Brainwavz S1



The S1 is another new offering from Brainwavz, who seems to have unleashed an army of new iems recently, including the budget king, Delta. The S1 is a 10mm dynamic driver in a larger barrel style housing that vaguely resembles the UE TF10 frankenbolts (note: these are designed for over the ear wear). It also sports a heavy duty flat cable with generous stress reliefs at the housings and connector. Personally I can’t stand flat cables, as to me they are more bulky and heavy than normal round cables, but this one is pretty flexible and seemingly very durable. It comes with good selection of tips ranging from single flange to doubles and triples, plus a foam set. Also included is the Brainwavz semi-hard case, which is one of more practical and useful cases on the market. Not a bad offering at the $60 msrp, if the sound quality can deliver.





Right out of the box the sound was pretty murky and I had wondered what in the world was Brainwavz thinking?!? So I connected it to an old dap, plugged it into the wall and forgot about it for a couple of days. For all I know they could have started sounding better in 20 minutes but when I came back to them a few days later, they were no longer so dark and the murky veil over them was gone.

The S1 is a bass first iem that boast big bass punch and deep bass rumble. It’s large, rich and has plenty of decay; It lingers and warms up the lower mids for an overall warm and thick signature. However, even with the warmed up lower end and the general V shaped signature, the midrange still maintains good clarity for vocals and guitars to show through. The treble is slightly elevated but remains easy going and fatigue free, allowing for decent detail with cymbals, rides and hi-hats. There also seems to be some lingering decay in the upper regions, as treble detail isn’t as articulate as it could be but overall there’s really not much to complain about- big bass, good midrange clarity and nice treble sparkle add up to another quality offering from Brainwavz.





Offerings from other manufacturers with similar bass first signatures are the NuForce 650 and 700 models, both of which are in a similar price bracket. I prefer the S1 to these, as it offers greater clarity while still packing that big bass punch. The Future Sonics Atrio offers bigger sub bass rumble but also has less clarity, grainier treble and an overall darker, smaller sound. The S1 should please most bassheads and would make a great workout, yard work or commute iem.

Thanks to Brainwavz for the review sample.

Brainwavz Delta



The Brainwavz Delta is a new benchmark in the budget iem market. For an asking price of $22, you get metal housings, a very pliable but sturdy cable and good strain reliefs all the way around. Size wise the housings are reminiscent of the new Hifiman RE series and they come with a decent selection of tips; I prefer the stock white tips. Wear style is over the ear or down but I prefer them over the ear. While the Deltas do not come with a case or pouch, they really look to be able to take a beating and best of all- they sound fantastic!



The first thing I noticed out of the box is pretty nice balance. Most offerings in this price range tend to be bass first and boomy but not so with the Deltas. That’s not to say they are lean on bass, and in my estimation, they are on the plentiful side. They do have a nice deeper rumble but more of the bass seems to be focused around 200hz without becoming over bearing or over doing it.

The next noticeable aspect is that they have very nice shimmer and sparkle to the treble, which is prominent and fairly balanced to the bass. Dips are 8 and 10k, placing much of the shimmer around 7and 9k. The Delta also appears to have nice extension beyond the typical 10k drop-off.

This description would lead one to believe the Deltas are V shaped but somehow I don’t really get that impression. The midrange stays pretty prominent before taking a moderate dip between 2 and 4k, leaving a somewhat laid back upper midrange but it definitely doesn’t get lost in the presentation.



Comparison to SoundMagic E10 ($35)

The E10 has more sub bass rumble and in general a similar overall bass presence/quantity as the Delta, however both are very satisfying with a rich and rounded note. Both have excellent treble sparkle but the Delta may have the edge here, while I really love the tonality and smoothness of the E10, the Delta doesn’t give up much in tonality to it and seems to have bit more treble articulation/precision. The trade-off is just a touch more occurrence of sibilance from the Delta. Both present vocals fairly similarly, laid back but very clear, with perhaps the Deltas a little more forward. The result is a wider, airier soundstage in the E10 but a taller, more forward soundstage in the Delta.

Conclusion

While the E10 costs $13 or so more, its cable isn’t as robust or as pliable. Also its strain reliefs are not as robust but it does have metal housings. It really is quite an accomplishment for the Delta to offer these qualities at such a reduced retail cost. I’ve only compared the Delta to the E10, as it is the only iem under $50, maybe under $75 I’ve heard that competes with it. The E10 has been my budget benchmark in sound quality and build since its release. I’m happy to say that the Brainwavz has equaled it at an astonishingly cheaper price. You really can’t go wrong with either and I’m happy to be an owner of both.

Thanks to Brainwavz for the review sample.

Signature Acoustics C-12 - From India!




A few months back I was contacted by a representative of Signature Acoustics asking if I’d like to audition their Elements Series C-12. They’ve already been selling them in their home based country of India and are preparing for a worldwide release. I thought, Why not? Sounds like fun!

The C-12 is going to retail somewhere around the $45 to $60 range and the manufacturer describes the offering as follows:

1. Wooden enclosure / housing for a natural warm sound and strong build quality
2. 10 strands of wide Cu wire, to ensure impactful bass. Twisted to reduce microphonic noise.
3. 8mm Dynamic driver for Speed and Detailing
4. Treble tuning with provided 180 and 250 micron filters
5. Hi-Quality Metal carry Case carved out of Solid Brass blocks - polished to give an antique feel

Additional specification found in the box literature:

1. Impedance: 18 ohm @ 1hz
2. Frequency: 17 to 20 khz
3. Sensitivity: 102 db
4. Total Length: 1.2 mts (split length 28 cms)

Accessories include 4 pair of tips (2 medium pair), a shirt clip, replaceable filters (HiFiMan style), a heavy duty brass, twist off case and a neat little, round leather zipper case. Definitely some nice cases for a budget IEM. The C-12 by default comes with the hand stitched genuine leather case with suede leather inside. The metal brass case will be a part of a limited edition or an optional accessory.





The overall sonic signature is a bass first presentation, that has very impactful mid bass and a solid sub bass rumble. The sub bass can at times be just a bit overshadowed by the mid bass impact. Bass starts to roll off after 60hz and is audible down to 30hz. There is a good bit of decay, lending to an even greater perceived bass quantity.

The lower midrange is forward and warm, and reminiscent of the Brainwaves M2, and continues to stay slightly forward through the upper midrange before it starts to taper down. There is a slight veiling effect from the strong bass presence but at the same time provides the thick and rich tonality. Treble is softer and behind the bass and midrange but is still clear and distinguishable, thanks to an inoffensive 6k peak, and gently rolls off in the upper treble.

So many of the budget bass first signatures are often muddy or cloudy sounding, so I was pleased to hear some treble sparkle and decent vocal clarity. But make no mistake, these have copious amounts of bass, that should please most bass-heads. All in all it is a pleasing and very fun earphone and would be great for workouts or outdoor activities.





Comparisons

Soundmagic E10 ($35)

The E10, which is commonly thought of a somewhat bass heavy presentation, is much tamer in direct comparison. Having less bass and brighter treble gives the E10 a clearer overall signature, more easily revealing lower level detail. The E10 also has considerably more treble sparkle. The C-12, though, presents the midrange much closer, for more intimate, warmer and throatier vocals, giving the E10 more of a V shaped feeling in direct comparison. This lends the E10 to having a wider, more spacious soundstage but the closer midrange of the C-12 gives it the feeling of taller, more intimate staging. Both have good depth.

The cable of the C-12 seems to be of higher quality, and while more flexible, does have some annoying memory characteristics similar to the much more plasticky cable of the E10. Both are easy to fit and wear up or down (up preferred on both), the E10 having metal housings with minimal strain relief and the C-12 having more traditional, beefier strain relief and light weight wooden housings. I’ve owned the E10 for a long, long time and used in sweaty, active situations and it has never failed me. The C-12 seems as if it would be as durable as the E10 in these same situations.

NuForce NE-650m ($45)

The 650 is another bass first signature that also sounds just a little tamer in comparison to the C-12. It’s bass is more sub bass focussed but doesn’t have the texture, impact, nor rumble of the C-12, unless a song is recorded with a lot of sub bass and that’s when the signature of the 650 is at its best. The 650 also sounds V shaped in comparison to the C-12 but does not posses the clarity or detail retrieval of the C-12. All of the high end of the 650 is upper midrange focused and treble rolls off very quickly for no treble sparkle, so the C-12 does sound brighter in comparison. Soundstaging of the C-12 is overall bigger than the 650, which sounds a little flat in comparison.

The 650m comes with a flat cable, which I find less friendly in general (just not a fan of flat cables) but does have an iPhone mic that doubles as a pause/play button. Again the C-12 cables seems to of much higher quality and better flexibility. The 650 housings are plastic, so while lightweight, do look cheaper than the wood of the C-12.

Disclaimer: The following is a review from a sample provided by NuForce

First I’d like to thank NuForce, for reaching out and allowing me the opportunity to review their new IEM, the NE-650M.


The 650 is described by the manufacturer as “a uniquely enhanced version of the original NE-600 series earphone. Their high-efficiency design offers an even greater level of performance that delivers exceptional bass via aerodynamic acoustic porting, harmonically correct tonality, a deeply layered soundstage and superb acoustic isolation.”


Retailing at $44.99, the 650 features an 11mm dynamic driver, rated with an impedance of 16 ohms and 100db sensitivity. It comes with a small rounded rectangular carrying case and 5 pairs of tips. The 650 also has an iPhone compatible connector and built in microphone with one button control. The button will answer and disconnect calls, as well as pause or resume music on the iPhone. The remote is located on the left side above the Y split on a fairly manageable flat cable. I usually dislike flat cables but this one was OK; probably because it isn’t as wide as some of the more annoying flat cables I’ve experienced. The dynamic driver appears to be vented in both the back of the housing (in a stylish triangle shape) and a pin hole side vent. Some driver flex was experienced and seems to be normal.

Bass first and warm are the descriptors that most quickly come to mind. The low end extends fairly deep, with 30hz test tones easily heard and rolling off from there, and produces nice rumble. Mid bass has plenty of impact and presence. Bass seems to have longer decay times, helping to give the impression of even greater bass presence.

Mids and vocals are somewhat forward. I say somewhat because they are clearly behind the bass but in front of the treble. While vocals are clear, there is definitely warmth injected from the generous and plentiful bottom end.


