio made since being a part of the beta/launch tour. Jack was gracious enough to let me borrow an X7 along with a few amplifier modules. The X7 had come such a long way since my last time sampling the product, I felt an edit to my review was necessary. Here is a link to this edited review:
 
http://www.head-fi.org/products/fiio-x7/reviews/14506
 
The other new and exciting thing I came across that day is the product we will be discussing today. When mentioning how much I enjoyed the E80, Jack recommended I take a look at the ST80. Long story short, it’s a modular earphone with similarities to the E80. This new earphone offered a  detachable wired connection, and also a detachable bluetooth lanyard. It was pretty mind blowing stuff to think that Soundmagic would take an already excellent product and improve on it this way. I was able to get a sample to share the news on the product with the Head-Fi community. Is the ST80 an improved E80? Let’s find out as we go over them with a comprehensive review.
 
Disclaimer
I was given a free sample of the ST80 in exchange for my honest opinion and review. I am in no way affiliated with TekFX or Soundmagic. I would like to take this time to personally thank Jack for the opportunity to experience and review the product.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

If you’ve owned a soundmagic package in the past, you won’t see much different from previous packages. The E80 comes in a white box with black accents and lettering. A picture of the box and a small list of features is featured on the front.
 

The back of the package lists features and accessories in in several different languages. The left side lists specifications in Chinese and English. The right side has a paragraph about the Soundmagic company and explains the “workout” silicone tips. More on this later in the review.
 
Specifications and Accessories

Wireless Specifications
Connection Type: Bluetooth V4.2
Frequency Range: 2.402~2.480 GHz
Transmission Range: 10 meters (approximately 30 feet)
Driver Type: 13.5 mm dynamic drivers with neodymium magnets
Impedance: 16 Ohms
Sensitivity: 100dB @ 1kHz
Transmission Power: Class 2
Working Current: 20mA
Continuous Playback (music): 10-12 hours
Continuous Talk Time: 8-10 hours
Standby Time: 200 hours
Frequency Response: 20Hz to 20kHz
Audio Output: CD Quality (16/48K)
Power Management Modes: Standby, Ready, Pause, Sleep
Operation Temperature: -20C~60C
Weight: 30 grams
 
Wired Specification
Driver Type: 13.5 mm dynamic drivers with neodymium magnets
Impedance: 16 Ohms
Sensitivity: 100dB @ 1kHz
Maximum Input Power: 20mW
Cable Length: 1.2 meters
Connector: 3.5mm 60 degree L-style gold plated plug
Weight: 25 grams
Frequency Range: 20Hz~16kHz
Sensitivity: 42dB @ 1kHz
 
Accessories

1X Pair ST80 earphones
1X Wired cable with mic/remote
1X Adapter for PC mic/remote
1X Phone adapter
1X Bluetooth cable with mic/remote
1X Micro USB charging cable
1X Shirt Clip
3X Pair of silicone single flange tips (S,M,L)
1X Pair of silicone dual flange tips (M/L)
4X Pair of ribbed silicone tips for outdoor use (S,S/M,M/L,L)
3X Pair of Comply foam tips (S,M,L)
2X Foam inserts for wired and bluetooth cables
1X Oversized clamshell carrying case
1X Owner’s manual
 
Housings

The thing that stands out first are the plastic ear hooks which loop over the top of the listener’s ears. From these hooks the housings attach to a bar that swivels on a built in hinge which rotates in either direction. Left and Right channel markings are on each of these bars. The ST80 housings attach to this small bar via a ball and socket. This allows the housings to oscillate up, down, in and out similar to the way our arms rotate at the shoulder. The entire build appears to be a combination of metal and sturdy plastic components.
 

The ST80 has a fairly standard nozzle in terms of length and width. The overall shape is that of a earbud with a nozzle attached. The shape looks familiar to the Titan series from Dunu. A driver venting hole can be seen on the inside portion of the housings where the housing rests against the concha of the user’s ear.
 
 
 
Cable, Y-Split, Cable Jack, Strain Reliefs
There are two cloth coated cables that come in the ST80 package, both of which have a three button microphone and remote which works with both Android and Iphone. Both of them attach to the ST80 housings via an exclusive threaded connection. Although this works well and makes the connection very secure, I do wish there were some way they could have figured out a way to make this work via an MMCX connection similar to the Fidue Sirius. An MMCX fit with and outside threaded washer would have allowed the cables to be used with other earphones, increasing the applicability of the components offered in the package.
 
There are a few negatives to note about the cables. First off, the cloth jacketing kinks very easily when it gets twisted (especially when connecting/disconnecting the threaded connections). Secondly, the cloth cable will fray over the course of time and daily use. Last, the cloth cable is considerably microphonic. Any time the cable (wired or bluetooth version) brushed against my skin or clothes cable noise could be heard (even with music playing). On a positive note there is very little spring and virtually no memory (aside from the kinking when twisting it).
 
Wired Cable

The wired cable of the ST80 is a respectable offering. The Y split and jack have metal jacketing and adequate strain relief. A detachable chin/neck slider is included and helps to snug things in place. The three button microphone and remote is conveniently located, easy to use, and works well. The ST80 comes with an extra phone and PC adapter, making these earphones very universal and able to be used in just about any application you need them for.
 
 
Bluetooth Cable

The ST80 bluetooth cable is a cleverly designed unit. The electrical components are located in the mic/remote, and the battery is located in the middle of the cable. A clip is connected to the battery pack allowing it to be clipped to the collar of the listener’s shirt. The unit is rated as having ten to twelve hours of playback time, eight to ten hours of talk time, and a whopping two hundred hours of standby time. What I can say after a using this cable quite a bit, I NEVER ran out of battery after charging the unit completely the night before. I could use the bluetooth cable a few hours a day without needing to charge it for three or four days.
 
Functionality
The wired cable uses a three button microphone and remote that works for both Android and Iphone. I was able to use it without any hang ups. When talking to friends and family, they reported my voice coming through at a three or four on a scale from one to five.
 
With the Bluetooth cable I achieved identical result with the microphone and remote. I would run through the functionality of the bluetooth function but they are basically the same as just about any bluetooth device on the market. If you buy the ST80 and have questions about the bluetooth functionality there is a rather large owner’s manual you can reference. For now, just know that there is flawless bluetooth functionality and it’s easy to use.
 
Ergonomics, Fit and Microphonics, Isolation

Regardless of cables used, the ST80 has a somewhat tedious and very tip dependant fit. The way the housings oscillate combined with the fact that these aren’t the greatest isolating earphones you’ll come across, I had a lot of trouble getting a consistent fit. Aside from the supplied comply foam tips, none of the included tips gave me consistent results. I was able to use a pair of large Sony silicone tips and get something that fit comfortably and sealed well.
 
Soundmagic recommends an included tip for outdoor use. These tips have ridges that allows ambient noise in while enjoying your music. While I think their motive is good in offering these, Soundmagic is essentially offering a tip that intentionally doesn’t seal. The result with these tips is a thin and lifeless sound.  My recommendation? Don’t use these tips. Instead, turn the music down (or off) around traffic or in areas where you need to hear your surroundings. Listen responsibly, period.
 
Wearing the earphones is as easily as hooking the earphones over the tops of your ears and rotating the housings into your ears and moving them into position until a seal is achieved. With the wireless cable, there is an added step of either letting the batter pack dangle under your chin, or looping the cable behind the neck and clipping it to the back collar of your shirt.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
Coming in a 16 Ohms, the ST80 is very easy to drive. These are designed to be a smartphone companion, so don’t try to re-invent the wheel on this one. I suppose you could use the ST80 with a DAP, but plugging these things into a desktop unit is overkill. The ST80 is a neutral-ish sounding earphone so expect it to sound good with any low powered source you have. Just know that the ST80 is intended to be your phone’s best friend. Using them this way will give you best results in terms of maximizing both sound and functionality.
 
NOTE: For the rest of the sound review I will be basing my impressions on using the wired connection. If you are curious if there is a difference between the wired and wireless connection, there definitely is. The ST80 wireless sound is touch less refined, especially at higher frequencies. If you want to maximize sound quality, use the ST80 with a wired connection. Hooking these up wirelessly is taking a half step back in terms of overall fidelity in exchange for convenience.
 
Sound Signature
When I first saw the number 80 in the title I assumed these had the same driver. That is not the case. The larger driver of the ST80 provides a similar signature, but not identical. If you own the E80, expect to get a similar sound signature with a touch less refinement and extension at higher and lower frequencies.
 
The ST80 is a relatively balanced signature with a little bit of tilt towards lower frequencies, and a little bit of roll off at higher tones. If you are looking for a more neutral tuning than most sports inspired designs, this is definitely a strong candidate for you. The ST80 offers a safe tuning that many can appreciate, although it doesn’t seem to have much in terms of wow-factor. To my ears the ST80 could use a touch more clarity at every frequency to be elite.  
 
Bass
Bass is well tuned and packs equal amounts of punch and rumble. Attack and decay are that of a standard dynamic driver. The difficult fit of the ST80 will determine the impression get when listening to them. What I hear is an earphone that is capable of having appreciable impact, but loses out to mid-bass tones by just a bit when both frequency ranges are playing at the same time. I can appreciate the ST80 bass (and treble) at louder volumes. Turning the volume up seems to create a more natural soundscape to my ears. All bass tones sound more dynamic and natural at louder volumes for me when listening to the ST80.
 
Mid-range
Mid-range is very balanced and somewhat bland. Where the ST80 struggles it’s with detail and and transients, especially during complex music passages. I can enjoy the midrange of these earphones, however, I can’t say that the ST80 has an elite midrange response. Adequate? Yes, but they are missing elements of texture, detail and separation. When there are several instruments playing at the same time during complex musical passages, the ST80 midrange (and sound on a whole) struggles to keep air between each instrument.  
 
Treble
Treble is relaxed and smooth for the most part. There is an upper midrange/lower treble presence that pops, but other than that things are somewhat smooth. There is a slight metallic twist to the upper frequency, like a soft shimmer. The ST80 avoids sibilance. Cymbal crashes are slightly distant and lack extension. Those who are treble sensitive will enjoy the tuning of these. Those who look for crisp, detailed and extended treble will probably find the ST80 to be lacking.
 
Soundstage and Imaging
The ST80 has decent soundstage depth, but the middle frequency focus and lack of detail and height prevents me from saying these things have a large stage. With less complex music soundstage and imaging can be decent. With complex passages the ST80 driver struggles to create a sense of space.
 
Comparisons
Because the ST80 is such a unique product, I will compare it to one wired, and one wireless product.
 
Soundmagic E80 ($75 on Micca Store’s webpage)
This comparison makes sense given the fact that the 80 in each name would lead you to believe the two products use the same driver. That is not the case. The E80 uses a 10mm driver that has a much higher impedance, coming in at 64 Ohms. The ST80 uses a 13.5mm driver with a much lower impedance of 16 Ohms.
 
Comparing the two, obviously the E80 has higher power and volume requirements. Listening to the two and volume matching with the same sources, the E80 is a similarly tuned earphone, but has more extension, primarily at upper frequencies. There is also better separation of instruments and more natural transients with the E80. The ST80 is slightly smoother and noticeably less extended at treble frequencies. While the ST80 isn’t a bad sounding earphone by any means, the E80 is in an entirely different league sonically speaking. The E80 is also a better isolating earphone.
 
Build and design goes to the ST80. The E80 cable is pretty bad, possessing a lot of spring and memory while the ST80 cable is much more fun and easy to manage. ST80 also gets a clear cut victory in terms of accessories.
At the end of this conclusion I’ll say that the ST80 is about two thirds the sound quality of the E80, but it makes up for it in terms of technology. The E80 is something that works more with a dedicated DAP, while the ST80 is a GREAT smartphone companion. Choosing between the two forces you to ask what matters more, sound or functionality?
 
Meelectronics Sport-Fi X7  (Discontinued, replaced by the X7 Plus)
The Sport-Fi X7 is a bass forward earphone that to this day is probably the best fitting bluetooth earphone I’ve ever worn.
 
Comparing the two, the X7 follows in the footsteps of earphones like the Jbirds Bluebuds X in terms of sound. They are a bass forward tuning that works really well with modern genres of music.
 
Comparing the two, the X7 is definitely warmer and bassier of the two. Although the X7 bass may impact lower mid-range tones, it handles other frequencies better. The ST80 is a more balanced sounding earphone who’s tuning works better with a larger variety of genres. The X7 isolation is phenomenal. The ST80 allows outside noises to be heard much easier. This may appeal more to those who plan on using them for commuting.
 
The big kicker here is battery life. The X7 gets four hours of battery and it’s dead. There’s no wired cable option. On the other hand, ST80 has TEN TO TWELVE hours of battery life (continuous playback), and if by some chance you rip through the battery (which you probably won’t do very often) you have a wired cable to attach and continue to use them. This is a huge advantage for the ST80.
 
Design and build is a draw considering the fact that they both have their strengths. The X7 is a phenomenal fitting earphone while the ST80 has both wired and wireless bluetooth options. Accessories goes to the ST80.
 
Conclusion
Soundmagic has entered the realm of bluetooth and offers a really solid earphone with a lot of options and applications. I went into this review thinking the ST80 was going to be a wireless version of the E80 sound. Although that’s not the case, the ST80 offers enough technology and performance for me to say I’m not necessarily disappointed in what they are offering. Between the battery life, wired and wireless capabilities and rather large accessories package, Soundmagic offers a product that once again that justifies and exceeds its asking price.
 
If I were thinking of ways to improve on this item, I would suggest a driver that isolates better, has better separation of sounds, improved clarity and more upper frequency extension. If there was a way to implement the E80 driver into Soundmagic’s next bluetooth headphone, we would have something spectacular. Even if the battery life was reduced to drive the less efficient driver it would be worth it in my opinion. I would also use a different jacketing on the cables (something that doesn’t kink and won’t fray over the course of daily operation).
 
When rating a product I have to take all criteria into account. I give the ST80 four stars for build, four stars for design, three and a half stars for fit, five stars for accessories, and three and half stars for sound quality. All in all, I give the ST80 four stars. Did I mention Soundmagic includes a two year warranty? There’s a lot to like with these things. To many these will represent a balanced sounding all-in-one solution to their personal audio needs.
 

Thanks for reading and happy listening!

At the time of the review, the ZMF Eikon headphones were listed for sale on the ZMF website. Here is a link for information and purchase:
 
http://www.zmfheadphones.com/zmf-originals/zmf-eikon
 
Introduction
The Eikon headphone is the big brother of two dynamic driver headphones recently released by ZMF. Here is a link to its sibling, the Atticus:
 
http://www.head-fi.org/products/zmf-headphones-atticus-dynamic-tpe-driver-over-ear-full-size-headphone/reviews/17335
 
As stated in the Atticus review, the recent releases by ZMF are the first all exclusive headphones they have brought to market. Zach has ventured beyond the modded Fostex T50RP models of time’s past. The new headphones each sport an all new design and build, and also their own unique dynamic drivers and diaphragms. The Atticus utilizes TPE, while the Eikon uses a somewhat unique material, biocellulose. If you are not familiar with this material, here is some material on it:
 
http://www.head-fi.org/t/568694/biocellulose-and-its-use-in-headphones-earphones-referring-the-recent-iem-example-vsonic-gr-07-r07
 
ZMF is bringing to market two headphones with different tunings. Considering the build quality is pretty much identical aside from drivers and tuning, there will be some sections of this review copied and pasted from the Atticus review. If you already read the Atticus review and would rather not read the same material twice, I encourage you to skip ahead to the sound portion of the Eikon review after the introduction.
 
The purpose of two different headphones with the same build is in an effort to cater to a broader range of listening preferences. Before we continue with the review I will state for the record that Eikon is more up my alley in terms of preferred signatures. As always, your mileage may vary. Here is a quote from the ZMF website:
 
 
With all of this being said, let’s take a look and listen to the new flagship from ZMF.
 
 
Disclaimer
I was borrowed a review loaner of the Eikon in exchange for my honest opinion and review. I am in no way affiliated with ZMF. Any time spent with the Atticus and Eikon are a product having interest in seeing how the product performs. I would like to take this time to personally thank Zach for the opportunity to be part of the beta testing and also review process.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW
The new package for the Eikon will be a slightly larger Seahorse case than previous offerings, providing mores space for for storage and transport. ZMF owners will be getting an upgraded owner’s card as well as an owner’s manual. An improved stock cable will also come in the Atticus and Eikon packages. At the moment I have only the headphones so I can’t provide pictures of these items. However, I’ve asked Zach and confirmed what will be different from the previously mentioned ZMF lineup.  
 
Specifications and Accessories

Eikon features a custom made fifty millimeter biocellulose diaphragm driver. The driver comes in at 300 Ohms, making it about as power hungry as a AKG K7XX or Sennheiser HD600.
 
The following comes in the Eikon package:
1X ZMF Eikon Biocellulose Dynamic Driver Headphone
1X Pair ZMF Omni and Eikon Pads
1X Lambskin headband padding
1X Stock Cable
1X Seahorse SE430 or S3 6500 Case
1X Owner’s Card and Manual
 
Overall Build

I don’t know about you, but one of the first things I think of when I take a look at these headphones is the legendary Sony R10. These are NOT knockoffs by any means but there are some very apparent similarities when looking at the two:
 

Picture of the Sony R10. Picture is borrowed from a Head-Fi review of the Sony R10. This is not my picture. I do wish I had a pair!
 

Starting with the headband, a very flexible spring steel band is coated is clothed in a padding lined lambskin sleeve. A leather band will accompany the the spring steel band, giving the headphone an added level of strength and resilience. This leather piece will be the portion of the headband that will make contact with the top of the user’s head. The headband screws onto machined aluminum pieces on each end. These aluminum pieces are hinged to chrome metal bars that also swivel at the connection where the arms connect to the cups.
 

The Eikon cups currently come in two different types of wood. Options are African Padauk or Cherry woods. There are options whether or not you would like a hand varnished or factory sprayed finish. From the description, picking the stain will be a matter of deciding what whether you want a handmade appearance or something more uniform in appearance. As with previous ZMF releases we could/should expect to see some more exotic woods offered in the future.
 

The Cups and pads are pretty big and bordering on huge. There’s plenty of room for just about any type of ear size and shape with the Eikon pads. The Eikon pads are stiffer than the Omni pads and sport a slimmer profile, leaving less room between the driver and the listener’s ear. The result is a slightly more musical and dynamic response. With the softer and deeper fit of the Omni pads, the Eikon is a touch leaner and analytical sounding. The differences aren’t significant but are definitely noticeable. Considering the fact we are focusing on the new product we will continue the rest of the review (including sound) with the Eikon pads.
 
Cable, Cable Jacks, Strain Reliefs
I used the Braided cable that I ordered for my Omni with the review samples. For the record, the Atticus and Eikon use the same cable and connections as the previous ZMF models. I know Zach is currently working on a deal to get the best stock cable he can get for the package. Worst case scenario, we will see the basic stock cable for the Vibro and Omni come in the Atticus/Eikon package. Once this is settled I’ll edit this portion of the review. For now, rest assured a functional cable will ship with the package. The only question to be answered is how nice this cable will be.
 
Comfort, Isolation, Microphonics

Hisoundfi Junior
 
The flexible spring steel and hinged swivels are extremely secure and work excellent. There is no popping or crackling when contorting and rotating the cups into a secure and comfortable fit. Between the flexible and and various hinging actions, you can literally take each channel and contort them to fit ANY shape or size of head on earth.
 
There is virtually no microphonics to report, and isolation is that of a good sealing full size closed headphone. Although there are what appears to be vent holes in the Atticus cups, they are essentially a closed headphone in their design. When tuning the Atticus, Zach uses the vents to fine tune them and guarantee channel matching. As always you will not get a pair of ZMFs with channel imbalance. Each side is measured and tweaked to match as close as possible, guaranteeing each ZMF owner to get the music experience as it’s intended to be.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
Coming in at 300 Ohms, the Eikon demands more power than the average smartphone to sound their best. They sounded decent with my Iphone 6 Plus and LG V10 (the V10 recognized the Eikon as a high impedance device and increased its output impedance). Other smartphones I tested them with couldn’t get the same results as the ones I just mentioned. Of all the portables I had on hand, the Eikon sounded best with the Luxury & Precision LP5 ran line out into my uber powerful Cayin C5. Portable rigs with added portable amplifiers help improve the definition and response of the Eikon.
 
The Eikon seemed to be more universally applicable than it’s sibling, the Atticus. I could enjoy the Eikon with warmer and more colored sources, and equally as much with a more linear device. Both sounded great in their own way. Where I noticed the most difference in terms of source is with output power and impedance. With Eikon, the driver becomes more responsive with more powerful sources. Switching from Eco to Normal, then to Turbo mode with my iFi micro IDSD the sound increased in response and was noticeably more controlled and refined.
 
Zach says the Eikon (and sibling Atticus) are designed to work best with OTL amplifiers. If you don’t know a whole lot about them (like myself), here is some information for you:
 
http://www.audiodesignguide.com/otl/otl.html
 
NOTE: Because I seemed to get best results with the iFi micro IDSD in turbo mode, a majority of my sound review will be based on my impressions from listening to them with this source.
 
Sound Signature

Summarized, I find the Eikon to be a slightly colored spin on neutral with an added bass bump. With the right source, this headphone is for people who want a musical and smooth headphone without breaking too far away from a neutral sound signature. I can’t classify this headphone as either neutral or dark, I feel it sits somewhere in between both.
 
When asking Zach what headphone he would compare the Eikon to, his response was that it has the “mids like HD650, transients of an HD800 and sub bass response similar to the ZMF Blackwood.” Going off of memory of these headphones, I don’t think I would disagree with this. If I had to say they sound similar to a headphone in my collection, I would say they are like a dynamic version of my re-tuned Ori (formerly known as the ZMF Omni). There’s the usual musical and fun feeling that Zach pulls off when he tunes a headphone. ZMF has once again taken neutral and tilted the line of the frequency response towards the lower registers without losing the upper frequency presence, detail and  sparkle.
 
I would consider the Eikon a great option for those who want a big, bold and powerful sound that finishes smooth while adding a solid bass response. That is why the Eikon is right up my alley. They check a lot of boxes in term of what I look for in a headphone.
 
Bass
Eikon’s bass is robust and engaging. To my ears there’s a bit more rumble than punch. The source you use will determine the device’s attack and decay. With a less powerful source the headphone’s attack and decay will be more slightly more sluggish and overall these headphones will have a smidge more colorful presentation. With a more powerful source the Atticus bass tightens up and the signature improves in terms of overall resolution and refinement. With the micro IDSD in turbo mode, the Eikon bass is very responsive and dynamic at the same time.
 
Sub-bass on the Eikon is forward and extends with impressive depth. During Daft Punk’s “Doin it Right” bass lines were handled with visceral depth that maintained consistent and impressive deep tones. If you are planning on picking up the Eikon, know that you won’t have to worry about whether or not they have enough soundstage depth because there’s plenty to be heard.
 
Midbass is maybe a hair behind sub-bass tones and a step above mid-range/upper mid-range frequencies. As with most of the ZMF headphones I’ve heard, the Eikon follows in the footsteps of previously released headphones. Mid-bass is forward enough to add nice weight and compliment the sub-bass response without being intrusive to midrange instruments and vocals.
 
Mid-Range
As with just about any ZMF headphone I’ve heard to this point, the Eikon starts off with a bold bass response, then slowly tapers off as we travel higher up in the frequency range. There is no sharp dip, or radical spikes that I can hear.
 
Lower mid-range is bold and natural at the same time. I consider vocals to be one the of things the Eikon does best, and it starts here. Male vocals have enough color to sound forward and engaging, and without losing their organic and natural tone. Warm? Yes. Overly warm and bloated? No, at least not to my ears. There is a thick note presence as the dynamic driver does it’s magic with the reverberations of the Eikon wooden cups. If you’re a person who wants linear, airy flat sound with little to no color a la many semi open headphones, these cans probably aren’t for you. If you like the dynamic and textured response of closed cans without sacrificing a big stage and some impressive transients, you have a winner right here.
 
Upper midrange is somewhat relaxed and puts a smooth finish on vocals. Although the forward nature of the bass seems to jump out in front of this part of the frequency range, the Eikon manages to maintain a nice sense of clarity. The Eikon avoids being overly shouty or aggressive.
 
NOTE: This is a good time to mention that the Ori pads do a good job of taking a little bit of color away from what I’m explaining here with the Eikon pads attached. If you are finding the Eikon to have a little too much color or resonance from the cups, the Ori pads do an excellent job of taking some of this away. If you get an Eikon, make sure to try them with both the Eikon and Ori pads.
 
 
Treble
I find the Eikon treble to be a relatively even tuning and a small step back most of the audible frequencies and about even with upper midrange tones. It is a half step forward of rolled off, and a full step down from emphasized. Something I really appreciate is how balanced the high frequencies are. What I mean by this is that there are no perceived spikes or dips. Pronunciations of the letters S and T come smooth and natural. It does develop a somewhat smooth shimmer as we range higher and higher in tone.
 
While going through my test tracks I noticed that the Eikon tuning makes cymbals sound just a hair laid back. During Disturbed’s “Ten thousand fists” The forward lower frequency tuning was out in front of the mix. When playing rock, speed metal and some modern genres of music, expect the Eikon treble to be present but not as present as other frequencies (primarily lower frequencies).
 
Soundstage and Imaging
Impressive bass, warm tilt and impressive transients give the Eikon a relaxed sound on a big stage. The Eikon has a concert hall feel to its sound. Acoustic music, jazz, live performances, and many modern genres are rendered beautifully. Vocals tend to take center stage with nice supporting bass presence.  Instrument placement is solid (although upper mid-range/treble presence is a half step back of the mix). Combine the tuning with some excellent detail and transients, this is one of the better headphones I’ve heard in terms of imaging.
 
Comparisons
 
Sennheiser HD600 ($250 to $400 USD on many sites)
The HD600 are my reference pair of headphones and a personal favorite. When trying to wrap my mind around how something sounds, I reach for my trusty HD600. I do this to make sense of whatever headphone I’m listening to, and also to help readers understand via a comparison to a more neutral sound.
 
Comparing the two, the first thing I notice is that the Eikon has considerably more color to its sound, and low end girth that the HD600 can’t come close to. Considering that the ZMF is basically a closed headphone, the Eikon uses the cups to create an impactful quality that will lead you to believe the sound is in a large room rather than the more thin and seemingly endless space of an open headphone design like the HD600. The “meat” of the Eikon carries through the entire sound, giving it the “slightly darker and more colored spin on neutral” I referred to earlier in the review. I was really impressed with how the the HD600 and Eikon were neck and neck in regards to transients and detail. Both are world class in this regard. Treble is more relaxed on the Eikon, while the HD600 treble is more extended and potentially more fatiguing at louder volumes (albeit more natural). In terms of sheer musical enjoyment, the Eikon wins. In terms of Neutrality, HD600 gets the edge. Going from the Eikon to the HD600, the Sennheiser is flatter, harsher and more two dimensional. Going from the HD600 to the Eikon, the ZMF seems bass heavy and overly smooth. Once my ears and brain adjust to what I’m listening to, they are both excellent in their own distinct ways. If you are looking for two headphones that sound different and complement each other well, these are definitely two options to consider.
 
Design, accessories, build quality and comfort are no contest. The Eikon destroys the HD600 in all of these aspects.
 
 
ZMF Atticus ($849 to $949 USD on many sites)
I will copy and past my comparison fromt he Atticus review, but I would also like to add that after further comparisons, I think the key here is going to come down to preferred music genres and sources used. To my ears this is what I came up with:
 
Eikon: Tuned more for Vocals, Acoustic, Folk, Symphony, Jazz and Live Performances. Still sounds great with the other genres but really nails it in terms of more “mature” genres of music. Pairs well with both colored and neutral sources.  
 
Atticus: Tuned more for Rock, Metal, Modern genres and still sounds really good with other genres. Although the bassier of the two, they also seem to control complex music passages with lots of bass better. Pairs well with a neutral and more linear (and more powerful) source.
 
Here is the portion copied and pasted from the Atticus review:
 
The key thing to note is the reason why Zach is releasing two headphones at the same time. They are designed to cater to what I feel are two types of listening preferences. The Atticus is for those who want a more rich, dynamic, bassy and musical sound signature. The Eikon is for those who want a more balanced and linear sound while still getting a sense of the ZMF signature “house sound.”

Comparing the two, the Atticus is definitely the more colored, bassy and smooth headphone. Bouncing back and forth makes me appreciate what Zach has done here. Listening to both with the ZOTL, there is an adjustment period when switching between the two. Switching from Atticus to Eikon, the Eikon seems initially crisper and almost shouty in comparison until my ears adjust. Switching from Eikon back to Atticus, the Atticus will seem very bassy and almost dark in comparison until my ears adjust once again. After my ears/brain adjusted, I could appreciate both of them. The difference between the two makes a lot of sense. At the End of the day, it’s a nice variance that prevents listeners from saying neither headphones cater to their listening preference.

Atticus seems to extend and emphasize sub-bass tones more than Eikon. Eikon seems to extend and emphasize upper midrange and treble tones more than Atticus.

Bassy+Warm+Good with rock and modern genres= Atticus

Bold+Responsive+More eclectic with genres and sources= Eikon

Build quality and accessories are a draw. Aside from drivers and tuning, they are identical.
 
 
 
Conclusion
If I could compare it to a real life application it would be like going to a family reunion and seeing an out of state cousin for the first time. Although it may be the first time you see them, you can definitely see a resemblance. Zach incorporated many aspects of the ZMF house sound into the dynamic driver of the Eikon and put it in one of the best built headphones I’ve had the pleasure of wearing.
 
If I had to pick between the Eikon and Atticus, I would personally go for the Eikon. The selling points for me are the way they make my favorite genres of music sound, how they work with the gear that I have, and how they lean more towards neutral than the Atticus. That DOES NOT mean that it’s a better headphone than Atticus. I’ve had several people come over to listen to them, and it’s about a 50/50 split between the two in terms of preference.
 
The Eikon is a phenomenally built headphone that sounds damn good. It caters to those who like a headphone that is dynamic and bold without venturing too far from neutral. While I don’t think the Eikon is tailored to everyone’s listening preference, it will hit a sweet spot for many.

This is going to be a hard product to rate because I feel it falls into a category aimed to please a particular demographic of audiophiles. The Eikon gets five and a half or six stars for build quality (yes, it’s that good). As far as sound, if what I’ve described in the review is what you prefer, give it four and a half of five stars. If it’s not what you prefer, lower it by a half of a star. I’ll leave the final star rating up to you. Just make sure to check into the ZMF booth and try them out yourself the next time a Head-Fi meet is coming to your area.
 
Upon the conclusion of this review, I am lowering the Atticus review by half a star. Not because it isn't an excellent headphone, but more to show that my personal listening preference leans towards the Eikon. I try to be very selective in what I purchase these days because the gear is starting to pile up. I plan on purchasing a pair of Eikon. Between the build and sound quality, they will have a place in my collection for a long time to come.
 

Thanks for reading and happy listening!

At the time this review was written, the Super Dolphin earphone was listed for sale on AK Audio Store’s Aliexpress website. Here is a link to their listing of the product:
 
https://www.aliexpress.com/item/2016-Super-Dolphin-6BA-In-Ear-Headset-DIY-Hifi-Custome-Made-Balanced-Armature-In-Ear-Earphone/32723650896.html?spm=2114.01010208.3.55.Bu7tPz&ws_ab_test=searchweb0_0,searchweb201602_5_10065_10068_10084_10083_10080_10082_10081_10060_9999_10061_10062_10056_10055_10037_10054_10033_10059_10032_10099_10078_10079_10077_426_10073_10102_10096_10052_425_10050_10051-9999,searchweb201603_1&btsid=5a7284a0-5602-4579-9fd5-2e3ea76cfb8f
 
Introduction
I’ve had some recent opportunities to review some excellent gear. Reviewing in-ear monitors is normally my cup of tea. The more high end stuff I hear, the more I am able to make sense of products I am covering.
 
We know what the premier brands for in-ear monitors are. These companies have made a big splash with their multi-driver monitors, offering various builds and driver variations. As we see new premier products hit the market, one thing remains fairly consistent. Multiple armature driver earphones seem to be the configuration for most of the premier manufacturer’s flagship models. Being able to manipulate and shape sound with various driver counts and components has made the hobby of high end earphones a very interesting realm to dabble in.
 
Smaller and lesser known companies have taken note of this multiple driver trend. In the last year we’ve seen a lot of small companies emerge, making similarly designed earphones in terms of driver counts. For these new companies there is definitely a learning curve. Much of what I’ve heard from these lesser known manufacturers are monitors that sound decent while being offered at cheaper prices. Of the earphones that I’ve heard that fall into this criteria, there is a decent price to performance ratio and a unique opportunity for customers to own an earphone with a high driver count without shelling out barrels of cash. Although they may be selling four, six, eight or more drivers in each channel, they usually aren’t selling the same refined and complete sound quality we hear from Noble, Empire Ears, JH Audio and so on (for the most part). Many times it’s an “almost but not quite” kind of thing. When you factor in price, it’s kind of a wash. I’m not saying that these companies can’t produce an earphone that sounds just as good as the top dogs at a better price, I’m just saying that I haven’t heard it yet. I make this an open invitation for these companies to prove me wrong.
 
