Disclaimer:
I received this Campfire Jupiter as part of the Australian/New Zealand tour that ALO Audio/Ken Bell arranged. This is my honest opinion of the Campfire Andromeda, and I am in no way affiliated with or work for ALO Audio. Thanks to @d marc0 for organising this and letting me join in a little late.
 
In addition, this review will not focus on technical aspects of the equipment. Rather I will focus on their representation of music to me. My enjoyment or boredom, bliss or disappointment with the equipment. Think of it as an emotional review.
 
Introduction:
 
OK, so I told myself last year – “just get back to Head-Fi, find a suitable setup, and leave…” I’m still here, after realising that the community had matured so much since last decade, yep 2009! The ability to now take part in tours and auditions opened up a whole new world of experiences. Now I was able to test out some great equipment, without the commitment, it’s like Friends with Benefits.
 
Thus far I have been given the opportunity to review the Aune X1S, Jays q-Jays, the Campfire Orions and Campfire Jupiters. This time round, I was given the opportunity to take some more IEMs for a spin – introducing Campfire Audio’s Top-of-the-Line IEMs, the Andromeda in-earphones
 
Official product page: https://www.campfireaudio.com/andromeda/
 

 
Hardware:
 
WHAT’S IN THE BOX?
Like the Orions & Jupiters, the Campfire box carries its signature “lost in space” box, and the Jupiter’s sitting cosy in the fur-lined carry case.
 

 

 
 
The contents of the box included:

1. Campfire Andromeda IEM ear pieces
2. MMCX terminated, silver-plated IEM Cable (1.35m) with gold-plated 3.5mm L-plug (2x)
3. Tips:
   1. 3 pairs of Comply TX 400 tips (S, M, L)
   2. 3 pairs of foam tips (S, M, L)
   3. 3 pairs of silicon tips (S, M, L)
4. Cleaning tool
5. Carry case
6. Campfire Audio logo pin
7. User guide

 
RRP: $1099  USD (~$1,475 AUD)
 
 
BUILD & DESIGN
There’s not much more I can add from my write-up of the Jupiter’s & Orion’s build and design. There is a distinct craftsman ship that Campfire Audio have now defined. Again, in their words “FIVE balanced armature drivers and tubeless resonator in a machined aluminium enclosure”. These things are solid, I am pretty sure you could easily drive over them (not that I did…!)
 

 

 
 
TECH SPECS
Driver: Four Balanced Armature Drivers
Impedance: 12.8 OHM @ 1 KHZ
Sensitivity:  115 DB SPL/MW
Frequency Response: 10 HZ – 28K HZ
  
About Me:
 
As with any tour or review, these are my opinions and observations with the Campfire Orion and my hardware. For the purpose of this audition, I used the following equipment –
Source: iPod Classic/iPhone 6S using a mixture of Apple Lossless and MP3 files
Amplifier/DAC: HeadAmp Pico Portable Amp/DAC
Headphones: 1964Ears V3
 
My taste in music is quite peculiar and focuses heavily on heavy metal – in all forms (from death to Viking, from prog to heavy, from Pagan to Mongolian!). A majority of my listening was with bands such as Iron Maiden, Fallujah, and Caligula’s Horse & Ne Obliviscaris. However, I still enjoy a variety of genres, so also included Jazz, Blues, Rock, and Classical.
 
 
The Listening Experience:
 
Music listened to for this review:
Idina Menzel (female vocal)
Delta Goodrem (female vocal)
Opeth (progressive metal)
Fallujah (atmospheric technical death metal)
Ne Obliviscaris (progressive black metal)
Gojira (technical death metal)
Caligula’s Horse (progressive rock)
Hans Zimmer (soundtrack)
 
My initial impressions were:
Bass: tight, deep, controlled
Highs: beautiful and lush
Comments: I thought the Jupiter’s were the best IEMs I had ever heard, and I was pretty sure nothing could top them, I was (kind of) wrong.
 
I really wish I could test the Andromeda’s and Jupiter’s side-by-side, as I found that based on my memory both seemed to sound very similar.
 