Treble clearly takes the back seat in the presentation. It is very laid back and subdued. Obviously resolution and micro-detailing is clearly sacrificed with this kind of presentation but then there is zero fatigue. Greatest treble emphasis is at 5k and 9k with a dip in between and roll off up top.


While being too colored and dark for my preferences, I can certainly see bassheads on a budget and others looking for a workout, yard work or noisy commute phones on a budget being interested in this new offering from NuForce.

This is not a proper review, just really some rambling from the appreciation thread...
________


I have no idea why I didn't really like them so much the first time. I guess it is their unorthodox nature. They are a bit impetuous, however I have really been enjoying them the last couple days, prompting me to write some unorthodox impressions. Please excuse their rambling and possibly incoherent nature.
_______


The SS is a dirty little vixen, devoid of etiquette. She can turn on a dime from prim and proper to screeching, kicking and clawing; so goes the quality of the recording, there goes the SS.

The vocalist is who she loves the most. She pulls in close and puts a loving hand on the microphone and beckons you in. Vocals are the anchor in this love affair but the dirty vixen also has a thing on the side with the drummer. The SS in particular likes his snare. I can almost feel the sticks impact and the skins stretch. On second thought, I think she’s sleeping with the entire band.

She’s a cigarette smoker and a whiskey drinker. The SS doesn’t mind slumming and she enjoys hanging with the sleaze rock crowd. In fact, the SS has taken my previous distortion guitar favorites out back, kneed them in the groin, rubbed dirt in their faces and spit on them for good measure; then walks away leaving them in the gutter.

Love/Hate guitars couldn't possibly sound any nastier. I can practically feel Bones spitting his rap in Stuck Mojo. The wall of sound Sevendust produces is rich, deep and edgy.

Oh! Darling, the SS can play the role of the hippie. George, John and Paul’s voices sound fantastic on the SS. I get a live edge and an outdoor vibe from the SS with Abbey Road. The Sheepdogs, I Don’t Know, sounds as if it was recorded on the back of a flatbed, out in a field somewhere. And now it’s on to glam and Bowie simply sounds wonderful… must-resist-eyeliner.

The SS isn’t very forgiving and she can be downright cruel at times but she’s just got a way about her that has me coming back for more.

BTG-Audio: The Sunrise Cable

Everyone seems loves the look and feel of aftermarket and boutique cables. Just one look on the different threads dedicated to pictures of Head-Fi members’ gear and you will see countless pictures of headphones and custom IEMs with aftermarket cables. In many cases these cables look like pieces of art, and unless you are handy and can create your own cables, buying one can quickly become an expensive venture. I’ve priced IEM cables of varying wire and craftsmanship anywhere from $150 to $400 or more. Until recently the only choice for IEM cables under $100 has been the $30 stock Westone/UE variations from the CIEM manufacturer themselves. If a budget priced but robust and well built CIEM cable has been on your wish list, then you’ve found the right thread!

Some of you may know that I stumbled upon Brian of BTG-Audio’s services several months ago in relation to an IEM mod. Back in March of this year, I sent a Fischer Audio DBA-02 to Brian, due to an aged, brittle and stiff cable. He was able to source pins and connectors necessary to modify the DBA-02 from a fixed cable IEM to a removable cable IEM. Brian’s modification was not only successful but was expertly done for a fair and affordable price. Since then he has performed this modification on many different fixed cable IEMs like the Silver Bullet, W4, UM3X, B2, and many more. You can visit this thread for more examples of this modification: http://www.head-fi.org/t/601360/uni...er-audio-dba-02-brainwavz-b2-um3x-sleek-audio

It wasn’t long after he began performing these mods, that Brian started developing his own aftermarket cable for custom IEMs: The Sunrise Cable.





Design:

1. Compatible with Westone, UE, UM, JH Audio, FS, Aurisonics and many other CIEMs using the same standard pin configuration
2. Overmolded connector pins with clear markings for R/L
3. Memory wire standard
4. Compatible with recessed sockets
5. OFC 26 AWG stranded copper wire
6. Quad braid in round or milloit braid style
7. Nylon sleeved below the Y split
8. Neutrik 3.5mm nickel connector (straight or right angle) standard- Viablue, Oyaide, etc available at additional cost
9. Heavy duty Y split and functional but slim heat shrink chin cinch/choker
10. 48” Length
11. Pricing: Standard-$70 ($67 to $100 depending on 3.5mm connector options. Balanced/specialty connectors will push the price above $100.)

Usage:

The Sunrise Cable is very well built- solid and durable, yet maintains very good flexibility due to the style of braid BTG-Audio uses. I recently had the opportunity to use a very expensive boutique silver and gold cable alongside the Sunrise. This cable is more than 4X the price of the Sunrise, yet this cable didn’t have overmolded pins, lacked a chin cinch and was extremely stiff due to the very tight, regular styled braid. Putting it in an IEM case was like trying to coil a live and angry snake. The Sunrise Cable is very manageable and easy to store without annoying memory effect.





I’ve also compared the Sunrise to a Whiplash Audio Twag V2. In my experience, the Twag V2 is the model by which the usability of all aftermarket and boutique cables should be judged. It has some of the best flexibility I’ve seen, also has overmolded pins and is quite pleasing to the eye. The Sunrise cable holds it’s own against the Twag, giving up some in flexibility but otherwise goes toe to toe in build quality and durability. Not to mention the Sunrise cable is artistically pleasing to the eye as well, and costs considerably less.





The Sunrise Cable’s memory wire is very well done. I’ve always thought that it was too short on the genuine Westone Epic cable, making it difficult to get just the right shape without irritating my ears. Then the generic versions sometimes have too long a memory section, with useless ear guide sheathing extending way beyond the actual wire. The memory wire section on the Sunrise seems to split the difference of these; with a length of wire long enough to form over the top of my ear and slightly behind but not so long that it extends beyond my ear.

Sound:

BTG doesn’t make any claims about the sound of their cables; only to offer affordable, functional and professionally made products. I will also leave descriptions of the sound up to other owners and buyers. For me, purchasing an aftermarket cable is more about the build, durability and yes, looks. A nice looking CIEM certainly looks even better when paired with a great looking cable.

Future:

BTG-Audio is also looking at the possibilities of releasing 2 new IEM cables. The first is a SPC version of The Sunrise Cable. The SPC would be a silver plated copper cable of the same specs but would show silver above the Y split versus copper. The second is an IEM cable compatible with the FitEar universals. I’m hoping for an SPC Sunrise styled version of this!




Conclusion:

Is it affordable? Check. Is it professionally and well made? Check. Does it look good? Check. Is BTG-Audio friendly, courteous and responsive? Check. I can’t recommend Brian’s services enough and I really think he’s hit one out of the Head-Fi ballpark with The Sunrise Cable.

BTG-Audio website: http://btg-audio.webs.com/

MEElectronics A161P
 
 
Introduction:
 
The A161P is a new single balanced armature from MEElectronics.  Meelec markets their new flagship as:
“Relentlessly accurate to the source, the A161P delivers precisely what is in your music - nothing more and nothing less. High levels of clarity and resolution mean you won’t have to strain to hear the details while excellent handling of spatial cues delivers the ultimate concert-in-your-head experience.”
 
The A161P is a very competent entry into the world of neutrality but don’t let that word scare you.  The A161P is a full bodied, thicker note entry that I find immensely pleasing and easy to recommend.
 
[size=9pt]Specifications:[/size]
[size=9pt]·         [/size][size=9pt]Driver: High performance single balanced armature[/size]
[size=9pt]·         [/size][size=9pt]Frequency Response: 20Hz – 20KHz[/size]
[size=9pt]·         [/size][size=9pt]Sensitivity: 110 dB (1mW @ 1KHz)[/size]
[size=9pt]·         [/size][size=9pt]Impedance: 16 ohms[/size]
[size=9pt]·         [/size][size=9pt]Microphone: Single button remote[/size]
[size=9pt]·         [/size][size=9pt]Connector: 3.5mm gold plated, 45-degree angle connector[/size]
[size=9pt]·         [/size][size=9pt]Total cable length: 130 cm / 51.2 in[/size]
 
[size=9pt]Accessories:[/size]
[size=9pt]·         [/size][size=9pt]6 pairs of silicone eartips (3pr single flange, 2pr triple flange, 1pr double flange)[/size]
[size=9pt]·         [/size][size=9pt]Clamshell carrying case[/size]
[size=9pt]·         [/size][size=9pt]Cable earguides[/size]
[size=9pt]·         [/size][size=9pt]TRRS adapter cable (for select smartphones)[/size]
[size=9pt]·         [/size][size=9pt]Headset to PC adapter[/size]
[size=9pt]·         [/size][size=9pt]Shirt Clip[/size]
 
 
I’d like to thank Joe, at MEElectronics, for the review sample.
 
Look and Feel:
 
The presentation of the A161P is definitely worthy of a flagship model.  The box they come in is classy and very sturdy and the clamshell case follows those same design cues. 
 
 
The housings are a two tone plastic.  The back is black, leading to very sturdy if a bit large, rubbery strain reliefs and gold on the front of the housing and nozzle.  The nozzle is covered by a finely meshed metal protective filter.  Once again- very classy looking.
 
I’ve read a few complaints about the cable used, at least in comparison to previous Meelec cables.  Since this is my first Meelec, I can’t compare it to other models but I really do like the cable.  It is on the thinner side but is also pretty supple and very flexible.  I’m not crazy about the 45 degree connector, as I’d much rather have it 90 degrees but it’s better than a straight one for my usages.  The cable includes a Y cinch that works as it should.
 
The A161P is smart phone compatible and thus has a single button mic on the cable of the right earpiece.  In my estimation, the placement of 4.5” below the strain relief is almost perfect, as it disappears, hanging just below the ear instead of flopping around against your neck or chest like many other smartphone compatible mics do.  The single mic button can answer and hang up calls, as well as pause, play and skip songs on my iPhone.  Call quality on both ends was as good as my home phone with no wind noise or echo.
 
 
Sound:
 
The A161P is a remarkably good full range armature driver.  The notes are full and thick and there is very good extension on both ends.  Simply put- it’s a joy to listen to.
 