The fact that people are taking leaps of faith in buying these lesser known bargain priced multi driver earphones in hopes that they find a TOTL sound is an indicator that many people want to see this happen. It has happened for hybrids and dynamics. I have little doubt that we will start to see some incredible multi driver earphones that rival anything on the planet for less than five hundred dollars. If you build it, they will come!
 
Today we will review the “Super Dolphin” earphone from the AK Audio Store. When my good friend Tamal said that he had a demo pair and wanted to hear my opinion on them, I wasn’t about to turn the opportunity down. I am as curious as anybody to listen to this type of stuff and see for myself if they can bring it in terms of audio performance. Today I will give my take on them, and go over them with a comprehensive review.
 
 
Disclaimer
I was given a free loaner of the Super Dolphin in exchange for my honest opinion and review. I am in no way affiliated with AK Audio Store. I would like to take this time to personally thank Tamal and the reps from AK Audio Store for the opportunity to experience and review the product.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

The Dolphin earphone was a demo model that did not come in a retail package. Because of this I am leaving this portion of the review blank.  
 
Specifications and Accessories
 
Specification
Driver :6BA
Sensitivty:112dB
Impendence :14ohm
Frequency response:8-25000Hz
 
Accessories
1X Pair Dolphin Earphones
1X Premium Cable (options of MMCX or two pin)
1X Clamshell Case
1X Set of earphone tips (non-specified)
 
 
Housings

The housing shape is somewhat similar to the universal line from Unique Melody but slightly larger. There is an abalone print on the faceplate. It’s a bulky black acrylic shell with a somewhat custom-ish shape.
 

Super Dolphin has a slightly wider than average nozzle. Three ports for sound are located on the end of each nozzle. Tip rolling is fairly easy to do, although narrower bored tips might need a little bit of stretching to get them to fit.
 
AK Audio Store offers customers the option of MMCX or two-pin connections. My review sample comes in two-pin and works excellent. If you are considering which one to get, I personally would prefer the two-pin. Your mileage may vary.
 
Cable, Y-Split, Cable Jack, Strain Reliefs

I LOVE the Super Dolphin cable. I assume the cable is silver tinsel plated copper with clear frosted jacketing. The cable is braided up to the Y-split, then twisted up to each channel. The cable is very flexible and avoids kinking and knotting. There is virtually no spring and minimal memory. The Y-split is made of frosted clear rubbery plastic material and comes with a chin/neck slider that sits flush with it and works well. Each channel’s  two-pin jack is angled and has a sturdy connection, and about two inches of the cable has a pre-shaped portion of cable with memory to help promote a consistent fit. I really like the way this is done, as it promotes a better fit than standard memory wire. The cable jack is a ninety degree design with the same frosted clear jacketing as the Y-split and two-pin jacks. Of all of the in-ear monitors I’ve come across, the Dolphin cable makes the top ten for favorite CABLES I've used.
 
Functionality
The Super Dolphin does not come with a mic/remote. Because they are a detachable cable earphone, this leaves the door open for and upgrade cable with these features. As is, the Super Dolphin is designed for music enjoyment. Plug in, play music, repeat.
 
Ergonomics, Fit and Microphonics, Isolation
These earphones are flat out bulky. With a shallow fitting tip, the Dolphin will provide a good fit, fill the concha of the listeners ear, and depending on the listener's ear it will most likely stick out of the just a bit. It has a somewhat custom fit, and doesn’t necessarily look bad when wearing them. If abalone finish is your thing you’re going to like them.
 
Super Dolphin is easy to wear once you get a good sealing tip with a shallow profile. I was able to pop them in my ears, secure them with the over the ear fit and chin/neck slider, and enjoy them for extended periods without having to readjust them or tinker with the cable. Isolation is better than the average universal in ear monitor, but not as good as a custom monitor. Microphonics are non-existent thanks to the over the ear fit.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
Coming in at twelve Ohms, the Dolphin falls in line with other multiple driver earphones. They are very sensitive and benefit from low powered DAPs and sources with the power output of a standard smartphone. Using a higher powered source will cause the Dolphin to have a background hiss and also pick up some EMI. Anything more powerful than a DAP in low gain is overkill.
 
I enjoyed the Super Dolphin most with my low powered and more colored sounding sources. The Dolphin sounded really good with my Fiio E18 in low gain, with my Rockboxed Clip Zip, and my LG V10. I wasn’t able to turn the Dolphin up to half way on my V10 before it was too loud to listen to. I will touch on this later in the review, but I preferred to use the Dolphin with any source that has a bass boost option.
 
Sound Signature

The Dolphin is a dry and somewhat cold sounding earphone that emphasizes mid-range/upper mid-range tones. They have a bass line that extends and is decent in tone, but is south of neutral and somewhat flat in it’s presentation. I consider the Dolphin to be an earphone for those who strive for accuracy and detail.
 
The Dolphin is the “anti-basshead” armature earphone. If I had to compare the Dolphin to something, I would say it is along the lines of a good pair of bookshelf speakers that are in need of an added subwoofer to bring the sound to life.
 
NOTE: I was informed that AK Audio Store has made improvements to the earphone’s bass response. Because I haven’t heard this “improved tuning” or heard anyone speak of it besides AK Audio, I will wait to edit the review. As it stands my impressions will be based on the review sample I currently have.
 
Bass
I’ll be flat out honest here, the Dolphin bass is shy, sterile and somewhat two dimensional. I can pick up the bass and don’t feel like the response is missing at any frequency range, but at the same time the balance in relationship to other frequencies is skewed for my preference. Turning the earphones up shows me that these earphones are capable of producing a decent amount of bass with plenty of impact, but when you get to a volume loud enough to get a sense of impact the other frequencies seem boosted to the point of it being fatiguing.
 
At the end of the day, it’s an already linear bass response that has been turned down the bass to below neutral. Bassheads are going to hate these things. Havi B3 Pro1, Etymotic and Hifiman RE-00 lovers will most likely be able to appreciate them, although they may have a touch less bass than the ones I just named (depending on the seal and fit achieved).
 
NOTE: The Dolphin is an entirely different earphone with a bass boost applied from your source. With the added oomph, the dolphin comes to life and offers a level of sound that I can appreciate much more than the stock tuning. Lower frequencies seem to balance out with upper midrange frequencies, and I can finally say that the sound is overall closer to what I perceive as neutral. Dynamics, textures, and even spatial queues improve with a bass boost.
 
Mid-range
Midrange is thin at lower mid-range frequencies and gets slightly more emphasized and aggressive as you move towards upper midrange frequencies. Male vocals and deeper sounding instruments have a slightly cold and dry presence. A positive about this is tuning is that it sounds very detailed.
 
As we move to upper midrange things seem to be more emphasized in every track I’m listening to. This creates a really nice effect with female vocals. Every sound at upper midrange tones pops. At moderate listening volumes the Dolphin has nice energy and midrange takes center stage. At louder volumes they can get a bit fatiguing and shouty.
 
Treble
Treble is fairly neutral, with a hint of sibilance around the 6 kHz range. At moderate volumes it is natural and engaging. At louder volumes it is okay aside from the sibilant ranges. To be honest, there are parts of the Dolphin tuning that are tuned up when they should be tuned down, and vice versa. I wish the 6 kHz region could have been tuned down just a touch. It would have made the Dolphin easier to listen to. Other than this mentioned spike, I find the treble to be adequate and overall natural sounding.
 
Soundstage and Imaging
Although tuned in back of the mix, the Dolphin has decent bass extension. Combine that with a very detailed response, I’ll say that these earphones present a decent sense of space. Although not huge, there is a sense of imaging with these earphones that I can appreciate.
 
Comparisons
Unique Melody Miracle V2 Universal ($1049 USD on many sites)
I am going to do this comparison because I feel as though this is the type of earphone the Dolphin mimics in terms of design and driver count. Although nowhere near the price, the similarities are there in terms of build. This comparison is not only to explain differences, but also justify why the Miracle V2 can be the price it is, and what the Dolphin does to warrant their lower price tag (and set the Miracle V2 for what the budget multi-armature driver earphones could strive for moving forward).
 
Comparing the two, the Miracle V2 is an overall more cohesive sounding earphone. All frequencies seem to be in better balance with each other, creating a more natural sound experience. Bass is more forward on the Miracle V2, packing more body and impact than the Dolphin. Lower midrange of the Miracle V2 has a touch more body, and upper midrange is slightly less aggressive. Treble is slightly less harsh on the V2. The midrange and treble of the V2 is smoother and easier to listen to at louder volumes. Staging is wider and deeper on the V2.
 
Build quality is a draw, but I give an advantage to the Dolphin in terms of cables. Accessories goes to the Miracle V2.
 
NOTE: This comparison is not done to shame the Dolphin, but more to explain that the Dolphin is not a substitute or cheaper version of something like the Miracle V2. You may be getting a decent sounding six driver earphone, but the tuning and sound refinement is not on the same level as elite flagship in-ear monitors. To be honest, I look forward to the days when I can write a review on a product like the Dolphin and say that this is the case.
 
Hifiman X RE-00 Massdrop edition ($35 USD on Massdrop)
I feel this is an important comparison to help readers understand the tuning of the Dolphin. For those who don’t know, the RE-00 is one of the flatter (measurement wise) and most perceivably neutral earphones on the planet.
 
Comparing the two, the RE-00 actually sounds like the Dolphin when used with a bass boost. Yes, the Dolphin has less bass impact than the very linear RE-00. The Hifiman earphone has a touch less upper midrange tuning, and somewhat similar treble tunings. Super Dolphin has much better micro details and separation. Dolphin also seems to work better with low powered sources than the sixty-four Ohm RE-00.
 
Accessories goes to the Dolphin, as the RE-00 offers next to nothing. I give the Dolphin a decisive advantage for having a very nice two-pin detachable cable.
 
Conclusion
The Super Dolphin is a step in the right direction for AK Audio. They have brought to market a multi-driver earphone that will be a nice option for those looking for a bass light and vocals forward tuning. While I don’t think this tuning is going to make them a giant killer of an earphone for the masses to run out and buy, they definitely offer something unique that some will appreciate.
 
The six drivers aspect is cool if you are looking for something with multiple armatures and don’t want to shell out a ton of money. Truth be told, I don’t care how many drivers a company is selling, if it doesn’t create an enjoyable music experience I don’t care if it has one hundred drivers in each side.
 
Do I think this is the best earphone you can buy for under three hundred dollars? For my preference, the answer is no. Even still, they will cater to a small demographic of music lovers who feel that most in-ear monitors tend to exaggerate the bass. There is definitely people out there who will appreciate the tuning of the Super Dolphin.
 
If I were to make suggestions in how to improve on the product, I would hope that future tunings have more bass presence (approximately a 5 dB increase) and a slight reduction in upper midrange and sibilant ranges. Doing so would even out the sound and make them more neutral and add more life to the tuning. Aside from that, keep the cable (it’s great) and maybe try to make the shell a bit smaller. I know all of this is possible. If AK Audio can pull this off without sacrificing the detail and sound separation we will have a game changer for sure.
 
When rating a product I have to take all criteria into account. I give the Super Dolphin four and a half stars for build and design, four stars for for overall fit, two and a half stars for accessories, and two and a half stars for sound. Add a bass boost and that sound rating jumps up and least one star or maybe more. All things considered I will give the Dolphin three and half stars. They aren’t going to change the landscape of how we should price top of the line gear. They may have the driver count, but they don’t have the same balance and sound refinement, at least not yet. I look forward to seeing what the folks at AK Audio come up with in the future. After hearing these, I think it’s possible we will soon see them release a “Giant-Killer Whale” that will proceed the “Super Dolphin.”
 

Thanks for reading and happy listening!

At the time of the review, the ZMF Atticus headphones were listed for sale on ZMF’s website. Here is a link for information and purchase:
 
http://www.zmfheadphones.com/zmf-originals
 
Introduction
A couple of weeks ago my beloved Chicago Cubs won their first world series in over one hundred and eight years. Until then, baseball season has always ended up the same for me as year after year turned into decades upon decades of mediocrity. It took my family three generations before I could finally say that our family-favorite team has reached the summit of the baseball universe. The celebration hasn’t stopped for me. It feels great to say it for the first time in my life that my favorite team is the World Series champion!
 
You might be wondering what this all has to do with a headphone review, right?
 
I think the first of anything is often times the most memorable. Who can forget their first kiss, car, job or pet? Do you remember the first “audiophile” pair of headphones you ever had? If you’re reading this I’m guessing the answer is yes.
 
Well my friends, this review is in regards to a first for Zach at ZMF. Introducing the Atticus and Eikon headphones, the first officially exclusive pairs of ZMF headphones.
 
If you go to a few Can Jam or Nationally advertised headphone meets and I can almost guarantee you will bump into Zach at least once. You’ll see a booth loaded with modded Fostex headphones and high end amplifiers. You’ll meet one heck of a nice guy at the same time.
 
I’ve known Zach for a little over two years. Living on the outskirts of Chicago I often times bump into him at the Chifi-Unite and Axpona Audio events. Usual conversations include baseball and what new stuff we’ve brought to the meets. I bring mostly in-ear monitors so I’ll fill him in on what the good new products are. He will return the favor in regards to full size headphones. Zach is not only a manufacturer, he’s a Head-Fier just like you and me. He has a very nice collection of great headphones and sources.
 
Side talks mentioned whether or when Zach was going to be releasing an exclusive ZMF design and going above and beyond the world of modded Fostex cans. I’m glad I was involved in these conversations. I was able to witness the development of the headphone we will be reviewing today.
 
About eight or nine months ago I got a message from Zach asking if I would be interested in listening to a side project he’s been working on. Having the Omni and being a fan of the ZMF sound, he didn’t have to ask me twice. I knew this would be interesting. What came in were prototypes of what was called the “Omni D” (D stands for dynamic driver). I’d give it a listen, provide feedback and send them back to him. This happened several times over the course of the last year. This was the process of Zach was tinkering with drivers, looking for the best design to use in his inaugural headphone release.
 
After nailing down the driver he worked with Vibro Labs on parts and design. From the start the mission was to offer the community a headphone that carries on from the sought after modded fostex line and taking the ZMF experience one step further. If you know Zach, he is a tinkerer, an artist, and above all a perfectionist. If the new headphones were going to be a ZMF they would have to be well built and sound great.
 
The Rocky Mountain Audio Festival was the first event which featured prototypes that fans could give a listen to. Feedback was very positive. With it being official, a Head-Fi thread was started and discussion of when the headphones would be released commenced. Pre-ordering has started with models beginning to ship in February. With this said, let’s take a look and listen to the Atticus.
 
Disclaimer
I was given a free loaner pair as an opportunity to review the Atticus in exchange for my honest opinion and review. I am in no way affiliated with ZMF. I would like to take this time to personally thank Zach for the opportunity. Hey Zach, even though you’re a Red Sox fan I gotta say, Go Cubs Go!!!
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW
The new package for the Atticus will be a slightly larger Seahorse case than previous offerings, providing mores space for for storage and transport. ZMF owners will be getting an upgraded owner’s card as well as an owner’s manual. An improved stock cable will also come in the Atticus and Eikon packages. At the moment I have only the headphones so I can’t provide pictures of these items. However, I’ve asked Zach and confirmed what will be different from the previously mentioned ZMF lineup.
 
Specifications and Accessories

Atticus features a custom made fifty millimeter TPE (thermoplastic elastomer) diaphragm driver. The driver comes in at 300 Ohms, making it about as power hungry as a AKG K7XX or Sennheiser HD600.
 
The following comes in the Atticus package:
1X ZMF Atticus TPE Driver Dynamic Headphone
1X Pair ZMF Omni and Eikon Pads
1X Lambskin headband padding
1X Stock Cable
1X Seahorse SE430 or S3 6500 Case
1X Owner’s Card and Manual
 
Overall Build

At the time of writing this review and with no exaggeration the Atticus (and Eikon) is one of the best headphones on the planet in terms of overall build quality. When receiving the final production model of the Atticus I couldn’t get over how solidly built everything is. They are flexible and durable at the same time. Everything is either lightweight spring steel, aluminum, wood, lambskin or leather (with the only exception being the special application of special plastic for the TPE driver and driver grill).
 
I don’t know about you, but one of the first things I think of when I take a look at these headphones is the legendary Sony R10. These are NOT knockoffs by any means but there are some very apparent similarities when looking at the two:

Picture of the Sony R10. Picture is borrowed from a Head-Fi review of the Sony R10. This is not my picture. I do wish I had a pair!
 
 

Starting with the headband, a very flexible spring steel band is coated is clothed in a padding lined lambskin sleeve. Although not on my prototype Atticus, a leather band will accompany the the spring steel band, giving the headphone an added level of strength and resilience. This leather piece will be the portion of the headband that will make contact with the top of the user’s head. The headband screws onto machined aluminum pieces on each end. These aluminum pieces are hinged to chrome metal bars that also swivel at the connection where the arms connect to the cups.
 
The Atticus cups currently come in two different types of wood. Options are African Padauk or Cherry woods. There are options whether or not you would like a hand varnished or factory sprayed finish. From the description, picking the stain will be a matter of deciding what whether you want a handmade appearance or something more uniform in appearance. As with previous ZMF releases we could/should expect to see some more exotic woods offered in the future.
 
The Cups and pads are pretty big and bordering on huge. There’s plenty of room for just about any type of ear size and shape with the Eikon pads. The Eikon pads are stiffer than the Omni pads and sport a slimmer profile, leaving less room between the driver and the listener’s ear. The result is a slightly more musical and dynamic response. With the softer and deeper fit of the Omni pads, the Atticus is a touch leaner and analytical sounding. The differences aren’t significant but are definitely noticeable. Considering the fact we are focusing on the new product we will continue the rest of the review (including sound) with the Eikon pads.
 
Cable, Cable Jacks, Strain Reliefs
I used the Braided cable that I ordered for my Omni with the review samples. For the record, the Atticus and Eikon use the same cable and connections as the previous ZMF models. I know Zach is currently working on a deal to get the best stock cable he can get for the package. Worst case scenario, we will see the basic stock cable for the Vibro and Omni come in the Atticus/Eikon package. Once this is settled I’ll edit this portion of the review. For now, rest assured a functional cable will ship with the package. The only question to be answered is how nice this cable will be.
 
Comfort, Isolation, Microphonics

The flexible spring steel and hinged swivels are extremely secure and work excellent. There is no popping or crackling when contorting and rotating the cups into a secure and comfortable fit.
 
Between the flexible and and various hinging actions, you can literally take each channel and contort them to fit ANY shape or size of head on earth.

Introducing Hisoundfi Jr. The guy is way more handsome than me. I might use him for these pictures from now on...
 

I was able to get them to fit my grown man head and also placed them on the tiny cranium of my dog, an English Setter. I swear, that dog sat there listening to Beck’s “Sea Change” album for like a half hour until I took them back. Just for the record they’re canine approved. Maybe he liked the smell of the leather, or was it the musical and engaging sound signature? Maybe both?
 
There is virtually no microphonics to report, and isolation is that of a good sealing full size closed headphone. Although there are what appears to be vent holes in the Atticus cups, they are essentially a closed headphone in their design. When tuning the Atticus, Zach uses the vents to fine tune them and guarantee channel matching. As always you will not get a pair of ZMFs with channel imbalance. Each side is measured and tweaked to match as close as possible, guaranteeing each ZMF owner to get the music experience as it’s intended to be.
 
Sound Review

I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
NOTE: Unlike other reviews, Zach has kindly borrowed his micro ZOTL from Linear Tube Audio to be used with the Atticus. This helped to draw a more accurate impression with a higher end amplifier than I currently have. Thanks Zach! I’ll bring it back in one piece, promise!
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
The Atticus comes in at 300 Ohms, meaning that the power requirements are more demanding than many smartphones in today’s market. However, Atticus sounded pretty decent through an Iphone 6 Plus headphone out jack. With my LG V10, the phone recognized the high impedance demands and adjusted its output. The sound quality I got from the V10 was just as good as any portable DAP I tried them with. The Atticus sounded great out of my Fiio X7 via the 2.5 mm balanced output. Other sources that sounded good were the Ifi micro iDSD and just about any source paired with the Shanling H3.
 
When I first received final production samples of the Atticus and Eikon I told Zach that I was finding the Atticus to be a bit too full sounding for my preference. Zach sent a loaner of the Linear Tube Audio micro ZOTL amplifier to see if I heard the same results. Although a tube amplifier, the ZOTL puts out a linear and detailed sound (with the stock tubes) from what I heard. The results I got with the ZOTL and Atticus paired together were phenomenal. Testing this amplifier with Atticus unleashed its full potential and definitely gave me a very big “WOW” factor when listening to them.
 
Experimenting with above sources led me to a confirmed conclusion. The Atticus is a somewhat source dependent headphone. With a leaner or more neutral sounding source the Atticus rocked. Pair the Atticus with a warmer source and the result was what I considered a colored sound that doesn’t maximize the Atticus potential. Examples of sources that I found to be a bit to warm for the Atticus were the Luxury and Precision LP5, Ibasso DX80 (without D14 attached), Cayin C5, and my little Bravo Audio Ocean tube amplifier. In my opinion, the Atticus sound is already warm and expansive, so adding a source that further emphasizes these qualities will be overkill. Your mileage may vary.
 
In summary, if you are considering what headphone you might like most you must first take a look at your music sources determine what sort of sources you have to pair them with. This is only my opinion, but if you plan on using a ZMF dynamic with a Warm and expansive sounding tube amp, you might get better results with the Eikon. If you have a linear and detailed amplifier like the ZOTL or a solid state amplifier that doesn’t emphasize the lower frequencies, Atticus is right up your alley.
 
NOTE: The Atticus and Eikon sound really good in their own way with the micro iDSD form iFi. I consider this source to represent a middle ground in terms of source application.
 
NOTE: An OTL amplifiers output does make a difference in how these sound. I will base my review impressions primarily using the ZOTL amplifier.
 
Sound Signature
I consider the Atticus to be tubey sounding without the tubes. When paired with the right source, the Atticus is warm and rich with a complimentary sparkle at higher frequencies. If I had to categorize them with other headphones, I would say they have some of the traits of a Focal Elear or Sennheiser HD650. There is thick note presentation with complementary sparkle. The ZMF sound we’ve enjoyed over the years has been incorporated into this pair of cans.
 
Lower frequencies are somewhat bold and rich. The neighboring frequencies take a small step back from the rest of the tuning without seeming distant or losing their sense of clarity and space. Omni owners, although not identical you’ll definitely hear some similarities with the tuning of the Atticus.
 
Bass
Bass on the Atticus is forward with relatively equal amounts of punch and rumble. Sub-bass extends decently and has average attack and decay for a dynamic driver. During Daft Punk’s “Doin’ it Right” mid-bass tones were slightly ahead of the lowest of low sub-bass tones, but not to a level that I could fault it. The earth shaking low notes can be heard and is somewhat authoritative but not as forwards as some mid-bass frequencies.
 
While no one is going to righteously say that the mid-bass shy on the Atticus, at the same time it isn’t going to ruin the experience for most people who listen to them. There’s a fullness in the mid bass along the lines of Focal’s Elear that fattens up the sound. This prevents me from saying that these headphones have an extraordinarily airy or open presence. At the same time many people are going to fall in love with the Atticus for this very reason. The bold and rich lower registers work great in terms of adding dynamics and keeping along the lines of what ZMF sound is all about.
 
The Atticus manages to be very bold and rich with it’s lower frequencies without venturing into basshead territory. It’s about as much bass as I feel a headphone can have before I start considering a headphone to be too bassy. Think along the lines of the Omni but with the focus moved from sub-bass to mid-bass.
 
Mid-range
The Forward mid-bass has a gradual descent into lower mid-range tones. Despite the tapered recession, the overall sensation I get from the Atticus is a somewhat thick note presentation. The Atticus offers an overall warm and slightly colored sound with fair amount of detail.  
 
Male vocals (primarily male vocals) manage to be warm and smooth without venturing into being overly weighted. While we are on this subject this is one of the criterias where source plays such a big part in the listener’s impression. Using a warmer and more musical source might put a bit too much weight and color on lower mid-range sounds. However, for the most part this is easily avoided. Female vocals sound awesome on the Atticus. They come across as smooth and beautiful, avoiding any sense of shoutiness or grain. One thing is very apparent, the Atticus didn’t have any sense of distortion or cone breakup at midrange sound, even with complex music passages. Thick? Yes. Distorted? No.
 
Midrange instruments sound big and full. There’s a girth to midrange sounds that make the Atticus a musical sounding headphone. Going off memory, the Atticus mid-range tuning follows somewhat in the footsteps of the Audioquest Nighthawk but with slightly less mid-bass, resulting in a slightly more natural, and overall more refined sound to my ears. Your mileage may vary.
 
Upper midrange of the Atticus is very smooth and natural at the same time. We are in a current trend where many earphone manufacturers intentionally but a plateau around the 2-4 kHz range to make vocals pop. That isn’t the case with Atticus. This tuning makes the the mid-range finish smooth and organic. Any less and upper midrange and I might be saying the Atticus is bordering on dark. Any more upper midrange and I might be saying they don’t maintain the ZMF sound I enjoy so much.
 
Treble
I personally think that dynamic drivers produce superior treble responses when tuned correctly. To my ears, there’s something about the attack and decay of cymbals and hi-hats with dynamic drivers that most armature and planar magnetic drivers can’t achieve. Zach has taken the smooth, relaxed and extended treble from previous models and applied the same tuning to a dynamic driver. Cymbals sound great, but are also not forward to the point of being harsh. Pronunciations of the letters S and T are easily heard and avoid coming across as sibilant.
 
If there is one aspect in terms of tuning I enjoy the most, this is it for the Atticus. The tuning compliments the other frequencies, with enough presence to compliment the rich and thick lower tones. It is toned down enough to say it finishes smooth, and tuned up enough to say that it gives the Atticus some nice sparkle. The treble compliments well with lower registers, making for a very musical and enjoyable listening experience.
 
Soundstage and Imaging
The Atticus is in my opinion a closed back headphone with a bold lower frequency range. These two aspects makes it a mixed bag for me in terms of soundstage. Vocals and instruments can sound massive and endless in terms of space, but when the bass of some tracks take over it can constrict the size of the soundstage. Although better than average and excellent when compared to full size closed headphones, it doesn’t offer the out of head stage of some of the elite semi-open headphones I’ve heard.
 
Imaging is slightly intimate but there is an excellent sense of instrument placement. This is one of the major aspects that makes Atticus a great headphone. Thick and bold vocals and midrange instruments take center stage. Bass seems to come from around and outside of the center stage vocals and instruments. As mentioned earlier, treble compliments every aspect with a smooth and very natural finish that vibes well with the overall sound.
 
Comparisons

ZMF Eikon ($999 USD on ZMF website)
The key thing to note is the reason why Zach is releasing two headphones at the same time. They are designed to cater to what I feel are two types of listening preferences. The Atticus is for those who want a more rich, dynamic, bassy and musical sound signature. The Eikon is for those who want a more balanced and linear sound while still getting a sense of the ZMF signature “house sound.”
 
Comparing the two, the Atticus is definitely the more colored, bassy and smooth headphone. Bouncing back and forth makes me appreciate what Zach has done here. Listening to both with the ZOTL, there is an adjustment period when switching between the two. Switching from Atticus to Eikon, the Eikon seems initially crisper and almost shouty in comparison until my ears adjust. Switching from Eikon back to Atticus, the Atticus will seem very bassy and almost dark in comparison until my ears adjust once again. After my ears/brain adjusted, I could appreciate both of them. The difference between the two makes a lot of sense. At the End of the day, it’s a nice variance that prevents listeners from saying neither headphones cater to their listening preference.
 
Atticus seems to extend and emphasize sub-bass tones more than Eikon. Eikon seems to extend and emphasize upper midrange and treble tones more than Atticus.
 
Bassy+Warm+Smooth= Atticus
 
Bold+Responsive+Crisp= Eikon
 
Build quality and accessories are a draw. Aside from drivers and tuning, they are identical.
 
ZMF Omni (Bocote) (base model at $899 USD on ZMF website)
The Omni has held the number one spot on my list for quite some time. I love the bass response, detail and musicality. This combined with an impressive soundstage, I don’t see these things leaving my collection any time soon.
 
NOTE: One thing I have to mention about this comparison is that my Omni was re-tuned. My Omni has a slightly brighter tonality than stock. Please take this into consideration when doing the comparison.
 
Comparing the two, I can hear more similarities between the two more than differences. Omni sounds overall a touch more detailed and slightly more responsive lower frequencies. Atticus sounds a little bit thicker in the mid-bass and lower midrange tones. For this reason the Atticus vocals and mid-range tones come across more forward and with more weight than the Omni. Atticus is a touch warmer than my re-tuned Omni. In terms of treble, I prefer the tuning of Atticus. Comparing the two, cymbals and hi-hats along with the pronunciation of the letters S and T sound a little bit artificial with Omni as compared to the Atticus dynamic driver presentation.
 
In terms of design build quality they are both excellent, but Zach has gone next level with the Atticus/Eikon. You get the same premium materials, but the new design is far improved. The flexibility, and improved headband and roomier cup design makes them easier to wear than the Omni. The mentioned improvement in the accessories package is a big plus.
 
 
Conclusion
Zach did more than just release another product, he showed us what he is capable of offering the Hi-Fi community beyond the modded Fostex cans. This isn’t just a first step for him, it’s a vision based off of several years in this hobby. Hard work and tireless experimentation and tweaking has transformed his vision into a reality. It’s the first ZMF original, and I think that’s pretty awesome.
 
The Atticus is a phenomenally built headphone that sounds damn good. It caters to those who like a warmer and richer sounding headphone while maintaining a nice sense of sparkle. While I don’t think the Atticus is tailored to everyone’s listening preference, it will hit a sweet spot for many.
 
This is going to be a hard product to rate because I feel it falls into a category aimed to please a particular demographic of audiophiles. The Atticus gets five and a half or six stars for build quality (yes, it’s that good). As far as sound, if what I’ve described in the review is what you prefer, give it four and a half of five stars. If it’s not what you prefer, lower it by a half of a star. I’ll leave the final star rating up to you. Just make sure to check into the ZMF booth and try them out yourself the next time a Head-Fi meet is coming to your area.
 

Thanks for reading and happy listening!

At the time this review was written, the  Earsonics S-EM9 was listed for sale on Musicteck’s online store. Here are a couple links to listings of the product:
 
https://www.amazon.com/Earsonics-S-EM9-ear-Earphones-connector/dp/B01GATE7YO/ref=sr_1_1?ie=UTF8&qid=1477836191&sr=8-1&keywords=s-em9
 
https://shop.musicteck.com/products/earsonics-s-em9
 
 

Introduction
With the release of Iphone 7 the market for wired earphones and headphones buyers has been cut by a sizeable percentage. What’s left are Android owners (I salute you) and audiophiles (double salute). Personally, I prefer adding wired earphones to my shopping cart. I’m not only an Android owner, I have a drawer full of DAPs and some desktop gear to maximize their wired capabilities. Old school? Nope… Allow me to explain...
 
Say what you will, the wireless era is going to go through a learning curve before I jump my ship full of wired gear. A WIRELESS EARPHONE DOESN’T OFFER THE SAME FIDELITY AS A WIRED PAIR, ESPECIALLY A HIGH END PROFESSIONALLY TUNED PAIR OF EARPHONES. The technology is getting better, but it’s not to the point of saying a wireless earbud can touch the best wired in-ears on planet Earth.
 
Flagship earphones are here for a reason. Those last bits of micro details and layering/texturing of sound that a flagship earphone can produce are the difference between “just listening to music” and getting a goosebump inducing moment of musical clarity. That, my friends is the reason we spend the extra money for high end audio gear. We know it when we hear it, or at least we would like to think so. The sound and experience of a high end audio product will take our listening sessions to another level if we find the right one for us.
 
Earlier this year I got my ears on a pair of recently released high end in-ear monitors. The sound was so good I didn’t want to take them off. The name of the product isn’t important but the experience of this happening is. It was one of the first times a earphone had raised the proverbial bar of excellence in a while.
 
Headphones have not become an uber spiritual thing for me, but I will admit that I am on a conquest to find that one earphone/headphone I can plug in and be whisked away to another dimension of music bliss. When the tuning of an earphone can get the dopamine receptors firing you must ask yourself, “is this worthy of flagship status and price?” When a pair of earphones can induce goosebumps and make the hair stand up on your neck stand up the answer for me is yes. If it does anything less than that, the answer is no.
 
Going to shows and discussing earphones, some of the people I spoke with mentioned that Earsonics was one of the best in-ears on the planet. Several times the guys mentioned the SM64 and Velvet earphones. I had a chance to hear the SM64 and although it sounded good I didn’t get a huge wow factor from it. Reading other reviews on the Velvet, my interpretation of the reviews I read indicated that maybe it would be a little too warm and smooth for my preference. I can’t confirm this, but if asked if I would listen to and review the Velvet or review another product from Earsonics, I would have said that I’d rather go straight for the flagship and see what it is they consider their best.
 
