INTRODUCTION

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

My first introduction to Bluetooth earphones came with the Brainwavz Blu-100, and whilst it introduced me to the freedom and future possibilities of wireless sound, it unfortunately left a few boxes unticked – with low battery life, questionable long-term comfort, and frequent drop-outs. But it did whet my appetite to the possibilities with Bluetooth, and from that point I’ve been following reviews of various Bluetooth headphones and earphones.

Then around 5 weeks ago (out of the blue), Michael Qiu from Axgio PM’d me and asked me if I would be interested in taking their Sprint (Sport Stereo Wireless Headset) for a spin. I was intrigued – especially when I did some research on the form and features – and a little over three weeks ago the Axgio Sprint arrived. Since then I’ve used it constantly in many different scenarios, and now feel able to give my views on its performance.
I’ve listed price at USD $39.99 (which is the current price on Amazon) – however this is not what I paid for them (they are a review sample).

ABOUT AXGIO

Axgio Electronics is a Chinese technology company founded in 2014 which specialises in the design, development, and software for mobile devices and accessories. They’ve developed their own Android system (Neonado), and their current product line includes smartphones, batteries and chargers, hubs and readers, cases and protectors, and keyboards and mice.

Recently they’ve branched into the development of Bluetooth earphones/headsets – namely the U5, Sprint, Vigour and Mini Pro.

Their Facebook page provides a little guidance about their philosophy – which I think is quite nice and gives a bit of insight into their goals:

As an engaged intelligent company rather than a manufacturer, Axgio hopes the products and services we provide will become a reliable assistant of your daily life and a loyal companion in your long time journey.

Driven by the deep insight of customer needs, Axgio is aimed to design and produce distinctive mobile devices and accessories all over the world.

DISCLAIMER

I was provided the Sprint by Axgio in order to write a review. I am not affiliated with Axgio in any way, nor do I make any financial gain from my contributions. This is my honest opinion of the Axgio Sprint.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portables (Fiio X5ii, X3ii, LP5 and iPhone 5S) to my desk-top's set-up (PC > USB > iFi iDSD). I also use a portable set-up at work – either X5ii/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1, Sennheiser HD600, and AKG K553. Most of my portable listening is done with IEMs - and lately it has mainly been with the Dunu DN-2000J, Jays q-Jays and Alclair Curve2. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I used the Axgio Sprint mainly paired with my iPhone 5S. In the time I have spent with the Sprint, I have noticed no real change in overall sonics – and any small changes I’d merely attribute to getting used to their signature (brain burn-in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The review sample arrived in Axgio’s retail packaging which consists of a dark printed box, moulded plastic inner tray, and outer sleeve. The actual appearance is simple and smart, and looks really tidy. It is also very easy to get into (bravo).

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Front of box	Box in profile	Rear of box

On the front of the box is a picture of the Sprint, and on the rear is a frequency response graph, a list of specifications, and also of the included accessories. One quick note on the box printing though (for Axgio) – the grey text on black is exceedingly hard to read. Maybe something to think about for any future changes.

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Inner tray	Frequency response - notice how difficult text is to read	Bottom of rear of box

The full package includes

The Axgio Sprint head-set
One USB to USB-mini plug (for recharging)
4 sets (XS/S/M/L) silicone ear tips
Axgio manual

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Box contents	Tip selection	Tips in profile

The one thing that is missing – and would make a handy addition would be a carry case. It wouldn’t have to be much – even just a soft pouch.

TECHNICAL SPECIFICATIONS
(From Axgio)

Type	7mm Dynamic Driver
Frequency Response	20 Hz – 20 kHz
Impedance	~ 16 ohm at 1 kHz
Sensitivity (SPL)	103 dB +/- 3dB
IEM Shell	2 piece moulded hard plastic
Cable Outer Material	TPE
Weight	15 grams
On Cable Controls	3 button control + mic (iPhone compatible)
Bluetooth Spec	Version 4.1, class II
Bluetooth Profiles	HEP, HSP, A2DP, AVRCP, APTX
Operating Range	Up to 30 feet (10 meters)
Battery	130 mAH - rechargeable
Music Time	~ 7 hours
Talk Time	~ 8 hours
Stand-by Time	~ 250 hours
Charge Time	~ 2 hours

In addition to the above, the Axgio Sprint has the ability to connect to 2 devices at the same time, has integration with iPhones (battery life is displayed in the iPhone), and has voice prompts for most functions.

FREQUENCY GRAPH

I spent almost 3 hours trying (in vain) to measure the Axgio Sprint on my own Veritas + Arta system – but alas (maybe because of the Bluetooth?) the signal I was getting was all over the place and too inconsistent to include.

So for now I’ve just included Axgio’s own graph from the packaging. I do think it fairly represents what I’m hearing – slightly elevated bass response, and a mild V shaped signature (there is actually a really good balance overall) which gives exceptionally clear and clean overall sonics.

BUILD QUALITY / DESIGN

The Axgio Sprint consists of two earpieces connected by a ~ 68 cm cable (including the mouldable ear guides) with an integrated control switch (3 buttons and mic). The earpieces are ergonomically designed with a forward angled nozzle, and well-rounded body (no sharp edges). The body is similar in shape and size to a Shure SE series IEM. The body measures ~ 18mm in length, 14mm in height and 14 mm in depth – the nozzle adds a further 8-10mm. Although it is a 2 piece design, the body is very smooth, and although I can feel the edges, they are not obtrusive in any way. I could not see any sign of external venting. The Sprint is also rated to IPX4 (water splashing against the enclosure from any direction shall have no harmful effect) for the sports minded.

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Axgio Sprint housing and mouldable earhooks	Rear of IEM	Side view of nozzle - notice lip (needs better tip lock ridge)

The nozzle tip is approximately 5mm long, 5mm in diameter, and unfortunately (IMO) has a single flaw which does detract from my personal usage – the edge / bump / ridge to keep the tips on is quite rounded. It works “ok” with silicone tips, but not with the included foams – they often come straight off in my ears. They either need more of a ridge, or a slightly sharper edge.

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Nozzle outlet	Foam tips on	The very handy cable management cinch

The body of the Sprint is connected to the cable by a 9cm mouldable guide at each end of the cable. This looks very sturdy, moulds really well, and I’ve found it pretty comfortable. Approximately 6cm from the end of the right side of the cable is a 3 button control and microphone which sits slightly above my collar when worn. The buttons give good tactile response, seem reasonably hardy, and the unit is flat – which means easy handling without slipping. There is an LED inside the unit which flashes blue or red (or both) depending on the mode it is in (all of this is in the manual). The LED is easy to see, and I haven’t found it obtrusive.

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3 button remote	Rear of control unit and microphone port	USB charging port

The cable is rounded, and encased in TPE. It is nicely flexible with no memory. It does have some light microphonics – even when worn over ear, but this is easily mitigated by a little cable management using the handy little clip included on the cable.

The microphone seems to be good quality – and I had no issues with making calls. The comment I got back from the call recipient was that voice calls were nice and clear.

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I initially tried the included large silicones and I couldn’t get a consistently decent fit or seal. I also tried my Sony Isolation tips – and while they were perfect with my left ear, my right ear had the tendency to seal too well (create a vacuum), and this would cause occasional mild driver flex. I also tried Ostry tips and Spinfits – but neither gave me consistent fit/seal (again my weird ears) – and the Ostry tips would come off in my ears (due to the shallow lip). I tried the included foams, and they fit perfectly – but again, I was consistently losing them in my ears when taking the Sprint out.

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Included foam tips	Sony Isolation tips	Ostry and Spinfit tips

So last week I ordered some Shure Olives – I actually ordered them to try with my q-Jays – but they do fit the Sprint (you have to forcibly push them on). The good news is that they fit perfectly, won’t come off, give fantastic seal – and allow me a lot of enjoyment with the Sprint now. So as always, YMMV with tip selection.

Insertion depth with the Axgio Sprint is medium depth for me, and with the Shure Olives, the isolation is excellent. Comfort is superb, and the body essentially fits flat with my outer ear, allowing me to sleep easily with them in situ.

CONTROLS AND OPERATION

The control system on the Axgio Sprint is pretty easy to learn, and set-up for me was a breeze.

Pairing / Initial Set-Up
Initial pairing couldn’t have been easier.

Make sure Bluetooth is active on the iPhone
Turn on the Sprint, by pressing and holding the bottom button, and keep button pressed for a couple of seconds. This gives vocal feedback – firstly “power on” then “pairing”
Select the “Axgio Sprint” on the phone. The next voice prompt you get is “connecting”, and then the phone shows the head-set as connected.
After that simply select your music app – and press play.

After that – as soon as the head-set is turned on, the phone remembers the pairing automatically.

Audio Playback Controls
Again, these are very simple. We’ll call the buttons top, center and bottom. Bottom button turns the Sprint off and on (long hold). When it’s on, press the bottom button once (assuming app on your Bluetooth audio device is running) to play, or once to pause/stop. The top button raises the volume. The middle button lowers the volume. Pressing and holding (for around 3s) the top button advances one track. Pressing and holding the middle button goes back to the previous track.
Again – really simple.

Phone Interaction – Calls
Thank goodness for the manual – because the functions for phone use are quite comprehensive, and include the basics like answering and hanging up, but also extend to being able to transfer the audio (phone or head-set), mute the microphone, redial, and my favourite – activate Siri (press top and bottom buttons simultaneously). This means I can keep the phone in my pocket, and simply use the Sprint’s buttons to dial anyone in my phonebook – nice stuff.
Full instructions are nicely laid out in the manual.

Other – Battery Meter (iPhone)
One of the things I really love is the connectivity with the iPhone. In the top right corner or my phone – between the Bluetooth icon and phone battery % meter is a new icon (a small battery). This is the headset battery status indicator – and shows the status of the battery remaining on the head-set.

Annoyances
Like the BLU-100, the main one for me (other than the cut-outs in the next section) is the default volume of the vocal feedback from the unit. No matter what your volume setting – the default voice is loud. Not deafening loud – just annoying loud. I wish there was a way to turn her down. The vocal feedback is good – the volume could be worked on.

CONNECTIVITY AND BLUETOOTH PERFORMANCE

Axgio lists the operating range as “up 10 meters”, and this is pretty much a rock solid figure. Once I got past 10m I started getting glitches, and very soon afterward sound started dropping altogether. Most of the time I have the iPhone 5S in my pocket anyway (as I guess most of us would), and I found the connection a lot more reliable than the Brainwavz Blu-100 I had previously reviewed.

The Bluetooth connection was excellent almost all of the time when I was out and about. Micro drops were extremely few and far between – and the only occasions I’ve had completely unusable situations were when I was cleaning our local Church (it has a wireless set-up which must have been on the same band), and in a high traffic area (a lot of people). Otherwise though, the connection was again a lot better overall than the Blu-100, and this has given me far more faith in the technology.

For casual exercise (walking) they have been brilliant. As NZ is typically a low population area (especially where I live - city is only 50,000 people) - YMMV with Bluetooth performance.

BATTERY PERFORMANCE

The stated 7-8 hours (actual use) is very accurate – and it is amazing how much the added time (compared with the BLU-100) becomes routine. For my comparison (later in the review) I was using both with my phone, and in one critical comparison section the BLU100 died. They’d both been charged at the same time, and whilst the break was welcome, it once again highlighted how nice it was to have a little more juice on tap.

Recharging is around 2 hours from empty – and that sort of ration (2 hour charge vs 7-8 hour playtime) I find very acceptable.

SOUND QUALITY

So the magic question – how does the Axgio Sprint sound?

The following is what I hear from the Sprint. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). If you want to see some of the typical tracks I test with, I’ve listed a lot of them here : http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on Default Signature
With a Bluetooth earphone on the USD 40.00 range – to be honest, I was expecting the usual warm, bassy signature. When I first fired them up – my jaw dropped. These didn’t just sound OK – the signature was excellent.
There is a bit of mid-bass warmth, but it’s not excessive, and in fact the overall signature I find to be very clean and clear with a nice upper mid-range lift. Vocals are the star of the show, but they are also in almost perfect balance with the bass and lower treble. There is a bit of treble roll-off, but there is enough up top to keep it interesting, but it’s never too much to enter into sibilant territory.

Detail
Tracks like Gaucho and Sultans of Swing are missing none of the detail I’ve become accustomed to, guitar has good crunch, bass guitar is there but also kept in check quite well, vocals are very good. Crisp and clear, the way both tracks should be.

Soundstage and Imaging
Amber Rubarth’s “Tundra” works pretty well the Sprint – with the overall image sitting just at the outside of my head space (which is pretty good for an IEM). It is intimate – but still gives a sense of space. The additional decay from the bass probably helps this a little too. Imaging is good. The clarity is very good and this translates nicely into good positional cues.

Amanda Marshall’s “Let it Rain” has a fair sense of space – not as wide as some of my more expensive wired IEMs, but enjoyable and involving none-the-less. Again the strength though is in the overall signature – clean and clear.

I wouldn’t call the Sprint overly spacious – but nor would I describe it as narrow. Intimate but open is probably as close as I can get to describing what I’ve been hearing.

Bass Response
Mark Lanegan’s “Bleeding Muddy Water” is my usual go to for bass quality and quantity – and the Axgio performs passably well with both categories. The bass has good overall impact, and whilst the sub-bass is not as visceral as my hybrid IEMs, this rendition is really good, and there is no bleeding of sub-bass into the mid-range. Mark’s vocals are presented well – with good texture.

Next up is Royals (sub-bass test), and again performance is good. The low bass rumble is there (down to around 20-30 Hz) – so the Sprint has the ability to reach low. It isn't prominent at that level though. Again it’s not visceral, but it is sufficient to be satisfying. Ella’s vocals are brilliant with this track – crystal clear – and really sweet compared to the rumble of the bass.

Female Vocals
Anyone who follows any of my reviews will know that female vocals easily account for around 60-65% of my music. And my preference is for a slight bump in the upper mids to give female vocalists a little euphony in their overall presentation. The Sprint is tuned wonderfully for female vocalists IMO, and matched my tastes perfectly. Agnes Obel’s “Aventine” is my usual indicator for overall quality and the Sprint handled this difficult track easily. The Cello was deep, rich and textured, whilst Obel’s vocals were sweet, uplifting, goose-bump inducing. And this was repeated as I queued my other tracks. London Grammar was equally as intoxicating (perfect pitch), and it didn’t matter whether I tried slow and smoky (Norah Jones) or fast and dynamic (Sinead O’Connor / Cranberries), I was left simply wanting to listen to more.

Male Vocals
Moving to Rock – and once again the Sprint showed its versatility. Male vocals are maybe pitched not quite as deep because of the upper mid-range lift, but they are crystal clear, and deep enough to be thoroughly enjoyable. The mid-bass keeps things punchy providing good dynamic contrast to the overall signature, guitars have good bite, and again I’m pleasantly surprised that I’m getting a lot of detail from cymbals, hi-hats etc.

Where the Sprint absolutely shines though is with acoustic music – and it didn’t matter if I was playing an unplugged album like Seether’s “One Cold Night”, or the Eagle’s “Hotel California”, the overall balance is simply sublime.
Pearl Jam (as usual) is my litmus test for Rock in general and once again the Sprint aced the test. Vedder’s vocals were superbly textured. Detail in the track was brilliant – just the right amount of cymbal sheen and decay, and bass was there, but in balance.

Other Genre Choices
It didn’t really matter what I threw at the Sprint during my critical tests. I tried everything from Blues and Jazz (Portico Quartet was wonderful) though to Pop, Indie, Rap and EDM. There is nothing I played that wasn’t thoroughly enjoyable. The Sprint IMO is simply a wonderful all-rounder.

COMPARISON – SPRINT vs BLU-100

Unfortunately I don’t really have a lot of experience with Bluetooth earphones, so I really don’t have a lot to compare with (hopefully this may change over time).

My other pair at the moment is the Brainwavz Blu-100, which at the time of writing are almost the same price – so it seems like a fair choice to make a comparison.

The BLU-100 has a very robust build, but suffers a little in the design area for overall comfort. The Sprint on the other hand, while plastic, is still built very well, and most importantly for me is very comfortable with its ergonomic fit.


Sprint left, BLU-100 right	Sprint left, BLU-100 right

Battery life and overall Bluetooth performance is definitely better in both areas for the Sprint – with extended life and a much more stable overall connectivity in my testing.

And for my own personal tastes sonically, it’s not a close match. I had to EQ the BLU-100 to drop its bass slightly to achieve the type of signature I really enjoy (balance and clarity). With the Axgio Sprint I get that tuning out of the box. True, I’d love the bass to be just a little quicker and cleaner – but it isn’t overdone and if anything the default tuning is very easy to just sit and enjoy the music.

Both are very good value for their performance – but whilst the BLU-100 is a good deal, the Axgio Sprint is phenomenal.

AXGIO SPRINT – SUMMARY

I’ve learnt a lot with my time testing the Axgio Sprint, and it’s given me a great opportunity to see what a very good Bluetooth headset can achieve.

The Sprint has a very good build and comfortable fitting ergonomic shape which is great for relaxing or exercise. It’s 7-8 hour battery life is a big step-up from the BLU-100 I previously reviewed, and it’s overall Bluetooth performance was pretty impressive – showing better stability in most situations.

There are some caveats with interference (drop-outs) if you encounter an area with strong signals on the same bandwidth – but overall this has happened to me very infrequently, and it is definitely not as much of an annoyance as it was with the BLU-100.

The sonics for my preference are simply superb – good balance, very clean and clear, and wonderful vocal clarity and presence.

When you look at the whole package for the low price of 40 bucks, I really do consider these a very good wireless IEM. I would recommend them without hesitation as a value proposition, and I have no problems giving them a 90% rating (4.5 stars).

Once again I’d like to thank Michael for giving me the opportunity to review the Sprint.

RECOMMENDATIONS AXGIO SPRINT

The following would be my recommendations for changes in future models.

Change the lip on the nozzle – it either needs to have more of a lip or be less rounded. There is nothing more annoying than having the tips come off in your ears.
Consider adding a carry pouch – even a small one would be enough.
If you could have a way of setting the voice prompt volume, I’d really be grateful.

Nice! A better option than the BLU-100, with more reliable Bluetooth connection!

Thanks for this review Paul!

Excellent review of a excellent product!

Thanks Bram and Peter. What it did for me was put more perspective on the Blu-100s as well. I guess the more reviews of a particular product type you do, the more your expectations change. I really thought the Sprint was something special - and nice to see the default signature avoiding the common "too much bass" trap.

For larger (1200 x 800) images - simply click the photo

INTRODUCTION
I don’t think there would be many people of my vintage who are into computer audio, and haven’t heard of Creative Labs. My first venture with Creative Labs was a very old Sound Blaster Live 24bit desktop unit (I still have it somewhere I think), and later my X-Fi Titanium PCI card (now in my son’s machine). Both were excellent – build quality and sound quality – and I can honestly say that I had hundreds of hours of fun with both units over a number of years. They weren’t perfect (anyone that’s used Creative sound cards will have had the odd driver issue), but for the money, they were incredible value. I also still have a pair of Creative Labs T20 Series II desktop 2.0 speakers (now with my son – I graduated to JBL LSR 305s), and while I had them, I enjoyed their clarity and overall value for money.

So when Lucas from CL ran a thread on Head-Fi asking for testers / reviewers of their Roar2, Aurvana 3 and E5, I immediately put my hand up to test and review the Roar2 – and was lucky enough to be chosen as a reviewer. I’d just like to thank Lucas and the team at Creative Labs for making this opportunity available.

ABOUT CREATIVE LABS

For those who haven’t been fortunate enough to try a Creative product, and was unaware of the Creative legacy (where have you been?!), here’s a little history on the company.

Creative was formed in Singapore in 1981 with a vision that multimedia use on personal computers would revolutionise the way we interact and entertain ourselves.

Creative’s original fame came with the Sound Blaster range of internal and external sound cards, which became a staple amongst gamers and audio enthusiasts alike. Since then, Creative have moved from strength to strength, expanding their network globally, and moving to cover all aspects of digital entertainment – including sound cards, speakers, high quality amplifiers, headphones, audio players, webcams, and full suites of software.

According to their website, they have a user base of in excess of 400 million (and growing), and are experiencing massive growth in the lifestyle portable digital entertainment sector. And I guess this is where the review starts – with the Roar2 portable Bluetooth speaker system

DISCLAIMER

I was provided the Roar2 as a review sample, for the purpose of evaluation and feedback, and it is my intention to offer it for tour around New Zealand at the completion of this review, so others can also experience this wonderful little unit. I am in no way affiliated with Creative Labs - and this review is my honest opinion of the Roar2.

PREAMBLE - 'ABOUT ME'.
(This is to give any readers a baseline for interpreting the review).

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portables (Fiio X5ii, X3ii, LP5 and iPhone 5S) to my desk-top's set-up (PC > USB > iFi iDSD). I also use a portable set-up at work – either X5ii/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1, Sennheiser HD600, and AKG K553. A full list of the gear I have owned (past and present is listed in my Head-Fi profile). For speakers at home I use JBL LSR 305 nearfield monitors.

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I tried to test the Roar2 in as many different scenarios as I could (this thing is like a swiss army knife!). Primarily though I was looking mainly at use as a portable Bluetooth speaker.

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

WHAT I WOULD LOOK FOR IN A PORTABLE SPEAKER SYSTEM

I’d never really tried a lot of portable speaker’s before – just some small wired Apple ones I’d bought back for the kids (from the US), and of course the occasional Bluetooth speaker system I’d encountered other people using. So what would I personally look for if I needed one?

Clean, detailed, but neutral signature
Good quality bass representation (sometime hard to get on a small speaker)
Ability to take a variety of different inputs – but primarily Bluetooth
Portability
Good battery life
Easy to use and configure
Value for money

So how did the Roar2 fare? Well actually it almost ticked every box in my list above, and the more I uncovered with the Roar2, the more I was impressed by its versatility.

THE REVIEW

PACKAGING AND ACCESSORIES

When the courier pack arrived at the end of August, I was pretty impressed with the care and attention Creative had taken with external packaging to ensure the contents were well and truly protected.

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Retail box front (lid)	Retail box profile - looks exactly like the Roar 2 would OOTB	Retail box underside

The Roar2 arrived in a 225 x 200 x 85 mm white retail box and lid style outer packaging – adorned with photos of the Roar2 which are actually pretty nicely arranged. If you stand the box on its side (i.e. how it would be displayed in a retail store), the front face shows the Roar2 as it would be standing in front of you, both sides display the bass speakers / ports, and the top displays the controls. I thought it was a really nice touch – you get an idea of exactly what it looks like. On the underside of the box is a list of the features, history of the Roar family of portable speakers, and a list of the accessories.

Opening the box reveals the Roar2, nicely bagged and protected, and also a lift out compartment which contains the charger and USB cable. Creative also include a full featured manual, warranty and safety information, and stick on feet.

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Inside the box + add-on soft case	Roar 2 inside the soft case	Snug fit but well protected

The plug I was given has North America, UK and European connectors – unfortunately no NZ / Australian style plugs – but I have a suitable adaptor, and the USB cord takes care of power charging anyway.

Creative also included their neoprene soft carry / protection case – which is a really nice addition, and one I’d thoroughly recommend to anyone considering buying the unit. It offers really good protection, fits the Roar2 like a glove, and is relatively easy to slip on and off.


Walwart + USB cable	Manual, paperwork, and bottom feet

Impressions so far – very positive.

TECHNICAL SPECIFICATIONS

The tables below list most of the relevant specifications for the Roar2

Specification	Roar2
Cost (approx.)	USD 170-200 (Amazon)
Dimensions	188 x 109 x 51mm
Weight (unit only)	1000 g (997g on my scales)
Outer Shell	Toughened Plastic
Speakers	5 – 1 woofer, 2 tweeters, 2 side firing radiators
Inputs	1 x micros USB, 1 x micro SD, 1 x aux in
Outputs	DC out 5V (for charging portable devices)
Bluetooth	Bluetooth V3.0 with NFC
Bluetooth Codecs	SBC, aptX, AAC
Bluetooth Range	Up to 10m
Battery	Lithium rechargeable 6000mAh
Supported Micro SD	Up to 32 Gb class 4 or higher
Supported Formats (Micro SD)	MP3, WMA, WAV (16bit 48kHz PCM)
Battery Life	Approx. 8 hours
Recharge methods	Walwart (supplied – 100-240 VAC, 15VDC 1.6A), USB

BUILD / AESTHETICS

The first time I handled the Roar2, my reaction was that it feels reassuringly sold, but also that it is quite a bit heavier than I was expecting. In talking with Lucas, I was able to determine that the outer shell is indeed hardened plastic, but the reason I had to check was that it looks and feels like a premium alloy has been used.

The corners of the Roar2 are nicely rounded, edges on my unit are generally nicely joined, sockets are firm, and the front mesh is clean, clear, and uniform. The buttons themselves are firm with nice tactile feedback. The two side firing ports are nicely flush, look really gorgeous (jet black with Creative logo emblazoned on each), and when music is playing there is a nice little vibration – so you can actually feel the output. Behind the grill (there is a single woofer, and two tweeters) and you can’t really see a lot of them on this unit – so I’ve borrowed Creative’s cut-away photo to show you the driver configuration.

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Roar 2 - upright / direct orientation	Roar 2 - horizontal orientation (more spacious sound)	Underneath the unit and view of the side ports

The Roar2 is designed to be used in two different configurations, and both give quite a different sound (which is actually kind of neat). Lying down flat – the sound is projected upward, and is ideal for a small to medium sized room, as it gives a greater sense of openness and space to the sound. Sonically it’s probably my preferred orientation. Standing upright the sound is more directional, and I guess this would do more for a single user scenario, or when you wanted the Roar2 to give a more directional oriented sound. One thing I did find with using it upright was that sonically it started to sound a little narrow and closed in – hence my preference for lying the unit flat. It is great being able to have the choice though.

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Underneath the unit (feet added)	NFC connection slot + lights showing battery level	On/off, volume controls and bluetooth / call button

Standing upright, on the front face, there are buttons for power, volume, Bluetooth connection / calls, a recording indicator, battery/charging indicator, and NFC connectivity zone. At the top (from left to right) are a USB options button (storage/audio), Terra Bass / Roar button, play / pause / advance / reverse buttons (for using with micro SD cards), play / record / microphone buttons (recording to micro SD), a micro SD slot, mini USB port, 5V 1A DC out USB (for charging external devices), 3.5mm aux-in, and 15V socket for walwart charging. The rear of the unit has two strips (feet) prefixed for horizontal orientation. Included in the box are two shorter strips you can affix yourself for upright use.

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Connectivity ports	USB mode, bass config, and SD card buttons (play / record / navigate)	Side port and mesh - the Roar 2 is really well built

I have no issues at all with any of the build – a solid and extremely well put together unit.

CONNECTIONS

Bluetooth
Connecting to the Roar2 couldn’t be easier – and there are a heap of options. The easiest Bluetooth option was with my wife’s Android phone. Turn on NFC, tap the phone to the NFC indicator on the Roar2, paired – play music. Simple and effective.

With my iPhone 5S it was equally as simple. Press the connection button on the Roar2, go to the Bluetooth screen on the iPhone 5S, select “SB Roar 2” when it appeared. Instant pairing. The nice thing about the 5S as well is the battery indicator for the Roar2 which appears in the iPhone’s top panel.


iPhone connected - note battery icon in top right	Exploded view of speaker configuration (Creative photo)

Another thing which is nice about the Bluetooth on the Roar2 is that you can have two devices connected at once. So I was able to sit with my daughter – and take turns exploring our libraries. The Roar2 is an ideal device for sharing with a friend.

As far as distance goes, Creative say up to 10 meters (open space), but I was getting a lot more than that. In fact I was getting close to 15m with three walls between, and the connection was rock solid stable. YMMV – but I love the overall Bluetooth quality Creative has built in.

Aside from Bluetooth, you can also connect via USB (more on that below), via 3.5 mm aux input, and you could also use a micro SD card – although for this you are limited to 32 Gb cards (class 4 or higher) and MP3, WMA or WAV up to 16/48. Regretfully I had no smaller suitable cards available to test the SD system.

Aux Input
For this I just used one of my Fiio players, and it couldn’t be simpler. Connect its lineout to the aux-in, select your track/album, press play on your DAP – instant music. Control is all done via the DAP, although you still control the volume using the front buttons on the Roar2. It’s probably not a feature I would really use that often (the aux-in), but it’s nice to know it’s available should you ever need it.

USB input
With the USB audio, it’s a simple matter of plugging in the USB cable, ensuring the switch on the Roar2 is set at USB Audio (instead of mass storage), and then waiting for the driver to load (windows).
The device shows up (in the windows sound stack) as “Sound Blaster Roar2” speakers, and then it is a simple matter of selecting it as default, and playing music.

I tested briefly with a Debian stable based Linux distro (MX-14) on my netbook, and the Roar2 wasn’t recognised when plugged. I didn’t have Bluetooth support configured on MX-14 either, so this was not tested.

SONICS

So I listed above my preference for a detailed but neutral sounding unit, with a good bass representation. To test the sonics, I decided to treat the Roar2 like I would for any other headphone review. So the following is what I hear from the Roar2. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline).

All of the following testing was performed with the Roar 2 in its horizontal (lying down / speaker up) position – and Bluetooth connectivity via my iPhone 5S. Terra bass was on – I just prefer it that way (read about it in the Other Features section).

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on General Signature
If I was to describe the signature in a few words – I’d choose the words “neutral”, “clear” and “balanced”.

My daughter and I actually played some test tones to see where the audible range was. Emma (12 yo) helped me because I know at 48 my hearing tends to suffer from ARRO (new term – age related roll-off). Anyway we could hear tones down to 50 Hz and up to around 16 kHz – but after that, it pretty much disappeared. You could still feel the side ports vibrating at around 20-30 Hz but no really audible volume. So they have a similar range, and also a similar tonal balance to my JBL LSR 305’s. The JBL might be slightly brighter – but I consider this an amazing endorsement for the Roar2.

The mid bass and lower mid-range has a little warmth, but it’s equally matched by the slight emphasis on upper mid-range, and the result is a well-balanced and exceptionally clear overall sound signature.

Overall Detail / Clarity
I used Dire Strait’s “Sultans of Swing” as there is a lot of micro detail in the track, and the recording quality is excellent. Balance was really good – the cohesion between bass guitar, vocals, and the sharper pitch of electric guitar and cymbals was really good. Micro detail was very good also – with snare and cymbals easily heard, but not too prominent or peaky.

Sound-stage & Imaging
Normally I’d try to use Amber Rubarth’s Binaural album to test headphones – but for speakers it wasn’t appropriate – so I fell back to using Amanda Marshall’s track “Rain” and Lorrena McKennitt’s “Dante’s Prayer”. Both were able to give me really enjoyable dynamic presentations – but the Roar2’s limitation is the close proximity of its speakers, and as such – the ability to project a sense of spatial staging or imaging suffers accordingly. There just isn’t the separation or localisation you get from a true stereo image projected by separate headphones or speakers. For all that though – the sound is very open, and equally as enjoyable. Just don’t expect this speaker set to act like a headphone or pair of well-placed speakers.

Bass Quality and Quantity
I already knew I wasn’t going to get a lot of low bass with the Roar2, but it was worth trying my usual tracks anyway. “Muddy Waters” by Mark Lanegan is a track that I usually use to test impact and also bass bleed. The Roar2 was clean and clear, but lacking really visceral impact. It didn’t stop the track being quite enjoyable though. Next was Lorde’s Royals – and this really did highlight the missing bass below 50 Hz. The track was decidedly lean.
So definitely not a speaker for bass lovers, but what about some other electronic music? I first up tried Little Dragon’s “Little Man” – and this was much better. The mid-bass was well represented, and this track (while again leaner than I’m used to) was thoroughly enjoyable. I finished with AVB’s “This is what it feels like” (trance) – and again, doesn’t have the visceral impact, but it doesn’t detract from the fact that the Roar2 actually presents the track well. Once you get used to the slightly more “polite” presentation – it’s different but not bad at all. The good thing is that the bass is clean and clear, and well defined.

Female Vocals
60-65% of my music revolves around female vocals – be it jazz, pop, rock, electronic, or even opera. I’m an unabashed fan. For me the sign of a successful headphone, IEM or speaker is how successfully it conveys emotion and timbre with my female vocalists.

First up is always Agnes Obel – as some of her recordings can become quite strident or shouty if the mids aren’t quite right. The Roar2 was downright gorgeous (euphonic definitely!) with the track “Aventine” – Obel’s vocals were sublime, and the contrast with the cello was enough to give the track some enjoyable dynamics.

And this was a trait that was repeated with every other female artist I tried. Yes – there could have been a little more low bass to make things perfect – but the vocal presentation itself was incredibly clear, and sweet. London Grammar was excellent (Hannah’s vocals were intoxicating), and both Feist and FaTM had good dynamic contrast between mid-bass and vocals. Florence’s new album (How Big, How Blue, How Beautiful) was really good with the Roar2 – and Emma and I actually played through half a dozen tracks before I realised I was still supposed to be taking notes.

So big tick from me for female vocals – what about the male counterparts?

Male Vocals
Missing low bass aside, I find the Roar2 really good for my rock and acoustic tracks. 3 Doors Down “Away from the Sun” was up first, and the vocal presentation is exceptional – deep (slightly warm), with good timbre. Plenty of upper end detail too. Classic rock was exceptional with the Roar2 – especially acoustic classic rock, and standouts for me included Seether’s “Immortality” (unplugged) and the Eagle’s “Hotel California”. People familiar with my reviews will know that Pearl Jam remains my litmus test. Vedders vocals were deep, rich and had plenty of texture. Good detail throughout as well.

Short Genre Specific Notes
I’ve already covered Rock above. For Alt. Rock – both Floyd and Porcupine Tree were presented well, with a lot of detail and cohesion throughout.

Jazz was generally good, although the double bass could have used just a little more substance, but again the overall detail presentation was extremely good. Blues (Bonamassa) was exceptional, and that little upper mid-range lift seems to really bring guitar to life.

I’ve already covered EDM and Electronic in the bass section – and while it wasn’t ideal, I still enjoyed a lot of my electronic music. This is not going to be a suitable speaker for “big bass” fans though, so it depends on where your tastes lie.

Pop / Indie were again very good (for my tastes), and with Indie in particular (Band of Horses and Wildlight), I could have listened for hours. Somehow the Roar2 just ticks my boxes with its sonic signature.

Classical and Opera were pretty good – just lacking some depth with the really low notes on piano and cello, but very good with orchestral pieces otherwise. Netrebko and Garanca were heavenly.

OTHER FEATURES

There were some features I didn’t get to try because I didn’t have some required hardware (connectivity with an Apple Mac, or playing from an SDXC card). I also didn’t try the sleep mode (not one my wife would approve of). But what I did try included:

Using the Roar2 connected to the phone to make a call (as a speaker phone). I did this when calling one of my clients, and the audio was crystal clear and clean. The inbuilt mic picked everything up well – and when asked, my client said that he had no issues hearing me.
Accessing a micro-sd card in mass storage mode (USB connection). Worked easily and I was able to perform any function on the card as if it was plugged into the PC (this was with a 64 Gb card).
The bass enhancements – “Tera-bass” and “Roar” mode. Pushing the appropriate button once cycles the differ modes. Tera-bass adds a little intelligent bass boost – which is useful especially for quiet listening – but I generally found I simply left the button engaged all the time. Roar mode seemed to be more like again switch – just making everything louder, so I really didn’t use it much.
iPhone / iDevice battery meter. When connected with Bluetooth, both my iPad and iPhone display a small battery meter in the top panel of the screen (see photo) which tells you how much battery the Roar2 has left. A nice touch.
I also installed the software suite for the Roar2 from the Creative website. To me this simply installed single button options for Creative’s DSP frequency alterations, and I really didn’t find any I liked. For me personally, I’d just use an EQ from the device I had connected. Some people may like it – but I personally found it clunky, and the options chosen for tweaking the sound were not what I’d consider “upgrading it”.
Charging a device via the USB DC out. Brilliant! I took it into work a week ago, and my iPhone was down to 20%. On a whim I decided to try it out, and it worked really well. Best part, I could continue to play the Roar2 via Bluetooth, while it was charging the iPhone. Less than a couple of hours later, the iPhone was almost 100% and there was still plenty of battery left on the Roar2 as well.

BATTERY LIFE / RECHARGING

Creative advertise up to 8 hours playing time, and I haven’t been able to get to the bottom of the battery yet – although I have spent a lot of hours with it. At the end of the day (or 2-3 days depending on how much I used it), I’d just put it on charge for 2-3 hours, and I’d be back to full again. Although I didn’t wind the battery right down, I’d suggest the 8 hours stated by Creative would be pretty accurate, and I’d peg recharge time (wal wart) at about 2.5 hours.

CREATIVE LABS SERVICE

My review is a little later than the others because the first Roar2 arrived DOA. It wouldn’t switch on. I wasn’t perturbed – things happen – I’ve had it with other audio gear before. What tells you a lot about the company though is how they handle the situation. Lucas followed up with prompt contact, gave me some troubleshooting options to try, and when it was clear the unit needed to be RTB, he immediately dispatched a replacement, plus prepaid packaging to get the first unit back. Communication at all times was clear, friendly and professional. The impression it left on me was lasting. I would definitely buy a Creative product with no hesitation – this Company is serious about customer service. Bravo.

VALUE & CONCLUSION

I’ve seen the Roar2 advertised at as low as $170 USD on Amazon, and anywhere between $170 and $200 elsewhere. For the features, build, and sonics, it is an absolute bargain IMO.

If I go back to my original check-list, the Roar2 has definitely ticked the box for me on sound quality and overall signature, connectivity, portability, battery life, ease of use, and overall value. The only question marks I have would be on the weight (it’s a great size – but it is a little hefty), and the missing sub-bass. Neither are really a detraction for me personally, but in case they are important to you, it would pay to audition first.

The Roar2 has a wonderfully balanced sonic signature with very good clarity and overall sound quality. It has a host of features, and as a portable Bluetooth speaker for a small gathering, heading away to the holiday home, or just chilling with friends, I haven’t personally heard any better options for the price.

I would have absolutely no problems recommending the Roar2 based on my time with it.

FINAL THANKS

My thanks go again to Lucas and Creative Labs for giving me a chance to use and review the Roar2. It really is a wonderful unit, and full credit for the thought which has gone into the overall design. Now if any of my fellow Kiwis is interested in taking the Roar2 for a test drive, I’ll see what I can do to arrange to get this one to you for a couple of weeks.

Great review. Now I'm certain I'll get this by the Holidays.

while i didn't try the roar 2 and iam pretty sure it won't disappoint, i tried the jbl charge 2 and the denon envaya mini while the roar 2 seems to give mre features but they are pretty good.

specially the jbl charge 2, its pretty solid for the price and sound amazing ..

and very nice review btw !

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

This is the fourth Fidue product I’ve been fortunate to review, and the second hybrid IEM after reviewing their flagship A83. This time the A73 is a single dynamic and single balanced armature. I’d been looking forward to this particular IEM, mainly due to my expectations from past models, and also due to the numbering scheme. I reviewed their A81 TOTL single dynamic driver, and came away very impressed with its overall performance despite being too bassy for my own preferences. Next came their A71 (dual dynamic) which unfortunately for me was far too bassy – and really didn’t have a lot of standout properties (sonically or otherwise). The A83 is their flagship triple hybrid, and I was highly impressed with almost everything about it – especially the tuning (more balance and better detail). So following the progression (numbering), I was hoping that the A73 would be tuned similarly to the A83.

My thanks go to Vic (djvkool) for facilitating the review samples, and also to Michael Lin from Fidue for giving us the chance to review their products.

For those who aren’t aware, Fidue Acoustics is a Chinese earphone company founded by Benny Tan (who has more than 20 years design experience – developing earphones for other global branded companies). The name Fidue is simply an acronym of the principle design points that the company strives to implement in their product range

Fidelity
Inspiration
Durability
Uniqueness
Enjoyment.

Fidue’s product catalogue to date has included mainly dynamic driver models ranging from the sub $50 bracket, all the way to their current triple driver hybrid A83 flagship.

The A73’s arrived almost 5 weeks ago, and while I haven’t been using them every day (you’ll see why as you read further), I have used them as much as possible to get used to the signature so I could post a fair review.
It has been an interesting experience as there are some parts of the A73 I like very much, but there are others (which many people may love) that I find not to my ideal tuning, and others that leave me scratching my head a bit as to what Fiude were thinking. I have genuine mixed feelings about them – hence the review title.

DISCLAIMER

I was provided the Fidue A73 as a review unit from Fidue. I am in no way affiliated with Fidue - and this review is my honest opinion of the A73.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portables (Fiio X5ii, X3ii, LP5 and iPhone 5S) to my desk-top's set-up (PC > USB > iFi iDSD). I also use a portable set-up at work – either X5ii/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1, Sennheiser HD600, and AKG K553. Most of my portable listening is done with IEMs - and at the moment it has mainly been with the Dunu DN-2000J and Trinity Delta (although this is likely to change with newly arrived Adel U6, Jays q-Jays and Alclair Curve2). A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I used the Fidue A73 straight from the headphone-out socket of my iPhone 5S, X3ii, and also X3ii + E17K. In the time I have spent with the A73, I have noticed quite a big change in overall sonics – but I am pretty sure this is simply me becoming more used to the signature of the A73 as I use them more often (brain burn-in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

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Front of the retail box	Rear of the retail box	Inside the box - foam mold

The A73 arrived in Fidue’s normal attractive green and black packaging – but this time in a 2 piece box and lid arrangement. The box is medium sized 180 x 110 x 45mm. The box is essentially the same size and layout as their A71 – and has an image and main descriptive points on the front of the box, and specifications on the rear.

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Carry case, A73 and accessories	The A73 and carry case	The carry case

Removing the lid reveals cut-out hard foam (on top of softer foam padding) with the Fidue A73 nestled safely inside the provided cut-outs. There is also a small zippered carry case, ear guides, a shirt clip, IEM tips and a single warranty document / QC card.

The carry case is oval, about 90mm long, 65mm wide and 30mm deep. It has a semi rigid exterior, with padding on the inside, and should be sturdy enough to provide protection, whilst remaining small enough to comfortably fit into a front shirt or pants pocket. It’s a perfect for the A73, and has an inner webbed pocket for spare tips.

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Accessories - ear hooks my not be Fidues	Tips in profile	The A73 with cable nicely tied up

The accessory pack includes 3 pairs (S,M,L) single flange silicone tips, and 1 pair of dual flange silicone tips. I was a little disappointed in the overall tip selection – especially as there was no foam tip included.

TECHNICAL SPECIFICATIONS

(From Fidue’s Packaging)

Type	Dual driver inner ear monitor
Drivers	10mm dynamic driver and single balanced armature
Frequency Range	13 Hz – 27 Khz
Impedance	Not stated
Sensitivity	107 dB
Max Input Power	20 mW
Distortion	<1%
Plug	3.5mm gold plated, 4 pole
Cable	1.3m silver-plated copper, fixed – with microphone and single button
Weight	19g
IEM Shell	2 piece molded plastic shell and faceplate

FREQUENCY GRAPH

The graph below is generated by a new measuring system I’m trialling – using the Vibro Veritas and ARTA software. I don’t have the calibration 100% correct yet – but the graphs I am getting are relatively close to Innerfidelity’s raw data (on other earphones), and I think are “close enough” to get a reasonable idea of the frequency response for the A73. Over time I am hoping to build a pre-set compensation curve so that I can get the graphs more consistent with Tyll’s curves.

What I’m hearing though is:

Elevated bass response over neutral with good extension
Warm and slightly forward mid-range
Some energy in the upper mids and an unfortunate 9kHz peak which does tend toward sibilance.