The A161P bass is very punchy and tight with very good depth and body. Very pleasing!  It is able present proper weight to instruments and voices with convincing texture.  In contrast the SM2 hits much harder in the mid bass, however its bass sounds much slower and less articulate due to an exaggerated mid bass and note thickness.  Next to the CK10 (which is my benchmark for armature performance), the A161P bass is a little slower with a feeling of extended decay.  The A161P has a bit more overall rumble than the CK10 but loses out in articulation and depth.  Based on the graph MEElectonics shows on their website (see above), bass response appears to be a couple of decibels over neutral but very linear, which accounts for the surprising rumble and weight, as well as its accuracy.
 
For me, the midrange is where the A161P really shines.  It is aggressive, slightly forward and a little sweet.  Distortion guitars sound absolutely fantastic with great bite and vocals are clear and crisp.  In this regard, it reminds me somewhat of the JVC FXT90.  I just love the vocal placement and aggressiveness, which makes the A161P very energetic and engaging.  The A161P frequency response is balanced from the bottom of the midrange through the upper midrange.  In contrast the SM2 has much more lower midrange emphasis and misses the ‘presence’ of the A161P in the upper midrange.  The mids of the SM2 are lusher, more euphonic but also slower and too rounded, lacking a proper edge.  Next to the A161P, the SM2 sounds overly dark and muddy.
 
The A161P treble is crisp and extended with a hint of sparkle but generally non-fatiguing and never sibilant.  To get closer to neutral, there would need to be a bit more treble presence; though next to the SM2’s very laid back treble, the A161 sounds much brighter, if almost on the verge of airy.  In comparison to the CK10, you can clearly delineate the difference of a more neutral treble presence, as the CK10 has a lot more air, and as such, is more revealing.  Those seeking a more neutral earphone but are worried about too much treble emphasis should look no further than the A161P.
 
 
Instrument realism on the A161P is surprisingly very, very good and normally a hallmark quality of a good dynamic driver to my ears.  As mentioned earlier, distortion guitars are excellent, rivaling previous favorites like the GR07, FXT90 and HJE900, but also acoustic guitar and drums sound absolutely fantastic and engaging as well.  Each piece of kit is easily distinguished with excellent separation and impact and the crisp midrange lets acoustics breath and strings shimmer.  Kicks, toms and snares are full of lively impact and are just plain fun and enjoyable.  If I have one minor quibble, Pianos could have a bit more weight and reverb on the bottom end but that’s just a nit-pick on a seriously good sounding single armature.
 
The soundstage ranges from slightly above average in width and about average in depth for universal BA’s; nothing to wow but certainly nothing to disappoint.  Imaging is good and I have no issues with location cues. The overall sound is very organic and cohesive.  I think a little more treble presence would have helped improve micro-detailing, making it a more revealing earphone but really at this price, who’s complaining?
 
I’ve read some differing opinions on bass quantity, treble presence and soundstage size/depth.  It’s worth noting that I’ve found more neutral IEM’s usually require a bit deeper insertion than most.  The A161P will sound its best with moderate to deeper insertion depth.  A shallow fit will not allow you to enjoy its full potential, weakening bass response, losing treble detail or flattening soundstage.  I can get a great fit with the stock triple flange, single flange and the Jays silicone tips that have been popular with the GR07 and FXT90.  Experimentation is recommended to find your best personal fit and sound with the A161P.
 
Conclusion:
 
The A161P surprised me and changed me the moment I put them in.  The sweet, yet aggressive midrange and forward vocal presentation is right up my alley but it also brought about an unexpected change in my overall preferences, which now lean towards neutrality.  The A161P has opened my ears to a signature I’ve previously neglected and shied away from. Since receiving them, I have also now acquired the Audio Technica CK10, which is one of the more neutral sets available.  The A161P comes off as fun, musical and just a little on the dark side of neutral.  Both of these phones have worked their way into my heart and musical passions bringing immense listening pleasure; for this- I thank you A161P!

Hisoundaudio Golden Crystal




First I’d like to thank Jack at Hisoundaudio for giving me the opportunity to purchase the Golden Crystals, or GC as I’ll reference them, as they are not yet available from any US dealer.

Meet the super tiny Golden Crystals. They are the smallest dynamic driver on the planet (I think the Monster Tributes are 5mm as well, if their claims of also having the world’s smallest dynamic driver are accurate).






[/size]
When I say these things are tiny, they are TINY!




I gave the GC’s 250+ hours of burn in, as 200 to 300 was recommended by the manufacturer. I can tell you straight out of the box they were extremely bright to my ears but have since settled in nicely. Whether that is attributable to driver burn in, brain burn in or a little of both, I’ll leave to the reader to decide based on their beliefs of burn in. A 6^th generation iPod nano and laptop using Spotify were used for testing.

The GC has a very clear and somewhat balanced sounding overall presentation. The micro drivers are super fast and the speed rivals some of the faster BA phones I’ve owned and heard. These pair best with a darker source as the treble can get quite hot and splashy at times. The Hifiman bi-flange tips were the best solution for me in bringing the treble in line with the rest of the sound or if you wish to dampen the treble more, Comply foam tips will do nicely. With different tips, the signature can change from somewhat balanced to very analytical and treble heavy. The better the seal, the better the bass response and overall balance.

Bass: When called upon they can have a pretty big and tight bass punch. It is not something you get with every song but if it’s in the recording, the GC can really deliver. There is very little mid bass and is mostly deeper sub bass to my ears. I was not expecting the small driver to be able to dig this deep. I’d say it digs nearly as deep as the GR07 but lacks some of the texture and rumble the larger 11mm driver can deliver.

Mids: The midrange is very transparent, clear and dry. Vocals are never obscured by other parts of the spectrum, displaying subtle nuances that warmer phones may gloss over. With the bi-flange tips I find the midrange neither forward nor recessed but with shallower tips the midrange can be slightly recessed. Distortion guitars have average byte; think less than the GR07 but more than the EX1000.

Treble: The treble is crystal clear. Joking aside, the treble is bright, splashy and can be more up front of everything else. With the wrong tips or particular recordings, the treble can sound very piercing and overwhelming; however it is a highly detailed and powerful high end. Cymbals, hi-hats, bells, triangles, tambourines and brass instruments are of prominent focus. Treble junkies apply here. Pre-burn in there was quite a bit of sibilance but that has tamed a great deal.

Soundstage is on the small and intimate side. Width doesn’t extend very far and depth is just ok. In comparison, the GR07 is much wider but has similar depth. Instrument realism is good to average, which I think is due to the overall thinner note the small driver produces. For instance I think acoustic guitar and piano should sound weightier but overall it is a very clean and likable presentation. Instrument separation is very good and I have no problem with location cues during busy passages. The GC has a very BA like instrument separation.



As some of you may know, I’m a big fan of the digiZoid ZO. For those of you in the dark, this little device can turn any phone into a bass monster. The GC pairs very well with the ZO amp and my laptop using Spotify. The little 5mm driver can really deliver some sub bass with this set up! In fact it gives it a weightier note that really improves overall instrument timbre.

The GC comes with a typical round case and a nice selection of tips ranging from hybrid clones to tips similar to the GR07 stock tips. Durability and craftsmanship seems to be top notch. The cable is thin and pretty flexible but does tend to tangle; otherwise is of high quality. Comfort and fit is simple and easy and with the Hifiman bi-flanges, isolation is among the best of dynamics I’ve tried.

In summary, the GC’s are a very unique offering due to their extremely small size, good build quality and isolation. They deliver a very clear and bright signature that is tipped towards treble and an analytical signature but can still offer very nice bass punch. Frogbeats (UK) is the only dealer I’ve found that will ship to the US but at the current exchange rate means paying around $200+, which seems a little steep and is in a price range of some very capable competition.

For further impressions and another perspective, please check out this review from mark2410.

Fischer Audio Tandem

I was recently able to hear a loaner pair of Fischer Audio Tandem’s and was so impressed, I ended up buying a pair off another head-fier. The FA Tandem is a dual micro dynamic driver phone, which retails for $130.


It comes with a velveteen pouch and abundant selection of tips. I often prefer pouches for stuffing in a jacket or jean pocket but this is a pretty cheap pouch, so I picked up a MEElectronics case to carry them in. Even with the plethora of tips, I really didn’t like any and found the best sound with the MEElectronics extra long single flanges (thanks to –y0-). The Hifiman bi-flanges sound very good too. The cable is cloth covered and super flexible; however it can have a lot of microphonics if worn down, so over the ear is recommended; it virtually eliminates any.


Bass is rich and full sounding. Impact is definitely above average. While not having the lowest of the lows, the Tandem does seem to produce more sub bass than mid bass. In comparison to the GR07, the Tandem doesn’t reach as deep or have as much rumble but definitely isn’t lacking and holds its own. In fact there is more bass quantity on the Tandem.

The entire presentation is mid centric without being mid forward; what I mean is that while vocals are front and center and the focus of the presentation, you are not on the stage with musicians. Rather is everything is still has forward projection while retaining focus on the midrange. Mids are liquid and buttery smooth. I wouldn’t use the term lush or wet as they are not overly thick or dense, nor is there any kind of veil. Conversely the GR07 seems to have more upper mid focus and appear edgier compared to the smooth and silky Tandem. The Tandem is wonderful with singer/songwriter and vocal focused music. It produces proper weight to both female and male vocals without sounding too thin or too chesty.

Treble is slightly understated and never fatiguing. I can distinguish cymbal crashes but it is never piercing. I would compare the presentation with the SM3 and W4. The Tandem doesn’t sound as dark as the SM3 and the treble isn’t as detailed as the W4. Cymbal crashes are more upfront on the GR07 and easier to distinguish but definitely sound edgier, if not aggressive, compared directly with the Tandem. It takes a few moments of mental adjustment when switching back and forth. In reality the GR07 is better balanced across the spectrum but the Tandem’s treble presentation really works in its favor for very long listening sessions.

Soundstage is maybe slightly above average in width but very good in depth. Vocalists are in front of drums and sometimes guitars are brought forward and other times to the side and behind based on recording. The Tandem has good layering and placement cues that are easy to pick out. The GR07 sounds comparatively 2D and more aggressive in nature. Instrument separation is average for a dynamic driver. Overall presentation is organic, fluid and natural sounding with really good dynamics.