A couple months ago I was asked if I would be interested in reviewing the S-EM9. I jumped on the chance. I’m going to use this introduction and conclusion to reaffirm that they sound awesome. Let’s go over them now with a comprehensive review. I hope my description will give you an idea of how the product performs.
 
During the review process, Earsonics has introduced two newer (and more affordable) models in the ES lineup. Here is a link to the ES2 and ES3:
 
ES3
http://www.earsonics.com/in-ear-monitors/es3/
 

ES2
http://www.earsonics.com/in-ear-monitors/es2/
 

 
Disclaimer
I was given a free loaner sample of the S-EM9 in exchange for my honest opinion and review. I am in no way affiliated with Earsonics. I would like to take this time to personally thank Max for the opportunity to experience and review the product.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

The S-EM9 comes in a black box that is sleeved in a white glossy sleeve with an enlarged picture of the product on the front. The back of this sleeve is blank aside from a barcode.
 

Removing the sleeve, I’m greeted with a medium sized black box with a silver stamp. Removing the lid reveals the entire package
 
Specifications and Accessories
 
Specifications
*Sensitivity: 121 dB / mW
*Frequency response: 10 Hz -20 kHz
*DCR 38.5 ohm
*Driver: 9 drivers with impedance correction filter 3-way
 
Earsonics (like other high end manufacturers) don’t give a lot of information in terms of specifications. Things I do know is that the S-EM9 uses a nine armature driver design. There is a single armature for bass frequencies, four dedicated to midrange playback, and four more drivers to handle the high frequency range. The S-EM9 seems to have less sensitivity issues as compared to other similar multi-armature earphones.
 
Accessories
1X Pair of S-EM9 flagship earphones
1X Braided two pin cable (MMCX option is available)
1X Clamshell case
3X Pair dual flange silicone tips (1X S/M, 2X M/L)
1X Pair single flange silicone tips (one size fits most)
2X Pair foam tips
2X Disposable sanitizing wipes
1X 6.5 mm to 3.5 mm adapter
1X Cleaning tool
 
 

Although you will get everything you need in terms of using them, the package is not as premium as other flagships in its price range. I was not able to get a good fit with the included tips, and the clamshell case is more on the generic side of things. A more premium cable, a more heavy duty carrying case, and a larger and higher quality selection of tips would help justify the S-EM9 asking price. Because they perform so well, I can look past this to a certain extent. However, if I bought a high end pair of earphones like this, I would hope to be able to use and protect my investment without having to invest in an aftermarket Pelican Case, aftermarket tips and possibly an upgrade cable with a microphone and remote for my smartphone.
 
Housings

At first glimpse the S-EM9 shells look like they are on the larger side, but wearing them is a different story. More on this in the fit and ergonomics portion of the review.
 

The S-EM9 is an all acrylic shell. It has a glossy finish with distinctly separate logos printed on each side. This makes it easier to determine which channel is which. The form of the acrylic shell makes for an ergonomic fit. The nozzle is another story.
 

The nozzles of the S-EM9 are one aspect I found to be extremely underwhelming in terms of design. The nozzle is slightly more thin and shorter than the average universal in ear monitor. On top of that, the nozzle has no lip to hold ear tips in place securely. I was not able to get a secure fit with any of the included silicone tips, and the foam tips of the S-EM 9 created a seal, but also took away from their overall fidelity. Tip rolling was a challenge to not only find something to create a seal when wearing them, but also finding something that would stay on the short and skinny nozzle. I settled on a pair of M/L Spinfit tips. Not only did they help me get an ideal fit, they offered a level of clarity and balance that I couldn’t achieve when wearing the stock foams. Your mileage may vary.
 
Cable, Y-Split, Cable Jack, Strain Reliefs
The cable looks very familiar to another brand’s stock cable. If I am correct this is a Plastics One cable. Anyone familiar with these, there you go.
 

The cable is a black jacketed and somewhat thin and very flexible braided cable with virtually no spring or memory. Although not the highest quality and most durable cable you will ever see, it’s fun and easy to use. The Y-Split is a black piece of rubber/plastic and seems durable. A clear rubber chin/neck slider comes attached and works well to snug things in place. Two and a half inch clear jacketed pieces of memory wires are attached to the two-pin connections of my review pair, making it easier for listeners to secure the fit of each channel. Although I am sometimes not a fan of memory wire, the memory wire of the S-EM9 is not too long and does it’s job well, improving the wearing experience. Strain reliefs seem adequate. I don’t see this cable breaking any time soon.
 
Functionality
A microphone and remote cable isn’t included in the package. The replaceable cable of the S-EM9 opens the door to many aftermarket offerings. The stock version of the S-EM9 is geared for music enjoyment and it does a great job at it.
 
Ergonomics, Fit and Microphonics, Isolation
If you gave me just the stock package of the S-EM9 (and no aftermarket tips) I would have to post a mediocre review. Stumbling on a pair of Spinfits that work well, I can maximize the sound quality of the S-EM9 and hear it for what it is capable of. I promise you, if you can get a tip that seals decently and comfortably, these will have a fair chance of being the best sounding in-ear monitor you’ve ever heard. The disproportionated nozzle makes getting to the promise land of what makes these special more of a challenge. Once you’re there, the reward is well worth it. Of the people I know that have heard these, not one person is yet to say they aren’t one of the best sounding earphones they’ve heard (after getting a good fit). Getting a good fit and seal are the most challenging, but also the most important part of what makes the S-EM9 so special.
 

The fit of the S-EM9 depends greatly on what I’ve mentioned above. Finding the right tip for my ears was a “AHA!!!” type of moment. Now that I’ve found the right tip, I love how they fit. Prior to this I was somewhat frustrated as I fiddled with the stock variations. An added benefit is also having a housing that fills the concha of my ear and sits fairly flush. In my opinion they have a nice look while wearing them around. The fit is “custom-ish.”
 
With the right seal the S-EM9 gives listeners a good amount of isolation, although not at a CIEM level, it is excellent for a universal monitor. Microphonics are under control thanks to their over the ear fit. When used in combination with the included chin/neck slider, microphonics are virtually eliminated.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
I was able to use the S-EM9 with just about any portable DAP I had. Some of my more high powered portables and sources with high gain would yield a faint hiss and there were some traces of EMI in the signal. Use any portable device on low gain and your source will be at least somewhat ideal. For a multiple driver earphone, the S-EM9 is pretty universal in terms of source. It performs better in terms of source matching than many other earphones with similar designs.
 
The S-EM9 is overall pretty balanced sounding. Because of this I didn’t need to worry too much about source matching. A bassy and more colorful DAP would make the S-EM9 follow suit. The same could be said about the opposite type of source.
 
You can stream top forty radio on your smartphone and get some great fidelity from your S-EM9. Plug these things into a high fidelity device with FLAC and DSD files in low gain and you will be rewarded with added texture and detail that is sure to impress. My favorite combination of gear during the review process was the S-EM9 and Fiio X7 with AM3 amplifier module and 3.5mm output (250 mW @ 16 Ohm). I didn’t mind taking them with me and plugging them into my LG-V10 either.
 
Sound Signature
Words that come to mind when describing them are Delicate, Precise, Unique, Slightly Musical and Controlled. In terms of sheer music enjoyment, this might be on the top of the list for me. This is a signature that doesn’t fatigue, doesn’t get boring and doesn’t fail to impress. In terms of tuning the S-EM9 is a masterpiece to my ears. For whatever reason, the S-EM9 has the ability to make every genre of music sound like it was made for it. I can randomly play my entire music collection on random and enjoy the next song just as much as the last. It’s a slightly holographic and very controlled sound. The tuning seems to have been split into three frequency ranges, then perfected with ideal driver applications for each range. To be honest, it’s tuning seems partly artificial but entirely awesome at the same time.
 
I can see these being many audiophiles favorite in ears. I can see them being used for mixing monitors and music production. The S-EM9 has nailed it in terms of tuning. It’s balanced, controlled and entertaining sound that is sure to impress.
 
Bass
Before getting the review sample I had my doubts about how a single armature driver would sound in combinations of multiple driver counts at other frequencies. Those questions were quickly answered at first listen. The S-EM9 bass is somewhat rare in the sense that it performs more like a dynamic driver than anything else I’ve heard. The S-EM9 has a nicely tuned (and not overly done) armature sized subwoofer installed in each channel. It’s not the tightest bass you will hear, and it is somewhat soft in attack and decay, but at the same time its tuning adds more to the ambiance of the earphones than it does take away. I feel like this is where the added sense of the musicality is located. There is a refrained sense of power at low frequencies.
 
S-EM9 has equal amounts of punch and rumble. It is not loud and overbearing, and has the sound characteristics of very large subwoofer in a high end home entertainment set up. Bass will be big and bold when it needs to be. It will also be polite and inoffensive during times where bass is not necessary. The overall feel of the S-EM9  is that the bass is well rounded, fatigue free and overall fun to listen to. It’s a little more bass than what a person who wants a cold and linear response would go for, and less bass that what bassheads are out to get. The S-EM9 has really dialed it in for audiophiles who want a sweet spot geared for music enjoyment.
 
Midrange
Midrange of the S-EM9 is fabulously done. I would say that it’s a slightly holographic, yet beautifully layered sound. Depending on what you’re listening to, the stage on the S-EM9 can go from very small and intimate midrange to sounding wide open and airy. Where the S-EM9 excels is in its ability to handle multiple sounds at the same time. Beck’s album “Sea Change” rendered some midrange textures that brought a deeper appreciation of how well the album was mastered. David Cambell’s lyrics go from faint and isolated to large and spacious depending on how the track was recorded. It’s masterfully done stuff that is rendered fabulously with the S-EM9.
 
Lower midrange is incredibly neutral to my ears. There’s smidge of color that prevents them from being considered flat and boring. At the same time they don’t venture into the territory of sounding warm. You will get every detail at an elite level. There’s a soft attack at this frequency as compared to most other earphones. The result is again something that I find fatigue free and fun to listen to.
 
As we approach the upper midrange frequencies of the S-EM9, things get a little more forward to my ears. The S-EM9 has an upper midrange that take a slight step forward. The result is vocals and upper midrange sounds that pop, especially during harmonies and times when multiple instruments are playing simultaneously. Harmonies and female vocals sound spectacular with these earphones. Acoustic recordings are great.
 
I invite you to play your most complex music passages and see just how well the S-EM9 handles every last detail of sound. The clarity at midrange and treble frequencies is phenomenal. It’s a mostly smooth tuning with a little upper midrange bump to add some excitement and prevent the sound from being overall too soft. Depending on what you’re listening to, the S-EM9 midrange will go from refrained and polite to upfront and aggressive. I can’t pinpoint the tuning as being forward or back of the mix because the unique delicacy and midrange dynamics makes for a very interesting and entertaining listening experience.
 
Treble
For an armature driver configured earphone, the S-EM9 is one of the more smooth yet detailed and clear treble responses I’ve heard. The S-EM9 is able to give you all the treble without any sharp edges. Compared to other earphones the S-EM9 will sound like the treble has been tuned in balance with the neighboring midrange. You will get enough detail and extension needed to say nothing is lacking. Once my ears adjust to the S-EM9 tuning I can further appreciate the treble tuning. The S-EM9 sounds very balanced and treble is perceived as accurate and fatigue free at the same time.
 
You will hear hi-hats and cymbal crashes with great clarity but they won’t be as forward as some other V or U shaped earphones. Pronunciation of the letters S and T are crystal clear and never render themselves as harsh or sibilant. Even at louder listening volumes the treble is detailed and smooth at the same time. Several times over the course of using the S-EM9 I would look down to see that I had turned the volume up maybe a bit too loud. The S-EM9 is fun to listen to at loud volumes, just be warned.
 
Soundstage and Imaging
Soundstage of the S-EM9 is entirely dependent on what is being played. If you’ve listened to enough earphones, you will eventually come across earphones that have a somewhat artificially large soundstage because of a V-shape sound signature. The S-EM9 doesn’t have that type of thing going on. When the track calls for an intimate soundstage, the S-EM9 sounds very natural and intimate. In the same breath the S-EM9 can sound absolutely huge when called upon. With incredibly complex music passages, the S-EM9 sounds very clear and almost artificial at times. Some may deduct from the midrange and soundstage for this. To my ears I see this as unique and very fun to listen to. Vocal lovers, if you are in the market for a TOTL in-ear monitor, see if you can give these a try. They shouldn’t disappoint.
 
Imaging is excellent. During Rodrigo y Gabriela's “The Soundmaker” I could close my eyes and envision the placement of the guitars around me. The balanced tuning combined with excellent clarity makes for some fantastic sense of placement and space. Although not the best I’ve heard for an in-ear monitor it is elite in this sense.  
 
Comparisons

Campfire Audio Andromeda ($1099 USD on the Campfire website)
 
Earlier in the introduction part of the review, I mentioned something about hearing an earphone and not wanting to take them off of my ears. That earphone was the Andromeda. Campfire’s five armature in-ear monitor offers an incredible listening experience.
 
Comparing the two, the first thing I notice is the difference in sensitivity. The Andromeda is much louder at the same volume, and also picks up more EMI and background hiss. In terms of universal application regarding source, the S-EM9 gets a decisive advantage. As far as sound is concerned, Andromeda seems to be the more aggressive sounding of the two. Andromeda has a more forward bass and lower midrange as compared to the more controlled and natural sounding response of the S-EM9. On top of this, the S-EM9 has an added level of refinement and clarity over the busier sounding Andromeda. This is no small feat considering just how good the Andromeda is in this aspect. Soundstage is bigger on the Andromeda, but more accurate and with better instrument placement on the S-EM9. In terms of higher ranges, the S-EM9 has a slightly more clear and still relaxed upper frequency tuning.
 
In terms of build and design, Andromeda is slightly better quality materials throughout. The metal shells and braided cable of the Andromeda feels more premium. Andromeda also gets an edge for accessories with their premium wool lined leather case and superior tip selection. The S-EM9 gets an advantage for being a much more comfortable earphone to wear. The S-EM9 is one of those earphones you can forget you’re wearing, while the Andromeda has some edges on its housings that can eventually irritate the listener’s ear, requiring them to take breaks.
 
 
Fidue Sirius ($899 USD on Penon Audio)
Fidue went all out earlier this year, introducing itself into an uncharted price point. Their previously lower priced flagship was the A83 which caught the attention from many audiophiles. The A91 Sirius is a step forward from the A83, and a look at what Fidue is capable of offering the high end audio market.
 
Comparing the two, the Sirius is a more aggressive and midrange forward earphone. The S-EM9 is a slightly clearer and more smooth and mellow sounding earphone. Bass tuning is slightly more forward on Sirius, offering a little more rumble and a little less punch than the S-EM9. Mid-range is more forward and aggressive on the Sirius. The S-EM9 is slightly cleaner, polite and recessed on the S-EM9. Treble is slightly brighter and natural on Sirius while the S-EM9 treble is smoother and more detailed and clear.  
 
For the sake of noting it, I credited the Sirius as being great in terms of sensitivity and avoiding background noise and EMI. the 20 Ohm Sirius is even more sensitive and louder at the same volume as compared to the S-EM9. Let that be a testament to how these will source match with your portable DAPs and portable DAC/amplifiers.
 
Conclusion
I have to stop saying “the best” or “favorite” when it comes to something because every time I do that it gets eclipsed by something else. In terms of sheer music enjoyment, the S-EM9 takes the cake, offering a tuning that can be enjoyed for hours on end and without any sense of fatigue. Don’t let that statement fool you into thinking that these are overly smooth. They are incredibly balanced, and each frequency seems to be controlled and presented in a way that maximizes the listening experience. If I was going on a trip and had to take one earphone with me, the S-EM9 would be it. With the right pair of tips, the comfort, isolation and tuning are an epic combination.
 
The S-EM9 has some aspects that I didn’t care for at all. The nozzles were a deal breaker until I could find a tip that worked for my ears. The accessories package is no better than some fifty dollar earphones. Considering the asking price in today’s market there should be either a higher quality cable, or a second cable with a microphone and remote option. Even still, I think Earsonics understands that they are selling nine masterfully tuned drivers packed into each channel of their acrylic shells. Once you pop them in your ears and get some music playing, I can put any angst about the nozzles and accessories behind me. Earsonics has nailed it in terms sound.
 
When rating a product I have to take every criteria into account. The S-EM9 gets a half star deduction for its nozzle, and another half star for its somewhat mediocre accessories package. I am being sincere and honest when I say that compared to the other earphones I’ve experienced, the S-EM9 has a five and a half or six star sound to my ears. Because of this I’m averaging the negatives with the positives leaving it up to you to determine how important these aspects are when an earphone sounds this good.
 
The next step for me is seeing If I can work out a deal so these earphones don’t leave my house. If they stay in my collection they will receive top honors in terms of sound quality, at least for now.
 
Until next time, thanks for reading and happy listening!

At the time this review was written, the Noble Katana Universal was listed for sale on Noble Audio’s website. Here is a link to their listing of the product:
 
https://nobleaudio.com/en/shop/universal/
 
Introduction
The greatest thing about this hobby is that the art of manufacturing great sounding earphones continues to evolve. From the top of the line multi-driver manufacturers down to the "bang for your buck" budget builders, the quality you can get at each price improves as time and technology advances.
 
Many of us start out in this hobby by dipping our toes in the waters of budget audio gear. Hearing some great sounding earphones at cheap prices raises the curiosity factor when it comes to the elite in-ear monitor brands. I remember thinking to myself “If these sound really awesome for one hundred dollars, I can only imagine what the earphones over a thousand must be like!” They say curiosity kills the cat, but when spending money on audio gear it can kill your wallet before you can ever afford to buy the cat in the first place!
 
In my time in this hobby, I’ve broken audio enthusiasts down into two types:
 
#1. There are those who have an established price limit to spend on gear, then spent the rest of their time in this hobby wishing for or wondering if it would be worth it to spend the extra cash on a pair of top of the line earphones.
 
Or…
 
#2. There are those who have the resources and patience to dabble in high end gear.  Most who fall into this group will keep their funds reserved, and go to audio shows or partake in review and demo tours to sample the best gear money can buy. They will try sampling several items, ready to pull the trigger and go balls out when they feel they’ve found the earphone they must own.
 
To be honest, I understand both philosophies. Being a huge fan and reviewer, my journey started out trying to find the best budget gear money can buy, thinking that If I buy the most popular earphones that are discussed in the budget threads I will find my “end game” earphone at a great price. I had a ton of fun doing this, and I made a lot of friends along the way. I found my preferred sound signature, and even started writing reviews during this time. However, "end game" earphones weren't discovered.
 
I also learned some things during the process of being a budget shopper. First off, budget brands can sound downright awesome for their price. Secondly, following the budget threads can be just as, if not more expensive than previously mentioned category #2. Third, the term “end game” is a myth. You can chase the dragon and you may get really close, but if you continue to read up on new products and go to shows you will see new products are released regularly and also getting better over time. This prevents seasoned veterans in audio gear (whether it be budget or top of the line) from saying that there is a general consensus for the world's best anything that is audio related. Stuff we thought was amazing a couple years ago has often time been eclipsed several times by new products at the same price range. At the same time, there are some products that stay relevant for years.
 
As my time reviewing has evolved, my main objective has always been to treat each review opportunity like I’m telling my friends about whatever earphone I’m covering. This approach has progressively opened the door to cover more and more premium products. Between the reviews and going to shows I’ve heard the top of the line earphones that used to spark my curiosity, pulling back the curtain of high end audio. Although I wasn't whisked away to another dimension of sound, the quality and presentation of much of this expensive gear is fabulous.
 
I now understand the law of diminishing returns, and the fact that in this hobby we pay a lot for minor upgrades in sound quality. With top of the line gear, a two thousand dollar earphone isn’t necessarily twenty times better than a hundred dollar pair. However, some of the products at the highest price points offer a level of refinement and quality that might not catch the proverbial “end game” dragon, but it will get you close enough to pet it for a while!
 
For the last two years since I first heard them at the 2014 Axpona audio show in Chicago, I have had aspirations to one day own the Noble K10U. Simply put, it’s to this day arguably the greatest sounding earphones on the planet. My wishlist was reconsidered earlier this year when Noble announced the release of their co-flagship named “Katana.”
 
Just like most high end earphone announcements, I was instantly curious to hear it and find out what these were all about. I reached out to Noble to see if they would be willing to offer a loaner for review. Today I have the honor and pleasure of sharing the good news of the Katana, and also compare it to it’s flagship companion the K10U which was borrowed by a fellow Head-Fier.
 
Here’s a statement from Noble about the Katana:
 
“Considered by many to have the perfect combination of balance, artistic beauty, and sharpness in its cutting edge, the Katana sword is by all accounts a precision instrument. As a tribute to the exclusivity and craftsmanship of the finest examples, Wizard’s latest design bears the name Katana.

Popularized due to its tremendous speed and versatility, Katana features proprietary Noble drivers throughout in a unique 9-driver per side configuration. With an extended top-end that generates airiness and outstanding imaging, Katana’s balance and control are the mark of a master that continues to refine his craft. Combined with a lush mid-range, impactful low-end, and Noble’s signature coherency, Katana is a serious tool in anyone’s arsenal.”

Disclaimer
I was given a free loaner of the Katana in exchange for my honest opinion and review. I am in no way affiliated with Noble Audio. I would like to take this time to personally thank Brannan for the opportunity to experience and review their new co-flagship product.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

Katana comes in the customary premium black box seen in their previous models. The front of the box features the Noble logo printed in a gloss finish.
 

The back of the box displays a sticker with the serial number, name of the model and a brief description.
 

Opening the box, I’m greeted with a black pelican case, some stickers and a velvet drawstring bag. For those who don’t know, Pelican cases are airtight when snapped shut.
 

The Pelican Case opens to reveal the earphones and accessories. There are a lot of goodies stuffed in this case.
 

Removing the earphones from the packaging, the immediate impression is that of luxury. The cable and housings are premium. Underneath this bag is a metal plate which holds the Katana tip assortment.
 
Specifications and Accessories

Specifications
*9 proprietary balanced-armature drivers per side
*Updated Noble universal form factor and geometry featuring creative precision machined aluminum housings
*Sensitive enough for use with smartphones as well as portable amps and DAPs
*Hand-assembled and matched
*Detachable cable with industry standard 2-pin configuration (0.78 mm diameter)
 

Accessories
1X Pair Katana earphones
1X Braided cable with two pin connectors
1X Pelican Carrying case with carabiner
1X Velvet drawstring pouch
1X Earphones cleaning tool
1X Warranty card
2X Portable rig binding straps
3X Pair red/gray wide bore tips (S,M,L)
3X Pair blue/black narrow bore tips (S,M,L)
2X Pair memory foam tips (S/M,M/L)
1X Metal tips organizer plate
 
Housings

The first thing I thought when I heard the Katana had nine drivers was that the housings would be on the larger side of average. That isn’t the case at all. I have no idea how Noble got nine drivers in this housing. Although the housing is not small, they aren’t what I would consider bulky, and their ergonomic shape provides a nice fit.
 

The housings are made of machined aluminum and have lots of detail and patterns, creating a very nice visual effect. I will be honest, I far prefer the black and organic gold finishes over the colors used with the other variations in the Noble lineup. The look is sleek and sophisticated, and should appeal to those who want a high end appearance.
 

The Katana nozzle is in line with the rest of the product line. The nozzle has a fairly standard width and length making tip rolling easy to do. There are three ports at the end of the nozzle, identical to the K10U
 
Cable, Y-Split, Cable Jack, Strain Reliefs

Katana comes with a fairly rugged black braided cable. A four strand braid leads up to a metal jacketed Y-split, and branches off in to two twisted cables that lead to each channel. A clear plastic chin/neck slider is installed on the cable and works well to secure the Katana fit. Each channel has a two pin connection that plugs into a recessed notch of the housing. The fitting is solid and secure. Each side has a couple inches of memory wire to help secure the over-ear fit. Although I am not normally a fan of memory wire, in this case it works well and is very comfortable and easy to use. The jack is a straight 3.5 mm gold plated jack with a black metal jacketing.  
 
Functionality
The included cable doesn’t have a microphone and remote. To be honest, when spending as much as the asking price for the Katana, I would have hoped for a second cable option with a microphone and remote. Even still, if you are interested in this option an aftermarket cable with mic/remote can be purchased separately. There are a ton of options to pick from in today’s market.
 
Ergonomics, Fit and Microphonics, Isolation

Having reviewed Nobles older shelled N6, I was curious how these would fit compared to the old version of shells. From the pictures I saw, I wasn’t sure if Noble has traded in comfort for style. I’m glad to say that’s not the case. The Katana is a great fitting earphone, especially once you find the right tip.
 
The all aluminum shell is not overly bulky. For those who are curious, the Katana comes in at a slightly smaller shell than the K10U. I would say it’s average in terms of bulk compared to other earphones.
 
Katana has a basic over the ear fit. Getting a great fit is a matter of finding the tip that works best for you, popping them in your ears and securing them in place with the cable’s memory wire. With a good sealing tip, isolation is excellent for a universal in-ear monitor. Microphonics are minimal thanks to the over-ear fit and chin/neck slider.
 
NOTE: Tip selection plays a huge part in how the Katana will sound. Experiment not only with the included tips, experimenting with other tips will also change the way these earphones sound. I really enjoyed the way Katana sounded with JVC Spiral Dot tips, but at the end of the day the included blue/black silicone tips rendered the best sound quality. For this reason I will be using them for the sound portion of the review.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
Katana falls in line with other in-ear monitors in terms of sensitivity. With more powerful powerful sources you will get a slight audible background hiss. This is no different than just about any high end multiple armature earphone out there. I was able to eliminate the audible background noise with higher output power devices with a device from iFi called the iEMatch. Here is a link if you are interested:
 
http://ifi-audio.com/portfolio-view/accessory-iematch/
 
Katana will work with your Android or Iphone and make your streaming music sound really decent. They have incredible resolution that gives you every detail in your music whether it be good or bad. With this being said, know that these earphones will do low quality sources, poor recordings and low bitrate files no justice. Their incredible detail and extension will butcher low bitrate music through a cheap source. My guess is that anyone who purchases the Katana will most likely have a high quality source, or at least a modern smartphone to use them with. If that is the case you should have no problem getting great performance from the Katana.
 
I can’t say whether the Katana works better with warm or cold, colored or neutral sources. I was able to enjoy them with either one. What I can say is they will rock with a low powered source the likes of most A&K players, the Fiio X7, my LG V10 and so on. Use your best music files with your best low powered portable source and you will be blown away by the Katana’s ability to be detailed, extended and musical all at the same time. Of all the gear I have at home, I enjoyed the Katana with my Fiio X7 while listening to FLAC and DSD files.
 
Sound Signature
Katana is a perfect name for this in-ear monitor. To my ears, Noble has taken elements from it’s co-flagship and added a slightly more airy and extended presentation. The Katana takes a razor sharp response and adds enough low end oomph, musicality and sparkle to make your listening experience special. I have a good feeling that as time goes on, conversations about what the best earphones on the planet are, the Katana will be included in these discussions.
 
Katana isn’t easy to classify. I can’t say it necessarily falls into a particular group of sound signature. Instead I’ll say they are like a perfectly cooked meal. You aren’t going to dislike the Katana sound because something is missing, because in terms of presentation you get the full palate. If you are going to say the Katana isn’t for you it’s probably going to be a preference thing. To my ears, there’s just the right amount of each frequency to make it a great and complete sounding earphone. The Katana has natural, sophisticated and musical sound all at the same time. I am seldom times able to group all of these three words together when describing an in-ear monitor.
 
Bass
The Katana bass is north of what I consider neutral, albeit not significantly boosted. Early impressions I read from others stated that they were on the lighter side in terms of bass. That isn’t the case. I hear a dynamic and responsive bass line that packs plenty of impact for armature drivers.
 
While listening to Daft Punk’s “Doin’ it Right,” Katana was able to handle the song’s visceral bass line with ease. Tone was great, and attack and decay were more in lines with that of dynamic driver earphones. Mid-bass tones may be a touch more forward than sub bass tones, but not significant enough to say it was noticeable outside of critical listening. You won’t feel like sub bass is lacking.
 
Mid-bass is slightly forward, uber responsive and non-intrusive to the rest of Katana’s sound. You get a very natural and impactful punch from kick drums and bass guitars sound very natural. During James Blake’s “Limit to your love” you can get a greater appreciation for just how responsive and accurate the Katana bass is. Long story short, the Katana bass is entertaining and engaging without crossing into basshead territory.
 
Midrange
Midrange on the Katana is somewhat unique. Considering the slightly forward tuning of the bass, you would assume that there would be a carry over of this into a very rich and lush lower mid-range. That doesn’t seem to be the case. The lower mid-range is very natural, but not as full and textured as the mid-bass tuning. At the same time, the transition from mid-bass to lower midrange doesn’t seem to be skewed to my ears. It’s really unique in this sense, and the perception I get is that the lower midrange is very airy, natural and detailed. While in one sense there could be more weight to some instruments and voices, the trade of is a unique and incredible sense of instrument placement and separation of sounds. I really enjoy this a lot and find myself appreciating this more and more as I listen to them.
 
Upper midrange is engaging and slightly forward. Vocals and upper mid-range sounds have a nice bite to them. Although an already goosebump inducing performance, Sia’s piano version of “Chandelier” literally put chills down my spine when listening to it through the Katana. There’s a unique level of airiness and dynamic textural thing going on in the mid-range that makes female vocals sound spectacular. Jam band, acoustic, and rock genres make good use of this element as well.
 
Treble
Treble is extended and natural to my ears. One thing to note is that Katana gives you the higher frequencies and doesn’t segregate the stuff that some manufacturers remove when tuning their earphones. I consider this to be more of a “true to recording” type of approach.
 
While some may try and say that these are bright are harsh, I would be inclined to argue this. With higher quality sources, files and listening to them a listening volume that is healthy, that isn’t the case whatsoever. Even still, at louder volumes the Katana is very true to the recording.
 
When measuring them, it doesn’t have a huge dip in tuning from the 5-9 kHz range like many other earphone manufacturers are doing so often these days. To be honest, after experimenting with tips, sources and doing comparisons, the Katana high frequency response is one of the more natural responses I’ve heard in an in-ear monitor. Although sometimes you might get a crisp pronunciation of the letter S or T, the organic nature and elite level of detail and separation makes up for it many times over. During the most complex music passages of Disturbed’s “Ten Thousand Fists” the Katana handled the upper frequencies with a level of clarity and separation I’ve seldom heard in an in-ear monitor. Is the Katana for those who are incredibly sensitive to higher frequencies? The answer is no, but for everyone else they will be great.

 
Soundstage and Imaging
Excellent extension at  both ends of the sound spectrum makes the Katana soundstage elite. Although not the best I’ve heard, Katana’s soundstage is excellent. The superior clarity and separation of sounds allows me to say that imaging is very good. With acoustic music and tracks with echoing, the clarity gives you an incredible sense of space and instrument placement.
 
Comparisons

Noble K10U ($1650 USD on Noble’s website)
The K10U is the now sharing the title of flagship with the Katana. The K10U has been one of the summit tops in the realm of in-ear monitors for quite some time. Now that Katana has come along, I guess you could call them “twin peaks.”
 
Comparing the two, the sounds aren’t that far off. Although different, there isn’t a sense that things have been radically redesigned. It’s really hard to break it down into each category of sound, it’s more of an overall feel kind of thing where I can tell a difference between the two.
 
If I had to put the difference into words, Katana seems to have taken the K10U and stretched the sound out just a touch. The K10U sounds more musical, a touch thicker in the lower midrange and just a touch less extended at higher frequencies. The Katana sounds a touch leaner and airier at lower midrange frequencies, and a bit more extended at higher frequencies. The K10U is a slightly richer, more dynamic and forgiving sounding version of the Katana, while the Katana is a slightly leaner, more natural, airier and more extended upper frequency tuning version of the K10U.
 
If you are a K10 or K10U owner and are looking to upgrade, consider the differences and ask yourself if this would be an improvement. If I had to pick one or the other it would be really tough. I might pick the Katana because of how good they sound with high res sources and files. That, and the fact that they have a slightly smaller housing and nice color scheme. To my ears, the Katana is capable of sounding more natural and impressive with the right source.
 
In terms of build quality, they are pretty much identical. The Katana has a slightly smaller and less bulky housing. Accessories is pretty much a draw.
 
Campfire Audio Andromeda ($1099 USD on ALO Audio’s website)
Andromeda broke onto the scene earlier this year and made a huge splash. They are an incredible sounding five driver earphone that has won the ears of just about anyone who has listened to them.
 
Comparing the two, the Andromeda seems to be the bassier of the two, and also seems to have a more visceral and aggressive sub-bass rumble that impacts the other frequencies. In terms of midrange, Katana has a cleaner and more detailed presentation, while the Andromeda has a slightly more musical and dynamic presentation. In terms of treble, Andromeda is smoother and less detailed than the crisper and slightly cleaner treble of the Katana. In terms of soundstage, I give it a draw. Some things I notice bouncing back and forth between the two, the Katana sounds cleaner, more detailed and refined, while the Andromeda sounds slightly more musical, bassy fun for modern genres of music.
 