BUILD QUALITY

The Fidue A73 has a molded shell designed to be worn with the cable over the ear, and the body of the A73 sitting inside the outer ear – similar to a Shure or custom type design. When I’m wearing mine, the shell sits relatively flat against my concha with the nozzle protruding on an angle into the ear. As stated in the specifications, the shell is a molded plastic (deep red colour) which is very smooth and seamless, with an attractive faceplate (designed to look metallic). The A73 is approx. 18mm long and 14mm deep at its widest point. It is approx. 10mm from the faceplate to the base of the nozzle, and the nozzle itself extends approx. 7-8mm from base to tip. The nozzle has a mesh filter built in, is angled, and is completely smooth (no lip). Because of this tips slide right off (more often than not lodged in your ear), and the number of tips you can use with the A73 is severely limited. This is a huge design flaw, and I’m really puzzled as to why they would have introduced this.

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Inside view - note small vent adjacent to nozzle	Good build quality and quite seamless join	Rear port and strain relief

There are two ports / vents for the dynamic driver (and presumably tuning) – one adjacent to the nozzle, and one at the rear of the A73 (at the join between body and face plate).

The cable is silver-plated copper with a synthetic rubber sheath which is a little grippy, but not overly microphonic – especially worn over ear. It does appear quite well made, and although it was a little unruly when taking photos, generally stays out of the way when wearing. There is no chin slider (mainly due to the microphone / control unit), but the added shirt clip should also help with cable management. My pair also came with over ear hooks – or at least I think they did. I’m not 100% sure anymore – and I’m wondering if I managed to somehow mix a pair of hooks in before I took the photos. If I have, I apologise in advance.

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Face plate	A83 and A73 - no lip on nozzle!	The smooth nozzle

The Y split is a nice metallic tube with “Fidue” printed on it. It looks elegant, and has good strain relief at both ends. There is also good strain relief at the microphone / control unit, IEM exit and the 3.5mm straight gold plated 4 pole jack. Fidue also included a snap on cable tidy / tie – which works pretty well, but can come off if bumped.

From the right earpiece there is a combined mic and single button control device (1 click pause/play, 2 fast clicks track +1, 3 fast clicks, track -1). This hangs (when worn over ear) just above my shirt collar. The microphone is a good one for phone calls and in my testing voice came through loud and clear. The control button was unrecognised by the Fiio X1 and X3 (I regard this as more of a Fiio issue than Fidue), but worked well with the iPhone 5S. My one issue was that the control was really fiddly to use though – simply because it is cylindrical. Trying to multiple press the button often ended up with the control rotating in my hands, and turning into a single click. In the end it got frustrating so I stopped using it. A flat control unit would have been the much smarter choice.

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Jack and cable tie	Y split	Cylindrical control and mic

Overall the build quality is a good standard for the cost – but there is one major (nozzle lip) and one minor (cable control) design flaw. Mixed feelings.

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I initially tried the included large silicone tips, and whilst they fit OK, I was unable to maintain a seal. The same happened with the dual flanges. From there I was forced to go to my tip collection. I tried my Comply tips, and T400s pretty much slid off (no lip on the nozzle), as did spiral dots, DUNUs dual flanges, Ostry tips, and even my Sony Isolation tips haven’t been consistent. Spinfits did stay on but I had issues getting a seal with them as well. Eventually I managed to find a relatively new pair of Sony Isolation tips, and so far they’ve stayed on – but I’ve lost count of the number of times I’ve fished tips out of my ears. It is a fairly major design flaw – and baffling because I haven’t seen it on any of their other IEMs (which I’ve tested). Anyway – with the Sony tips I got a good seal.

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Sony Isolation tips finally works	Ostry tips didn't stay on, Spinfits did	Dunu dual flange and Spiral Dots were both too loose

The angle of the nozzles is very good (better than the A83), and comfort for me is extremely good. They don’t extend past my outer ear, and sleeping with them in would be easy.

Isolation with a good insertion and correct seal was average for an IEM, mainly due to the 2 ports. With music playing, most ambient noise is well and truly filtered out. They wouldn’t be my choice for a long haul flight, but probably OK for general public transport.

So very comfortable, reasonable isolation, good fit – but tricky, and limited in choice because of the nozzle. Mixed feelings.

SOUND QUALITY

The following is what I hear from the Fidue A73. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii as source, E17K (not needed but it helps with battery life with the X3ii and I like the volume control), no EQ, and Sony Isolation tips.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on General Signature
If I was to describe the signature in a few words – I’d choose the words “warm”, “clear” and “occasionally peaky”.

I’m finding the Fidue A73 to be a very difficult IEM to try and categorise. On one hand there is a beautiful midrange, with good body and really good with female vocals. On the other hand, the bass can be bordering on too warm at times, and there is some unevenness (doesn’t appear often) I’d estimate at around 4-7 kHz, and a quite hot spike at around 8-9 kHz which really sparks sibilance if it’s present in the music.

I wouldn’t call the A73 a dark earphone – but it is certainly warm.

Overall Detail / Clarity
My go to tracks are Steely Dan’s “Gaucho” and Dire Strait’s “Sultans of Swing” as there is a lot of micro detail in both tracks, and the recording quality for both is excellent.

Both tracks are very good with the A73, and although my preference would be for a little less bass guitar dominance – the A73 was able to deliver a very coherent, smooth (for the most part) and very enjoyable rendition with good dynamics, detail retrieval and transition. Guitar and vocals were both very good – and the one issue I’d have with “Sultans” was a little excessive heat in some cymbal hits, and tiny bit of masking with the bass guitar. Overall though – very good, and definitely enjoyable.

Sound-stage & Imaging
Up first was Amber Rubarth’s binaural recording “Tundra”, simply because it’s a pretty simple way to get comparative data on sound-stage.

It’s usually difficult to get a reasonable stage size from an inner ear monitor. The stage is often quite small / close – with an average impression of space. The Fidue A73 has a reasonable stage size with this track (at the outer edge of my head space), and there is very good directional imaging. It isn’t expansive (few IEMs are in my experience), but it was realisitic.

Switching to Loreena McKennitt’s “Dante’s Prayer” and the Fidue A73 gave the first hint that it would be quite good with female vocals. Not quite as sweet as some of my other IEMs, but really enjoyable, and having wonderful presentation of both piano and cello. Imaging is really good once again – but for this track, the staging is a little more intimate.

In this track, the applause at the end is so well presented that with some headphones (HD600) I can actually close my eyes and imagine myself in the crowd. With the A73, the applause doesn’t take me into the audience, and I feel more of an observer than a participant.

The last track I usually use for testing staging is Amanda Marshall’s “Let It Rain”. The opening few bars were extremely promising until I got to the vocals, and then the sibilance hit – and it was like needles. I had to stop. This is a test track I normally enjoy – not this time.

Bass Quality and Quantity
Fidue’s A83 was really good with bass impact and aggression whilst retaining clarity – so I was looking forward to similar from the A73. “Muddy Waters” by Mark Lanegan is a track that I usually use to test impact and also bass bleed. The A73 was really good – striking a perfect balance between impact, and detail, and although the bass is normally more than I’d like, I found it really enjoyable. Mark’s vocals were really clear with good texture. My one small critique would be that very occasionally the thump would slightly mask some of the mid-range – but all-in-all I really enjoyed the presentation.

Lorde’s Royals was next (sub-bass test), and the A73 was effortless in its delivery. Ella’s vocals were again very clear, and I do think that bass lovers will enjoy this presentation.

Female Vocals
60-65% of my music revolves around female vocals – be it jazz, pop, rock, electronic, or even opera. I’m an unabashed fan. For me the sign of a successful IEM is how successfully it conveys emotion and timbre with my female vocalists. The A73 has proven to be quite versatile up to now – would it continue?

First up was Agnes Obel – as some of her recordings can become quite strident or shouty if the mids aren’t quite right. With the A73, the euphonics are there, and overall I have no real complaint with the vocals – but this time instead of the cello adding some beautiful contrast, I found it a bit overly warm. A lot of IEMs struggle with this track – so it’s not a real slight on the A73 – just something to note. London Grammar was next, and this time the overall sonic presentation as much better. Great vocals, good balance and a really nice overall coherence.

I then proceeded to play a medley of other tracks from artists including Christina Perri, Gabriella Cilmi (the track Safer was stunning), Florence and the Machine, Feist and Norah Jones (very smooth). A stand-out was Leanne La Havas – as good as I have heard with other IEMs – but again bordering on sibilant. The A73 definitely does female vocals extremely well – a little warmer than I’m used to, but also quite enjoyable.

Male Vocals
Kicking off with 3 Doors Down “Away from the Sun”, and the vocal presentation is really very good – deep, with good timbre. Some of the upper end detail is a little subdued, but bass is enjoyable, and dynamics are overall enjoyable. With Breaking Benjamin’s “Diary of Jane” there was the tendency for the drivers to be overwhelmed with really complex music – a wall of sound presentation, and it would be fair to say I didn’t enjoy faster music as much with the A73 as I did with acoustic. I can’t help feeling this is probably my preference at play – as with some rock, I was simply finding the warmth of the bass a little too much. But the A73 definitely do male vocals well – and this was readily apparent with my litmus test – Pearl Jam. Vedders vocals were glorious and the PJ tracks were an ideal vehicle to show the strengths of the A73. Good detail throughout as well.

Genre Specific Notes
Again for tracks, albums, artists – please refer to this list: http://www.head-fi.org/a/brookos-test-tracks. Once again these are short subjective impressions.

Alt Rock – Unfortunately not a big fan – tended to be a little too dark and some of the minute details were lost. Especially apparent in PF’s Money. Porcupine Tree was pretty good though – although again, I’d prefer a little more contrast.

Jazz / Blues / Bluegrass – Jazz was generally good, although the double bass could get a little boomy at times. Brass was very smooth. Cymbal detail was pretty good. Blues was also very enjoyable – though I did miss some of the really sharp crunch of Bonamassa’s guitar riffs. His vocals were great though.

Rap / Trance / Electronic – Very good hard hitting bass and mostly clear vocals. Little Dragon was particularly good – but I could see myself getting a little fatigued if I listened for too long. Again bass lovers will really enjoy the A73 for this type of music. For me – it’s better in small doses.

Pop / Indie. Sadly my first choice for this was Adele – and it was a sibilant and uneven mess at times. I know this is poor mastering, but at the same time, other IEMs don’t trigger sibilance the way the A73 does. With Coldplay it was some of the unevenness in the treble – not bad, but not perfect. Indie was a lot better (Band of Horses), and Wildlight was fantastic – and better if the bass was dialled back just a little.

Classical / Opera – Surprisingly very good with standouts including solo piano and Lakme’s Flower Duet with Netrebko and Garanca.

AMPLIFICATION REQUIREMENTS

The Fidue A73 is easily powered straight out of the portable devices I have, and I haven’t experienced any issues with any source I’ve used. As a reference with a typical rock track (Seether’s Immortality from One Cold Night), I’m at around 28-30/120 on the X311, and I wouldn’t want to go much higher. With the iPhone 5S it would be around 4-5 click, so around 30% volume. There was no obvious advantages in sonics if using EQ.

RESPONSE TO EQ?

My first aim was to remove the sibilance, so I dropped the 8 kHz meter to -6dB (on the X3ii), and then also gave the bass a slow roll-off from around 250 Hz down. The result was much more pleasing for my tastes, and I was able to play Amanda Marshall’s “Let It Rain” without cringing. The A73 responds reasonably well to EQ. I’m just still puzzled why the peak is there in the first place.

QUICK COMPARISON OTHER IEMS

This is completely subjective and mainly to give my thoughts on comparable IEMs. For something different I chose the track “Don’t Leave Home” by Sola Rosa (an NZ funk band). I tried to use the same tips (Sony Isolation) with all Iems and volume match using and SPL meter and test tones to level the playing field.

A73 ($150) vs Dunu Titan ($90-135)
Both are built well with care and attention to details. I’d give the nod to Titan thought for avoiding A73’s design flaws. Titan has better balance, cleaner and clearer sound. A73 has more bass impact and warmth. Titan has better dynamic contrast and sound staging. A73 has better isolation. Both are good IEMs but unless you need the isolation or crave a much warmer signature, the Titan beats the A73 hands down IMO (it’s not close).

A73 ($150) vs Trinity Delta ($140)
Again both have very good build and the only issue is again the nozzles. The Delta has better overall build though (materials) and a wonderful cable. Sonically they are closer than they are different. Both are quite clear with the A73 being a little thicker and warmer in the mid-range,a nd the Delta being a little cleaner and leaner. I actually think the A73 might have the better bass overall as the Delta can occasionally get a little boomy. The Delta has better staging, imaging, and also isolation (for my preferences). If you prefer a warmer thicker sound – you may like the A73 more – or for a leaner cleaner sound, the Delta. My preference = Delta.

A73 ($150) vs DN-1000 ($175-180)
This time both have the same issues with the smooth nozzles, but again both have very good builds otherwise. Comfort is much better with the A73 due to the ergonomic fit. I think the DN-1000 has the better staging and imaging, and also slightly better isolation. The DN1000 has a more balanced frequency response, with better bass extension and sub-bass. It is a little leaner comparatively in the mid-range. Both are very clear. The A73 is a little warmer, a little thicker, and much boomier overall in the bass (I like the DN-1000s cleaner bass presentation a lot more). Again this one comes down to preference. If you like a warmer, thicker, presentation, the A73 may suit well. If I had my choice, I would spend a little more and buy the DUNU.

A73 vs A83
This is simply a comparison, as it’s unfair to rate based on value. Both have good build quality – with the A73 having its nozzle design issue and the A83 having its cable issues. The A83 has substantially better sound stage, imaging, and isolation. I give comfort to the A73 though – it really is an improvement on the A83 as long as you can find a suitable tip.

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A83 vs A73	A 83 vs A73	Graphs A83 vs A73

Comparatively the two IEMs have similar overall bass, but it varies in overall quantity comparative to mid-range, and I guess this is what disappointed me with the A73. I was hoping for similar to the A83, and got a warmer sound more similar to what I remember from the A71. The A83 is more balanced, clearer, cleaner, more engaging. The A73 comparatively is warmer, thicker, and sounds slow and sluggish next to its older brother. Both have a similar treble peak – but the A83’s is closer to the 10 kHz mark, and doesn’t trigger sibilance for me, where the A73 definitely does.

CSD PLOTS

I’ve included some of these for the first time, after discovering that the Veritas and ARTA can quite handily produce these. I was primarily looking for any evidence of slow decay or ringing that might have been causing some of the issues with occasional jangly treble issues with female vocals (I think Vince may have mentioned it in his review of the A73). What I found was quite a few resonant peaks from 4-10K which were a lot more apparent than the likes of the Titan’s CSD. I need to do more research on this to learn how to interpret them correctly.

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CSD A73	CSD DUNU Titan	CSD Alclair Curve

But I leave you with the CSD from a very recent arrival – the Alclair Curve (2^nd gen) – which I measured today “because I could”. You can see how much cleaner the plot is. The Curve is a dual BA – but about $100 dearer than the A73. It is clean and clear, with a stellar build, good bass response, superior isolation and is one of the most comfortable IEMs I’ve had the pleasure of wearing. But the plot was the telling part for me – and I wonder if this is where some of the A73’s issues lie.

FIDUE A73 - SUMMARY

When I first listened to these, I really didn’t like the A73 from first listen. I thought they were too warm, and the treble peak was just plain annoying. Over time, as I got used to them, I came to appreciate their very good mid-range, and I can understand why a lot of people really like them.

But for me personally they present a lot of mixed feelings. Their build and comfort is very good, yet they are so hard to find tips for because of the nozzle fail. They have a very good mid-range, but they have sibilant peaks. They have warm smooth bass which is very good for some music, but (for my tastes) overpowers other music.

The A73 could suit:

Fans of Rap, Pop and EDM who like a warm and slightly bass heavy presentation
People who prefer a warmer signature while retaining clarity

The A73 may not suit anyone who looks for:

Good balance across the frequency
Smooth and sibilance free treble

The question is now how to grade this. It doesn’t suit my personal tastes – but I can see where others would like it. But it has some very real flaws including design issues and a pretty bad sibilant peak. Putting my own preferences aside (if it were based solely on my tastes, I’d give it a 2.5 at best), I’ll stick with a 3.

My thanks once again to Michael and Vic for allowing me the opportunity to review the A73.

RECOMMENDATIONS TO FIDUE

I’d love to see you do a dual BA and return the A83 type signature. And please correct the nozzle.

Maybe I'm a bit partial to these because I've never had an in ear fit me so well. Just being able to fall asleep with these is a joy. I do have to remember to set the play through folders so after Bill Evans I don't get woken up by Black Sabbath. Ozzie can be a bit scary in the middle of the night.

I think the review is a mix of personal taste as you stated (no offence!) and a harsh and digital sounding source (Fiio) .

Well I'd like to think by now that with my experience reviewing I can look past my own personal preferences and view things as objectively as possible, but it is true that I personally thought they were too warm and thick (a trait I do not like). Couple that with an obvious sibilant peak - the measurements show it clearly - and a mid-range that overtime I find too toward, and you get (to me) a fairly confused overall tonality. And the X3ii is not harsh (again I've heard quite a few sources over the last few years) and especially not when coupled with the extremely neutral E17K.

For larger images (1200 x 800) click the image

INTRODUCTION

I’ve been aware of Aune for some time during my Head-Fi journey – particularly their T1 Tube DAC, and more recently the B1 portable amp which was recently featured on Head-Fi. But until now I’ve never had a chance to sample their gear, and indeed haven’t really taken much notice of their product line. That changed recently when Aune offered a chance to audition the X1s desktop DAC/amp in your own home for a week. I jumped at the chance, and for the past week have enjoyed putting this little unit through its paces.

ABOUT AUNE

One of the nice things about reviewing audio gear is doing the research and getting to know the individual companies a little better. Aune (Wuhan AO LAI ER Technology Co.ltd ) was formed in 2004 and was one of the first Chinese companies dedicated to high quality digital audio. From the website (I have paraphrased some of it):

Aune is a developer and manufacturer of integrated enterprise, with high-end design team unity, and an excellent operational management team. Full of scientific and technological innovation, we are constantly exploring different solutions in the high-quality digital audio field.

We were the first to launch a mastering digital audio player in China, and also its supporting 32bit/192kHz advanced decoder and peripheral products. We have also supported the development of personal computers integration with traditional audio equipment, a high-quality USB decoder, and the traditional CD turntable.

In addition to the innovation of R&D, from operations to customer service, from product manufacturing to the user manual, Aune pursues excellence in every detail. We firmly believe that the "pursuit of perfection" is endless. Meanwhile, Aune company's HIFIDIY.NET is the portal to focus on soundfield, and since 2004 has become the largest Chinese audio site, with nearly 1,000,000 members in its community. It is the foundation of the Aune brand, has had extensive influence in the Chinese audio community, and received numerous accolades.

What I’ve really appreciated from Aune so far has been their willingness to provide me additional information about their products – something some other audio companies are often more reserved in supplying.

DISCLAIMER

I was provided the Aune X1S DAC/amp as a review sample, for one week’s use before sending it on to the next participant in the tour. I am in no way affiliated with Aune - and this review is my honest opinion of the X1S. I would like to thank Aune for making this opportunity available, and also for providing me additional information during the review.
EDIT : I was later lucky enough to win the X1S in a giveaway graciously run by Aune.

PREAMBLE - 'ABOUT ME'.
(This is to give any readers a baseline for interpreting the review).

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portables (Fiio X5ii, X3ii, LP5 and iPhone 5S) to my desk-top's set-up (PC > USB > iFi iDSD). I also use a portable set-up at work – either X5ii/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1, Sennheiser HD600, and AKG K553. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I used the Aune X1S in as many different scenarios and tested all of the inputs and outputs to test its versatility. Primarily though I was looking mainly at use as a desktop DAC/amp for my main system. I also took the opportunity to test The X1S against my Audio-gd NFB-12 and iFi Micro iDSD.

WHAT I LOOK FOR IN A PORTABLE DAC/AMP

I thought I’d list (before I start with the review) what I really look for in a desktop DAC/amp. In listing these points below, I tried to think what the device would need to do/have in order to convert me.

Clean neutral signature
Ability to drive higher impedance cans (eg my HD600 and T1)
Ability to take a variety of different inputs – but primarily optical and USB.
Ability to decode a number of different resolutions
Ability to control/drive my active JBL LSR-305 monitors
Easy to use and configure
Value for money

As an addition I also tested the Aune X1S as a DAC > line out to my LD MKIV OTL tube amp, and finally with IEMs. Although I don’t use it for IEMs, I know there are others who do, so it was worth testing.

Did I get all of this with the X1S? Well not all, but quite a bit.

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The Aune X1s arrived in a large black box and lid with the Aune name printed on top, and a silver sticker on the side with some detail on the product. The box is quite large (319 x 262 x 97 mm), and to be honest when I first laid eyes on it, my immediate thoughts were “this things going to be a lot larger than I thought”, and also “how am I going to fit it on the desk!”

Thankfully on opening the box, the X1s was a much more svelte size, and I also have to give kudos to Aune for the beautifully form fitting foam enclosure. The components are really well protected.


The large outer box	Inner foam packaging - great protection	Contact card, USB key and adaptor

Included in the package is the Aune X1s (complete with rubber caps on the rear inputs/outputs) the quite large power brick, a USB cable, 3.5-6.3mm adaptor, contact card (a nice touch), and a mini USB stick which holds not only the manual (pdf), but also Windows driver, a word document to show how to set-up native DSD playback (this document is really easy to follow and quite well written with very good pictures and screen shots), and files for Foobar set-up. This is really quite comprehensive, and shows excellent commitment to the product.

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The rather large 12v converter	Plug	USB cable

TECHNICAL SPECIFICATIONS

The table below lists most of the relevant specifications, and because I’ve compared them later in the review, I’ve also included same specs for my NFB-12 and iDSD.

	Aune X1s	Audio-gd NFB-12	iFi Micro iDSD
Cost (approx.)	USD 249	USD 235	USD 499
Dimensions	145 x 171 x 45mm	160 x 260 x 45mm	68 x 180 x 25mm
Weight (unit only)	880 g	1320 g	300 g
Outer Shell	Anodised aluminium	Brushed aluminium	Anodised aluminium
Input power	Walwart + 12V adaptor	Walwart (internal adaptor)	USB + has internal battery
Input coax	24 bit / 192 kHz	24 bit / 192 kHz	24 bit / 192 kHz
Input optical	24 bit / 192 kHz	24 bit / 96 kHz	24 bit / 192 kHz
Input USB	32 bit / 384 kHz	24 bit / 96 kHz	32 bit / 768 kHz
DSD (DoP via USD)	Up to DSD 128	Not supported	Up to DSD 512
Frequency response	20 Hz – 20 kHz +/- 0.5 dB	20 Hz – 20 kHz +/- 0.2 dB	Not stated
Dynamic range	126 dB	118 dB	117 dB
THD+N	-110 dB @ 1 kHz	Not stated	< 0.008%
IMD+N	-110 dB @ 19KHz & 20KHz	Not stated	Not stated
Stereo crosstalk	-112 dB	Not stated	Not stated
Line Out Voltage (fixed)	2.1 Vrms	2.25 Vrms	2 Vrms
Line Out Voltage (variable)	Not supported	Up to 5 Vrms	Up to 5 Vrms
Headphone out impedance	10 ohm	2 ohm	< 1 ohm
Output power (1)	1550 mW into 16 ohm	3500 mW into 25 ohm	Up to 4000 mW @ 16 ohm
Output power (2)	1200 mW into 32 ohm	1800 mW into 50 ohm	Up to 2000 mW into 32 ohm
Output power (3)	200 mW into 300 ohm	300 mW into 300 ohm	Up to 212 mW into 300 ohm
Output power (4)	100 mW into 600 ohm	150 mW into 600 ohm	Up to 106 mW into 600 ohm
Digital filters	3 (front panel)	9 (internal jumpers)	3 PCM and 3 analog (switches)
Gain switching	Not supported	High and low	9 settings (3x3 options)
USB support	Driver required (Windows)	Standard Windows Driver	Driver required (Windows)

X1 SERIES HISTORY

I wasn’t aware how much history there was with the X1 until I’d read through some of the material on the website. It was interesting enough to warrant listing in the review. The first generation was actually introduced in 2008, and there have been 5 releases in total for the series. With each generation, there have been improvements in features and technology, but with the X1S there has also been a definite change in style also. From the 4^th generation X1 to 5^th generation X1S, there has also been advances in better SNR, lower THD, less crosstalk, and better support for higher res formats.

BUILD / AESTHETICS / HEAT

I guess I’m like many others on the forum – sound is most important to me, but I’m a sucker for a really good looking unit as well, and on the style front, the X1S is simple, elegant, and gorgeous. The body is entirely anodised aluminium, and looks to be a seamless central chassis, with separate front and rear panels.

The top of the unit is slightly concave – but this shouldn’t be a problem as this being a DAC and amp, most people won’t want to be stacking anyway. The front panels sports a really easy to control analog pot on the right hand side which is nice to grip and tracks exceptionally well – totally smooth with no grabbing. The indicator has a nice indent and is very easy to see exactly where the pot sits. In the center is a standard 6.3mm headphone in socket which is gold plated and fits very snugly. On the left hand side is the input switch – which has a green LED which indicates that the power is on, and also which input has been selected (USB, optical, coax and line-in). This switch also doubles as the input for the digital filters (which I’ll cover later in the review).

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Front face - text is actually a lot harder to read under real light	Inputs (also doubles as filter indicators	Volume knob (classy and with a really smooth action)

My only gripe with the front panel on this unit is that the markings are excessively difficult to read (grey text on a silver anodised panel). This is something that should definitely be fixed at some stage.

The rear panel has a 5 pin DIN socketed power cable on the left hand side, along with venting for the power supply. There are also 3 pairs of RCA connectors – a pair of “audio in”, a pair of “audio out”, and a “coax in” and “coax out”. Next to this is the optical-in port, and on the far right is the on/off switch and USB plug socket. The USB socket takes a standard USB-B plug. The rear panel is quite clean, and easy to identify and plug.

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Rear panel with connector caps	Rear panel	Close up of power connector and venting

The included USB cable is a very good one with gold connectors, well shielded, and is 1.5m in length. The power brick (15v adaptor) is large and almost as heavy as the X1S itself, weighing in at 800g. It has a cord length of 1.75 m from plug to adaptor, and then a further 0.95m from adaptor to DIN plug. This is worth mentioning because for my set-up, I had to have the bulky adaptor body on my desk – safely hidden behind my monitors – but there all the same.

All in all, the build is very solid, very clean looking. My one wish would be for clearer text on the front, and a smaller power adaptor. Even after a few hours use, the X1S has only been lukewarm to the touch – and barely registering above room temperature.

DRIVERS, MANUAL, FILTERS, SUPPORTED RESOLUTIONS

One thing I love about the Aune X1S is the inclusion of the memory key for both the manual and Windows drivers. The manual is easy to read and lists specifications, features and how-tos, along with measurements at the end (a nice touch).

Sadly I couldn’t test the X1S with Mac as we don’t have one in the house. I was able to test it with my Debian Linux netbook though, and after plugging, it was immediately recognised at kernel level (as an X1S USB DAC no less), and selectable as default. Within less than a minute I was playing music over USB. Very easy – no fuss.

With Windows, I could immediately play via optical or coax with no drivers needed. For USB, I plugged the unit in, turned it on, and Windows came back telling me it needed drivers. I ran the driver executable from the USB stick provided, and within less than 5 minutes I had the drivers installed and was playing music. Again – very easy install.

One thing to note though (and this may have been simply my older motherboard) the driver did not seem to play nicely with the iFi HD USB driver – so I had to uninstall one to use the other. Not a big issue – but one worth noting. With the driver properly installed I was able to set highest resolution at 24/384, and after configuring Foobar (I’ve done this before with the iDSD) play DSD files natively. I also tested redbook, 24/96 and 24/195 files, and all played without issues.

It took me a while to work out how to set the filters – there are three:

Fast roll-off
Slow roll-off
Minimum phase

To access them you simply press and hold the input button until the LED goes red, and then continue to hold, and it will cycle the first three lights. Stop pressing at the filter you want and it is activated. I tried the filter settings over a couple of hours, and there really was little difference between them – the first filter was a little less bright than the second one, so I left it set at slow roll-off for most of my testing. One thing I’d suggest to Aune for future would be to have a separate switch for activating the filters, and also a separate LED. It would make things a lot easier – especially if each was labeled. The current system is a little cumbersome.

INPUTS AND OUTPUTS

As advised previously, I tested optical, coax-in and USB, and all worked well. Next to test was the line in, and also coax out. For the line-in, I simply switched the spdif input to the iDSD, and ran some RCAs from it to the X1S. Easy to set-up, and instant music. I also tried this with my X3ii running as a player to the X1S amp, and this set-up worked incredibly well also. The versatility so far has been very good.

For the coax out, I tried several different ways to get this working – running to my iDSD, my NFB-12, even to the E17K. At no time could I get it working. I haven’t listed this as a negative anyway – as I can’t honestly see why I would ever want to run coax (digital) out through the X1S (ie use it as a pass through). It honestly makes no sense to me why the RCA is even there. It is simply puzzling.

Lastly, I ran the X1S as DAC, and then line out to my LD MKIV OTL tube. This set-up was very good, and every bit as enjoyable as when I use my iDSD in the same set-up. This would be an ideal set-up for someone on a budget – X1S > LD MKIV > HD600 = a really nice listening experience. For under $1000 dollars, this would give most people a very good fidelity system. My only concern with this is that with the fixed line out on the X1S and no gain switch, the LD MKIV was running at around 15% of the total pot. Any louder than 20% and things were getting uncomfortable.

OUTPUT PERFORMANCE (POWER)

For this exercise, I simply used the optical-in, Foobar playing a 24/96 album (Bob Dylan’s “Infidels”), and then cycled through all of the headphones I would normally use with my own gear – and compared them quickly with the iDSD to make sure there were no major changes in presentation.

AKG K553 (32 ohm, 114 dB SPL)
Comfortable listening level at around 9 o’clock on the pot for me. Very linear presentation. The two devices sound very similar with the only noticeable difference being that the X1S might be very slightly brighter/leaner – but we are talking micro amounts.

HD600 (300 ohm, 97 dB SPL)
Comfortable listening level at around 10 o’clock on the pot for me. Again really nice neutral and detailed presentation. Again the difference with the iDSD is that the iFi has a slightly warmer more organic tonality where the X1S seems to be a shade leaner and lighter. Both sound great with the HD600 though.

T1 (600 ohm, 102 dB SPL)
Comfortable listening level at around 10.30 – 11.00 o’clock on the pot for me. This is a really nice pairing, and there is no doubt that the T1 are being driven well. Frequency balance is good, and bass presentation is clean and dynamic. Switching to the iDSD,a nd once again the major change is flavour rather than quality – with the iDSD again being a little more organic sounding and not quite so lean.

JBL LSR 305 Active Speakers
The X1S had no trouble driving my desktop monitors, and sounded pretty good with them. My issue though is that the rear RCA is fixed, and there is no way of controlling them via the X1S volume control. This is a pity – as it does make it a deal breaker for use as my main desk-top DAC/amp. Both my iDSD and NFB-12 can run the speakers on variable volume control. With the X1S I’d have to use the Windows volume control. Workable – but not ideal.

Dunu DN2000J IEMs (8 ohm, 102 dB SPL)
I’m using these mainly because they are very sensitive and I wanted to see what the X1S 10ohm output impedance would do with the Dunu’s low 8 ohm impedance. First up – I couldn’t hear any hiss, so unless it was under my hearing threshold – tinnitus sometimes masks hiss for me), then the X1S definitely has a lovely black background. For this test, the pot is just under 9 o’clock, so there is enough play with more sensitive loads. Switching to the iDSD and it’s quite hard to say whether the change is impedance or simply more of the same difference in tonality. Things don’t sound to different to me – just again the iDSD’s more organic sound.

DIRECT COMPARISONS

The next section is simply to compare the X1S very quickly with my other two desktop amps – the NFB-12 and iDSD. With this test, I only used the HD600, and used optical in for all comparisons so I could switch very quickly. I volume matched first using a 1 kHz test tone and SPL meter to level the playing field as much as possible.

Vs NFB-12 - $235 USD from Audio-gd
The NFB is a veritable powerhouse, and easily one of the most powerful amps in its price bracket. Compared to the X1S it is larger (so less small-desktop friendly), and my version has the filters set with jumpers (you have to open the case). The NFB-12 has all the inputs the X1S has except for a line-in. It does have a gain switch though, and has a variable out so that speakers can be used and controlled by the volume pot. It does not need a power adaptor. It does not play DSD, and its highest resolution over USB is 24/96. Sonically the NFB-12 sounds a little fuller, warmer, and richer than the X1S. The X1S does sound slightly more detailed. Both have great balance and neutrality, and although their sound signatures are different, I’d find it hard to pick one I like more – both have their strengths. I think based on the more modern architecture, smaller footprint, and nicer aesthetics I’d choose the X1S – BUT – that decision would be reversed if I needed to run speakers. Both are really good versatile sources.

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NFB-12, X1S and iDSD - profile view	NFB-12, X1S and iDSD - side view	NFB-12, X1S and iDSD - rear view

Vs micro iDSD – $499 USD from most US agents
The iDSD is one of the most configurable DAC/amps I have ever owned, and whilst not competing in the same ballpark as the Aune X1S it was going to be interesting to pitch them side by side. The iDSD has easier access and more configurability with filters and gain settings. It has essentially the same inputs and outputs as the X1S. Both require drivers, and essentially play at the same resolutions – but the iDSD has higher DSD resolution capability. The iDSD is also more powerful, and does have the ability to control rear RCA out with the pot (for speakers). The iDSD has the smaller form factor, can be used portably, and is powered by USB. In side-by-side comparisons, the two units sound a lot more similar than the NFB-12 vs X1S. They have similar levels of overall resolution, with the X1S sounding very slightly thinner to me, whilst the iDSD is very slightly warmer and fuller. Both have excellent detail presentation and clarity. The Aune X1S though is much cheaper, and presents a real value alternative for someone wanting sonics close to the iDSD, and doesn’t need a lot of it’s features.

VALUE & CONCLUSION

I’ve really enjoyed my week with the Aune X1S. Its level of detail, power, and configurability is fantastic for the low price it is being pitched at. Throw in the beautiful aesthetics and form factor, and I do think Aune has a winner on their hands.

The X1S would be an ideal unit for a second room, bedroom, holiday home, work place set-up, or for any budding audiophile starting out. Sonically it is very neutral – maybe very slightly on the bright/lean side – but wonderful sounding with the headphones I have tested it on.

It isn’t without its faults though – and I have listed them below as recommendations for changes in future.

I would recommend this DAC/amp without question to someone who wants very good quality and sonics, but is maybe limited on available budget.

RECOMMENDATIONS TO AUNE

For future iterations I would suggest considering the following:

Change the text on the silver unit to something with more contrast
Add a variable line-out option (controlled by the pot) for those wanting to run active speakers. This would need to be switchable (outputs) but I think it is the single most important feature missing.
Add a gain switch to allow more use of the pot
Add a separate switch and indicators for the filters

FINAL THANKS

My thanks go to Aune for giving me a chance to review the X1S. It really is a wonderful unit and I look forward to seeing more products from Aune in the future.

As I've replied to you in the X1S thread and on the other review - I directly asked the Aune rep on this forum. He gave me the figures I used in my review. They are the correct measurements.

I was wondering if a Midi extension cable (5-Pin DIN Socket to 5-Pin DIN Plug) would work to allow the power brick to be placed further from the X1S?

If a Midi cable is too small of a wire gauge, then it should be fairly cheap & easy (for someone with a soldering iron) to assemble an appropriate "large gauge" extension cable. 5-Pin DIN plugs & sockets start at less than $1 each.

Take Care,
David Baldock

Hi David - good idea. In the meantime we are using the X1S on a secondary PC, and because it has an appropriate shelf, we're having no issues with the "brick".

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

I’d seen many of the thumb drive type micro DAC/amps being featured on Head-Fi over the past year, but to be honest hadn’t really paid them a lot of thought – especially as most of my portable listening is done with dedicated DAPs.

Then recently I was approached by a representative from Cozoy, and asked if I’d like to take their latest release (the Aegis) for a spin. Of course being the curious person I am, it was a chance not to turn down – so for the last three weeks I’ve been putting the tiny Aegis through its paces.

ABOUT COZOY

After asking a few questions, and also perusing their website and facebook pages, I’ve managed to glean a little information about Cozoy the company. Cozoy was formed in 2014, and consists of a group of hobbyists, engineers and financial backers. They have their own in-house designers for metal work, circuitry, and tuning. They also use outside designers where needed. I get the feeling that this group is very focussed on bringing the best in both industrial design and sonic signature. It has also been confirmed that Cozoy and Shozy are indeed sister companies, and both display the same cutting edge clean and simply metal designs.

I really liked Cozoy’s product design philosophy – and this is a direct quote from their website:
“Cozoy's product design philosophy is to create fine metallic builds, with leading innovations on circuitry and implementations of cutting-edge metal processing techs.
Clean circuitry design with minimal features that affect sonic quality, strong shielding on cable, sockets and the build itself are all implemented to perfect sound reproduction and durability of our offerings.
In Cozoy we employ finest materials and designs, to ensure utmost fidelity and usability. Our team consists of specialists majored in industrial designs, acoustics design and various fields, together we hope to bring to the crowd audio excellence and long lasting designs.”

DISCLAIMER
I was provided the Cozoy Aegis as a review sample. I will offer it to other New Zealanders to try after I have finished reviewing it. This is not a requirement from Cozoy – but rather because I’d like to give other people the chance to sample this unit. There is no financial incentive from Cozoy in writing this review. I am in no way affiliated with Cozoy - and this review is my honest opinion of the Aegis. I would like to thank Cozoy for making this opportunity available. As with my other review samples – I have made it clear to Cozoy that I still regard the Aegis as their property – but on extended loan for review purposes.

PREAMBLE - 'ABOUT ME'.
(This is to give any readers a baseline for interpreting the review).

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portables (Fiio X5ii, X3ii, LP5 and iPhone 5S) to my desk-top's set-up (PC > USB > iFi iDSD). I also use a portable set-up at work – either X5ii/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1, Sennheiser HD600, and AKG K553. Most of my portable listening is done with IEMs - and at the moment it has mainly been with the Dunu DN-2000J, Trinity Delta, and Dunu Titan. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I used the Cozoy Aegis in as many different scenarios as possible to test its versatility (even if some of those scenarios might seem ridiculous – T1). But primarily I was looking mainly at two main uses – an on-the-go higher quality DAC/amp combined with my iPhone, and a DAC/amp substitute for laptop use.

WHAT I LOOK FOR IN A PORTABLE DAC/AMP

I thought I’d list (before I start with the review) what I really look for in a portable DAC/amp. This took a little thinking, as normally I’ve not been one to use this sort of device. So in listing these points below, I tried to think what the device would need to do/have in order to convert me.

Be genuinely portable = great build and small size
Be reasonable in either battery life or drain on the host
Be an improvement sonically over the original source
Clean, neutral signature
Easy to use
Able to drive both low impedance and (within reason) higher impedance cans
Value for money

Did I get all of this with the Aegis? Well not all, but quite a bit. I’ll refer to this list during the review, and report my findings as I go.

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The Aegis arrived in a beautifully simple white box and lid measuring approx. 120 x 62 x 36mm. The box is elegantly printed with the name of the product. On the underside is a picture of the Aegis, a list of the contents, and also the specifications.

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Cozoy Aegis biox	Top of lid	Base of box

Removing the lid reveals the Aegis nicely nestled in a black foam cut-out top “bed”. The silver on black is really quite striking.

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The Aegis in it's form fitting "bed"	The lower tray	Accessory cables

Lifting the supplied cloth tab, pops the Aegis neatly out, and allows you to access the hidden tray underneath which contains a black printed manual / specification card, and three cables. The cables are:

i-device with lightning connector to micro USB
micro USB to micro USB (Android connector)
full USB to micro USB (computer connection cable)

	[size=inherit][/size]
Android, PC, iDevice cables and instruction card	Computer / USB cable	IDevice cable

The entire package is practical, covering everything you initially need for the Aegis. Materials are all very good quality.

TECHNICAL SPECIFICATIONS

The table below lists most of the relevant specifications. I have asked a couple of additional questions and if I get the answers, I'll update the review accordingly

Output Impedance H/O	Unknown
Headphone Impedance Range	16-100 ohms
Output Power @ 16 ohm	60 mW
Output Power @ 32 ohm	35 mW
SNR	109 dB @ 3.3V
THD	<0.1%, 1 kHz
Resolution (max)	24 bit / 192 kHz
System Current Usage	10 mA – 95 mA max
Dimensions	58 x 20 x 6mm
Outer Material	Brushed Aluminium
Headphone Out	3.5 mm
Weight	13g

BUILD

The Aegis’ build is (in a couple of words) detailed and immaculate. It is essentially seamless, so I think it is milled out of a single aluminium block. The detailing on the body is very fine, and the laser/CNC work is nothing short of amazing. The design itself is very reminiscent of the sister company’s (Shozy) Alien – but on a much smaller scale. On my particular unit, I would go so far as to say the outer casing is essentially flawless.


Front face of the Aegis	Rear of the Aegis

The micro USB socket is reassuringly tight with all 3 cables, and the 3.5mm headphone out is also reasonably snug.

When the Aegis is connected and mated to a source, a center green LED is lit. It is reasonably bright, but so far I haven’t been bothered by it.


Micro USB port	3.5 mm headphone socket

Some of the other things I’ve noticed is how immaculately the top and bottom plates fit, and little details like the very slight bevelling / champfering to take away any sharp corners. Their overall design and craftsmanship on the Aegis is pretty amazing.


Top of the PCB board	Bottom of the PCB board

On the inside – the PCB sits reassuring snugly inside the casing, and is a really clean design. The feeling I get is that these guys do take great care of their design and finish. It’s quite reassuring. I wish I could tell you a little more about the internals, but I can’t find any identifying marks. I have asked some questions about the DAC chip and OP amps being used, but so far haven’t had a reply. If they do get back to me, I’ll update the review.

HEAT AND POWER USAGE

Most of the time using the Aegis portably with my iPhone and IEMs, it rarely gets above room temperature, maybe slightly lukewarm to the touch. Using a digital thermometer, and plugging the 320 ohm VE Zens, after about 10 minutes the Aegis is running at a pretty consistent 36.4-36.7 deg C (this was plugged into the PC as DAC). Using the 600 ohm T1 last night, and after about half an hour, the Aegis got to 38.1 deg C. Using the same load (Zens) – but this time with the iPhone 5S, the temperature was back down to room temperature (in the house today that equates to around 20 deg C).

So the Aegis can get warm when powered from a higher voltage output source, and used with high impedance earphones/headphones – but it’s not going to burn you or get uncomfortably hot.

As far as power use goes – my fellow reviewer Alex (Twister6) measured these a couple of weeks ago, and the Aegis was drawing 150 mA. Of course when it’s powered from a source like my PC or netbook, I’m not really noticing the power draw. But from the iPhone 5S it’s a slightly different story. Running relatively easy to drive IEMs, and from the iPhone fully charged – using the Kaisertone app – the Aegis was chewing through the battery at a rate of almost four times the iPhone by itself. In a one hour real-world test, the Aegis consumed 18% of the iP5S battery. Running exactly same set-up with the iP5S alone consumed around 4% of the battery life.

So using these figures – continuous play with the Aegis might get me five and a half hours play time before totally draining the iPhone. This was not streaming or using Bluetooth either – so that probably needs to be taken into account. With the iPhone 5S alone – I’d get 20-25 hours battery life on the same charge.