The GR07 holds a clear edge in transparency and contributes to its very good instrument separation. I think this also helps with its awesome distortion guitar crunch. While the Tandem doesn’t have this same level of transparency, being a step behind, it is by no means congested and boasts a pretty good distortion guitar crunch of its own but it’s definitely a smoother and thicker sounding phone and as a result sounds wonderful with acoustic guitars; further impressing upon you how good they sound with singer/songwriter collections.

The Tandem is a phone not meant to impress you with its detail retrieval or ability to hear instrument nuances. Rather it’s a phone to get lost in the singers intimacy, emotions and words. It’s a phone you put in and completely forget about and instead get lost in the music. More technically proficient phones scream, “Look at me, look what I can do!” The Tandem just says, “Enjoy the music my friend.” The Fischer Audio Tandem receives my open wallet recommendation.

Graphs from inner|fidelity

SoundMAGIC E10

Soundmagic is building up quite a reputation for budget-fi products. Their latest entry into the fray is the E10. It is a barrel styled dynamic driver offering at just $35. Is it a giant killer? How good can a $35 phone be? Let’s find out…


Soundmagic seems to have phased out the hard case they used to include and instead offer a pleather pouch with drawstring. While I know many prefer hard cases, I really like nice pouches for toting in a jacket or jean pocket. This pouch is very nice but a little larger than necessary, so I plan on using it with my new custom Merlins when they finally arrive. Also included is a nice selection of various tips. For most IEM’s I’ve found larges to give me the best seal but with both the new E10 and my old PL30, the mediums work best to give me a deeper fit and better bass response. I’ve yet to try any different tips. The cable is the standard SM offering. It is pretty stiff and rubbery feeling and tangles fairly easily but at this price and with the kind of sound quality the E10 offers, I’m not complaining.

Bass is nothing short of spectacular for its class. It’s the perfect blend of mid bass punch and sub bass rumble. Kicks sound off with authority and bass guitars thump their driving beats. The bass is tight and extended, if a bit on the soft side with respectable speed and nice decay; which works really well with the overall sound signature. I find it just right for my preferences.

The midrange is pushed forward of neutral. Bass does not bleed into the midrange, leaving you with a nice and clean vocal. Distortion guitars have nice forward bite (nowhere as good as the GR07 or FXT90 but good in their own right). Pianos sound very good and are placed forward in the mix.

Treble has very nice sparkle but does take a slight backseat to the bass and midrange. However it isn’t what I’d call recessed or laid back. I’d say its presence is somewhere between the Atrio MG7 and GR07, leaning much closer to the Atrios. Perhaps slightly relaxed with sparkle is good descriptor for the treble.

Soundstage is pretty wide and depth is good. Dynamics are very good and the E10 sounds great for low level listening as well as ‘rocking out’ levels. Instrument realism isn’t on the level of my favorite JVC offerings but it is no slouch considering its class bracket. Clarity is great for such an inexpensive, bass oriented phone.

The E10 just sounds great with any recordings I throw at it, from classic rock, metal, pop and country. It has a fun, punchy and clear sound that is certainly better than anything at $35 has a right to be! I cannot recommend the E10 enough. This one is a keeper.

Tip recommendations:
Meelectronics extra long single flange. They come in Meelec's M11+ 10 pack but if you contact Meelec, they will sell them in 4 packs.
See link for a picuture: http://www.meelec.com/MEElectronics_Original_Eartips_for_M11_Earphones_p/tipset10-m11-bk-mee.htm
I get a deeper fit and better seal, resulting in better sub bass response while maintaining maximum clarity.

You might say I’ve been on a quest of sorts. I’ve tried many mid and top tier universals, searching for something I can be content with for the long haul; something I can use on my daily commute that’s not only satisfying aurally but also in build and fit, with a pleasing aesthetic.

Sound wise, I thought I might have found it in the Hifiman RE262 but ultimately is was too light in bass for my tastes and the new modular cable was too heavy and flopped around, constantly reminding me of its presence. From that experience I knew I had to find something with really spectacular mids and better bass weight and impact. Having an admitted bias for dynamic drivers, little did I know I’d find it in a balanced armature design!

When it comes to pliable, easy to deal with cables and sleek, form fitting housings, no one really holds a candle to Westone. I’ve owned both the 3 and 4 in the past and absolutely loved the build, fit and aesthetic but always found something to complain about in the sound. Having read that several head-fiers, while ultimately preferring the 4 to the UM3X, thought the UM3X had the better mids with more bass quantity, I knew it was something I should give a try. I had thought the 4’s mids were pretty darn good – intimate, warm and involving, so if the UM3X could do it better, it sounded like a good candidate on my quest.

I decided to buy from Earphone Solutions, for their reputation as an outstanding authorized Westone dealer and the 2 year manufacturer warranty. I also opted to buy the removable cable RC version. Right from the beginning I got a great fit, with great sound using the standard Westone gray flex sleeves but just to be sure, I tried all of the supplied tips, plus several others from my box-o-tips. Yep, those gray tips are perfect.



My initial impressions, for the most part, still hold true now after having spent many more hours and commutes with them. Here are some of my initial impressions I shared with a couple of friends and fellow head-fiers:

The overall presentation is pretty natural sounding, perhaps even more so than the W4. I think it is as technically proficient and just as accurate as the W4, however the UM3x can appear a little sterile, whereas the W4 was maybe more musical.

I like the W4 treble a better. It’s smoother and more detailed. The W4 is warmer and nearly as intimate in mids but the UM3X is clearer and more detailed throughout the midrange. The UM3X wins in bass hands down. It's the most satisfying bass I've ever heard to date in a BA. If the W4 had this bass, it would have been a masterpiece for me.

The UM3X separation and layering is unique and a step better than the W4 but the W4 has a wider soundstage. I'd also probably give the W4 the edge in instrument realism due to its treble. Fit is significantly better than the W4 and less tip dependent. I put on the med gray flex tips and I'm done.

As I said, those were my initial impressions and they’re still pretty accurate to how I hear the UM3X. Here are some additional thoughts after using them for significantly more time:

1. Great forward guitars; nice thickness and decent bite.
   
2. Bass guitar is prominent, textured, musical and the thumping backbone to the music.
   
3. Drums sound excellent: nice tight toms; snares really pop; shimmering and sparkly rides, hi-hats and cymbals without any piercing or fatiguing aspects.
   
4. Very intimate soundstage with really good depth. I haven’t heard this much depth in universal BA’s before.
5. Unlike the SM3, there is space between backing and lead vocals, instead of being placed on top of each other.
   
6. Instrument realism and dynamics improve with a cleaner, more powerful amp.
7. Incredible instrument separation; each instrument is on its own layer and seems to rise up and out of the music if you focus on one in particular.
   
8. Vocals have a very analogue/vinyl feel and presentation to them. Always up front and center.
9. With the right recordings, vocals are incredibly intimate; as if the performance was being made exclusively for you.
   

So is this the end of the quest? Well it’s the end of this particular quest. I’ve finally found a universal that I thoroughly enjoy from top to bottom, use daily and entertain zero thoughts of selling. However there is always room for a new quest: Vsonic GR08? Cardas Mirror? AKG K3003? FitEar To Go?

I love this hobby!

Before jumping into the sound, I want to make a few comments on build and accessories, which I feel are important to discuss, due to how they may affect the sound and/or durability of the product.

Accessories include 3 pair of stock single flange tips that are very comfortable and well made with a good combination of thickness and flexibility. My only issue with them is that I require a bit deeper insertion due to the shape of the housings and tip length; I can’t quite reach optimal positioning. I had some extra Meelec triple flange (trips) tips lying around and these solved the fit issue. Achieving optimum fit smoothed the treble out, improving its tone and realism, while tightening up the low end a fair amount. Another benefit was the expansion of soundstage from left to right and improving imaging. I would like to see AKG offer some dual and triple flange tips of the same quality of their single flanges as the changes I heard in sound were significant for me.

Other accessories include screw on swappable filters (bass, treble and reference). The bass filter is basically useless. It really muddies up the sound, wrecks clarity and timbre and just plain sounds bad. The treble filter offers a very nice analytical sound that is very reminiscent of the Audio Technica CK10 and is overall more neutral. The reference filter, which is my preference, slightly pulls back on the treble presence, while adding a very satisfying bass presence. The build quality of the housings and filters are excellent and beautifully crafted. I love the smart screw-in mechanism of the filters. The housings are surprisingly small and tastefully minimalistic in overall design.

If there is anything to fault or complain about, it is the cable; in particularly the section of the cable above the Y split. On the microphone version, there are no strain reliefs around it and I find where the cable enters the strain reliefs on the housings concerning as well. Perhaps it is unfounded concern but these do appear to be weak points in an otherwise well built and very expensive, top of the line earphone. I think I would have preferred the upper portion of the cable to be covered in the same nylon feeling material of the bottom portion, allowing for more flexibility without kinking at strain points.

Also suspect is the winding case. While very attractive looking, I find winding the earphone in a large square shape to be impractical and creates odd memory to the cable; but more importantly the method for storing the housings in the case seems overly complicated and could lead to kinking or damaging the cable, if one is not very carful. An aftermarket case, like a Pelican, Otterbox or UE hard case is recommended.

Enough with the cosmetic and on with the sound.




Being that the K3003 is a hybrid design, coherency between the differing driver technologies seems to be one of the biggest concerns; so let me start by saying, to me, it is a non-issue. I think the driver technologies are blended very well and I did not find anything distracting or disjointed during my listening sessions. Instruments sounded smooth and cohesive from the bottom of the scale and up, contributing to excellent timbre. Coherency Schmoeherency. Just enjoy the music because it sounds damn good from the K3003.



Coherency Schmoeherency as performed by Van Halen.

The treble of the K3003 is simply fantastic, nicely weighted and has a very nice brassiness about it. It is highly reminiscent of the CK10 treble, albeit a slightly tamed down version of that treble. With the Meelec trips, I’ve had no issue with undo sibilance or issues with peaks or harshness. Just airy, brassy and extended goodness.

In comparison the Merlin and UM3X treble are much more subdued and laid back. The UM3X treble is not only more laid back but also sounds less realistic, with less detail retrieval than the K3003. Upon switching back to the UM3X, it’s takes a moment to readjust, making the UM3X seem a little too dark and smoothed over. The Merlin treble is also more laid back than the K3003 but is certainly crisper and more present than the UM3X. Both the Merlin and K3003 high end come across as highly detailed and resolving, especially when amplified with the cleaner signal of the Leckerton UHA-6s mk2, but over all I enjoy the treble presentation of the K3003 more. It’s the CK10 like brassiness and realism that won me over.