The Andromeda’s pack a punch, fantastic full-bodied sound that was quite difficult to fault.
 
They improve upon the Jupiter’s when it came to female vocals, especially the issue with sibilance. The Andromeda’s present female vocals in a smooth lush manner, that’s not harsh or overly high. Listening to Delta and Idina was an absolute treat with the Andromeda’s, being able to really hear the subtleties in their voices, and being able to truly appreciate their vocal ranges.
 
As for Metal and the various metal genres, the Andromeda’s are fantastic. Although lack the attack with the quicker songs. Listening to music such as Fallujah (Atmospheric Death Metal) was fantastic as usually most earphones tend to turn the technical drumming/riffs into mud. That is to say, most of the time it’s muddy. The Andromeda’s strengths with soundstage and instrument separation meant the music was not out of balance. It was synergetic!
 
The soundstage/instrument separation however far surpasses the Jupiter’s. The Andromeda feel like everything is nicely balanced, separated and placed out to give you a sense of being in the music.
 
As stated with the Jupiters:
In terms of the IEMs themselves – fit/isolation was fantastic, although they are dependent on the tips. I had a couple of issues with fit at the start, but after trying a few variations I managed to settle on the large foam. The cables were also quite microphonic, every time I moved around or adjusted my glasses I could hear noise. However, none of these totally hampered my listening experience.
 
This was a difficult review to write as in my opinion the Jupiters and Andromedas are very close in sound-quality. Both, compared to my V3s, are phenomenal. Trying to compare Jupiter/Andromeda with my other IEMs was not a task I attempted as they are different beasts, and considering the Jupiters/Andromedas are TOTL IEMs.
 

 

 
 
Value & Conclusion:
Look, when it comes to the Jupiters and Andromedas, the differences are subtle, and basically for me it came down to price. If I could choose, I would easily pick the Jupiter’s and save myself a few hundred dollars. Both IEMs are outstanding, however I couldn’t really find any astronomical reasons to pick the Andromedas over the Jupiters. That being said, with more time, and the ability to put these side-by-side might yield a better outcome.
 
Thanks again to ALO, Ken and Mark for the opportunity to take these for a spin!

Pros: great all-round sound signature, comfortable (with right fit), detailed and rich sound quality
Cons: can be quite sibilant, expensive, microphonic cable, fit dependant on tips
 
Disclaimer:
I received this Campfire Jupiter as part of the Australian/New Zealand tour that ALO Audio/Ken Bell arranged. This is my honest opinion of the Campfire Jupiter, and I am in no way affiliated with or work for ALO Audio. Thanks to @d marc0 for organising this and letting me join in a little late.
 
In addition, this review will not focus on technical aspects of the equipment. Rather I will focus on their representation of music to me. My enjoyment or boredom, bliss or disappointment with the equipment. Think of it as an emotional review.
 
Introduction:
 
OK, so I told myself last year – “just get back to Head-Fi, find a suitable setup, and leave…” I’m still here, after realising that the community had matured so much since last decade, yep 2009! The ability to now take part in tours and auditions opened up a whole new world of experiences. Now I was able to test out some great equipment, without the commitment, it’s like Friends with Benefits.
 
Thus far I have been given the opportunity to review the Aune X1S, Jays q-Jays and the Campfire Orions. This time round, I was given the opportunity to take some more IEMs for a spin – introducing the Campfire Jupiter in-earphones
 
Official product page: https://www.campfireaudio.com/jupiter/
 
 
 
 
 
 
Hardware:
 
WHAT’S IN THE BOX?
Like the Orions, the Campfire box carries its signature “lost in space” box, and the Jupiter’s sitting cosy in the fur-lined carry case.
 