CONNECTIVITY, USEABILITY AND COMPARISONS

iPHONE 5S
For this section I’m pairing the iP5S with my DUNU DN2KJ – 8 ohm, 102 dB sensitivity.

Connectivity couldn’t be simpler. Plug, play – it’s that simple. The Aegis is recognised pretty near instantly, and output simply switches to the Aegis no matter which app you are in. Interestingly (or perhaps ‘quirkily’) plugging something into the iP5S 3.5mm socket immediately pauses the player and also switches the output. But then unplugging automatically switches back to the Aegis again. It’s pretty nice integration actually.

Volume control is another matter – and one of the issues with the Aegis and my iPhone. The iPhone doesn’t have the best volume controls anyway – with each volume control push raising or lowering the volume by ~ 4 dB (measured with the DN2KJ, SPL meter, and set 1 kHz tone. There are 16 steps to the iP5S volume control – so gives me a dynamic range of 60 – 70dB (between about 30db and 100 dB give or take). From mute on the iPhone with the tone I’m using, it takes 8 steps (or halfway) to reach 80 dB.

Switching to the Aegis – using the same set-up – and it skips steps. From mute 1^st push gets me to 75 dB. Second clicks me straight to 80. 3^rd does nothing. 4^th gets me to 86 dB. 5^th does nothing. 6^th gets me to 92 dB. 7th does nothing, 8^th gets me to 92 dB. 9^th and 10^th do nothing. 11^th gets me to 102 dB. All up there are 7 usable steps, and each one raises the volume by at least 6dB. In short – things get very loud very quickly, and with no fine tuning. It becomes pretty much unusable with sensitive IEMs.


Aegis and iPhone 5S	Kaisertone app with gain knob

The solution is to use a third party app like Kaisertone – which employs a really good gain control – and then you can fine-tune. This works fine with music already on your phone. Not so good with streaming where once again you are limited to whether or not the streaming app has finer volume control. I noticed a small issue with streaming where I got a tiny bit of errant noise. It’s not major, and occurs seldom and sporadically – but it was there with the 5S. At this stage I'm unsure if this was actually EMI, or maybe more likely just a poor connection with Spotify. Something to note anyway for those who stream a lot and use iOS. I'd be interested to hear if anyone else has issues.

Anyway – back to Kaisertone, my own music on the iP5S and directly comparing the iP5 and the Aegis output. This bit is pretty subjective as I was doing the switching, and it wasn’t instant – time lapse of about 4-5 seconds. I did volume match both though to try and eliminate as much bias as possible.

I like the sound of my iPhone – as a portable player it has a wonderful GUI, and sounds pretty good. But after an hour of back and forth, my subjective opinion is that the Aegis sounds better. It’s somehow cleaner, and more dynamic – where the iP5S is a little flatter. Both sound really good – but the Aegis has the slight edge. To me it’s not a night and day improvement though – more a subtle one. As far as features standing out – the slightly cleaner sound could be construed as change in sound stage – but closer listening shows (to me anyway) there is no change to stage size, width, height etc – it’s more in the separation and space around instruments. The one thing I think I am hearing though is that with the Aegis, things seem a little more vivid / etched.

NETBOOK – DEBIAN LINUX (STABLE – MX-14)
Once again, using the DN2000J, but this time as a source, I switched to an older EEE Netbook 1015 PED with 2 Gb of onboard RAM. Plugging the Aegis was recognised immediately, and with MX-14 was just a matter of selecting the Aegis as default sound card. After that was a simple matter of starting Clementine, and playing music – so a perfect driverless system.

Volume management was a lot easier from the netbook. I could use sound mixer to control the basic volume, and then fine-tune the volume through Clementine’s own volume control.

Comparing the Netbook’s onboard sound with the Aegis was difficult, as my Linux install didn’t like the constant swapping of soundcard interfaces – so I next switched to a Windows 7 install on the same hardware where I could switch more rapidly.

NETBOOK – WIN 7 STARTER
This time, the Aegis wasn’t recognised (as I knew it wouldn’t), so I had to download and install the drivers from Cozoy’s site. This went without a hitch (easy install), so it was just a matter of plugging the Aegis in, starting Foobar200 and selecting the output device.

The first thing to notice with the Aegis is when using the Windows master volume control, I was getting the same big volume jumps, and there were definitely 7 distinct steps once again. So the issues with volume seem to be once again within the Aegis itself. The good news was that again with the third party player (Foobar) I had much finer volume control (via Foobar’s inbuilt volume control).

I should probably add here that compared to the Netbooks default volume, the Aegis is very loud with the DN2KJ – so loud in fact that ½ way on the windows master volume needed about -30 dB on the Foobar volume control. The Aegis is indeed powerful.

Switching between the Aegis and onboard sound showed differences which were far more obvious this time. The Aegis was richer and fuller sounding, while comparatively the Netbook was thinner and a little flat. It would be fair to say I really enjoyed the DN2KJ on this set-up, and one of the things I suspected was the possibility of impedance playing a part. As the output impedance isn’t known, I decided to play it safe and switch to my AKG K553.

The first thing I noticed with the AKG’s was that there was an absence of noise with the Aegis compared to onboard. The onboard can tend to be a bit brittle, and definitely isn’t the best noise free source. It’s not terrible – but it is noticeable when directly comparing. The Aegis again shows its refinement and detail. The only thing that I do find with the Aegis is that on brighter headphones there is sometimes a hint of a bit of upper end glare. Again we’re talking small increments – but the Aegis does remind me very much of my old Studio V3 AE DAP – mostly neutral, just maybe slightly on the bright side? Anyway – it is clear there is an improvement, and that is the main thing.

OUTPUT POWER – WHAT CAN IT DRIVE?

This was the bit where I threw caution to the wind and decided to try as many different headphones as I could. We already know it drives most IEM’s pretty well (sensitivity aside), and the AKG K553 had no issues at all. I stuck with the netbook, and tried in order, the 300 ohm Sennheiser HD600, 320 ohm VE Zen earbuds, and finally my 600 ohm T1.


Aegis and VE Zen - real synergy with these	Aegis and HD600 - I'd also love to try the HD650

The HD600 had plenty of usable volume, and sounded very clean and dynamic – again a little on the bright side through the top end. The Aegis was clearly having no issues driving them though. Switching next to the VE Zen, and once again the Aegis had no issues with available power. For me, the Zen had natural synergy with the Aegis, with the smooth and full (slightly warm) signature melding well with the detail and slightly bright signature of the Aegis. Finally – I plugged in the T1. This time I needed a lot more volume, but there was still plenty of headroom left. The T1’s sounded really good – especially in the bass and vocal range – but again some of that top end glare was there. For my tastes (and I usually like a bright and detailed top-end), the Aegis has the tendency to accentuate a little of the lower treble just a bit too much.

But Cozoy have definitely given us a power house with the Aegis. Despite their published output specs, this little unit is able to drive even high impedance headphones reasonably well.

FORMATS TESTED

I tested the Aegis with aac256, redbook (16/44.1), 24/96 and 24/192 high res FLAC files. To do this I used my main PC with the Aegis as DAC/amp. In all cases, the Aegis was able to successfully decode the files without issue.

VALUE & CONCLUSION

I’ve really enjoyed my last 3 weeks with the tiny Cozoy Aegis. I can’t really fault the aesthetic design, form factor and build. And the attention to detail in the styling is very good. This is a really well made little DAC and amp.

Sonically it is a very clean and clear sounding device – with a relatively neutral overall signature, but perhaps a little tendency to accentuate lower treble brightness. Or at least that is how it seems to me. When paired with slightly warmer sounding headphones (like the Zen) it has wonderful synergy, and I’d really love to try these eventually with an HD650. I think the combo might sound pretty spectacular.

Where the Aegis has issues is in its overall power consumption (with portable sources), and it’s volume control – which I find is the biggest drawback. This of course can be attenuated (no pun intended) by the use of third party apps with finer volume control.

Going back to my original list – I can say it has ticked my boxes for portability, ease of use, driving power, and improvement of sonics on the devices I tested. Unfortunately it falls short on its power usage, and usability with default apps. So that really leaves the question of value. At the suggested retail of ~ 299 USD, the Aegis is not a cheap option. If Cozoy can manage to fix the issues with volume control, and overall power draw, I’d consider their asking price to be very fair, and would definitely recommend it to others. Unfortunately with its current “issues”, it loses a little of its appeal to me. A good offering, and well deserving of a positive 3.5 stars.

RECOMMENDATIONS TO COZOY

First up – find a way of fixing the current volume issues, and then drop the current output (hopefully this will mean less of a power drain). Nobody is going to be really driving very high impedance headphones portably anyway – so sacrificing some power output for better portable integration with the source makes a lot of sense to me. Keep the form factor, aesthetics and everything else – the Aegis is wonderfully put together.

FINAL THANKS

My heartfelt thanks to Cozoy for allowing me to be part of the global review team. I’m really looking forward to seeing what you do in the future. I will be offering to send this unit to other Head-Fiers around NZ – as I’d like to generate more exposure to your brand in my part of the world.

@Brooko That's the theory, yes. But if you take X3ii, with PulseAudio it may render your Linux system unusable, while with plain Alsa it may work just fine. Sometimes PulseAudio plays very naughtily with some sound cards...

See e.g. comments in:
http://www.head-fi.org/products/fiio-x3-2nd-gen-ultraportable-hi-res-dap/reviews/13086

Neat review Brooko! Very well-written as usual. In this case, it lets me know that I definitely do not want to buy the product in-question, haha

Great review! Thanks Brooko!

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

I was first introduced to RHA (or Reid Heath Acoustics) during a review tour for the RHA T10i arranged by David (lin0003 on Head-Fi), and t would be fair to say that although the build and fit were impressive, the sonic signatures (even with filters) left me feeling disappointed - too bassy / warm. This time RHA have retuned the default signature to give some more top end and modified the bass so that it doesn't quite overshadow the mid-range. David again organised a tour with the new T20, and my thanks to him (and RHA) for giving me the opportunity to partake in it.

Reid Heath Acoustics (RHA) is a Scottish based headphone company. Their core values (from their website) are described as follows:
“We stand for true-to-life audio reproduction and lasting quality. With these values at our core, we work to deliver the most accurate, comfortable and unobtrusive listening experience possible. Every RHA product combines high quality materials, precision engineering and our fundamental commitment to design.”

Their current product catalogues ranges from the budget oriented MA350 (~ USD 40) to the current flagship T20 (~ USD 240) which I have the pleasure of reviewing today.

In the last couple of weeks I have spent as much time as possible listening to the RHA T20. Sadly I don't have a chance to directly compare to the original T10, but toward the end of the review I have compared the T20 to some other IEMs in similar price brackets.

In the time I've spent with the T20, I’d estimate that I’ve logged around 20-25 hours actual listening time.

DISCLAIMER

I was provided the RHA T20 (as part of a tour) from RHA and lin0003. I am in no way affiliated with RHA - and this review is my subjective opinion of the T20. The tour unit was returned at completion of the review.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portables (Fiio X5ii, X3ii, LP5 and iPhone 5S) to my desk-top's set-up (PC > USB > iFi iDSD). I also use a portable set-up at work – either X5ii/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1, Sennheiser HD600, and AKG K553. Most of my portable listening is done with IEMs - and at the moment it has mainly been with the Dunu DN-2000J, Trinity Delta, and Dunu Titan. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I used the RHA T20 mostly straight from the headphone-out socket of my iPhone 5S, and also from my Fiio X5ii. Whilst I have tested the T20 with portable amplifiers (E11K & E17K), IMO they do not benefit sonically from additional amplification. In the time I have spent with the T20, I have noticed no change to the overall sonic presentation (burn-in), but am aware that I am becoming more used to the signature of the T20 as I use them more often (brain burn-in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The RHA T20 arrived in a reasonably large, but attractive black retail box (in a very similar style to the original T10i). The front flap is hinged to reveal the inner compartment - which really does look very spectacular, with a full window view of the IEMs, accessories and tuning filters.

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T20 retail box	Rear of box	Inside cover

The inside flap of the box displays the make-up of the new driver, a little about the dual coil technology, some specification details, and a frequency graph. The rear of the box lists some more information on creating the custom injection moulding for the housing. It’s great to see so much information readily available – good job RHA.

Opening the T20 retail box gave me a feeling that this is indeed a premium product - it really does leave you with a little "wow" factor. Inside the retail case is an open inner box with foam inset which holds the T20 (cable nicely wrapped around the foam), filters and tips.

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Windowed section displaying T20 and accessories	Foam tray with T20 and accessories	T20 accessory package

Lifting the foam inset out further reveals a lower plastic compartment housing the carry case, manual, yet more tips, and a shirt clip.

The user guide is a mini multi-lingual booklet and is superbly designed, and informative, including a response graph, and full information on everything you may need to know about the T10i – from cleaning to getting the proper fit. A lot of thought obviously went into this. Kudos RHA.

The carry case is a large soft zippered case measuring approximately 127mm x 77mm x 25mm (at its deepest point) – so while it’s not pants pocket friendly, it does pocket very well inside a light jacket.. It is well padded, with generous inner pockets and a very soft outer covering which feels like soft Lamb Nappa leather – not sure if it is synthetic or not. The case is large enough to hold the tips in their steel display tray.

The tip selection is generous, and the tray includes 2 pairs of dual flange silicone, 5 pairs of single flange silicone, and 2 pairs of foam tips. The mounting tray is stainless steel, and once again gives a feel of something upmarket. The 3 bags inside the box contained a further 9 pairs of tips!

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Quality case	Copious tip selection	T20 and included filters

Lastly there is another stainless steel plate which houses the metal filters. Like everything else, it is both functional and stylish – and clearly states (treble, reference, bass) which filter is which.
Impression so far, like the T10i, 10/10.

TECHNICAL SPECIFICATIONS

(From RHA)

Type	Dynamic Driver Inner Ear Monitor
Drivers	Dual Coil Dynamic
Frequency Range	16 Hz – 40 Khz
Impedance	16 ohm
Sensitivity	90 dB
Rated / Max Power	2/5 mW
Plug	3.5mm gold plated
Cables	1.35m multicore OFC
Weight	39g
IEM Shell	Metal Injection Moulded (MIM) stainless steel shell

FREQUENCY GRAPH

The graph below is generated by a new measuring system I’m trialling – using the Vibro Veritas and ARTA software. I don’t have the calibration 100% correct yet – but the graphs I am getting are relatively close to Innerfidelity’s raw data (on other earphones), and I think are “close enough” to get a reasonable idea of the frequency response for the RHA T20. Over the coming months I’ll be adjusting a pre-set compensation curve so that I can get the graphs more consistent with Tyll’s curves.

What I’m hearing though (reference filter):

Bass that hits reasonably low and is a little above neutral in quantity
Very cohesive and quick mid-range with good transition between upper and lower mid-range. Clean and clear vocals with a little more emphasis on upper mid-range.
Reasonably extended upper end which falls short of sibilance, but has enough extension to nicely cover cymbals.

BUILD QUALITY / DESIGN

The RHA T20 has a two piece injection moulded stainless steel body which is one of the smoothest, and well designed IEM shells I’ve ever had the pleasure of wearing. The shell is a little under 20mm in length, 19mm in height, and 11 mm in depth (18mm if counting the nozzle length). The nozzle features a threaded cavity to house the screw in filters for personal tuning. On the exterior of the IEM body, next to the “RHA” engraving is a small mesh covered port – I’m assuming this is to vent the dynamic driver.

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Inner shell of T20	Outer shell of T20 (note the vent)	T20 with filters intact

The ear guides attach to the housing with excellent strain relief (blue for left, red for right). The ear guides themselves have been patented by RHA, and are very formable, with a soft and malleable protective outer sheath. I’m not sure what materials are involved, but they are one of the best example of formable ear guides I’ve encountered – and for me, are very comfortable. The T20 are designed to be worn over the ear only (my preferred method). The formable guides end with a strange 20mm plastic/rubber section which joins to the cable proper. I’m assuming this is simply to accommodate the join between the formable guides and the cable – but it does look a little strange and ungainly.

The cable is relatively thick and sturdy, well sheathed, and best of all does not display any memory or kinking. It is virtually microphonic free below the Y-split, but there are some microphonics above. Of course use of the shirt clip, and keeping the cable underneath clothing relieves most of this. At times I wish that the cable wasn't quite as bulky as it is - a little thinner would make it a lot better.

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Y slit and cable cinch	3.5mm straight jack	T20 with Sony Isolation tips fitted

The Y split has excellent cable relief, and an integrated cinch. The cinch works really well, and definitely helps remove any remaining microphonics. Like the T10i though, the apex of the Y-split sits just above my belly button (I’m 6 foot tall) which is really still far too low. The Y split is stainless steel, engraved with “designed by” and the signature of Lewis Heath (RHA’s Product Director) – a nice touch.

The cable terminates in a straight 3.5mm gold plated jack – with once again excellent strain relief. There is also the slight rubberised ring between the plug body and tip of the plug – which protects your device (and the plug) from metal on metal scratching, and also accommodates plugging into your average smartphone (with case attached). It works very well with my iPhone 5S.

So apart from the Y split length, the build quality and attention to detail is excellent.

FILTER SYSTEM

For tuning, RHA includes a 3 filter system on the T20 – bass (black), reference (white/silver) and treble (amber/gold). The filters are very easy to swap in and out – utilising a simple screw in thread. They have a rubber washer to ensure a secure fit.

In a departure from the original T10i I previously reviewed, this time the filters change the frequencies primarily between 2.5 – 10.0 kHz. So instead of changing the bass (which actually remains pretty constant throughout), they raise or lower the mid-range and lower treble (see graph).

This actually works pretty well – far better than the original T10i – but the one thing I’ve found with the T20 is that they have stuck to RHA’s “signature” with a more robust bottom end. As a result, their reference filter is once again a little too warm for strictly reference sound (IMO) but I do find it a lot more palatable than the T10i. My preference would be the treble filter (as the most neutral of the three).

Looking inside each filter, both the reference and bass filters appear to have acoustic foam or dampening material. The treble filter has none.

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I initially tried the included large silicone tips, and whilst they fit OK, I was unable to maintain a constant seal.

I did try the T20 with a variety of aftermarket tips including the Ostry tuning tips, Spinfits, Spiraldots and Comply S series sports foams. All fit brilliantly – but for the review I stuck to my tried and true (Sony Isolation tips). They fit perfectly with a brilliant seal, and great comfort. The angle of the nozzle and design of the housing create the perfect angle for my ears, and I could (and have) used these for hours at a time. Despite their weight, they remain one of the most ergonomically well designed housings I’ve used. I’ve included a photo of my daughter wearing the T10i from last review – the shells have the same dimensions – and she thought they were “pretty comfortable”.

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T20 with Spin-fits and Ostry tuning tips	Spriral dots and Comply S foam tips	Emma showing how comfortable the fit is.

Isolation with the T20 is better than average for me (not quite near Shure’s or Alclair’s almost perfect isolation – but very effective), and they would be good enough for public transport (despite the vent). Because of their flat profile (when worn they do not extend past my ear), I would have no issues at all relaxing or sleeping with the T20.

There is no driver flex present.

SOUND QUALITY

The following is what I hear from the RHA T20. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X5ii.

Tracks used were across a variety of genres – and most can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on Default Signature
When I first reviewed the T10i, I found them bassy and fatiguing, and at the time asked RHA for a more reference sounding IEM. They’ve definitely listened – and the T20 (whilst still having RHA’s signature warmth and thump) this time has a clear and detailed top end.

It’s still probably a little bassy for my tastes, and is quite V shaped in signature, but it’s a sonic combination which lends itself well to a variety of genres, and for those who struggled with the T10i, you may find the T20 to be a very pleasant change.

For the review – I’ve stuck with the reference filter.

Overall Detail / Clarity
For this I always use both Steely Dan’s “Gaucho” and Dire Strait’s “Sultans of Swing” as there is a lot of micro detail in both tracks, and the recording quality for both is excellent.

The T20’s detail retrieval is very good on both tracks. The sax intro on Gaucho has enough tone to be both natural sounding and pretty smooth. The bass guitar might be slightly more emphasised than I’d personally like, but it’s not overpowering everything, and there is plenty of detail coming through with cymbal and hi-hat.

Sultans of Swing is more of the same, dynamic and fast. The bass guitar is there but not overblown, and more importantly there is some excellent detail coming through with cymbals and the click of drum sticks. Knopfler’s guitar has good edge, and his vocals have good contrasting tonality.

Sound-stage & Imaging
Next up is Amber Rubarth’s binaural recording “Tundra”. It’s usually difficult to get a reasonable stage size from an inner ear monitor. The stage is often quite small / close – with an average impression of space. The T20 has an intimate stage with this track – maybe just at the perimeter of my head. Imaging is very good and very consistent though. I have a very clear idea of where everything sits.

Switching to “Dante’s Prayer” and the T20 again was very good. It captured Loreena’s vocals really well – and the whole performance was intimate but enjoyable. In this track, the applause at the end is so well presented that with some headphones (HD600) I can actually close my eyes and imagine myself in the crowd. With the T20, I was getting some immersion – so a nice display of width and depth.

Last was Amanda Marshall’s “Let It Rain” – and this track is a good one because it has a naturally holographic feel about it, and can convey an amazing sense of space with the right headphones. That holographic quality shone through with the T20 (it really is good with female vocals)!

Bass Quantity and Quality
Muddy Waters is a track I use to evaluate bass quality. This blues rock track is quite dark and brooding anyway, and usually exposes any muddiness or bass bleed. The T20 was really good with this track – visceral impact in the lower bass, and also conveys the timbre and gravel of Mark’s voice with aplomb. I was expecting a little bass bleed with the slightly enhanced base quality – but I was pleasantly surprised at how clean the bass is with this track.

Next to see how low the bass would go – so I switched to Lorde’s “Royals” – and once again the T20 delivered right from the opening notes. When the bass guitar kicked in, the low bass was copious, and this time there was a little excessive bloom into the mid-range. Ella’s vocals remained crystal clear though – and I can see this signature being quite popular with anyone liking a little more oomph. For me though – it’s a bit too much.

As this is an IEM that does have a bass emphasis, I wanted to try it with a little trance – so I switched to some AVB, and this time it hit the spot. Plenty of impact, and once again, a really nice vocal presence. I think any fan of this genre (or EDM) is going to quite like the T20.

Female Vocals
A lot of my music revolves around female vocals – jazz, pop, rock, electronic, or even opera. I’m an unabashed fan. For me personally, the sign of a good IEM (for my personal tastes) is how successfully it conveys emotion and timbre with my female vocalists. My early litmus test is usually queuing Agnes Obel – as some of her recordings can become quite strident or shouty if the mids aren’t quite right. The T20 is not perfect with this track, displaying just a little hollowness in the beginning, but it got better as the track progressed,a nd the presentation of the cello was excellent.

So I ran through my usual medley of other tracks from artists including London Grammar, Angus & Julia Stone, Christina Perri, Gabriella Cilmi, Feist, Florence and the Machine, Lianne La Havas and Norah Jones. For the most part, the T20 was excellent, and my biggest complaint (for my tastes) was when the bass very occasionally had a little too much thump – but I know I could fix that simply by a little EQ.

Anything with true thump (Feist / FaTM) was definitely very dynamic – and actually pretty enjoyable in small sessions. All in all, the T20 handles female vocals pretty well.

Male Vocals
Switching to Male vocalists meant delving into my rock and grunge genres. I kicked off with 3 Doors Down, and then moved onto some Alter Bridge, Eagles and even a bit of Seether (accoustic). The T20 does seem to nail rock really well. The first noticeable thing is the combo of guitar and drum – the T20 brings great dynamics to play with rock tracks. The second noticeable thing is the improved clarity, and what it brings to guitar crunch and cymbals in particular. Male vocals have good texture and tone – and whilst not as full as something like the DN2000 – very enjoyable.

The T20 has everything really good rock needs – very good speed, clarity and timbre, good bass impact (again sometimes just a little on the heavy side), and the ability to contrast really well. Acoustic rock is also a standout (Lofgrens’ “Keith Don’t Go” and Eagle’s “Hotel California” were both phenomenal).

Time again for my usual litmus test – Pearl Jam. Vedder’s voice is good with the T20 – nice timbre and tonality. Not noticeably thin. Cymbals in particular are rendered very well, as is the snare. It’s not the best I’ve heard – but it is up there. I could happily listen to the T20 for ages with PJ.

Other Genre Specific Notes
Rather than go into details on genre, I’ll simply cover each with a few sentences.

I’ve already covered Rock and derivatives. Alt-Rock (Floyd and Porcupine Tree) was very good on detail. Sometimes the bass guitar tended to dominate – but a touch of EQ would easily tame this.

Jazz, Blues and Bluegrass were all very good with the T20. The added detail really helps, especially with both cymbals and also brass. Stringed instruments also benefit from the added clarity. The bass is very good with double bass – good timbre and tone.

Rap, EDM and Pop are very dynamic and I have little doubt that bass lovers will enjoy the T20. It’s not over the top – but is very present. For my own tastes, I once again find the mid and low bass sometimes just a little too present – but once again easy to EQ.

Classical and Opera were also surprisingly good, and I guess this once again where the extra top-end really helps. Because a lot of this music is not bass dominant, the overall presentation is really enjoyable – particularly string quartets, solo violin. Cello is also very well presented, and Zoe Keating’s recordings are sublime with the T20.

I also own a lot of Indie music and the T20 was really good with this. Bass was a little too much for me with Wildlight, but Band of Horses was just brilliant. Add the presentation of female vocalists as well, and the T20 was really hitting the right spots.

AMPLIFICATION REQUIREMENTS

The T20 is easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or from any of the Fiio’s. With typical pop/rock songs on the iP5S I’m usually at a volume level of around 30-40% (depending on the dynamics of the track). I did try amplifying the T20 with the E11K and E17K (and even the iDSD), but noticed no major improvements outside added volume. So far I’ve had no issues with hiss.

EQUALISATION

I only used this sparingly, and it was mainly because the filters change the upper end rather than the lower end. For me it just involved a cut in bass from around 125 Hz down. This just had the bass behaving a little more for my own tastes, and really did “complete” the T20. They respond to EQ well.

COMPARISONS

I’ll make these very quick. I compared the T20 side by side with some of the other IEMs I have in similar price brackets. With the comparisons, I first volume matched with a 1 kHz test tone and SPL meter. I had a fast switch set-up in place with a splitter and volume attenuator for the volume matching. This section is very subjective, as it is sighted, the change between IEMs took about 5-10 seconds, and I knew exactly which one I was listening to. But it is my honest thoughts on where the T20 sits for my own personal tastes.


Frequency graph	DN2K, Altone 200 and RHA T20

RHA T20 vs Altone 200
Build quality goes to the T20, although both are built exceptionally well. Fit and comfort are pretty even – different styles, but I find both very comfortable. I prefer the Altone’s thinner cable. Sonically the Altone is a little thinner and a little brighter through the mid-range. They both sound similar though with a definite V shape. T20 has more bass impact. My preference = T20

RHA T20 vs DUNU DN2K
Again although both are built exceptionally well, the T20 gets the nod on overall build. This time the T20 is definitely the more comfortable fit, and once again I prefer DUNUs cable to RHA’s. Sonically these are very different with the DUNU being more balanced overall, a lot warmer, and a lot thicker in note tone. The RHA is a little more pronounced in vocals (particularly female). To me the T20 has more overall bass dynamic impact, but the DUNU has more comparative quantity. My preference = T20


Frequency graph	Trinity Delta, DN2KJ and RHA T20

RHA T20 vs Trinity Delta
Interesting match up. Build quality is fairly even – but the T20 would be more robust. The Delta has the far better cable (it’s not close), and the filters on the Delta I think are better tuned in the changes they bring (over whole frequency range). Both are extremely comfortable to wear long term – but the Delta is slightly easier to fit, and the T20 slightly more comfortable. Sonically the two are similar but the Delta is a little smoother and more balanced while the T20 is a little more V shaped. The T20 has a little more edge in upper mid-range. Both have plenty of thump down low. If anything I quite like the T20’s low bass emphasis over the Delta’s more mid-bass slant. If I switch to the bass filter on the Delta it actually comes pretty close the to the T20 signature. My preference = Delta

RHA T20 vs DUNU DN2KJ
Both are built exceptionally well, but once again the T20 gets the nod on overall build. The T20 is also the more comfortable fit, but once again I prefer DUNUs cable to RHA’s. Sonically these are quite different with the DUNU being a lot more balanced, a touch weightier through the vocal range, and also a little brighter. The T20 has a lot more bass, but the DUNU has more quality of bass presentation. My preference = DN2KJ

RHA T20 - SUMMARY

I was rather a vocal critic of the original T10i, and one of the things I (and others) asked of RHA was a more balanced IEM with similar build but more emphasis on clarity, and a little less on bass. RHA have responded with a pretty well tuned IEM, and I think a lot of people will like these.

Like its predecessor, the T20 has phenomenal build, a nicely ergonomic shell (great comfort for me personally), and comes with an exceptional accessory pack. The filter system on the T20 this time nets some changes in the upper mid-range, and lower treble – but sadly don’t change the bass very much, which is a pity as that is the one area I would love to shave a few dB from.

Like the T10i, the T20 does carry quite a bit of bass – but this is less warm, more controlled, and does not dominate like its sibling.

The T20 will appeal to lovers of a V shaped signature, and particularly those who like a nice thump with their music. Personally it’s still not tuned to my overall preferences, but I am very impressed with how far they have come.

At around $240 on Amazon, the T20 represents good value – especially when you combine sonics, build and accessories. I would recommend them as long as potential owners are aware of their bass output.

Once again thanks to RHA and David for including me as part of the tour.

RECOMMENDATIONS TO RHA

Firstly, thanks for allowing us the chance to sample your products. I really appreciate it. I think the cable needs some work. Just a little more flexibility (and a little less bulk) would really help. And I’d really like to see a filter system that allows tuning of the bass. Bravo on the improvements so far though.

good review. thanks for writing it.

@Brooko

@Brooko Hello,
First thanks for the review.
I'm about to buy new earphones. I hoped that maybe you could help and that would be highly appreciated.
My previous ones were beyerdynamics dx 160. I would like to buy new ones since i'm through a second pair of 160's due to cable issues... Im thinking between the RHA t20's and Shure 425's.
I listen 80% of my music with iPhone 6 plus using Spotify. Haven't thought of having an amp.
I listen to all kinds of music from James Brown to Cro-mags and from Brian Eno to Jethro Tull.
I like that there is bass present. on dx 160's the bass kick is nice but it's quite muddy and empowering. So what i'm after is nice sharp bass that doesn't cover everything under it.
I don't have the chance to test Shure's and RHA's back to back since we don't have reseller that stocks both.
Which would you prefer as first "proper" IEM? I have tried the RHA's and since in wearing glasses the cord was bit chunky but I could live that.
My biggest concern is the bass in both of the models does it have enough kick for my taste. And also I wonder the Shures build quality against the RHA (plastic vs. metal). Also what 1-2 two songs would you recommend to test these products? Thank you very much in advance.
Best,
Jan

Hi Jan
Don't worry about the build on the Shures - it is very good. The Shures are more neutral or balanced overall, where the T20 is more of a V shape -(enhanced bass and lower treble), so it really depends on your preferences. Another too look at - which i think would suit you pretty well (and is about the same price) is the Alclair Curve. It is a wonderful IEM. I still listen to mine regularly - despite having much more expensive options at my disposal.

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION
Brainwavz is a well-established manufacturer of headphones in the value for money category – offering many different options (especially for IEMs) that suit almost anyone’s sonic preferences. I’ve previously had both good and bad experiences with their headphones / IEMs – I previously reviewed and owned their B2 IEMs and HM5 headphones, and both were stellar performers. I also sampled their R1, R3, S5, S0, M1 and R3 V2 IEMs – and whilst some have been (IMO) solid performers, others haven’t been quite as well aligned with my preferences.

I’ve had regular contact in the past with Audrey from Brainwavz (sorry to see you leaving Brainwavz Audrey – but wish you luck for your future), and more recently from Pandora. I have to admit, I really wasn’t sure what to do when Pandora approached me to review the Jive. I’ve had a lot of reviews queued, and a sub $30 earphone wasn’t high on my list. But this was a stark reminder that price sometimes plays very little part when it comes to quality. The Jive arrived a little over a week ago – and I’m pleased to say I have been very pleasantly surprised, and very happy to use these all week.

I’ve easily spent 20+ hours with these already, simply because they’ve been so pleasurable to listen to. I’ve also spent a little time with different sources, and tip rolling to get a good idea of what these little dynamos can do.
I’ve listed price at USD $28.00 (current MP4Nation price at time of writing) – however this is not what I paid for them (they are a review sample).

DISCLAIMER

I was provided the Brainwavz Jive as a review sample. I am in no way affiliated with Brainwavz - and this review is my subjective opinion of the Brainwavz S5. I would like to thank Pandora and Prithvi for making this opportunity available.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portables (Fiio X5ii, X3ii, LP5 and iPhone 5S) to my desk-top's set-up (PC > USB > iFi iDSD). I also use a portable set-up at work – either X5ii/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1, Sennheiser HD600, and AKG K553. Most of my portable listening is done with IEMs - and at the moment it has mainly been with the Dunu DN-2000J, Trinity Delta, and Dunu Titan. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

Over the time I’ve had them – I’ve used the Brainwavz Jive from a variety of sources, but for this review, I’ve mainly used it with my iPhone 5S (both with and without the Aegis dac/amp), and also the Fiio X1 (trying to match a budget set-up). In the time I have spent with the Jive, I have noticed no change in the overall sonic presentation – but I have noticed my own impression of them change (brain burn in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The Brainwavz Jive arrived in a plastic retail box. The style and print is quite simple but attractive, but it is definitely a little on the flimsy side (mine arrived a little bent and the worse for wear from the courier journey). On the rear of the box is a list of the accessories and also specifications.

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Front of the retail packaging	Rear of the retail packaging	Old case (L) vs new case (R)

Inside the retail box is a new Brainwavz case – still in the traditional red and black, but this time longer and narrower than the traditional Brainwavz case. The case is really sturdy though, and very good quality – supplying both protection and functionality. It consistently amazes me that even with their more budget offerings, Brainwavz never skimps on the carry case.

The accessory package is a little more sparse than most typical Brainwavz offerings though, and more befitting the Jive’s budget status. This time you 3 pairs of silicone ear tips (S, M, L) and one pair off genuine Comply S400 foam tips. You also get a combined instruction manual and warranty card, a shirt clip, and a Brainwavz sticker.

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Accessory package	Tip selection	Tips in profile

Lastly is a nifty little velcro cable tie. I’ve mentioned before that this is a nice little innovation – but to be honest I find it a little long and a little bulky – unlike DUNU’s on cable ties. I have used them before for my full sized headphones though, and they are quite handy.

TECHNICAL SPECIFICATIONS

(From Brainwavz)

Model	Brainwavz Jive
Drivers	Single dynamic, 9mm
Shell	All metal
Rated Impedance	16 ohms
Frequency Range	20 Hz – 20 kHz
Sensitivity	98 dB @ 1mW
Cable	1.3m, with mic + 3 button control
Plug	3.5 mm gold plated, 45 degree angle
Weight	14g (with comply tips fitted)
Fitting	Straight down or over ear

FREQUENCY GRAPH

The graph below is generated by a new measuring system I’m trialling – using the Vibro Veritas and ARTA software. I don’t have the calibration 100% correct yet – but the graphs I am getting are relatively close to Innerfidelity’s raw data (on other earphones), and I think are “close enough” to get a reasonable idea of the frequency response for the Brainwavz Jive. Over the coming months I’ll be adjusting a pre-set compensation curve so that I can get the graphs more consistent with Tyll’s curves.

What I’m hearing though:

Nicely balanced bass with decent extension, a little elevated compared to the mid-range, but not what I would call excessive.
Very cohesive and quick mid-range with good transition between upper and lower mid-range. Very clean and clear vocals. Probably a little more emphasis on upper mid-range and on the slightly brighter side of neutral.
Reasonably extended but clear upper end which falls short of sibilance, but has enough detail to satisfy those who like the slightly brighter side of things.

BUILD QUALITY

Like the S5 and S0, when you first look at the shells of the Jive, you’re likely to conclude (especially at the price level they’re targeting), that the body is hard moulded plastic. Up close – it even looks like purple shiny plastic – but according to Brainwavz it is actually a metal alloy. The build quality on the Jive shell appears to be very good – smooth, nicely shaped (almost like a cross between the S0 and M1). It is 2 pieces, but with the pair I have, the join is hardly noticeable.

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Coiled Jive with velcro tie	The Jive earpieces	Side view - very good strain relief

The body is slightly conical, 21 mm from rear to nozzle tip, and approx. 11-12mm in diameter at its widest point. The nozzle is approximately 5mm long with a generous lip and has a mesh protector in place. It is 5mm in diameter and the Comply S400 tips are a perfect fit. Left and right markings are very clear ion the earpieces – but you can always tell which is which, as the 3 button control is on the left side of the cable. There is no visible venting in the Jive body.

There is generous strain relief from the housing exit, and also at the Y split and jack. The cable is a 1.3m copper cable in an outer rubbery sheath. It is quite thin between earpiece and Y split, but much more sturdy between y-split and plug. It is reasonably pliable, and has very low microphonics.

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Front view	Meshed nozzle	Top (or bottom) view - depending how you wear them

The pair I have has a 3 button iPhone control and mic – allowing volume changing, and also play/pause (one push), next track (two pushes), and previous track (three pushes). The buttons worked perfectly on my iPhone, and the track controls worked OK with my X1 (with one fault – I could pause, but not restart, using the buttons). I did test the Jive with taking a call (with a client actually), and it was very clear at both ends. There was the usual hollow sound on my end due to the isolation and slight bone conduction.

The Y-split is brilliant, and actually has a slider / cinch which works perfectly – even with the i-controls. Other companies should look at this design as it is possible, and is very well implemented.

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3 button i-controls	The neck cinch and Y split	Angled jack

The jack is an angled about 45 degrees, seems to be very solid, and I have no issues fitting it to my iPhone – even with the case intact.

For $28 this a really well built IEM !

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I initially tried the large silicone tips included, and I couldn’t get a proper seal. I next tried a number of tips including Spinfits, Ostry blacks/blues, Spiral Dots, and my Trusty Sony Isolation tips. When I did achieve a really good seal, I did notice some very slight driver flex (lack of venting ), and I did get some issues with vacuum pressure with my Sony tips – pressure changing with jaw movement. So I then switched to the Complys, and ….. perfection (for me). Really good comfort, good isolation / seal, and no more pressure issues.

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Spiral dot (L) and Ostry black (R)	Spinfit (L) and Sony Isolation (R)	My preference - the included Comply S400

All the tips I tried stayed intact with the Jive during insertion and removal, so the design of the nozzle definitely gets thumbs up from me. Isolation with the Comply tips is very good, and I’d be tempted to use them on public transport.

Because of their diminutive size, they are very comfortable, and I’ve had no issues sleeping with the intact (they do not protrude past my outer ear).

SOUND QUALITY

The following is what I hear from the Brainwavz Jive. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with both my Fiio X1 and iPhone 5S as source.

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iPhone + Jive	iPhone + Cozoy Aegis + Jive	Fiio X1 + Jive (budget bliss)

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on General Signature
As I outlined above, the Brainwavz Jive has a gentle U or V shaped signature with some emphasis in the bass (particularly the lower bass), a peak around 3kHz, and a smaller one around 6kHz. The result is some really good deep bass when it’s present in the music, but the Jive doesn’t become overly warm for lighter music. I really like this. It has a nice balance through the mid-range and is particularly impressive with my female vocalists. The peak at 6kHz brings vividness and detail while avoiding (for me anyway) sibilance or glare.

I was wondering earlier in the week what the Jive remind me of – and it came to me over the weekend. These sound very similar to the Altone 200 – just with a little less of the V emphasis, and not so much impact in the bass.

Overall Detail / Clarity
I started with Steely Dan’s “Gaucho” and Dire Strait’s “Sultans of Swing”, and immediately I was impressed with the ease with which detail is presented. The Jive covers all the detail with surprising clarity – but higher end detail from cymbals is not glary or etched. What I love is that I can hear the brush and delay with the cymbals – it’s not simply cut-off. They sound like a cymbal is supposed to sound.

The Brainwavz Jive is a pleasure to listen to with both tracks. The bass guitar is apparent with both tracks – but it isn’t overpowering. There is nice crisp edge to lead guitar, and vocals are both focussed and nicely coherent in the mix. Micro details with the snare and even the click of drum stick on drum stick come through really well.

Sound-stage & Imaging
Next up was Amber Rubarth’s binaural recording “Tundra”. I always use this because it’s a pretty simple way to get comparative data on sound-stage.

It’s usually difficult to get a reasonable stage size from an inner ear monitor. The stage is often quite small / close – with an average impression of space. The Brainwavz Jive, because of its bright clear tuning, does seem to convey a reasonable width for an IEM – but it’s never going to be described as overly spacious. The presentation is very clear though, and imaging is really clean and consistent (and accurate). With this track, presentation is just on the boundary of my head-stage which is a feat in itself.

I also used Loreena McKennitt’s “Dante’s Prayer” and the Jive was very good with this track – delivering an intimate performance, but really good contrast between the beauty of McKennitt’s vocals and the melancholy (but gorgeous) accompaniment of the cello. In this track, the applause at the end is so well presented that with some headphones (HD600) I can actually close my eyes and imagine myself in the crowd. With the Jive, I wasn’t quite inside the crowd, but I could place it around me – so more strengths here on width than depth – but impressive all the same.

Last was Amanda Marshall’s “Let It Rain” – and this track is a good one because it has a naturally holographic feel about it, and can convey an amazing sense of space with the right headphones. That holographic quality shone through with the Jive (it really is very good with female vocals!), but again more a sense of width than depth.

Bass Quantity and Quality
Muddy Waters is a track I use to evaluate bass quality. This blues rock track is quite dark and brooding anyway, and usually exposes any muddiness or bass bleed. The Jive was brilliant with this track – really nice impact in the lower bass, and I was surprised how quick, and how little decay it shows for a dynamic driver. I remember someone saying that it was tuned like a BA – and the bass speed seems to reflect that. There is absolutely no bass bleed in this track, and its overall presentation has good presentation of both the low bass, and also conveys the timbre and gravel of Mark’s voice with aplomb.

I wanted to see how low the bass would go – so switched to Lorde’s “Royals” – and the Jive delivered right from the opening notes. When the bass guitar kicked in, it felt like the low bass was actually moving air – very impressive. Again there is no excessive bloom from the bass guitar or kick drum. And once again, despite the quantity of bass presented, Ella’s vocals remained crystal clear.

Female Vocals
A lot of my music revolves around female vocals – jazz, pop, rock, electronic, or even opera. I’m an unabashed fan. For me personally, the sign of a good IEM (for my personal tastes) is how successfully it conveys emotion and timbre with my female vocalists.

I already knew from earlier testing that the Jive was a winner with female vocals. But my litmus test is usually Agnes Obel. For some reason IEM’s that are slightly “off” seem to play this track with a hollow or slightly strident tone. The Jive is perfect – and I do mean perfect. Agnes’ vocals are sweet and slightly euphonic, whilst the accompanying cello is beautifully deep and almost mournful (wonderful timbre). I have to keep checking whether this is still the Jive have in my ears – as the sonics for a sub $30 earphone are really quite something.

And so it continued with every one of my other female vocalists – Hannah Reid (London Grammar), Christina Perri , Gabriella Cilmi, Florence and the Machine, Feist, Norah Jones – it didn’t matter what I played. The Jive portrayed my female artists incredibly well – dynamic bass, sweet vocals, powerful when it needed to be, and never strident.