Build goes to the Katana. Their shell is better designed and more comfortable to wear. I also prefer the two pin connection of the Katana over the MMCX connection of the Andromeda (although I do prefer the stock cable of Andromeda).
 
Both earphones are incredible, but this comes down to what you prefer. If you want a more natural, clinical and “accurate” music presentation, go for the Katana. If you want a slightly bassier and more musical tuning while still maintaining a good amount of clarity detail, go for the Andromeda.
 
Conclusion
The Katana is definitely worthy of flagship status. It has an incredible ability to give you a sense of detail, musicality and extension that is rarely done all at the same time. If you want an “everything all at once” kind of sound, these earphone these are something you should definitely consider.
 
The Katana will not be for everyone. Their top of the line quality comes with a top of the line asking price. Are they worth the price? If you can afford them, absolutely. If you only have two grand to spend on audio gear and don’t have a high quality source (or at least a modern smartphone) to push them, you might want to hold off until you get that situated. Those who listen to modern genres of music at really loud volumes, these probably aren’t meant for you. For those who want to take maximize the Hi-Res files they have stored on their high quality (and low powered) DAP, these are right up your alley.
 
Noble is a company that two years ago I could only imagine how good their best earphones are. Now that I’ve had the pleasure of listening to them, I can say that their flagships are everything I could have hoped for. They bring a level of fidelity that must be heard to understand.
 
When rating a product I have to take all criteria into account (including price). The Katana gets an easy five stars for sound, five stars for build, design and fit. If there’s anything I would feel inclined to deduct a half star for, it would either be the price, or the fact that there is not a microphone option to come with the package. Considering this is a luxury product, I’ll leave that up to you to deduct a half star or more from my rating, because I’m giving them a five star review. They are designed and geared for guys like me, and are one of the products that are raising the bar of personal audio products.
 

Thanks for reading and happy listening!

At the time this review was written, the TFZ Series 5 was listed for sale on Penon Audio’s website. Here is a link to their listing of the product:
 
http://penonaudio.com/TFZ-SERIES-5
 
Introduction
This is my third review in a row of TFZ products Here are links to my reviews of the Series 1 and 3:
 
Series 1:
http://www.head-fi.org/products/tfz-series-1/reviews/16935

 
Series 3:
http://www.head-fi.org/products/the-fragrant-zither-tfz-series-3-hifi-earphones/reviews/16947

 
At the time of writing this review the Series five is the quasi-flagship of the TFZ lineup. I started my review experience with the entry level Series 1, then took a step up to the Series 3. As we embark on the Series 5, I will prematurely admit that I’ve intentionally saved the best for last. Let’s find out why and go over them with a comprehensive review.
 
NOTE: Because the design, build and tunings of the TFZ lineup of earphones I am reviewing are very similar, there will be some portions copied and pasted from the other reviews done on these products. This is not done to make quick work of the reviews, but rather an honest depiction due to the fact that they are so similar. Please don’t disregard the information because some of it is the same. I have identified differences in the review(s). Better yet, those who have read one or both of the above listen reviews might save a little time by skipping straight ahead to the sound review section of this review.
 
Disclaimer
I was given a free sample of the Series 5 in exchange for my honest opinion and review. I am in no way affiliated with TFZ. I would like to take this time to personally thank Penon Audio for the opportunity to experience and review the product. For those who don’t know, Penon Audio is an excellent resource for audio products. Their customer service is top notch.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW
 
The Series 5 comes in a black box with silver print. The front features the product name and TFZ logo as well as the website address in small print.
 

The back of the box is blank aside from a small sticker with the barcode and small photo of the earphones displayed.  
 
Specifications and Accessories

Specification
Model Number: TFZ SERIES 5
Driver: 12.5mm Titanium Crystal Dual Loop Dynamic Dual Chamber (N50)
Impedance: 12ohm
Sensitivity: 105dB/mW
Frequency Response: 6Hz-30 kHz
Style: In-Ear
Cable ：silver-plated
Plug: 3.5mm
Lowest Power: 8MW
Cable length: 1.2M
Package
 

Accessories
1X TFZ SERIES 5 earphone
3X pairs of Silicone ear tips
1X pair of double-flange silicone eatips
1X pair of Foam ear tips
1X pair of Ear hook
1X Carry bag
1X Clip
 
Housings

TFZ was smart with their design. The entire lineup has a custom-ish over the ear fit.
 

The Series 5 is a black plastic and metal shell. There is a nice brushed black aluminum faceplate with an imprinted circe on the faceplate, and a matte black plastic used on the inside of the inner part of the housing. The housing are lightweight, solidly built, and designed to fit comfortably. I really like the shape and ergonomics of the housings. They have a nice universal shape that will fit just about everybody’s ears. Nozzle are average in terms of width and length. Tip rolling with these earphones is an easy and fun experience.
 
Cable, Y-Split, Cable Jack, Strain Reliefs
Series 5 has a black rubber jacketed cable with some spring and virtually no memory. The Y-split is a firm rubber piece that is very adequate. A metal chin/neck slider sits flush with the Y-split when not in use.
 

The earphones have a straight 3.5 mm gold plated plug with a metal black and gold jacketing. There is a serial number printed on the the jack. One thing about the jack I’m not fond of is how the jacketing sits close the the jack and is a considerably wider, making it incompatible with many smartphone and DAPs with aftermarket cases. I was unable to use them with my LG V10 unless I removed my phone case. Strain reliefs are subtle and adequate. If handles with a reasonable amount of care, I don’t see the TFZ cable breaking any time soon.
 
NOTE: TFZ also has introduced the S series of earphones which offers a different silver plated cable. I haven’t heard it so I’m not sure of the sonic differences. It also appears that TFZ has upgraded the cables on both the Series 3 and Series 5. Instead of the basic black rubber coated cable versions I received, they now have a braided SPC cable.  
 
Functionality
My pair did not come with a microphone or remote. They are specifically designed for music enjoyment.
 
Ergonomics, Fit and Microphonics, Isolation

The over ear fit of the TFZ series of earphones worked well for my ears. We are seeing more and more universal shells with this custom inspired shape. The way they are designed, they fill a large portion of the concha of my ear. The angled strain relief loops around my ear and are snugged into place with the chin/neck slider. Thanks to the over ear fit, microphonics are virtually eliminated. Isolation is average for a universal model.
 
NOTE: After tip rolling I discovered that wide bore tips create a more open and clear sound than the stock tips that come in the package. Spiral dot and whirlwind tips gave me best results. Your mileage may vary, just make sure that if you do get the Series 5 (or any in-ear monitor for that matter), try experimenting with various tips to find something that works best for your listening experience.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
At 12 Ohms, the Series 3 is a very easy to drive earphone. They can be driven with any DAP or cell phone. Their warm tilt and smooth response is better setup to work well with a more neutral sounding source. They will work with a warmer sounding source, but I personally found them to work more ideally with my leaner sounding DAPs and portable amplifiers. The Series 5 sounded great through my LG V10.
 
The tuning of the Series 5 is somewhat forgiving with poorly recorded music and low bitrate files. The Series 5 sets itself apart from the Series 1 and 3 by offering what to my ears was a miniscule level of clarity and refinement that allows them to scale up better with higher bitrate files and better quality sources.
 
Sound Signature
The tuning of the Series 5 is similar to the other two in the lineup, especially the Series 3. The Series five takes a somewhat L-shaped tuning that’s almost identical to the series 3 but with a slightly more defined and detailed presentation . Although not a significant change in sound, the refinement added to the Series five puts it near the top of the pack in the sub one hundred dollar earphones, especially for those who love bass.
 
The Series 3 worked phenomenally for pop music and modern genres but didn’t have the clarity needed for me to make the most of band genres and complex music passages. Series five puts enough air between instruments to make this possible. Although more ideal for modern genres, they sounded good with just about everything I threw at them.
 
The overall feel is a bass forward response with plenty of sub-bass extension. Midrange and vocals are very natural and are just a fraction on the warm side of what I consider neutral. Treble is adequate, has decent detail and is non-fatiguing. At the end of the day (and as long as you could enjoy some serious bass) the Series 5 was just flat out fun to listen to.
 
Bass
Bass has plenty of body and better than average response. Sub-bass extension is phenomenal, with plenty of depth while maintaining true and accurate tone. During Daft Punk’s “Doin’ it Right” The Series five hits every note with a strong visceral depth. There is some resonance and slow decay at sub bass levels but not to the point of it being a deal breaker for me. Their authoritative presence can be a little boomy at times, but it happens more at sub-bass levels rather than mid-bass frequencies. Long story short, the Series 5 brings the thump, the bump and the rumble without overdoing the mid-bass from what I heard. Combined with their above average clarity and isolation at other frequencies, the Series 5 is one of the better “basshead audiophile” earphones I’ve had the pleasure of listening to.
 
Those seeking a linear and neutral tuning will not care for the meaty bass these have. Those who feel a home entertainment center isn’t complete without a kick-arse subwoofer will love them. Beauty is in the eyes (or ears) of the beholder. Being somewhere in between these polar opposites, I enjoy the heck out of them, and find them to be one of the best tuned earphones I’ve heard for commuting. If you want bass to be the star of the show without destroying the clarity and details in the rest of the sound spectrum, this is something I would recommend.
 
Mid-range
Although mid-range takes a back seat to the earphone’s bass response, they off a warm and dynamic presence with a fair amount of texture and detail. The Series 5 drivers manage to bring you a warm and balanced midrange and treble tuning while maintaining a strong bass forward tuning. This was on full display during Fun’s “Some Nights”. Vocal harmonies were clean and clear as the song’s bassline was bumping. Is it the most clean combination I’ve ever heard in this regard? The answer is no, but for a single driver at eighty bucks it’s great.
 
Upper mid-range has a nice bite and is clean sounding. You get a nice finish on both Male and female vocals. Guitars, piano notes, bass guitars are all very natural, with just a touch of color. They are highly enjoyable, and if the bass to midrange balance is too skewed for you, lowering the bass a few decibels on your equalizer will reveal just how good the Series 5 mid-range actually is.
 
Treble
Treble is in nice balance with mid-range sounds and has a mildly detailed yet somewhat relaxed feel. The overall warm and somewhat bass emphasized tuning combine with treble tuning gives me a nice sense of sparkle up top. It’s enough to make the upper frequencies very adequate and decently proportioned. The treble is polite, far from harsh and not the most extended stuff I’ve ever heard. To my ears the Series 5 avoids sibilant sounds without there being any radical dips or spikes in its tuning. Detail is better than average (and excellent for the price) but not elite. Pronunciations of the letters S and T are nicely done. Cymbal crashes and hi-hats are natural, but more on the relaxed side of things.
 
Soundstage and Imaging
Because of the impressive sub-bass depth and adequate (albeit not super extended) treble response, I find the soundstage of the Series 5 to be very good for the price. The mid-range/bass ratios are a bit skewed, which makes me say that imaging isn’t the greatest. Any synthesized bass line will throw things off a bit, but acoustic and live performances will yield an improved sense of instrument placement.
 
Comparisons to the Series 1 and 3
 
I will usually compare to similarly priced and comparable models from other brands but I feel that it would be better to figure out how these stack up to the other two in the lineup.
 
My pair of Series 3 and Series 5 sound very similar, and their frequency response measures pretty much identically. The Series 3 is maybe just a touch less resolving. All of the earphones have what I would assume are very similarly designed drivers. From the information I’ve gathered, the Series 5 has a thinner and more responsive titanium diaphragm in their driver as compared to the Series 1 and 3.
 
NOTE: Since receiving the Series 1, 3 and 5, TFZ has made tweaks. They now offer a “S” series. I have not heard the new series so I can’t compare. What I’ve heard is that they’ve tuned down the bass with the new models, which is good for those who find the first run too bassy.
 
All three earphones are bassy, having a L-shaped tuning, somewhat natural and slightly warm tilted midrange and smooth treble response. There was a small measureable difference between the Series 1, and the 3 and 5. The Series 3 and 5 has a few dB increase at mid/upper-mid and treble frequencies.  
 
The Series 3 sits in between the Series 1 and Series 5, and their tuning leans more towards the Series 5. Series 1 is the warmest, smoothest and least defined. The Series 3 has the tuning of the Series 5, but doesn’t seem to have the same refinement, detail and separation. The Series five is the same tuning as the series three, but with an overall more refined and high end sound. The difference isn’t significant and required extensive A-B testing to figure this out.
 
Build quality is nearly identical. The Series 1 has a transparent shell, while the other two models have black shells with aluminum faceplates. Accessories is identical on all three models.
 
Conclusion
The Series 5 is cut from the same cloth as the Series 1 and 3, there’s no doubt about that. They all are bass forward earphones that are geared to make the most of modern genres of music.
 
Where the Series 5 sets itself apart from the rest of the lineup is their refinement in terms of improved clarity and detail over the Series 3. Although the bass forward and L-shaped tuning of the entire series rocks with top 40 radio, the Series 5 adds a level of resolution and separation needed for me to be able to enjoy them with rock and band genres (unlike the Series 1 and 3). Although a minor improvement from the other two, it is a tweak that justifies its leap in price.
 
When rating a product I have to take all criteria into account (including price). Given the fact that the other two earphones received four stars, I will say that the Series 5 gets an extra half star. However, that extra half star is again taken away (just like the Series 3) by the sizeable leap in price. Drop the price of the Series 5 to fifty dollars and I would be debating whether or not to give them a four and a half or five star review. They are a good sounding earphone for the price, but once you get to the seventy-five to one hundred dollar price range, a lot of very good earphones come into the conversation.
 
If I were to improve on the Series 5, for my preference I would tune the bass down just a bit, and add a slightly more premium (and maybe detachable) cable. I would also offer a clamshell case for storage and transportation. Aside from that I see nothing else major to improve on. They are a solid pair of earphones that many will enjoy, especially our “basshead audiophile” friends. Yes I’m talking to you @Hawaiibadboy
 
Truth be told, upon concluding this review I’m left wondering why TFZ would release three earphones that sound so similar. TFZ has brought to market the “S” version of each of these earphones. I’m curious to see what changes they made. Let’s all make sure to read impressions on the new lineup, and keep our eyes out for the rumored Series 7 hybrid.
 

Thanks for reading and happy listening!

At the time this review was written, the TFZ Series 3 was listed for sale on Penon Audio’s website. Here is a link to their listing of the product:
 
http://penonaudio.com/TFZ-SERIES-3?search=TFZ%20SERIES%203
 
Introduction
The TFZ is geared to be the middle ground model of the TFZ lineup. TFZ broke onto the scene earlier this year, bringing their budget earphones to market. When Penon Audio asked me if I would cover them with a review on Head-Fi, I gladly obliged. Having heard several positive impressions on them I knew it was something I would want to experience for myself. Let’s go over them with a comprehensive review.
 
I am starting this review coming fresh off of reviewing the TFZ Series 1. Here is a link to this review:
 
http://www.head-fi.org/products/tfz-series-1/reviews/16935
 
NOTE: Because the design, build and tunings of the TFZ lineup of earphones I am reviewing are very similar, there will be some portions copied and pasted from the other reviews done on these products. This is not done to make quick work of the reviews, but rather an honest depiction due to the fact that they are so similar. Please don’t disregard the information because some of it is the same. I have identified differences in the review(s).
 
Disclaimer
I was given an opportunity to review a free sample of the Series 3 in exchange for my honest opinion and review. I am in no way affiliated with TFZ. I would like to take this time to personally thank Penon Audio for the opportunity to experience and review the product.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

The Series 3 comes in a black box with silver print. The front features the product name and TFZ logo as well as the website address in small print.
 

The back of the box is blank aside from a small sticker with the barcode and small photo of the earphones displayed.
 
Specifications and Accessories

 
Specification
Model Number: TFZ SERIES 3
Driver: 12.5mm Titanium Crystal Dual Loop Dynamic Dual Chamber (N50)
Impedance: 12ohm
Sensitivity: 107dB/mW
Frequency Response: 8Hz-24 kHz
Style: In-Ear
Plug Type: Line
Connectors: 3.5mm
Mic: No
Lowest Power: 8MW
Interface: 3.5mm Giled
Cable length: 1.2M
 
Accessories

1X TFZ SERIES 3 earphone
3X pairs of Silicone ear tips
1X pair of double-flange silicone eatips
1X pair of Foam ear tips
1X pair of Ear hook
1X Carry bag
1X Clip
 
Housings

TFZ was smart with their design. The entire lineup has a custom-ish over the ear fit.
 

The Series 3 is a black plastic and metal shell. There is a nice brushed black aluminum faceplate on the outside, and a matte black plastic used on the inside of the inner part of the housing. The housing are lightweight, solidly built, and designed to fit comfortably. I really like the shape and ergonomics. They have a nice universal shape that will fit just about everybody’s ears. Nozzle are average in terms of width and length. Tip rolling with these earphones is an easy and fun experience.
 
Cable, Y-Split, Cable Jack, Strain Reliefs
For a budget earphone I really like what TFZ has done with this cable. It’s a black rubber jacketed cable with some spring and virtually no memory. The Y-split is a firm rubber piece that is very adequate. A metal chin/neck slider sits flush with the Y-split when not in use.
 

The earphones have a straight 3.5 mm gold plated plug with a metal black and gold jacketing. There is a serial number printed on the the jack. One thing about the jack I’m not fond of is how the jacketing sits close the the jack and is a considerably wider, making it incompatible with many smartphone and DAPs with aftermarket cases. I was unable to use them with my LG V10 unless I removed my phone case. Strain reliefs are subtle and adequate. If handled with a reasonable amount of care, I don’t see the TFZ cable breaking any time soon.
 
NOTE: TFZ also has introduced the S series of earphones which offers a different silver plated cable. I haven’t heard it so I’m not sure of the sonic differences. It also appears that TFZ has upgraded the cables on both the Series 3 and Series 5. Instead of the basic black rubber coated cable versions I received, they now have a braided SPC cable.
 
Functionality
My pair did not come with a microphone or remote. They are specifically designed for music enjoyment.
 
Ergonomics, Fit and Microphonics, Isolation

The over ear fit of the TFZ series of earphones worked well for my ears. We are seeing more and more universal shells with this custom inspired shape. The way they are designed, they fill a large portion of the concha of my ear. The angled strain relief loops around my ear and are snugged into place with the chin/neck slider. Thanks to the over ear fit, microphonics are virtually eliminated. Isolation is average for a universal model.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
At 12 Ohms, the Series 3 is a very easy to drive earphone. They can be driven with any DAP or cell phone. Their warm tilt and smooth response is better setup to work well with a more neutral sounding source. They will work with a warmer sounding source, but I personally found them to work more ideally with my leaner sounding DAPs and portable amplifiers.
 
The tuning of the Series three is somewhat forgiving with poorly recorded music and low bitrate files. There will be improvements with higher bit rate music, but it won’t be significant. The Series 3 has a fit and sound that makes it a great commuting earphone. The elevated bass and solid fit works great when commuting.
 
Sound Signature

*Measurement was taken with my Vibro Verita coupler and ARTA software. This is not an industry standard measuring device, but should give you an idea of the earphone's sound signature.
 
NOTE: If you read my TFZ Series 1 review there will be repeats of information, with added and edited portions to identify any differences. The Series 3 has a tuning that is perceptually slightly more refined and defined than the Series 1. There is a few dB increase in higher frequencies.
 
The Series 3 is a bass forward earphone that definitely falls into the “basshead audiophile” category. They maintain a very natural and engaging midrange and treble presence and sound excellent with modern genres of music. Hip Hop, EDM, R&B, House, Techno and other similar genres are rendered wonderfully with these earphones. Rock, Speed Metal, Grunge, and band genres with complex music passages are adequate, but don’t make the best of the Series 3 tuning.
 
I consider the Series 3 to be an L-shaped tuning that yields a very natural midrange and treble response. Those who enjoyed the TTPOD T1E will enjoy these a lot.
 
Bass
Bass is definitely the star of the show. The Series 3 has a rumbling bass with good extension a slight mid-bass emphasis. There is a very nice sense of soundstage depth that will satisfy the inner basshead in all of us. Although very impressive and entertaining, bass does have a slight resonance that casts a slight shadow over the entire lower frequency response. It’s more of a thick note presence and slight resonance that adds warmth. I don’t hear a whole lot in terms dreaded “mid-bass bleed” or distortion caused by the driver not being able to keep up keeping up.
 
A tighter and faster bass response would make the Series 3 elite. Still, as is, the bass is very adequate and performs well (especially when considering the price).  People looking for a linear earphone won’t appreciate the Series 3, but most everyone else will.
 
Mid-range
Mid-range definitely takes a back seat to the forward bass presence. Despite this, it manages to sound very natural just like the rest of the TFZ lineup. Like the others, there is a warm tilt that doesn’t go overboard. Vocals (both male and female) sound excellent and don’t sound overly weighted or hollow. Although resolution, separation and detail could be a little better, this is pretty much the only thing I can hold against them. The driver struggles when very complex music passages are playing. Even still the positives far outweigh the negatives.
 
Treble
Treble is present and polite. The higher frequencies of the Series 3 have average extension and avoid sounding harsh. Pronunciation of the letters S and T balance out nicely with vocals. Cymbal crashes and hi-hats are relaxed and slightly back of the mix but not to the point I would say they are severely lacking or rolled off. Again, this range doesn’t have the same refinement of flagship transducers, but for the price they are very decent.
 
Soundstage and Imaging
A superior sub bass extension and forward bass presence combined with a very natural and formidable upper midrange and treble response gives the Series 3 a better than average soundstage. The forward and somewhat thick bass response combined with average refinement and detail prevents me from saying the same about imaging. I would say the Series 3 is average in terms of imaging.
 
Comparison to the TFZ 1 and 5
I will usually compare to similarly priced and comparable models from other brands but I feel that it would be better to figure out how these stack up to the other two in the lineup.
 
My pair of Series 3 and Series 5 sound very similar, and their frequency response measures pretty much identically. The Series 3 is maybe just a touch warmer and bassier. All of the earphones have what I would assume are very similarly designed drivers.
 
NOTE: Since receiving the Series 1, 3 and 5, TFZ has made tweaks. They now offer a Series T1S which is described to have a SPC cable and sound characteristics more like the Series 5. The Series 3 and 5 also received a facelift, getting a braided cable which claims to improve their sound.
 
All three earphones are bassy, having a L-shaped tuning, somewhat natural and slightly warm tilted midrange and smooth treble response. There was a small measureable difference between the Series 1, and the 3 and 5. The Series 3 and 5 has a few dB increase at mid/upper-mid and treble frequencies.  
 
The Series 3 sits in between the Series 1 and Series 5, and their tuning leans more towards the Series 5. Series 1 is the warmest, smoothest and least defined. The Series 3 has the tuning of the Series 5, but doesn’t seem to have the same refinement, detail and separation. The Series five is the same tuning as the series three, but with an overall more refined and high end sound. The difference isn’t significant and required extensive A-B testing to figure this out.
 
Build quality is nearly identical. The Series 1 has a transparent shell, while the other two models have black shells with aluminum faceplates. Accessories is identical on all three models.
 
Conclusion
The Series 3 is an upgrade from the Series 1 in the sense that they have slightly more upper midrange and treble presence. This makes the sound slightly more balanced and better proportioned to my ears. I feel less inclined to use EQ adjustments with the Series 3 as compared to the Series 1. They have a sleek and more sophisticated black shell and aluminum face plate.
 
After trying the entire inaugural lineup from TFZ, the biggest problem I have is that they perform so closely that I don’t know why they would feel compelled to release three separate models. The Series 3 does have a slightly more sophisticated look than the Series 1, and what I consider  improved sonics, but throw EQ adjustments into the equation and it makes choosing between the two is a toss up. I think this comes down to how you feel about their appearance and whether or not you’re a fan of using an equalizer.
 
Because I feel the Series 3 is a slight improvement over the Series 1 which I gave a four star review, I would say the Series 3 gets a half of a star more. Due to the fact that these very minor improvements cost an extra fifteen dollars, I have to take that half star back. From what I see, these two products should be closer in price, or the same price. At the end of the day, the good news is that they all fit and sound really good.
 

Thanks for reading and happy listening!

At the time this review was written, the TFZ series 1 was listed for sale on Penon Audio’s website. Here is a link to their listing of the product:
 
http://penonaudio.com/TFZ-SERIES-1?search=tfz
 
Introduction
Regardless of what gear I’m listening to, I’m always curious when a new earphone hits the market. With every new offering comes an opportunity to see if the next “giant killer” has come to market.
 
When Penon Audio contacted me to see if I was interested in reviewing the new lineup from TFZ, there was no way I could turn down the chance. Budget earphones are where I cut my teeth and I’m still a fan of the price to performance ratios some of these products have. Based on the marketing information, the TFZ models seemed to be the next big things to come out in the budget-fi price range.
 
I will be reviewing all three earphones in the lineup separately. There will be repeats in what is posted due to the fact that the earphones are basically re-tuned versions of the same thing. Let’s take a look and listen to the Series 1.
 
Disclaimer
I was given an opportunity to review a free sample of the TFZ Series 1 in exchange for my honest opinion and review. I am in no way affiliated with TFZ. I would like to take this time to personally thank Penon Audio for the opportunity to experience and review them.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

The Series 1 comes in a black box with silver print. The front features the product name and TFZ logo as well as the website address in small print.
 

The back of the box is blank aside from a small sticker with the barcode and small photo of the earphones displayed.
 
Specifications and Accessories

Specification
Model Number: TFZ SERIES 1
Driver: 12.5mm Titanium Crystal Dual Loop Dynamic Dual Chamber (N50)
Impedance: 12ohm
Sensitivity: 103dB/mW
Frequency Response: 18Hz-22 kHz
Style: In-Ear
Plug Type: Line
Connectors: 3.5mm
Mic: No
Lowest Power: 8MW
Interface: 3.5mm Giled
Cable length: 1.2M

Accessories

1X Pair TFZ SERIES 1
3X pairs of Silicone ear tips
1X pair of double-flange silicone eatips
1X pair of Foam ear tips
1X pair of Ear hook
1X Carry bag
1X Clip
 
Housings

TFZ was smart with their design. The entire lineup has a custom-ish over the ear fit.
 

The Series 1 is a plastic shell that comes in several different colors and designs. I received the red/blue variant. Unfortunately, the colors are mixed as compared to the industry standard. Red should be on the right and blue should be on the left. It is the opposite with this earphone. Although not a deal breaker, I’ll occasionally catch myself getting this mixed up when putting them on. Some small gold stickers come included in the package. These can be applied to the outside of the shells, making it even easier to disseminate the difference between channels and improve the appearance. I personally am not a fan of stickers and opted to not use them. Your mileage may vary.
 

I really like the shape and ergonomics of the housings. They have a nice universal shape that will fit just about everybody’s ears. Nozzle are average in terms of width and length. Tip rolling with these earphones is an easy and fun experience.
 
Cable, Y-Split, Cable Jack, Strain Reliefs

For a budget earphone I really like what TFZ has done with this cable. It’s a black rubber jacketed cable with some spring and virtually no memory. The Y-split is a firm rubber piece that is very adequate. A metal chin/neck slider sits flush with the Y-split when not in use.
 
The earphones have a straight 3.5 mm gold plated plug with a metal black and gold jacketing. There is a serial number printed on the jack. One thing about the jack I’m not fond of is how the jacketing sits close to the jack and is a considerably wider, making it incompatible with many smartphone and DAPs with aftermarket cases. I was unable to use them with my LG V10 unless I removed my phone case. Strain reliefs are subtle and adequate. If handled with a reasonable amount of care, I don’t see the TFZ cable breaking any time soon.
 
NOTE: TFZ also has introduced the S series of these earphones which offers a different silver plated cable. I haven’t heard it so I’m not sure of the sonic differences.
 
http://penonaudio.com/TFZ-SERIES-1S%20?search=tfz
 
Functionality
My pair did not come with a microphone or remote. They are specifically designed for music enjoyment.
 
Ergonomics, Fit and Microphonics, Isolation

The over ear fit of the TFZ series of earphones worked well for my ears. We are seeing more and more universal shells with this custom inspired shape. The way they are designed, they fill a large portion of the concha of my ear. The angled strain relief loops around my ear and are snugged into place with the chin/neck slider. Thanks to the over ear fit, microphonics are virtually eliminated. Isolation is average for a universal model.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
At 12 Ohms, the Series 1 is a very easy to drive earphone. They can be driven with any DAP or cell phone. Their warm tilt and smooth response is better setup to work well with a more neutral sounding source. A warmer source will further emphasize their lower frequency response and make them sound slightly wooly from what I could gather.
 
The tuning of the Series one is very forgiving with poorly recorded music and low bitrate files. There will be improvements with higher bit rate music, but it won’t be significant. The Series one has a fit and sound that makes it a great commuting earphone. The elevated bass and solid fit works great when commuting.
 
Sound Signature

At first listen I wasn’t very impressed with them. They seemed to have a wooly and boomy response, and seemed overly smooth. After giving them some time and experimenting with tips and sources they began to grow on me. There’s no denying the fact that they will be considered bassy by some, and others may say that they lack high frequency presence and extension. Anyone who says this won’t necessarily be wrong in their assumption. Aside from these traits,  there is some very natural and engaging things about their sound, primarily vocals.
 
NOTE: The entire TFZ series rocks with modern genres of music, and is one of the better budget earphones I’ve hear for this genre. I got a kick out of turning these things up with Hip Hop and Dubstep music. I was able to get the bass bumping without the treble going overboard. As I always say, don’t turn the volume up too loud for too long. I want you to be able to relate to my reviews. You won’t be able to do so if you can’t hear.
 
Bass
There is some very nice bass extension and depth to the Series 1 sound. Although midbass seems to be slightly more forward, I was able to thoroughly enjoy basslines from any genre of music I listened to.
 
Midbass does have a tendency to perceptually rear its head a little too much at times, impacting lower midrange resolution. Trust me, I’ve heard other earphones that are much worse than the Series 1, and although forwards and slightly intrusive, I don’t consider it to be dealbreaker. It’s not fat, it’s “thick.”
 
To my ears the perceived midbass forwardness could be remedied in one of two ways. You could EQ down the 100-300 Hz range, or raise the 4-8 kHz range. Doing either creates similar results. The idea is to create a good proportion between lower and higher frequencies.

 
Mid-range
Aside from a little mid-bass boom, mid-range is very natural to my ears. A warm tilt carries throughout middle frequencies and is pretty spot on from what I hear. Male vocals were solid without being overly weighted for the most part. Female vocals were a little sucked back but still very adequate. There could be a touch more detail, but texture is excellent. Overall, mid-range manages to be smooth and natural.
 
Treble
Series 1 has one of the more fatigue free trebles I’ve heard without being rolled off. For my ears there could be a little more presence in the 6-8 kHz range. On a positive note, this an earphone I would definitely recommend to people who are very sensitive to sibilant and harsh high frequencies. Extension is decent, but not one of their strongest attributes. I consider it to be adequate.
 
Cymbal crashes, and pronunciations of the letters S and T tend to be slightly behind the upper mid-range.
 
Soundstage and Imaging
The Series 1 has some impressive soundstage depth. A mid-bass lift makes its depth less noticeable than it actually is. Add a somewhat relaxed upper frequency presence, and the overall impression I get is that the Series 1 is average, maybe slightly above average in terms of soundstage. The response is very natural, but lacks the detail and refinement that allows me to say that imaging is elite.
 
Comparison to the TFZ 3 and 5
I will usually compare to similarly priced and comparable models from other brands but I feel that it would be better to figure out how these stack up to the other two in the lineup.
 
My pair of Series 3 and Series 5 sound very similar, and their frequency response measures pretty much identically. The Series 3 is maybe just a touch warmer and bassier. All of the earphones have what I would assume are very similar, if not identical drivers.
 
NOTE: Since receiving the Series 1, 3 and 5, TFZ has made tweaks. They now offer a Series T1S which is described to have a SPC cable and sound characteristics more like the Series 5. The Series 3 and 5 also received a face lift, getting a braided cables which claims to improve their sound.
 
All three earphones are bassy, having a L-shaped tuning, somewhat natural and slightly warm tilted midrange and smooth treble response. There was a small measureable difference between the Series 1, and the 3 and 5. The Series 3 and 5 has a few dB increase at mid/upper-mid and treble frequencies.  
 
The Series 3 sits in between the Series 1 and Series 5, and their tuning leans more towards the Series 5. Series 1 is the warmest, smoothest and least defined. The Series 3 has the tuning of the Series 5, but doesn’t seem to have the same refinement, detail and separation. The Series five is the same tuning as the series three, but with an overall more refined and high end sound. The difference isn’t significant and required extensive A-B testing to figure this out.

Build quality is nearly identical. The Series 1 has a transparent shell, while the other two models have black shells with aluminum face plates. Accessories is identical on all three models.