 
The contents of the box included:

1. Campfire Jupiter IEM ear pieces
2. MMCX terminated, silver-plated IEM Cable (1.35m) with gold-plated 3.5mm L-plug (2x)
3. Tips:
   1. 3 pairs of Comply TX 400 tips (S, M, L)
   2. 3 pairs of foam tips (S, M, L)
   3. 3 pairs of silicon tips (S, M, L)
4. Cleaning tool
5. Carry case
6. Campfire Audio logo pin
7. User guide

 
RRP: $899 USD (~$1,250 AUD)
 
 
 
 
 
BUILD & DESIGN
There’s not much more I can add from my write-up of the Orions build and design. There is a distinct craftsman ship that Campfire Audio have now defined. Again, in their words “four balanced armature drivers and tubeless resonator in a machined aluminium enclosure”. These things are solid, I am pretty sure you could easily drive over them (not that I did…!)
 
 
 
 
 
 
TECH SPECS
Driver: Four Balanced Armature Drivers
Impedance: 30 OHM @ 1 KHZ
Sensitivity:  114 DB SPL/MW
Frequency Response: 10 HZ – 28K HZ
  
About Me:
 
As with any tour or review, these are my opinions and observations with the Campfire Orion and my hardware. For the purpose of this audition, I used the following equipment –
Source: iPod Classic/iPhone 6S using a mixture of Apple Lossless and MP3 files
Amplifier/DAC: HeadAmp Pico Portable Amp/DAC
Headphones: 1964Ears V3 (for comparison)
 
My taste in music is quite peculiar and focuses heavily on heavy metal – in all forms (from death to Viking, from prog to heavy, from Pagan to Mongolian!). A majority of my listening was with bands such as Iron Maiden, Fallujah, and Caligula’s Horse & Ne Obliviscaris. However, I still enjoy a variety of genres, so also included Jazz, Blues, Rock, and Classical.
 

 
 
The Listening Experience:
 
Music listened to for this review:
Idina Menzel (female vocal)
Delta Goodrem (female vocal)
Opeth (progressive metal)
Fallujah (atmospheric technical death metal)
Ne Obliviscaris (progressive black metal)
Gojira (technical death metal)
Caligula’s Horse (progressive rock)
Hans Zimmer (soundtrack)
 
My initial impressions were:
Bass: beautifully controlled but are full impact
Highs: female vocals are brilliant but the sibilance can hit hard
Comments: at first listen, I was blown-away. After the Orion’s, I was worried Campfire Audio would not be suited for the fast and complex Metal I listen to, but the Jupiter changed that!
Comments: wow, this are fantastic. They literally took all my genres and just did some pagan magick!
 
I stared at Microsoft Word for over half an hour listening to these IEMs before I could even figure out how to objectively write about these IEMs, without fanboying all over the place. But I just couldn’t – these IEMs are phenomenal! They absolutely blow me away. Considering how dismal the Orions were for some of the quicker and more complex metal songs I had in my review playlist, the Jupiters filled that gap. But that is expected when you jump from Entry Level to near Flagship/TOTL level. From one driver to FIVE!
 
Kicking off with some Ne Obliviscaris, the Jupiters portrayed the complex progressive black metal as I expect the band intended. Quick guitars and drums, and the exchange of death growls and soprano usually leave headphones and earphones struggling. The Jupiters not only kept up with the speed and complexity, but managed to provide great instrument separation and a sparse soundstage.
 
From pop to classical, from soundtrack to obscure metal the Jupiter’s continued to perform without any fault. I tried to find a way to fault these, I thought that I’d be able to run a genre though and find something wrong, but I just couldn’t. Aside from one tiny setback with sibilance on some vocal tracks like Delta Goodrem & Idina Menzel, although that didn’t wholly ruin the listening experience.
 
In terms of the IEMs themselves – fit/isolation was fantastic, although they are dependent on the tips. I had a couple of issues with fit at the start, but after trying a few variations I managed to settle on the large foam. The cables were also quite microphonic, every time I moved around or adjusted my glasses I could hear noise. However, none of these totally hampered my listening experience.
 

 
 
Value & Conclusion:
These are spectacular earphones, to date possible the best set of IEMs I’ve experienced. The sound signature fit my genre to a T, and I felt myself wanting to listen to music more and more with these. My only qualm is how expensive these are, but that could be said with our hobby in general. If these came in a custom moulded variation for the same price, I would confidently consider these good value. However, as a universal model, the price (especially when converted to AUD) is a bit over the high-end.
 