Male Vocals
At the other end of the scale sits a lot of my rock tracks – from acoustic to classic rock, and even a little of the heavier stuff.

The Jive continued to perform well with very good bass impact, clear vocals, and nicely balanced guitars and other instruments. To be fair male vocals aren’t quite as deep tonally as I’m used to with other IEMs, and if there was a slight weakness in the tonality this would perhaps be it. Once you adjust to it though, the music remains dynamic, clear and very enjoyable. 3 Doors Down, Green Day, Breaking Benjamin, Seether all were portrayed well and once again the vocal clarity was really good – if maybe a little on the thin side.. The Jive also had no issues with Diary of Jane (Breaking Benjamin), which can overwhelm some drivers, so really good effort.

My test for male vocals though is always Pearl Jam. The Jive had great contrast, amazing clarity, and again the one critique I’d have is that Vedders voice just didn’t quite have the depth and timbre. Enjoyable – but not perfect.

Other Genres
I tested the Jive with all of my main listening tracks, and there was no real weakness (for my preferences) anywhere. Rather than going through this in detail, I’ll simply say that presentation for Alt Rock (especially Porcupine Tree) was outstanding, and also wonderful with Jazz and Blues. Side note here – Portico Quartet’s “Steepless” with Cornelia was simply stunning.

Electronic music was also really good – with the added low bass providing plenty of slam – Little Dragon and Lindsay Stirling both “sang” on the Jive. Rap was tested with Eminem’s “Lose Yourself”– crystal clear, and the bass was again visceral with its impact. Again – just a little thin with Marshall’s vocals though. Still enjoyable none-the-less.

Pop and Indie were also very good. Adele can sometimes show a little bit of sibilance with earphones that are too hot in the 6-9 kHz range, and the Jive exhibited no signs of it. For Indie, I listened to Band of Horses and Wildlight – and the Jive was very good with both artists – especially Wildlight. The combination of deep bass in the back bat, and Ayla’s sultry tones – magic!

With Classical and Opera there was a enough sense of space, dynamics, timbre and tone to be enjoyable. Standouts for me were Netrebko and Garanca with the Flower Duet, and Zoe Keating’s cello (Escape Artist) was similarly captivating..

AMPLIFICATION REQUIREMENTS

The Jive is very easily powered straight out of virtually any portable device, and I didn’t experience any issues with any of the DAPs I tested (iPhone 5S, or any of the Fiios). With the X1, I was usually sitting around 30-35/100 on low gain (plenty of headroom), and on the iPhone between 30 and 40%. I did test the X1 with the Fiio E11K and E17K, and I couldn’t say either added anything sonically once volume matched.

COMPARISONS

I thought perhaps the best I could do here was pit the Jive up against some of the IEMs I have at my disposal, and give my impressions on performance.

When testing, I always volume matched first at 2 kHz using an SPL meter and test tones. Where I’ve shown a graph – it was always produced with the same tips, same volume etc.

Jive $28 vs M1 $44.50
The Jive is leaner and brighter. The M1 is fuller and a little warmer through the mid-range and mid bass. The Jive has little more down really low though. Both have a nice balance and are very clear. The M1 came in a nicer box with more accessories, but its cable (while sturdier) also has annoying memory. The Jive has the i-controls. Both are very good earphones for the money, and this one is really case of preference. If you prefer leaner and brighter, the Jive is amazing value – but if you like a little more depth and warmth – the M1 is hard to go past.

Jive $28 vs Hyperion $45
This one is similar to the Jive vs M1. Again the Jive is leaner and brighter, while the Hyperion is fuller and warmer – but with quite a little peak up top. Both are very clear, and have good overall balance. The Hyperion is definitely superior in build, accessories, and its cable is one of the best on the market. Both are again exceptional value – and like the M1 (above) come down to preference.

Jive $28 vs S0 $49.50
The S0 is again warmer and darker – while the Jive is thinner and brighter. This time, the Jive is actually better with micro detail presentation, and the S0 can be slightly too bassy. After a bit of time with the S0, the Jive sounds very lean, but conversely, after getting used to the Jive – the S0 sounds quite bloated and overly warm. The S0 has the better accessory package and overall build, but I actually prefer the Jive’s overall fit.

Jive $28 vs S5 $99.50
The S5 has quite a warm and bloomy bottom end, but the heat up top is quiet noticeable and these definitely seem a bit more V shaped. Comparatively the Jive this time seems a bit more balanced and natural sounding – although still on the bright side bright. Once again the S5 has the better overall build, but I prefer the Jive’s fit (not really a fan of the S5 cable). If I had my choice, I’d like the Jive signature in the S5 shell, with a Trinity cable J

Jive $28 vs Altone200 $135-185
I know this is not a fair comparison - $28 vs $150 ish – but they sound so alike, I wanted to compare with them. Tonally they are extremely similar with the Altone having a slightly more robust (boomy) lower end, and a slightly more vivid upper end. Both have very similar tonal balance though – the Altone is just a little more resolving and is maybe a little fuller in body. The Altone of course kills it on overall build quality – but even though I love the Altone’s signature, I’m scratching my head with how close the Jive gets on overall sonic performance. And the Jive’s bass is actually cleaner.

BRAINWAVZ JIVE - SUMMARY

When Pandora approached me about reviewing the Jive, I have to admit my initial thoughts were – do I really want to spend a week researching a sub $30 IEM? It has been a timely reminder for me that price does not always indicate how good (or bad) audio gear is.

The Brainwavz Jive comes in budget packaging, with a sparse but acceptable accessory package (the case is once again really good), but with pretty good build for a $28 IEM. There is some very good innovation with the cable slider (first time I’ve seen a cinch combined with a mic and control buttons which really works!).

Overall the build quality looks really good – with maybe a single question mark about the thinness of cabling between the y-split and earphones.

They are lightweight, very comfortable, and easy to fit.

Sonically they are incredibly clear, and although a little thin in the male vocal range, have good sub-bass impact, and nice cohesion throughout. They are a little on the bright side of neutral – so if you are treble sensitive, or like a fuller richer tonality, they may not be for you.

I find them very good (for my own personal tastes), and at the ridiculously low price of $28, I would have no hesitation in recommending them to family, friends, and complete strangers.

Solid 3.5 stars for me – solely based on what they bring to the table for the cost they are offered at. I really like these. But fair warning to anyone who is used to a warmer fuller richer tonality – you may well find the Jive just a little cool and thin.

RECOMMENDATIONS TO BRAINWAVZ

A bit concerned about the cable between Y-split and ear pieces – but I don’t know if this is a weak point or just my paranoia.
Maybe next time, a pinhole vent if you are using a dynamic driver?

Thanks once again Pandora and Prithvi – I’ve really enjoyed my time with the Jive.

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Jive + X1 + E11K (A3)	Brainwavz Jive with Comply S400	One of the best low budget IEMs I've tried

Nice review, as always. The more you use these, the better they get. I'm at over 150 hours and counting...I like them that much

Really the best lower end effort from Brainwavz yet.

Very enjoyable read Brooko. Thanks.

PS: Once you are done putting the Veritas through its paces, please consider making a thread with your thoughts on it.

Thanks. Hoping to do a proper review and summary of Veritas and ARTA in about 3 weeks. Still need to calibrate it properly first.

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

I’ve been lucky on my Head-Fi journey to meet and converse with some wonderful people who share my passion for the hobby. Among this group is a chap you all know as d marc0, and recently he asked me if I’d like to participate in a tour involving the new Noble Savant – a universal multi-BA IEM which Noble has released recently. Having never heard any of Noble’s offerings, but knowing that they have a wonderful rep on the forums for their customs (especially the TOTL K10), I immediately said yes, and have been looking forward to their arrival. So 10 days ago, I received the Savants, and since then I’ve been putting them through their paces as much as I’ve been able to.

For those who don’t know anything about Noble, I PM’d Dr. John Moulton, and he graciously supplied me with a little bit of information, which I’d like to share with you. John (AKA Wizard) is a qualified Audiologist, and originally practiced in the US for several years (also owning his own hearing aid company). He then moved to Thailand (working for another hearing aid company), and while he was there, he further honed his skills, and learnt all he could about CIEMs, circuitry etc, and began building rapport with suppliers. He also built a product line, wrote some website content, and essentially had all but established a new company ready to start. At that stage he met Brannan Mason, and the two became friends.

After launching a CIEM company, Brannan joined with John and help to distribute products and also assisted in sourcing supplies. After about two years it became apparent to John that he needed to strike out on his own, and so he and Brannan formed Noble. In a relatively short time, they have built a formidable product line which is recognised throughout the audio community as having very high quality sound, and (in the custom line) incredibly unique and striking designs.

Their latest release is the Noble Savant, and this is the universal model I will be reviewing. The model I have is the entry level Savant Universal, priced at USD 599.00.

DISCLAIMER

I was provided the Noble Savant as part of a mini-tour organised by d Marc0. I’ve now had the Savant for approximately 10 days, and I’d estimate I’ve probably spent around 40 hours listening time with the Savant before I started writing this review.

I am not associated with Noble in any way, I am receiving no form of compensation for this review, and this is my subjective opinion of the Noble Savant. At the conclusion of the review, they will be sent to the next person on the tour.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portables (Fiio X5ii, X3ii, LP5 and iPhone 5S) to my desk-top's set-up (PC > USB > iFi iDSD). I also use a portable set-up at work – either X5ii/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1, Sennheiser HD600, and AKG K553. Most of my portable listening is done with IEMs - and at the moment it has mainly been with the Dunu DN-2000J, Trinity Delta, and Dunu Titan. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

Over the time I’ve had them – I’ve used the Noble Savant from a variety of sources, but for this review, I’ve mainly used it with the iDSD (home), and straight from the headphone-out socket of my Fiio X5ii and also my iPhone 5S. Although I have tested them with an amplifier (E17K, E11K, and of course the iDSD), I do not think they benefit from additional amplification (at least I have noticed no remarkable improvements). In the time I have spent with the Savant, I have noticed no change in the overall sonic presentation – but I have noticed my own impression of them change (brain burn in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

Point to ponder ….. why “Savant”? The literal meaning is ‘learned, scholarly, wise’. Perhaps it could also be extrapolated to refined and cultured?

PACKAGING AND ACCESSORIES

The Nobel Savant arrived in a plain outer box, simply printed with the word Noble and the Noble logo printed centrally on the top cover, and the model and serial number (216) in the top left. Opening the outer box revealed John’s “Wizard” signature on the inside front panel, and the Noble printed sleeve (which reminds me very much of the HD600’s marbling), over a simple but rugged Pelican case. Also included in the box are two Noble logo stickers.

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Outer Noble box	Inner sleeve	Inner sleeve and stickers

Opening the Pelican case reveals the Savant, and accessories, all nicely packaged in clear snap lock bags, and also two Noble branded bands (for either securing your case, or could be used strapping n amplifier to your DAP of choice).

The case itself is beautifully lined with soft foam inside – perfect for transport. But at 135 x 95 x 40mm, it’s not exactly pocket friendly. Whilst I have many of my own portable carrying cases, I do think it is one area which Noble missed – a smaller portable carry case (even if it was just a soft leather zip case) for day to day carrying. Something to think about for the future perhaps?

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The Noble pelican case	Bursting with accessories	Full accessory range

EDIT : I see other review samples include a soft drawstring pouch – so looks like Noble have already solved this one J. There was unfortunately no pouch with this tour unit.

The rest of the accessories are generous and include:

Two Noble stickers
Two Noble black bands
A very nice Noble ownership card
A cleaning brush
3 sets (L, M, S) foam tips
3 sets (L, M, S) dual flange tips
3 sets (L, M, S) silicone hybrid tips
3 sets (L, M, S) silicone hybrid tips (different style / bore)

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The Noble registration/info card	Generous tip selection	Tips in profile

Perhaps the only other thing I would have included would be a 3.5-6.3mm adaptor, and maybe an airline adaptor as well. I know on my recent trip around the world, the airline adaptor I had was invaluable.

TECHNICAL SPECIFICATIONS
(From website + information from John)

Type	Multi BA Universal Fit Inner Ear Monitor
Drivers	Multi BA – number unknown
Frequency Range	Not stated
Impedance	< 30 ohm
Sensitivity	Not stated
Jack	3.5mm gold plated, straight jack
Cable	1.25m twisted pair spc tinsel cable
Weight	Approx 15g (including tips and cable)
IEM Shell	ABS moulded plastic
Passive isolation	Not stated – but very good

I did ask John directly about the number of drivers, but whilst he was happy to disclose that the drivers are indeed BA, he was not forthcoming with the number / configuration. It makes a good mystery / talking point. My personal thoughts on this are in the final summary.

FREQUENCY GRAPH

I asked John about graphs for the Savant, and it is Noble’s policy not to disclose, or comment on any graphs. As part of my reviewing, I like to get as much objective data as I can, so I used my trusty calibrated SPL meter, and a series of fixed test tones, to plot out a rough frequency graph so I could relate what I’m hearing to the graph, and also do the same when making comparisons to other IEMs (later in the review).

EDIT : 6 Sept
I've removed the original measurements and graphs. I was never happy with them, as they did not match what I was hearing. The sub-bass is a bit rolled off, but not to the extent of my original measurements, and I suspect my coupler was faulty. The new measurements were taken with the Veritas system. I took 2 series of 5 measurements (through the ARTA software). New graph is below.

What I’m subjectively hearing is an extremely clear and vivid mid-range, with good rendering of detail, and relatively subdued low end with a bit of roll-off in the sub-bass. The mid-range has the most focus, but (for me anyway) there is enough mid-bass to feel that the overall signature lacks very little (only really the very low bass is subdued). People who enjoy a bassier signature may not likely feel fulfilled with the Savant.

BUILD QUALITY / DESIGN / MICROPHONICS

The overall build quality of the Savant is excellent. John and his team at Noble really know what they’re doing with their IEM shells.

The Savant shell is moulded from two pieces of ABS plastic, the main body, and a rear face plate. The two pieces are joined by rose gold miniature screws. The entire unit is very smooth, with no rough edges, and the only visible seam is between the main body and rear plate. As this is a multi-BA IEM, there is no sign of porting (not required).

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The Noble Savant shell	Backplate	Side shot showing seam and nozzle lip

The body measures 21mm in length and 16mm wide at its maximum points. The body is approximately 11mm deep. The nozzle protrudes approximately 7-8mm from the main body, and has dual bores. All of these measured elements flow into one another for a seamless design, which looks, and is, both super comfortable, and very sturdy.

The cable connectors are a standard dual pin, and very tight fitting. They require some effort to remove, so I doubt any owners will have issues with loose cables any time soon.

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The Wizard signature	Beautiful moulding makes fitting a breeze	The standard 2 pin connector

The cable itself is approximately 1.25m long (from jack relief to moulded ear wire), is a twisted pair, and according to John consists of SPC tinsel with a proprietary sheathing material. It has a tested pull strength of 150lb, and like the rest of the Savant, is both robust and practical. The cable is very flexible, has no memory (except at the formable earhooks), and most people will really love it. At the IEM junction (from the 2 pin plug), there is a 4cm length of mouldable wire which can be shaped as an earhook. This is both a brilliant length, and very sturdy. The Y split is a simple affair – just a piece of clear shrunk plastic. Above it is another clear plastic tube – which slides to become a neck cinch. This works surprisingly well – simple and practical. The jack is straight, quite small, 3.5mm gold plated, and has good strain relief.

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The cable is very strong and flexible	3.5mm straight jack	Y split and chin cinch

Overall, both the build and design is wonderful ……. except for two very small issues I have with the cable. My first is microphonics – the cable has quite a lot. They disappear to an acceptable level when the cinch is used and the cable is tucked inside clothing – but it’s there and it’s noticeable (depending on the clothing I’m wearing). If you’re wearing ribbed clothing or zips, the microphonics can become audible. The second issue is with the mouldable ear hooks. I wear glasses, and there is audible transmission of noise whenever the glasses come into contact with the outer covering of the hooks. Both issues can be minimised, and at least if I was buying the Savant, I could easily swap the default cable out to something with a slightly more clothing/glasses friendly outer sheath.

FIT / COMFORT / ISOLATION

For my physiology, the actual shell of the Savant is perfect. It exactly fits my ears, and the outer face plate (once fitted) does not protrude at all past my outer ear. The Savant is probably one of the most comfortable IEMs I’ve ever worn, and they simply disappear once I have the fit adjusted completely. I have no issues with sleeping, or lying on my side with them.

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Dual flange tips	Spinfits	Spiral Dots

As I’ve said many times in my other reviews, I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I have a selection of tips I try with every earphone I test, and rarely do I find an earphone where I get perfect sealing with most silicone tips – until now. Again, I’m not sure if it is the design perfectly meshing with my personal physiology – but I was able to get dual flange, single flange, Spinfits, SpiralDots, and even Ostry black and blue tips all fitting perfectly. I had no Comply 500s – but I had some 400S sports tips, and was able to (eventually) jam them on – and they ultimately were my preference – but this would be the first time so many tips have fit naturally with my ears and given me such a good seal (and amazing comfort). The only tips that refused to fit were my Sony Isolation tips (wouldn’t fit the nozzle).


Ostry Blues	My Favourite - Comply "S"	Tip fit is seamless, and nozzle angle perfect for me

Isolation is really good, and I’d have no issues at all using these on a flight. The universal fit for me would be very close (or perhaps better) than the Shure SE series. Quite an achievement. There was also no issue for me with excessive vacuum or pressure.

SOUND QUALITY

The following is what I hear from the Noble Savant. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X5ii as source, and Comply S400 tips.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on Default Signature
I fell in love with default signature of the Savant from first listen – it’s almost like it was designed for my particular tastes. The mid-range is very clear, very clean (and quick), and very vivid. In many ways it reminds me of my old B2, or maybe even a more vivid Shure SE425, but with a far better tuned upper end. With both of those earphones, the mid-range was exquisite, but the bass rolled off early, and that is kind of what I’m hearing a bit with the Savant.

Saying that though, the bass that is there is clear, fast, and doesn’t feel excessively weak, or anaemic to me. There is enough mid-bass thump to be interesting, but the lower bass rumble is definitely toned down.

Overall Detail / Clarity
As usual, I started with my standard go-to tracks (“Gaucho” and “Sultans of Swing”), and the immediate impression with both tracks is one of clarity, very good instrument separation, and good portrayal of underlying detail. The bass guitar is there in the background, and seems nicely balanced with the vocals and other instruments. Cymbals are coming through clearly with nice shimmer and decay. Saxophone is gorgeously vivid on Gaucho, and Knopfler’s lead guitar in Sultans has impressive crunch. There is nothing I would change with either track – just a very enjoyable and vivid listening experience.

Sound-stage & Imaging
The Noble Savant (to me) don’t have a huge width or depth of stage – even with the binaural track “Tundra” – but then again most IEM’s struggle to get out of head. The Savant do go slightly out of head (a feat in itself), but where they excel is in the extremely precise imaging, and to me this is often far more important. The staging with this track is definitely circumaural and, because it’s not too expansive, is utterly believable.

McKennitt’s “Dante’s Prayer” is up next, and the Savants are wonderful with this track. Stage size is once again intimate – Loreena is quite close, but the piano and cello are both playing a little further back. Again more importantly the overall imaging is again stunning – I can picture where everything is playing. The overall tonality is also very good, and I’m loving the way Loreena’s vocals are presented by the Savant. The applause at the end of this track can sometime involve the listener when the earphones manage to convey a connection via soundstaging and imaging (it’s why I use this track so much). With the Savant, I’m not right there in the crowd, but the applause is believable and the track overall was immensely enjoyable.

My last test was with Amanda Marshall’s “Let It Rain” and this presentation is brilliantly vivid with the Savant. This track does tend to be slightly holographic in overall presentation, and the Savant did capture this rather well – an intimate overall presentation, but flowing around me. Once again – the vocals were sublime.

Bass Quality and Quantity
Already, before I’d started critical listening, one of my questions was going to be how low the Savant could go with more bass focussed tracks. So my first test was Mark Lanegan’s “Bleeding Muddy Waters”. It is a track that exposes any sign of muddiness or bass bleed very quickly. The bass response of the Savant was really good on overall quality – quick, and accurate. Mark’s vocals had great clarity, and decent texture, but some of the visceral slam I usually get with this track was missing. It was still enjoyable, but I know how it should sound – and the Savant wasn't quite able to portray everything I know is there in the track.

Next up was my sub-bass test, so I switched to Lorde’s “Royals”. This time it was more noticeable – the sub-bass was barely there, and on this track, it should be rumbling. There is some mid-bass thump, and again Ella’s vocal presentation is gorgeous. But most lovers of this type of music will be looking for the low bass, and the Savant is not delivering.

I also tried some Trance with AVB, and also Amy Winehouse’s “You Know I’m No Good”. Both had very vivid and clear vocal presentations, and to be fair to the Savant, the mid-bass has enough thump to be very enjoyable, but there is no doubt that there is some low end missing. Bass lovers may not be fully satisfied with the Savant.

Female Vocals
Anyone who follows my reviews will know that around 60-65% of my music is made up of female artists. So the presentation of female vocals is very important to me. The Savant had struggled a little with bass presentation, but everything I’d heard so far indicated it was going to excel with female vocalists. This was part of the critical review I had been looking forward to.

My first test is always Agnes Obel’s “Aventine” which tends to expose if the upper mid-range is too laid back, or again if overly forward. With the Savant, Obel’s vocal presentation was magical, gorgeous, everything I could want in an IEM. Very smooth, very euphonic – my only qualm would be that when the cello kicks in, it’s just a little soft (doesn’t have the depth I know is there).

London Grammar was next and I could have listened to the whole album track after track. Hannah’s voice was clear, clean, and wonderfully balanced. In fact flicking from track to track, every single female artist was utterly brilliantly portrayed with the Savant. For my personal tastes, I haven’t heard a better IEM (to date) with female vocalists (ie vocal presentation only). Even Feist and FaTM had enough mid-bass impact to maintain dynamics, but both could have used just a little more oomph in the low end.

Gabriella Cilmi’s “Safer” gave me the usual goose-bumps, Norah was stunning (another one I could have listened to for hours), and as I stated earlier, the Savant just kept hitting home runs with all my female vocalists, track after track.

Male Vocals
I next switched to Rock music – mainly to test male vocals. For the most part I found the Savant very enjoyable. Yes, some of the bass impact was a little polite (but that’s what EQ is for right?). The clarity through the mid-range continued to be hugely enjoyable. Guitars had crunch. Micro details were there in all of their glory. Acoustic music in particular shone – and especially some of my classic rock (Hotel California was sublime). But at the other end of the spectrum, vocal centric rock ballads were also brilliant with the Savant – especially Alter Bridge’s “Broken Wings”, and Seether’s acoustic cover of Pearl Jam’s “Immortality”.

My litmus test (as always though) is Pearl Jam. Amazing detail, good texture in Eddie’s voice, but possibly didn’t have the overall depth in his vocal range. I guess you can’t have everything when female vocals are handled so well. Still a good presentation – just not the best I’ve heard.

Genre Specific Notes
My next task was to put the Savant though some other genre options.

First up was a little Alt Rock, starting with Floyd’s classic “Money”, and continuing through to Porcupine Tree’s “Trains”. Both were really good, amazingly so. One of the things my own particular Alt. Rock preferences require is absolute clarity for the sheer variety and number of transitions with different instruments. Both tracks had plenty of dynamics, and the Savant made both tracks a joy to listen to. Wilsons voice in particular seemed to fit with the Savant really well.

For Jazz and Blues, once again the clarity and imaging was a potent combination. Portico Quartet’s “Ruins” was ethereal, and in particular the presentation of cymbals and sax was captivating. I also switched to “Steepless”, and Cornelias vocals in combination with PQ’s Jazz Fusion style was simply magic. Miles was toe tappingly engaging, and “So What” had me closing my eyes with a smile on my face.

Moving to Blues and for the first time I found the Savant a little too hot. I tried Beth Hart’s “Live at Paradiso” album (it’s recorded overly hot anyway), and the Savants just proved to be a little too detailed with this particular recording. So word of caution if you have overly bright recordings – the Savant can deliver quite brutally. Switching to Bonamassa though (his combination of vocals and guitar) was once again sublime. His live performances with the Savant could easily have had me forgetting the review and just listening to track after track.

Bass heavier music like Rap, Trance and EDM were once again where the Savant just never really exceled like it did with acoustic and vocal centred music. Eminem’s “Lose Yourself” was in a word anaemic, and although Little Dragon was still catchy and enjoyable, clearly some of what makes it so dynamic was missing.

Pop and Indie were both really good – Adele was stunning, and even Coldplay was quite engaging. Likewise, my Indie tracks – being largely vocal centric – shone with the Savant. In particular Ayla Nereo’s voice soared with Wildlight’s “Dawn to Flight” – smooth and dreamy, but again it was just missing a tiny bit of lower bass that would have made the track perfect.

The last stop for me was Classical, and here the Savant shone again for the most part (at least for my tastes). In particular string ensembles (either quartets, or full orchestra) were uplifting and mesmerising. Where the Savant struggled a little (again just IMO) was with solo piano and solo cello. There just wasn’t the depth of timbre and low tones. Kempffs rendition of Beethoven’s Sonatas and Zoe Keating’s performance with cello were both good, but strangely missing something. On the other hand, Netrebko & Garanca’s duet from Lakme was breath taking – just sheer vocal harmony and brilliance.

AMPLIFICATION REQUIREMENTS

The Noble Savant was easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or any of the Fiio Daps. With “Sultans of Swing” on the iPhone 5S I’m using around 1/3 volume. With Fiio X5ii on low gain, using the same track I’m comfortable at 30/120. I did try amping with the E17K, but noticed no obvious signs of sonic improvement.

EQUALISATION

As you may have picked up, for my own personal tastes, I would usually prefer just a little more sub-bass. So with the Fiio X5ii I raised the sub bass sliders and replayed Lorde’s “Royals”. While it was possible to elevate the sub-bass a little, I couldn’t quite achieve the definition of sub-bass I’m used to with some of my triple hybrids. So while the Savant responded well to EQ, it’s not going to turn these into sub-bass monsters. But it was very easy to increase the bass impact overall – and for tracks needing just a little more dynamic bass response, the Savant did actually respond pretty well.

I didn’t touch any of the other frequencies though, simply because the Savant mid-range is (to me) as close to perfection as I have heard.

COMPARISONS (subjective)

I thought the most interesting comparisons I could make for anyone reading this review would be to put the Savant up against my favourite multi driver hybrids. So using my X5ii I engaged a splitter and attenuator, then with an SPL meter, matched each pair of IEMs (using fixed tones) to within 0.2 dB. In each case, the Savant at $599 is up against far cheaper options – but this might be valuable for someone looking to take a step up.

Noble Savant $599 vs Trinity Delta $140
Both have very good build quality throughout – with the Savant being slightly more robust overall. I actually prefer the Delta’s cable, but the Savant’s body shape. The Savant has far better isolation. Sonically the Savant is clearer, and slightly more vivid. Comparatively the Delta has much more bass impact, but it feels slightly boomy, and is not as fast as the more nimble Savant. The Delta is smoother overall, and whilst the Savant is more vivid and euphonic, it is also a little more thin through the lower mid-range.

Noble Savant $599 vs Altone 200 $185
The Savant takes top marks on build quality, and overall fit, although the Altone 200s are also very comfortable. Both have very euphonic and vivid mid-ranges, but the Altone200 does not have quite as much balance or body in the mid-range, and has more bass impact – particularly sub-bass. Both are quite quick. The Savant overall sounds richer and has better balance.

Noble Savant $599 vs Fidue A83 $270
Both have very good build quality – but again the Savant has that superior robustness. The Savant also fit better and more easily than the Fidue. The first thing I noticed with the A83 was that compared to the Savant it is noticeably V shaped. Both are very vivid in vocal presentation, but the Savant is quicker, cleaner, and more refined. The A83 is slightly thinner / etched with female vocals, and overall the Savant sounds far more natural.

Noble Savant $599 vs Dunu DN-2000J $330
Again – both have very good build quality, and although the Savant would probably be once again more robust, I have no issues with either for overall build. Once again I prefer the DUNU cable (it has virtually no microphonics) over the stock Noble cable. The Savant is more comfortable and easier to fit. Both have a very similar mid-range, with the Savant being ever slightly more vibrant and euphonic with my female vocalists, but the DUNU not far behind, and in contrast the DN-2000J seems slightly better with male vocals. The DUNU has far better bass – in impact, extension, speed and definition. Both have impressive clarity. There is more similar with the two mid-ranges than different, with the biggest contrast being the bass, and the 2000J being slightly brighter.

Overall – in all of the comparisons, on complete package (build, fit, and sonics) – but disregarding value, the Savant would be my preference over all of my hybrids except the DN-2000J.

VALUE (subjective)
The Noble Savant has an RRP of $599 and for what it brings to the table in terms of overall package, and especially the mid-range tuning, I don’t regard the asking price as being excessive. When I first heard the Savant, and marvelled at its glorious mid-range, I know that in the back of my mind I was pondering what I could sell in order to purchase a pair. Fortunately after critical listening and comparison I may have tempered my initial reaction a little (especially after comparison with the 2000J). However the Savant is a superbly built and sonically brilliant IEM, and I do feel it is worth its asking price.

NOBLE SAVANT – SUMMARY

Well my 10 days with the Savant are now up, and I’d like to profusely thank John, Brannan, and d Marc0 for giving me the opportunity to put them through their paces. It has been an absolute privilege to spend time with them.
The Noble Savant is an extremely well built and designed IEM with a vivid and compelling mid-range – which IMO is one of the best I’ve heard with female vocals. It is very detailed, very clear, and images superbly. Its sonic weakness is in bass extension – but there is enough mid-bass impact to counter this to a certain extent.

The Savant is a joy to fit, and isolates superbly – and the one personal negative I have is with the cable (microphonics) – but this is simply a matter of swapping an alternate cable out – so not a major issue.

On the value stakes, the Savant, while not cheap, does justify its price IMO as an overall package.

I mentioned above that I would comment on the drivers – and this is just my guess. The speed and vividness of the mid-range reminds me very much of a far better tuned Fischer DBA2. The lack of overall bass extension, and subsequent roll-off also points to having no dedicated bass driver – so my guess for configuration would be a dual BA set-up. I guess time will tell how close I am.

Finally, I will add that John’s “Wizard” nickname is well given. The driver tuning on the Savant is truly exquisite. I wish I could keep these.

Very comprehensive review, as usual! I did find a few points intriguing, however.

I noticed that you mentioned that the cable is microphonic, and the IEMs are easy to sleep in. Now, I do not know if the Savant dimensions equal those of the Noble 3 classic (which I own), but on those, there are absolutely 0 microphonics below the cable cinch (and barely any above), and I have no problem wearing them with glasses in terms of noise.

However, I cannot sleep in these because they are quite wide. Don't get me wrong though, they are exceptionally comfortable, but I cannot lay on my side with them.

Any ideas? Especially about the microphonics, since the design that I have used has none.

It's possibly the way we wear them - could be the different materials in our glasses - and also the clothes we were wearing at the time.. But for me the microphonics were there. Cinch the IEMs down, and tuck the cable under clothing and they pretty much disappeared. As far as sleeping goes - that'll be down to physiology. I'm a big unit (just on 6ft) relatively large ears. The don't extend past my outer ear. No issues with sleeping.

you nailed the driver count

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

I’m a bit of a noob with regard to Aurisonics, having never heard any of their earphones before. However, I had heard a lot of good things about the Aurisonics Rockets, so when my trans-Tasman mate H20 asked me if I’d like to spend some time with his pair, I jumped at the chance.

Due to not knowing anything about Aurisonics, I jumped on the net, and did some research. Here is an excerpt from their website:

Aurisonics, Inc. is a Nashville, TN (Music City) based professional audio product company. Aurisonics® was founded in 2011 by vocalist, veteran master audio engineer, and audio products designer, Dale Lott.
We believe that everyone deserves to feel and live their music to the fullest extent.

Our vision is to build In-ear Headphones that will allow our Aurisonics family to experience music in such a personal and intimate way that they truly Hear it, Live it...
This concept of Live is interpreted in 2 ways:

1. Emotionally – which is why our In-ear Headphones™ sound the way they do. Our In-ear Headphones™ deliver music that will transport you to a place that transcends time (you enjoy your music so much you forget about current time/space), AND also help you keep time (i.e. in the idea of tempo/pace for running, dancing, moving…).
2. Literally – which is why our In-ear Headphones™ fit superbly and are built to last through the daily rigours of life. We bring our extensive experience in engineering military spec products into the design of all Aurisonics® products. Our In-ear Headphones™ don’t only sound amazing, they are also workhorses that are built to last, with some even meeting and exceeding military specifications for strength and waterproofing.

DISCLAIMER

I was provided the Aurisonics Rockets as part of a mini-tour organised by H20Fidelity. Due to an impending business trip, I not only had a week of critical listening, but also a further 3 weeks of using them during my trip (including air travel), so I’ve had a pretty good chance to get to know them. I’d estimate I’ve probably spent around 40-50 hours listening time with the Rockets before I started writing this review.

I am not associated with Aurisonics in any way, I am receiving no form of compensation for this review, and this is my subjective opinion of the Aurisonics Rockets.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portables (Fiio X5, X3ii, X1 and iPhone 5S) to my desk-top's set-up (PC > USB > iFi iDSD). I also use a portable set-up at work – either X5/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and at the moment it has mainly been with the Fidue A83, Dunu Titan, Trinity Delta, and DUNU DN-2000J. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

Over the time I’ve had them – I’ve used the Rockets from a variety of sources, but for this review, I’ve mainly used it with the iDSD (home), and straight from the headphone-out socket of my Fiio X3ii and also my iPhone 5S. Although I have tested them with an amplifier, I do not think they benefit from additional amplification. In the time I have spent with the Rockets, I have noticed no change in the overall sonic presentation – but I have noticed my own impression of them change (brain burn in). I am not worried about burn-in for the purposes of this review as they are a tour unit and have already clocked up many hours during the period of the mini-tour.
This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The Aurisonics Rockets arrived in a very small metal box, about the same size as Cmoy type amp. The box has two pretty simple stickers – one on the front showing a picture of the Rockets with some descriptive information, and one on the back with some marketing information, specifications and accessory information.


Front of the metal Rockets outer case	Rear of the outer case

Opening the tin reveals a black leather carry pouch which holds the Rockets, two “Antiloop” stability devices, two “Tri-tab” stability devices and 4 pairs of SureSeal tips.


Accessory package	Carry case

The tips look to be fairly decent, and come in the normal S,M, L variety, with the last pair being somewhere between M and L, with a slightly different (more conical) shape. According to the literature, these are made from an ultra-high quality medical grade thermoplastic elastomer, and are made to hold their shape while providing an incredible seal with unmatched comfort for your ears.


Medical grade thermoplastic elastomer tips	For me sealed "too well" and caused major vacuum issues

The Antiloops and Tri-tabs are made to fit over the diminutive shape of the Rockets. The Tri-tabs are soft silicone, and are designed so that the tabs on the Tri-tabs lock against the ridges in your ear to prevent them sliding out. The Antiloops are a harder (but still flexible) plastic which can be used for routing the cables over your ears or behind the head.


Ear-loops and tri-tabs	Loops and tabs fitted

The one issue I have with the Antiloops is that I had to search the net to find out how to actually use them – and they didn’t really “assist” routing the cables over ear. They did lock the position of the rockets fairly solidly – I just found the harder material pretty uncomfortable.

TECHNICAL SPECIFICATIONS

Type	Single Dynamic Driver Inner Ear Monitor
Drivers	5.1mm Dynamic Driver
Frequency Range	18 Hz – 22 Khz
Impedance	16 ohm +/-10% @ 1 kHz
Sensitivity	105dB @ 1 mW
Jack	3.5mm gold plated, 45 deg angled jack
Cable	1.2m quad weave Kevlar aramid coated cable
Weight	Approx 18g
IEM Shell	Titanium
Passive isolation	26 dB

FREQUENCY GRAPH

There are some graphs out there of the Aurisonics Rockets already – but I really wanted to compare them directly to some of my other headphones (Trinity Delta and DUNU DN-2000J), so I decided to measure them myself. It takes a little more work – but gives me a better baseline for understanding what I’m hearing.

To do this, I used a calibrated SPL meter (not an iPhone app – proper meter), measured using the C weighting, and then translated to adjusted dB levels (ie what we would actually perceive). This is done by set formula, and I would like to shout out to @twj321 (for providing the spreadsheet and formulae) and @DJScope (for helping me format the graphs). I used a louder than normal listening level and set tones – so I could measure accurately and be above the noise floor. All readings were checked twice.

So here are the measurements for the Aurisonics Rockets (after conversion), and below is the graph. A graph comparing the Trinity Delta and Dunu DN-2000J is posted later in the review.

Hz	20 Hz	30 Hz	40 Hz	60 Hz	80 Hz	100 Hz	150 Hz	200 Hz	300 Hz	400 Hz	500 Hz	600 Hz	700 Hz
dB	80.02	82.80	84.48	86.61	87.70	88.40	89.10	88.83	90.79	91.37	90.87	90.47	90.08
Hz	800 Hz	900 Hz	1 kHz	1.5 kHz	2 kHz	2.5 kHz	3 kHz	3.5 kHz	4 kHz	4.5 kHz	5 kHz	5.5 kHz	6 kHz
dB	89.58	89.19	88.80	86.67	85.77	88.60	88.25	85.93	83.23	80.75	78.49	75.95	72.52
Hz	6.5 kHz	7 kHz	8 kHz	9 kHz	10 kHz	11 kHz	12 kHz	13 kHz	14 kHz	15 kHz	16 kHz	18 kHz	20 kHz
dB	69.61	69.71	71.75	71.81	70.20	67.41	63.92	62.13	60.74	60.14	59.83	60.48	61.37

What I’m actually hearing is a clear, and quite forward mid-range, really smooth treble presentation (perhaps a bit rolled off), and a relatively flat low end end. There is a faint hint of a mid-bass bump, but no bloat. The Rockets actually sound pretty natural – except the mids remind me a lot of the Shure series in their quite forward and smooth nature.

BUILD QUALITY / DESIGN / MICROPHONICS

When looking at the build quality and design of the Rockets, the word “bullet-proof” comes to mind, closely followed by the word “tiny”. The Rockets appear to be milled from a single piece of Titanium, and although they are cartridge shaped, it’s the smallest cartridge I’ve come across (when we’re talking IEMs). I wasn’t able to find a port for venting the dynamic driver – perhaps because it’s so small it doesn’t need it? Anyway –despite getting a good seal, I’ve had no instance of driver flex.


The tiny Rockets	Wonderfully built, and hard to believe such a big sound comes from a tiny driver

The body measures just 15mm from rear to tip of the nozzle, and has a circumference of just 6mm. To put that in perspective, the width of the body is the same as the width of the nozzle! The craftsmanship is impeccable, with the body being very smooth. The nozzle lip is indented enough to have a firm grip on all of the tips I tried. There are no L/R markings – as it is not needed. The right earpiece is attached to the red cable. The left side is attached to the dark blue.

The cable IMO is a work of art. As I mentioned above, it is a quad weave aramid kevlar sheathed cable. This is military grade and incredibly strong, and because of this Aurisonics have not included strain relief at the rear of the IEM – simply because it is not needed.


Bullet proof jack	And Y split

The Y-split is made of a hard white rubber which is slightly flexible, and most importantly has a very good neck cinch/slider.

The jack is gold plated, angled at around 40-45 degrees, very solid with good relief, and has a collar so that it can easily accommodate smartphones with cases. I’ve tried with my iPhone, and the jack snaps into place easily and firmly. The one weird thing with the jack is that none of my Fiio DAPs connect with a firm click – or not at least to the same degree as my iPhone. It’s not a huge thing, as the connection is fine, and as long as the jack isn’t knocked around too much it stays intact. But the jack does come out easier than out of the iPhone – and with the Fiios the jack does not sit all the way down to the collar.


Cable is super strong and reasonably pliable	Rockets with included tips and tri-tabs

The cable itself is smooth and very flexible. It has a single section above the Y split for each earphone, and a double below the Y-split (side-by-side). There are some microphonics if worn cable down, but virtually free from cable noise if work over-ear. As I mentioned earlier, I haven’t been able to properly work out the use of the Antiloops – but over-ear and using the cinch works really well.

Aursonics also advises that the Rockets are waterproof (IP65 rated), and although you wouldn’t want to go swimming with them, they should be good for use in the rain, and also a natural choice for working out (sweat).

FIT / COMFORT / ISOLATION

As I’ve said many times in my other reviews, I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. This time I did try the included SureSeal tips, and the combination of shape and also the material (thermoplastic elastomer) did actually work pretty well. I also tried a number of other tips including spiral dots, Ostry tips (great fit and seal) and Complys (T400s actually fit pretty well). The most consistent, comfortable and best seal was with my Sony Isolation tips though, but the downside was the vacuum issues. My best experience with the Rockets was actually using Comply tips – which sacrificed a little isolation in return for less seal vacuum issues.

My preferred comply tips solved the vacuum issues I was having

Comfort and fit are both very good over ear, and the cable is very good to work with. I did have to use the cinch to keep the cable snugged over ear – but, hey, that is what it is there for. Through most of the review I just used the IEMs without the AntiLoops or TriTabs. The minsicule size means a really nice comfortable fit (after a while they just disappear), and I could see these being very good for any activity – including exercise or sleeping.

Isolation though is really good for a dynamic driver, and I did get to use them several times during some long haul flights. They don’t fully isolate engine noise, but with music playing, it is minimised, and I had no issues at all with getting a comfortable signal to outside noise ratio. What was also strange was that despite the high isolation and no noticeable vent – there just didn’t seem to be any driver flex. There was however some issues with vacuum seal (it was too good), and any changes in pressure were then magnified. It is one of the few faults with this design IMO.

SOUND QUALITY

The following is what I hear from the Aurisonics Rockets. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii and iDSD as source, and Sony Isolation tips.

X3ii and Rockets - I did have ongoing issues with the jack and the Fiio socket

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on Default Signature
The Rockets remind me a lot of the Shure SE535 – quite linear and relatively quick bass, a forward (or pronounced) mid-range, and gently rolling off treble. They are clear but smooth – whilst they have good definition, they are not what I would call overly detailed.

Overall Detail / Clarity
Starting with my usual go-to tracks (“Gaucho” and “Sultans of Swing”), and the immediate impression with both tracks is balanced and very smooth. The mid-range is definitely the start of the show (and this isn’t a bad thing). Vocals are clear, clean and focussed. Bass compliments without over powering, and the only complaint I would have is that cymbals (while there) are in the background, and quite distant. The Sax in “Gaucho” is brilliant though, as are both vocals and lead guitar in “Sultans”. All –in-all it’s a very smooth and non-fatiguing listen, but detail monsters the Rockets aren’t. For my particular preferences, I’d like a little more up top.

Sound-stage & Imaging
The Aurisonics Rockets don’t have a huge width of stage – even with the binaural track “Tundra” – but then again most IEM’s struggle to get out of head. But what they do have is very good imaging, and to me this is often far more important. The staging is very circumaural and believable, and image placement within that stage is very consistent.

McKennitt’s “Dante’s Prayer” is next, and the Rockets do well with this track. Stage size is very intimate – Loreena is only a few feet away, and the piano and cello are both playing next to me, but the tonality is very good. The applause at the end of this track can sometime involve the listener when the earphones manage to convey a connection via soundstaging and imaging (it’s why I use this track so much). With the Rockets there is no feeling of being immersed in the crowd. This is not a negative – relatively few ear/headphones achieve this for me.

My last test was with Amanda Marshall’s “Let It Rain” and this presentation is very good vocally. This track does tend to be slightly holographic in overall presentation, and the Rockets did capture some of this – but I have to admit that whilst imaging is pretty good, actual soundstage width and depth is very intimate/narrow on this earphone.