The midrange of the K3003 is slightly forward and aggressive with a flavor I would term as sweet. Vocals are very engaging; strings sound lifelike and distortion guitars have excellent bite. This energetic midrange presentation is right in my wheelhouse of preferences and is one of the most likeable traits of the K3003; in fact I think I’d call the K3003 mildly mid-centric.

In comparison to the UM3X, the K3003 displays much greater upper mid presence, which is what gives it the aggressive and sweet sound. The upper mid of the UM3X is actually scooped out, with more emphasis on the lower mid, giving it a more lush, euphonic or analogue sound. Both presentations are great but I’d say the balance of upper and lower mid presence gives the K3003 more versatility for a better all rounder and certainly gives it greater clarity.

On the other hand, the Merlin seems to split the difference between the mid presentation of the UM3X and K3003. In my Merlin thread, I compared the similarities between the RE262 mids and the Merlin. The K3003 mids are more aggressive and sweet sounding than the Merlin still, due to more upper mid presence. The Merlin gives a more emotional, intimate vocal by being more laid back than the K3003. I also find the midrange of the Merlin to be more resolving of micro-detail, especially with the Leckerton or Arrow 4g amps.

The bass of the K3003 can be summed up a number of ways - fun, satisfying, impactful, deep, textured and musical. If ultimate neutrality is your goal, you won’t find it with the dynamic bass of the K3003 and the reference filter, although its boost isn’t as large as the overwhelming majority of consumer oriented earphones. The amount of boost the K3003 offers is quite possibly the perfect amount for my preferences. It adds realistic and believable weight to strings and keys and I could not detect any issues with bleeding into the midrange. While certainly not as fast and as accurate as say, the CK10 bass, it is fast for dynamic driver bass and is tastefully colored and very lifelike.

In comparison to the UM3X and Merlin, the K3003 has less bass quantity, coming across as the most neutral of the three. The K3003 beats the UM3X in lower end extension and resolution, while the Merlin has more of its bass focused on deep/sub bass, so it gives the feeling of greater extension and rumble. With the Meelec trips, the tightness of the K3003 bass competes very well with the Merlin bass, both being some of the tighter dynamic driver bass I’ve heard.




With the stock tips, I thought the K3003 soundstage width was just average to perhaps slightly above average but with a spacious and airy presentation within that soundstage, displaying much better than average depth. With the Meelec trips, the soundstage is increased from left to right by a substantial margin to my ears. Comparatively the Merlin soundstage is still wider and deeper but a fair amount taller as well. The Merlin soundstage is the tallest I’ve heard to date, although with the Meelec trips, the K3003 soundstage is very satisfying.

Imaging and separation are as good as the best, or better than I’ve heard in most universals. Dynamics are also excellent and the K3003 makes a superb low volume listening experience, and is in fact the best I’ve heard yet for low volume. As mentioned earlier, timbre is very good - strings and keys sound lifelike and believable, with proper note weight; toms and snares snap to life; cymbals and rides have a natural brassiness. The K3003 is one of better phones for portraying instruments as you would hear them in person. I would love to be able to compare these to my previous timbre champs, the EX1000 and FX700. It seems to balance nicely between earphones that come across as too thick or too thin in note.

Value

While I absolutely love the sound of the K3003, I do find the price point impractical for myself; but I am hoping AKG prices the K3003 more competitively in near future, as other companies release new hybrids and new flagships this winter. If so, I would definitely be very interested in obtaining my own set.

Conclusion

If I had to sum up my listening experience with the K3003, I would call it a CK10 with dynamic driver bass. It takes the same great, brassy treble of the CK10, tones it down just a bit; sweetens up the midrange and lifts it slightly; then adds a more subdued taste of the Merlin bass. The majority of the music I listen to is distortion guitar driven rock with a healthy does of acoustic/indie/singer-songwriter selections - and it is without reservation that I can say the AKG K3003 rocks; but it does so much more and truly sounds excellent with everything I send its way.

Big thanks to Bizkit!

Review re-posted here.

Comparison with Tralucent 1+2 (9.25.13)

Ever since I first had the loaner K3003, I’ve really missed the treble timbre and liveliness that is somehow never harsh. Every iem I’ve owned, loaned or sampled has had the unenviable task of comparing itself to that memory.

The only real negative I have about the k3k is the cable. It doesn’t have much in the way, if any at all, for stress relief. That being said, there are quite a few owners who've had their sets for well over a year and haven't had cable issues, so I finally decided to put that concern behind me and give a second go with the k3k, this time as an owner.

The k3k is everything I remember and more. This time around, for whatever reason, I do not have any issues fitting them properly. No need for meelec trips, the stock tips are working perfectly. The housings are small enough to disappear in my ear, with over the ear fit, giving me a pleasing aesthetic, unlike the much larger TG334 or 1+2. (When do the beautiful ladies arrive?) Also, the k3k has to be the best low volume iem on the market, it’s simply fantastic at low volumes.

So I decided to do some comparisons with the 1+2, since its been mentioned they are fairly similar. While I found they are pretty similar in overall signature, I found the few db’s difference here and there cause quite a large difference in preference, perception and enjoyment. For my listing I used a combination of the Tera>QS stack and straight from the iPhone 5.

Instead of rewriting my notes in paragraph format, I’ll just re-paste them here:

K3K
- tiny housings

1. more sub bass presence
2. longer bass decay
3. smoother treble while maintaining liveliness
4. brassier treble tonality; impeccable timbre
5. more vocal intimacy; better emotional connection
6. airy soundstage
7. thicker distortion guitar
8. more acoustic guitar reverb
9. overall thicker note weight

1+2
- XL housings

1. leaner bass
2. faster bass
3. hotter / spicier and brighter treble
4. more frequent sibilance
5. vocals placed further back and can lack an emotional connection
6. airier, even grander soundstage
7. awesome distortion guitar bite
8. more precise imaging
9. pianos have great tonality

Both are seriously excellent iems and two of the best, as well as two of my favorite iems I’ve ever heard.

Unique Melody Merlin
 

 
Foreword:
 
At the time I ordered the UM Merlin, I had been a registered Head-Fier for right at a year, and like many members who have been around any length of time, had run the gamut of mid and top tier universals.  I have had a great time buying, selling, trading and borrowing all kinds of universals with different sound signatures, ergonomics, materials and drivers, and still to this day continue to enjoy doing so.  I’ve also come to enjoy putting my experiences into reviews, impressions and random posts as the mood, excitement or disappointment strikes.
 
I’ve come to know many of you quite well, or at least as well as you can know strangers and acquaintances through a forum.  I have learned quite a lot from many of the experienced regulars here and feel my ears have become a very well trained tool over this time period but know I still have much to learn and experience.  I just want to express my gratitude to those that share PM’s and emails with me, answer my questions and humbly say thank you to all those that put their trust in me, by asking for my advice in their hunt for a sound that meets their needs and desires; or who simply enjoy reading my thoughts on this phone or the next.  I’ve come to love Head-Fi and this hobby and hope in some small way that my participation helps it to continue to grow.
 
Background:
 
Back in mid September of 2011, UM Global offered a promo special for the Americas (and later to other regions) that included a 20% discount on the custom of your choice, a UM branded USB drive, T-shirt and an AmpCity Fortis custom made silver cable.  The promo launched on September the 15th and took the first 25 to sign up.
 
We all shipped our impressions to a specific Head-Fier, who would in turn packed them all up in one box and sent them to UM, who would then reimburse him for shipping costs.  Due to logistics and paperwork for so many involved, it was roughly one month after placing the order that our impressions were finally shipped off to China.
 
During the long wait for our CIEM’s to arrive, UM announced in early December that they were changing the T-shirt to a track jacket and we learned the supplier for the Fortis cable wire could not deliver as promised and AmpCity  were sourcing another avenue.  Due to this delay, UM decided to include a stock cable, for free, so they could go ahead and ship all the phones once they were ready.
 
Finally the day arrives!  December 16, 3 months from order date, a perfect fitting Merlin arrives in my possession.  Perfect fitting you say?  Completely.  I cannot stress enough how important well made impressions are.  The audiologist I used makes impressions for musicians on a daily basis.  I of course paid a little more but I find the expertise and experience worth the extra costs and perhaps saved me more money, in the long run, in shipping costs for refits.
 
As of today, the Fortis cable and track jacket have still not been delivered.  UM is still awaiting AmpCity to deliver.
Edit: The redesigned Fortis cable, made by Beat Audio, arrived May 17, 2012.
 
Design:
 
The Merlin is a hybrid 3 way design using dual BA for highs, dual BA for mids and a single dynamic driver for lows.  It is also a vented design, allowing for air movement, creating a greater presence of bass and spaciousness.  Despite the venting, isolation is very good.  I ordered mine with recessed sockets but flush sockets are available.  Warranty is 2 years with 60 day refits and specs are as follows:
 
Crossover – 3 way
Frequency Range – 10hz to 19hz
Sensitivity – 108db
Impedence – 12 ohm
 
This equates to the Merlin being fairly easy to drive but you’ll definitely want low output impedance from your players or amps.  Certainly nothing greater than 2 ohm and less than 1 is recommended.
 

 
Packaging:
 
The Merlin comes in a giant red box with a standard 50” Westone/JH style cable, warranty card, cleaning tool, shirt clip and frequency response graph.  The graph is a nice personal touch but I’m not sure how useful it really is, since the method for testing is unknown.  Graphing CIEM’s is a much more difficult task than universals.  Unfortunately it doesn’t come with a pocketable or travel case.  Currently I’m using an Otterbox 2100 that I had on hand but am looking to get something smaller.
 

 
Equipment:
 
Most of my listening is done on the move, whether commuting, walking or moving from one room in the house to another, so my testing is done on portable/transportable equipment.  I’ve used an iPhone 4, Nano 6g, Laptop, Headstage DAC cable and Objective 2 amp.
 