The worst part of reviewing technology like this, is wanting to keep them after you spend a week with them. I’ve only experienced this a couple of times, and now the Jupiter’s are on the list of “oh I wish I could just keep them”. They are fantastic, and I don’t doubt that if you buy these, you will not be let down.
 
Like the planets of the solar system, the Jupiter’s sound is as big as its namesake.
 
Thanks again to ALO, Ken and Mark for the opportunity to take these for a spin!
 

Disclaimer:
I received this Campfire Orion as part of the Australian/New Zealand tour that ALO Audio/Ken Bell arranged. This is my honest opinion of the Campfire Orion, and I am in no way affiliated with or work for ALO Audio. Thanks to @d marc0 for organising this and letting me join in a little late.
 
In addition, this review will not focus on technical aspects of the equipment. Rather I will focus on their representation of music to me. My enjoyment or boredom, bliss or disappointment with the equipment. Think of it as an emotional review.
 
Introduction:
 
OK, so I told myself last year – “just get back to Head-Fi, find a suitable setup, and leave…” I’m still here, after realising that the community had matured so much since last decade, yep 2009! The ability to now take part in tours and auditions opened up a whole new world of experiences. Now I was able to test out some great equipment, without the commitment, it’s like Friends with Benefits.
 
Thus far I have been given the opportunity to review the Aune X1S and Jays q-Jays. This time round, I was given the opportunity to take some more IEMs for a spin – introducing the Campfire Orion in-earphones
 
Official product page: http://www.aloaudio.com/campfire-audio-orion
 
 
Hardware:
 
WHAT’S IN THE BOX?
The Orion are delivered in a sweet and simple cardboard box, with the goodies inside. The earphones were nestled away in a beautiful fur(?) coated carry case, with the tips and other accessories hidden under a neat little false bottom.
 
 
 
 
 
The contents of the box included:

1. Campfire Orion IEM ear pieces
2. MMCX terminated, silver-plated IEM Cable (1.35m) with gold-plated 3.5mm L-plug
3. Tips:
   1. 3 pairs of Comply TX 400 tips (S, M, L)
   2. 3 pairs of foam tips (S, M, L)
   3. 3 pairs of silicon tips (S, M, L)
4. Cleaning tool
5. Carry case
6. Campfire Audio logo pin
7. User guide

 
RRP: $349 USD (~$500 AUD)
 

 
 
 
BUILD & DESIGN
When I first saw the ALO Announcement I had flashbacks of Jony Ive (from Apple) talking about chamfered edges and build quality of the iPhone 5. In ALO’s words, “Orion’s design integrates single balanced armature drivers into a machined aluminium enclosure”. These are solid IEMs. You can feel the weight, I personally love seeing the screws and the rugged edges of the earpieces. The nozzles as well are solidly built, I always used to worry about my old Westone’s and Shure’s with thin nozzles, in fear I’d break them.
 
 
 
 
 
TECH SPECS
Driver: Single Balanced Armature Driver
Impedance: 14 Ohm
Sensitivity:  113 dB SPL/mW
Frequency Response: 10Hz - 16KHz
 
For a better read on the technical details, checkout Brooko’s review: http://www.head-fi.org/products/campfire-audio-orion/reviews/15678
 
About Me:
 
As with any tour or review, these are my opinions and observations with the Campfire Orion and my hardware. For the purpose of this audition, I used the following equipment –
Source: iPod Classic/iPhone 6S using a mixture of Apple Lossless and MP3 files
Amplifier/DAC: HeadAmp Pico Portable Amp/DAC
Headphones: 1964Ears V3 (for comparison)
 
My taste in music is quite peculiar and focuses heavily on heavy metal – in all forms (from death to Viking, from prog to heavy, from pagan to Mongolian!). A majority of my listening was with bands such as Iron Maiden, Fallujah, and Caligula’s Horse & Ne Obliviscaris. However, I still enjoy a variety of genres, so also included Jazz, Blues, Rock, and Classical.
 