Bass Quality and Quantity
The big question I had after my time with the Rockets casual listening was whether they could do full justice to the bass on my test tracks. Mark Lanegan’s “Bleeding Muddy Waters” is always first up. Any sign of muddiness or bass bleed is usually exposed very quickly with this track. The bass response of the Rockets was very good on quality – quick, accurate, delivered well. Mark’s vocals had brilliant texture, and there was enough impact to make the track enjoyable. Definitely not as much quantity as most of the triple hybrids I’m used to – but nothing presented by the Rockets detracts from my enjoyment so far. Where they may lack a little quantity, they more than make up for in quality.

Time to test sub-bass, so the next track is Lorde’s “Royals”. Again – not the slam I am used to – but there is some thump there, and more importantly there is some sub-bass rumble as well

Last test was Amy Winehouse’s “You Know I’m No Good” – and again the bass delivery is very consistent. Very linear, with enough impact to keep things interesting, but by no means bass cannons.

Female Vocals
Anyone who follows my reviews will know that around 60-65% of my music is made up of female artists. So the presentation of female vocals is important to me. My first test is always Agnes Obel’s “Aventine” which tends to expose if the upper mid-range is short or overly forward. The presentation overall as pretty good – I would have preferred (again) just a little more upper mid-range, and the Rockets did sound a little darker than what I’m used to – but I could get used to this presentation over time.

London Grammar was next up. Hannah’s voice was presented well, but again (for me personally) the very intimate and in-your-face presentation is becoming a little tiring (I’ve now had 2 hours on this current session) and my enjoyment is beginning to wane a little. Time to take a rest and come back again later.

After a break I resumed, and ran through my usual medley of female tracks. The presentation of the Rockets was pretty good with every artist. Vocals are really clear, there is enough bass contrast with Feist and FaTM to maintain dynamics, but again the forward nature of the Rockets is always on the verge of becoming tiring.

Gabriella Cilmi’s “Safer”, which usually never fails to move me, felt slightly flat, yet Norah’s vocals were perfect with the Rockets, and Lianne La Havas was breathtaking.

I guess I have to state that for me personally I wouldn’t say that the Rockets – despite being very clear, and quite nicely balanced – are the ideal medium for consistently portraying my female artists in the manner I prefer. They are very good with some, slightly fatiguing with others.

Male Vocals
For some reason, the Rockets were the exact opposite for me with Rock music. I found myself really enjoying all forms of Rock from older classic rock – 10CC, Jethro Tull and the Eagles, to more modern Rock from the likes of Alter Bridge and Seether. They conveyed the timbre of male vocals really well, and seemed to cope really well with guitar driven tracks – although Breaking Benjamin was bordering on “wall of sound” with a lot of harder rock.
Acoustic rock was really portrayed nicely – and particularly so with the Eagles and Noel Lofgren’s “Acoustic Live “ album. Lofgrens finger picking, and the detail of finger taps and fretboard slides was something I could listen to over and over.

My litmus test is always Pearl Jam. This was very good, great timbre in Eddie’s voice, and cymbals were coming through a lot clearer this time. But I do know this track quite well – and some of the shimmer from the cymbals just wasn’t there. Again, I do think the Rockets could have benefitted for just a little more heat up top. A personal preference – and one I would later revisit with EQ.

Genre Specific Notes
I’ve covered Rock and Female Vocals, so I’ll delve straight into some of my other genre choices.

With Alt Rock I usually start with Floyd’s classic “Money”. Vocally the presentation was very good, sax was spot on, but I missed some of the upper end detail (too far back). PT’s Trains was really nice though, smooth but yet really dynamic once the bass kicked in.

For Jazz and Blues, the overall clarity was pretty good. Both Portico Quartet and Miles were really pleasant listening experiences. Very smooth overall, and I would have liked just a little more edginess around cymbals and snares – but these are minor nitpicks. Clear presentation, and generally engaging.

Moving to Blues and the Rockets were again pretty captivating. I really enjoyed Krall’s piano work and vocals in “Love Me Like A Man”, and likewise the guitar / vocal combo of Bonamassa was just about right. Smooth but clear. Beth Hart’s “Lifts You Up” (which is recorded a little hot) showed no signs of sibilance, but again I was surprised how much “heat” the Rockets roll off the treble. Not that it’s bad with this track – but it is very different to what I normally expect.

Bass heavier music like Rap, Trance and EDM were actually really good, and I thought this was one of the genres which the Rockets portrayed really nicely for my tastes. The overall bass impact wasn’t the same as I am used to with some of my triple hybrids – but the combo of clarity and bass definition works pretty well. Both Little Dragon and Lindsay Stirling were very enjoyable – the bass wasn’t overpowering, but still remained quite dynamic,

Pop and Indie fared probably the best of all the genres I tried. Both Adele and Coldplay were very easy listening, and when I switched to Indie (a genre that I’ve been enjoying more and more as I’ve discovered new artists) my appreciation of the Rockets raised a notch. Band of Horses was really good, just a really nice tonal presentation. And Wildlight’s “Dawn to Flight” – was really smooth and dreamy. This track in particular is so much more pleasant when bass is nicely balanced with vocals.

Classical was also very good on both full orchestral pieces, and also on solo instruments. Kempffs rendition of Beethoven’s Sonatas and Zoe Keating’s performance with cello were both captivating. Even Netrebko & Garanca’s duet from Lakme was pretty good – but lost a little due to the intimate staging (this is one track that is supposed to convey distance and grandeur).

AMPLIFICATION REQUIREMENTS

The Aurisonics Rockets are easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or any of the Fiio Daps. With “Sultans of Swing” on the X3ii I’m sitting around 40/120 on low gain. With iP5S, on the same track I’d be at around 45%. I did try amping with the E17K, but noticed no obvious signs of improvement.

EQUALISATION

As you may have picked up, for my own personal tastes, I would usually prefer a slightly brighter presentation. I had noted earlier that the Rockets reminded me a lot of the Shure SE535, so I fired up Accudio Pro on the iP5S, downloaded and applied the correction for the 535’s. This turned out to be a little too bright and thin, so I next used the preset for the SE425. This was just about perfect. I know this particular setting takes a little out of the mid-range and adds some sub bass, while boosting the lower treble a little – and for my preferences it fixed everything that I personally like in a signature.

Tracks that I found a little lacking during the review “came alive”, and if this was the default tuning I’d be seriously looking at picking up a pair of these.

COMPARISONS

Trinity Delta, Aurisonic Rockets, and DUNU DN-2000J

Like my last review of the Altone 350, I thought I’d look at comparing the Aurisonics Rockets with two earphones which have become my favourites this year – the Trinity Delta (balanced filter) and DUNU DN-2000J (both of which I’ve previously reviewed). The Delta sits just below 150 USD RRP while the DN-2000J sits above USD 300.00. So the RRP of the Rockets sits squarely between the two.

I graphed all 3 – using test tones, a calibrated meter, and spreadsheet conversion program. The graph is below, and very much tells its own story

Rockets vs Trinity Delta
On build strength, I’d have to give top marks to the Rockets – although both are built really well. I do prefer the Delta’s cable and jack though – especially with my Fiio gear. Both are really comfortable – with the Rockets edging just slightly ahead. On sound, the Rockets sound closer, with more intimate vocals – where the Delta’s have a better sense of space. Both are reasonably well balanced, but the Delta has more noticeable bass (particularly sub-bass), and also more clarity. Of the two – the Delta sounds more natural to me – YMMV with this. For my preferences, I can listen to the Delta for hours, but the Rockets can sometimes get a little fatiguing with their forward vocal presentation.

Rockets vs DUNU DN-2000J
Again, the Rockets would take the top marks for build strength, but the DUNU also have wonderful build quality, and again I prefer the DUNU’s cable and jack. Both are also really comfortable – with the Rockets edging again slightly ahead. I still like the DUNU overall for build innovation (see my review). On sound, the Rockets are again more intimate and closed in with vocal presentation – while the DN-2000J has a natural sense of space. Both again are reasonably well balanced, but the DN-2000J has better quality of bass, and is also brighter, clearer and cleaner. With direct comparison, the Rockets slight mid-bass hump becomes a little more noticeable against the very flat bass line of the 2000J. I very much prefer the vocal presentation of the DN-2000J, and again in direct comparison the Rockets sound just a little unnatural to me (comparatively), and the combination of narrow sound staging and rolled off upper mid-range and treble just leaves me wanting more than they can deliver.

VALUE
The Aurisonics Rockets have a normal RRP of $249 and was recently promoted on Massdrop at USD 150.00. At USD 249.00, given the sonics and build quality I actually consider it a very reasonable offering. If you manage to snag a pair at $150 – you’re getting a bargain (I very nearly pulled the trigger on the MD deal). The Rockets should tick most people’s boxes – especially if they prefer a quite balanced (but forward) presentation with non-fatiguing treble presentation.

AURISONICS ROCKETS – SUMMARY

With the Rockets, Aurisonics has delivered an extremely well built, and very good sounding IEM at a very reasonable price. Ergonomically they are easy to fit, and because of the diminutive size, extremely comfortable.
One of its strengths is isolation (no venting), but this also causes some of its problems (vacuum / pressure issues if you get a really good seal).

Sonically, the Rockets deliver a very intimate presentation with balanced bass, and smooth rolled off treble. They are also reasonably clear – but I say reasonably because the polite treble comes at a cost in overall detail.
Listened to in isolation (without comparisons), it is easy to get used to their easy going non-fatiguing treble presentation – but it is the lack of upper end (for me) which does at times make the Rockets seem slightly unnatural to me.

Overall though – the Rockets present an easy to listen to signature with a great build, and at a reasonable price. While I won’t be buying a pair for myself – after comparing to the DN-2000J and Delta, I know they aren’t for me – I still would have no problems recommending them to others.

Nice job Aurisonics.

And a final thanks to Luke for giving em the extra time with the Rockets. I really appreciate it mate.

RECOMMENDATIONS TO AURISONICS

I’d love to see a version of this driver with a slightly brighter top-end, and slightly less forward mid-range. This is only personal preference though & I could achieve this via EQ. If there was any way to make a soft silicone earloop to hook the cable over ear, that would also be pretty cool.

I also don’t know how you solve the pressure issues – but my immediate thought would be to sacrifice some of the isolation with a vent. This may have the added advantage of extending sound stage a little perhaps?

Thanks for the insight. The jack thing is wired with the Fiios. It's the same with the X3ii and X1 as well. Only set of earphones that have had trouble with the Fiio sockets .......

I intend to get this, but before pulling the trigger, any thoughts how this compare with Dunu DN-1000 and Ortofon EQ-5? The Rockets is just a tad more expensive than the Dunu and the Ortofon sells cheaper than the Rockets from this corner of the planet.

My main portable sources are the X1 and the X3. Music is mostly classical - 60% chamber & 40% orchestral. I do have some smooth vocals and every once awhile do listen to Queen for a change of phase.

Anyone can chime in. With four kids in college, I cannot go with the buy-and-try collecting approach

Good question. Can't comment on the Ortofons - but the DN1000 I can definitely compare. The DUNUs are more spacious, and a lot more V shaped - definitely a fun sounding IEM. Mids aren't distant - it's just that the lows and highs are emphasized a little more. You get more accessories with the DUNU. Build quality is good on both. Rockets (because of their diminutive size) are more comfortable. Do you prefer a smooth treble, or something with a bit more clarity? Another I'd personally recommend would be the Trinity Delta.

Empj

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

My first experience with T-Peos was almost a year ago, when I had the chance to review their (at the time) new budget based triple hybrid IEM – the Altone 200. The Altone 200 set a new benchmark for me in sonics – especially at the introductory price (at the time) of USD 125.00 – an incredible value. In fact I was so impressed that I actually purchased the Altones from T-Peos (although I could have kept them as a review pair).

For anyone who hasn’t heard of T-Peos, the parent company SWP Shinwoo (http://swpshinwoo.com/) is a Korean electronics company founded in 1986 who started developing earphones in 2012, changed their company name to T-Peos in 2013, and at the same time launched their first 3 way hybrid IEMs. Their focus is on quality (reading their website is impressive), and it definitely showed in the T-Peos Altone 200. The commitment to build quality continues with the Altone 350.

DISCLAIMER

I was provided the Altone 350 as part of a tour organised by CTC Audio through CTC Head-Fi Sponsor Empj and facilitated by veteran Head-Fier [b]svyr[/b]. The tour unit will continue back to Australia at the completion of this review. I am in no way affiliated with T-Peos, or CTC Audio - and this review is my honest opinion of the Altone 350. I would like to thank (again) svyr and Empj for making this opportunity available.

I’ve now spent a 7 days with the Altone 350, and have around 20-25 hours listening time with them. Normally I would like to take a minimum of 10-14 days before I write a review/impression – but owing to tour restrictions, 1 week is the maximum time I could dedicate to the review. I do feel I have a good idea of the strengths and weaknesses of the Altone 350 in that time though.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portables (Fiio X5, X3ii, X1 and iPhone 5S) to my desk-top's set-up (PC > USB > iFi iDSD). I also use a portable set-up at work – either X5/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan, Trinity Delta, and DUNU DN-2000J. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

I’ve used the Altone 350 from a variety of sources, but for this review, I’ve mainly used it with the iDSD, X1+E11K combo, and straight from the headphone-out socket of my Fiio X3ii and also my iPhone 5S. Although I have tested them with an amplifier, I do not think they benefit from additional amplification. In the time I have spent with the Altone 350, I have noticed no change in the overall sonic presentation. I am not worried about burn-in for the purposes of this review as they are a tour unit and have already clocked up at least a 100+ hours during the period of the tour.

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The Altone 350 arrived in a retail box, in two tone grey and reddish orange. The box is reasonably smart looking with a picture of the Altone 350 on the front, and a list of specifications and accessories on the rear.

[size=inherit][/size]		[size=inherit][/size]
Retail outer box/sleeve - front	Retail outer box/sleeve - rear	Inner box

Opening the outer packaging reveals a black inner box with a bright yellow windowed tray cover over a moulded foam tray which snugly houses the Altone 350s. Lifting this foam tray then reveals a second clear plastic tray which houses the accessories.

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Moulded foam insert	Accessory tray	Full accessory range

The accessories are generous and well thought out, and include:

3 pairs of hybrid tips (two tone)
3 pairs of standard silicone tips
3 pairs of dual flange tips
1 pair of genuine Comply Tx200 medium tips
2 detachable cables – one with mic, and one without
1 x 3.5-6.3 mm jack adaptor
One shirt clip
One pair of ear guides
One warranty card (printed in Korean only)
One zipped leather carry case

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Quality leather carry case	Case inner - lined and with a divider	Shirt clip, adaptor and ear hooks

The quality of the accessories is very good – and especially so the case which does appear to be leather with a good quality zip and 2 compartments (although the divider does not actually go all the way to the bottom.
There is a good variety of tips to suit most ears, and I like the inclusion of the short dual flanges as an option.

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Tip selection	Tip selection	The two cable options

The shirt clip is the mechanical type, very well engineered, and although reasonably large – does it’s job well. The ear hooks are the generic rubber type with a split to insert the cable, and as you’ll see later in the review, quickly became the most essential accessory in the entire package for me.

TECHNICAL SPECIFICATIONS

(From T-Peos)

Type	Triple Hybrid Inner Ear Monitor
Drivers	Dual Balanced Armature + 10mm Dynamic Driver
Frequency Range	20 Hz – 20 Khz
Impedance	22 ohm / 1 kHz
Sensitivity	105dB @ 1 kHz
Jack	3.5mm gold plated, right angled jack (4 pole with mic, 3 pole without)
Cable	1.2m twisted pair in outer sheath (detachable)
Weight	Approx 16g IEM shells only
IEM Shell	Titanium
Cable Connector	DC connector system

FREQUENCY GRAPH

There are some graphs out there of the Altone 350 already – but as I wanted to compare them directly to my Altone 200 and DUNU DN-2000J, I decided to measure them myself. It takes a little more work – but gives me a better baseline for understanding what I’m hearing.

To do this, I used a calibrated SPL meter (not an iPhone app – proper meter), measured using the C weighting, and then translated to adjusted dB levels (ie what we would actually perceive). This is done by set formula, and I would like to shout out to @twj321 (for providing the spreadsheet and formulae) and @DJScope (for helping me format the graphs). I used a louder than normal listening level and set tones – so I could measure accurately and be above the noise floor. All readings were checked twice.

So here are the measurements for the Altone 350 (after conversion), and below is the graph. A graph comparing the Altone 350 to the 200 and Dunu DN-2000J is posted later in the review.

Hz	20 Hz	30 Hz	40 Hz	60 Hz	80 Hz	100 Hz	150 Hz	200 Hz	300 Hz	400 Hz	500 Hz	600 Hz	700 Hz
dB	97.02	97.79	98.48	98.80	98.69	98.40	97.30	96.23	94.08	92.77	91.66	90.77	90.07
Hz	800 Hz	900 Hz	1 kHz	1.5 kHz	2 kHz	2.5 kHz	3 kHz	3.5 kHz	4 kHz	4.5 kHz	5 kHz	5.5 kHz	6 kHz
dB	89.48	89.49	88.50	87.97	93.47	97.49	98.55	95.72	89.32	84.44	91.18	93.74	95.72
Hz	6.5 kHz	7 kHz	8 kHz	9 kHz	10 kHz	11 kHz	12 kHz	13 kHz	14 kHz	15 kHz	16 kHz	18 kHz	20 kHz
dB	96.11	96.11	95.64	94.40	94.40	90.20	85.31	85.92	82.73	68.53	65.03	63.57	64.37

What I’m actually hearing is a very a clear mid-range, but without excessive treble sparkle, and a very prominent low end. Treble response is quite well managed, but there are signs of a sibilant peak which very occasionally shows itself with some vocals.

BUILD QUALITY / DESIGN / MICROPHONICS

The Altone 350 is in a word – “solid”. It has a traditional bullet design, with a two piece all titanium shell (with black plastic accents/inserts). Each shell measures 22mm from base to tip, and has a circumference of 12mm at its widest point. The nozzle is 5mm long and the lip is a little over 5mm wide. The nozzle itself has a black filter mesh at its end. The shells are relatively smooth, and comfortable to wear.

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Altone 350 connectors	Altone 350	Altone 350 rear and side

The connectors for the Altone 350 are the new DC connectors, and on this unit, they feel both sturdy and snug. As far as overall durability goes – I like these a lot more as a connector than the mmcx. There are L and R markings on the shell, and also the plug. The shells are easily identifiable though as the right is red and the left is black. One of the issues of seen with this unit though is that the paintwork (rings) on the IEMs is actually coming off. Not the best craftsmanship on a flagship earphone. The DC connectors have good relief below the actual plug.

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Altone 350	Altone 350 with Sony Isolation tips	Altone 350

The cable is a twisted pair on each side going to a larger twisted four below the Y split. The black cable has a single button microphone above the Y split. This works well with the iPhone (single push play/pause, 2 pushes next track, 3 pushes previous track). The microphone is relatively clear on this unit, and hangs just above my chin (cable over ear), and about 70mm below it (cable down). The red cable has no microphone or push button unit. Both Y splits are tubular with good relief. Sadly the red cable does not have a cinch (huge omission IMHO). Both cables terminate in 3.5mm right angle gold plated jacks – the black with a 4 pole jack, and the red with a traditional 3 pole. Both Jacks have very good strain relief.

		[size=inherit][/size]
Red cable - over-engineered, memory prone, unruly	Jack and Y-split (no cinch)	DC connectors

Both cables are IMO a little over engineered, prone to memory (the red kinks really badly) and are pretty microphonics. The black cable seems to be a little more pliable, and I can wear it over ear without any guides. The red is very unruly, and I have to wear guides to get it to stay. A simple cinch is all that is needed.

		[size=inherit][/size]
Jack and cinch	Connetors and push button mic module	Push button module (mic at rear)

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. Rather than trying the included tips (remembering it is a loaner unit), I instead went to my faithful Sony Isolation tips (perfect fit for me). There was no driver flex and a really good seal.

Spin-fits, also fit well, as did most of the various tips I tried – including spiral dots, Ostry tips and Complys (T400s actually fit pretty well – although T-Peos do include Tx200s). The most consistent, comfortable and best seal was with the Sony Isolations though, so I used these throughout the review.


Ear hooks - effective but ultimately 'cumbersome'	Earhook	Sony Isolation tips = comfort and seal

Comfort and fit are both pretty good over ear, but the unruliness of the cable does mean that if you’re going to be doing anything physical, you’ll want to fit the ear guides. These work pretty well, but can get frustrating at times. By far the biggest gripe I have is with the red cable. A simple cinch is all that is needed (you have one on the Altone200 T-Peos!), so why they omitted this is beyond me. For an over ear cable wearer – the red cable is just a nightmare without one.

Isolation though is very good for a hybrid. Although I’ve looked for a vent, I can’t find one – and there is no driver flex for me so far. So if they have managed to avoid a port – well done. It’s not going to isolate as good as Shure, but it is as good as I have had with a hybrid so far.

SOUND QUALITY

The following is what I hear from the Altone 350. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii and iDSD as source, and Sony Isolation tips.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on Default Signature
T-Peos house sound for me so far has often been V shaped. I was hoping to get the same clarity as the Altone200, and maybe a little less quantity but more quality with the bass. This does not describe the Altone 350.
The Altone 350 does possess an extremely clear mid-range and lower treble, but sadly both mid-bass and sub bass are both a lot more prominent than the Altone 200. The lower treble has been shelved a little, so it isn’t too peaky, and most of the time delivers consistently clear detail – but there is a secondary peak in the 8-10 kHz range which sadly does hit a little sibilance with some of my female artists.

So what we end up with is a very clear overall signature – but with quite a boomy bottom end.

Overall Detail / Clarity
No issues with detail in my usual go-to tracks (“Gaucho” and “Sultans of Swing”). Cymbals are clean and clear, micro detail is good, nice guitar crunch, and yet vocals are still nicely presented. My issue is predominantly with bass. In Sultans, the bass guitar dominates, and after a while the track becomes a little monotonous.

Sound-stage & Imaging
The Altone 350, despite its bassier tuning, actually exhibits a reasonable sense of space with Amber Rubarth’s “Tundra” – just bordering on out of head. I’m not sure if this is related to come of the slower decay in the bass notes. The imaging is OK – but the bass does tend to take away from the crystal clear mid-range a little. Directional cues are average, but pretty consistent.

McKennitt’s “Dante’s Prayer”was up next, and the overall presentation was pretty good. McKennit’s vocals were maybe just a little too subdued (compared to other more balanced headphones), but piano and cello were very good in tonality and texture, and the whole track blended well. With the applause at the end of this track, there was a slight feeling of connection with the crowd though – so the sense of width and depth is not bad for an IEM.
My last test was with Amanda Marshall’s “Let It Rain” and this presentation was really good. This track does tend to be slightly brighter in presentation, so this suited the Altone 350 well – and the naturally holographic sense of the recording came through wonderfully. This was one of the moments that the Altone 350’s shone during my time with them.

Bass Quality and Quantity
By now I knew the Altone 350 could deliver on bass quantity – but how was its overall quality? Mark Lanegan’s “Bleeding Muddy Waters” was interesting, because there was plenty of thump, but to be honest I wasn’t particularly impressed by the overall quality. Just a lot of mid-bass thump, and no real definition to it. Mark’s voice had great timbre, and tone though. Switching to Lorde’s “Royals” took the Altone 350 impressively low and once again that huge impact was very present. When the bass guitar kicked in though, the depth of sub-bass was pretty impressive. Too much for me though. Ella’s vocals were really clear, but the whole track was just too massively V shaped. Some may enjoy this – I’d want to EQ some bass out.

Female Vocals
Like the Altone 200, the Altone 350 has a mid-range which should be just perfect for female vocals, and I was looking forward to testing it. My first test is always Agnes Obel’s “Aventine” and the Altone 350 was really excellent with this track. Vocals were sweet, clear and effortless, and the bass really performed well when the cello kicked in. Thoroughly enjoyable.

London Grammar was equally as good. Hannah’s voice had its usual magic, and once again the bass didn’t seem quite so onerous – still cavernous at times, but not obviously overpowering things. So I played through my usual test tracks, and it was mostly very clean, very clear, and very dynamic. Feist at times was bordering on too much bass (and I don’t usually ever make that comment), but FaTM was very good, and Gabriella Cilmi’s “Safer”, which never fails to move me, had a real connection. Norah was her usual captivating, wonderful self (has that girl ever sounded bad for me on any headphone?), and I think it’s safe to say that I really like the Altone 350 with my female artists.

Male Vocals
You’d expect that the Altone 350 with its V shaped signature and combination of clarity and bass impact would really excel with a lot of my rock tracks – yet strangely this is where (at times) the excessive and unbalanced bass just got a little too much.

Male vocals were actually rendered pretty well among all my artists, but anything with a lot of bass guitar became slightly monotonous at times. Some of my older classic rock – 10CC, Jethro Tull and the Eagles sounded brilliant – but whenever I got to anything slightly bass heavier (Alter Bridge, Green Day) I just wanted to grab an EQ and dial down the bottom end.

“Immortality” and “Keith Don’t Go” are both acoustic tracks which were presented wonderfully by the Altone 350, and the one thing I noticed with both was that with the absence of bass guitar, the midrange had a chance to really shine.

My litmus test is always Pearl Jam. This was pretty good overall, great detail, and plenty of cymbal and snare action. Eddy’s voice was its usual magic – but again, if I could chop that bass guitar back just a little ……

Genre Specific Notes
For Rock and Alt Rock – the Altone 350 was a little hit and miss. Plenty of dynamics for the most part, and I was impressed time and time again with how clear the mid-range was despite the overpowering bass. Floyds “Money” was stunningly clear, but sadly the detail was again overshadowed by the bass guitar. PT’s “Trains” was also pretty good – but again that bass – what were T-Peos thinking with this tuning?

For Jazz, Blues and Bluegrass, it was a hit and miss affair dependent on the artist. Portico Quartet was good up to a point, but even the double bass got to me after a while. Yet Miles as a lot better - the combination of trumpet, cymbals and a mellower double bass playing style was quite pleasant. Dust Bowl Children was really good – with the banjo and guitars able to shine (loving that mid-range), but switching to Beth Hart’s “Lifts You Up” (which is recorded a little hot) brought the sibilant peak into play – almost eye watering. Bonamassa in contrast was really good – just not as dynamic as I’ve heard it on an IEM like the 2000J.

Rap, Trance and EDM was where I expected the Altone 350 to come into its own, and to be fair, lovers of these genres may well be impressed with the Altone – but again I found them simply too bass heavy. I’d enjoy the first 30 seconds or so of each track, then after a while the bass monotony would kick in and just leave me overloaded. I really enjoy the EDM I do own, but not with the Altone 350. The most enjoyable “electronic” track in my rotation ended up being The Flashbulb – and I’m pretty sure this was simply because it’s not an overly bass heavy track. In fact I could listen to both of TF’s albums all the way through and have a thoroughly enjoyable time.

Pop and Indie fared a lot better but still a bit hit and miss for me. Adele was really good (female vocalist, not bass heavy), but Coldplay’s “Speed of Sound” suffered from monotonous bass line kicking in again by about the 70% stage. Band of Horses was brilliant - a really dynamic listening experience, but sadly with Wildlight’s “Dawn to Flight” – while Ayla’s vocals had their usual magic – again that lower and mid bass just ended up spoiling things for me.

Classical was surprisingly good – on everything I played, and particularly so with Netrebko & Garanca’s duet from Lakme. Kempffs rendition of Beethoven’s Piano Sonatas was truly breath-taking, as was Zoe Keating’s performance with Cello.

AMPLIFICATION REQUIREMENTS

The Altone 350 is easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or any of the Fiio Daps. With typical pop/rock songs on the iP5S I’m usually at a volume level of around 35-40%, and on the X3ii around 35/120. I did try amping with the X1 and E17K, but noticed no obvious signs of improvement.

EQUALISATION

As you’ve probably noticed, the biggest issue I have with the Altone 350 at this stage is simply too much bass. So with the X3ii I applied a smiley shaped cut (centred around the mid-bass), and then revisited some of the tracks I’d previously had issues with. For my tastes, this is so much better, and so much easier on the ears.

COMPARISONS

I thought for this section I’d look at two differing points of comparison. First I’ll look at T-Peos’ own Altone 200 – as it is also a triple hybrid, and should pose a natural question – did T-Peos actually improve with the new release? Secondly, we’ll look at DUNU’s current flagship – the DN-2000J and see where that sits comparatively.

I graphed all 3 – using test tones, a calibrated meter, and spreadsheet conversion program. The graph is below, and very much tells its own story

Altone 350 vs Altone 200

Both are triple hybrids. Both are tuned to have quite a V shaped overall signature with emphasis in the bass and also in the upper mid-range. Both are very clear IEMs. Overall build quality would probably go to the 350 – but if we look at what is practical, I’d take the 200 every time. Sonically the 200 is definitely thinner (comparatively) but next to the 350 seems a lot more cohesive and balanced. I never feel (with the 200) that I need to EQ the bass down. The 200 is also smaller and more comfortable to wear. Whilst the cable isn’t detachable, it is better behaved (more pliable), and it has a cinch so it makes over ear wear easy. And most importantly it is around ½ the price of the Altone 350, and I personally think it sounds a lot better.

Altone 350 vs DUNU DN-2000J

Not everyone will like the 2000J - it is relatively well balanced, with a brightish tilt to it. Compared to the Altone 350 – the build quality and accessory package is similar, and where it doesn’t have the replaceable cable, it does have a cinch and also innovations like the cable tidy. Sonically the bass quality on the DUNU kills the Altone – it’s not even close. The DUNU has wonderful speed and texture, where the Altone just has quantity and a monotonous boom. Both are very clear through the mid-range, but I personally don’t find the DUNU quite as peaky in the upper end. Value wise the DUNU is slightly cheaper – yet sonically (IMO) far superior to the Altone.

VALUE

The Altone 350 has a RRP of $379 on CTC’s website currently, but it’s a price I really struggle to see any value in. It’s not overall a bad sounding IEM – and some will probably like its default tuning. But it’s not the sort of tuning you expect in a flagship – especially when the IEM it is essentially replacing is cheaper, but an arguably better overall proposition.
If you’re a real bass lover, and like a very V shaped signature – this might be to your liking. But in the $350-$400 range, the Altone 350 just doesn’t scream anything but “meh”.

ALTONE 350 – SUMMARY

I was so hoping the Altone 350 was going to be a winner. I loved the original Altone 200 from T-Peos. It scored a 4.5 starts from me when I first reviewed it, and I still get it out every now and again when the mood takes me, and I am still wowed by its tonality and overall “package”. At the time it redefined how good a triple hybrid could be for sub $200.

Sadly – the Altone 350 is very much a hit and miss proposition for me. While its build is on the whole pretty good, its design has some flaws (over engineered cable, missing cinch, paintwork issues). Sonically it has a gorgeously clear mid-range, enough upper end to convey detail without getting too peaky (most of the time), but it has a flabby, over pronounce bass presence which actually detracts overall from its signature.

It’s almost like the designers forgot they were building a flagship – and decided they would tune it for todays bass loving younger generation. The problem they have is that the same younger generation is unlikely to shell out close to $400 for an IEM when they can get bassier signatures for a lot cheaper. And the people who typically will par more for a quality IEM are often not the type of consumer who want this much bass. I know I’m stereotyping here (and I shouldn’t), but the Altone 350 really strikes me as being totally confused as to its target market.

Sadly – I would not recommend the Altone 350 to anyone I know – unless they really love a lot of bass with a very V shaped signature. There are far better IEMs out there.

I struggled with how to grade these – because they aren’t “that bad” sonically, but they aren’t flagship quality either. For me – they are a 2.5 stars at best – and I know on Head-Fi this shows as a negative – perhaps for the money being asked, this is a true reflection (on my scale anyway) of their current performance.

Once again though, I’d like to pass my thanks to svyr, Empj, and T-Peos for giving me the chance to try these.

RECOMMENDATIONS TO T-PEOS

Start again from the Altone 200 – and build a better more balanced IEM from it as a base. I really look forward to seeing what you can do with a different direction.

> I graphed all 3 – using test tones, a calibrated meter, and spreadsheet conversion program.

That's certainly pretty cool. Thank you for coming along Brooko , very impressive review.
Boy would I hate dn2kj uneqed

The cables ended up really peving me off. I got a pair from H20 and the rubber bounce noise is impossible to use unless you do over the ear

Aside from the hurty bass amount what did you think off the bass quality. I wasn't really overly overjoyed with the bass quality . (Basshead) I usually boost subbass (in pretty much any iems incl these and h300 and a350)
And after doing that and cutting the upper/mid bass and after doing the below to both was still quite unhappy with the bass speed. Usually overdoing it on the amount feels different to me although I wonder if I should've cut the bass or made the 20-80hz boost narrower

Agree on every point, Paul! Sad, but true.

Thanks gents - and thanks Vlad for the opportunity to try them. And yep - I think with your tastes the 2000J wouldn't be high on your list

The bass was one of the biggest let downs for me. The quantity of mid-bass means that they become very one-note (boom, boom, boom) and had very little texture or definition. Not sure if it was quantity affecting it, but there was also quite a bit of decay - which led to an impression of wider stage, but at a cost of appearing sludgy/muddy. I agree with you on the slowness of the bass. After the Altone 200, and some of the good comments about H300, I was left feeling a little confused, as I was expecting an improvement.

I got a chance to read a few of the other reviews after I'd posted mine - and its clear that not everyone hears the bass the same way I do. Quite a few were praising it. So I guess it comes down to preference. I really did enjoy the mid-range and lower treble on these though. Just pity the rest of the sonics didn't quite gel.

For larger images (1200 x 800), click any of the photos

INTRODUCTION

I’m a very happy owner of Fiio’s X1, X3ii and the original X5 digital audio players (DAPs). I’ve used them all (a lot) over the last couple of years – and up until now, the X3ii has been my go to portable DAP for daily use. I still use the X1 for ultimate portability (eg exercise), and the X5 when I need a more power, mainly when I’ve been using full sized headphones. I’ve been using Fiio audio equipment for close to four years now (amps, DACs , and DAPs), and have watched them evolve in that time from a fledgling audio company to a serious player in the personal audio world. A couple of things have stayed constant in all of my time using Fiio products though – they’ve always striven to improve their performance, and they’ve always aimed to release audio products that measure well, sound great, and offer real value for money.

After seeing the improvements Fiio made recently upgrading their X3 DAP to the X3ii, naturally I was keen to also see the changes in the transition from X5 to X5ii. So I arranged with Joe to organise the Fiio X5ii “Down Under” tours, and we now currently have two units touring through Australia and New Zealand.

ABOUT FIIO

By now, most Head-Fi members should know about the Fiio Electronics Company. If you don’t, here’s a very short summary.

Fiio was first founded in 2007. Their first offerings were some extremely low cost portable amplifiers – which were sometimes critiqued by some seasoned Head-Fiers as being low budget “toys”. But Fiio has spent a lot of time with the community here, and continued to listen to their potential buyers, adopt our ideas, and grow their product range. They debuted their first DAP (the X3) in 2013, and despite some early hiccups with developing the UI, have worked with their customer base to continually develop the firmware for a better user experience. The X3 was followed by the X5 (now former) flagship DAP – which despite its reasonable cost (300-350) has been able to compete with models from other manufacturers costing hundreds of dollars more. They then released the X1 – an ultra low cost DAP (~USD 100) which has done even more toward bringing high quality mobile audio to those on a tighter budget, and more recently the X3 2^nd Generation (X3ii), and upgrade on the original X3 from 2013. Fiio’s products have followed a very simple formula since 2007 – affordable, stylish, well built, functional, measuring well, and most importantly sounding good.

DISCLAIMER

I was provided the Fiio X5 second generation as a review sample. It will go on tour once I have finished reviewing it. There is no financial incentive from Fiio in writing this review. I am in no way affiliated with Fiio - and this review is my honest opinion of the X5 second generation. I would like to thank Joe & James for making this opportunity available.
EDIT - at the completion of the review tour, I arranged to buy the tour unit from Fiio. I paid real money for it, although it was discounted. I am not at liberty to discuss the discounted sum paid.

PREAMBLE - 'ABOUT ME'.
(This is to give any readers a baseline for interpreting the review).

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last few years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portable (mostly Fiio X3ii and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP or PC > USB > iFi Micro iDSD > HP). I also use a portable set-up at work – either X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan, Trinity Delta, and more recently DUNU’s DN-2000J. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line). I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

My experience with DAPs in the past had been initially with some very cheap Sony offerings, then step-ups to the Cowon iAudio7, iPhone4, iPod Touch G4, iPhone 5S, HSA Studio V3, Fiio X5, X1, and X3ii, and the L&P LP5.

WHAT I LOOK FOR IN A DAP

I thought I’d list (before I start with the review) what I really look for in a new DAP.

Clean, neutral signature – but with body (not thin)
Good build quality
Reasonable battery life
Easy to use interface
Able to drive both low impedance and (within reason) higher impedance cans without additional amping.
Value for money
Enough storage to hold either my favourite albums in redbook, or my whole library in a reasonably high resolution lossy format (for me – aac256)

Did I get all of this with the X5ii, and more importantly was the X5ii an improvement on the original X5? Mostly – yes, and I hope that the shortcomings with the firmware will be improved over time. Fiio has shown commitment to the Head-Fi community in the past - in trying to improve the Fiio experience with better firmware releases over time.

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

From this point onward, I’m going to simply call the Fiio X5 2^nd generation the “X5ii” – as much for ease of typing and understanding than anything else.

PACKAGING AND ACCESSORIES


Outer review unit packaging	Inner box	X5ii nestled safely in the foam surrounding

The X5ii arrived in a rather sombre looking black outer box, with the now traditional black inner box and lid nestled inside. Gone is the texturing on the 2^nd box though – now it is a simple black matt with the Fiio logo subtly shown on the front. I love the simplicity of it. Note – this is not the final packaging though. Opening the box reveals a foam inner form fitting mould, with the X5ii nestled securely inside, already in its black silicone case – in turn covered in a plastic protective cover. Also included is a single card explaining the layout of the main features.


Layout card	Rear of layout card	Accessory box

Underneath the foam (which lifts out) there is a thinner secondary box which holds the accessories which include:

A USB charging / data cable
A digital out to coax cable
2 spare screen protectors for the X5ii (plus one already prefitted)
3 different patterned sets of stickers (for personalising your X5ii) – wood grain, carbon and USA.
A foldout warranty card
The Fiio X5ii quick start guide

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Customisation stickers	Quick start manual	Warranty and spare screen protectors

The entire package is practical, covering everything you initially need for the player. Materials are all good quality. What is missing (IMO) from the original X5 is the small Fiio USB card reader – which I have found extremely handy over the last couple of years.

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Included cables	Close up of coaxial cable	USB data and charging cable

TECHNICAL SPECIFICATIONS

The tables below list most of the relevant specifications, and because Fiio’s players are likely to be compared (a lot), I’ve included the relevant information on the X3ii and X5 I have also.

	Fiio X5ii	Fiio X5 Original	Fiio X3ii
Approx cost	$349	$349	$199
Dimensions	~ 109 x 64 x 15mm	~ 114 x 68 x 16mm	~96 x 57 x 16mm
Weight	165g	195g	135g
Lossless file formats supported	APE, FLAC, WAV, WMA, ALAC, DSF, DFF	APE, FLAC, WAV, WMA, ALAC, DSF, DFF	APE, FLAC, WAV, WMA, ALAC, DSF, DFF
Lossy file formats supported	mp2, mp3, aac, ogg	mp2, mp3, aac, ogg	mp2, mp3, aac, ogg
Use as external DAC?	Yes	Yes	Yes
Battery	3300 mAh	3700 mAh	2600 mAh
Play time	10 hours+	10 hours+	11 hours+
DAC chip used	PCM1792A	PCM1792A	CS4398
Main amp chip	OPA1612+BUF634	OPA1612+LMH6643	OPA1642+LMH6643
S/N (H/O)	≥117 dB (A-Weight)	>115 dB (A-Weight)	>113 dB (A-Weight)
THD+N (H/O)	＜0.001% (1 kHz)	＜0.003% (1 kHz)	＜0.001% (1 kHz)
Output into 16 ohm	>436 mW	>460 mW	>224 mW
Output into 32 ohm	>255 mW	>255 mW	>200 mW
Output into 300 ohm	>27 mW	>28 mW	>24 mW
Highest resolution lossless	192 kHz, 24 bits	192 kHz, 24 bits	192 kHz, 24 bits
DSD/DSF/DFF support	Yes - Native	Yes – converted to PCM	Yes - Native
Output impedance (H/O)	＜0.2 Ω	0.26 ohm	0.2 ohm
Adjustable Balance	10 db L, 10 dB R	5 db L, 5 dB R	5 db L, 5 dB R
Gain	3.6 dB L, 9.1 db H	3.7 dB L, 9.2 db H	2.6 dB L, 8.6 db H
Equaliser	10 band	10 band	10 band
MAX Output Voltage	＞8.2 Vp-p	＞8 Vp-p	＞7.2 Vp-p
MAX Output Current	＞250 mA	＞150 mA	＞75 mA
Line Out	Yes / Separate (shared with digital out)	Yes – separate port	Yes / Separate (shared with digital out)
Digital Out	Yes – 3.5mm to Coax (cable supplied)	Yes – separate port, 3.5mm to Coax (cable supplied)	Yes – 3.5mm to Coax (cable supplied)
External storage (current)	2 x Micro sdxc up to 256Gb	2 x Micro sdxc up to 256Gb	Micro sdxc up to 128Gb
Screen	IPS 400×360	IPS 400 x 360	2in colour TFT, 320x240 px
Shell / Casing	Aluminium (gun-metal)	Plastic shell over aluminium body	Aluminium (gun-metal)


Rear plate removed	Battery connector

CHANGES FROM ORIGINAL X5

Fiio lists the following as the main improvements of the X5 2^nd gen over the X5 original.

All new exterior design, improved build, and metal finish changed from powdered to brush
Smaller and lighter
Reduced black borders around LCD
New independent amplification stage with analogue volume control – increasing audio resolution
New digital audio architecture utilising dual crystal oscillators dedicated to multiples of 44.1 and 48kHz respectively (to handle all major sample rates without resampling artifacts and minimal jitter)
Hardware DSD decoding
Supports CTIA standard in-line earphone remote control units
New power architecture design that utilises different system voltages for low and high gain – allowing maximum flexibility between endurance and power.
Standby mode – allowing player to remain in standby for weeks, ready to continue playing instantly when activated.
Coulomb meter for precise battery level readouts.

SPECIAL NOTES ON PREVIEW UNITS

When reading this review, and remembering this is a preview unit, it should be noted that the following changes are still to be made by Fiio before release.

Packaging will be changed to full retail ready packaging.
Side control buttons will be manufactured slightly differently to improve tactile performance
Scroll wheel will have a higher damping factor – similar to the X3ii – for more positive tactile feedback.
Firmware will be likely to change before final release – but this will be ongoing.

BUILD

Like all of Fiio’s recent releases, the build on the X5ii (IMO) is excellent for a DAP in this price range. The casing is a 2 piece high quality CNC aluminium alloy with a very nice gunmetal shade and brushed finish. I see no blemishes on this unit – everything fits extremely well together, the corners are smooth, but I did notice the front face bevelling is angled rather than rounded (similar to the original X5). Both the X1 and X3ii are rounded, and I have to admit I actually like their appearance and feel a little more when held.