 
Sound:
 
UM markets the Merlin as their north of neutral bass oriented ‘fun’ offering, with a focus on deep bass.  These are not musicians’ monitors but a CIEM created with personal listening in mind.  I myself find that I prefer lows that are somewhat elevated from neutral, as I think it sounds more natural.  In my experience, a properly done low end will have great texture and rumble, without the need to elevate through EQ or bass boosts and adds to the overall musicality.  The Merlin captures this very well, all with zero interfering or bleeding into the midrange, as well as not becoming overpowering or stealing the focus of a song.
 
Bass is indeed natural and plentiful.  Bass guitar becomes the driving rhythm of a song.  It extends very low and is some of the tightest and cleanest bass I’ve heard in my IEM journey so far.  In a word: Palpable.   Kicks are extremely tight and punch with authority.  Decay is very believable, yet it’s no slouch in speed.  There is no sign of slowness and congestion.  Texture is simply sublime.
 
To put the bass in context, I find the Future Sonics Atrio with MG7 driver to have more sub bass quantity/volume but sounds a little loose and uncontrolled in direct comparison.  If you are familiar with the MG7, then you know it has some of the best deep bass in the universal business.
 
As you expected, bass is very, very good on the Merlin.  What you might not expect are the utterly liquid, thick and lush mids.  I cannot tell you how pleasantly surprised I was to discover the Merlin is a mid-centric phone!  Voices take front and center for a very intimate performance.   During a recent A/B with the RE262, these were my notes:
 
“Both are mid centric with sweet, intimate and liquid vocals.  Due to the RE262 not having as much of a bass presence, vocals are not quite as fleshed out as the Merlin but make them appear just a tad sweeter and closer.  Overall the Merlin produces better clarity and detail in the vocals providing for an extremely intimate performance.”
 
The Merlin, like the RE262, excels at giving you the finer nuances of vocal performances: pursing of the lips, intakes of breath, throat inflections and raw emotion.
 
The very thick noted midrange also produces fantastic distortion rock guitar sustain.  In this manner it produces a very Marshall inspired lifelike performance.  Here is a note I made while listening to a Sevendust song:  “Drop D guitars are thick with gobs of sustain, along with the rumble of the bass guitar create the wall of sound Sevendust is famous for.”
 
Moving on the highs, I find them very crisp and a bit on the airy side.  Sparkle is excellent.  The Merlin treble never gets fatiguing despite the crispness and sparkle.  Hi-hats and cymbals are rendered with very good clarity and produce excellent location cues.  If I could change one thing on the Merlin, I’d perhaps want to add just a bit more weight to the high end but then again I don’t know how that would affect the overall presentation.
 
The soundstage of the Merlin was the biggest revelation for me moving to a custom.  It took me days to wrap my head around what I was hearing; and then finally it dawned on me: Height!  The Merlin soundstage is without a doubt the tallest soundstage I’ve heard.  When I immediately switch to one of my universals, until my brain can readjust, it makes them sound very short in stature.  The Merlin soundstage is also both very wide and deep, as well as placing you very close (front row) to the stage and looking up at the performance.
 
One of the aspects of BA’s I’ve noticed is their ability to separate instruments.  Instrument separation on the Merlin, with the quad BA’s, lives up to this expectation.  Each instrument is distinctly rendered with plenty of air around them but most importantly there is great coherence between dynamic driver and BA’s.  Kudos to UM for pulling it off; so nicely done.  However it is worth noting, that to me, BA’s do not present music as organically and blended as a single dynamic driver and this speaks to the sense of instrument separation that BA’s present.
 
From here I’d like to expand just a little about how certain instruments are presented with the Merlin.  Drums sound utterly fantastic to me.  Every piece of the kit is easily heard/pinpointed.  Snares and toms have huge impact and sound very lifelike. Hi-hats, cymbals and rides are easily distinguished from each other.  Pianos have proper weight and reverb down low, and sound wonderfully thick with a very good top end.  Acoustic guitars have lifelike resonance.  But my favorite has to be the phat distortion guitars and the amazing sustain.
 

 
Conclusion:
 
As you can see the entire process dealing with the UM promos has been trying and time consuming.  As much as I love how the Merlin matches my preferences, I’m not sure if I would go through that many months of waiting again.  Just for the CIEM themselves, the wait was 3 months and we are at 5 months and counting for the promo items.  I suspect waiting times will be less in the future, without regional promo orders clogging the gears.  Never-the-less, when considering ordering a CIEM from a manufacturer outside of your home country, there are bound to be time related frustrations.
 
The build quality and sound of my Merlin is superb and lived up the reputation and expectation of a UM build.  If you have the patience and have been on the fence about the Merlin, I hope I’ve covered many of the questions and concerns you may have.
 
Up next?  An Aurisonics AS-2 this summer perhaps?  To be continued…

Future Sonics MG6Pro
 

 
 
Foreword:
 
If you’ve read any of my previous reviews or impressions, you know I’ve been a fan of dynamic drivers for a long time.  In general, I find them to be more textured in the low end and overall portray a more natural or realistic sound for most instruments.  As of recently I’ve rediscovered a love for the separation, layering and intimacy many great balanced armature designs bring to the table.  Some have believed that hybrid designs could possibly bring out the best of both worlds.  I guess you could say that I’m a believer too, as I am quite fond of the UM Merlin and its musical and engaging presentation; but for anyone that’s a fan of dynamic drivers, that means you’ve ultimately had your eyes on the Future Sonics MG6Pro – with its 13mm driver and heritage from the Atrios line, known for its unmatched sub bass performance.
 
Background:
 
I’ve been considering and ultimately planning to purchase the MG6Pro for many months.  It just so happens I stumbled into a UM group buy that eventually led to a UM Global Promo event, that ended up postponing my plans for the MG6Pro but back in mid February, I decided to take the plunge on what I hoped was the dynamic driver end game.
 
I decided to have my impressions taken with the same audiologist that did them from my Merlin purchase, since those turned out so well on the first try.  Turnaround time from Future Sonics receiving them to shipping them back to me was a little over 3 weeks.  Turns out they had a very large order for the singing competition, American Idol, which was placed around the same time.
 
The Carousel:
 
Upon receiving them, the first thing I noticed was the classic fit issue.  They were too small in areas and easily lost seal.  I noticed that I was also experiencing a lot of harshness and an echo effect that made them very fatiguing to listen too.  I immediately contacted Future Sonics customer service, which were very friendly and professional.  They ask me to send them some pictures of CIEM’s in the ears to determine if a refit or complete rebuild would be necessary.  Unfortunately a complete rebuild ended up being necessary, so I had to return to my audiologist for additional impressions.
 
Since this time, I have learned several things regarding impressions, molds, and the CIEM final product.  The first is that the customer plays a large part in the quality of the impressions.  For instance, did you clinch your jaws or where you relaxed?  Did you look down or look up too much?  Did you schedule them when you were sick or dealing with allergies?  Secondly it is also important that your audiologist follow the manufacturer’s directions in making the impressions.  Did they use a bite block? Do they have experience with musician’s monitor impressions?  They are made slightly differently from hearing aid impressions, as they require a tighter fit and closer tolerances.  And lastly the manufacturer can indeed make mistakes along the way, as confirmed from other members of this trade, from trimming the impressions, to the shaping and sanding stages and lastly when polishing the final product.
 
After sending in new impressions, along with the CIEM’s themselves, Future Sonics also graciously allowed me to change the color from purple to smoke.  I’m guess I’m just not much of a flashy person when it comes to accessories.  I received the rebuilt set in early April.  Unfortunately I needed to send them back again, due to the nozzle portion of the right ear causing some discomfort and well as both faceplates sticking out from the ear too much.  I received a great fitting pair of MG6Pros in late April but unfortunately the issue of the harshness and echo effect, from the beginning, was still there.
 
The harshness and echo effect I was hearing seemed to be coming from the 2k and 3.5k ~4k areas.  It was explained to me that Future Sonics has some peaks in the frequency response there to help balance the overall sound presentation out with the bass response.  My sensitivity to these peaks seems to be greater than most, as Future Sonics has never had anyone complain about a harshness.  It causes the tops of vocals and edges of guitars to become painful, fatiguing and ‘echoey’, which obscures details.  Also cymbals in busier drumming passages became blurred, creating a lack of treble detail and some ringing.  It’s as if someone turned the ‘presence’ knob to 11 on a guitar amp.
 
Upon sending them in for the 3rd time, along with some music tracks so that the techs and owner could hear what I was hearing, it was decided to rebuild and replace the components (which they do on any rebuild), to rule out any other possible attributing factors.  I’m doubtful the Future Sonics staff was able to hear what I was hearing but they assured me the last set had passed their listening tests for the sound Future Sonics is known for.
 
I received my MG6Pro for the 4th time in early May.  The harshness, echo effect and blurred treble detail remain.
 

 
Design:
 
The MG6Pro contains a new, proprietary 13mm dynamic driver.  The shell is vented in the center of the faceplate.  It comes with 3 different sized vent inserts (S, M, L).
 
• 18Hz - 20,000Hz TrueTimbre™ Response

• 32ohm Impedance

• Sensitivity 114dB @ 30Hz 
 
Future Sonics also includes a future $199 upgrade path for when new versions of the driver are released.  Upgrades include the new driver, sockets, vent inserts, cable and are performed with your existing molds.
 
Packaging:
 
In addition to the cable and vent inserts, Future Sonics includes an Otterbox 2000 that is custom engraved with the buyers name, as well as a pleather pouch for keeping your CIEM safe.
 

 
Equipment:
 
Most of my listening is done on the move, whether commuting, walking or moving from one room in the house to another, so my testing is done on portable/transportable equipment.  I’ve used an iPhone 4, Nano 6g, Laptop, Headstage DAC cable, WhipMod 5g iPod and an Objective 2 amp.
 
Sound:
 
Future Sonics marketing states the MG6Pro sounds as:
 
“The mg6pro™ are multi-driver & crossover free; delivering full range audio w/ natural hi-end sparkle, warm mids and a low-end frequency response no two, three, four or more way balanced armature earpiece can touch! mg6pro™ Ear Monitors® audio signature, reliability and workmanship allow performers to hear themselves with exceptional clarity; while our BIGGER SOUND at lower volume™ promise continues to deliver the best sonic performance possible.”
 