 
 
 
 
 
The Listening Experience:
 
So my first listen was with the Comply Tips, the comfort and fit are as perfect as custom in-ears. Despite the machined edges, I worried they would either feel heavy, or the earpieces would be uncomfortable, but I was taken by surprise. The nozzle was larger than I was used to, so took me a couple of tries to get the tips on, but once they were on, I was listening to my music in no time.
 
Music listened to for this review:
Florence and the Machine [acoustic/MTV unplugged] (female vocal)
Diana Krall (female vocal – jazz)
Lorde (female vocals – alternative)
Steely Dan (jazz/rock)
Anathema (female vocals – alternative, post-rock, progressive)
Fallujah (atmospheric technical death metal)
Ne Obliviscaris (progressive black metal)
Gojira (technical death metal)
Caligula’s Horse (progressive)
 
My initial impressions were:
Bass: tight and controlled, lacking impact
Highs: slightly untamed – female vocals were slightly piercing/painful at times
Comments: felt slightly uncontrolled on some quicker/complex metal songs, really great with female vox
 
As I continued my time with the Orion’s, I decided that I’d mark these as being flat/neutral in terms of sound signature. The IEMs do not overly favour any aspect of sound, they were overly bassy nor were they unyielding in the highs.
 
I started off in a different direction this time, instead of heading straight to all my niche metal genres, I decided to play some Florence & The Machine (acoustic set) and Diana Krall. The Orion’s shined with the female vocals. They were luscious to say the least, and both vocalists demonstrate different vocal ranges, which sounded beautiful on the Orion’s. I thought I’d give Lorde a go, merely just to chill and take advantage of the Orion’s strengths with female vocals. Again, I was impressed, even though I’ve listed bass-impact as a con for these IEMs, this worked well for Lorde’s Royals, as some of my other experiences have left me with the bass overpowering the vocals.
 
I moved toward some Steely Dan to get a better feel for the soundstage and instrument separation, and again the Orion’s came through. The flat/neutral signature favoured the female vocalists, and also the jazz/rock combination. So far so good, I spent more time listening to my more subtle genres, and only experienced a minor issue with some female vocals feeling a bit too harsh/piercing (listening to Anathema).
 
So far they were pleasant. Until I got to my more complex music…..
 
Unfortunately this is where I struggled with the Orion’s. I couldn’t spend a lot of time listening to Fallujah or Ne Obliviscaris as the Orion’s struggled with the speed/attack/complexity of the music. There were times in the slower sections of the music I could appreciate the instrument separation and soundstage, but the moment the tracks got to their heavier/complex sections, the Orion’s just struggled. Things just felt congested when I know they shouldn’t be. Aside from that, the lack of bass emphasis left powerful songs such as And Plague Flowers the Kaleidoscope leaving me underwhelmed (keep in mind this song has double bass kicks that hit 240bpm).
 

 
 
Value & Conclusion:
 
Overall, the only fault I found was the underwhelming experience with my favourite music and genres. That’s not to say the IEMs are bad – this is where the personal preference aspect kicks in – they are great for what they are, and as mentioned were favourable for most of the other listening I did.
 
These IEMs would definitely suit those out there who prefer a more neutral sound signature, controlled low-end, and who aren’t big on heavy metal!
 
Thanks again to ALO, Ken and Mark for the opportunity to take these for a spin!

Disclaimer:
I received this Jays q-Jays as part of the Australian/New Zealand tour that DJScope arranged. This is my honest opinion of the Jays q-Jays, and I am in no way affiliated with or work for Jays.
 
In addition, this review will not focus on technical aspects of the equipment. Rather I will focus on their representation of music to me. My enjoyment or boredom, bliss or disappointment with the equipment. Think of it as an emotional review.
 
Introduction:
 
OK, so I told myself last year – “just get back to Head-Fi, find a suitable setup, and leave…” I’m still here, after realising that the community had matured so much since last decade, yep 2009! The ability to now take part in tours and auditions opened up a whole new world of experiences. Now I was able to test out some great equipment, without the commitment, it’s like Friends with Benefits.
 