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X5ii in its silicone case	Side view of the X5ii in its case	Top ports in the silicone case

One of the first noticeable physical changes between the original X5 and X5ii, apart from the colour, finish, and slightly smaller dimensions, is the very flat “sleek / modern” look of the X5ii. It still has the wheel and 5 front navigation buttons, but this time everything is on a single plane – and quite flat/flush – where on the original X5, the wheel, buttons and screen were all raised. Because of this, the buttons are less likely to be jogged or pressed accidentally. In fact on this unit, the front buttons are actually very flush – which I see as a good thing.

The front buttons themselves are smaller, round, but have roughly the same tactile response, and I have no problems with accidental pushes, or with locating them. The buttons are labelled with white etching in the metal work of the case – but of course this disappears if using the supplied cover. The button layout is very consistent with Fiios other DAPs, and if you’re familiar with the X1, X3ii, or even original X5 – it won’t take too long to know exactly where you are. I find the front buttons ideally located for easy one hand operation.

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Bottom micro sdxc slots and USB slot	Right side of X5ii - notice flushness of buttons, wheel and screen	Left side of X5ii with on/off button (with LED) and volume buttons

The scroll wheel is still mechanical, and on this review unit has a very smooth glide with very little play. In a lot of ways this feels very similar to my original X5. I would have preferred a slightly stronger tactile response similar to the X3ii – and Fiio says that the final units will indeed be changed for firmer more tactile feedback. For those who have been annoyed in the past with the inaccuracy of the wheel – one click still does not equal one menu movement. It is what it is – and I still have no issues with navigation personally. If you’re someone who has a pet hate with the Fiio wheel navigation system though – there hasn’t been a lot of improvement.

The ports are once again excellent fitting – very snug and secure for jacks. All connections feel very solid. Supposedly for the X5ii, these ports now have a hard plastic sheath – rather than full metal. I’m not sure if this was for implemented for durability, better connection, or something else – but I’m pleased to report that they are firm fitting.

There are two ports in the top of the unit – the headphone out, and a dedicated 3.5mm line out which also doubles as a digital plug (works with a 3.5mm to coax adaptor – which Fiio supply). The second port switches between line-out and coax-out by software switching (in the System Setting Menu). And this is where I come to my first major critique of the X5ii. Normally (on all Fiio’s other DAPs), the headphone out is on the left, and the line-out/coax out is on the right. For the X5ii (and I have no idea why they changed this), it has been swapped. I have already had a couple of mishaps with this, and all I can say is thank goodness I was using HD600’s both times. If I’d had sensitive IEMs suddenly plugged into the line-out, and full fixed volume blasting in my ears, I would not have been happy. This is one change which will take a while for me to get used to – and I guess the obvious question is – why? If it’s going to be a wholesale change across the line-out, I’d get used to it quickly – but the X3ii is directly the opposite. I’m afraid this is one design change that I simply don’t agree with. Not clever.

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Top input ports	Close-up of buttons and wheels	Rear plate

On the bottom of the unit are dual micro SD ports – which currently handle up to 128Gb cards – so total known capacity at time of writing is 256+ Gb. But Fiio is confident that there should be no issues handling larger capacity cards as they are released, so expansion options look good for the future. The slots this time have no covers – and I actually think (after some of the comments about the original X5) that many will welcome this change. Nestled between the two slots is a standard USB micro socket for data transfer and charging.

On the left hand side panel of the unit is the on-off switch, and below that the volume buttons. There is decent separation between the power and volume buttons, and the volume buttons protrude very slightly more from the unit – so they are easy to identify. Tactile response is pretty good. I understand Fiio is going to change an internal piece of silicone (to improve tactile response further). The power LED light is now in the center of the power button, and this is surprisingly effective. It’s blue when active, red when charging, green when fully charged. I like this more than the pinhole LED in X3ii and X1. There is a hole in the protective case to allow the light to be seen.
One thing I’ve noticed is missing from the X5ii is no hard-reset button/hole. Joe informs me that you can activate a hard reset by holding in the power button for 15 seconds though.

The screen is a 2.4 inch HD colour IPS screen with a resolution of 400x360 pixels. It’s hard to make a direct comparison with the original X5 (because I’m running a different community supplied theme), but just looking at album covers, with both units on full brightness, and I would say they are comparable. Both are far more detailed and vibrant than either the X3ii or X1. Viewing angles are very good, detail is sharp, and I personally have no problems reading the screen, even in direct sunlight.

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X5ii sccreen compared to X5 screen	X5ii screen compared to X3ii screen	The Fiio famil - X5ii, X5, X3ii and X1

So overall – the build and physical design for me is a pretty solid 7/10. I think the added tactility of the buttons, and the improvement of the wheel (before final release) will bring this score up to almost perfect. And again, the only design change I really question is the swapping of the output port locations.

UI (USER INTERFACE) / USABILITY
Please note that this is with the released firmware 0.05 beta.

Let me preface by saying that if you’re familiar with the user experience of the original X5, X1 or new X3ii, this is going to be very familiar ground for you.

On starting the X5ii, you are greeted with an animated “welcome” screen – before moving to the menu. The menu can be navigated using either the scroll wheel or buttons. At the top of the menu is a status bar which shows (left to right) : volume, gain, current screen (or EQ status if in now playing screen) , micro SD card status, sleep timer – if set, play/pause status, and battery level indicator.

Main menu
The main menu choices include: now playing, category (or library access via tags), folder browsing mode, play settings, and general settings.

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Default theme and main menu	Theme 2	Theme 3

General Settings
The general settings screen is very straight forward, and includes:

Language
Update media library manually
Lockscreen settings
Screen timeout and brightness
Power off and sleep settings (including a sleep timer)
Software switch for line-out vs digital out via coax
Switch for displaying tile or file name (now playing screen only)
USB mode switch (USB or DAC mode)
In-line microphone control switch (on or off)
Theme controls (5 options)
Info about the X5ii and options to format the SD card, and totally factory reset your X5ii

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Theme 4	Theme 5	On screen volume

The lockscreen switch includes 3 options which should suit most users. I’ve been using lockscreen 3, and have had no issues with random presses while it’s been in my pocket (YMMV).

Theming has a choice of 5 preset themes. I have to admit, I’m not overly keen on any of them (sorry Fiio) – but the ability to mod the firmware and change the graphical appearance, and store 5 different options is going to be very welcome (considering some of the excellent mods so far on the original X5). At the moment I’m using the 2^nd theme. Just a note to Fiio here – considering the high quality of the original X5 mods, a competition for modders would be an excellent idea, especially if the top 5 themes could be included in a later firmware option !

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Lockscreen 1 button layout	Lockscreen 2 button layout	Lockscreen 3 button layout

Updating the media library can be set to automatic or manual (I always leave mine on manual – as most of the time now I simply use folder browsing). To give you an idea of the time to update an entire library – I currently have 5652 tracks (in FLAC and DSD) on it at the moment, across two cards, and it took 2 minutes and 20 seconds to scan the entire library, but then a further 2 minutes 20 seconds to write the index to memory/card. I trialed this twice and it was pretty consistent both times. Once again though – using manual updating means you update when you have the time. The rest of the time there is no scanning and the X5ii is always instantly ready to use.
I also threw some additional files on to check if the 5800 file limit is still there, and thankfully this limit is gone.

Play Settings
The Play Settings menu includes settings for:

Play mode (normal, shuffle, repeat track, repeat all). These can also be accessed in play mode with the upper left button.
Resume mode (off, same song, and same position in song)
Gapless play back
Setting maximum, default, and fixed volume
Gain switch (3.6 or 9.1dB)
Equalizer – 10 band, with 9 presets which can all be edited.
L/R balance setting (now 10 dB each side)
Play through folders setting

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Play settings menu	Play settings continued	Equaliser

The equaliser is the same as the one found in the original X5 and newer X3ii. The option to actually change the presets to your own liking is incredibly handy – and if you’re comfortable with editing the firmware, you can actually customise the names as well. Engaging the equaliser automatically drops the output by 6dB (actually 5.9 dB according to my SPL meter) to reduce the chance of clipping. This time the equaliser can be used with both digital (coax) and line-out, but is not engaged when playing hi-res tracks (DSD, or anything over 88.2 sample rate).

The other settings all work really well, and what I really appreciate is the option to use set volumes (I default to around 30/120) on start-up, so there are no “accidents” with a sensitive IEM and using the last setting for full cans when you last switched the X5ii off. I do notice that utilisation of this feature is not really necessary for me any more though, as I typically never turn the unit off now that it has the deep sleep mode (more on that later).

Browsing with folder mode
Folder mode is once again brilliant and I still pretty much use it as my default on all Fiio devices. The addition of being able to play through folders (automatically advance from one to the next) is also a killer feature, and one I use all of the time. For those with large libraries, I definitely recommend multi-level folder management to make browsing quicker. I split my library into alphabetical groups of 3 (A-C, D-F, G-I etc), then list artists under those folders, and albums under the artists. I’ve also seen others do similar with genre, and even year – it just depends on how well you want your library managed. I have over 450 albums now, and I can usually get to the exact album/song I want (using folder browsing) within a relatively few wheel turns and button clicks.

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Folder mode - choose card	Then choose artist	Then choose album

A warning for those used to touch screens, or Apple type GUIs though – if you don’t want to spend the time setting things up properly, you will be disappointed. There is no accelerated scrolling – so if you have a large library and a single major hierarchy with a lot of folders – chances are you’re going to get sick of the wheel pretty quickly.

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Then choose track	And hit play	Onscreen track data (temporary)

Like the other Fiio DAPs, the X5ii sorts alphanumerically, then alphabetically. So for my album files – I use “01 name”, “02 name” etc. If I have a 2 disk album, I’ll use “1.01 name”, “1.02 name” etc then “2.01 name”, “2.02 name”. Again, a little forethought with library management works wonders.

Category (or tagged) mode
In category mode (or tagged mode) you can play by song, artist, album, or genre, and there are also options for favourites and playlists. Choosing artist brings a natural hierarchy of album then track (works well). Album brings in track underneath the album chosen. Selecting by genre collects all the tagged genres together, but then lists everything in one massive selection by number first, then alpha – so for me, all my “01 filename” tags get bunched together, then “02 filename” etc. Unless you plan on putting things in shuffle mode, it makes the genre selection useless. It needs to be sorted by artist and album first. Likewise, choosing by song just lumps everything (in the wrong order) into one directory. Good if you simply want to shuffle every track in your library – useless otherwise. This is why I primarily use folder mode.

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Tagged browsing menu	All songs continues to be a jumbled mess	"By album" selection

Fiio has now had two years with all of its DAPs using the same format with tagged browsing – so realistically I don’t think it is going to be changed any time soon. This is actually a great pity as it is genuinely holding all of their DAPs back (IMO) from achieving “legendary” status. Because of the limitations, the only time I use tagged mode is to play by genre, or to shuffle every track ion the library.

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By artist leads to genuine hierarchy	Artist to album	Album to track

I haven’t used favourites or internal playlists much as they still have to be manually added track by track. I found this laborious right from day one, so I simply use an external database and editor to create external playlists. This takes some getting used to, but ultimately works very well. I save the playlists to my root directory – or you could put them in a single folder – then access them by folder mode.

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Genre selection ..... leads to	...... a similar mess as all songs	And the playlists menu only works internally

One thing that does irritate me with playlists is why (after scanning the database) my external playlists don’t appear in the “Playlists” category. It’s not hard to navigate to them in folder mode – but this is something that could be improved.

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External playlist via folder browsing ......	...... definitely works well, but .......	........ the playlists don't appear in the menu list (frustrating)

Buttons
The upper left button brings up a context menu (that is dependent on the menu you are in). When you’re in play mode, this is a quick way to access track playing modes (including repeat, shuffle, add to favourites, and delete). From the main menu it brings up the play settings options.

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Context menu from now playing screen	Context menu from folder browsing	Close up of top menu icon bar

The upper right button is a back button which puts you back to your last menu choice until you reach the main menu screen. Pushing it again from there will take you to the now playing track window. Pushing and holding will immediately take you to the main menu.

The bottom two buttons are forward, back / up, down / fast forward, rewind / next menu item / previous menu item – depending on your application.

The middle button is simply to select (i.e. action button). If you want to change volume – hold this button in (when screen is active) and the wheel volume control is activated.

Overall the UI is reasonably responsive – but can sometimes have some small lags between button press and actual action (this includes the wheel). One way to make this better is to have no art in the tags, and just have a single album art picture in each directory.

Overall – if the Apple (think latest Touch or iPhone) UI is a 10 (and that’s what I’d give it) – this initial fw release would come in about a solid 7-8 for me. It’s very usable, and has plenty of features. I do think it could be (and should be) improved though – especially with the Song and Genre tagged selections.

COMPARISONS

I guess this is the bit most people will want impressions about – how the X5ii sounds. For each of the below comparisons, I used my HD600 with the DAPs on high gain, HM5 (for its neutrality) with the DAPs on low gain, and DUNU Titan, again on low gain. I used an SPL meter to volume match (test tones @ 1kHz). Files used on all devices were exactly the same and consisted of a mix of my usual test tracks – in lossy, redbook, 24/96 and DSD.

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Test gear	X5ii, X5, X3ii, and X1	X5ii, X5, X3ii, and X1

The files used were exactly the same on each device.

Test tracks used were:

Let It Rain – Amanda Marshall
Sultans of Swing – Dire Straits
The Bad In Each Other – Feist
Chelsea – Sophie Bridgers
For You – Angus & Julia Stone
Aventine – Agnes Obel
Elderly Woman Behind The Counter In A Small Town – Pearl Jam
Turning Tables – Adele
Hotel California – the Eagles
The Last Resort – the Eagles
Cali – Quiles & Cloud (DSD)

X5 (original) vs X5ii
First up was the HD600, and interestingly, level matching with an SPL meter and 1 kHz tone had both DAPs at even 60/120 on high gain – comfortable listening level, and matching to within 0.1 dB. I played a medley of tracks. And had both DAPs playing simultaneously so that I could switch really quickly, and practically seamlessly. The first thing to notice is that both DAPs sound practically identical in tonality. In fact – the only thing I really noticed, and this was pretty hard to pick up, even with close A/B, was a very slight lift in spatial sense with the X5ii. I find it really hard to describe, and I even had to check a couple of times to make sure that the two DAPs were still volume matched. The X5ii sounds very slightly more vivid, more present to me. But the overall change with the HD600 is very, very minor. Both continue to sound clean, clear, detailed, and consistently having that black background and sense of refinement I really like.

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X5ii vs X5	X5ii vs X5	X5ii vs X5

Time to switch to the HM5, and this time on low gain there was a 0.2 dB difference with both DAPs at 54/120 (the X5ii was very slightly louder). Again, the tonality is really close – with the only real difference being that faint sense of wider spatial presence on the X5ii, and again that sense of slightly more vividness (cymbals with Pearl Jam). But other than that – the differences to me are really minor, and not at all what I thought I was hearing last week before A/B’d both DAPs at volume matched levels.

Finally – onto the DUNU Titan. The reason I chose the Titan was simply because I know a lot of people have it, plus it has a lot of upper level detail. Once again I level matched. This time there was a 0.2 dB difference with the X5ii at 39/120 and the X5 at 40/120 – with the X5 being very slightly louder (if I had both at 40, then the X5ii was louder by 0.3 db). With the Titans, the difference is exactly the same – the X5ii once again shows a slightly wider spatial sense – but it is extremely subtle.

So the sound is very, very close – what are the other differences? Well there is the slightly smaller footprint, and the slightly sleeker looking physique, and apart from that the biggest difference is the instant-on feature which I love. Folder play through has been implemented from day one (which is a brilliant feature) - something the X5 original did not have until recent updates to the firmware.

I have to admit, I was expecting more difference after reading the literature. And I do wonder if the talk of increased dynamics and more power have influenced me into hearing what I was expecting to hear when I was testing last week. The reality, now that I’ve had a chance to A/B closely and volume match before comparing is bringing me to reality. Either my hearing is not as acute as other reviewers, and I accept this as a very real possibility, or the % gains over the original X5 are a lot smaller than I was led to believe. Either way, I am extremely happy with both units, and am hugely enjoying both.

I am still convinced that there is a very small change in spatial presentation (how did you do that Fiio?) and to some who were not fans of the original X5 (especially if you found it “flat”), this subtle change may be the difference you were looking for. But anyone expecting big gains – if they volume match properly and A/B closely – I think are going to be surprised (how close the two are).

X3ii vs X5ii
Again –same test set-up, 3 headphones, all volume matched as precisely as I can get them using my calibrated SPL meter and test tones. Again – the exact same files used.

With the HD600s, and high gain on both devices, the X3ii required 63/120 to match within 0.1 db of the X5ii’s 60/120. This time (although tonally both are similar) the X5ii does give a little more width in the overall stage – but again I’m stunned by how well the X3ii performs against its higher spec’d sibling. The X3ii sounds just a tiny bit more congested and close – where the X5ii seems to have a greater sense of refinement, and although every bit as vivid, just sounds wider and cleaner. Again though we’re not talking massive amounts.

This trait was repeated with the HM5 and Titan – with once again very similar volume matching on the pot (with the HM5 the X3ii was 63/120 on low gain to the X5ii’s 59/120).

So how do the overall differences stack up between X3ii and X5ii? Well first there is the portability factor, and the X3ii has that well and truly won. It’s not really fair to compare this test unit’s build and finish to the X3ii, as the wheel is a little loose at the moment, and I know this is going to be fixed before final. The X5ii is slightly more powerful, has double the potential storage, and does sound marginally cleaner and more refined. For those seeking the best that Fiio has – the X5ii is that, but for me, the X3ii still represents the best features and sonics on a value basis.

OTHER FEATURES

So let’s look at the other features that I haven’t covered yet with the X5ii.

First – looking at the outputs – I tested coaxial (into my iDSD), and as expected it worked really well. The only thing the X5ii doesn’t seem to do is feed DSD over DOP, but maybe that is something that can eventually be added via firmware updates. One of the really nice things though is that the EQ does work over spdif (not on high-res though) which I find quite handy (it also works on line-out). The coaxial out is ideal for anyone who is away from home (e.g. at a Meet) and wants to test an audio chain – but with their own music.

Just like the X5, the line-out to an external amp is essentially very clean, with no discernable noise or degradation of SQ. I’ve used this feature going to the iDSD, and also my LD MKIV (T1’s sounded great on this set-up). I haven’t really noticed any difference in sonics on the line-out vs headphone out (after volume matching).

As a DAC. As I already have the unified drivers for Fiio’s X series installed, and had been through this before, it was just a simple matter of reinstalling the new driver, with the X5ii plugged in via USB, and set to DAC mode. The driver installed without hitch, and the X5ii was immediately recognised. I then set it as default in Windows (7) and it played with no issues. I also tried with Foobar using WASAPI, and the X5ii played faultlessly – just crystal clear sound. I’d actually have no issues using this as a stand-alone DAC – especially on a portable (lap-top) set-up.

I then checked with both X3ii and X5 plugged, and Windows successfully recognised each device. Nice!

The two features I haven’t tested so far are OTG (I have no adaptor), and native DSD play from Windows. Last time I did this with the X3ii, it took a lot of playing around, and to be honest I was running out of time.

POWER

The X5ii’s amp section (like the X5 and X3ii) is a very good one. Fiio had implemented a new high gain architecture – but I haven’t noticed a big difference in overall power despite the extra 40% current on-tap (according to the literature). It doesn’t seem to be translating into big volume increases compared to the X5 original anyway.

So far, I’ve tested with HD600 @ 300 ohm, and also (out of curiousity) with the T1. I didn’t worry about IEMs as I already know it has copious amounts of current available for lower impedance headphones.

The HD600 were driven well, with no noticeable loss of dynamics – especially with the bass. Switching to the T1 was a different story. Volume was around 75/120 on high gain – but the bass was slightly lacking, and the treble tended to get a bit peaky – which never happens on my desktop sources! It wasn’t terrible sounding, and with some recordings was actually very good.

With the X5ii – for most headphones (except very difficult to drive full sized), there is simply no point in having an add-on amp.

BATTERY PERFORMANCE

Fiio rates the battery life under current firmware at around 10 hours. I did a battery test earlier in the week on the X5ii - fully charged to fully empty. Set-up was:

Continuous play
HD600 playing at around 60/120 on high gain
DN-2000J playing at around 30/120 on low gain
Redbook FLAC

Total playback time for the HD600 on high gain was almost exactly 10 hours, and 11.5 hours for the 2000J on low gain, before the battery depleted. Small note too – the battery meter does seem to be far more accurate now. With my testing – screen was off for most of the time – so please take that into account.

Recharge time from empty to full was almost exactly 4 hours.

VALUE & CONCLUSION

When I first received the X5ii, I read the release papers from Fiio – and spent the best part of a week simply getting used to its signature and feature set. I was expecting an increase in fidelity over the X5 original, and this was pretty much what I was hearing – or so I thought.

Once I got a chance to sit down and critically compare the X5 and X5ii (properly volume matched), some of those perceived differences diminished just a little. I still think the X5ii exhibits a slightly more spatial and vibrant sound – but IMO it is not a night and day difference with the X5 original.

Comparing the X5ii and X3ii was also interesting. Again – both are similar sonically with the X5ii exhibiting a touch better overall dynamics and a cleaner more refined signature. The differences are not huge though.

Like the others in the Fiio family, the X5ii continues to bring a fantastic feature set, and this is where its true value lies IMO. Great build and form factor, very good power, options to use as DAC, line-out, and digital out, a GUI that whilst not fully polished is still very usable, very good expandable storage, and of course (IMO) really nice SQ. All of this for USD 349 makes the X5ii a really attractive option.

I still feel the X3ii offers the best overall value in the Fiio range – but for those wanting the pinnacle of sound that Fiio currently produces – the X5ii definitely delivers.

Should current X5 owners upgrade? That very much depends on what you are looking for. Some of the features (instant on, play through folders) are definitely worth having – and there is the slightly more vivid sound (sorry – but that’s the best descriptor I can give for now). There is no doubt it is an incremental step up – but IMO we’re talking a step and not a leap.

The question remains how to rate the X5ii – and I’m making the assumption that Fiio has said that the final version will have the same wheel dynamics/feel as the X3ii. So from me (with those changes) – I’d give the X5ii a solid 4.5 stars (value and features). They could easily get a 5 stars if they would finally fix the Genre / All Songs category issues. C’mon Fiio – you know you can!

FINAL THANKS

Again – my apologies for the length of the review. I really couldn’t do it any other way without glossing over essential information. My thanks to Joe and James for the opportunity to be part of the review team. I will genuinely miss this unit when I send it away later this week on its New Zealand tour.

NOTE – this review was also published earlier on Headfonia

Great review as usual, man!

Sounds like it really wouldn't be much of an upgrade over my X3ii, huh? *sighs*

It's an upgrade - but an incremental one. Whether or not the extra $$$ is worth it - only you could answer. If I was on a budget, I'd take the X3ii and spend more money on either better headphones or more music.

Thanks for the great review. I just purchased an X5 refurb for an excellent price and your review helped a great deal with that!

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

Back in February this year, iFi Audio, in association with Alclair, Music Direct and Native DSD Music ran a competition on Head-Fi to name the number of components in the their new iFi Retro (which had just been released. I put my entry in – because you just never know, right ….. and to my great surprise and pleasure, I found out in March that I had won 2^nd prize! It consisted of a new iFi Micro iDSD, 4 albums from Native DSD Music, and a pair of Alclair Curve IEMs – which I am covering today in this review.

Alclair Audio is a US company, based just North-West of Minneapolis, who specialise in the creation of custom in ear monitors, custom hearing protection – and have recently added their first universal IEM to the product range – the dual BA driver Alclair Curve.

Whilst I’ve been testing my new Alclair Curves, I’ve also had the chance to swap several emails with Tyler Folsom from Alclair. From the communication so far, I can tell this is a company that really cares about the product range they have, and they have been very keen to get my feedback, and pass it on to their development team.

So without further comment – let’s have a look at the Curve – the only current universal IEM from Alclair – but I’m sure it will become the first of (hopefully) many IEMs Alclair bring to the market place.

DISCLAIMER

I was provided the Curve by Alclair as part of a prize pack. There was no conditional requirement for me to review the Curve, and I have no other association or affiliation with Alclair. I do not make any financial gain from this review – it is has been written simply as my way of providing feedback both to the Head-Fi community and also Alclair themselves.

I have now had the Alclair Curve for a little over 2 months. Normal RRP is USD 249.00

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portable (Fiio X5, X3ii, X1 and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP – and now the iFi iDSD). I also use a portable set-up at work – either X5/X3ii > HP, or PC > E17K > HP. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan, Trinity Delta and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

Over the last two months – I’ve used the Curve from a variety of sources, but for this review, I’ve mainly used it with the iDSD, and straight from the headphone-out socket of my Fiio X3ii, X5 and also my iPhone 5S. Although I have tested them with an amplifier, I do not think they benefit from additional amplification. In the time I have spent with the Curve, I have noticed no change in the overall sonic presentation. I could not estimate the time I have spent with the Curve since I got them – but it would easily be 50+ hours, and probably a lot longer.

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The Curve arrived from Alclair just in a simple courier box, which on opening just revealed a clam shell pouch.

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All that was in the courier box - the Alclair carry case	Opening the case	Alclair Curve and all accessories

Unzipping the Alclair carry case revealed the Curves themselves, a cleaning brush/tool, a carabina (for hooking the case to cargo pants / belt etc), and 3 pairs of genuine Comply T200 tips (small, medium and large). This was an excellent choice for me as Comply is usually my go-to as far as tip choice is.

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The accessories	Tips - genuine Comply 200 series	Cleaning tool

The clamshell case is quite large (which is why including the carabina was an excellent idea – you can clip it to a belt loop), and measures 95 x 90 mm, and a little over 40m in depth. So it’s not exactly pants pocket friendly – but it is fine in a jacket pocket. It is one of the better clamshell cases I’ve seen though – zipped, with a meshed outer which is very ruggedly built (will protect those IEMs very well), soft inner, and inner mesh pocket for storage or tools or tips. It is also very spacious.

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Carabina attached to case	Interior of carry case	The Alclair Curve

So all in all – a somewhat frugal accessory package – but functional. A good idea for Alclair in the future may be to include a small range of silicone based tips for those who aren’t foam fans.

TECHNICAL SPECIFICATIONS

(From Alclair)

Type	Dual; Balanced Armature
Frequency Range	10 Hz – 20 Khz
Impedance	22 ohm
Sensitivity	111dB @ 100mV
Jack	3.5mm gold plated, right angled jack
Cable	1.2m – copper twisted pair, PVC coating
Weight	Approx 14g with tips in place
IEM Shell	Polycarbonate

FREQUENCY GRAPH

I inquired of Tyler if Alclair had any frequency graphs they could share. He responded that because there are so many different standards for measurement – they are a little wary about releasing any measurements that they’ve taken. I can understand where he’s coming from – and as there doesn’t seem to be any measurements around the net, I’ve endeavoured to measure them myself.

To do this, I used a calibrated SPL meter (not an iPhone app – proper meter), measured using the C weighting, and then translated to adjusted dB levels (ie what we would actually perceive). This is done by set formula, and I would like to shout out to @twj321 (for providing the spreadsheet and formulae) and @DJScope (for helping me format the graphs). I used a louder than normal listening level and set tones – so I could measure accurately and be above the noise floor. All readings were checked twice.

So here are the measurements (after conversion), and below is the graph.

Hz	20 Hz	30 Hz	40 Hz	60 Hz	80 Hz	100 Hz	150 Hz	200 Hz	300 Hz	400 Hz	500 Hz	600 Hz	700 Hz
dB	79.5	81.7	83.7	86.3	88.1	89.4	91.2	92.0	92.3	92.1	91.7	91.3	91.0
Hz	800 Hz	900 Hz	1 kHz	1.5 kHz	2 kHz	2.5 kHz	3 kHz	3.5 kHz	4 kHz	4.5 kHz	5 kHz	5.5 kHz	6 kHz
dB	90.6	90.3	90.0	89.2	91.0	92.2	91.6	90.4	89.3	88.4	86.2	84.5	83.4
Hz	6.5 kHz	7 kHz	8 kHz	9 kHz	10 kHz	11 kHz	12 kHz	13 kHz	14 kHz	15 kHz	16 kHz	18 kHz	20 kHz
dB	82.7	82.5	82.6	7.98	73.0	67.1	63.2	62.5	72.7	66.4	60.8	63.4	63.3

What I’m actually hearing is a warm sound, quite mid bassy and a little dark, with quite a clear mid-range. Treble response is a little subdued, and very smooth. I would call this a typical modern consumer driven tuning.

BUILD QUALITY / DESIGN

The Alclair Curve is probably the most innovatively designed universal monitor I’ve seen from a design point of view. The shells are a hard polycarbonate plastic compo – clear on the outside (ie the side facing outside your ear) – so that the internal workings are visible, and a light grey on the side facing your head. When you disconnect the cable and take off the tips, the Curve is also pretty tiny, and literally looks like a “curve” – or more figuratively a crooked smile.

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Clear plastic outer transparent window	Looking down the nozzle	The beautifully moulded and contoured interior

Although it is essentially a two piece (or more correctly two half shell) monitor, the finish is virtually seamless. Because of its unique shape, I can’t really physically measure it like any standard monitor – but maybe it’s just best to give you the following idea. From tip to tip the Curve measures approximately 60mm in length and is approximately 10mm wide and deep at its widest point. In real terms though (not measuring the ‘curve’ of the Curve), it’s less than 30mm in length. It doesn’t have a traditional nozzle as such – and instead simply tapers to a tube approximately 10mm in length and 4mm wide. In terms of appropriate tips, the Comply 200 series are a perfect fit. There are three raised notches on the nozzle tube – and these work surprisingly well in keeping tips firmly in place. There is no filter – so care would need to be taken long term to keep the Curve clean.

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You can just see the bumps on the nozzle	The Curve's design is very unique	Two pronged cable

The shape of the Curve is designed so that it moulds around the inside of your ear’s Antitragus and Antihelix (lightly touching both) with the upper point (I think of it has a stability guide) lightly locking against the Triangular Fossa.

The cable connector is a traditional 2 prong (so yes the cable is replaceable), and is quite firm and feels very secure. The cable consists of a twisted pair of copper wires with a tight PVC coating. There is an approximately 65mm piece of mouldable hard plastic which acts as a configurable ear-guide. The cable is extremely robust, easy to coil (very flexible), and I’ve had no issues with kinking or memory. The design is such that wearing the Curve is required to be over ear. I guess this could be changed by purchasing an after-market cable without any memory wire.

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Gold plated right angled jack	Y split and cinch/slider	Curve plus memory wire section

The Y split is rubber with excellent strain relief, and a very simply clear plastic sheath which acts as a chin slider. It is functional – but tends to slide a little too easy at times, so passably effective.

The jack is right angled, gold plated, and has very good strain relief.

FIT / COMFORT / ISOLATION / MICROPHONICS

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. With the Curve though, they only include Comply 200 series tips with it (I use Comply tips often) so I was perfectly at home with this tip option. For those who prefer silicone, as long as you use something with a relatively skinny internal diameter, you should have no issues. Spin-fit tips fit well (I couldn’t get a seal with them though), as did the Ostry Blue and Black tips. Sony Isolation tips were also a perfect fit – so the Sony Hybrid tips should also be a perfect match. In the end though (very surprisingly for me) I’ve ended up with a set of cut down triple flanges (into bi-flanges), or simply using the supplied Comply tips. I would recommend playing with tips as they can have an effect on the overall sound (silicones definitely didn’t attenuate the highs as much as the Comply tips did).

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Curve with standard Comply tips	Curve with Spin-fit tips	Curve with Ostrey tips - filter included in tip

Isolation with the Curve is very good (excellent in fact), and although it may not be quite on a par with the Shure SE series, I would say that with the tips I use, it is not far away. I would have no issues wearing these on a long haul flight.

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Sony Isolation tips	Rear of Sony Isolation tips showing foam inner	Modified triple flange (to dual flange)

Comfort is excellent – I was really surprised how easy these are to fit, and how wonderfully comfortable they are when they are intact. It really is just like wearing a set of customs – they mould so well. I was expecting pressure points because of the hard plastic – but the Curve are one of the most comfortable IEMs I’ve ever worn, and I can only marvel at how good the design is. It fits me like a glove. Sleeping with them intact is easy as they sit completely flush (actually slightly recessed).

Now we come to the one issue I have real problems with. The Curve (for me) is microphonic – really microphonic. There are two main issues – the first is the mouldable memory section (which I actually really like for fit and comfort). The material for the guides is not too bad if I’m not wearing glasses – but with glasses intact, any slight tap, and it’s immediately transmitted. All it needs is some sort of coating to alleviate this – and for now if I’m doing any type of active pursuit, I either wear contacts, or adjust the guides so that they aren’t coming into contact with my glasses, or tuck them underneath the glasses arms. The second issue is the cable itself. It’s really well made – one of the better cables I’ve had – but again it is quite microphonic when active. This can be alleviated by tucking into clothing and using the cinch – but I would also recommend Alclair look into alternative sheathing to see if it can be further reduced.

Overall though – design, build quality, fit, comfort, and isolation have all been very good – and the issues with microphonics can be alleviated. So how does the Curve actually sound ……

SOUND QUALITY

The following is what I hear from the Alclair Curve. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii as source, and included T200 Comply tips.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on Default Signature
When I heard I’d won the competition and one of my prizes was the Curve (a dual BA made by a company well known for their reference custom monitors), I was pretty excited. My previous experience with dual BA earphones has been with Shure’s excellent SE425, and the Brainwavz B2. Both of these, I really enjoyed. So I was expecting an earphone with really good balance, a reference type sound, and plenty of detail – maybe at the cost of a little bass.

What I’ve described above is not the Curve.

On first listen, the Curve is instead quite warm (even a touch dark), with quite a bit of mid-bass, very clear mid-range, enough detail in the treble to convey detail, but not very extended, and really quite smooth overall. Those who’ve followed my reviews will know that I normally like a default signature with more neutral bass, and a touch more detail than neutral.

Overall Detail / Clarity
Using my normal go-to tracks (“Gaucho” and “Sultans of Swing”) was interesting. There is definitely more bass present and it does slightly over shadow (bass guitar) some of the detail from cymbals. But for all that, it is a comfortable and very smooth listen, and both the sax in “Gaucho” and guitar in “Sultans” have enough life to keep both tracks interesting. Vocals are very good, and balance is OK – I’d just like a little less warmth and a little more detail. The emphasis coming through is more smooth and clear, than detailed and clear, if that makes sense.

Sound-stage & Imaging
The Curve, despite its warmer tuning, actually exhibits a good sense of space with Amber Rubarth’s “Tundra” – just bordering on out of head. The imaging also is very good – and I didn’t expect this with a warmer earphone. Directional cues are really good, and very consistent.

With McKennitt’s “Dante’s Prayer”, the presentation was interesting. Quite intimate overall, and once again – although vocals were very clear – I would have liked just a little less warmth in the overall presentation. The trade-off though was that the cello was gorgeous, and the piano was also very nice tonally. McKennitt’ voice though – while clear, just didn’t have the sweetness I’m used to – and once again while everything was smooth and pleasant – overall it’s just too warm for me.

With the applause at the end of this track, there was a feeling of connection with the crowd though – so the sense of width and depth is really good. I’m suitably impressed.

My last test was with Amanda Marshall’s “Let It Rain” and this time the presentation was really good. This track does tend to be slightly brighter in presentation, so this suited the Curve well – and the naturally holographic sense of the recording came through wonderfully.

Bass Quality and Quantity
I was expecting good impact, and the Curve didn’t disappoint. Mark Lanegan’s “Bleeding Muddy Waters” was visceral in its intensity, but surprisingly no looseness or imbalance in the overall bass cohesion. This track usually exposes bass bleed and excessive reverb if it exists, but the Curve just delivered really cleanly. Again it’s darker than I prefer – but the quality os all there, and Mark’s voice had great timbre, and tone. Switching to Lorde’s “Royals” took the Curve impressively low and once again had great impact. When the bass guitar kicked in I could hear the depth. Ella’s vocals were clear, but again darker than I would like.

Female Vocals
I was expecting a mixed bag with the Curve. So far it has been very clear, but a little too bass emphasised, and a little dark in overall tonality. My first test is always Agnes Obel’s “Aventine” and as expected the Curve struggled a little. Presentation was OK – but there was a little stridency and hollowness. Cello was once again brilliant though (that bass quality is really good). Switching to London Grammar – and there is a definite improvement. Hannah’s voice still had its magic, but I’m still wishing for just a little more balance. So I played through my usual test tracks, and it was very much hit and miss. Feist and FaTM were both really good – but I think a lot of this was the dynamic nature of the music (and the presentation of bass). Yet Gabriella Cilmi’s “Safer”, which never fails to move me, sounded slightly dull and flat. It was still pleasant – but no connection or magic. Norah on the other hand – magic, and Lianna Le Havas was another who really connected.

So a grudging pass mark on female vocals – but for me (65% of my library would be female vocalists), the default tuning is just not quite there.

Male Vocals
This is something the Curve handles a lot better. The dynamic bass is naturally suited to Rock music, and once again I was impressed by the quality of the bass (clean, clear, dynamic). How did they tune this so well into a dual BA? What was really surprising was when I switched to 10CC, and how well some of the older Classic Rock sounded with the Curve. The one thing I did miss though was some of the edge and attack from guitar (Alter Bridge), and again some of the upper end detail from snare and cymbal.

“Hotel California” and “Keith Don’t Go” were both acoustic tracks which sounded incredible with the Curve, and the one thing I noticed with both was that with the absence of bass guitar, the midrange didn’t have to try to compete so much.

My litmus test is always Pearl Jam. This was a lot better – very good timbre in vocals, and some nice upper end details present. I could relax and listen to this presentation for hours.

Genre Specific Notes
I’ll make this reasonably quick.

For Rock and Alt Rock – the Curve was pretty good. Plenty of dynamics for the most part, and I was impressed time and time again with how clear the mid-range was despite the elevated warmth from the mid-bass. Saying that though – Floyds “Money” did sound a bit muffled (which it shouldn’t), but this was made up for by the dynamics and quality of the bass in PT’s “Trains”.

For Jazz, Blues and Bluegrass, while overall it was clear enough and the Curve rendered detail reasonably well, for me it wasn’t ideal. Portico Quartet sounded gloomy and overly dark (and it shouldn’t), and once again some of the upper end detail was simply AWOL. Bonamassa’s vocals were great – but the edge and liveliness of his guitar was somehow muted.

EDM was brilliant though – tracks from both Little Dragon and Lindsay Stirling were truly toe tapping, head nodding, pure joy to listen to – as was the little Rap I own. Switching to some Van Buuren and once again – wow.

Pop was also pretty pleasant (both Adele and Coldplay) – nice smooth, easy to listen to presentations. Most of my Indie (which is often recorded a little hotter) was also very good. Band of Horses was a really nice and dynamic listening experience, but sadly the darker nature of the Curve with Wildlight’s “Dawn to Flight” – while pleasant – again was missing some of the captivation that has made it a favourite when heard with more balanced earphones.

Classical was actually pretty good – and again that sense of space and imaging really helped. I would still have liked a little more air with full orchestral pieces, and Netrebko & Garanca’s duet from Lakme was definitely missing some of its usual magic. But Kempffs rendition of Beethoven’s Piano Sonatas was truly breath-taking, as was Zoe Keating’s performance with Cello.

AMPLIFICATION REQUIREMENTS

The Curve is again easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or any of the Fiio Daps. With typical pop/rock songs on the iP5S I’m usually at a volume level of around 40%, on the X3ii around 40/120. I did try amping with the E11K and E17K, but noticed no obvious signs of improvement.

EQUALISATION

As you’ve probably noticed, the biggest issue I have with the Curve at this stage is too much mid-bass, and not enough upper mid-range and lower treble. In short – the default tuning seems to be toward a typically warm, bassy, modern consumer type sound. An easy fix should be to simply EQ out the mid-bass hump and apply some emphasis from about 3-8kHz. So I applied a rough EQ that looked a little like a roller coaster. It’s not perfect yet (still needs tweaking – even after a couple of months), but for me, it transforms the Curve from an “OK” to a wonderful monitor. Detail is now a lot more apparent, female vocals are sublime, and tracks that were slightly dull and flat now pop. If the Curve had this as the default tuning, I’d buy another one tomorrow.

VALUE
The Curve has a RRP of $249, and for lovers of its default signature, I think it is reasonably good value for its performance sonically + the innovation in fit and build.

I do think Alclair need to seriously look at the accessory package though – as even including a couple of different silicone tips and an airline adaptor & 3.5-6.3mm adaptor would have given a much better impression of value.

ALCLAIR CURVE – SUMMARY

When I first saw the Curve, my immediate thought was how on earth I was going get a comfortable fit with them. Five minutes after wearing and adjusting them to my liking, I was left asking why no-one else had come up with such an innovative design and fit.

The Alclair Curve is a truly unique universal IEM in design, and subsequent fit. It is very easy to fit, and very comfortable for long term wear. I can’t complain at all about the build – except to suggest to Alclair to look into options to cut down on the microphonics.

The default sound is quite warm with an emphasised mid-bass hump, but very clear vocal range. Unfortunately for my personal tastes, the bass and mid-range are accompanied by a very relaxed upper mid-range and lower treble, which while smooth, in combination with the emphasis on mid-bass, ends up creating a safe, and sometimes dull signature. The good news is that there is magic in the drivers, and some simple EQ can really make this IEM sing.

I guess the overall question would be would I buy the Curve for its RRP, or recommend it to friends and family? I’m a little torn on this – simply because there is so much potential with a little tweaking. So my answer is yes and no. I would definitely recommend it if you like a warmer signature – the quality of the bass is brilliant, and there is a lot of clarity. But in its current form, I wouldn’t purchase it for myself. However – if Alclair do happen to release an updated version with a more reference tuning and maybe fixes for the cable noise, I really would be all over it.

So for this, the Curve gets a 3.5 star rating from me. A very good monitor. If you’re a fan of headphones like the T10i from RHA – you should definitely try the Curve (much better bass and overall cohesion).

Once again though, I’d like to pass my thanks to Tyler and the team from Alclair for their generosity in contributing to the competition. Their feedback (especially from Tyler) and willingness to supply the additional details/info I asked for speak very well of a company who obviously values customer service.

RECOMMENDATIONS TO ALCLAIR

These are easy.

Have a look at expanding the accessory package
Retune the drivers to remove some of the mid-bass (sub bass is perfect though – don’t touch that), and lift the upper mid-range and lower treble.
Investigate possible changes in cable material to reduce microphonics

If these changes were adopted, I’d have no qualms about an immediate 4.5-5 star rating.

Great review Brooko! I really love the Curves, I recently cracked on of my beloved Aclair RSM Quads. The Folks at Alclair, sent me a pair of Curves to use while they were repaired. Great customer service and the Curves sound fantstic, yur review is spot on!

Thanks

I'll be definitely taking these with me when I travel in July. The fit and isolation should be perfect on the long-hauls, and with EQ I can get the sound pretty much spot on. I'm really inetrested to see what Tyler and their crew can do with the next lot of universals (if they continue). I'd love for them to try a reference tuning.

Oh I see now, thanks for the explanation Brooko. Sorry I completely forgot that I wrote a comment in here

Anyway thanks again for the info and the review.

For larger views of any of the photos (1200 x 800) - please click on the individual images

[size=24.5699996948242px]INTRODUCTION[/size]
My introduction to DUNU Topsound (18 months ago) was with their triple hybrid DN-1000, which rapidly became a hit with Head-Fi buyers, and was one of the first triple hybrid IEMs to show that top quality could be achieved at an affordable price. Since then DUNU has been a consistent performer, releasing a string of very good IEMs, including the extremely well regarded Titan, and of course their flagship (triple hybrid) DN-2000.