 
Conclusion
At the end of reviewing the Series 1, I’m left wondering why TFZ would make a Series 3, then a more expensive Series 5 which to my ears sounds almost very similar. I was expecting a bigger variance between each model. I would have preferred a bigger variance in sound, or maybe they could have sold one earphone with different tuning filters (sold at a higher price). I assume the tweaks they made as I described in the comparison section were done to address this concern.
 
On a positive note, I really like the “house sound” of the TFZ series. They are natural and smooth with a bass lift and impressive soundstage depth. While I find the series 3 and 5 to be slightly more refined, I was able to improve the sound of the Series 1 with an EQ adjustment (as noted above in the review). Truth be told, a little less mid-bass and a little more detail and refinement would make these the new “giant killer.”
 
The Series 1 will make a great earphone for commuting, and you’ll catch yourself turning these things up when your top forty hits are playing through your portable device. The fit is great, and the sound signature will make them something that works great in noisy environments. I can also see these making some great earphones for the gym.
 
When rating a product, I have to take all criteria into account. The Series 1 gets four stars for build and design, four and a half stars for fit and isolation, and four stars for sound quality. All in all, I give the Series 1 four stars. They are worthy of their asking price, and will impress many with their impressive bass and fatigue free tuning.
 

Thanks for reading and happy listening!

At the time this review was written, the Rhapsodio Clipper was listed for sale on their website. Here is a link to their listing of the product:
 
http://www.rhapsodiostore.com/products/rhapsodio-clipper
 
Introduction
There’s a lot of dynamic driver in-ear monitors listed for sale now days. Anywhere from budget to high end in-ear monitors offer variations of this driver set up, leaving one to wonder what it is that causes one to cost a thousand dollars while there’s budget versions that cost five bucks.
 
Build, sound quality and materials used are the main reasons, but sometimes it’s reputation and magic snake oil driving up the prices. This is why reviews from seasoned listeners is so important.
 
When a fellow Head-Fier contacted me to see if I would be interested in reviewing the Clipper from Rhapsodio, I agreed. I had not had an opportunity to hear their in-ear monitors besides at audio conventions and Head-Fi meets. Being on Head-Fi for some time, I had heard of them mentioned several times before.
 
Rhapsodio is known for their higher end in-ear monitors and upgrade cables. If you aren’t familiar with their product lineup, here is a link to see what they have to offer:
 
http://www.rhapsodio.com/
 
The Clipper breaks away from Rhapsodio’s high end roots. The Clipper earphone I will be reviewing today comes in at a very low price of fifty-five dollars. Let’s see what they can do for this price.
 
Disclaimer
I was given an opportunity to review a free sample of the Clipper in exchange for my honest opinion and review. I am in no way affiliated with Rhapsodio. I would like to take this time to personally thank fellow Head-Fier @flinkenick for the opportunity to experience and review this earphone.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

The clipper arrived in a square black clamshell case with a red zipper. The case has a carbon fiber looking print on it. Overall, there is nothing remarkable to say about the case itself. It is identical to what budget manufacturer KZ (Knowledge Zenith) offers in their product line. It’s definitely adequate for holding your earphones and that’s about it. There was no retail packaging that came with the sample I received.
 
Specifications and Accessories
Specifications are currently unavailable. I have my feelers out to see if I can get some to post. For now we will skip to accessories.
 
Accessories
1X Pair Clipper earphones
1X Clamshell case
3X Pair silicone wide bore tips (S,M,L)
 
Housings

The Clipper housings are all plastic and somewhat generic looking. They are very lightweight. The frosted clear shells seem durable and create a nice display for the internal wiring. It’s nice to see a well thought out and high level of craftsmanship in how the wires are twisted and soldered into the drivers.
 

The nozzles of the Clipper are a straight tube that has a fairly average length and has no nozzle. Despite the fact that the nozzle was a bit wider than your typical IEM, tip rolling was easy to do. An MMCX plug is utilized, making the cable replaceable

 
Cable, Y-Split, Cable Jack, Strain Reliefs

Clipper has a detachable MMCX cable, which is a very nice touch for a fifty-five dollar earphone. It has a slick looking black and white candy cane striped appearance and is fairly average in length. I personally didn’t care for the material used for this application. The cable has quite a bit of spring and memory. After removing the earphone from its case and plugging it into whatever source you plan on using it with, the cable retains a level of spring and memory that can be a nuisance. The Y-split is a silver metal jacketed tube with rubber innards. The cable jack is a straight 3.5 mm gold plated jack with the same silver metal jacketing as the Y-split. Strain reliefs are very subtle but adequate. The MMCX connectors are jacketed in a black plastic housing. With a plastic housing and MMCX connectors, I don’t things these will withstand being stepped on or handled roughly day in and day out. When we’re talking about budget priced gear, these are the sacrifices we sometimes have to occasionally make.
 

My favorite aspect to the Clipper cable was the springy-ish memory wire that goes around the ear. It is a universal shape that helps secure a comfortable and stable fit.
 
Functionality
The stock Clipper is geared for music enjoyment. There is no microphone or remote. Plug them in your source, pop them in your ears, enjoy some music and repeat. Because the Clipper is an MMCX connection, an aftermarket phone cable can be purchased for them.
 
Ergonomics, Fit and Microphonics, Isolation

Clipper can only be worn over the ear. Their shape and cable won’t give you an option to let them hang without looping them over each ear. They have some aspects that will make wearing them a challenge. First, they have a somewhat shallow fit. The way the nozzle is shaped it doesn’t leave a lot of room for people with deeper ears to get them far enough into their ears. On top of this, the bulk of the MMCX connector will also prevent the nozzle from reaching deep enough into some people’s ears and create a seal. Add the fact that the Clipper comes with some wide bore tips that are very shallow, it creates a triple whammy. I can see many people having an issue with getting the Clipper to fit. Fortunately for me, I was able to do some tip rolling and come up with a tip that relieves all of this. With the stock tips I couldn’t get something that would seal and stay in my ears. If you get the Clipper, try using a tip that fits the nozzle and extends its length. Once I came up with a tip that works, the fit was great.
 
Once a proper seal is achieved, the Clipper creates a vacuum like seal that will cause driver flex if too much pressure is applied to the driver. Isolation is better than your average isolating in-ear monitor. Thanks to the over ear fit microphonics is non existent.

 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
The Clipper is a very sensitive IEM. When listening to them with my LG V10, I couldn’t get beyond the halfway point without them being too loud to listen to. Even still, listening to them with a more powerful source seemed to render more control of each frequency (primarily bass tones).
 
The bassy signature of the Clipper combined with a less forward midrange and treble response makes them forgiving with poorly recorded music. I also noticed that they will upscale to a certain extent with better sources and higher bitrate files. The bassy signature of the Clipper doesn’t vibe well with warmer and bassier sources. Clipper sounds best with a leaner high powered source and high bitrate music files. Just be careful if you use a powerful source as the volume will be really touchy due to the earphone’s sensitivity. They will also sound really good streaming music with your smartphone. My favorite way to use them was streaming Google Music on the go with my LG V10.
 
Sound Signature
Bass in your face. That’s the theme here...
 
The Clipper is very bassy, and will be too bassy for some. They have a mid-bass forward signature that lingers over all other frequencies. Lower frequencies have added color and are thick in tone. Despite this, there is some nice clarity and separation in mid, upper-mid, and treble ranges. The overall feel is loads of bass with a forward bite on vocals and upper mid-range frequencies. Every other frequency is perceptually relaxed and smooth with some decent clarity.
 
Bass
The thing I hear most is mid-bass. There is sub-bass bass, but it takes a perceptual back seat to a lingering and somewhat bloated mid-bass response. There is a resonant quality that casts a shadow over every other frequency. It’s a shame because there is some really nice clarity from neighboring ranges. I did a equalizer adjustment to make the sound more ideal for my listening preference. Here it is:
 

NOTE: With this adjustment, everything is is much more balanced and natural. Vocals are very natural and the soundstage improved to my ears. Sub-bass came forward and was authoritative when need be. The focus was taken off of the mid-bass tones and I was able to hear more soundstage depth. Yes, the EQ is pretty drastic, and has altered the sound pretty significantly. There’s lots of capability in this driver. Some tweaks I would suggest are lowering the not only the mid-bass, and also the upper mid-range just a bit. To maintain consistency with my impressions, the rest of the review will carry on without this EQ adjustment.
 
Mid-range
The Clipper mid-range is not bad at all, but suffers from the previously mentioned bass forward presence we discussed in the last section. Lower mid-range seems very natural, but as soon as the bass is engaged it’s overshadowed by bass resonance. I won’t say it’s bleed that causes distortion. It’s just way to bass focused for its own good in my opinion.
 
To top all of this off, the Clipper mid-range has a dip around 1 kHz, adding a sense of the mids being slightly recessed at this range. There is a lift at upper mid-range frequencies that helps balance out with the mid-bass and keeps the Clipper from being deemed as terribly dark sounding. There is bite on vocals thanks to this lift.
 
Treble
Treble avoids sibilance, and because of the bass focused response it takes a back seat and is perceptually smooth. Pronunciations of the letters S and T are adequate but more on the smooth side of things. Treble picks up after this range. I don’t consider the treble to be lacking on a whole. It more takes a back seat to the booming stuff.
 
Soundstage and Imaging
The fact that these are all about mid-bass, soundstage is small to my ears. With my previously mentioned EQ adjustment I would say that it’s fairly large. Stock tuning however is below average. I can’t seem to take my focus away from the booming lower frequencies. Because of this I would say that stage is below average for a fifty five dollar earphone. Thanks to a nice level of clarity the Clipper possesses, imaging is solid (although slightly skewed because of tuning).
 
Comparisons
Fidue A65 ($40 to $70 USD on many sites)
The A65 is a titanium diaphragm single dynamic driver per channel earphone that breaks away from most consumer oriented tunings that can be found at this price range. They have a very balanced and nicely detailed sound, offering a touch of warmth through its mid-range.
 
Comparing the two, the A65 is far more balanced and natural to my ears. Just the opposite, the Clipper is far more dynamic and bassy. In terms of resolution (and if you can listen past the bass forwardness of the Clipper) they are evenly matched. Depending on your listening preference and preferred genres of music, the Clipper tuning can be more entertaining.
 
Build and design goes to the A65. Their metal housings promote an under or over the ear fit, and their cable is more manageable. Fidue also offers a few more tip options.

 
T-Peos Altone 150 ($89 USD on CTC Audio’s website)
The Altone 150 is the cheapest model in their Altone product line. They sport an HPS driver that is supposed to offer a smooth midrange and dynamic bass presence.
 
Listening to both earphones, they both pack a perceptually mid-bass forward tuning. The Clipper mid-bass is slightly more forward, but also seems to have more clarity at the same time. There is quite a bit more resolution through the Clipper mid-range, making the Altone 150 seem very smooth and almost congested sounding in comparison. To be completely honest, at one point I had to stop switching back and forth and can flat out say the Clipper is a better sounding earphone in just about every way.
 
Build quality and design goes to the Altone 150. Although they have similar cables in terms of spring and memory, I prefer the DC style plug of the Altone 150, and also prefer their metal housings. Accessories goes to the Altone 150 as well. They offer more tips and their cable has an inline microphone and remote.
 
Conclusion
The Clipper is a bassy earphone with decent separation and resolution. They have a nice design, and their bass forward tuning and better than average isolation makes them an ideal candidate for some great commuting earphones.
 
The Clipper has some nice qualities and their general concepts are good, but there are issues with just about every criteria that I personally feel needs to be addressed. A different stock cable with less spring and memory would be a big improvement (remember, the Clipper has a removeable/replaceable cable). Some design tweaks should be made to the housings and MMCX connectors to provide a fit that isn’t as shallow as it currently is (can be remedied with longer aftermarket tips). An inline microphone and remote would be a nice touch, considering this is a portable pair of phones. Last but not least, the bass needs to be reduced to make room for other frequencies to breathe, revealing the clarity they can have. Even still, the Clipper is far from horrible. They have a place in the market as a great budget cell phone companion. The will work excellent for those who are looking to listen to modern genres of music on the go.
 
When rating a product I have to take all criteria into account. I give the Clipper three stars for build quality, three stars for their fit, two and a half stars for accessories, and out of respect to the audio enthusiasts who love lots of bass I will give them three and a half to four stars for sound quality (thanks to their ability to maintain some good clarity). All in all I give the Clipper three and a half stars.
 

Thanks for reading and happy listening!

At the time this review was written, the Venture Electronics Monk Plus was listed for sale on the VE website and also on Aliexpress. Here are links to their listing of the product:

https://www.veclan.com/engappliance_sel_one?eng_ApplianceVo.eac_id=4

http://www.aliexpress.com/item/Venture-Electronic-VE-MONK-earbud-earphone/32417311324.html?spm=2114.08.3.1.BJX1op&ws_ab_test=searchweb201556_7,searchweb201602_5_10057_10056_10065_10055_10067_10054_10069_301_10059_10033_10058_10032_10017_10070_10060_10061_10052_10062_10053_10050_10051,searchweb201603_1&btsid=23ac801c-dbc5-42aa-80fb-4d10ff020ade

Introduction
A year or so ago I would have laughed at earbuds. I hadn’t had any positive experiences with them up until that point. My opinion at the time was that earbuds couldn’t do much beyond creating a thin and lifeless two dimensional sound. I had no intention to dabble in this style of earphone until my good friend Tamal suggested I give the VE Zen a try. It was a perception changer for sure. Here is my review of the original Zen:

http://www.head-fi.org/products/venture-electronics-ve-zen/reviews/13680

Needless to say, they left me impressed. Although not the greatest thing I ever heard, the Zen proved that an earbud can offer incredible dynamics. There is now a quasi-revival of earbuds and their relevance in the current hi-fi audio scene for me. Just about every tenured earphone manufacturer has an earbud of some sort listed for sale.

In 2014/2015 Venture Electronics released the Monk, which was the original five dollar budget earphone that made some pretty big waves in the audio community. VE also released the Zen 2.0, which to my ears was an improvement over the original Zen. Here is my review:

http://www.head-fi.org/products/venture-electronics-ve-zen-v2/reviews/15142

I have become a fan of Venture Electronics after covering some of their product line. The first version of monk gave people a taste of what VE had to offer, and the Zen would take the Monk sound to the next level of audio bliss (at a sizeable price increase). Don’t have the funds to take the leap into the realm of Zen? It’s okay, because the Monk could give you seventy five to ninety percent of what the Zen could do (depending on your preferences and sources used). Only those who wanted that extra ten to twenty-five percent increase in performance needed to shell out the hundred plus dollars needed to make it happen.

With VE, there’s winners at every price point. The VE Clan has also vowed to improve the product line as they move forward. The Zen 2.0 was a considerable improvement from their first Zen, and the Monk Plus is… well, let’s get to that in a bit. For now let's continue the current conversation.

Venture Electronic’s Zen 2.0 took the original's place as their current flagship earbud. Now that they have had some time on the market and in the ears of its customers, there seems to be a pretty noticeable leap in performance between the original Monk and Zen 2.0. Well, Lee and the boys over at VE have once again bridged the gap between the budget and flagship lineup, introducing the Monk Plus. Let’s take a look and listen to their budget priced and premium sounding earphone.

Disclaimer
Venture Electronics has supplied me with free sets of their entire Monk Plus lineup in exchange for my honest opinion and review. I am in no way affiliated with Venture Electronics aside from being entrusted to fairly review their products, and share my experience with the Head-Fi community. I would like to take this time to personally thank Lee for the opportunity to experience and review their products, and also for allowing my constructive criticism help play part in their product development.

To be completely honest, I am so impressed with the Monk Plus, I plan on purchasing a couple pair to give as gifts. I feel they perform so well that I’m going to buy a few more just to share the magic these things have for five measly dollars. If I am getting free pairs to review, the least I can do is to buy a few more pairs and share the gift of Head-Fi at the next few upcoming audio conventions.

My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…

There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.

I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.

REVIEW

The Monk comes in a cheap bag. Yup, a cheap plastic bag with funky drawings and quotes derived from the socializing and antics of Lee over at team VE. To be honest the bag captures the essence of Venture Electronic’s no BS approach to making earphones. “The biggest bang you’ll ever get for your buck” is printed on the front of the bag, and to be honest it is a pretty accurate statement.


The back of the bag has some links for purchasing and more information. Opening the bag reveals the pair of earbuds and a small plastic bag with a few sets of blue and red foams. No clamshell case, no shirt clip included...The Monk is five bucks for a reason.

Specifications and Accessories
The Monk Plus lineup has variations and accessories that go beyond just the standard earbuds. Thanks to Lee, I received one of everything in the lineup. I’m glad he did, because it’s important to understand what VE is offering its customers with the Monk Plus. The specifications and accessories portion of the review will go beyond just the five dollar earbud. Let’s cover the specifications and accessories for the base model first:

Specifications:
Type: Open dynamic ear-bud
Driver: 15.4mm dynamic
Frequency Range: 8 Hz – 22 Khz
Impedance: 64 ohm
Sensitivity: 112dB +/- 5dB (1mW)
Plug: 3.5mm gold plated, straight jack
Cable: 1.2m, TPE outer coat, 128 x 0.06 4n ofc copper
Weight: Approx 15g with single full foam covers
IEM Shell: Polycarbonate / hard plastic

Acccessories:
6X Pair foam discs (3X Red, 3X Blue)

Various Jack Options

There are three different jack variations. There’s the standard 3.5 mm TRS jack, a 3.5 mm balanced TRRS jack, and a 2.5 mm balanced TRRS jack. There is no increase in price, any jack option you choose is only five dollars USD (awesome). Lee has also informed me that there will soon be a microphone version of the Monk Plus coming soon. I’m not sure what the asking price will be.

Adapters

Also included in the Monk Plus lineup are adapters that allow users to guarantee their Monk Plus will work with all of their source outputs. All adapters were tested and work well. Each one costs five dollars USD. Here are the list of the adapters that can be purchased:


1X 2.5 mm balanced TRRS to 3.5 mm standard TRS
1x 2.5 mm balanced TRRS to 3.5 mm balanced TRRS
1x 3.5 mm balanced TRRS to 2.5 mm balanced TRRS
1x 3.5 mm balanced TRRS to 3.5 mm standard TRS

EX Pack

Last but certainly not least, VE is offering an incredible earbud/accessories package option called the EX pack. In this package you will receive the Monk Plus earbuds along with a baggie that contains eight pairs of red and blue foams, four pairs of foam doughnuts, two pairs of rubber rings, and two pairs of ear hooks (size S/M and M/L). You can purchase the EX pack for a grand total of ten dollars USD.

Housings

The Monk Plus housing is a lightweight translucent smoke colored plastic housing similar to many other earbuds on the market. The shape is fairly generic, but the aesthetic is pretty nice thanks to the translucent finish which reveals the driver and internal wiring. The VE logo and 8-bit writing of the word Monk is printed on the outside of the shell, along with imprinted left and right channel markings.


The foams come in red and blue. Although I assume you could use the colors any way you’d like, this was done to make it even easier to identify each channel (red for right and blue for left).

Cable, Y-Split, Cable Jack, Strain Reliefs
The cable is a fairly standard black rubber jacketed cable. It’s very durable for the price and rivals cables that cost many times more than their asking price. There’s a small amount of spring and memory, but not enough to cause issues with the fit. The Y-split is a firm rubber jacketing with the words “VE Clan” imprinted on it. A chin/neck slider is attached to the cable and works well to help secure their fit. The jacks (regardless of what type you choose) has a straight gold plated jack that is jacketed in a rubber coating similar to the Y-split. Strain reliefs are nicely done. All in all this is a pretty decent cable at one hundred dollars, let alone the five dollar asking price.

Functionality
The current Monk lineup does not have a microphone and remote option. I have been told that there will be a mic/remote option coming soon. I will update this portion when the mic/remote version is released.

In terms of jacks, there are standard and balanced options. Make sure to choose the jack that will maximize your listening experience with whatever source you use. If you have a 2.5 or 3.5 mm balanced output of your DAP, make sure to purchase the correct balanced cable jack. There is a noticeable increase in fidelity to my ears with a balanced connections.

Ergonomics, Fit and Microphonics, Isolation

There’s not a whole lot to say here. If you’ve worn a generic earbud with foam tips you know how the Monk Plus fits. Their disc shape sits in the concha of your ears. As with all earbuds, your sound experience is entirely dependent on how these things rest in your ears. If they seal too well, they will sound overly warm, bassy and smooth. If they fit too loosely they will sound thin and lifeless. Dabble with how the monk fits and you will find the sweet spot somewhere in the middle of the two. One big positive about the Monk Plus fit, the installed chin/neck slider was a welcomed feature that enabled me to acheive a more secure and consistent fit.

Earbuds are known to lack isolation and create more of an open air music experience. The Monk Plus is no exception. You will get some nice airy sound without eliminating ambient noises. You will have no problem listening to your earphones while hearing your surroundings.

NOTE: The Monk Plus isn’t the greatest for noisy environments. Listening to the Monk while commuting or outdoors, I was regularly distracted by outside noise which took my focus away from what makes the Monk Plus sound special. Listening to them in loud environments will take away from your ability to fully enjoy them. To maximize your listening experience with the Monk Plus, listen to them in a quiet room.


Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.

I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)

Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.

Source Selection
The Monk Plus comes in at sixty four Ohms, making them somewhat source specific to maximize their sound. They will sound really good through your smartphone, but they will benefit even more from more powerful sources like DAPs, and stacked rigs with portable and desktop amplifiers. High Gain with portable sources seemed to give me the most ideal sound quality. They sounded especially good with the 2.5mm balanced jack version Monk Plus and Fiio X7 with AM3 balanced amplifier module installed.

The Monk Plus won’t necessarily discriminate either warmer or more linear sources. What you will like will be determined by your preference. Just know that this earbud is scaling up incredibly well. I was able to use everything from my Sansa Clip Zip and LG-V10, all the way up to my more powerful desktop rigs.

Sound Signature
First things first, these things sound awesome regardless of price. The biggest thing that jumps out at me is the open and airy sound combined with a very nicely dynamic, textured and detailed midrange. There is a ever so slight tint of warmth to the sound.

Just like with almost every earbud there is, the Monk Plus won’t give you the lowest of low frequencies. To add to this, the Monk Plus has a somewhat smooth (yet perceptually extended) treble response. There’s a nice bite on vocals and instruments along with complimentary frequencies that don’t take the focus off of the center stage midrange.

Although sub bass tones aren’t as present as many in-ear monitors or full size headphones, the Monk Plus still sounds adequate with most modern genres of music. The Monk Plus seemed to shine the most with Vocal and band oriented music. Symphony, Classic Rock, Indie, Acoustic, Live performances, Country, and some Rock and Metal sounded especially good with the Monk Plus.

The Monk is another earphone I caught myself turning the volume up higher and higher. It seemed like the louder I turned them up the more I enjoyed them. Disclaimer: Listening to volumes that are too loud and for too long is unhealthy. Listen responsibly people. If you’re going to turn the volume up, be sure to give your ears a break every now and then. Remember, earphones become paper weights if you go deaf.

Bass
Bass is controlled and pretty non existent at sub bass levels. To understand the way the bass works we must start with mid bass. There’s midbass to an almost forward extent, with a nice amount of fullness and punch. Kick drums to give a realistic sense of impact that is a touch softer delivery than most average full size headphones. Where the earbuds lose out is in things like sub bass lines and the lowest of low earth rumbling stuff. From the very adequate a full midbass, there is roll off into a non existent low end. This was exposed during Daft Punk’s “Doin it Right”. Simply put, the bass line was monotone and thin, and the low end rumble was non-existent.

Midrange
The Monk Plus midrange is really well done. For five bucks you get a quality midrange that trumps the mids of many earphones that costs several times more. A warm tilt carries through the entire frequency range and finishes with a 2 kHz bump. This tuning raises the dynamics without destroying their organic and natural sound reproduction and detail. Take this type of tuning and add the open and airy presence that earbuds give you, we have a very unique and somewhat spectacular effect when listening to them. I thoroughly enjoy both male and female vocals with this earbud. Harmony of vocals and instruments are rich and airy at the same time.
When testing the Monk Plus, the midrange in Rodrigo Y Gabriela’s song “The Soundmaker” guitars flowed in and out of the track and played with a very nice amount of strength and accuracy. With Ed Sheeran’s song “One” his voice was colorful and full without being unnatural. Dire Straits “Sultans of Swing” has some nice and full rhythm guitar and vocals that were complemented by some smooth shimmer and sparkle at higher ranges.

Midrange sounds take center stage and there is a gradual descent in each neighboring frequency ranges. Although sub bass is pretty much obsolete, the treble holds its tone well and doesn’t necessarily “roll off” or appear to be shelved like the lower bass tones. We will go over this next.

Treble
Treble manages to be smooth and maintains a shiny and enjoyable presence. The Monk Plus does a good job avoiding sibilant sounds. If you’re not going to enjoy these earbuds, it’s not going to be because of harsh highs, and in that same breath your aren’t going to dislike them for lack of treble either. They are a step at or maybe a touch under neutral in some frequencies. Highs are slightly behind the forward midrange presence in terms of balance. I really like the sound of cymbal crashes and hi hats. They are clearly heard and without harshness or distortion for the most part. One thing to note, they will struggle with more complex musical passages. The Monk Plus drivers will get a bit overwhelmed and smear upper midrange and lower treble ranges when trying to handle lots of sounds at the same time. It’s only with the most complex passages with genres like fast rock and speed metal that I experienced this.

Soundstage and Imaging
The dynamic and forward midrange packs enough naturalness to create a nice sense of airiness and instrument placement. Because of this soundstage and imaging are pretty solid. Due to the lack of sub bass response, the depth struggles. Highs that take a slight backseat to the midrange don't yield much height. Airy? Yes. Extended? No.

Comparisons


Monk (original version) ($5 before being discontinued)
The Monk is the original five dollar earbud, and the basis in which VE aimed to surpass with the Monk Plus.

Comparing the two, the changes in sound are along the lines of the jump from the original Zen to the Zen 2.0. With the new generation, the Monk Plus is slightly more musical and smooth. VE has added a bit of color and strength to the upper midbass and midrange while maintaining the clarity and separation that made the original Monk a popular budget pick. The Monk Plus also has the added benefit of avoiding sibilant sounds and harshness from poorly recorded music. The overall feel is that the Monk Plus has a more organic signature with less fatiguing upper frequencies

Build quality and accessories is a draw. I prefer the look of the translucent smoke housings of the Monk Plus.

Do I consider the Monk Plus to be an improvement over the original? For me the answer is yes, absolutely. However, It will not be an improvement for those who prefer a more linear and lean tuning. Long story short, the Monk Plus is a slightly more musical version of the first offering, and more jack options and accessories to pick from.


VE Zen 2.0 ($150 USD on Aliexpress and VEclan.com)
The Zen 2.0 is the current earbud flagship from Venture Electronics. They are the next generation that picks up from where the original Zen left off. Similarly to the Monk series, the next generation Zen 2.0 added warmth and dynamics to their tunings while toning the upper frequencies down a bit. I am making this comparison for those who are considering taking the leap from the Monk Plus to the Zen 2.0.

First things first, the Zen 2.0 comes in at 300 Ohms, making it much more source dependent. The Monk Plus will sound better with a smartphone, while the Zen 2.0 will sound better with a more powerful DAP or amplifier. Bouncing back and forth, the Zen 2.0 is even more relaxed and smooth than the Monk Plus. There is more bass impact and depth with the Zen 2.0. On top of all of this the Zen 2.0 manages to maintain the same level of clarity throughout the sound spectrum. Throw both earphones on a higher powered source and it’s not really a contest, the Zen 2.0 pulls away when this is done. I personally feel that the Zen 2.0 is a luxury item as compared to the Monk Plus. If you want to see what VE is capable of doing, try the Monk Plus first. Get the Zen 2.0 if you want to hear one of their best, and experience what I consider to be a ten to twenty percent increase in performance over the Monk Plus, and have something more ideal for your desktop rigs and high powered portable sources. If the leap in price is worth the difference in your opinion, I say go for it. Just remember, trying a sample of the Monk Plus will give you a taste of what to expect in the Zen 2.0.

In terms of build, the Zen 2.0 gets a slight advantage, offering a ninety degree cable jack and cooler looking cable (with upgrade options). Accessories also goes to the Zen 2.0, as they offer more foams, ear hooks and a clamshell case.

Conclusion
The Monk Plus is hands down one of the best deals in the game of budget earphones. For five bucks you get a pair of earbuds that I consider to be a remarkable improvement in clarity and overall balance/fidelity to the stock Apple earpods we see used so often these days.

The Monk Plus isn’t going to rip through and destroy your custom built multi-driver in-ear monitors. It’s not the five dollar earphone that makes every earphone purchase you ever made seem obsolete. They won’t be the most ideal earphone for noisy environments. They won’t be the best earphone for commuting or running. To be honest, the Monk Plus is really only ideal for one thing, which is to sound really awesome for the price of lunch. Pop this five dollar earbud in when you're in a quiet environment and be amazed by their remarkable fidelity. Hearing is believing my friends!

Usually I try to break earphones down in each category to get a star rating. This time I’m skipping all this part and giving the Monk Plus a five star review. That’s one dollar for every star I gave them. For a price less than an extra value meal, I find the sound quality to be pretty amazing. I recommend that if you are even a little bit curious about the Monk Plus you should give them a try. Worst case scenario, if you don’t like them, you’re out five measly dollars and will have heard what a Venture Electronics earbud are capable of.

The amount of work it took to write this review is a testament to how well the Monk Plus sounds. Over the course of the last two years I’ve joined forces with many Head-Fiers to find the best sounding earphone for under twenty-five dollars. This is arguably the best of the bunch. Add things like optional adapters, balanced cable jacks, and an EX accessories package, Venture Electronics has redefined the words tremendous value when it comes to earphones.


Thanks for reading and happy listening!

At the time this review was written, the Edifier P220 was listed for sale on Amazon. Here is a link to their listing of the product:
 
https://www.amazon.com/Edifier-P220-Headset-Samsung-Apple/dp/B01C7XBKDI/ref=sr_1_1?ie=UTF8&qid=1471827730&sr=8-1&keywords=edifier+p220
 
Introduction
Why do I still review budget gear? The answer to this is easy. Every now and then you get a diamond in the rough, or something that surprises you with build or sound quality (sometimes both). If I’ve heard a budget earphone that performs well, I will keep the manufacturer on my radar in hopes that their new releases will be something the Head-Fi community needs to know about.
 
When Edifier contacted me to see if I could cover their H850, they also asked if I would cover the P220 in-ear monitor. I agreed to do so, and see if these could possibly be the next big budget earphone on Head-Fi. Is the P220 a giant killer? Today we will go over them with a comprehensive review and find out.
 
Disclaimer
I was given an opportunity to review a free sample of the P220 in exchange for my honest opinion and review. I am in no way affiliated with Edifier. I would like to take this time to personally thank Edifier for the opportunity to experience and review their earphones.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW
  
The P220 comes in small clear plastic box with a green and black cardboard insert. The product name is featured on the front of the box. The back of the box lists product features in several languages.  
 
Specifications and Accessories

FREQUENCY RESPONSE: 20Hz～20kHz
IMPEDANCE: 24Ω
CONNECTOR TYPE: Straight
DRIVERS: Single 10mm Dynamic
SOUND PRESSURE LEVEL: 97
CABLE LENGTH: 1.3m
WEIGHT: 0.012kg
CONNECTOR: 3.5mm
 
Housings

The P220 housings are made of lightweight molded plastic. They are a bit on the cheap side of the spectrum. The nozzles are wider and shorter than the average in ear monitor. The slightly different shape of the nozzle can make tip rolling a challenge (especially with narrow bored tips).
 

The plastic housing has a rounded shape where the nozzle meets the housing. Depending on your ear’s shape, you will most likely be able to get the housing to rest comfortably in the conchas of your ears. A plastic piece extends down from the housing and extends just below lobes of my ears and attached to the cable.
 
Cable, Y-Split, Cable Jack, Strain Reliefs
The P220 cable is in line with its asking price. It’s a rubber coated 1.3 meter cable that is on the cheaper side of the quality spectrum. It isn’t the most frail thing I’ve come across in this price range, but at the same time it isn’t the most rugged thing I’ve seen either.
 

The cable has considerable spring and memory. The Y split is a piece of black plastic (nothing special). The P220 jack is a straight style 3.5 mm four pole plug. The jacketing is the same plastic/rubber material as the Y-split. A detachable chin/neck slider comes attached to the cable and is pretty useless. Any time I tried snugging the cable in place the clasp would fail to hold the cables together. Strain reliefs are adequate but not spectacular. I can see someone who takes care of their stuff getting adequate mileage out of them. In the same breath I can also see someone who abuses their property going through these fairly quickly. The plastic housings and generic cable build doesn’t give me a lot of confidence in them if handled carelessly.  
 
Functionality

A single button remote and microphone is located six inches down from the left ear piece. It is an inline small plastic box with a small oval button. The microphone and remote works well for both Android and Iphone. When talking to friends and family, they reported my voice coming through at a four on a scale from one to five.
 