Bass is first and foremost the allure and attraction for many to the MG6Pro.  In this respect the MG6Pro does not fail to deliver.  It has a great sense and feeling of power, unlike anything I’ve heard or felt in an IEM before.  It really can move a lot of air.  The following statement came from another head-fier in a discussion we had regarding dynamic drivers in general but I really think it applies to the MG6Pro:  Most IEM’s reproduce the sound of bass, rather than produce bass itself.  The MG6Pro produces BASS.
 
That being said, I find the bass of the MG6Pro to be much too big for my tastes, even with the smallest vents.  The entire bass range is elevated and increases presence with the larger vents; this increased presence makes the bass bloom, lose tightness and mask texture.  This increased presence also affects the lower midrange, obscuring details here and robbing male vocals of clarity and a musical presence.  Compared to the Merlin, the overall bass quantity in both sub and mid bass is a good bit larger in the MG6Pro.  However the Merlin has much less mid bass presence and tighter sub bass that reveal more texture, as well as not affecting midrange clarity and detail.  Applying some EQ to remove the bass bloom around 250hz and lower, the MG6Pro bass displays better texture, improves tightness and allows lower midrange clarity and details to shine.  Overall quality of bass is greatly improved but overall quantity is still very plentiful.  Further EQ to remove bass throughout the entire lower region brings better overall balance across the frequency response. (Note: I use the medium sized vents when using EQ.  The reason for vent choice will be discussed later in the review.)
 
The midrange of the MG6Pro, especially the upper midrange, is a bit of a Jekyll and Hyde presentation for me.  The lower to middle frequencies of the midrange (500 – 1.5k) come across as laid back and slightly recessed.  It definitely takes a back seat to the bass and upper midrange/lower treble (2k – 4k) areas.  Deeper male vocals fall behind lead guitars and drums, especially in busy passages of hard rock and metal, and even more so during bridges, choruses and leads.  However the upper midrange has some very forward peaks, which seem to cause unwanted resonance with my ears.  This upper mid peak is what causes the tops of vocals and distortion guitars to appear harsh to me.  Some singers in some songs are just too strident and it quickly becomes fatiguing and I find myself clicking to the next song.  For instance, in any classic Van Halen song, Michael Anthony’s backing vocals are very piercing and echoey. 
 
These peaks in the upper midrange become harsher as the vents become smaller, so while I prefer the un-EQ’d bass of the smallest vent, I’ve resorted to the medium vents for the slightly less accentuated upper midrange peaks.  This effect on the upper midrange causes vocals to become less detailed and un-engaging.  Comparatively, the Merlin vocals are more transparent, detailed and engaging with a real sense of intimacy.  By EQ’ing these peaks down a few decibels, I’m able to remove the harshness I hear and eliminate the ‘echoey’ effect.
 
Treble can be hit or miss for me depending on the type of song and the recorded quality.  When listening to a higher quality recordings for acoustic and singer/songwriter tracks, treble is laid back but cymbals, rides and high-hats are weighty and sound very realistic.  There isn’t any overly bright emphasis that some earphones put on top end; however it is somewhat pushed further back in the overall presentation.  On lesser quality recordings and very busy drumming passages in hard rock and metal, the upper mid/lower treble peak causes it to blur details and cymbals to run into each other producing a ringing effect.  However, when I EQ the upper mid/lower treble range down by several decibels to remove the harshness and echo effect, cymbals/rides/hi-hats are rendered superbly, with high levels of detail and fantastic timbre.  Also EQ’d up in the upper treble frequencies; it becomes possibly one of the most realistic treble I’ve heard.  Again, treble weight comes across to me as nearly perfect.
 
Regardless of vent insert size, I find the overall width of the soundstage to be slightly below average, which was surprising as I usually associate venting as having more of an impact on soundstage width.  Instruments seem very close together from right to left, which also negatively affect imaging.  However the soundstage depth is among the deepest I’ve ever heard. (note: The upper mid/lower treble peaks exacerbate the soundstage issues.  It does open up with EQ.) In contrast the Merlin soundstage is both wider, by a considerable margin and also taller. The MG6Pro serves up a very blended, organic and coherent presentation.  It’s quite the opposite of your typical balanced armature presentation that tends to separate every instrument in its own space within the headstage.  Again, in my case with proper EQ, instrument realism is very convincing; at times I feel like I’m in the same room with the piano, acoustic guitar or drum kit.  While the MG6Pro has a very natural tone, I do find transparency takes a hit at the expense of the massively thicker note and accentuated bass response.
 
Conclusion:
 
It bears repeating, that to my knowledge, I am the only one to experience the harshness, echoey and blurring effects I’ve described in my review.  It’s also not typical to discuss how an earphone sounds after EQ in a review but due to the apparent resonance issues I have with the Future Sonics tuning, I felt it important to bring this into the discussion.

Edit: since the original writing of this review, I have received PM's from 4 to 5 other mg6pro owners confirming that they too hear issues similar to what I've described, albeit to differing levels.
 
In Sinocelt’s reviews, I found the tool he often referenced, http://www.phys.unsw.edu.au/jw/hearing.html, extremely useful in determining where the frequency peaks and valleys were located.  I also used the iPhone app, FreqGen, to further pinpoint these peaks and valleys.  After spending a few hours precisely pinpointing my issues with these tools, I was able to create this EQ curve using the iPhone app Equalizer:
 
 

 
This interactive chart, http://www.independentrecording.net/irn/resources/freqchart/main_display.htm, shows where various instruments fall within the frequency range and how the various areas can affect how you hear them; thus explaining what the 2k and ~4k peaks were causing me to hear.
 

 
I simply cannot listen to these without EQ. The stock sound is peaky, harsh and echoey with extremely bloated amounts of bass. 

 
I’m a little late to the Hifiman RE series party but I thought it was time to get this party started and I did with the RE262.  Wow!  This level of musicality and refinement was not expected.
 
The RE262 is an odd shaped phone.  It is made to wear down or up.  The housings are plastic with rubber end pieces on the strange elbow shape and metal around the nozzles.  The cable is pretty supple and pretty thick.  It is also a modular cable and Hifiman supplies 3 different extensions.  One is a balanced extension and for wearing the IEM down.  The second is the standard mini connection and for wearing down and the third is also a standard mini connection but reverses the channels for wearing over the ear.  Due to the shape of the housings, wearing them up is really designed to put the left housing in the right ear and vice versa.  I’m not a big fan of modular cables, as the connectors add bulk and weight but the options HIfiman is giving you are very nice.
 
The RE262 comes with a very nice, large storage box but sadly no small carrying case.  Also supplied are a standard set of single flange silicone tips, plus two pair of Hifiman’s great bi-flange tips, replacement paper filters and a shirt clip.
 

​

 
One thing to note is that they are rated at 150 ohm with a sensitivity of 95 db, so they are not the most efficient of phones.  An amp is recommended.  My iPhone and Nano 6g will drive them loud enough but punch and authority are missing without the extra power.  I used both the Fiio E6 and the Digizoid ZO with the RE262 and I’ll offer some differences between the two later in the review.  Since these require the use of an amp and do not come with a case, I’ve picked up a nice Klipsch case that’s big enough for the phones, amp, cables and extra tips while still remaining portable.
 
ClieOS defines the sound signature best as warm and sweet.  I’ve read from plenty that burn-in is required (particularly for treble expansion) with these but I have to say I’ve been amazed since I first turned them on.  I don’t know how many hours I have and frankly don’t care.  The RE262’s are lush, liquid, silky smooth, very rich and superbly textured.
 
Timbre is excellent.  Instrument realism is something the RE262 excel with and vocals sound simply amazing, intimate and effortless.  Soundstage is surprisingly expansive and deep, with excellent layering, considering the focus on the midrange, and dynamic range is very good as well.  Distortion guitars do not quite have the crisp bite of the GR07 or FXT90 but still sound very realistic.  Piano sounds believable and involving.  Acoustic guitars are full and resonate.  Transparency is on par with my memory of the EX1000 but doesn’t have the Sony’s magical air.
 

​

 
The midrange is where it’s at; it’s sophisticated and beautiful.  Vocals carry amazing intimacy that are very addicting, engrossing and full of emotion.  The entire midrange is velvety smooth with excellent clarity and detail.  Every little detail of the midrange is easily discovered.  Singer’s lips parting, the inhaling of breath, inflections from the throat are beautifully rendered.  Radney Foster never sounded so good.
 
Treble is extended and detailed but entirely non-fatiguing.  While not sounding the same as the treble in the Westone 4, it is reminiscent of the W4 in its ability to retrieve details in a most inoffensive way.  I have no problem picking out rides, cymbal crashes and other high end details.
 
Bass is very extended (with more power) and completely satisfying even though it is taking a backseat to the liquid midrange.  There is no midrange hump to overcome and sub bass is nicely textured with a tasteful, subdued rumble.  Every part of the drum kit is easily discernable and separated.
 

​

 
Both the Fiio E6 and Digizoid ZO work very well amping the RE262.  Due to the E6 size, it is perfect for mobility, especially being the same size as the 6^th gen and current gen Nano.  The Fiio amp is pretty transparent to my ears and doesn’t change the sound from the headphone out of my iPhone 4 (I tested from HO since that’s how the ZO v1 must be used).  EQ2 on the E6 sounds the best of its settings, adding just a small amount of bass punch and richness, without affecting the midrange and treble of the RE262.  The ZO on the other hand is just a very small amount less transparent in comparison; midrange is unaffected but treble doesn’t seem quite a bright, however the bass sculpting with the RE262 is fabulous.  The ZO has excellent synergy and is able to extract copious amounts of sub bass texture and rumble by a much larger margin over the E6.  The extra bass settings on these amps really bring life the bottom end extension the RE262 is capable of.
 
As you can tell, the RE262 is neither neutral nor analytical; rather it is tastefully colored and very musical.  Those looking for a departure from the standard approach to earphone tuning should look no further than the RE262.

 
I’m not going to waste your time talking about accessories, fit, packaging, what songs I listened to or any other boring stuff because frankly none of that stuff matters when it comes to the JVC HA-FX700’s.  The only thing that matters is the unbelievably good sound coming from these, so without further adieu-
 
The sound:
MASSIVE.  That’s the first thought that comes to mind when I put the JVC’s in my ears.  Everything is massive; the bass, the treble, the sound stage, the notes and the musicality.  For me these redefine what kind of sound can be attained from an IEM.  Everything just sounds bigger.  It really is a concert in your ears!  They have a unique reverb I’ve not heard before that really lends itself to a live performance.  The JVC’s are very energetic, engrossing and enveloping and at the same time very, very detailed. These are the most life-like sounding phones I’ve owned or listened to; to say these are the kings of timbre is no exaggeration.  It’s very difficult for me not to just gush over them!
 