I’ve used this before in my other reviews – and I think it serves as a good reminder of who DUNU is, and where they come from, so please excuse me if I state again …..

DUNU Topsound was established in 1994 originally as an OEM supplier to other companies. Since then they have developed their own branded line of high quality earphones, and gone from strength to strength (IMO) with each release. They currently have their manufacturing plant in China and head office in Taiwan. They now have more than 100 employees, and market their product range all over the world.

The name DUNU is simply an acronym of the principle design points that the company strives to implement in their product range

Delicate
UNique
Utmost

Here is a quote from their website, which really does give an insight into what drives the company:

“With advanced technology and hi-end equipments, DUNU desires to be able to provide Delicate, Unique ＆ Utmost products for Hi-Fi embracers. Delicate means extremely quality demanding on product process, from every little component to product manufacturing. DUNU has complete production line and equipments, including precise equipments, B&K frequency machine, IMD sputter, CNC machine, anechoic room, etc. Concerning design of product, DUNU also devotes to create unique outer appearance and balance in all sound frequency.

Utmost is not only the expectation on products, but also the pursuit of an Earphone Manufacturer. The founder of DUNU, himself, has years of experience in OEM/ODM earphone products in which many worldwide famous earphone Brands are included. However, in order to create the most enjoyable earphone on his own, DUNU’s president establishes the brand “DUNU” and implants many hi-end equipments and hires talented employees. From then on, DUNU takes the lead in developing the first Chinese made metal earphone, developing 5.8mm Driver unit and produce the very first Chinese Balance Armature Earphone, in 2014 DUNU release China first triple driver Dynamic and Balance Armature Hybrid earphone, All these preparation are to step on the world stage and to challenge renowned earphone brands. The ultimate goal of DUNU is to provide worldwide HI-FI embracers our Delicate, Unique & Utmost earphone products.”

DUNU’s full product catalogue can be found at http://www.dunu-topsound.com/product.html - and their products are supplied through their own storefront (globally) on Amazon.

The DN-2000J I’m reviewing today is an update and planned improvement on their original DN-2000 (which I reviewed previously), and comes in as both an update to the original DN-2000, and a logical series of improvements to replace it as their new top IEM.

The DN-2000J arrived to me two weeks ago, and I’ve been using them every day as my portable IEMs – so I’ve clocked up at least 50-60 hours listening time with them so far. Although I’m not a personal proponent of burn-in, I was advised by Vivian that their engineers recommend 100-200 hours burn-in. So even though it goes against my nature, from first receiving the DN-2000J, I subjected them to over 40 hours continuous burn-in over the first two days. So in total these have had near enough to 100 hours on them when I started my critical evaluation.

Read on to find out my personal thoughts on the DUNU DN-2000J and what improvements they’ve made over the DN-2000.

DISCLAIMER

I was provided the DUNU DN-2000J as a review unit from DUNU Topsound. I am in no way affiliated with DUNU - and this review is my honest opinion of the DN-2000J.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portable (Fiio X5, X3ii, X1 and iPhone 5S + now the X5ii) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP – and now the iFi iDSD). I’ve recently been using it at work with the DAPs just listed, or PC into a Fiio E17K Alpen2. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan, Trinity Delta and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I used the DUNU DN-2000J straight from the headphone-out socket of my iPhone 5S, X5i and ii, X3ii, X1 and also from the Fiio E17K when at work. I did not generally further amp them (I did test them with my E17K, E11K and iDSD), as IMO they do not benefit greatly from additional amplification (YMMV and it may depend on your source). In the time I have spent with the DN-2000J, I have noticed no change to the overall sonic presentation (break-in) over close to 100 hours.

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

MY LIST OF SUGGESTED IMPROVEMENTS FROM THE ORIGINAL DN-2000

I thought I’d list these in advance, and then see how they’ve been addressed in this new (and updated model). My original review for the DN-2000 can be found here (http://www.head-fi.org/products/dunu-dn-2000-hybrid-3-way-earphone/reviews/12548).

Refinement in body size for fit and comfort
Change the nozzle to allow for better grip of ear-tips (my suggestion was actually to have tuning filters instead of the rings)
More sparkle in the overall tuning

THE REVIEW

PACKAGING AND ACCESSORIES

The DUNU DN-2000J arrived in an approximately 175mm x 150mm x 55mm retail box. The box is all in black with white text, and “screams” high-quality product to me. It has a simple picture of the DN-2000J on the front and accessory, contact, and specification information on the back and sides.

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Retail box main cover	Retail box rear	Retail box side view (profile)

The box opens “book style” to show the DN-2000J through a window, and on the opened covers there is some information about the evolution of the DN-2000J (in English and Chinese). Opening the final flap reveals a holder with some of the tips, the DN-2000J in their full glory, and a large aluminium carry case.

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Opening initial flap	Opening 2nd flap	The DUNU aluminium carry case

The carry case is the same as used on the original DN-2000. It is approximately 115 x 75 x 40mm, really solid, and on opening – very spacious (plenty of room for the DN-2000J and your choice of accessories. Because of the size of the carry case, it isn’t really pocketable (trousers or jeans), but it would be ideal for a bag or casual jacket pocket. For most of the last week I’ve actually been using a softer Altone pouch – simply so they are easier to carry in my pocket.

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Inside the carry case	Documentation - manual, warranty card & Comply guide	Comprehensive accessory range

The actual range of accessories is copious and very good quality (it’s just one of the things I love about DUNU’s products), and includes:

4 pairs of white silicone tips
6 pairs of charcoal/grey silicone tips
1 pair of medium T500, T500x and Ts500 genuine Comply tips
1 pair of earhooks
3.5mm Female to 6.5mm Male Adapter
3.5mm Female to 2-pin Male Adapter (airline adaptor)
Aluminum alloy box
6 pairs of metal adjustment rings (2 of each red, blue and silver)
4 pairs of rubber fitting ‘fins’
1 Shirt Clip
1 pair of rear “protection covers”
2 pairs of base adjustment rings
Foldout paper manual
Maintenance and warranty card.

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Interior of the carry case	Comply tips and silicone tips	The full tip selection included

The changes from the original DN-2000 are the omission of the bi-flange tips, inclusion of more Comply tip options, extra set of charcoal/grey silicone tips, and the addition of the rear protection covers and bass tuning rings.


Clip, airline adaptor and 3.5-6.3mm adaptor	Ear guides	Rear IEM covers

Once again a very comprehensive and well thought out accessory range. If there was one thing I’d add, it would be a small soft zippered carry pouch – more suitable for pants pocket use.

TECHNICAL SPECIFICATIONS

(From DUNU’s packaging / website)

Type	Triple driver hybrid IEM (inner ear monitor)
Drivers	1 x 10mm titanium coated dynamic and 2 x balanced armature drivers
Frequency Range	4 Hz – 40 Khz
Impedance	8 ohm
Sensitivity	102 dB (+/-2 dB)
Jack	3.5mm gold plated (right angled)
Cable	1.2m, fixed
Weight	21.8g
IEM Shell	Steel and aluminium alloy – cartridge style

FREQUENCY GRAPH

At the time of writing, I don’t think there have been any measurements of the frequency response of the DN-2000J, but I’m sure this will happen in the coming weeks. I know tomscy2000 was getting his pair measured, so I’m looking forward to seeing how they look. In the meantime, I’ve included the graph they show on their packaging, plus also some quick measurements I’ve taken of my DN-2000J using a calibrated SPL meter, and test tones.

The measurements were taken using the meter’s A weighting

Hz	30 Hz	40 Hz	60 Hz	80 Hz	100 Hz	150 Hz	200 Hz	300 Hz	400 Hz	500 Hz	600 Hz	700 Hz	800 Hz
dB	42.2	44.0	49.8	54.8	58.5	64.2	67.7	71.9	74.6	76.4	77.6	78.6	79.3
Hz	1 kHz	2 kHz	3 kHz	4 kHz	5 kHz	6 kHz	7 kHz	8 kHz	10 kHz	12 kHz	14 kHz	16 kHz	20 kHz
dB	80.2	84.1	86.9	85.0	87.7	85.2	84.2	76.7	67.2	57.5	48.7	45.4	42.0

As far as actual audibility goes, I could hear the tones easily at 30 Hz, but below 25 Hz I was struggling. Increasing the volume for the 20Hz tone showed me the DN-2000J was producing sound at 20 Hz – I know this was more my limitation than the earphones.

As far as subjective listening goes – what I’m hearing is a really nice smooth mid-range with reasonably linear elevated bass (maybe very slightly elevated) – but it feels natural rather than lacking balance. Vocal range is very clear, and these are definitely brighter than the original DN-2000 - but not excessively so.

BUILD & DESIGN

The DUNU DN-2000J, like the entire range of DUNU products I’ve reviewed previously, is incredibly well built and finished. The outer shell is a matte/brushed silver colour. The overall shape is similar to its sibling – the DN-1000, and almost identical to the DN-2000. This time however, the body is very slightly smaller in diameter (about 0.5mm), and 2mm shorter in overall length (18mm from the base to the tip of the nozzle). The nozzle remains approximately 8mm in length, and is 5mm wide, and has a fine mesh cover. It still has no lip (to accommodate the tuning rings), but I’m pleased to advise that DUNU have added knurling to the nozzle – which has improved the grip on tips. This was one of my critiques with the original DN-2000 (tips sliding off and staying lodged in my ears) – and I’m very pleased to advise that the knurling has definitely solved my issues with tips staying put.

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Stainless knurled nozzle and aluminium alloy body	clip for the ear guides	Rear of the 2000J with DUNU's logo

On the back plate is DUNU’s trademark logo. L&R markings are small and located on the protruding attachments to add the stability fins. On the nozzle “collar” – very close to the main body is a bass vent/port.

There is good strain relief at the cable exit, and on the left ear-piece relief is a small raised bump (which can be very easily felt) which indicates very quickly that you are holding the left ear piece. Great for easy identification in low light, or for anyone who is vision impaired. Top marks DUNU.

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Mesh nozzle cover	Rear protection cover fitted	Protection cover and matching tips

At the side of each body is a small protruding clip, to which you can attached a small silicone “fin” for added stability when worn cable down. More on this later in the review.

The cable has a very smooth PVC outer sheath which exhibits pretty low microphonics (none when worn cable over-ear), and which just doesn’t seem to tangle. According to DUNU, another change to the cable is four separate cores – so reterminating to balanced should be a simple matter of simply changing and resoldering the jack.

The Y split is rigid, metal, sturdy and very practical. Dunu’s design choice with the Y split is one I’ve always liked. There is enough weight in it to keep the cable pulling down slightly, but yet it’s not overly heavy or bulky. The top section of it also detaches to become the chin slider. The design is simple, elegant, and works incredibly well. There is ample strain relief at the southern end of the Y split, and the 1.2m cable terminates at a right angled, very well built jack – gold plated, and with excellent strain relief.

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Jack and cable tidy	Y split and cinch	The nicely coiled DN-2000J

The other brilliant design element in the cable is the inclusion of the 'on-cable' cinch (or rubber cable tidy) – the same as used on most of their releases now. This is a really simple mechanism that is unobtrusive - but means that whenever it's time to store the IEMs, the cable is always tidily looped. This remains one of the most simple, yet practical, methods of cable ties I have ever seen.
I can’t really fault the overall design or build quality. Once again, a huge amount of thought has gone into the DN-2000J, and I really do find it essentially faultless.

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. But there is such a large selection of tips accompanying the DN-2000J that there should be something to fit most people. I really like that DUNU have included genuine Comply tips (3 options) – and these would normally be my go-tos, but because of the knurling this time, I decided to try some different options.

		[size=inherit][/size]
Spin-fit tips	Spiral dots (too large and slid off stems)	Ostry blue silicones

I tried the stock tips, spin-fits, Ostry black and blue silicones, and some spiral dots (these were the only ones that did not fit well – too large in stem – and would slide off). Although it was a pretty tight fit, my trusty Sony Isolation tips fit perfectly (quite an effort to get them on), and they do not budge. They also give me near perfect comfort and isolation – so these have become my tips of choice.
Either worn over ear, or cable down, the DN-2000J fit flush with my outer ear, and are definitely OK to lie down with. The slight reduction in girth and length of the main body has also made a surprising difference for me with comfort. I found the original DN-2000 uncomfortable for long listening – but the new DN-2000J have been extremely comfortable, and I have already managed to sleep on at least one occasion with the 2000J intact, and no soreness or irritation on waking.

		[size=inherit][/size]
My preferred Sony Isolation tips	Stability fins	Short stability fin in place

The fins from the original DN-2000 design are back, and again they work really well to improve stability if wearing them cable down. They tuck inside the antihelix and help stabilise the DN-2000J inside your ear. This worked wonderfully for me with the original DN-2000, and fit again is very good with the newer model. In my preferred cable up position – removing the fins does allow the metal clip to be exposed, but as I alluded to earlier, there isn’t the same level of discomfort I originally experienced with the original design.

Isolation is once again above average for a hybrid, and if you use the bass adjustment ring (silicone ring to block the port), this can be enhanced even more (albeit with an effect on tuning). So at this point, we should probably look at what those tuning options are.

TUNING OPTIONS WITH THE DN2000J

Like the DN-1000, and DN-2000 before it, the 2000J comes with 3 different tuning rings (spacers) to adjust where the tips sit on the nozzle. This will have an effect on insertion depth, and essentially gives 4 different options – silver, blue, red or none at all – as each is a slightly different width.

I tried different settings and different tips - and whilst I like the idea (it definitely has tweaking options for the enthusiasts here), I wonder really how effective it is. After trying all of the different rings, and eventually removing them all together - to be honest I found that any change in frequency response (for me) was marginal and I doubt I could tell one from another in a proper blind test. It's also likely that the marginal change in width between rings would be nullified by the actual change in fit each time you use them (ie I guarantee that my insertion depth with the same rings will be different almost every time I use them). However – for others these may very well be useful, and may indeed net results in the ability to tune to your preference.

		[size=inherit][/size]
Tuning rings	Bass rings	Port that the bass rings cover - on the collar of the nozzle

What is different this time though is the inclusion of two pairs of clear silicone bass rings. These slide over the nozzle to sit on the collar of the nozzle housing, adjacent to the main housing, and essentially cover the bass port/vent. The effect is noticeable, and (for me anyway) there were 3 changes:

Sub bass quantity increased subtly – personally I don’t think the DN-2000J needs it, but some may like the effect.
Isolation slightly improves
On insertion – with the bass rings in place – I immediately started getting driver flex, and with a really good seal, some vacuum issues (ie swallowing could cause internal pressure flex). This will vary depending on the seal you achieve – with the Sony Isolation tips, my seal is almost perfect.

So plenty of tuning options, and it’s nice to see DUNU continuing with the innovation. Again – my suggestion for an ultimate model would still be detachable tuning filters/nozzles. Maybe for another evolution?

SOUND QUALITY

The following is what I hear from the DUNU DN-2000J. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii as source, no EQ, and Sony Isolation silicone tips with the cable worn over ear. I used the X3ii simply because I haven’t had as long (yet) with the X5ii, and I wanted to be sure of my sonic descriptions. The X3ii also has a low 0.2 ohm headphone output – which is ideally suited to the 8 ohm impedance of the DN-2000J.

For the record – on most tracks, the volume level on the X3ii was around 28-33/120 (on low gain) which was giving me around an average SPL around 70-75 dB and peaks at around 80dB.
Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on General Signature

When I first listened to the DN-2000J, I wasn’t “wowed” by the signature. My first immediate thought was that “this is a definite improvement on the DN-2000”, but it wasn’t an OMG moment. Instead, as I’ve used them more over the last two weeks, I’ve become more and more impressed with the overall balance and tonality. To me this is a sign of a really good IEM – and more often than not, an indicator of a real keeper.

If I was to describe the signature in a few words/phrases – I’d choose the words “balanced”, “smooth and clear” mid-range, and enough upper end clarity to give contrast without overdoing things.
For me, the first thing that I’ve noticed (apart from the better clarity) is the really nice coherence between bass, midrange and treble. The bass has a very slight emphasis, but to me it sounds more natural than overly enhanced. There is also a slight peak around 3kHz for vocal clarity, and another small one at 5 kHz. So far I haven’t encountered any real sibilance – the upper mids and lower treble are present enough to give some very good detail, but not overdone or splashy (with my chosen music anyway).

Overall Detail / Clarity

For this I always use both Steely Dan’s “Gaucho” and Dire Strait’s “Sultans of Swing” as there is a lot of micro detail in both tracks, and the recording quality for both is excellent.

With Gaucho, the sax intro is very smooth sounding and really well balanced with the vocals. Bass guitar is present in the background, but it’s not overpowering anything. Cymbals and snares are coming through clearly, and the overall impression is one of almost perfect balance. Everything just “belongs”.

Switching to Sultans of Swing, and this time detail is raised a notch, and the speed of the driver tuning and combination comes into play. Finer details are once very present – but also not overstated. The bass guitar is once again in perfect balance, and Knopfler’s voice has brilliant balance and tone. Knopfler’s guitar also has just enough edge to give contrast.

These opening two tracks really show case the balance the DN-2000J is capable of. The contrast and detail is effortless.

Sound-stage & Imaging

For this I used Amber Rubarth’s binaural recording “Tundra”. I use this because it’s a pretty simple way to get comparative data on sound-stage.

It’s usually difficult to get a reasonable stage size from an inner ear monitor. The stage is often quite small / close – with an average impression of space. The DN-2000J actually has a reasonably spacious stage for an in-ear monitor. It’s intimate enough to be engaging, but shows enough distance with this track to be slightly “out of head”. Imaging is really good – very precise, and also showing excellent speed and timbre with the drums.

I also used Loreena McKennitt’s “Dante’s Prayer” and this was a track truly made for the 2000J. The tonality of this IEM is really good – and highlights once again the overall balance. Cello and piano timbre and tone is extremely good (as are the imaging and directional cues). Loreena’s vocals are intimate and forward, but they aren’t dark at all – and with some IEM’s this can be an issue. The added clarity with the updated model just really works.

In this track, the applause at the end is so well presented that with some headphones (HD600) I can actually close my eyes and imagine myself in the crowd. With the DN-2000J, I’m in the venue, but falls marginally short of real connection with the audience. I can’t complain though – few IEMs achieve total immersion with this track.

The last track I tried was Amanda Marshall’s “Let It Rain” which is recorded with an almost holographic feel – which can be very intoxicating with the right IEM. The DN-2000J is absolutely captivating with this track – perfect balance between vocals and instruments.

Bass Quality and Quantity

Most triple hybrids I’ve tried have tended to have the dynamic driver swing more towards having the bass either very prominent, or at least a reasonable V shape overall. This was particularly so with the DN-1000 and Altone-200, slightly more balanced (still V shaped though) with the A83, and to a lesser extent the DN-2000. The DN-2000J is the first hybrid I’ve tried where the bass feels really nicely balanced with the overall spectrum, and the quality and texture of the bass is its real strongpoint.

Amongst my test tracks, one of the first tracks I go to is Muddy Waters by Mark Lanegan. This blues rock track is quite dark and brooding anyway, and tends to expose drivers that are a little loose or too mid-bass oriented. The 2000J was brilliant with this track – no massive over-decay present, but still maintained the depth in the sub-bass. Mark’s voice had the desired gravel and melancholy tonality which I know is present on the track, and the kick drum was perfect. Not too boomy, great impact – just really clean, and high quality bass.

Next track was to test the depth of the sub-bass, so I switched to Lorde’s “Royals” – and once again the DN-2000J Titan delivered with consummate ease. Again there is no noticeable bloom from the kick drum (at least none that isn’t already in the recording), and more importantly the bass guitar is reaching really low. Ella’s vocals still come through clear and clean. A brilliantly contrasting track – and the better for the clarity and quality of the overall bass.

Female Vocals

Anyone following my reviews will know that around 60-65% of my music revolves around female vocals – be it jazz, pop, rock, electronic, or even opera. I’m an unabashed fan. For me personally, the sign of a successful IEM is how successfully it conveys emotion and timbre with my female vocalists. Other IEMs I’ve owned in the past had sometimes struggled with some of the artists I like – and this includes IEM’s like Shure’s SE535 LE (upper-mids on the SE535 LE were too forward/fatiguing with some tracks).

One of the issues I had with the DN-2000 was that it didn’t quite have the brightness in the vocal range for my preferences. The DN-2000J seemed to have corrected this, so it was time to critically test it.

My early litmus test is usually queuing Agnes Obel – as some of her recordings can become quite strident or shouty if the mids aren’t quite right. The DN-2000J was just beautiful, clean, clear, sweet – and when the cello kicked in ……. breath-taking. Definitely not as bright as the Altone – but the balance is wonderful.

I then proceeded to play my usual medley of my other tracks from artists including London Grammar (Hannhs’s vocals were haunting), Christina Perri , Gabriella Cilmi (smooth and sweet), Feist (the contrast between her vocals and the hard hitting bass was very good), Florence and the Machine, Norah Jones and many others.

The lingering thoughts as I switched from track to track was again that the cohesion of bass, vocals and treble was simply outstanding. I think one of the DN-2000Js strengths with female vocals is the ability to convey a slightly deeper pitch (Norah) effortlessly, then ramp it up further with a higher pitched voice such as Lianne La Havas.

Male Vocals

At the other end of the scale sits a lot of my rock tracks.

I already knew I was in for a treat with the DN-2000J as it had consistently proved its versatility with my female vocalists. The continued theme here was the overall quality of the bass – there when needed, with good bass impact – clear vocals, and enough bite and crunch from guitars to tie everything together. The balance between upper and lower mid-range works really well too, and the Dn-2000J is effortless in its presentation of deeper male voices. Dynamics in older tracks (10CC / Jethro Tull) were brilliant, and the transition from cymbals, bells and guitar to the depth of low bass had me enthralled in some of the classics which on other IEMs are occasionally lifeless.

Harder rock from Alter Bridge and Breaking Benjamin gave the DN-2000J absolutely no issues with speed or overloading the drivers, and the overall clarity and ability to distinguish finer details (even in complex passages) is a testament to how well the drivers have been combined. Acoustic rock was also brilliant – and it was hard to tear myself away from both Seether (unplugged), and also Nils Lofgren during the critical listening tests. The bite of the guitar, combined with the clarity of vocals – really captivating.

Time for my litmus test – Pearl Jam. This is close to perfection for me. Detail. Contrast. Cohesion. Clarity. But best of all the timbre and tone of Vedder’s vocals. This may be as good as I have heard with an IEM to date.

Genre Specific Notes (brief this time)

Again for tracks, albums, artists – please refer to this list: http://www.head-fi.org/a/brookos-test-tracks

Rock – Covered this one above with male vocals. In a word excellent.

Alt Rock – The key to this genre for me is a combination of balance, clarity and dynamic contrast. Too much bass and it lacks contrast. Too little and there is no life. Pink Floyd’s “Money” had no issues with the perfect mix – clear vocals, great dynamic contrast, and the saxophone had great pitch and tone – but smooth and engaging. Switching to PT’s Trains – and it is pure pleasure to listen to. I love Wilson’s vocals, and the quality of the recording is incredible. The best though – is the bass. Clean, clear, fast, dynamic – it really is a standout feature of the DN-2000J.

Jazz / Blues / Bluegrass – I switched things up a bit this time and used Portico Quartet’s “Steepless” instead of “Ruins” (actually I listened to both – ended up queuing the whole album). Needless to say the overall balance of the DN-2000J is very good with Jazz. Again it’s the dynamic presentation, balance and clarity that really makes this a great IEM with this genre. Miles was no exception either – especially the contrast between trumpet and double bass. There is good separation of instruments as well. I’m reminded again and again how well the DN-2000J images, and there is even a good sense of space portrayed. I ended with some local Jazz/Funk (Sola Rosa) and this track with the DUNU’s is just toe tapping, head nodding pure joy. Really dynamic – and again that contrast between brass and bass is brilliant.

Onto Blues, and Beth Hart’s “Lifts You Up” was a really good listening experience. IEMs with an overly bright upper end tend to make this bright recording overly harsh and glary. The DN-2000J has this uncanny knack of presenting vocals with really good clarity – but stopping short of sibilance. With Bonamassa, the guitar is the star of the show – smoother than IEM’s like the A83 or DUNU’s own Titan. As I become more and more accustomed to the DN-2000J’s own special signature, I’m enjoying more and more the smoothness combined with the clarity – and the vocal presentation, that to me is where the real magic happens.

Rap / EDM / Pop / Indie – I usually start with Eminem’s “Lose Yourself” and it was very good – clear, dynamic, and the bass had good impact. One of the things that the DN-2000J does really well is present bass when it’s in the recording, but only when it’s there. It’s been surprising too, because just when I expect the bass to be a little lighter or weaker, it ends up surprising me with its intensity. This really is a capable dynamic driver!

With Electronic / EDM – as you’d expect from my comments so far, this is an IEM that is truly impressive with electronic music. There is plenty of impact and clarity with the bass – but it is the sheer speed and quality that I think is the key. It didn’t matter whether I played Little Dragon, Lindsay Stirling, or even The Flashbulb – the right amount of bass each time, but also crystal clear and dynamic contrasts with other instruments or vocals.

With straight Pop – the first thing that struck me playing Adele was the tonality of the piano and the way it perfectly matched the wonderful vocals and ebb and flow of the string section. Again that overall balance and cohesion. Coldplay, the Cranberries, it didn’t matter what I played – the DN-2000J tuning just kept delivering. And with Indie, I listened first to band of Horses and then Wildlight. With many Indie tracks being a bit brighter, any IEM with roughness in the treble can quickly be exposed (sound harsh), but the DN-2000J proved to be smooth and effortless – and once again (with Wildlight’s “Dawn Too Flight”), the presentation of Ayla’s vocals is completely mesmerising.

AMPLIFICATION REQUIREMENTS

The DN-2000J doesn’t need amplification for overall volume – but because of its high sensitivity and very low impedance, if you have a source with an output impedance of anything over 1 ohm, you may want to consider an amp to correct the output impedance mismatch. All of my sources ar pretty low OI – with the X1 at just under 2 ohms being the highest I own. Even with the X1, I didn’t really have any issues and didn’t notice any huge frequency changes. Something to be aware of anyway.

With my iPhone 5S around 30-35% volume is more than enough with most tracks, and the Fiios are generally at around 30/120. I did try the DN-2000J with both the E11K and E17K, but neither amp seemed to be adding anything to my listening set-up other than some unwanted bulk.

RESPONSE TO EQ?

I cannot honestly see why anyone would want to EQ these. I have no doubt they will respond accordingly – but nothing I could add in the form of EQ could possibly make them any better than they already are.

COMPARISON OTHER IEMS

These comparisons were all done with the X3ii – and volume matched using a calibrated SPL meter and fixed 1kHz test tone first.

Here are my very subjective thoughts:

DN-2000J vs Altone-200

The Altone sounds almost distant, and very thin (particularly with male vocals) compared to the 2000J. Altone is a lot more V shaped, and bass is very noticeable. Altone is quite a bit brighter – but the DN-2000J sounds both cleaner, clearer and smoother.
DN-2000J vs Trinity Delta

These two are a lot closer with overall balance. Bass on both is very similar in overall balance, with the Delta being slightly looser – whereas the DN-2000J has more speed. The Delta’s pitch is slightly higher with female vocals and slightly thinner overall with male vocals. Both are very clean and clear.
DN-2000J vs Fidue A83

This was always going to be the big one. The presentations are really different. The A83 are definitely more V shaped with heavier bass impact, and overall a more vivid vocal presentation. The DN-2000J sound a lot more relaxed, a lot more natural, and have a lot more balance. The A83 are a more strident in the upper mids (something I hadn’t really noticed before), whereas the DN-2000J is still clear, but not as peaky, and not quite as forward. I definitely prefer the quality of the bass on the DN2000J – on the same tracks it actually makes the A83 seem a little loose and thumpy. I still enjoy both – but I think side-by-side, for longer term listening, the DN-2000J would now take my top spot.
DN1000 vs DN2000J

The DN1000 is immediately noticeable as a lot bassier, both sub and mid-bass. Still quite nice detail with the treble. Very much a V shaped presentation, but vocals (especially male vocals have good presence). Female vocals are tonally darker than I prefer. The DN2000J in comparison is a lot more balanced in the bass, and comparing the two you immediately notice the additional brightness. Male vocals aren't quite as pronounced, but female vocals (for my preferences) are just about perfect. There is very good overall balance, but a brightish tilt to the overall signature. The bass quantity might be back a little on the 2000J, but I prefer the more agile and better textured bass of the 2000J.
DN2000 vs DN2000J

Coming straight from the 2000J, you immediately notice the missing brightness with the DN-2000 - especially with female vocals. The DN-2000 almost sounds dark, and I really had to let my ears rest for a while before continuing. DN2000's bass is a lot stronger, but also very good quality. Mid range has really good cohesion, with slightly more emphasis on lower mids. Male vocals are really good and the sense of balance right throughout is one of the DN-2000's strong-points. I can see why some people would see the DN-2000 as an end game IEM. But for me, my personal preference is for a slightly brighter upper mid-range, and I do find this lacking on the DN-2000. Switching back to the 2000J (especially with female vocals) is like lifting a curtain for me. I know it's simply a matter of preference - but the 2000J is simply tonally brilliant with its slightly brighter signature. I'm still getting no real sibilance. Bass is definitely lighter than the DN-2000, but I don't feel as though I'm missing anything. Oh - and the DN-2000J is definitely more comfortable than both of the other DUNUs

I took my SPL meter and measured all 3 DUNUs and then comparatively graphed them. I used C weighting for the measurements, and a series of test tones. Each IEM was calibrated at 1kHz first before measuring. The measurements were then put into a conversion and graphing spreadsheet so I could present some real numbers and graph them. The graph is below. It is a bit smoothed, but should hopefully give you an idea of the measured differences.

Conclusion - while my preference still remains the DN-2000J, I am reminded again just how good the DN-2000 and DN-1000 are. DUNU really knocked it out of the park with all 3 IMO.

DUNU DN-2000J – SUMMARY

From the little snippets tomscy2000 had been releasing during the development of the DUNU DN-2000J, I could tell there was going to be something special about this release. And when DUNU delayed the release to retune the drivers, it was clear that they wanted to get these exactly right.

The DUNU DN-2000J is an incredibly well designed, well built, and beautifully balanced sounding hybrid IEM. For me, its overall balance and cohesion make it a natural all-rounder for multiple genres.
Perhaps its strongest point though is the speed and clarity of its sonic presentation, and this is most apparent when comparing its bass quality to other similar hybrid IEMs.

The DN-2000J comes with a premium accessory package, and innovations in fit, tuning and overall design which continually set benchmarks which other companies will struggle to match at the price point which it is being offered at.

Vivian has told me that the RRP will be USD 349, and the actual launch date is around 10^th June. At this price, the DN-2000J is not a cheap IEM – but for those looking at a single long term premium IEM, these are definitely worth the money being asked IMHO.

A common summary question I ask myself is would I buy these, and would I recommend them to friends or family. The answer is a definite yes.

At this price point, the DUNU DN-2000J would be the best IEM tuning I have personally heard to date.

Once again I’d like to thank Vivian at DUNU for giving me this wonderful opportunity. It has been an absolute privilege reviewing these IEMs.

RECOMMENDATIONS TO DUNU

Vivian – please thank your engineers for me. That is the only recommendation I have.

Maybe try Twister6 - I think he has heard both.

Hope you still have these and can compare with the LZ A4 that you are reviewing, which I look forwards to. Very good review, I love hybrids.

Yep - I sure can. If work quiets down a little bit, I'll eb able to catch up on the reviews I have waiting.

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

Brainwavz is a well-established manufacturer of headphones in the value for money category – offering many different options that suit almost anyone’s sonic preferences. I’ve previously purchased their HM5 headphones and B2 earphones (both are IMO stellar performers and represent real value for money options). I’ve also had the chance to review their M1, R1, R3, S0, S5 and R3 V2 IEMs, and the AP001 amplifier.

I’ve had regular contact with Audrey from Brainwavz, and recently she asked me to consider being part of a review and launch of their first ever bluetooth earphones. This really did interest me, as I haven’t had the chance yet to try any actual Bluetooth wireless earphones, and I have seen this technology becoming more and more popular of late.

So today we are looking at the Brainwavz BLU-100 headset. Audrey has told me to keep this pair as a loaner (which I’m very grateful for), and which I will use as a comparison earphone in any future reviews of similar products.

I received the courier pack approximately one week ago – and have already spent as much time as I could with the BLU-100. I’d estimate that so far I’ve logged around 20 hours with it since it arrived.

I’ve listed price at USD $44.50 (which is the intended RRP on release) – however this is not what I paid for them (they are a review sample).

They can be found here : http://www.amazon.com/dp/B00YDVY34Q/ref=sr_1_1?ie=UTF8&keywords=bluetooth+earphones

DISCLAIMER

I was provided the BLU-100 by Brainwavz as part of a review program. I am not affiliated with Brainwavz in any way, nor do I make any financial gain from my contributions. This is my honest opinion of the BLU-100.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portable (Fiio X5, X3ii, X1 and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). I also use a portable set-up at work – either X5/X3ii > HP, or PC > Beyer A200p > HP. My main full sized headphones at the time of writing are the Beyer T1, Sennheiser HD600, and Brainwavz HM5. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan, Trinity Delta, and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in audible burn-in (at least not the wild claims we all hear about massive changes), have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I only used the BLU-100 with my iPhone 5S as it is the only bluetooth device I use regularly for audio. In the short time I have spent with the BLU-100, I have noticed only slight changes in the overall sonic presentation, but am aware that this is simply that I am becoming more used to the signature of the BLU-100 as I use them more often (brain burn-in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The review sample I have did not come with packaging, so I can’t really tell you about the intended retail box. So what we’ll start with is what I received:


Brainwavz case & sticker	Inside the case

The BLU-100 head-set
One USB to USB-mini plug (for recharging)
One velcro cable tie
3 sets (S/M/L) silicone ear tips
1 set genuine Comply S400 foam tips
2 removable ear fins
1 standard Brainwavz red and black carry case.
1 Brainwavz sticker


BLU-100 + accessories	Accessories

TECHNICAL SPECIFICATIONS

(From Brainwavz)

Type	8mm Dynamic Driver
IEM Shell Material	Aluminium
Cable Outer Material	TPE
On Cable Controls	3 button control + mic
Bluetooth Spec	Version 4.0
Chipset	CSRBC8645
Codec support	APTX, HFP, HSP, A2DP
Operating Range	Up to 30 feet (10 meters)
Battery	60 mAh rechargeable
Weight	12 grams
Operating Time	4 hours
Stand-by Time	100 hours
Charge Time	~ 2 hours

In addition to the above, the BLU-100 has the ability to connect to 2 devices at the same time, has integration with iPhones (battery life is displayed in the iPhone), has CVC echo and noise cancellation, and has voice prompts for power on, pairing, connecting, battery low, and power off.

FREQUENCY GRAPH

As the BLU-100 is only being released now, there are no frequency graphs available yet. So I’ve used my calibrated SPL meter plus test tones to measure frequency response and tabulate it.

Hz	60 Hz	80 Hz	100 Hz	150 Hz	200 Hz	250 Hz	300 Hz	400 Hz	500 Hz	600 Hz	700 Hz	800 Hz	900 Hz
dB	67.3	68.5	69.5	71.2	72.5	73.5	74.4	75.5	76.6	77.3	77.8	78.1	79.0
Hz	1 kHz	2 kHz	3 kHz	4 kHz	5 kHz	6 kHz	7 kHz	8 kHz	10 kHz	12 kHz	14 kHz	16 kHz	20 kHz
dB	80.0	81.1	86.8	83.2	78.4	76.1	75.1	74.7	69.0	57.6	48.7	44.2	42.1

BUILD QUALITY / DESIGN

The Brainwavz BLU-100 consists of two earpieces connected by a ~ 60 cm cable with an integrated control switch (3 buttons and mic). The earpieces are a fairly hefty size – measuring 25mm in length from base to tip of the nozzle, approx. 12mm diameter for the main part of the body, 9mm diameter for the section before the nozzle, and ~6mm diameter for the lip of the nozzle itself. The actual nozzle is pretty short – just 4mm from the center section to the nozzle tip, and has a built in fine mesh filter/wax guard. For anyone wondering – the nozzle itself fits Comply 400 series tips perfectly. The BLU-100 is not ported or vented.


BLU-100 - solid build	BLU-100 nozzle and graduated tubular design

The IEM casings actually look (and feel) like they’re made from a hard black plastic – but it’s actually a full aluminium housing – with the only plastic being the caps at the end. The left earpiece has a fixed cap with the Brainwavz logo. The right earpiece has a cap that lifts and rotates out to expose the charging USB port.

The cable exits have good rubber strain reliefs. Everything about this head-set so far seems pretty solid.


Charging port	The entire BLU-100 - lightweight

The cable is flat, and encased in TPE. It is nicely flexible with no memory. It is also pretty non microphonic if worn over ear – however is quite microphonic if worn down.. The 3 button control and microphone hangs approximately 10 cm from the right earpiece. The buttons are nicely labelled and feel solid.

The microphone is pretty good quality – and I had no issues with making calls. The comment I got back from the call recipient was that voice calls were very clear.


3 button control	Microphone

My only real gripe on design so far is that there is a charging light built into the control module. Unfortunately Brainwavz chose to use a small white LED, and you can’t really see it at all unless you are in an extremely low-light environment. A small blue, red or green LED would have been far easier to see.

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I initially tried the included large silicones and I couldn’t get a consistently decent fit or seal. I also tried my Sony Isolation tips – and while they were perfect with my left ear, my right ear had the tendency to seal too well (create a vacuum), and this would cause a vacuum cut-out sometimes (a symptom of not enough ventilation of the driver). There was also some mild driver flex. Spiral dots and Spinfits were next – but neither gave me consistent fit/seal (again my weird ears) – the Spinfits definitely sounded the best though. Finally I settled on a pair of large Comply T400S – and these gave me the perfect combination of comfort, seal and consistency (no flex).


Large T400S sports tips fitted	The BLU100 is a long IEM

Insertion depth with the BLU-100 is medium depth (cable up), or slightly shallower (cable down) – depending on the cable orientation. Unfortunately with the width of the earphones themselves, these don’t “disappear” when worn – and at times I’ve found my ears uncomfortable after a couple of hours – usually where the housing has pushed against me ear canal openings. They also sit slightly outside my outer ears when worn, so sleeping on my side is not the most comfortable (pressure on the ear opening). Saying this though – I have been to sleep a couple of times with them in-situ. The price I’ve paid is sore ears on waking.

Isolation with the BLU-100 is pretty good for a dynamic driver. With music playing you’re isolated pretty well. When walking I definitely need to be aware (visually) of what I’m doing – as I definitely wouldn’t hear something coming!


Fin stabiliser system	Fins are adjustable and removable

The BLU-100 can be worn cable up or down. If you use them cable down, the control unit does sit closer to where the mouth should be (for the mic), and to assist with stability, Brainwavz have included a couple of fins which are designed to sit inside the Anti-helix. These work pretty well, and stabilise the BLU-100 quite nicely. My issue with cable down still remains the microphonics though – and my preferred method remains over-ear, with the cable draped behind my neck

CONTROLS AND OPERATION

The control system on the BLU-100 is pretty easy to learn, and set-up for me was a breeze.

Pairing / Initial Set-Up
Initial pairing couldn’t have been easier.

Make sure Bluetooth is active on the iPhone
Turn on the BLU-100, by pressing and holding the middle button
This gives vocal feedback – firstly “power on” then “pairing”
Select the BLU-100 on the phone. The next voice prompts you get is “connecting”, and then the phone shows the head-set as connected.
After that simply select your music app – and press play.

After that – as soon as the head-set is turned on, the phone remembers the pairing automatically.

Audio Playback Controls
Again, these are very simple. We’ll call the buttons top center and bottom. Center button turns the BLU-100 off and on (long hold). When it’s on, press the center button once (assuming app on your bluetooth audio device is running) to play, or once to pause/stop. The top bottom raises the volume. The bottom button lowers the volume. Pressing and holding (for around 3s) the top button advances one track. Pressing and holding the bottom button go back to the previous track.

Again – really simple.

Phone Interaction – Calls
If your mobile supports voice dialing, this can be activated from the headset by pressing and holding either the top or bottom button for slightly longer than 3s. This initially advances the track – but shortly after activates voice dialing. This does work on the iPhone (activates Siri).

Other than that, the center button answers a call and also terminates after you’ve finished. You can also choose to reject a call, choose between 2 paired mobiles, and activate redial. I won’t go into all of this here – as full instructions are in the manual.

Other – Battery Meter (iPhone)
One of the things I really love is the connectivity with the iPhone. In the top right corner or my phone – between the bluetooth icon and phone battery % meter is a new icon (a small battery). This is the headset battery status indicator – and shows the status of the battery remaining on the head-set. This has been really handy as the battery life is pretty limited (around 4 hours active) – so it makes it really easy to ensure I’m always charged up and ready to go.

Annoyances
The biggest one for me (other than the cut-outs in the next section) is the default volume of the vocal feedback from the unit. No matter what your volume setting – the default voice is loud. Not deafening loud – just annoying loud. I wish there was a way to turn her down. The vocal feedback is good – the volume could be worked on.

CONNECTIVITY AND BLUETOOTH PERFORMANCE

Brainwavz lists the operating range as “up to 30 feet / 10 meters”, but in reality with the iPhone 5S (using the A2DP codec), reliable connection was around 5 meters. After that, things got pretty flakey in a hurry. Performance may be better on other phone models – but for me anyway, the ideal is having your phone in your pocket while you’re wearing the head-set. This is not a deal-breaker, as I’d imagine this is how most of us will operate the BLU-100 anyway.

Most of the time when I was out and about, the overall connectivity was actually pretty good. Occasionally I’d get a bit of glitching (short drop out for a micro second), but nothing too annoying. However when I went to my daughter’s netball tournament in the weekend, I took the BLU-100 and ended up turning them off. The phone was in my pocket – so no issues with range. But there was an issue with the number of people around, and (I’m guessing) the number of bluetooth enabled phones. Drop-outs were frequent, and annoying.

So mixed feeling on stability – hopefully as Bluetooth gets better these sort of incidents will get fewer. What I have loved though is going for a walk (exercise) in the evenings. No cable to contend with, not a lot of people around, and pretty good connectivity.

SOUND QUALITY

So we’ve covered a lot of the BLU-100. But how does it sound?

The following is what I hear from the Brainwavz BLU-100. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline).

I’m going to get pretty general with this section – but if you want to see some of the typical tracks I test with, I’ve listed a lot of them here : http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on Default Signature

The BLU-100 is obviously tuned for today’s younger generation and has a typical warm, slightly bassy, slightly dark signature. It does possess a nice mid-range – quite clear, and quite articulate – but the issue for me is that the mid bass and lack of treble extension just makes it an overly warm and lush listening experience. It’s simply not a default signature I like.

Tracks like Gaucho and Sultans of Swing still have a lot of detail, but some of it is muted by the warmer and more present mid-bass, and Knopflers guitar misses its customary crunch.

Staging and imaging also suffers with this warmish, darkish signature. Amber Rubarth’s “Tundra” is quite close, the drums are overstated and the violin is slightly understated. General direction is there – but it is all somewhat diffuse.

Mark Lanegan’s “Bleeding Muddy Water” is my usual go to for bass quality and quantity – and the BLU-100 definitely nails the quantity. The bass is dark, broody and has good impact. But it’s also slightly muddy, and has the tendency to want o leech into the lower mid-range. All-in-all though, with this track it’s not too much of an issue. Lorde’s “Royals” has become my test for sub-bass, and once again the BLU-100 hits the bass really well. Sub-bass is present but it’s kind of diffuse, and not what I’m used to. Quantity of bass is definitely nailed – unfortunately it comes at the cost of quality. The good thing though is that Ella’s vocals remain really good on this track, so the bass bleed is only really affecting the lower mid-range.