So my first review was of a desktop Amp/DAC – the Aune X1S. This time round, I was given the opportunity to take some IEMs for a spin – introducing the Jays q-Jays 2.0 reference earphones.
 
Official product page: https://www.jaysheadphones.com/q-jays
 
Hardware:
 
WHAT’S IN THE BOX?
The packaging reminds me of when I get a new Apple product. Sleek and exciting!
 

 
 
The contents of the box included:

1. q-Jays earphones
2. Earphone case
3. Cable
4. Tips

 

 
 
BUILD & DESIGN?
Any other review you read will echo my sentiment here – beautiful and solid. These things are so tiny yet as soon as you feel one in your palm you will feel its weight. The solid stainless steel body is sleek and inconspicuous. No boisterous branding or markings, just simple black units, black cable and black tips. The official product page can give you the full run-down on the build and design, but I for one am considering switching my iPhone to Space Grey just so they match!
 

 
 
About Me:
 
As with any tour or review, these are my opinions and observations with the q-Jays and my hardware. For the purpose of this audition, I used the following equipment –
Source: iPod Classic/iPhone 6S using a mixture of Apple Lossless and MP3 files
Amplifier/DAC: HeadAmp Pico Portable Amp/DAC
Headphones: 1964Ears V3 (for comparison)
 
My taste in music is quite peculiar and focuses heavily on heavy metal – in all forms. A majority of my listening was with bands such as Iron Maiden, Fallujah & Ne Obliviscaris. However, I still enjoy a variety of genres, so also included Jazz, Blues, Rock, and Classical.
 
 
Sound:
 
The q-Jays for me feel like 2016’s ER4. A beautifully balanced/analytical sound signature. This is heavily dependent on the tips however!
 

1. Plastic/rubber tips: this was how I heard them first, and I nearly gave up. It was a gross, blown-out high sound with little to no bass/sub-bass.
2. Shure Olives: this is what saved the q-Jays for me. The proper seal tamed the crazy highs and brought out the bass/sub-bass. Not to mention how comfortable they are.

 
There is a reason the q-Jays really resonated with me, and a reason I really like them: they were not like my 1964 Ears V3 (64Audio now). The q-Jays are a different beast, offering my music in a different light. Giving focus to the subtle nuances of my music, rather than presenting it in a digestible way. Now don’t get me wrong, this isn’t a put-down of the V3’s, I love my V3’s, but they provide a different experience than the q-Jays do.
 
To truly develop an understanding of these earphones I ran my favourite artists through them (iPod Classic -> HeadAmp Pico) –

1. Ne Obliviscaris [progressive black metal]: being such a complex band (clean vocals, harsh vocals, 2 guitars, bass, violin, and drums faster than 220bpm), my key concern was the ability for the q-Jays to keep up with the speed and attack of songs such as Blackholes and Pyrhhic, without diminishing the details of the band. As expected the low-end was not as full-on as my V3s, Dan’s drums were nicely toned, and a key factor for me is how lush the crashes are; and oh how beautiful they were. Tim’s violin was another beautiful sound to experience. The soundstage and instrument separation really set the q-Jays apart as an IEM. I’ve been used to IEMs making the music feel like it’s in such a small room, but the q-Jays pushes everything out so well.
2. Iron Maiden [heavy metal]: listening to Maiden was a little less full-on than NeO. Classic British heavy metal – 3 guitarists, bass, drums and a 747 pilot who sings. I used The Number of the Beast to evaluate how the q-Jays performed, and again, very impressed. Being such a tight record, the q-Jays gave great instrument separation (as mentioned before), and put’s the entire band on such a spatial stage that I find the V3’s just can’t.

 
As a last minute test I decided to test out the q-Jays straight out of my iPhone 6S. There’s a discernible difference using this setup over the iPod/Pico setup, and that is the soundstage. Directly from the iPhone the soundstage feels much closer and tighter, not as much as the V3s, but still you can definitely feel the music a bit more cramped in. Nevertheless, still a treat to listen to, no discernible faults though – I was not hindered by any out of control highs or lows, everything felt balanced – as expected from a BA earphone.
 