One of the first things you notice is the bass.  It is full, robust and extremely textured.  To my ears there seems to be equal sub and mid bass presentation and it extends deep.  Bass guitar sounds like a bass guitar should; not just some incoherent or vague bass melody line.  You can hear the tone, the plucks, the string vibrations and the fingers sliding across the fret boards.  The bass presence seems to change from song to song, presenting it as it was recorded, instead of being omnipresent at the same levels for every song like some phones.  Do some phones have more sub bass?  Yes, the Future Sonics Atrios do.  Do some phones have more mid bass?  Yes the Westone 3 does.  However the JVC’s present the total package: the best of both worlds and the most realistic, full and accurate bass of all my IEM’s.
 
The treble on the JVC’s rivals some of the best BA treble I’ve had the opportunity to hear.  It doesn’t have the airiness of the UE TF10’s but it does have great sparkle, and more importantly it has micro detail in its treble.  You can really hear the differences in cymbal rides and hi-hats.  They never get lost in the music, which is an important feature in treble presentation for me.  Cymbals sound amazing; the sparkle and reverb here are really special.  I suppose if you are sensitive to hot treble, it may be a little much for you but it is not sibilant by any stretch, just a very forward and detailed presence.  To put it in perspective, if you’ve heard the Panasonic HJE-900’s, the treble is similar.  It is not as splashy and hot as the panny’s but very similar and much more detailed.
 
I find the midrange properly placed.  It isn’t forward but it’s not recessed like the TF10’s.  As mentioned before, the JVC’s present a concert like experience and as such vocals are not as intimate and close as some other phones that are more mid focused; while still other phones present mids that are too thick, resulting in vocals that sound chesty or nasally.  The JVC’s vocals are clear, grain free and natural.
 
Other thoughts:

1. Soundstage is really good.  From memory it is as wide as the TF10’s but doesn’t place you as far away from the stage as the TF10’s.  There is good depth here as well.  It definitely has out of head experience. 
2. Isolation isn’t as bad as some have expressed but it’s not great either.  Actually these are perfect for an office atmosphere where you may need to hear the phone ringing; that is if you are not so engrossed in the music you miss it anyway.  Oops, just missed a phone call.
3. The digiZoid ZO mates well with these.  It amplifies the entire spectrum and then lets you control/add bass presence.  It’s not needed but it is sure fun and musical.
4. These phones are tip dependant.  It took some time to find the right ones.  Contrary to your normal thoughts on tips, smaller tips than you normally use work better.  Green Sony hybrids or white Monster foam supertips, as well as small Shure black soft flex sleeves (for the e2c) work great for me.  I normally use mediums on all my other phones.
5. The cable is really weird.  It is too short to use without the extension, which makes it too long.  Wait! Did I just mention a flaw?  At least the connectors are iPhone case friendly including the bumper.
6. The box or carrying case it comes with is pretty unique.  Not really pocketable but nice.
7. These IEM’s look beautiful to me.  The wood looks really classy.
8. Overall I think these would mate better with a brighter or neutral dap/amp than a warm one.

 
The JVC HA-FX700’s are a spectacular IEM in my book.  It’s really too bad you can only get them in Japan but internet stores like Seyo-Shop and Musica Acoustics make them accessible to the rest of the world.  In fact, I think JVC is nuts not to offer these in other countries.  If you are looking for a neutral phone, you should look elsewhere but if you are looking for one with a natural presentation, unmatched timbre with superb bass and treble and amazing musicality, look no further than the JVC’s.

I bought these as an upgrade from the W3, which while extremely fun, I soon became disappointed in, due to mid bass bleed into the midrange. This caused vocals to become too chesty and distortion rock guitar notes too rounded instead of hard edged. Enter the W4.

Fit and Isolation: Westone 4 is extremely comfortable. I love their size and weight. They only fill up a small portion of the ear. On the downside the nozzle is very short, making them very tip dependent to achieve their great sound. Isolation is slightly above average with the right tip. Shure black olives work very well for best comfort but best sound is found in the old Shure e2c tips. They must be modded by using an olive core and provide the best bass response, without obscuring treble detail due to their larger sound hole opening.

Build Quality: Build quality is great. Westone has one of the best cables on the market. It is very flexible and light weight. It doesn’t tangle and is great for looping over the ear. The right angle connector fits most, if not all, iPhone cases including the bumper.

Accessories: Westone cases are one of the best on the market. The shape is small rectangle and perfect for fitting the phones and an iPod shuffle. Westone also provides a plethora of tips, none of which I like! Shure olives or modded Shure e2c soft flex tips are a must.

Sound: The W4’s are supremely balanced and natural. No one frequency intrudes on another. Detail retrieval is unparalleled. They are very smooth and coherent. The funny thing is you may not like them when you first put them in because there is no WOW factor. Once you get over that initial disappointment, they seemingly get better and better. The best compliment is to say they do nothing wrong.

Bass: Bass is well textured, detailed and controlled but could use a bit more sub bass presence and a tad more punch, mainly due to my preference for sleaze rock music. Don't mistake this for bass light; it is not.

Mids: Mids are perfect for me; just a tad forward and liquid. Vocals are placed perfectly.

Treble: Treble is amazingly extended without a hint of fatigue. Somehow Westone has developed an outstandingly detailed treble and at the same time velvety smooth. It’s very difficult to describe but very well done.

Soundstage: Soundstage is above average. The UE Triple.Fi 10 is the only IEM I own with a larger soundstage. However the TF10 makes you feel about 15 rows deep at a concert and the W4 seems to bring you closer, maybe to within 5 rows.

Overall the new W4’s find themselves at the top of BA universal heap, having Dynamic Driver quality timbre; Drums sound absolutely amazing on the W4. If you are looking for superb balance and refined detail retrieval, give the Westone 4 a try!

 
I bought these on a whim, due to a deal too good to pass up, and with the interest to hear something with more bass presence. (Edit: I purchased these a second time from atrio.me and received them in Jan 2012)  Here is my review.
 
Fit and Isolation:  The Atrios are pretty light weight and when properly seated do not touch the ear.  They are very comfortable and provide very good isolation with the right tips.  Isolation is above average and they most you can get from a vented dynamic driver.
 
Build Quality:  The Atrios are built from a lightweight but heavy duty plastic housing and provide good strain relief on where the cables exit the housing.  I think these could take some abuse and keep providing years of use.  Cables are of medium density and do a fair job of staying untangled and are fairly supple.  Worn over the ear, I haven’t noticed any microphonics issues.  For iPhone users, the right angle plug will fit in bumper style cases with ease.
 
Accessories:  My Atrios came with a rectangular case that is pretty flimsy and unnecessarily large.  I use it carry a small cmoy and put the M5’s in something else.  The latest version of the MG7 come with a very nice case made from recycled material.  It has extra cushioning and both sides have netted pockets.  The supplied tip selection is the weakest attribute to an otherwise fine product.  Three sizes of bi-flanges and 2 sizes of barrel foam type tips are supplied.  I find bi-flanges uncomfortable and either go in too deep or too shallow for quality sound.  The barrel foam type are pretty useless and they do not fit in normal sized ears.  (I found the best tips to be the Shure PA749M, now called EASFX2-10M, which had to be modified to fit by taking out the tube from one of the stock foam tips).  Enough with the negative and on to the sound. The latest version comes with black barrel style foam.  These provide excellent isolation and comfort, as well as providing the best sound the Atrios can offer.  If you want to try something different, the Klipsch gels are a close second in sound and comfort.
 
Sound:  The new M5’s have an new proprietary driver called the MG7.  The driver is a reported improvement over previous models by having better and more prominent treble.  The result is a fairly balanced presentation for what are considered bassy phones.
 
Most dynamic driver phones need a period of burn in.  The Atrios require a fairly long burn in time of about 100 hrs to sound their best.  I noticed significant changes to bass over that period. The second time around with the Atrios, I experienced no changes or sibilance like I did the first time.  This is due to previous experience with fit.  Most changes during burn in are psychoacoustic in nature and also due to fit.  Not having the fit issues of the first time around, I benefited from top notch sound for the moment I first plugged them in.
 
Bass:  A bass lovers delight.  The M5’s have bass in spades, however it is not all about quantity.  The bass is of superb quality as well.  Most phones achieve their bass signature by boosting mid bass.  Not so with the Atrios.  The M5 has a great deal of sub bass that effortlessly reaches very deep; deeper than any other phone I’ve ever heard.  The quality of the bass adds a dimension of realism (timbre) to bass guitar and drums not exhibited in other phones.  Best of all you get all this bass without it stepping all over the midrange.
 
Mids:  Mids are placed just right.  I find them neither recessed nor forward.  They are clean, detailed and natural, if a bit dry.  Vocals and guitars are placed in the mix just where you’d expect them to be when heard live.  Once again, realism with strings is something really special here. 
 
Treble:  The new Atrios treble is clear and non-fatiguing with plenty of detail; however for my ears, I would prefer even more treble presence.  For instance, the perfect treble for me is found in the Ultimate Ears Triple.Fi 10’s.  I suppose this is due to the M5 design as studio monitors and the need to listen for extremely long periods of time.  The Atrios cannot match the effortlessness and airiness of the TF10’s but they are no slouches;  the fact that you can easily pick out small details like cymbal splashes in bass heavy songs is a testament to their improved presentation.
 
Soundstage:  Just average or maybe slightly below average in width (this is dependent upon fit and I have experienced a slightly larger soundstage the second time around).  Depth, however , is very good.  The M5’s often make me feel I’m in the recording studio with them.  In contrast the TF10’s make me feel I’m at a concert and maybe 15 rows back, presenting a wide soundstage for an IEM.
 
Overall the new Atrio M5’s are a very fun and enjoyable phone and does very well with good and poor quality mastered songs.  While being a bass oriented phone, they still offer up a fairly balanced sound.  If you’ve felt that your IEM’s have always been missing something in the bass department, whether quality or quantity, then give the Atrios M5 with mg7 driver a try.
 
(updated with a few additional thoughts from my second time around in Jan 2012.)