Ergonomics, Fit and Microphonics, Isolation

The housing shape of the P220 makes it almost necessarily worn cable down. They can be worn over the ear, but when this is done the look and fit is rather awkward (and also less secure). When worn cable down there was considerable microphonics. When worn cable up microphonics were better controlled but still somewhat present. With the right tip and a good seal microphonics were average. I could hear ambient noises when music wasn’t playing, but couldn’t when it was.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
At 24 Ohms, the P220 is geared to be used with a cell phone, but can also be used with a DAP. A high powered desktop rig is overkill and defeats what the P220 is designed for, which is to be a low cost portable earphone option.
 
The P220 has a dynamic lower frequency and crisp finish. I found them to pair better with a warmer sounding portable source. A neutral and linear source will further emphasize their crisp upper frequency tuning and make them border on sounding harsh.
 
Sound Signature
To my ears the P220 has a lot of good things going for it. A very dynamic and robust lower frequency response outperforms its asking price. A crisp and slightly unrefined upper frequency range rounds out the sound, making it somewhat V-ish in shape. The overall feel (with a good sealing tip) is aggressive and entertaining. The tuning will work well with most genres.
 
Bass
Bass on the P220 is forward but packs a very responsive sound. There is equal amounts of punch and rumble. The above measurements indicate that their bass would overwhelm the rest of the tuning, but attack and decay are impressive enough that this doesn’t end up being the case. Bass forward? Yes, kind of. Separate the other frequencies from the equation and focus on the lower frequency performance of the P220 and I can almost guarantee that you will be pleasantly surprised.
 
In terms of sub bass, when listening to Daft Punk’s “Doin’ it Right” the P220 was able to hit every note and extended to the lowest notes with ease. Tone is consistent and there doesn’t seem to be any frequency the P220 can’t handle. During James Blake’s “Limit to Your Love” the bass throbbed at its needed pace with a nice punch and didn’t break up midrange tones much at all.
 
Midbass is definitely forward, but again it is very fast in attack and decay. There are sometimes when midbass tones in bass lines will come on a bit strong, but they don’t bleed or cause midrange chaos. All in all, the P220 has one of the better bass reproductions in the budget price range.
 
Midrange
After a forward midbass presence, there is a roll off into midrange tones. As you listen up to past the lower frequency range things roll off bit. Vocals finish a bit soft, thin, and slightly cold/dry at the same time. The balance between lower frequency ranges and upper midrange tones are a bit wonky and sound slightly unnatural. It isn’t because of lack of resolution, but more how things are tuned. Some would use the words “sucked out mids.” Either there’s too much bass, or we could use more midrange to even out the sound.
 
Treble
Treble picks up from a subdued upper midrange and has an aggressive edge to it. The forward bass presence takes a perceptual edge off of a tuning that reveals sibilance in recordings. There’s something about the P220 upper frequencies that is almost “hissy” sounding to my ears. Pronunciations of the letters S and SH have a glare that doesn’t vibe well with the soft finish of vocals and upper midrange instruments. It isn’t horrible, but it prevents me from saying that it sounds superior to earphones in its price range.
 
Soundstage and Imaging
Soundstage is somewhat intimate. The recessed midrange makes vocals take a back seat. Because of this imaging is somewhat skewed.
 
Comparisons
Mee Audio M9 Classic ($10 USD on many sites)
The M9 Classic was the first review I ever did. They are a budget earphone that offers a great return for your dollar.
 
Comparing the two, both earphones have a colder than average upper frequency response. The Edifier gets an advantage for having a more responsive bass and midbass presentation. Midrange goes to the M9 for having a slightly more forward midrange presence, making vocals seem more forward and natural. The P220 gets my vote for treble, although both earphones have some “crispy” highs. The P220 may have a better soundstage depending on how your hear it, but the M9 has a better sense of imaging thanks to a better balance between all frequencies
 
Build quality goes to the M9 classic for having a aluminum housing as compared to the plastic shell of the P220. Accessories also goes to the M9 for offering a few more sets of tips.

 
KZ ED9 (Brass Filters) ($10 to $20 USD on many sites)
In my book, the ED9 is one of the best budget earphones on the planet. I’ve had guys who own summit fi gear listen to these things and walk away impressed. I like to do the “KZ test” and have them listen to them and then ask how much they think they cost. The answer I get most often is anywhere from fifty to one hundred dollars. When I tell them they go for as low as ten dollars, most people can’t believe it.
 
Comparing the two, I give an edge to the P220 for having a more responsive bass presence. Other than that the ED9 gets the edge in every other aspect of sound. There’s a refinement and balance that the ED9 has that the P220 can’t touch.
 
Build quality and accessories goes to the ED9. Their metal housings and tuning filters make them a competitive package even at prices higher than what they sell for.
 
Conclusion
I went into this review wanting to see if Edifier could produce a budget gem that trumps everything in its price range. At the end I will say that they are a solid middle of the pack performer that won’t leave you feeling like you wasted your money if you bought a pair.
 
The P220 has positives and negatives that balance out to them being a decent buy. On one hand their build is on the cheaper side of things (and in line with their asking price), come with nothing more than a single set of tips, and their “sucked out midrange” prevents me from being able to fully enjoy them. On the other hand they have some butt-kicking bass performance that is good at any price range. With an EQ adjustment to raise the mids (or lower bass and treble) their sound is pretty nice! The fit is comfortable and the lightweight plastic housings make for comfortable long listening sessions.
 
When rating this product, I have to take all criteria into account. I give these earphones two and a half stars for build quality, three and a half stars for sound, two stars for accessories, and four stars for comfort. All in all, I give the P220 a cumulative score of three stars. They are a middle of the pack performer that makes a decent pair of on-the-go beaters.
 

Thanks for reading and happy listening!

At the time of the review, the Meze 99 Classics headphones were for sale on their website. Here is a link for information and purchase:
 
https://www.mezeheadphones.com/meze-99-classics-walnut-silver-wood-headphones
 
Introduction
The force is strong in these…
 
If you’ve been visiting Head-Fi over the last year, you’ve probably seen several Meze 99 Classics reviews on the front page of the website. They have gotten some rave reviews from fellow Head-Fiers.
 
I had an opportunity to sample the 99 Classics at Axpona in April of 2016. They sounded decent, but to be honest I didn’t have enough time with them to get a fair impression. A few months later I was browsing the InnerFidelity Wall of Fame, and saw that they made Tyll’s list. At that point I knew I needed to see if I could get my hands and ears on a review sample and put them through their paces. I contacted Meze to see if I could borrow a pair.
 
I did a little homework on Meze. The headphones were designed in Romania and assembled in China. Meze is committed to combining craftsmanship, art and music together into one great headphone. Here is a statement shared from a company representative:
 
“Since wood is the trademark of our company, we make sure that each and every pair of headphones and earphones are carefully crafted from selected lumber.

We chose to use only air dried walnut lumber for the spectacular colors that it can display. As a result, we have to wait up to eighteen months for the lumber to dry so that we can shape the wood into the emblematic Meze Headphones look. This is the timeframe needed only for curing and drying the lumber before any further processing can begin. We are patient because we know that the end result is worth the wait.

The process of shaping just a single pair of earcups takes up to 8 hours. The whole process of sanding, lacquering, and finishing lasts 45 days. We could cut corners but we take great pride in delivering the best product to our customers.

The craftsmanship of our headphones and earphones is paramount. The wooden components of our products are carefully inspected and no flaws are permitted to reach the final assembly. Aesthetics are as important for us as they are for you. We want you to wear a pair of Meze Headphones and know that you are enjoying a timeless art piece.

We are using walnut wood for its sturdiness and for its acoustic qualities. Although harder to find and to work with, we chose walnut for the brighter, more balanced sound that it offers to our headphones. Simply put, it is a blend of technology, art, and nature.

It is well to mention that all the wood that we use in our headphones is strictly harvested from mature trees that have reached the end of their life cycles. This way, we are helping the environment and we're giving the old trees a chance to shine one more time in the shape of Meze Headphones.”
 
With that being said, let's take a closer look (and listen) to the Meze 99 Classics.

 
Disclaimer
I was given an opportunity to review the 99 Classics in exchange for my honest opinion and review. I am in no way affiliated with Meze aside from offering an unbiased review in exchange for an opportunity to sample their product. I would like to take this time to personally thank Razvan and Lorand for this opportunity.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW
NOTE: The 99 Classics comes in three color variations. I received the walnut and silver pair. Please refer the link at the top of the page to see the other colors that are available.
 

The 99 Classics come in a simple black box with vanilla lettering and accents. The front of the box features the product name and a gloss outlined drawing of the headphones.
 

The back of the box displays a nice picture of the headphones, along with some key features of the product.
 
  
The left side of the box has another gloss outlined drawing of a side view of the 99 Classics. The right side of the box displays a frequency response graph, along with specifications and accessories.
 
Specifications and Accessories
 
Specifications
Transducer size: 40mm
Frequency response: 15Hz - 25KHz
Sensitivity: 103dB at 1KHz, 1mW
Impedance: 32Ohm
Rated input power: 30mW
Maximum input power: 50mW
Detachable Kevlar OFC cable
Plug: 3.5mm gold plated
Weight: 260 gr (9.2 ounces) without cables
Ear-cups: walnut wood
 
Accessories

1X Headphone carrying case
1x Cable carrying case
1X 4ft Kevlar coated cable with single button microphone and remote
1X 10ft Kevlar coated cable
1X ¼ inch adapter
1X airline adapter

 
Overall Build

First things first, Meze guarantees and backs its product. There is a tremendous amount of pride in engineering behind the 99 Classic. A big selling point for me is that they don’t use adhesive or non-replaceable parts. Every component of these headphones are replaceable. If you blow a driver or crack a cup ect., Meze will have a replacement part for you. It’s as simple as removing some screws, removing the component and replacing it. The build of the 99 Classics is pretty nice. Holding them in my hand they feel both lightweight and solid at the same time. One thing I really appreciate is that I see virtually no plastic used in their build (the only exceptions being the driver plates and one part of the headband).
 

The headband is a very solid design, similar to many AKG designs but with upgraded materials used. Two spring steel bands operate as a frame for the headphones, and are supported by a synthetic leather coated piece of plastic and elastic that allows the headband to stretch and rest comfortable on the user’s head. The design looks well done and able to withstand the test of time and daily abuse. If not, remember that replacement parts are available thanks to the Meze product guarantee.
 

The 99 Classics’ wooden cups attach to the spring steel headband frame via an oscillating rubber plastic ball and socket design. The walnut cups are on the smaller side and a very nice satin finish. They seem very solid and have a nice aesthetic.  A mono 3.5 mm plug is located on the bottom of each cup, making it possible to run them in balanced mode with the proper aftermarket cable.
 

The pads of the 99 Classics are made of a synthetic protein material with foam padding. They aren’t the thickest pads I’ve seen, nor do they have a large circumference. I had no problem with them in regards to this, but I can see this being a dealbreaker for someone with ears that stick out farther than average. Even still, if this is an issue pad rolling is possible thanks to the fact that the 99 Classics pads are removeable/replaceable.
 
 
 
Cable, Cable Jacks, Strain Reliefs
Two kevlar coated cables come with the 99 Classics. One is a four foot cable with a single button microphone and remote for portable use. The other is a ten foot cable without any functionality beyond music playback, and is designed for home use. Both cable have Mono 3.5 mm jacks at each channel.  The cables are tangle resistant and have very little spring or memory. I enjoyed using both of them for their intended purpose.
 
Comfort, Microphonics, Isolation

I have a fairly average size head and ears for a grown man. With that being said, the comfort of the 99 Classics is very decent, but not their best attribute.
 
The Spring steel headband frame creates some issues for me. AKG has a similarly designed  headband frame but they use a cheaper material for their headband frame (and I understand why). Although the spring steel frame of the 99 Classics is far more durable and looks a heck of a lot better, it also creates more squeeze on my head, and the formed metal frame creates a considerable amount of microphonics if it comes in contact with anything. If you bump or rub the frame against a chair or wall you’re going to hear it and it’s going to be quite loud. Also, the stretchable elastic inside the synthetic portion of the headband creates some microphonics when adjusting them or turning my head. This isn’t significant, but does impact my listening experience when using them on the move. I also get some microphonics from the headphone cable at and above the Y-split. Any time this part of the cable rubs against my clothes, microphonics can be heard. Putting them through their paces, I came to the conclusion that these headphones aren’t ideal for using them on the go.
 
Their lightweight design is a big positive. The cups oscillate enough for me to get an even pressure distribution from the pads. Aside from a slightly more than average squeeze, the 99 Classics are comfortable enough to be worn for long listening sessions, with only a minimal amount of readjusting. Due to the fact that these are closed headphones, they will get warm on the ears. Even still, they aren’t bad in this sense. I’ve listened to other headphones that struggle much more than these in terms of heat dissipation.
 
For a closed headphone, the 99 Classic isn’t a tremendous isolator. They block out some ambient noise, but won’t be recognized as a great headphone for blocking out sound. When music wasn’t playing, I was easily able to hear what’s going on and carry on normal conversations with people around me. When listening to music (even at moderate volumes) ambient noise wasn’t an issue for the most part. For some this will be a big positive.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
One of the things I liked most about the 99 Classics is how well they worked with just about any source I used them with. The 99 Classics sounded good through my smartphone, laptop, DAPs, portable amplifiers and desktop rigs. As with most earphones, 32 Ohms is a sweet spot in terms of universal source applicability. It was a very pleasant experience being able to use them on the go with my smartphone and DAPs, and also with my desktop rigs, all with no worries about creating a mismatch.
 
The tuning of these headphones makes them forgiving with low bitrate files and poor recordings. They also scale up well with higher bitrate files and sources. Using a warmer source will further emphasize the bass lift the 99 Classics have. I enjoyed these the most when listening to them through a neutral sounding DAP. Your mileage may vary.
 
Sound Signature
I consider the tuning of the 99 Classics to be a somewhat safe tuning. They will sound really good to many people’s ears at the expense of not creating a big “wow factor.”  They have a balanced sound with slight bass emphasis. There are no radical spikes or dips, and give listeners a musical experience with hints of smoothness and detail. A great big positive about this tuning is they will work excellent with any genre of music your throw at them.
 
These might be dangerous for me. To my ears it seems like the louder I turn them up the better they sound. I’m warning you, these things sound great with the volume turned past the halfway mark. Be careful, either resist the temptation to crank these things up too loud, or at least not for too long!
 
Bass
Bass on the 99 Classics is forward and has enough body to give them a full and robust sound. To my ears, the lower the bass extends the looser it gets. The 99 Classics sub bass is very present and it seems to extend well, but it loses its tone at sub bass levels and becomes slightly monotone and sloppy at the lowest audible frequencies. This doesn’t ruin the 99 Classics sound whatsoever, but prevents me from saying their bass response is elite. I can appreciate the fact that they have enough soundstage depth to say it's better than a lot of headphones out there.
 
Midbass is well done. It’s responsive and doesn’t intrude on the midrange at all. It colors the sound enough to give it some good dynamics, but not enough to throw things out of whack. I really liked the way the 99 Classic presents midbass and lower midrange sounds. It borders on thick without going overboard, and has a nice sense of texture and clarity.
 
Midrange
In my opinion the 99 Classics midrange is the best thing about their sound. It’s very balanced and fun, with a touch of warm tilt and a spacious feel. All vocals sounded very natural, including male vocals.
 
Guitar chugs and pianos, as well as just about any midrange instruments will sound great. There really isn’t anything I can fault about the 99 Classics’ midrange. The only way I can imagine someone having an issue with them would be more a matter of someone who prefers a very dry and cold sounding headphone. Upper midrange is very smooth to my ears, and maybe the farthest back in the mix aside from the upper treble frequencies.
 
Treble
If there was one word to sum up the treble response, the word I would use is polite. You will get all the treble sounds but without any type of harshness. Do I think it could use a little more sparkle and extension? For my ears the answer is yes, it could use just a touch more. Even still, don’t let that lead you to believe that the Classics’ treble is rolled off or missing because it isn’t. Meze has taken a very safe approach to its treble presentation with this headphone. You get all the treble without any harshness. Many are going to like it for this reason.
 
Soundstage and Imaging
Although not the tightest and responsive bass you will ever hear, the Meze offers a decent sense of soundstage depth. Height is average at best. Throw in some very spacious and nicely layered midrange, and the the Classics have a better than average soundstage. Thanks to the superbly tuned midrange, the Meze imaging is really good.
 
Comparisons
 
Soundmagic HP150 ($130 to $200 USD on many sites)
This is a very interesting comparison because where one headphone isn’t elite, the other one is and vice versa. The HP150 is a personal favorite, offering a level of sound quality that rivals headphones that cost many times more its asking price.
 
Comparing the two, the HP150 has the sub bass response the 99 Classics can’t achieve. Moving over the midrange, the HP150 midrange is dry and has less dimension compared to the musical and three dimensional presentation of the Classics. As far as treble goes, Soundmagic has more sparkle and extension, but will also flirt with revealing sibilance much more than the Meze headphones. Soundstage goes to the HP150, with imaging going to the Meze. This is a toss up and a matter of preference. I might like the slightly cleaner and more extended HP150 sound just a bit more, but I can see many (especially those who are more treble sensitive than myself) preferring the more musical and smooth sound of the Classics.
 
Build quality goes to the Classics. The HP150 is mostly plastic, while the Meze is anything but that. Accessories are very similar, but I prefer the way the kevlar cables perform on the Meze 99 Classics.

 
Audio Technica ATH-M50 ($125 to $150 USD on many sites)
The ATH-M50 is a gateway drug the hobby of HiFi headphones. They are a reference monitor for many recording professionals. They have a very balanced sound with slight bass emphasis, similar to the Classics.
 
Comparing the two, the Classics is a more musical sounding headphone. They have more resonance at lower frequencies and have a warmer and more colored presentation at the lower part of the sound spectrum. The ATH-M50 seems more technical, cleaner and airy sounding, but doesn’t have the same quality midrange as the Meze offering.
 
Meze gets a decisive advantage in both build and accessories. They are all wood and metal while the M50 is mostly plastic parts. They offer detachable cables and a nice case while the M50 offers a synthetic leather pouch and an attached cable (the more expensive M50X comes with a detachable cable.

 
Conclusion
The Classics is a sexy looking pair of headphones. While I enjoy their sound, I think some more minor tweaks (like some driver/cup damping material) would help clean up the bass response. Fortunately for most of us Head-Fiers, we are ready, willing and able to do these types of things ourselves. Even if not, the sound presentation is respectable.
 
The build of the 99 Classics is excellent. They will make a showcase piece when resting on a nice headphone stand or next to your laptop in your listening quarters. Meze knows how to make a great looking, and pretty good sounding pair of cans.
 
When coming up with a star rating for the Classics I had to do an average of all aspects. I give the Classics three and a half stars for sound and comfort, and four and a half stars for design and build quality. Average that out, and I give the 99 Classics four stars. Just as advertised, they are a fun combination of art and music.
 

Thanks for reading and happy listening!

At the time this review was written, the Trinity Sabre was listed for sale on Trinity Audio’s website. Here is a link to their listing of the product:
 
https://trinity-audio-engineering.myshopify.com/collections/phantom-series/products/trinity-phantom-sabre-push-pull-twin-drive-in-ear-monitor
 
Introduction
Trinity has established themselves as one of the best earphone manufacturers around when it comes to price and performance. The company is headed up by a guy from the UK named Bob (formerly of Rockjaw). If you’ve been on Head-Fi long enough you probably know him well.  
 
Bob’s vision continues to remain the same. His designs start by asking the Head-Fi community what they want want to see/hear in an earphone. He takes ideas directly from the enthusiasts who participate on the Head-Fi threads, and turns their ideas into fantastic products.
 
Trinity was launched last year with three earphones in their line-up; the Delta, Techne and Hyperion. After that came the Atlas and Delta V2. I was fortunate to partake in the beta testing process for the Atlas. To this day I still adore Atlas’ fit and sound. They rank very high on my list of preferred monitors.
 
One thing I’ve learned from my communications with Bob is that once he’s done designing and bringing an earphone to market, the guy doesn’t relax for a second. It’s like he sets a new benchmark for himself with each new product, and tries to beat it with the next earphone he makes. Great design and sound isn’t his only concern. Trinity products come in at prices that can be afforded by the masses. The end result is consumers who feel like they walked away a winner, as well as a camaraderie and loyalty between Trinity and it's target market.
 
When Bob told me that he had something special coming soon and asked if I would be interested in beta testing another earphone, I didn’t hesitate for a second. The guy called me later that day and unleashed one of the most entertaining “mad scientist” laughs I have ever heard to go along with his distinct British accent. He explained that his brother was big into car audio, and when he showed Bob his “push/pull” subwoofers he just installed in his car, a light bulb was lit in Bob’s brain. If it can be done in car audio and improves overall fidelity, why can’t it be done in earphones as well? This marked the start of the Trinity Phantom Sabre. Although the Sabre isn't the first push/pull hybrid earphone to come to market (that title goes to Audio Technica with their CKR series if I'm not mistaken) it is one of the first drops in what I assume will become a large bucket of earphones with this successful twin driver design.
 
Push/pull drivers consist of two dynamic drivers that either face each other, or face away from each other. One driver is ran in phase, and the other is ran out of phase. When this is done the cones work off of each other’s momentum. It's similar to two lumberjacks with a crosscut hand saw. When one pushes, the other pulls, making their cuts more efficient, controlled and with less resistance. Apply these physics to audio, and a dynamic driver's cone resistance and air movement is more controlled. The result is a response with less distortion and higher resolution.
 
Although it was initially promising, the beta unit had some minor flaws and tweaks which needed to be addressed. Feedback on the Sabre beta was shared by a few seasoned Head-Fiers and shared with Trinity. Bob finished his tweaks and the Sabre is now one of the latest releases, and the first in the new Phantom lineup. Let’s go over them with a comprehensive review, shall we?

 
Disclaimer
I was given an opportunity to review a free sample of the Sabre in exchange for my honest opinion and review. I am in no way affiliated with Trinity audio aside from offering some constructive criticism via beta testing. I would like to take this time to personally thank Bob for the opportunity to experience and review the final version.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

The Sabre comes in a medium size black box with red and gray accents. The front of the box has the product name and a clear plastic coated cutout revealing the Sabre housings.
 

The back of the box displays specifications, and the benefits of push/pull drivers.
 
Specifications and Accessories

 
Specification:
All aluminium CNC machined shells
Twin push/pull driver set up
Titanium diaphragm drivers
Impedance: 16Ohm
Sensitivity: 108 +/- 3DB
Frequency response: 20 - 20000Hz
24ct Gold plated 3.5mm Jack
 

Accessories:
2 Pin detachable cables x 3 (included as standard) 1 x standard Trinity multi-braid 1 x memory wire multi-braid 1 x Fabric cable with mic/remote/volume control
5 x pairs tuning filters in standard length for shallow insertion and long length for deep insertion.
OFC copper cables
Huge accessory package inc our standard case, 6.3mm adapter, 11 choices of eartips (S/M/M/L silicone, double flange,  M/L Memory foam, SPINFIT ear tips (SS/S/M/L)
 

As with all Trinity models, the accessories package is insanely good. You have everything you need to enjoy your Trinity earphone. I have the utmost confidence just about everyone who purchases a pair will have no problem finding a combination of tips and filters that is ideal for their fit and sound preference.
 
Housings

The Sabre housing is a CNC milled and polished aluminum housing. The shape is similar to a stack of dimes. They are lightweight and have a striking appearance. A driver venting hole can be found on the outer back part of the housing.
 

Sabre uses a two pin connector along with a rubber/plastic fitting that helps make the connection more secure than just the two pins. The Trinity tuning filters operate as the nozzles wihich screw into a threaded fitting on the housings. There are two different lengths for each filter for fitting purpose. More on this in a bit.
 
Cable, Y-Split, Cable Jack, Strain Reliefs
Sabre comes with three different cables. They are better than average quality and cover the diverse bass tuning preferences of most earphone enthusiasts. All three earphones come with matching two pin jacks and somewhat exclusive fitting to help secure the connection. All three cables come with identical straight 3.5 mm gold plated jacks. A metal jacketing leads to a metal spring strain relief. Y-splits on all three consist of a metal jacketing and a rubber strain relief. A convenient and effective chin/neck slider comes on all three cables and works well with Sabre’s over the ear fit.
 

The first cable we will go over is the cloth coated phone cable. It's covered in a cloth jacketing and features a three button microphone and remote. The cable is decent but comes with some minor flaws. The cloth cable is prone to kinking if twisted or bent in a way that promotes crimping. If not handled carefully, you will catch yourself getting knots and having to fix them. The remote is all plastic and seems to be on the more generic side things. Although I didn’t have any issues with the remote, I don’t have a lot of confidence in it lasting forever. The chin slider doesn’t snug up as far as I would like due to the mic/remote placement. I don’t mean to be too critical of this cable because overall it’s very decent. To be completely honest I’m not a fan of the increasing instances where new earphones will come with a cloth coated cable, especially ones on the thinner side like this one. In my opinion the negative aspects outweigh the good and I’ve opted for one of the other cables in the package for my pair of Sabre. Even so, it’s nice to see Trinity offer a cable with a microphone and remote. On a positive note, the the cable has very little in terms of spring and memory.
 

The second cable is a four strand braided black rubber coated cable. If you already own a Trinity earphone, you will be very familiar with this offering. Aside from the two pin connector, it is almost, if not identical to the previous models released by Trinity. I really like this cable a lot. There is very little if any spring or memory, and the soft rubber coating creates a secure fit when looped over my ear. Although it is prone to tangling and knotting, it can be avoided for the most part by handling them in a way that prevents this.
 

The third cable in the set is almost identical to the second, with the only exception being memory wire near the earpieces. If you are a fan of memory wire this will most likely be the best option out of the bunch for you. Personally, I feel the memory wire hindered my ability to get a fit more than it helped. Your mileage may vary.  
 
Functionality
The three button microphone and remote was tested and works for both Android and Iphone. Functionality was great and I didn’t get any lag or hang ups when using it. When talking to friends and family they reported my voice to come through at a three or four on a scale from one to five. The remote did pick up a considerable amount of wind noise, and also noise from rubbing against my collar. All in all, the remote cable performed reasonably well. Again, the plastic construction raises a small red flag. Handle it with care and you shouldn't have any problems.
 
Ergonomics, Fit and Microphonics, Isolation

I had no problem getting a secure fit with the Sabre. The over the ear fit works well for my ears. Previous concerns/comments from customers in regards to the Atlas and some other Trinity earphones were that the fit of the Sabre was too shallow. Well, Bob addressed this by offering two different lengths of the same filters (without altering the sound for the most part). That’s right, an entire second set of the same tuning filters in a slightly longer length just to guarantee nobody encounters a fit that’s too shallow. I prefer the shorter filters due to my ear anatomy. When/if your pair of Sabres arrive, make sure to spend the first day or two dialing in a filter you prefer (both for sound and fit). There's lots of options to tinker with. Bob has done just about everything I can think of to make these work for everyone who buys a pair.
 

The large tip selection makes getting a seal easy. Trinity is one of the first companies to include Spinfit tips in their accessories package. These are some of the best tips you can get. I am confident many will agree with that statement.
 
The Sabre’s over ear fit makes microphonics pretty much non existent. Isolation is better than average. These earphones create a vacuum like seal. So much so, there is a mentionable amount of driver flex. Bob guarantees that the flex won’t impact the Sabre sound. If it does, I’m sure Trinity customer service would help with the situation. Lifting the top of your ear with the opposite hand (which opens your ear canal), inserting the earphone, then letting your ear go will allow your inner ear to rest on the earphone tip and create an airtight seal rather than causing pressure build up by jamming them in your ears. This applies not only to the Sabre, but any earphone (especially those with driver flex).
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
Coming in at 16 Ohms, the Sabre is very easy to drive. They will sound good with just about any low powered source thanks to the diverse range of tuning filters that come in the package. Plug the Sabre into whatever low powered device you plan on using them with (preferably in low gain), then tinker with cables, filters and tips until you have an earphone dialed in perfectly for your listening preferences. On a whole, the leaner (less bassy) filters worked better with warmer sources, while the bassier filters worked well with leaner and cleaner sources.
 
The Sabre has a fairly high level of resolution, so it will be revealing with poor recordings and low bitrate files. The filter you use will determine how forgiving it is. Once you find the perfect source and filter/tip combination, a high bitrate and high quality recording will help maximize your listening experience with the Sabre.
 
Sound Signature

*Measurements of all five filters were taken with my Vibro Veritas coupler and ARTA software. The Veritas is not an industry standard measuring device, but this should give you an ideal of the Sabre tuning as well as how the filters differ
 
The Sabre has five sets of filters which alters the bass response while doing very little if any measurable difference to the midrange or treble frequencies. I will explain the differences and characteristics with as with most of my reviews, and generalize how the different filters alters the Sabre sound. When measuring the Sabre filters there was little if any variance between the longer and shorter filters. If anything, the longer filters were a little bit leaner in measurements, but I couldn’t hear an audible difference. There may have been a slight improvement in soundstage, but other than that they are relatively the same. On a whole, I would say the Sabre borders on being considered a V-signature without going far enough to earn that title. It’s an adjustable bass earphone with aggressive midbass and upper midrange tones.
 
Bass
The Sabre’s filters are nozzles with variances in driver venting holes. With the more linear filters the Sabre has a noticeable roll off at sub bass frequencies and a more noticeable mid bass punch. With the bassier filters sub bass came forward and was perceptually overall more warm in character. I personally preferred the Sabre with the bassier filters (primarily the Orange filters). With the bassier filters I felt the focus was taken off an aggressive upper midrange and midbass, and offered a soundstage depth that made them overall more fun and engaging to listen to. Your mileage may vary.
 
In terms of response it’s pretty fantastic. Linear filters will make them have more punch than rumble. Bassy filters will give them a nice combination of both. The thing I appreciated the most about the Sabre bass response (regardless of what filter used) was the speed and punch push/pull drivers achieve without sacrificing midrange clarity. During James Blake’s “Limit To Your Love” the bass throbbed at an elite pace, and James’ voice played with great clarity. Bassier filters occasionally struggled with sub bass tones and bordered on being slightly monotone at the lowest frequencies. Despite midbass being forward, there is no “bleed” or distortion to speak of.
 
Midrange
Lower midrange is slightly forward and continues from where the midbass tones leave off. Male vocals and lower midrange toned instruments will have weight, but they will also sound very responsive and clean.
 
A slight rolloff takes place from 100 Hz to 1 kHz takes place while maintaining a very high level of resolution. This dip makes things very enjoyable. What I enjoy most about the Sabre is the amount of detail I pick up in the midrange. This is one of the earphones that people will listen to and catch things in their music they haven’t heard before. To my ears, the Sabre midrange isn’t the most natural thing I’ve ever heard, but it’s better than most of the stuff out there in this price range, and the level of detail is pretty phenomenal.
 
Upper midrange seems a touch aggressive to my ears and borders on being shouty depending on what track I’m listening to. I’m not sure if it’s due to the dip around 1 kHz or the peaks at upper frequency ranges, but there is a slightly dry and colder feel at upper midrange frequencies. This is the main reason I prefer a bassier filter with the Sabre, as it seems to balance out the lower and upper frequencies to my ears and takes the edge off of things. I know other people will hear them differently so I’m curious to hear other people’s impressions on this.
 
Treble
My Vibro Veritas isn’t an industry standard measuring device, but I’ve measured enough earphones with it to determine radical differences from one earphone to another. With that being said there is rather large roll off at 6-7 kHz, then a fairly sizable lift at 8-10 kHz. Although this tuning takes some of the edge and harshness off where the dip takes place, it sounds a bit unnatural. Vocals finish at upper midrange frequencies with a very forward and almost shouty presence, but most pronunciations of the letters S and T are for the most part relaxed. I think many people will enjoy this tuning because a lot of the edge has been taken off of the sibilant ranges. From what I can hear the lift at around 8-10 kHz saves the Sabre from being overly warm and dark sounding. Overall, some ranges are smooth while others are crisp. You can’t say it’s one thing or the other because there’s elements of both in this frequency range.
 
Soundstage and Imaging
Soundstage on the Sabre is somewhat intimate. With bassier filters the soundstage has more depth. The somewhat wonky treble presentation is a mixed bag for me. It could be more balanced and maybe a touch more extended. Doing so would allow me to say that they have a nice sense of height. Although this is the case, the fairly high level of resolution prevents me from wanting to give them a bad score in this criteria. I would say that they are average/better than average in terms of soundstage. Combine the somewhat intimate soundstage and high resolution aspects into evaluating the overall imaging, it’s bitter sweet. There’s a nice sense of instrument placement on a stage that isn’t huge
.
Comparisons
Trinity Atlas (Discontinued)
I’ll start this comparison by saying that the Atlas is my favorite Trinity earphone that I’ve heard to this point. Despite others reporting that they got a shallow fit, they fit my ears almost perfectly. I really enjoy their engaging and natural sound. In this comparison I will evaluate them with the orange filters installed on each pair, as they were my preferred filter for both earphones.
 