Favourite pairings:
iPod Classic -> HeadAmp Pico -> q-Jays
  

 
 
Value & Conclusion:
 
I was blown away by the q-Jays with extended listening. They are superbly built, sound fantastic and amazingly comfortable for long sessions. These are a must for my collection, as mentioned before, they won’t replace my 1964 Ears, instead they will provide me a different avenue to enjoy my music, but also allow some genres to shine (classical etc). The soundstage is what really sets these apart, wide and spatial, giving you a true sense of stage. I really can’t wait to get my hands on a pair, without getting too hasty, but these might be my new favourite at this price-point!

Disclaimer:
I received this Aune X1S as part of the Australian/New Zealand tour that @AuneAudio arranged. This is my honest opinion of the X1S, and I am in no way affiliated with or work for Aune Audio.
 
 
Introduction:
 
Hailing from China, Aune Audio has been working and providing affordable yet high-quality audiophile level products for several years. With both Desktop and Portable sized offerings, the quality, build and value for mine has been a common factor across all Aune consumers.
 
The Aune X1S is the fifth in the X1 range that began in 2008. This latest DAC & Amp offering from Aune has been well received by several hi-fi blogs & magazines, and this tour will no doubt echo this reception.
 
 
Hardware:
 
WHAT’S IN THE BOX?
Most of the reviews you will read regarding the X1S will detail the packaging – so as to not repeat and rehash what’s already been said – the package is sleek & simple. A black box, opened to reveal a beautiful silver monolith sitting inside a foam cutout.
 
The contents of the box included:

1. The Aune X1S DAC
2. Power Supply
3. USB Cable
4. 3.55 to 6.35mm Adapter
5. USB (with Foobar files & Drivers)
   Aune Card/QR Code 

 
BUILD & DESIGN?
Again most of the reviews you will read regarding the X1S will detail the build & quality – the photos however speak for themselves. I received a brushed silver unit, and out of the box this thing complemented my MacBook. It’s as if they were designed to sit side-by-side.
 
 
 
About Me:
 
As with any tour or review, these are my opinions and observations with the Aune and my hardware. For the purpose of this audition, I used the following equipment –
Source: MacBook Pro, DSD & Apple Lossless files
Headphones: AKG K712pro, Grado SR80e, Yuin PK1, 1964Ears V3
 
My taste in music is quite peculiar and focuses heavily on heavy metal – in all forms. A majority of my listening was with bands such as Iron Maiden, Fallujah & Ne Obliviscaris. However, I still enjoy a variety of genres, so also included Jazz, Blues, Rock, and Classical. I’ve included Pink Floyd, Simple Minds, Norah Jones, Steely Dan, Santana, Deep Purple and Boston in my rotation of albums. All of which I have gotten in High Resolution DSD/DFF formats.
 
 
Sound:
 
Having only re-entered the Head-Fi community and audiophile hobby, I have spent the last years rocking nothing but Custom Westone 3’s from an iPhone. When I dug out my HeadAmp Pico and a few remnants of my previous dabble with audiophilia, it inspired me to re-ignite my passion (and yes, sorry about my wallet!). In terms of my review, I tend to write as I listen, and tend not to break down my reviews based on key areas or genres. Sometimes I ramble, or stray a little off-topic, but I hope that the review is just an easy and enjoyable read.
 
This device blew me away. More so my new understanding of DSD files and the quality they hold for music. In order to full appreciate this DAC, I ensured I purchased some DSD files of music I was familiar with, but also relied on my trusty FLAC and ALAC tracks too.
 
The one thing that stood out to me immediately was the expanded soundstage and distinct instrument separation this DAC presented. Listening to complex music such as Ne Obliviscaris (which is progressive black metal – clean & harsh vocals, violins, guitars, bass and technical/fast drums). I was able to place each instrument onto an imaginary stage when I closed my eyes, and being able to isolate different aspects of the track without any of them overpowering. Metal, and such a complex genre that Ne Obliviscaris fits into, is hard to find a suitable setup. Using my AKG K712pro worked well with the Aune. I’ll get back to the AKG/X1S pairing later on in the write-up.
 