Comparing the two, the Atlas seems to be more natural and spacious sounding to my ears. The Sabre has a more warm and forward lower frequency range that is richer, more engaging and more controlled. In terms of treble response, they are perceptually somewhat similar in terms of how forward they project. Although this is the case, the Atlas treble seems just a bit more extended and balanced to my ears.
 
Build quality is a draw. They are both wonderfully built. I will give an edge to the Sabre for having two pin connectors as opposed to the MMCX connectors of the Atlas. I also give a slight edge to the Sabre’s accessory package thanks to the included Spinfit tips and extra sets of longer tuning filters.

 
Dunu Titan 3 ($125 to $140 USD on many sites)
The Titan three is known as a “vocal lover’s” earphone, offering a responsive tuning that emphasizes vocals.
 
Comparing the two, they can be somewhat comparable in tuning with the leaner filters installed on the Sabre. Even still, the Sabre is an all around more relaxed sounding earphone. The Titan 3 reveals more sibilance. Bouncing back and forth, I far prefer the sound of the Sabre with a bassier filter. The Titan 3 may seem to be more clear at first listen, but critical listening revealed more micro details in with the Sabre, primarily in the midrange. Both earphones seem to have a somewhat dry and cold response at upper frequencies, with the Titan 3 being more balanced slightly harsher overall at this range. At the end of this comparison, I couldn’t help it feel like the Titan 3 was a bit hollow sounding in comparison.
 
Build quality is a draw. Both earphones have all metal housings and are well constructed. Fit is also a draw. The Trinity accessories package runs circles around the Titan 3 which isn’t an easy feat, considering the Titan 3 accessories package is really decent.
 
Conclusion
The Sabre has a lot of really unique and cool aspects about it. The Tuning is really engaging, and I enjoyed the heck out of the bass performance and overall sound (especially with the orange filters installed). The accessories package is insanely good for the asking price. I honestly have no idea how Bob makes money off of these earphones with all the goodies that are included. The accessories package is so good, I can’t imagine very many people being able to say that they couldn’t find a combination that matches their fit and sound preference.
 
The Sabre isn’t the most natural sounding earphone I’ve ever listened to, but the push/pull driver setup brings some very unique and special traits to the table, primarily the fast response and ability to reveal micro details at an elite level.
 
When rating this product, I have to take all criteria into account. The Sabre gets an easy five stars for accessories and fit, three and a half stars for sound, four stars for price to performance, and I have to deduct a half star for driver flex. All in all I give the Sabre four stars. They are a very respectable earphone for their price.
 

Thanks for reading and happy listening!

At the time this review was written the iBasso D14 Bushmaster DAC/Amplifier was for sale on Penon Audio’s website. Here is a link to iBasso’s product page display, and also a listing on Penon Audio:
 
http://www.ibasso.com/cp_xq_dy.php?id=288
 
http://penonaudio.com/iBasso-D14
 
Introduction
The only other iBasso product I’ve reviewed to this point has been the DX-80 DAP. It was a positive experience that left me curious to experience more of their products. When I heard that iBasso was looking for someone to review the D14 Bushmaster, I jumped on the opportunity. Reading the specs and versatile range of applications, there wasn’t any reason to not give it a try.
 
The iBasso D14 has been around for a while now. The product came along as the Sabre ES9018 series DAC chip was gaining popularity. The folks at iBasso has implemented the Sabre32 ES9018K2M chip into the Bushmaster, and added features that makes it a fun a versatile unit. Let’s go over it with a comprehensive review.
 
Disclaimer
I was given a free sample of the D14 to sample and write an honest and unbiased review. I am in no way affiliated with iBAsso. I would like to personally thank Extreme Audio for the opportunity to cover this product, and share my experience with the Head-Fi community.
 
Review

The D14 comes in a black and white box with blue accents. The front of the box features a picture of the Bushmaster along with brand and product name.
 

The back of the box lists some key features. The sides of the box doesn’t have anything notable to mention. Inside of the package are two more black boxes. One contains the product accessories, the other contains the D14 resting in a foam cutout.
 
Specifications and Accessories
 
Specification
Power Source: Built-in 4.2V Li-polymer Battery or external power
Frequency Response: 17Hz-20KHz +/-1dB (DAC)
17Hz-100KHz+/-0.2dB (AMP).
Signal to Noise Ratio: 115dB, 116dB (Amp)
Crosstalk: 106dB (DAC).
Total Harmonic Distortion: 0.0018%@1kHz/-10dBF (DAC)
0.0012%@1kHz/max volume (AMP)
Output power: Up to 400mW+400mW into 32ohm
Gain: +3dB and +9dB (AMP).
Battery Life: 13 hours AMP+DAC or 25 hours if amp only.
Battery Charge Time: 5 hours.
External Power supply: 5V DC
Recommended Headphone Impedance: 8-300
Output impedance: 0.1ohm.
Case dimension: 2.4W x 4.1Lx 0.8H (inch)
60W x 104Lx 20H (mm)
Weight: 149g or 5.26oz
 
Accessories
iBasso Mini Audio D14
Pouch
USB cable,
3.5mm to 3.5mm interconnect
OTG cable
3.5mm coaxial cable
Silicone strap
 

The Accessories package is very decent. The OTG cable is a weird configuration by today’s standards, using a Micro USB to Mini USB mode of transmission. More on this in a bit. The accessories package covers most inputs (but not all applications). If you have a DAP or smartPhone, you won’t need anything beyond the accessories package to use your D14.
 
Design

The Bushmaster (love that name) is housed in a brushed aluminum exterior. The options come in two different finishes (black or silver). The device weighs in at 149 grams and is about the size of a deck of cards. The amplifier feels very solid and premium in terms of build.
 

One end of the unit operates all output functionality. There is a heavy duty analog volume pot, line in/out (preamp) and headphone output jack for use with headphones. A High/Low gain switch is also located on this end of the device.
 

The opposite end has a SPDIF input that works for both Optical and Coaxial modes of music transmission. A mini USB plug is available and used for both USB DAC functionality and charging the device. A switch next to the input allows owners to decide whether or not the mini USB should receive a charge from whatever device it is connected to. Another switch is placed on this side to allow owners to choose the correct input for their application. Choices are AUX (line in), SPDIF (coaxial or optical), and USB (digital connection via the mini USB port).
 
Functionality
The D14 Bushmaster offers a lot of features for a portable amplifier. There are a lot of possibilities as to how this device can be used. There’s several input options to choose from, which allow the device to be used as a stand alone DAC, Amplifier, or combination DAP/Amplifier.
 
Bushmaster’s amplifier pumps out 400+400mW into 32 ohms and has high and low gain settings. I was able to drive everything from very sensitive in-ear monitors to High Impedance full size headphones upwards of 300 Ohms. Although output settings were not as customizable as something like the micro iDSD, it was formidable and works really well for a portable amplifier.
 
There are no bass boost or EQ options. More times than not bass boosts on a portable amplifier makes a mess of the low end. Because of this, bass boost is not something I look for in a portable DAC/Amplifier these days. Your mileage may vary however. Any sound tweaks you make will need to come from the source you use the D14 with.
 
SPDIF Inputs

 
Digital Coaxial
I was also able to connect to D14 to any source with a digital coaxial output with no problems. Anything with a SPDIF out could be utilized with the provided stock digital coax interconnect. A digital coaxial to RCA style digital adapter is needed to use the D14 with a source with a RCA style digital output.  
 
Optical Input
The first thing I thought of when I realized the D14 had a Toslink optical input was utilizing it with my DX-80 optical output. It’s a bummer that the D14 doesn’t come with an optical transmission cable. Fortunately, I was able to find a really nice (and very reasonably priced) Toslink cable on Amazon. Here is a link:
 
https://www.amazon.com/Extreme-Audio-Premium-Quality-Connectors/dp/B01AFIMKH2/ref=sr_1_5?ie=UTF8&qid=1469511981&sr=8-5&keywords=ibasso+d14
 
USB Input

A mini USB port is used to receive digital audio signals from a computer’s USB output, and also from smartphones.
 
When connecting the D14 to my laptop, I was able to use the provided USB charging/data transfer cable to replace my computer’s sound card and amplifier. On my windows computer drivers needed to be downloaded from iBasso’s website, unzipped and installed. It isn’t the most complex process in the world, but can be difficult for someone with limited computer skills or knowledge.
 
When connecting the D14 to my LG V10, I was able to do this by using the supplied micro USB to mini USB cable. This is not a common cable and I would have preferred to see a micro to micro USB mode of transmission for sake of convenience, and because it seems to be a more mainstream application.
 
When linking the Bushmaster an Iphone 6, I was able to do so by using a IOS lightning to USB camera connection kit (not included) along with the supplied USB charging/data cable. Functionality was fine, but there was a lot of cable involved in this application, making this connection not ideal in terms of portability.
 
Line In/Out

Line out connection from the DX-80 to the D14. An aftermarket JDS Labs interconnect was used in this picture.
 
Line In
This is pretty standard. Run the line out on a DAP to the D14 via a 3.5 mm interconnect cable (included in the accessories package) and access the amplifier section of the Bushmaster.
 
Line Out
Just the opposite of line in and utilizing the amplifier, you can run a digital source into the D14, and run the line out into another amplifier, utilizing the Bushmaster’s DAC.
 

All in all, the Bushmaster gives you a bunch of options in terms of its use. This is one of the devices biggest strengths, and a reason I consider this to be a good value for it’s price. It’s not too often you get this much versatility, functionality and options at this low of a price. Optical Toslink input usually comes at a much higher asking price.
 
Battery
The rechargeable battery is rated at thirteen hours when used as a combination of DAC and amplifier. When used solely as an amplifier (line input) the battery life nearly doubles to twenty five hours. I found the functionality and performance was superior when used as a DAC/amplifier (via optical toslink with my DX-80). I got one or two days (three at the most) of regular use (a few hours each day) before needing to recharge the device. The D14 needs about four to five hours to charge, depending on how depleted the battery is and what charger you’re using.
 
One thing to note, there is no automatic shut off on the Bushmaster. Forget to turn the unit off (by turning the volume pot counterclockwise until there’s a click and the device shuts off) and you will be dealing with a drained or dead device that needs recharging. Also, make sure to switch the device to charge when plugging it into a charger. Not doing so will make the time spent plugged in useless. On top of this, make sure to switch the device from charge to no charge when using it with a portable device like a cell phone via USB connection. Not doing so will result in a application error due to the D14 attempting to draw juice from your DAP or smartphone. Long story short, the bushmaster isn’t dummy-proof. The D14 versatility requires owners to make sure the device settings are inline with the corresponding mode of operation.
 
Sound
The D14’s ES9018K2M chip is linear, detailed and crisp. The internal amplifier follows suit. All in all when using the device with most sources, the overall impression I got from listening to it is that it follows suit with other devices I’ve listened to with the ES9018 chip. Examples would be the Shanling H3, Hifimediy Sabre 9018 DAC/Amplifier, and also my LG-V10 in HiFi mode. The overall impression I get is linear and detailed, packing a lot of micro-details and transparency.
 
The Bushmaster runs at a max output of 32bit/384kHz (32bit/192kHz on my Windows laptop). There is no problems in terms of file handling. It played all my music files including FLAC and DSD.
 
I’m not going to say that the Bushmaster sound is overly bright, but is on the more linear side of things. It “cools down” the warmer and more musical sound of my DX-80 when paired together. Same thing applies when pairing it with my Luxury and Precision L5. I think anyone who’s heard the ES9018 chip will understand what I’m trying to explain here.
 
The Bushmaster pairs with every headphone I have, thanks to the gain settings and out somewhat versatile output power. The D14 manages to avoid audible background hiss from most of my more sensitive in-ear monitors. In high gain the Bushmaster packs enough power to get high impedance full size cans bumping.
 
While just about any earphone will sound good, I preferred to use the D14 with warmer and bassier earphones. The detail and transparency combined with a bassier earphone created a “best of both worlds” type of scenario for me. Your mileage may vary.
 
NOTE: The Bushmaster sounds considerably better through a digital input than through the 3.5 mm line input. There is noticeable increases in clarity, detail and separation, especially when used via the optical input.
 
I would definitely recommend the D14 to someone who wants natural and crisp sound. I wouldn’t recommend the D14 to bassheads, or those looking to add warmth and musicality to their setup. The D14 isn’t geared for this.
 
Comparisons
 
Shanling H3 ($275-$300 USD on many sites)
The Shanling H3 was a personal favorite for some time. The H3 packs the same ES9018K2M DAC chip and has line in, USB, and bluetooth options, making it a superb cell phone companion for audio enthusiasts. I really enjoy being able to enjoy top of the line sound via bluetooth, all while not having to stack my phone into a rig or needing to take the portable amplifier out of my pocket in order to control music playback.
 
Comparing the two, they are almost identical sound signatures. The D14 has almost twice as much output power. This makes the H3 slightly more ideal for in ear monitors, and the D14 better suited for full size headphones (although still very formidable for IEMs).
 
The D14 offers more inputs and output options. The optical and digital coaxial input of the D14 are something the H3 doesn’t have. The Bluetooth option of the H3 is something iBasso doesn’t offer with their device. Battery life is slightly better on the D14.
 
If I’m going to a Head-Fi meet I’m bringing my DX-80 and stacking it with my D14 Bushmaster. If I’m commuting or going to work with a pair of in-ear monitors I’m bringing my H3. They are both solid devices that have a lot to offer. If you still aren’t decided which one you’d prefer, the current asking price of the D14 is about fifty dollars cheaper.
 
Cayin C5 ($150-$200 UDS on many sites)
I still love the C5 several years after its release. No, it’s not a DAC, but I am a firm believer that you don’t have to have a DAC in order for a portable to sound good as long as it has premium components and is connected to a good source. The C5 has something special under the hood that makes it really fun to listen to. It presents a powerful and entertaining sound.
 
Comparing the two, the C5 is larger and not as solidly built as the D14. The plastic components of the C5 seem frail and cheap as compared to the more solid build of the Bushmaster. Soundwise, the C5 brings a very powerful and more musical and dynamic sound to the table. The C5 pumps out 800+800 mW  at 32 Ohms, twice as powerful as the D14. High gain on the C5 is insanely powerful, making it ideal for even the most demanding full size headphones. With all that power there’s drawbacks. They aren’t what I would consider ideal for in-ear monitors (advantage D14) and the C5 gets pretty warm with extended use (especially when used in a pocket). Another negative is the C5 battery life. It is rated at twelve hours but I don’t get that much use before it’s dead. Also, there is slow battery dissipation with the C5. Charge it completely and leave it in a drawer for a month and you’ll most likely have to give it another charge before using it again.
 
D14 gets a huge advantage for its DAC functionality, more universal drivability factor, multiple input options, and line out functionality. Long story short, the C5 is more powerful and musical, while the D14 is way more versatile and universally capable of making all of your earphones and headphones sound good.
 
Conclusion
I think the D14 is a nice little DAC/Amplifier for its price. I think they really nailed it in terms of inputs and outputs. The versatile of this thing will make it a great pickup for someone getting more serious about sound quality. The fact that it will work with just about any source under the sun is a big plus.
 
I don’t think the D14 sound is going to blow people’s minds, due to the fact that it is geared more for neutrality rather than emphasized bass and warm dynamic midrange. For my preference it could use a touch more dynamics, warmth and texture. The D14 is a fantastic companion to the DX-80. They compliment each other really well. The optical connection is sweet, and the various inputs and outputs makes them fun to use together.
 
When rating this product I have to take all criterias into account (including price to performance). I give the D14 four and a half stars for design, five stars for build quality, five stars for versatility, three and a half stars for accessories (no optical toslink, digital coax to digital RCA adapter, or connection for apple), and four to four and a half stars for sound quality. Average them out, the D14 gets four and a half stars. For the price they’ve done an excellent job, and packed a ton of features into this device.
 

Thanks for reading and happy listening!

At the time this review was written, the Fidue A91 Sirius hybrid in-ear monitor was listed for sale on Hifiheadphones and Penon Audio's website. Here are links to their listings of the product:
 
http://www.hifiheadphones.co.uk/fidue-sirius-a91-hybrid-drivers-iem-earphones-with-replaceable-cable.html
 
http://penonaudio.com/Fidue-Sirius-A91
 
Introduction

I’m a Fidue fanboy. I’ll be the first to admit this.
 
My admiration of the company started with an opportunity to review the A83 hybrid in-ear monitor. To this day they are an incredible sounding earphone. The A83 was Fidue’s flagship for almost two years prior to the release of the Sirius. After enjoying the A83 for over a year, I also purchased the A73 and A65. The A73 immediately became a personal favorite. I reviewed both the A73 and A65 as well. All three earphones are great for their asking price and to this day are all still very relevant.
 
When I heard Fidue was releasing a new flagship named Sirius, I was immediately fascinated. I knew they were something I would want to experience. I contacted Fidue and expressed interest in covering them. I was fortunate enough to receive a sample. I have had the pleasure of listening to them for the last few weeks and am ready to share my experience with Fidue's new flagship in-ear monitor. I hope my review captures the essence of this incredible earphone, and gives you the information you need to know when considering them as your next high end earphone purchase.
 
Disclaimer
I was given an opportunity to review the A91 Sirius in exchange for my unbiased opinion and review. I am in no way affiliated with Fidue. I would like to take this time to personally thank them for the opportunity.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

The Sirius comes in premium box that is wrapped in a cardboard sleeve. The sleeve is black with green and white accents. The front of the box features the brand and product name, along with key features of the product in fine print.
 

The back of the box displays specifications in three different languages, and some artistic verbiage about where the Sirius name comes from. For those who don’t know, Sirius is the brightest star in our galaxy.
 

Removing the sleeve reveals the premium synthetic black leather coated box which flips open to show the earphone housings and silicone tip selection.
 



*Please click on the pictures for a larger image
 
The housing and tips are set in a removable foam and synthetic leather inlay. The underside of the foam inlay holds two adapters for the Sirius cable. They’re a 3.5 mm TRRS four pole balanced cable, and 3.5 mm TRS  three pole cable adapter for standard (unbalanced) music sources. Removing the top layer gives access to a quality assurance card, owner's manual and a premium metal canister which holds the Sirius cable which is terminated in a 2.5 mm TRRS four pole balanced jack. Also included in the canister is a quarter inch adapter, airline adapter, cleaning tool and MMCX removal tool.
 
Specifications and Accessories
 
Specifications
Drivers: Single Exclusive Super Bass 10mm Dynamic Driver / Four Custom-Made Balanced Armature Drivers
Frequency Range: 4Hz - 45kHz
Impedance: 20Ω
Sensitivity: 113dB
Max Input Power: 30mW
Distortion: <1%
Plugs: 2.5mm/3.5mm Balanced and 3.5mm stereo, Rhodium plated
Main Cable: 1.3m
Conversion cables: 0.18m
 
Accessories
1X Pair FIDUE SIRIUS A91 Reference Class 5-Way Hybrid In Ear Monitor
4X Silicone eartips (XS/S/M/L)
1X Cleaning tool / disassembling tool
1X Comply foam tips (M)
1X Flight adaptor
1X ¼ inch stereo jack adaptor
1X Luxury aluminium carrying case
 

Every component of the Sirius package is premium with a slight exception being the tips. The black silicone tips are relatively standard in terms of materials used. The single pair of medium T-500 comply foams is nice, but several sizes would have been more ideal. I would have liked to see a more premium and larger assortment of tips come with the Sirius. It would be a negative experience for someone to purchase these and come to find out that they can’t find a tip that creates a consistent seal. Fortunately for me, I have lots of aftermarket tips to try with these earphones.
 
Housings

The build quality and aesthetic of the Sirius housings are stunning. They’re a cleverly constructed gunmetal gray aluminum shell. It’s relatively lightweight for its size, and is larger than your average in-ear monitor. The Fidue inspired layering is formed on the outside of the housing, similar to designs with the A83 and A73. The Fidue brand logo is printed on the outside. The inside of the Sirius housing has a few driver venting holes and L/R channel markers.
 

Nozzles on the Sirius are slightly wider and and shorter than the average in-ear monitor. There is no lip on the nozzle. These factors will make tip rolling a bit more of a challenge than average, although not incredibly difficult. For the most part it's a matter of applying some extra effort to get the tip’s bore to stretch over the wider nozzle.
 

The cable connects via MMCX plugs and jacks. There is also machined threads outside of the connectors which allows two very clever screw on fittings to hold the cable’s MMCX connections securely in place (More on this in a bit).
 
Cable, Y-Split, Cable Jack, Strain Reliefs

A very premium kevlar coated eight core silver plated stock cable comes in the package. The cable has very little spring and virtually no memory. It’s a little bit on the thicker side for a in-ear monitor cable and is noticeably heavier than average. The stock jack terminates in a 2.5 mm TRRS balanced jack. Two adapters come with Sirius. One adapter is for normal 3.5 mm jacks, and another for 3.5 mm TRRS balanced connections. Application wise, there is no need to purchase an aftermarket cable for most portable sources. Whether you have a standard or balanced output, the Sirius has it covered thanks to its clever cable and adapters. Owners of Astell & Kern, Onkyo, Hifiman and other portables with balanced output will be able to maximize the sound output and quality without having to shell out cash beyond the Sirius asking price. Although it is added (and unwelcomed) bulk, it does its job and works well.
 

Strain reliefs are heavy duty rubber and are well done. I have no concerns about cable shortages. The Y-split and straight style cable jacks and adapters are jacketed in metal and are very rugged. There’s nothing about the cable that looks like it's going to break any time soon. If there’s one thing that I would question about the Sirius cable, it’s the kevlar/cloth material used to cover the cabling. Although it hasn’t happened yet, I assume months or years of daily use could eventually cause the cable jacketing to fray.
 

The MMCX connection on each channel is excellent. Over the last year MMCX has become more and more popular, and also more and more scrutinized by audio enthusiasts. Over time, MMCX adapters can loosen and cause intermittent or total signal loss as a result of strain and daily abuse loosening the connection. Fidue has addressed this by adding a locking mechanism. After snapping the MMCX jacks into the housing, a metal ring twists into place around the connection, securing it in place and making it  just as strong as a wired connection.
 
Functionality
The Sirius is all about maximizing the listening experience rather than being a cell phone companion. There is no microphone or remote that comes in the package. However, you can purchase an aftermarket cable with this feature if need be. If I had to guess, Fidue will probably release a phone cable with their exclusive MMCX locking mechanism in the future.
 
Ergonomics, Fit and Microphonics, Isolation

Although larger than the average in-ear monitor, I was able to get a fantastic fit. The bulkier size of the housing helped to fill the concha of my ear, and provide a secure and comfortable fit. The shallower fit could be an issue for some but I had no problem with this. Tip rolling, and finding a longer bore tip will extend the nozzle and remedy things if this is an issue for you. I wasn’t able to get a good seal with the stock tips, and foam tips seemed to impact the soundstage and made the sound too smooth for my preference. I was able to get a good seal with large Spiral Dot tips. One thing to note, the Sirius doesn’t create a vacuum like seal in my ears similar to many other in-ear monitors. Because of this isolation is average at best.
 
Microphonics are basically non-existent thanks to their over-ear fit. If you do experience microphonics, a chin/neck slider will help snug the cable in place and prevent the cable from rubbing against surfaces above the Y-split. I usually look for a chin/neck slider in an earphone to secure the over-ear fit, but the weight of the Sirius cable creates enough of a tug that I didn’t necessarily need to use it for the most part. Gravity holds the cable securely over my ears.
 
When using the Sirius for long listening sessions, the cable would create a small amount of irritation from the kevlar jacketing rubbing against the tops of my ears. I was able to easily remedy this by using a pair of aftermarket ear guides. To be honest I’m splitting hairs here. I don’t use ear guides for the most part because the discomfort is so minimal and only happens when listening to the Sirius for hours while on the go.  
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
Sirius comes in at a comfortable twenty Ohms. One thing I really appreciated was how well they worked with just about any portable and low powered source I had. I consider this to be a decisive advantage over many of the very sensitive top of the line multi-armature and hybrid earphones which can cause noise floor issues depending on what source they are used with. The Sirius sounded good with my smartphone, DX-80, micro iDSD, and just about every other portable source I tried them with.
 
The unique tuning of the Sirius didn’t necessarily discriminate low bitrate music files or poor recordings. They are slightly forgiving and won’t make your MP3s sound bad. They will upscale well and are pushed to their full potential when using them with your best files and source with a balanced output.
 
Sound Signature

*This graph was provided directly from Fidue
 
The A83, A73 and A71 were all at least to some extent bass forward, so I was expecting the A91 Sirius to follow suit. This wasn’t the case. The A91 Sirius bass is adequate in terms of quantity and quality, but it isn’t the most forward frequency in the mix, nor is it the star of the show this time around. The tuning will work with all genres, but won’t render the same bass forward response that many consumer oriented earphones do. The Fidue team has taken a more mature and high end approach to the tuning of their new flagship. The Sirius sound is very balanced and leans slightly towards a midrange forward sound and overall smooth presentation. The key word is SOUNDSTAGE (which I will touch on later).
 
Sirius sounds like a top of the line full sized headphone to my ears. The Sirius makes vocals and midrange instruments the star of the show, regardless of whatever genre you use them with. Their perceptually and slightly forward midrange presence combined with a tremendous level of quality, detail and texture in this range makes these earphones both unique and exceptional. Add a tremendously detailed, extended and smooth treble response, Sirius has a sound signature that is incredibly engaging and easy on the ears. This is done without sacrificing detail or extension on either end of the sound spectrum.
 
Another great feature about the Sirius sound is that I can enjoy them at any volume without feeling like I’m losing any sound quality. The Sirius sounds just as good to me at lower volumes as it does when I crank it up.
 
Bass
In terms of forwardness, I’m not going to say the bass of Sirius is polite, but it is the next step up from it. Bass of the A91 is responsive without being incredibly punchy. Extension and tone are world class. Sirius has dynamics that purists will appreciate. Bassheads might be wishing for more boost with these, but those who want a more natural and realistic bass response will appreciate this tuning.
 
In terms of sub bass, they aren’t rolled off at all to my ears. The Sirius extends to the limit of my hearing and hits every note easily. The balance and transition from the lowest of bass notes to midbass is pretty flawless. Midbass is decent and in nice balance with surrounding frequencies. The A91 midbass is on the softer side in terms of its attack and decay. Even still, things like midbass bleed don’t even need to be mentioned with Sirius.
 
When reviewing an earphone for review, I figuratively try to split hairs and find anything others could perceive as flaws. If there’s one minor caveat about the Fidue bass is that I wish it was a tiny bit tighter and punchier. With the A91 there’s a little bit more rumble than punch. Other than that it’s excellent.
 
Summarized, the bass of the A91 isn’t the star of the show, but it isn’t necessarily lacking in any way either. It has weight to it, it's extended and very adequate, but it isn't the prettiest girl at the dance. We're about to meet her in the next criteria.
 
Midrange
This is where I find the Sirius to be magical. The keywords are balanced and beautiful. As compared to many other pairs of earphones, the Sirius midrange is perceptually slightly more forward than average to my ears, but without any perceived spike or drop. Midrange sounds, especially vocals will pop and take center stage in a magical way. The midrange is just a touch on the warmer side of neutral, and doesn’t render ANY sounds unnaturally to my ears. The dynamics, timbre and detail are insane for an in-ear monitor.
 
Fidue’s midrange is rich and dynamic without being artificial. Male and female vocals are great, and harmony is fabulous. When reviewing, I usually look for complex music passages to cause the earphone to lose its level of resolution, but with the Sirius I look forward to hearing complex layering of sounds. The Sirius handles it like a boss, and plays with a world class level of separation.
 
If you are a fan of acoustic music and live recordings, these are something I strongly suggest you check out. You won’t hear midrange as alive and vibrant as this very often from an in-ear monitor. Like I said before, the Sirius will sound good with just about any genre, but play something that calls for spectacular midrange and you will hit a sweet spot with them.
 
At the time of writing this review, I can’t think of an in-ear monitor that does midrange much better. I’m being “SIRIUS” when I say that (Sorry, I had to use that at least once in this review). There’s nothing I could identify as a fault. Maybe someone coming from a much colder sounding midrange would find them to be a bit colored.
 
Treble
Treble is detailed, extended and smooth at the same time. A lot of times earphones trying to achieve a “balanced” or “natural” sound will have some funky level of extension that is hard on my ears at louder volumes. Fidue has taken that edge off of upper frequencies without losing the natural and balanced feel. I can hear sibilant sounds without them being harsh. Some people might desire a little more sparkle, buy I really enjoy how the higher frequencies are presented on the Sirius. These are a fatigue free listening experience thanks the the smooth and detailed treble response. It’s refreshing to hear an earphone that doesn’t have any perceptual roll off while avoiding harsh spikes.
 
Soundstage and Imaging
What I’m about to say might leave some scratching their heads. I own a lot of earphones, but the best earphones I’ve heard in terms of soundstage is a properly driven Havi B3 Pro1. Yes, it’s a fifty dollar earphone, but hearing is believing. If you own the Havi B3 Pro1 you probably know what I’m talking about. When driven with the proper source, The Havi soundstage is world class.
 
The Sirius and Havi have a somewhat similar soundstage in terms of width. Take the Havi and relax the treble just a bit (while keeping the extension). Now, give the the Havi considerably more soundstage depth. That is what the Sirius is. The A91 soundstage is massive to my ears, trumping most of my full size headphones.
 
Midrange takes the center of the stage, with supporting frequencies that have plenty of detail, balance and extension. I consider the A91 imaging to be elite.
 
Comparisons

Campfire Andromeda ($1000 USD on ALO Audio's website)
The Andromeda is the earphone most people have asked me to do a comparison with. They are number one on my list at the time of writing this review. Their five balanced armature and patented “resonator box” delivers incredible fidelity. They are one of the most complete sounding earphones I've heard.
 
Comparing the two, the Andromeda is the cleaner sounding of the two, while the Sirius takes a more musical approach. The Andromeda is slightly brighter, slightly more detailed and extended at upper frequencies. Bass on the Andromeda is slightly more forward and tighter. Midrange of the Sirius is warmer, making the Andromeda midrange seem colder in comparison. Sirius has a more engaging midrange, and sounds better at louder volumes. In terms of preferences, those who like musicality, soundstage and vocals will prefer the Sirius. Those who prefer detail and extension will prefer the Andromeda. I feel blessed to have heard both. They both deliver world class sound quality.
 
In terms of universal driveability, Sirius gets the edge. With more powerful portable sources I get a background hiss from the thirteen Ohm Andromeda. Even still, matching the Andromeda with the right source, the sound is pretty amazing.
 
Build quality and design goes to the Sirius. The MMCX cable and adapters is more solid and universally applicable than the Andromeda. The Sirius is a more comfortable and easy to wear earphone as well. I give a slight edge to the Andromeda for accessories. Their leather case is more pocket friendly and their tip selection is a bit better.
 
Unique Melody Miracle V2 Universal ($1000 USD on Musicteck’s website)
The Miracle is an incredibly balanced and transparent pair of earphones. I consider them to be a more extended multi driver upgrade from the ER4 in terms of neutrality. Unique Melody’s six driver earphone produces an incredibly linear sound to my ears.
 
Comparing the two, the Miracle V2 bass is tighter and punchier than the more musical dynamic driver bass of the A91. Midrange of the Sirius is more engaging, dynamic and all around more fun to listen to than the more technical approach of the Miracle V2. Fidue’s flagship has another dimension of musicality and energy to its midrange presentation. In terms of treble, the Miracle V2 has a more more forward and technically accurate treble response. Sibilance in recordings will sound more natural, but also slightly harsher (especially at louder volumes). If you like “true to the recording” type of sound the Miracle V2 will be the way to go. If you are going for all out musical enjoyment and fatigue free listening, go for the Sirius.
 
Build quality and design goes to the Sirius. The Miracle V2 cable is cheap in comparison. The metal housing of the Sirius are superior to the acrylic build of the V2. Advantage goes to the Miracle V2 for accessories. They offer a larger variety of high quality tips.
 
Conclusion
If I took the earphones I have that cost five hundred dollars or more and put them in the hands of someone who doesn’t follow this hobby the way most of us do, and asked them which earphone they think is the most expensive, I can almost guarantee that most people would guess that it’s the Fidue Sirius. The build quality is heavy duty and truly extraordinary.  
 
The tuning takes midrange and soundstage to a level that isn’t often achieved from what I’ve heard in in-ear monitors. This goes for products that cost much more as well. The Fidue A91 is meant for the person who wants to maximize sound quality through their best portable or low powered desktop rig. If you want to take your listening experience to another level, and experience the midrange and vocals of your album collection all over again, I strongly suggest you try the Sirius.
 
When rating this product (and factoring in price), I have to take into account all criterias and average them out. I give the Sirius four and a half to five stars for build and design, four and a half to five stars for sound (depending on your preferences), and four stars for accessories (minus one star for lack of tip selection). All in all I give the Sirius four and a half stars. They are definitely worthy of their flagship status, and a top contender for the best universal in-ear monitors the world of high end earphones has to offer.
 

Thanks for reading and happy listening!

At the time of the review, the Edifier headphones were for sale on Amazon.com. Here is a link for information and purchase:
 
https://www.amazon.com/Edifier-H850-Over---ear-Headphones/dp/B013J8DROA/ref=sr_1_8?s=electronics&ie=UTF8&qid=1467921354&sr=1-8&keywords=edifier
 
Introduction
The thing I love about budget earphones is the great price to performance you can get sometimes. Not only that, there is less risk of being out of your hard earned dollars if you buy a product and don’t like it (thanks to the lower asking prices). Combine the vast majority of budget gear and the Head-Fi community's feedback, we have a renaissance of sorts. There are many great lower priced earphones being sold, and with Head-Fi's forums we know which ones perform well and are geared towards our preferences.
 
With smartphones in almost everybody’s hands, there are many who are looking for a great pair of budget earphones. Because of this there is great competition to bring great in-ear monitors and headphones to market, at prices lower than their competition.
 
Edifier is more known for their speakers, but they have also dabbled in the world of budget earphones. Today we will cover their budget audiophile headphone, the H850.  
 
Disclaimer
I was given an opportunity to review the H850 in exchange for my honest opinion and review. I am in no way affiliated with Edifier. I would like to take this time to personally thank Edifier for the opportunity.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

The H850 comes in a black and white packaging with gray and silver accents. The front of the package features a very nice high definition photo of the headphones along with the product name.
 

The back of the package displays a few smaller pictures of the product, along with some key features listed in four different languages. The sides of the package have some more pictures of the product.
 
Specifications and Accessories
 
SPECIFICATIONS
H850  FREQUENCY RESPONSE: 20Hz～20kHz
IMPEDANCE: 32Ω
CONNECTOR TYPE: Straight
MAXIMUM POWER: 50mW
SOUND PRESSURE LEVEL: 96dB
CABLE LENGTH: 2m
WEIGHT: 0.17KG
CONNECTOR: 3.5mm
INLINE CONTROL: No
 
ACCESSORIES
1X H850 Headphone
1X Adapter Cable
1X User Manual
 

It’s kind of disappointing to see Edifier not offer more in terms of accessories. I would liked to have seen a phone cable and a carrying case included in the package.
 
Overall Build

This is a mixed bag for me. Opening the package, the first thing that comes to mind is that these have a OEM build reminiscent to many budget bluetooth headphones from MEEaudio and Ausdom. They are mostly plastic and synthetic protein material. On a positive note, it appears as though Edifier has used metal in critical areas that would be prone to breaking easily. Even still, if you sit or step on these things I can almost guarantee breakage.
 

The headband is made of a combination of a flexible metal band and plastic and synthetic protein components. Metal slides with notches built into it slide in and out of the arm of the headphone which lead to the cups. Overall, the band is simple and very flexible.  
 

The metal bands of the headphone attach to plastic arms on each side that leads to a swiveling joint that allows the cups to turn inward about ninety degrees. From there another set of hinges attaches the H850 cups to the arms, allowing the cups to also swivel up and down enough to guarantee a proper fit for just about any shape of head.
 

The cups are constructed primarily of plastic and has what appears to be a piece of brushed aluminum with the Edifier logo printed on it as a back plate. It is pretty standard in terms of shape and size. A 3.5 mm plug with an exclusive locking mechanism is located on the bottom of the left cup.
 

The cups of the H850 are a padded synthetic protein material that rests very comfortably on the ears. Those with larger ears might have an issue with the pads making contact with the outer parts of their ears. For the most part this shouldn’t be an issue for most. One big negative, the pads of the H850 are adhered to the cup, making them permanently fixed, and making replacing the pads not possible without considerable modifications.
 
Overall, the H850 offers positive and negative aspects to it’s construction. On one hand they are very lightweight and set up to be very comfortable. On the other hand the overall feel is slightly cheap. Moving them around in my hands, I can hear and feel the faint popping and rubbing sounds of plastic components.
 
Cable, Cable Jacks, Strain Reliefs

The H850 cable is six feet in length, has a straight designed 3.5 mm jack and another special locking 3.5 mm jack that attaches to the headphones. The cable is jacketed in a rubbery material that has a considerable amount of spring and memory. The cable doesn’t feel very premium, and aside from having the locking mechanism, it’s on the cheaper and more generic side of the quality spectrum. I wish they cable was more premium, or that they would have at least refrained from using the locking mechanism. Doing so would have made finding an aftermarket cable easier. Even still, using a 3.5 mm cable with a skinny straight style jacketing on the plug can be used with no problem.
 
Functionality
The H850 is a plug and play device designed specifically for sound quality. The fact that they have a replaceable 3.5 mm cable, buying an aftermarket cable with a microphone and remote is a possibility.
 
Comfort, Microphonics, Isolation

The lightweight build, very flexible headband, oscillating cups and soft ear pads makes this a VERY comfortable pair of headphones. They are so comfortable, it’s almost like not wearing headphones at all. I am confident many will feel the same, even those with larger heads. I was able to wear them for extended periods with no problem. The clamping force is so light, it doesn’t create an issue, and pads stay very cool for a closed headphone. There was no microphonics to report. However, there is some occasional popping and creaking when using them on the go (with the volume turned down) from the plastic components. Isolation is below average for a closed headphone, and more along the lines of a semi-open headphone.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
The H850 comes in at thirty-two Ohms, but in my experience with the product the power demands seems to exceed this. The H850 can be used with a smartphone, but you will in most cases catch yourself turning the volume higher than most pairs of portable headphones. With my LG-V10 I usually listen to my music at the halfway volume mark. With the H850 I was at three-quarters to achieve the same result. I got some decent sound, but not with the same dynamics as a more powerful DAP or an attached portable DAC/amplifier.  
 
The H850 can be used with your desktop amplifier, but it would in most cases be overkill. I think the sweet spot with these is with your favorite high powered DAP. The very balanced sound will compliment whatever source you use them with. My favorite way of listening to my H850 was with my iBasso DX80 and D14 Bushmaster. Your mileage may vary.
 
In terms of music files, these are very universal. They will sound okay with poor recordings, good when streaming your music, and great with high bitrate files and high quality recordings.

 
Sound Signature
The H850 is one of the most balanced sounding pairs of headphones I’ve had the pleasure of listening to. The mainstream consumer who wants a bassy or V-shaped earphone won’t find it here. The H850 is tuned to give audiophiles a very natural and organic music experience.
 
While the H850 has a very balanced sound, there are some who will feel they lack the “wow” factor some are after. With modern genres of music you will get a decent amount of bass and treble, but it won’t have the same dynamics that other consumer oriented headphones have.
 
I can’t classify the H850 as being either warm or cold sounding. It sits right in between the two, having elements of both types of tuning.
 
Bass
To my ears the bass of the H850 lacks depth, and has a response more on par with most semi-open headphones. During Daft Punk’s “Doin’ it Right” the lowest bass notes were rolled off, and the 40mm drivers couldn’t achieve the lowest of low notes of the song’s bass line. You will get bass with punch, but there’s not a whole lot in terms of rumble.
 
The midbass of the H850 is fantastic. It has a tight and responsive feel. Upper bass notes sound great, and bass guitars sound fantastic. It is a non-intrusive response that is very clean and avoids any type of bleed or distortion from what I heard.
 
Midrange
Lower midrange of the H850 is very clean and I can’t  fault it very much. At this range it almost borders on being somewhat cold sounding to my ears. Male vocals are very natural, even the deeper male vocals sound thin in comparison to most closed headphones. I was able to hear a level of resolution in the lower midrange that I seldom hear in other closed cans. Kudos to Edifier for this.
 
Moving to upper midrange, I really don’t think there’s too much I can say aside from the fact that it is very balanced with the rest of the sound. There’s good detail and resolution. It’s not too forward, and not too far back in the mix. Sorry everyone, I wish I could say more, but these headphones are an engaging and entertaining spin on neutral.
 
Treble
Treble is crisp without being harsh. To my ears it doesn’t have an incredible amount of extension, but carries enough to make them very enjoyable. As with the rest of the tuning, the treble is in good balance with the neighboring frequencies.
 
Soundstage and Imaging
The H850 soundstage is a mixed bag. On one hand we have a headphone that doesn’t seem to have incredible extension on either side of the frequency spectrum. On the other hand the H850 has some very organic and natural sound with good resolution and detail. Because of this I give the H850 an above average score in terms of soundstage. Imaging is very good thanks to it’s realistic sound presentation.
 
Comparisons

Monoprice 108323 ($23 to $30 USD on many sites)
The 108323 comes in at half the price of the Edifier H850, but don’t let the price fool you. This headphone made the the Innerfidelity wall of fame for a reason. They are the epitome of budget audiophile headphones, offering a level of sound quality that rivals headphones that cost much more.
 
Comparing the two, the 108323 has more sub bass presence and depth. They are a slightly warmer tuned headphone as well. To my ears the H850 is a much airier and audiophile sound. Despite not having the depth, they have a level of clarity and balance that makes the 108323 sound two dimensional and unnatural. Overall, I far prefer the H850 sound.
 
In terms of build and design, the H850 gets a decisive advantage. They have a slightly more solid construction, and the design is more ergonomic. To be honest, I would be embarrassed to wear the 108323 in public because of the very square-ish shaped headband and generic look. The H850 has a more sleek, sophisticated and stylish look for sure.
 
Accessories goes to the 108323. They provide two cables with their headphone as compared to the one single cable of the H850. Both headphones have a poor accessories package. I wish both headphones offered a more premium cable and carrying case.

 
Brainwavz HM2 ($45 to $50 USD on many sites)
The HM2 is a portable budget headphone that I reviewed a few months back. They are a solidly built headphone with okay sound and a nice accessories package.
 
Comparing the two, the HM2 is muddy sounding in comparison. They are much warmer sounding and have similar low end extension and depth. Midbass on the HM2 is much more forward and bloated. Midrange clarity on the H850 is far superior. Treble on the H850 is crisper and more detailed. To my ears, the H850 fidelity runs circles around the HM2.
 
Build quality goes to the HM2. Holding them in my hand they feel like a sturdier headphone that could handle more abuse. The HM2 also has removeable and replaceable pads while the H850 doesn’t. The H850 if far more comfortable however. Bouncing back and forth, the HM2 feels like I’m wearing a vice on my head in comparison to the very cozy H850. In terms of accessories, the HM2 wins, offering two cables and a very nice clamshell case for storage and transport.

 
Conclusion
I personally enjoy the H850 comfort and sound a lot. Over the course of my time listening to them, they have become one of my favorite closed headphones to use when commuting, or for when I want to listen to a more balanced and natural sounding pair of cans.
 
The H850 is not a perfect product. They have a cookie cutter design, and their build isn’t the sturdiest. The stock cable is cheap and there is no storage/carrying case. I think all of these flaws do the H850 no justice. The sound quality far exceeds not only the build quality, but also the asking price.
 
The H850 has sound on par with more expensive headphones. I would love to see Edifier take this sound, add a touch more sub bass depth and presence, improve the build and accessories package, and sell them at a higher asking price. If they did this I would be willing to shell out the cash for them. Even still, Edifier has brought to market a very decent sounding pair of headphones that will win the ears of those looking for a natural and organic sound.
 
When rating this product I have to average all aspects. Weighing in the asking price, I give the H850 four and a half stars for sound quality, five stars for comfort, three stars for overall build quality, and two stars for accessories. Average this out, I give the H850 four stars. They are a great headphone for those looking for balanced audiophile sound on a budget.
 

Thanks for reading and happy listening!

At the time this review was written, the Echobox Finder X1 was listed for sale on their website. Here is a link to their listing of the product:
 
http://echobox-audio.myshopify.com/products/finder-x1
 
Introduction
Axpona was a great venue. I met a lot of manufacturers and listened to some pretty amazing stuff. I’m not sure what it is that I enjoy more, the gear or the people.
 
There was some really cool guys behind the Echobox booth. They had the Explorer DAP and the Finder X1 earphones on display. When I asked them if they were on Head-Fi, they unanimously all said they read it often. We chatted about different subscription threads and listened to the X1, along with some other great earphones they had at the booth to compare them to. I had them listen to a couple pairs of earphones that I brought as well. They were earphone guys who enjoyed the hobby  just like me. When they asked if I would be interested in reviewing the Finder X1 for them I agreed with the understanding that it would be a while before I could get to them. I snapped some photos of the new packaging and was on my way.
 
Well, the Finder X1 has finally made its way to the front of the line of the review queue. Let’s go over them with a comprehensive review.
 
Disclaimer
I was given an opportunity to review the Finder X1 in exchange for my honest opinion and review. I am in no way affiliated with Echobox aside from the fact that I agreed to write an honest and unbiased review of their product. I would like to take this time to personally thank them for the opportunity.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW

The Finder X1 comes in a white box with gray, black and red accents. A picture of the earphones, along with the product name and company logo can be seen on the front of the box.
 

The back of the box features a couple paragraphs from Echobox talking about their brand and product, along with some more key features of the X1.
 
  
The sides of the box displays the Finder X1 accessories package and specifications.
 
Specifications and Accessories

 
Specifications
HOUSINGS:         SOLID TITANIUM
DRIVERS:        9.2MM PEEK(POLYETHER ETHER KETONE) DYNAMIC DRIVER
CABLES:        PC (SILVER-PLATED COPPER)CABLE STYLE DOWN OR OVER-EAR
CABLE LENGTH:    1.2M
IMPEDANCE:        22 OHMS
SENSITIVITY:        96DB/MW
RESPONSE:        15 HZ - 35 KHZ
THD:            <1%
PLUG            3.5MM STEREO GOLD-PLATED
 
Accessories:
1X FILTER TUNING SYSTEM, 3 TUNINGS (Bass, Reference, Treble)
1X PAIR S/M/L SILICONE TIPS
1X PAIR DOUBLE AND TRIPLE FLANGE SILICONE TIPS
1X PAIR COMPLY I400 ISOLATION SERIES TIPS,
1X CARRY CASE
1X CABLE CINCH
 
Housings

The Finder X1 is constructed from titanium and are very small, with a resemblance to the head of a bullet. Their all metal construction is sleek and stylish. The nozzle comes out the opposite end of the narrower part of the housing. Tuning filters not only change the sound of the Finder, they operate as the lip of the nozzle when screwed in place.
 

The Nozzle of the X1 is fairly average in terms of width and length. Add the fact that just about any tip sits flush with the housing, the Finder sets up well to be worn both looped over and hanging from the user’s ear.

 
Cable, Y-Split, Cable Jack, Strain Reliefs

The Finder cable is a silver plated copper cable with a rubber/plastic coating. It has a semi-transparent gold/gray appearance and has a bit of spring and memory. The Y-split is a gray plastic piece that splits the cable into two. The cable jack is a straight plug with a metal jacket and gray strain relief. There is no strain relief at the housing which would normally cause concern, but the Youtube videos of them withstanding being run over by cars in rush hour and still work makes me take back any concerns I have.  
 

Titanium eh? Cool!
 
Functionality
My pair didn’t have a microphone or remote. However, this is an option if you are thinking of purchasing the Finder X1.
 
Ergonomics, Fit and Microphonics, Isolation
  
 
The titanium housings of the Finder X1 are very solid and lightweight. The fit was universally easy to obtain. An included chin/neck slider helped cinch things up when worn over or under the ear. Tip rolling was easy thanks to the relatively standard sized nozzle. Sony Hybrids, Dual Flange, RHA, Spin Fits and various other tips worked well. The Finder X1 creates a suction like seal. With the right tip, isolation on the X1 was excellent.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
Coming in at twenty-two Ohms, the Finder X1 is an easy to drive earphone that doesn’t need power beyond an average smart phone. They somewhat dry tuning (with red or black filters) with high sensitivity, neither of which allow me to say these are forgiving with low quality files and sources.
 
Listen to them through a source that’s too powerful and you will get some noise floor hiss. Listen to them with low bitrate music files or poor recordings and their treble gets sloppy and harsh. Do this with both and you’ll think they’re terrible. Just the opposite, the Finder X1 rocks when listening to them with my old budget Rockboxed Clip Zip. A warm source without much power works great and brings out the best in what the X1 has to offer.

 
Sound Signature
On a whole, the Finder is a high resolution V-Signature that uniquely and creatively stretches the sound spectrum. To my ears it sounds like the sound was thinned out in the middle, then stacked up on each end of the frequency ranges. You get plenty of bass that is very tight and responsive even at the lowest of notes. On the opposite side of the spectrum, the treble response seems just as boosted as the bass, offering a bright, emphasized and high resolution presence. In between, a slightly thinned and dry midrange plays in the background with great clarity. It isn’t the most natural thing I’ve ever heard, but one thing is for sure, you can’t say they aren’t high resolution. The micro detail retrieval is elite.
 
The Finder comes with three filters. Rather than go over general terms for all three, I will try to explain the earphones with each filter.
 
Red Filter
The red filter is the “brightest” filter. It is useless in my honest opinion. It takes an already bright earphone, dries out the rest of the sound even more, and makes them sound really harsh to my ears. Bass is still tight and very punchy. Unless you’re a retired rock star, you probably won’t need these filters either. Sorry Echobox, this was not my cup of tea. Do I think someone will like these filters? The answer is yes, someone with upper frequency hearing loss will appreciate them. Other than that, not really.
 
Black Filter
The black filter is listed as the “balanced” filter. It is a high resolution V-signature with this filter. With this filter the Finder has a dry and slightly thin midrange. The emphasized sub bass rolls along and hits every note with a level of clarity that is excellent. In this setting I wish there was more midbass and lower midrange. On a positive note the black filter’s tuning is thin enough to make them very revealing and detailed. Treble on the Finder is somewhat sibilant but still very clear with this filter.
 
White Filter
The white filter is the “warm” filter, and was by far my favorite. It added needed warmth to the tuning of the X1. With this filter the sub bass seemed to stay the same, but the midbass came forward. To me, this filter added a needed element/dimension to their sound that made them seem more cohesive and natural.  The added warmth the white filter provided took the focus off of the treble, making it very balanced and natural sounding to my ears. You will still get an occasionally sibilant pronunciations of the letter S or T, but not as often or severe as the other two filters. If you asked me what the most balanced filter in the set was, I would say it’s the white. Different strokes for different folks. Your mileage may vary.   

 
Soundstage and Imaging (all filters considered)
On a whole, I think they did well in terms of soundstage. They are extended and emphasized on each end of the sound spectrum. The red filter performed the poorest. The Black filter seemed to have the biggest soundstage, but probably the worst imaging. The white filter was definitely the most natural sounding from what I heard.
 
Comparisons
MEEaudio Pinnacle P1 ($199 USD on many sites)
The Pinnacle is the same price, and in my opinion appeals to the same market as the Finder X1.
 
I gave the Pinnacle a five star review. They are a solidly build flagship from MEEaudio, offering an all metal housing with a fifty Ohm single dynamic transducer that if driven right, provides some amazing sound quality.
 
Comparing the two, the Finder has more sub bass quantity and impact. The bass on the Finder is tighter and more responsive. Midrange on the Pinnacle is more musical and engaging. Treble is less extended, but more natural and easy to listen to on the PInnacle. Finder X1 has more upfront and extended treble that dabbles in sibilant ranges.
 
I would say that because they both have metal housings that build quality is a draw, but knowing that the Finder X1 is titanium, and watching cars run them over and still working, I have to give Exhobox the advantage. Even still, the materials used in the making of the Pinnacle are exquisite.
 
Accessories goes to the Pinnacle. The Finder X1 gets a point for offering a tuning system.

 
Trinity Atlas ($175-$200 USD-discontinued)
Trinity released the dual hybrid Atlas on Kickstarter, propelling them to their next series marked the Phantom. The Atlas checked a lot of boxes from reviewers and received high praise from many. Their five different filters altered the Atlas’s bass response, helping owners shape their sound, similar to the Finder X1. Good luck finding a pair though. Since selling out, owners are asking top dollar for their pairs.
 
Comparing the two, the white filter of the Finder X1 resembles the brighter filters of the Atlas. The Finder is a thinner and slightly brighter tuning than the Atlas. The Atlas has slightly more musical tuning, with the Finder being even more detailed and resolving at the expense of some dynamics. Bass is punchier on the X1, while the Atlas bass is a touch looser and full sounding.
 
Accessories goes to the Atlas. Their five pairs of filters and assortment of tips gives them a slight edge over the Finder.

 
Conclusion
The Finder is a good earphone, no doubt. I don’t think they are the most natural sounding earphone I’ve ever heard, but they have unique qualities that I can appreciate. If resolution and clarity are your thing these are definitely something to check out. They have superior response and detail as compared to most earphones I’ve heard. If they can add some warmth and musicality to this, they will definitely have something elite on their hands. The PEEK driver has a lot of potential. I don’t think we’ve heard the last earphone with this type of diaphragm. I wouldn’t be surprised to see a Finder X2.
 
The Finder X1 is tough as a back-alley bouncer, and provides listeners with a crisp and revealing signature with enough elements to say it sounds good once you find the right filter. At their current asking price, the most challenging thing for them will be diving into a pool full of very strong competitors. Can the Finder X1 swim with the sharks at the two hundred dollar mark? It’s going to be tough for them. There’s lots of amazing earphones at this price point that will give it a run for its money.
 
I enjoyed my time with the Finder. If you haven’t already, make sure to check out their upcoming Flask-shaped DAP, the “Explorer.”
 
http://echoboxaudio.com/explorer.aspx
 
It’s refreshing to see start-ups like Echobox try and make way into the audiophile market. I look forward to hearing about their new and exciting products as they continue to grow.
 

Thanks for reading and happy listening!

At the time this review was written, the Alpha & Delta  was listed for sale on Lendmeurears website. Here is a link to their listing of the product:
 
http://www.lendmeurears.com/alpha-delta-d2m/
 
Introduction
Lendmeurears introduced its line of in ear monitors last fall, releasing the dual driver Alpha & Delta AD01. It was a bass forward earphone that received  a fairly high approval from reviewers. Being in the industry already, they had insight in terms of what their target market was. Their experience combined with what they’ve learned has led to the release of their next model, the D2.
 
Lendmeurears has designed a new sports earphone. They have an ergonomic fit, are sweat resistant and designed to be used with a smartphone or DAP. Let's take a look at what they’ve accomplished and go over them with a comprehensive review.
 
Disclaimer
I was given an opportunity to review the D2 in exchange for my honest opinion and review. I am in no way affiliated with Lendmeurears, aside from agreeing to give an unbiased review to inform my friends on Head-Fi what the D2 are all about. I would like to take this time to personally thank Teo for the opportunity.
 
My Background
I AM NOT a numbers and graphs audiophile or sound engineer. Personal audio enthusiast? Absolutely! Headphone junkie? Possibly…
 
There’s something about quality DAPs, DACs, Amplifiers and Earphones that intrigues me. I want to hear any earphone that looks promising, in hopes that I can share my impressions with  enthusiasts and help them find the audio product they’re looking for. My Head-Fi profile has a list of audio products ranked from favorite to least favorite. For me, this hobby is more about getting great price to performance ratio from a product, and having a variety of different gear to mix and match. With personal audio gear, we tend to pay a lot of money for minor upgrades. One thing I’ve learned over the last few years is that just because a headphone has a higher price tag, it doesn’t mean that it has superior build and sound quality.
 
I’m always looking for great audio at a great price. I’m after headphones and IEMs that give me the “WOW” factor. I can appreciate different builds and sound signatures as long as they are solidly built, with ergonomics and sound that is pleasing to my ears. It’s my pleasure to share my experiences with audio products and make recommendations based on gear I have owned and used.
 
REVIEW
The A&D D2 comes in a gray box with red lettering. Unfortunately, DHL managed to crush my box, leaving me with no packaging to photograph. Please check another review if you would like to see the packaging. Sorry everyone...
 
Specifications and Accessories

 
Specification:  

1. Driver unit: 10mm dynamic driver  
   
2. Impedance: 16 ohm  
   
3. Rated power: 1mW
   
4. Frequency Response: 10 Hz- 20 Khz
   
5. Speaker Sensitivity: 95 +/- db/ mW  
   
6. Cord Length: 1.2m  
   
7. Plug: 3.5 mm  
   
   

Accessories:

1. 1 shirt clip
   
2. 3 pairs of   silicon tips
   
3. 3 pairs of bifiange tips
   
4. 2 pairs of foam tips
   
   

 
Housings

Looking at them, the best way I could describe it is that they are is that they are rubbery plastic beans with nozzles. They are a great fitting earphone that will work with many people's ears. The D2 has a nozzle that is relatively standard in terms of width and length. Tip rolling was easy to do and I was able to get a good seal with almost every style of tip I used. Alpha and Delta logos can be seen on each housing. A red marking on the strain relief of the D2 Identifies the right channel.  
 
Cable, Y-Split, Cable Jack, Strain Reliefs

The D2 cable is a standard black rubber cable that is in alignment with Alpha & Delta’s asking price. Some nice features are the very pliable memory wire that improves the fit. There is a chin/neck slider and Y-split that also operates as single button remote and microphone. Just when that wasn’t enough, a manual volume slider is also built into the Y-split. This combination make the D2 a fantastic traveling companion. Cable jacks are a straight 3.5 mm plug. Strain reliefs are well placed and seem to be very adequate.
 
Functionality

The D2 comes in two variations, with or without a microphone and remote. I selected the mic/remote option. The single button works great to play/pause/skip tracks in my LG V10. Alpha & Delta has applied manual volume slider attached to the remote, making controlling volume easy. It was a positive experience not having to turn on a screen or reach in my pocket. Kudos for this, especially considering that they are marketed as sports earphones.
 
Ergonomics, Fit and Microphonics, Isolation

I really enjoyed the fit of the A&D D2. Their egg/bean shape was small enough to fit in just about anyone’s ear, and also rests in the concha of my ear, taking weight off of the nozzle and making the the D2 fit comfortably. The very flexible memory wire didn’t feel uncomfortable, and the housing’s satin texture was smooth and the somewhat spherical shape renders smooth edges. The including chin slider is icing on the cake. The D2 fit fabulously for me. Your mileage may vary. You will know when they fit because they create a suction like seal. You may experience some driver flex if you get too much pressure on the D2 dynamic driver.
 
NOTE: If there is one thing that might make them hard to get a fit it’s their shallow fit. If you are having trouble getting the D2 to fit well try a wider and shallower fitting tip.  
 
Once I was able to get a nice fit and found the right tip I was able to enjoy the D2 with little or any need to readjust. The D2 is a better than average isolator. The create a suction like seal that blocks out most ambient noise.
 
Sound Review
I did my demo with my usual gear. I used an LG-V10 for smartphone use, and either my Shanling H3 or iBasso DX80 DAP/Bushmaster D14 DAC/Amp for high fidelity portable use. For desktop use, I used my Toshiba Satellite Laptop in combination with a ifi micro iDSD playing at 32/192 kHz. I tested them with several other sources as well. I used Google Music in its highest download quality (320 KBPS), and also streamed FLAC via Tidal streaming service. I also used purchased and downloaded tracks in MP3, FLAC, WAV and DSD. I make sure that any gear I test has sufficient playtime before writing a review.
 
I used my usual same songs for testing gear:
“Limit to your love” by James Blake (bass speed, punch, response)
“Doin’ it Right” by Daft Punk (sub bass)
“Get lucky” by Daft Punk (bass to midrange transition resolution, male vocals)
“Madness” by Muse (soundstage, separation)
“Some nights” by Fun (soundstage and male vocals)
“The soundmaker” by Rodrigo y Gabriela (texture and imaging)
“Bassically” by Tei Shi (bass to midrange resolution, female vocals)
“Skinny Love” performed by Birdie (female vocals, acoustic playback)
“One” by Ed Sheeran (male vocals, acoustic playback)
“Outlands” from the Tron Legacy Soundtrack (symphonic presentation, imaging)
“Sultans of swing” by Dire Straits (detail, separation, balance)
“And Justic for All” by Metallica (driver distortion, treble response, rock playback)
“Ten thousand fists” by Disturbed (driver distortion, treble response, rock playback)
 
Note: Other tracks were used, but the listed songs were primarily used to assess and break down the gear’s response.
 
Source Selection
The D2 is designed to be used with a portable device. They has a bassy presence that is further emphasized by warmer sources. I got my favorite results listening to them on my LG V10 in Hifi mode.
 
The D2 sound signature is not set up to make the most of your high bitrate recordings. Plugging these into your high power desktop tube amplifier would be silly.
 
The D2 is forgiving with poorly recorded music. They will make your Tidal, Itunes and Google Music sound great. They have a bass forward, warm tilted sound with aggressive upper midrange much similar to the sports earphone models of time’s past.
 
Don’t try to make the D2 anything more than a great sports and portable music companion. They are designed for this and will not disappoint you if used this way.
 
Sound Signature
D2 is a entertainer, offering a bass bumping sound that will get you going during your run or commute. They have a forward bass and upper midrange that gives you the boom and vocals a younger generation of consumers are looking for. The tuning works great for pop and modern genres of music. Indie, Hip hop and EDM all sound excellent on the D2.
 
Usually for twenty five dollars you know what to expect, but the D2 will surprise you with its sonic performance. Although not the greatest thing I’ve ever heard, if you popped them in my ears without telling me, I wouldn’t tell you that you got a bad deal if you paid more than what Lendmeurears is asking for them. They are a fun sound that works great in loud environments or during physical activities.
 
Bass
The D2 is a little bassy for my preference, but on a bright note they have some very nice range and depth. During Daft Punk’s “Doin it right” the D2 was easily able to hit the lowest of low notes without distorting or losing it’s tone.
 
Occasionally the D2 bass would be a bit too forward, making things seem boosted or slightly boomy. Bassheads will love it. Purists will be able to tolerate it. It doesn’t ruin the D2 sound, it boosts it.
 
Attack and decay are that of your average dynamic driver, but nowhere near as clear as some of the world’s best transducers I’ve heard. They aren’t sloppy, but at the same time they aren’t going to blow you away with low end resolution and clarity.
 
Midrange
Midrange of the D2 is warm tilted and takes a slight back seat to their authoritative bass presence. I can’t pinpoint if it’s the bass or overall clarity, but the D2 didn’t have an airy or detailed midrange presentation. A lift at upper midrange frequencies prevents them from sounding dark. Still, for twenty five dollars the midrange sound really good and really fun. You won’t feel like vocals are missing. It's a fair amount of decibels lower than the booming stuff, but but also not the farthest back in the mix (that title goes to the treble tuning).
 
Upper midrange puts a nice bite on vocals. Harmony sounds okay as long as the bass isn't dominating the track. There will be some breakup in midrange sounds when the bass hits hard.
 
Treble
Treble is formidable, not harsh, and not what I would consider to be extended. A forward upper midrange presence extends and rolls off when we get to treble sounds. You can make out things like cymbal crashes and pronunciation of the letters S and T, but they will be a considrerable amount behind the rest of the tuning. The forward upper midrange saves them from being an incredibly dark sounding earphone.
 
Soundstage and Imaging
Because the D2 can hit the lowest bass notes and hold the tune, I give them a good rating in terms of soundstage depth. The gradual decent from bass to treble prevents me from saying they have any advantages in terms of soundstage height or imaging. All in all the D2 ranks average in this criteria.
 
Comparisons
Brainwavz XFIT sports earphones ($25 to $30 USD on many sites)
Comparing the two, the XFIT seems to have a more balanced, and also more grainy sound. Although they aren’t very far off in terms of sound signature, the D2 bass seemed to dig a bit deeper. The XFIT seemed to be a bit more forward and a bit more extended at upper midrange and treble frequencies.
 
Builds are nearly identical. I give the D2 a decisive advantage in terms of shell material shape and surface material. I also give the D2 an advantage for adding a manual volume slider on the Y-split. It made controlling music fun and easy during running and bike rides.
 
Accessories is a draw. Brainwavz may get a slight edge for offering a few more tips.
 
At the end of the day, it’s a toss up with these things. It depends on what you think looks best and is tuned more for your preference.

 
Moxpad X3 ($19 to USD on many sites)
The X3 is a budget Shure SE215 challenger released a few years back. They have detachable DC style cable, solidly built and designed housing with over-ear fit. They make great workout phones or stage monitors.
 
Comparing the two, they honestly have a very similar tuning. Bouncing back and forth it was very hard to distinguish differently between them aside from the fact that the D2 seemed to have a bit more refinement and clarity in the midrange and higher frequencies. Bass on both are boosted at about the same degree to the rest of their tuning.
 
Accessories is a draw. The X3 gets an advantage for having a replaceable cable, but D2 gets a slight edge in terms of fit.
 
Conclusion
I really like the D2. Alpha & Delta hasn’t reinvented the wheel for sports earphones, but they’ve refined it a bit. If I were in the market for a sports earphone, I would consider these for sure.
 
I give the D2 three and a half stars for sound, three and a half stars for materials and build quality, and five stars in terms of fit and functionality. Average them out, the D2 gets four stars.
 
If you are looking for something to throw in the gym bag, use on the bus, or take on a bike ride they won’t disappoint. They’ll give you everything you need to make the most of your music collection while on the go.
 

Thanks for reading and happy listening!