It may be just me, but as I switched between different in-earphones, earbuds and headphones, I found that my Yun PK1 were not a good pairing with this DAC. The Yuin PK1 are difficult to drive, and they were extremely veiled running them from the Aune X1S compared to the HeadAmp Pico. The bass was nowhere to be seen, and highs were quite bright (painful at times). Some might refer to this as a neutral sound – but to me it just sounded unnatural. With the 1964Ears Custom In-Ear Monitors I was pleasantly surprised. In the past I had issues such as static and hiss driving IEMs from desktop-class hardware, the Aune had no such issue. After the bad experience with the Yuin I did worry how the IEM + X1S pairing would go. It went fine. I usually only use my CIEMs on-the-go, and opt for my full-sized cans at my desk, but driving them through the X1S was pleasant. The sound presentation was full-bodied which thick, punchy bass.
 
On the flipside, the Aune was built for the full-sized can, and I experienced my AKGs and Grado SR80s in ways I’d never imagined with the little Pico. One of my benchmarks for how any audio device sounds is with it’s representation of cymbal splashes. I’ve heard poor devices fail miserably with replicating the smoothness of a crash, a track such as Money, by Pink Floyd, is not only a fantastic track to sample this, but also gives an opportunity for my second benchmark: Jazz. Ok maybe not the best segue, but still. Queue in Mr. Miles Davis. Listening to Miles Davis gave me a true appreciation for the wide soundstage the Aune offered, coupled with my Grado SR80e headphones.
 
I used a 5.1 SACD DFF source of Pink Floyd’s Dark Side of the Moon – which I’ve had for a while but never a) got around to playing it, or b) actually had a DAC powerful enough to deal with them. The Aune absolutely impressed me listening here. Lush cymbals, warm trumpets and bass that made your heart thump.
 
I found it difficult to compare something like the Aune vs. the HeadAmp Pico (which is the only other DAC I currently own). Both were designed for two separate uses, the Aune is a desktop monolith, whereas the HeadAmp is a pocketable portable buddy.
 
Through a various array of source formats: DSDs, FLACs, ALACs, WavePacks and MP3s, the Aune X1S was true and thorough with sound quality. Only after several re-listens with utmost concentration was I able to discern the differences amongst the same track through different formats. However, when I gave the AKG/X1S a standard lossy MP3 it really showed the flaw in low-quality music. Coming across high-resolution music of my favourite bands/genres is very difficult, so I reverted to what was available to me from the sites listen in the Music section of the Head-Fi forums.
 
I did fiddle around with the filters built into the Aune X1S (by holding down the Input button), but not enough to really compare them to each other. I found myself just sticking to the default.
 
Favourite pairings:
AKG K712pro + Aune X1S
1964Ears V3 + Aune X1S
 
 
Value & Conclusion:
 
At $350 AUD ($249 USD), the Aune X1S is a fantastic addition to any desktop rig. I found myself at the end of the review seriously considering ordering one of these bad boys, to give it a permanent placement next to my MacBook. Being able to enjoy all formats of music, and as most audiophiles have, the highest quality files possible gave me a better appreciation for not only the Aune, nor the music, but also for my AKG K712pro headphones.
 
Aside from the above-mentioned cons, it was really difficult to fault this hardware. From it’s impeccable build and design, to it’s reference-quality representation of a variety of genres, the Aune X1S is a stellar DAC and I expect many consumers to be extremely satisfied owning one.
 
Dabbling with high-resolution audio has not got me contemplating my life. I am disheartened at the lack of availability of DSD/DFF quality files from my favourite metal bands, but also that the portable players I have (iPod & iPhone) won’t ever be able to play music at this high quality. So for now I revert back to my ALAC & FLAC dreaming of a day in the near future that I will have a decent desktop setup (and maybe portable) which allows me to enjoy all fidelity of audio.