Moving to female vocals, the BLU-100 has a really nice mid-range, and this is where the peak around 3kHz seems to be really helping. The overall presentation is still far darker than I really like, but most of my female artists sound pretty good – and some tracks with a lot of bass impact (Feist / FaTM) do sound pretty dynamic.

Moving to Rock – and whilst the bass is really good, sometimes the finer details, and guitar edge or crunch is simply muted. There are some tracks that still sound pretty good though – and my Pearl Jam tracks are amongst the good ones. So a bit hit and miss.

I could cover all the genres I tried at this point – but the message will be the same throughout. The default signature does sound good with some tracks (and this includes general Pop, EDM, Trance and Hip-hop), but on a lot of reference tracks the BLU-100 struggles.

Equalisation (turning night into day)

One of the great things about the iPhone (when I get dark IEMs) is the ability to use the Accudio Pro app, and download and apply corrections for other dark sounding earphones – to fix the imbalances that mar the enjoyment of the default signature.

So to start with, I used a preset I’d already downloaded – the Senneheiser CX300 correction. This takes a lot of the sub-bass out and allows the mid-range freedom to become the start of the show. Unfortunately this preset also took out too much sub-bass, but it did show how beautiful the mid-range is. So I switched instead to the LCD-2 correction, and this was a lot closer to my ideal. The mid-bass had lessened, but the sub-bass remained.

The aim though was (now that I knew we could tame the default signature) to come up with something simple the average iPhone user could utilise. For me this was pretty simple – just use the default music app, and turn on either the bass reducer preset, or if this is too much (it was for me) – use the Acoustic preset (this was perfect). Both give the BLU-100 a reduction in the mid-bass, and allow the amended signature to shine. For me this makes the BLU-100 a very enjoyable IEM to listen to – so much so that it could easily become my preferred option for regular exercise. The other thing I’d like to mention at this point is how good the overall quality is over Bluetooth (once EQ’d).

BATTERY PERFORMANCE

The stated 4 hours (actual use) does seem to be pretty accurate – and although it sounds relatively short, for the times I’m using the BLU-100, it actually seems like a relatively long time. This is helped a lot by the 2 hour charge time. Would I like longer life – yes – I’m sure we all would. Is it a deal breaker – not for me. For the low cost of the BLU-100, I can adapt.

BRAINWAVZ BLU-100 – SUMMARY

I’ve thoroughly enjoyed my first foray into the world of bluetooth head-sets. It has opened my eyes to the future possibilities, and the freedom of going wireless.

Giving the BLU-100 an end of review mark is an interesting exercise though.

On the plus side – very good build quality, easy to use, pretty good value at around $45.00, and sounds really good after EQ.

On the minus – the large shells can be uncomfortable, the default signature is too dark and warm (I readily agree though – I am not Brainwavz target audience), it suffers connectivity issues at relatively short distances, and has issues with interference and drop-outs in high traffic areas.

So from me a solid 3/5 – good, but not great.

My thanks once again to Brainwavz for having me as part of the reviewing team.

RECOMMENDATIONS BLU-100

The following would be my recommendations for changes in future models.

Change the default signature – please. Just take out some of the mid-bass. No part of the signature should mask another frequency IMO. The BLU-100 are simply too warm.
Change the shell to something more ergonomic. As an example – the shell of the S5 (even if you had to make it larger) would be perfect. An angled nozzle with most of the IEM sitting in the natural cavity of the ear – bliss on the comfort stakes.
Give the ability to change the default vocal feedback volume – or set the default lower. It doesn’t need to be that loud.
Change your LED to a different colour than white.

FOOTNOTE

I wanted to make sure that anyone reading this review doesn't think I'm being too negative with the BLU-100. I actually really like the EQ'd signature, and I'm using these quite a bit, even though I have a multitude of other IEM at my disposal. This has been my first foray into wireless earphones, and I've really enjoyed it, and will likely keep using these from time to time. But I am interested now to see how Brainwavz can improve them. If they could change the shell shape to an ergonomic comfortable one - they would be in my regular rotation. I've even used these today at work for a few hours already

I swear on everything I didn't read this before posting my review, but our comparisons are eerily similar. Great review Paul, you do a great job covering all aspects of a review.

Thanks Vince - I just read yours. Nice that there is a consensus forming. Usually means we've read the sonics pretty well.

Great review! I also had connection issues: http://www.head-fi.org/t/765621/brainwavz-blu-100-bluetooth-in-ear-monitors-discussion-thread/30#post_11662813

Click any picture for full sized 1200 x 800 images

INTRODUCTION

I’ve been reviewing on Head-Fi for a while now, and one of the great benefits is that it has given me a chance to meet some wonderful people, and to hear some exotic audio gear that I would never have had a chance to spend time with.

At this stage I’d like to thank my on-line friend Alex (you know him as Twister6) for vouching for me with the organisers behind the Luxury & Precision LP5, and another Head-Fier Yohn Yang for making the demo sample possible.

John contacted me in early April to see if I would be interested in demoing and reviewing the LP5 – created by the same people who brought us the Colourfly C4 – and (if my information is correct) founded by Mr Wan.

So the unit arrived a little under two weeks ago, and in that time I’ve had many hours of listening pleasure with the LP5 – and it has been a true pleasure to listen to. The version I have is the “gold” version.

DISCLAIMER

I was provided the Luxury & Precision LP5 as a review sample. It will go on tour once I have finished reviewing it. There is no financial incentive from John or Mr Wan in writing this review. I am in no way affiliated with L&P - and this review is my honest opinion of the LP5. I would like to thank Alex, John and Mr Wan for making this opportunity available.

Additional disclaimer – the unit I have unfortunately arrived with an SDXC card that is not actually working. I’ve checked with other reviewers who have a sample – and it seems it is just my unit. I’ve continued with the review, and will simply leave the expandable storage uncommented on.

PREAMBLE - 'ABOUT ME'.

(This is to give any readers a baseline for interpreting the review).

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last few years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portable (Fiio X5, X3ii and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). I also use a portable set-up at work – either X5/X3ii > HP, or PC > Beyer A200p > HP. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan, Altone200, Trinity Delta and Alclair Curve. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line). I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

My experience with DAPs in the past had been initially with some very cheap Sony offerings, then step-ups to the Cowon iAudio7, iPhone4, iPod Touch G4, iPhone 5S, HSA Studio V3, Fiio X1, X3ii and X5.

WHAT I LOOK FOR IN A DAP

I thought I’d list (before I start with the review) what I really look for in a new DAP.

Clean, neutral signature – but with body (not thin)
Good build quality
Reasonable battery life
Easy to use and practical interface
Able to drive both low impedance and (within reason) higher impedance cans without additional amping.
Value for money
Enough storage to hold either my favourite albums in redbook, or my whole library in a reasonably high resolution lossy format (for me – aac256)

Did I get all of this with the Luxury & Pecision LP5? Well it’s a little bit of a mixed bag really – so join me on a journey, and we’ll look at the LP5 together – and see how it meets my expectations.

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

For the sake of brevity, from this point onward, I’m going to simply call the Luxury & Precision LP5 the “LP5” – as much for ease of typing than anything else.

PACKAGING AND ACCESSORIES

The LP5 arrived in a plain cardboard outer box, which gave no clues as to what lay inside. Opening the flap revealed a simple (yet elegant) inner box with the simple typing “LUXURY & PRECISION” in gold lettering on the top left. There was also a slimline black box which housed the accessories. Opening the flap of the main box reveals a moulded inner cavity containing the LP5, and a sleeve with the LP5 user manual (written entirely in Chinese).


The plain cardboard packing box	Inner case and smaller accessory box

The packaging is simple – but it’s also elegant and classy – and the sight of the LP5 in its gold and wood against the black background doesn’t look chintzy at all. It looks like what it is supposed to be – a serious refined audio player.


The inner case - LP5 and accessories	Gold plated USB cable and 3.5/6.3 adaptor

The small black box is straight cardboard, and contains the USB cable and also a 3.5-6.3mm connector. The USB cable itself seems to be very good quality – and has gold plated connectors at both USB and micro USB plug ends.

TECHNICAL SPECIFICATIONS

The tables below list most of the relevant specifications listed by the creator, and because it is the only comparable player I have (even though it’s not in the same price bracket), I’ve listed Fiio’s X5 specs as well.

	Luxury & Precision LP5	Fiio X5
Approx cost (Amazon)	~ USD1000-1100 (unconfirmed)	~ USD 350-399
Dimensions	~133 x 76 x 24mm	~ 114 x 68 x 16mm
Weight	200g	195g
Lossless file formats supported	APE, FLAC, WAV, WMA, ALAC, DSF, DFF, AIFF, WV(WavPack)	APE, FLAC, WAV, WMA, ALAC, DSF, DFF
Lossy file formats supported	MP3, aac, ogg vorbis	MP3, aac, ogg vorbis
Use as external DAC?	No – but planned with fw upgrade	Yes
Play time	12 hours	10 hours+
DAC chip used	AK4414	PCM1792A
Main amp chip	1812A Double Crown	OPA1612+LMH6643
S/N (H/O)	123 dB	115 dB (A-Weight)
THD+N (H/O)	<0.0015%	< 0.0015%
Output into 16 ohm	TBA	>460 mW
Output into 32 ohm	TBA	>255 mW
Output into 300 ohm	TBA	>28 mW
Highest resolution lossless	192 kHz, 32 bits	192 kHz, 24 bits
DSD/DSF/DFF support	Yes – Native	Yes – converted to PCM
Output impedance (H/O)	TBA	0.26 ohm
Line Out	Yes – separate port	Yes – separate port
Digital Out	Yes – coax port	Yes – separate port, 3.5mm to Coax (cable supplied)
External storage (current)	Micro sdxc up to 128Gb	2 x Micro sdxc up to 256Gb
Internal memory	64Gb 24bit ECC flash	None
Shell / Casing	Aluminium-lithium alloy (forged + CNC) with rosewood back and sides	Plastic shell over aluminium body

Note that at the time of writing, I am waiting to hear back regarding power and impedance specifications, and will add these once known.

In addition – because the internals boast high quality parts, and Mr Wan has spared no expense with the LP5, I’ve also listed the main features and further specifications from their website / literature.

Features:

In house designed software including the decoding of all file formats, so that performance is maximized, and the system minimized.
Completely uncompromising on the product architecture, including the creation of I2S width of 32BIT native 24 192 USB sound card chip.
Volume adjustment by independent volume potentiometer (rather than attenuation of bits to the DAC)
Multiple language selections: Simplified Chinese, English, Italian, French, Polish, Spanish, Portuguese, Dutch, Russian, Swedish
Front shell is aluminium-lithium alloy forged + CNC
Featuring the world's lowest internal resistance ADI ADP1614 power chip resistance 50 mOhm.


The rosewood backing - wonderfully finished	Rosewood backing - beautiful grain


Inside the LP5	Inside the LP5 - tidy layout

Further Specifications

DAC Chip: AK4414, accurate sound reproduction but does not sound too digital. With SNR 123 dB (stereo) and THD 107 dB, it has the best overall performance among all AKM DACs.
Headphone Amp: 1812A Double Crown (selection of the best chip out of 5 possible candidates)
Co-Processor: 1812M supports up 32BIT decoding and native decoding of DSD format (DIFF, DSF,DAT and ISO format)
Power Management Chip: 1812P
Capacitor(digital): Polytheistic SMD film capacitors
Inductance (digital): Taiyo Yuden ultrahigh current fully enclosed magnetic inductor. Analog portion uses alloy inductors 4.7UF 4040 can be over 4A current
Crystal Oscillator - Ultra-Low Phase Noise XO is lower than 160 dB 0.3 picoseconds jitter
Potentiometer: ALPS PRO AUDIO series potentiometer
PCB: 6 layer 3U dark gold matte black
Filter Capacitor: ultra-low ESR MLCC Murata X7S 6.3V100UF (current can be over 6~8A, ESR is about 2 milliohms)
Buttons: ALPS, rated at 50 million presses
Electromagnetic shield: Pure brass shield


Battery, caps and bottom connectivity	Bottom ports - headphone out, line-out, SPDIF and USB


Underneath the top of the CNC aluminium alloy chassis - sdxc slot and screen	Underside of the main board

BUILD

I have to admit, when I first looked at photos of the LP5, my first thought was that it looked a little “over the top”. This feeling disappeared the first time I opened the box. The LP5 looks and feels extremely elegant, classy and luxurious.

The first thing I noticed was the wonderful combination of the rosewood sides and rear contrasting and blending with the champagne coloured lithium-aluminium chassis. The second thing I noticed is how well the entire unit had been crafted. The rosewood is beautifully grained, perfectly smooth and nicely polished and finished. The L&P logo and names is nicely embossed on the rear, and the overall shape of the LP5 is wonderful holding it in your hands.


The finish is gorgeous	Connectivity at the bottom - printed directions are actually stickers

The body is a combination of forging and CNC cutting, and the fit and finish is very good – smooth edges, precise and solid feel to the buttons, and the Alps potentiometer for volume control is really smooth – and more importantly has no channel imbalance that I can detect – even at very low volumes.

The plug sockets are very firm, precise, gold plated, and when plugged to the appropriate jacks feel very solid.


Top volume pot - very smooth. Oodles of power	The LP5 - a classy looking unit

The screen is very easy to read indoors (less so outside) and brightness can be controlled through the UI. The screen does appear to plastic rather than a gorilla glass – and for such a luxury item, I think this is one thing they could have perhaps looked at improving.

The only fault I have with this unit is that mine unfortunately arrived with the sdxc external card reader DOA. I’ve checked with the other reviewers though, and as all of their units have working SDXC external memory, I haven’t marked the LP5 down. I’ve still been able to use the internal memory – and as you’ll see from my UI comments in the next section, being limited to 64Gb at the moment is actually not a bad thing.

In summary, I’m very impressed with the build quality. And the LP5 literally oozes luxury and class.

UI (USER INTERFACE) / USABILITY

Please note that this is with the current released firmware 1.0.1.5.

If you are coming from a fully featured UI (eg Apple or another mainstream DAP), you are going to be a little disappointed. I’ll start with what options the UI has, then go onto what is missing or quirky.

The first thing that surprised me is that with the amount of real estate available – the screen is only 3.5cm in diameter. This very much cuts down what can be displayed. That aside though, once you get used to it, the screen is pretty responsive and because it is reasonably limited in its options, it is easy to navigate.

When you first turn the LP5 on, you are greeted with the Luxury & Precision logo, and then an opening menu with (on my unit) 3 options – Internal Memory, Now Playing, and System Settings. I say on my unit because I’m guessing here will be a fourth option (External Memory) which is currently missing because I can’t access the sdxc external reader.


Initial menu - access to folder browsing, playing and settings	Folder browsing - notice that the order is not alpha-numeric

Internal Memory simply takes you to a folder view of what you have stored on the 64Gb internal memory available. A note here – this is currently listed (may change with later fw) in the order it went on the player – not in alphabetical or alpha numeric order. Quirky! There is no sorting by tags, no accessing file tags, no artwork, and no search. Just simple folder browsing.

The Now Playing menu selection takes you to the play screen – if a song is currently playing. Or this changes to Resume Playing if the track has been stopped/paused. The Now Playing screen shows the track name, total track time, and position in track, the format and sample & bitrate, what play setting you’re using, and if SPDIF is being used. It also has a surprisingly accurate battery meter (shown as an analog type needle/dial), and it also has a larger dial which I think is supposed to act like a VU type meter – but which may as well not be there (it lags so much it doesn’t actually mean anything).


Track list - this was in order thankfully	The now playing screen - battery meter is the small 1/2 circle above the title info

The System Settings menu gives you three new options – Play Mode, Audio Output Settings and Advanced. Play mode simply gives you options for playing files – sequence, repeat (track), repeat (all) and shuffle. The audio output setting lets you select:

HP output – two options high impedance and low impedance. This does affect gain, but I’m not sure yet if it also affects output impedance (I have asked).
The SPDIF setting allows you to turn SPDIF on or off. Not sure why exactly this is here – unless it’s affecting battery life in some way. The interesting thing is that with it turned on you can actually have digital going to a DAC and also be playing the same track through H/O at the same time. Tis is actually a really good way of A/Bing the LP5 against a desktop DAC after volume matching – and I actually used this method later in the comparison section of the review.
There is also an option for DoP SPDIF which I’m unable to test until my iDSD actually gets here. For those not sure of what this does – it means DSD on PCM SPDIF. SPDIF does not natively support DSD transfer, however it does have enough bandwidth to deliver DSD signals. So the output chip will send DSD signals through SPDIF fooling the system that it is sending regular audio signals. If you have a DAC which supports DOP SPDIF, you can then send the DSD signals correctly and have DSD playback.
The final option is for Digital Filters. You have two options Fast Attenuation and Slow Attenuation. John tells me that this is to do with filtration of very high frequency signals. I tried both, and couldn’t tell any difference. YMMV.


First settings menu	Different play modes

The Advanced Settings option gives you another set-up menu where you can control screen brightness, language, auto shutdown settings, a sleep timer, reset everything to default, and display information about your LP5 – and that is pretty much it as this stage.


High or low impedance settings for headphone out	Output settings menu

Again – this is on fw 1.0.1.5, so I’m expecting (hoping for) more functionality in future – including the addition of the ability to use the LP5 as a desktop DAC.

For navigation – the LP5 employs a N, S, E, W and central button set-up. For most screens, the central button selects, the N/S goes up or down, and the E/W goes back a folder (or setting). The exception is in the now playing screen. Here if you hold the N button it locks the buttons (saves accidental pushes if on the go). Pressing and holding again unlocks. The S button this time takes you out of the Now Playing menu (takes some adjusting to this). The E/W buttons either go back one track or forward one track (if pressed), or advances/goes back in the song – if held. Center button simply plays or pauses.


Somewhat weird - you can either turn SPDIF on or off.	The filter menu

So as you can see, the UI is very primitive. The good is that it is very easy to get used to / navigate – the bad is that you don’t get a lot of features that most people will be used to on other DAPs.

What the UI is currently missing (IMO) is:

Gapless (there is no gapless integration at all)
Any type of EQ
Folder play through – I find this frustrating
The DAC function (hopefully this is coming)

And then of course there is the issue of no alpha numeric sorting of folders. All up – I couldn’t give the UI any more than a 3 or 4 out of 10 in its current form. Hopefully firware updates lift this.

FORMAT SUPPORT

The documentation claims are for support of following files:
APE, FLAC, WAV, WMA, ALAC, DSF, DFF, AIFF, WV(WavPack) – lossless
MP3, aac, ogg vorbis - lossy

I tried FLAC at 16/44.1, 24/96, 24/88.1, and 24/192 and play was flawless. Likewise WAV playback had no issues. APE would play at 16/44.1 but refused to play at 24/96. ALAC was the same – it played, but playback went to extreme “slow mode” – ie unlistenable. AIFF didn’t play for me at all - either redbook or hi-res. DSD was very good and handled 2x64 but not 2x256 (the Fiio X3ii wouldn’t play the 2x256 either so not really surprised or concerned).

I also tried lossy files. MP3 worked flawlessly. AAC256 refused to play at all for me, and ogg files weren’t recognised either. So clearly some work to be done on the firmware to address some of the short-comings.

POWER

The LP5 has incredible power output. Unfortunately the specs don’t list the power under load (again I have asked and will update if I receive these from Mr Wan via John). What I can tell you is that the LP5 has a potent output amp unit. To be honest when I first heard the LP5 – it sounded good on my IEMs, but nothing to really rave about. Where it shines is in its ability to drive my HD600 and T1 as good (if not better) than my desktop set-up. While I’m finishing this review, I’ve been listening to the LP5 with my 600 ohm Beyer T1 for the last few hours, and the sound is just incredible. No bass issues (which are usually present if the T1 is being under-driven), and I’d estimate I’m only at around a third on the pot. At two thirds volume it is simply too loud – and this is the T1!


Sublime with the HD600	Amazing with the T1

CONNECTIVITY

I’ve used the SPDIF out a few times, and it works pretty flawlessly as a transport. As I mentioned earlier, the ability to have the SPDIF operating at the same time as the H/O means it is ideal if you were at a Meet situation, and wanted to A/B a new source against your LP5.

I also used the line-out to check it was working, and there were no hitches. I simply can’t think of any time I’d use the line-out though unless it was for an impedance correction (at the moment impedance is unknown). The in-built amp is simply too good to bypass – if using full sized headphones.

I am really looking forward to accessing the DAC functionality though – and this is one feature that the LP5 will need going forward to justify its high price point IMO.

As far as the headphone out does – it appears to be very clean, and I have no problems at all with it. It is a 6.3mm socket – so IEM users will need to use an adaptor. And this is another area that I think was ‘missed’ with the LP5. A lot of people with a high class portable will want to use IEMs and/or customs. The adaptor is functional – but it’s also clumsy. I love the 6.3mm socket for my full sized cans – but it would have been a great addition/asset if they’d included a separate 3.5mm socket. Or even doubled the line-out with that function and made it switchable. An opportunity lost unfortunately.

BATTERY

From fully charged, I connected the HD600, set the output impedance to high, selected a redbook FLAC album, and set it to repeat. The volume used was normal listening volume. Uninterrupted, with the screen mostly off, gave me almost exactly 10 hours play – which I personally found acceptable. I’d imagine the stated 12 hours may be on the lower impedance setting and using IEMs. Actual charge time from empty – using a wall wart and Apple USB plug was approximately 3.5 hours. You can see when charging is finished because the green charging bar (on screen) changes to solid. It took me a while to figure this out. Also you can play the LP5 while charging (nice).

COMPARISONS/SOUND

I seem to have written a book so far, and I’m yet to really describe how the LP5 sounds.

If I was to describe the overall sonic character of the LP5 I’d have to say warm (without being dark), detailed (without being bright), spacious – and although I hate the word when used as a descriptor – very musical. It just sounds right. It takes me back to the times I’ve had the chance to play really well recorded music out of a very good receiver. In short – I love the sound of the LP5.

It’s not going to put your music under a spotlight – yet it will show all the details (good or bad) that are in the recording. It doesn’t mask imperfections – bad recordings still sound bad – but when you get really good recordings, the LP5 just shines.

LP5 and IEMs
When I first received the LP5, my initial trials were with a variety of IEMs – my hybrids (A83, Altone, and Trinity Delta), as well as the Alclair Curve, DUNU Titan and Havi B3 Pro1.

The Havi, A83 and Delta all sounded really good on the LP5 – rich, full, and when directly compared to the X5 – very slightly smoother and a touch more refined – but the differences were really quite minimal. With the Alclair Curve (which is a warm and slightly mellowish sounding IEM), neither the X5 or LP5 really shone to my taste. The difference of course is that I can EQ the X5, and the Curve then sounds fantastic. With the LP5 I’m limited – which is a shame. The standout for me though was the Altone200 and DUNU Titan. The extra heat up top with the both the Altone and Titan really allowed it to shine in combination with the LP5. To be fair both also sound great with the X5 as well.


Very good with the A83	Even better with the DUNU Titan

I guess my issue with the LP5 and the IEMs I have is that whilst they generally sound extremely good, the SQ is not miles above the SQ of the $400 Fiio X5. At the moment, the X5 offers more features, and better portability (plus the headphone out socket is made for the use of IEMs or portable headphones).

Time to see how the LP5 fares with full sized headphones.

LP5 and Full Sized Cans
The first time I tried the LP5 with my HD600s, my jaw literally dropped, and I couldn’t take the smile off my face. First – the plug is made for a full sized headphone (no clumsy adaptor!). Secondly there is power to spare – and honestly you’d deafen yourself before you fully extended the pot on the LP5. Thirdly, and most importantly, the sound is phenomenal – beautifully clear, extended (both ends), spacious, rich, full – just everything I’ve ever wanted the HD600’s to portray. Not only that – there is no compromise on the bass – it’s articulate, well textured, and most importantly doesn’t feel like it is being choked for power. In direct comparison to the X5 (and I like the X5 with the HD600), the X5 sounds slightly thin.

So after tearing myself away from the comparison, I had to try the T1. This time the difference was even bigger. The T1 on the X5 definitely sounds brighter than it should be – and tends to get a little etchy and sibilant. The LP5 just sounds gorgeous – the bass is fully present, everything is vivid, but nicely balanced. Again – if I didn’t know for sure that the T1s were plugged into the LP5, I’d swear they were connected to my desktop.

LP5 vs X5
We’ve covered some of this above – but very quickly. With IEMs the LP5 slightly edges out the X5 – it’s slightly richer, smoother, and fuller in overall mid-range presentation. Bass is similar – maybe a touch more impact with the LP5. The differences are subtle though. With full sized headphones, the slight gap becomes a gulf. The LP5’s extra power accentuates the early impressions with IEMs. Again everything is richer, fuller, smoother – and dare I say more refined. Very black background and good separation. There is also a greater sense of space or dimensionality.


Alongside the Fiio X5	Getting ready to test against the NFB-12 and Little Dot MKIV

LP vs NFB12 + LD MKIV
You’d think pitting a portable player up against a desk-top set-up wouldn’t be a fair match, but it seemed logical considering how well the LP5 handled full sized headphones. So I volume matched the T1s (using a calibrated SPL meter) and ran through some test tracks. The sound signatures and overall sonic quality was practically identical. The T1 sings with the NFB-12 + LD MKIV OTL combination, and I was getting the same presentation and brilliant tonality from a DAP? The NFB-12 + Little Dot is slightly on the warm side, very clean and very clear – with good extension and detail. The music envelops you, involves you – it’s rich, vibrant, yet also refined and sophisticated. And the LP5 was also able to deliver this feeling – so well in fact that I would easily get lost trying to guess which was which.

VALUE & CONCLUSION

I listed earlier what I often look for in a DAP – and if being completely objective – it would pass most of my initial aims – but be questionable on the value for money, and somewhat on the ease of use. The gold edition LP5 is feature short, has a GUI that needs some serious work, and lacks a lot of the features that other high-res DAPs are bringing to the market. Unfortunately I couldn’t test the external storage – but I haven’t taken that into account.
With its current firmware, it has problems with some file formats, has no DAC functionality, and the inability to even sort by alpha numeric (folder view) will have prospective buyers scratching their heads in puzzlement. All of these can be fixed by future firmware releases though.

What the LP5 does bring though is a gorgeous, elegant and sophisticated look, and stellar build quality and materials. And it sounds nothing short of phenomenal with full sized headphones. That is its strength – and for anyone searching for a portable solution for full sized headphones should see if they can get a demo. Yes it really is that good sonically.

Is it worth $1000? Well that depends on what priority you put on overall sonic portrayal. At the moment – I’d say it would struggle to be attractive to most people given its shortfalls. But – fix the glaring errors in GUI, add DAC functionality, and it suddenly becomes a lot more viable (and I believe these are fixable).

The LP5 won’t be for everyone – but if I was in the position to be looking for a DAP specifically for full sized cans (eg a bedroom set-up, or something I could take traveling or to a holiday house), the LP5 would be brilliant. Even with its current shortfalls (and assuming they would be fixed) I’d honestly be tempted to save and get one if I could afford it. Sonically it fits my preferred signature to a T.

So now I need to grade it – and I need to be fair – and that’s why I’m giving the LP5 a 3/5 (or 60%). This could easily be a 4/5 (80%) once the GUI is tweaked, errors fixed and DAC functionality added. My next step is to organise a tour for the LP5 – and I am going to miss this DAP like crazy while it is gone. It’s become a staple part of my late evening listening regime – and reviewing it has been pure pleasure.

Stickers removed - purely elegant look

FINAL THANKS

Thanks for sticking with me through another “novel” sized review. I would once again like to pass my thanks to Alex (Twister6) for recommending me as a reviewer, John Yang for facilitating the review cycle, and Mr Wan for creating such an incredible sounding player.

I sincerely hope that L&P will continue the current path they’re on – and perhaps implement some of the changes I’ve mentioned. The LP5 sounds truly wonderful – and I do feel privileged to have been given the opportunity to listen to, and review it.

@Canadian411

@Canadian411 - I guess they thought it was more aesthetically pleasing. I think Alex (Twister6) described it really well - the LP5 just isn't your everyday type of DAP. But it's perfect for relaxing, end of the day type stuff. I sort of envisage later in the evening, picking a comfy chair, your favourite full sized headphones, a nice glass of amber fluid, and then just picking your favourite album and switching off from the world for an hour. Funnily enough - that's what I often did when I was testing it. Either the HD600 or T1, no amp, sofa, sometimes a good book. It was sublime. Once the album is playing - you no longer need the screen, or controls. You no longer worry about the GUI. That is its magic.

This would be VERY tempting if it had proper sorting and gapless. Both are deal-breakers.

Oh I agree - if the firmware upgrades don't happen - what you have is a very nice sounding and powerful DAP - but with a "budget player" interface. Sadly - its now 3 weeks since I wrote the review, and the silence from L&P so far on both requested information and news on fw updates has been deafening. I can only hope that they are still coming.

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

For those who haven’t heard yet, Trinity Audio Engineering (from this point we’ll just call them “Trinity”) is a new company, based in the UK, who is about to come to market with 3 brand new IEMs. Trinity is the brainchild of the main designer from RockJaw UK (you know him on the forums as RockBob). Bob is starting the new company with RockJaw’s blessing, and as I understand it, the whole reason for the new company is simply so that Bob can pursue his dream to build a range of IEMs purely to his specification. He will also continue to work and design for RockJaw.

The underlying vision and philosophy behind Trinity is that high quality audio should be affordable to everyone – and without compromising on build or materials. And just because it is high quality – it shouldn’t mean it has to be high cost.

So in the last few months, Bob has been working behind the scenes on his new product line, and along the way has enlisted the help of Mark2410, H20fidelity, and myself, to help him with feedback on what we’ve liked and didn’t like along the design process. One thing I really appreciate with a company like Trinity, and a designer like Bob, is the willingness to involve his consumers in some of the design decisions, so that the end result is (hopefully) exactly what the target audience is looking for.

I count myself incredibly lucky to have been approached to work with Bob on this project – via email, PM and phone – and must admit a little personal pride in what Trinity have achieved. So without further comment – let’s have a look at the Techne – the middle IEM of the current Trinity range, and the cheapest multiple changeable filter option.

DISCLAIMER

I was provided the Techne by Trinity as part of development and for final review of the end product. Apart from my obvious involvement in feedback on the development, I am not otherwise affiliated with Trinity in any way, nor do I make any financial gain from my contributions.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portable (Fiio X5, X3ii, X1 and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). I also use a portable set-up at work – either X5/X3ii > HP, or PC > Beyer A200p > HP. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I mainly used the Techne straight from the headphone-out socket of my Fiio X3ii, and also used (at different times) my iPhone 5S, and Beyer A200p when at work. Although I tested them with an amplifier, I do not think they benefit from additional amplification. In the time I have spent with the Techne, I have noticed only slight changes in the overall sonic presentation, but am aware that this is simply that I am becoming more used to the signature of the Techne as I use them more often (brain burn-in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

The Techne I am reviewing today is essentially a prototype – but Bob has said that any further changes will be purely cosmetic rather than sonic. As such I do not have complete packaging and accessory information, but I will share with you what I do know, and I can update any missing detail as it comes to light.

PACKAGING AND ACCESSORIES

The review sample I have did not come with packaging, and the accessory package is not finalised, so at this stage I’ll show you what it “should” come with. So for a start I’ll show you the packaging I’ve seen from an early Delta we sampled – which should be roughly similar to what is being used for the final release.

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Proposed packaging style (Delta box shown) - front	Proposed packaging style (Delta box shown) - rear	Proposed packaging style (Delta box shown) - profile

The box is likely to be a “book-style” (fold out top cover) in a grayish slate type design with the name and simple statement about the product on the front cover, and specifications and other details on the rear.
Opening the front flap will reveal a foam inner with appropriate cut-outs to house the Techne, carry case, provided tips, and filters.


Proposed packaging style (Delta insert shown)	Opening the Techne carry case	Techne plus accessories

The accessory package at this stage includes the carry case, 4 sets of silicone tips (1 pr small, 2 pr medium and 1 pr large), the filters (3), and Bob confirmed they will also provide 2 pairs of foams (M, L) and 1 pair of double flange silicone.

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The Techne carry case	The changeable tuning filters	Included tips (more to be added)

The Trinity standard case is a nice rich red colour, has an internal mesh pouch for tips etc, is triangular shaped, and zips to open/close. It is very spacious, has a good mix of both flexibility and strength – so it is comfortably to pocket, but still protects your IEMs really well.

TECHNICAL SPECIFICATIONS

(From Trinity)

Type	8mm Dynamic Driver
Frequency Range	19 Hz – 21 Khz
Impedance	16 ohm
Sensitivity	108 +/-3dB @ 1kHz 1mW
Plug	3.5mm gold plated, straight jack
Cable	1.2m – OFC
Weight	Approx 16g with tips in place
IEM Shell	CNC polished aluminium

FREQUENCY GRAPH

Bob sent us three frequency graphs – one for each filter – which I’ve combined so that it highlights the actual changes from filter to filter. When doing the combined graph, I took a rough mid-point between his L&R measurements and graphed that. This graph should only be used as a rough guide – but it should give you an idea of what changes between filters.

As I only got the Techne a little over a week ago, I didn’t get the chance to critique the filters before KS started. Both Mark and I have listened to all 3 – and unlike the Delta, we’ve had reservations. The silver filter is the bassy one, and it sounds pretty good.

The gold filter was originally supposed to be the middle filter – but Mark, Bob and I have all agreed that if anything it should be the third filter – vivid / detailed / flat – call it what you will.

The black filter is actually too bass light – and we’ve all agreed it needs to be scrapped and replaced. So Bob is currently working on a third filter which will become the middle filter. It’ll have a little more bass than the current gold, less than the silver, and (if anyone has an Alfa Genus) will actually be closer to the AG middle filter.

So because the filter system is still undergoing change – please take the measurements with a grain of salt. The gold and silver should be accurate – but the black will be replaced by something else. I have full faith in Bob’s ability to overcome this small speed bump, and everything will be fixed by the time the KS is ready to go to delivery.

I have outlined further thoughts on the filters below.

EDIT 6th May : We found out that one of the issues with the Techne was that the rear vent for the dynamic driver had been partially blocked in the prototype I was sent (and was different to Bob's measurements above). After clearing the vent, and just receiving a new and improved black filter, the graph now pretty much is obsolete (I'll try and get new ones from Bob). I'm pretty sure the silver filter (blue line) and gold filter (gold line) are still petty accurate - but the black filter has changed.

I've updated my sound impressions on the filters listed - and this should be pretty much the final sonic changes.

BUILD QUALITY / DESIGN

Before I continue with this, I have one quick note regarding the photos. You’ll see some black missing from the top of the Techne strain reliefs. I need to stress that my pair are prototypes, and I’ve already talked to Bob about this – and it definitely won’t happen with the final models. I had the option to retake the photos (retouch them) – but thought it was more authentic showing you all exactly what I’ve been seeing.

The Techne is (like the rest of the Trinity line) a very good looking IEM, featuring a beautiful polished silver aluminium housing. The housing this time is similar in shape to the Phonak PFE series of IEMs, and consists of a normal cylindrical type body with an adjacent “arm” which extends vertically toward the top of the ear. The seam in the body is visible but very smooth – no raised edges – and overall build quality looks to be very good.

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Rear of Techne showing bass port	Side of Techne	Front of Techne showing the filter

At the rear of the housing is a single vent for the dynamic driver (in the center of the cylindrical part of the body. The Techne is approximately 15 mm across at its widest point, approx. 30mm in height from the bottom of the IEM to top of the strain relief, and approx. 12-13 mm in depth (no filter), or 18mm in depth with filters in place. The mathematicians among you will be able to work out that the exposed filter measures approx. 5mm long. It has a slight bevel at the end (making it easier to get tips on), and has a generous lip to make sure they stay on. In terms of width of the nozzle – again my new T400 Comply tips fit well (tight – but firm). On my prototype sample there is no L/R markings – but these should be in place for the finished product – and besides, the arms are only meant to be worn one way (cable over ear), so the shape would not easily allow comfortable fit unless worn correctly.

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Rear of Techne with Comply sport foams fitted	Front of Techne with Comply sport foam tips	Side view of Techne with Comply sport foam tips

The Techne comes with three screw in filter options, which I’ll go into more detail regarding sonics later in the review. The filters look to be very well made and fit my unit extremely well.

The strain relief at the housing is rigid, but I don’t think this would be an issue due to the way the IEMs are usually worn. As I am not familiar with IEM shapes like the Techne, it is difficult to comment on long term reliability of this type of strain relief as I have no experience with them.

The Y-split is (like the rest of th Trinity range) a really nice looking aluminium tube, with a very good strain relief at the bottom. The jack is gold plated, and both spring loaded and also covered with Trinity’s heat shrink, so plenty of protection. Once again – personally I’d prefer a right angle jack – but this is built to last and there should be no issues long term.

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The Trinity Techne straight plug	Techne Y split	The brilliant Trinity cabling

The cable is the same as the one used on the Delta and Hyperion, and is gorgeous. The cable consists of 4 OFC wires – both sets of two tight woven into a spring like weave. These two weaves are then woven again together below the Y-split. The end result is an extremely flexible, and handsome looking cable with virtually no memory. The weave also gives it strength. So far in my testing cable noise is minimal – unless it comes into contact with a rough surface (zipper etc). My model does not have a cinch – but the final release will have. The cable can be slightly tangle prone – but careful winding and storage solves that easily.

So again for me, the build quality and attention to detail is very good

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I initially tried the included large silicones and I couldn’t get a consistently decent fit or seal. Like my experience with the Hyperion and Delta - not Trinity’s fault – just my weird ears. I next tried Sony Isolation tips, and they sealed beautifully, were very comfortable, and showed no signs of driver flex, or pressure issues at all. The nozzle for the Techne is almost slightly too large for the Sony tips (they do fit – but I have to slightly force them). Normally I’d switch to Comply T400s at this stage but the T400s also seem to be pretty tight, and knowing I was going to be changing filters often for the review – I instead opted to continue with the Sony Isolation tips. I have several pairs – so it was easier to fit a pair to each set of filters – then simply change the whole unit by removing filters with tips remaining in place.

Because of the arms, insertion depth with the Techne is shallower than either the Delta or Hyperion, and some may need to experiment with larger sized tips than they usually need.

Techne wearing style - courtesy Bob from Trinity

Isolation with the Techne is roughly average for a hybrid containing a vented dynamic driver. With music playing you’re isolated pretty well. But I would say comparing Hyperion, Delta, and Techne – the Techne’s isolation is very slightly poorer because of the shallower fit.

Comfort is very good. The Techne is very light, so that I hardly feel that I’m wearing them. They do sit pretty flush with my ears, and I would have no issues lying down with them in place. The cable is soft, light and extremely comfortable in the over-ear position. The Techne is not designed to be worn cable down.

So like it’s siblings – the Delta and Hyperion, the Techne appears to be comfortable, easy to fit and solidly built. How are the sonics, and how good is the filter system?

TECHNE FILTER SYSTEM

The Techne, like the Delta, comes with three exchangeable filters to allow you to tailor the sound to your preference. With the Techne, the filters (IMO) are more based around changes in the bass quantity than mid-range and treble.

As I stated above – the filters are going to change, in that the black will be removed, and replaced with a different third filter.
Latest info from Bob:

Silver = bass heavy, and will stay – no changes
Purple (new) = balanced/smooth, will be based closer to AG type filter, and will have membrane to further tune to the ideal sound.
Black = reference, and will be equivalent to the current gold we have at the moment.

I will change this section once I have further info – but this should at least give you some insight into how the tuning should sound.


Techne with filters removed	Included filters	Gold Techne filter (R) and dampened AG filter (L)

EDIT 6th May : I have completely changed this section - now that I have the new filter and the rear port is vented the way it should be.

The silver filter is definitely bass heavy – and for bassheads, they will be the filter of choice. The bass is copious, and seems to add a reasonable amount of sub bass lift – especially in the 30-60hz range. There is a little bass bleed into the mid range now, but vocals still come through pretty clear. The bass is hitting pretty hard in both sub and mid bass, and on really heavy tracks it can have the tendency of getting a little boomy. There is also a small lift to the brightness (in the 5-7kHz range) as well – which IMO really helps if you are adding a lot of bass. I'm probably not the right person to comment on warmer, darker tuning - as it really isn't my preferred sonic signature. The surprising thing to me is that this filter still sounded pretty good with some of my bass heavier music (Lindsay Stirling, Little Dragon, and for both Trance, and the little bit of Hip-hop I have), but for other tracks (Lorde/Amy Winehouse) it was just a little boomy for my personal tastes. If you’re in the right mood for a lot of bass – the Techne + silver can really deliver. So not my favourite – but I do think a lot of people will like this one.

The current gold filter will become the third or lean/vivid filter, and as a reference filter, slightly bass light – but very vivid and detailed, it will really appeal to those who like a leaner, and very detailed sound. It has a really nice sense of overall balance, the bass is delicate, light and quick, and the mid-range and lower treble really soars. I’ve found these to excel particularly with acoustic music, and I’ve really enjoyed these with some of my female vocalists.

The third (middle filter) will be purple on release, and is the equivalent of the new black filter Bob has just sent me. This filter has a smoother, mellower, lusher tone - but doesn't lose that sense of detail and clarity. It doesn't have the added heat up the top (like the silver filter) but it has a really nice sense of overall balance. Bass is present, but not overpowering. Of the three it is definitely my most preferred overall signature.

All three filters simply screw off the main body, then screw easily back on again. Again, possibly the only thing that I’d change would be the addition of a small rubber washer just to make tightening and loosening a little more secure.

The spare filters are housed in a clever little aluminium tube with a screw on cap. This is brilliant as the tube fits neatly in the case so that your filters are always with you – and the tube should be big enough so that it won’t get easily lost.

SOUND QUALITY

Edit - Updated and rewritten 6th May (new middle filter and properly vented rear port)

The following is what I hear from the Trinity Techne. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii as source, the new black (middle) filter in place, and Sony Isolation tips.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks. I’ve once again shortened the genre section a little so that I could add a quick comparison to the Delta and Hyperion.

Thoughts on Default Signature
The Techne with the “new” filter could best be described as clear, but smooth, and slightly lush. The bass is now very close to neutral (sounds really balanced), and sounds more natural than the current gold filter (the extra few dB really helps).

Overall Detail / Clarity
With both “Gaucho” and “Sultans of Swing”, there is a good level of clarity – but more importantly good tonality through brass, vocals, guitar and bass guitar. The overall presentation is quite smooth and coherent. There is plenty of upper level detail – but it is not sharpened or etched. Guitar has a nice edge to it – and now are just about perfect for my preferences. Cymbals are present – but not overstated. The biggest change here has been with the bass quantity and quality. Now the bass guitar is perfectly balanced with the rest of the track, and it really is very pleasant. The resolution is very good - but ultimately doesn't match the Trinity Delta.

Sound-stage & Imaging
The imaging on the Techne is still very good on the new middle filter – everything is clearly defined – especially so when testing with Amber Rubarth’s Tundra. Size of stage overall is more intimate than expansive, and similar in a lot of ways to the Hyperion. The bass coming through on this track is nice and precise - deep but having good speed.

Onto McKennitt’s “Dante’s Prayer”, and the vocals are nicely articulated. The cello and piano are really good – really great tonality. Again imaging is good with the “new” filter, no issues for me with positioning within the stage. The applause at the end, had reasonable width, and a little depth, but ultimately didn’t quite connect.

I finished with Amanda Marshall’s “Let it Rain” which is recorded with an almost holographic sound. The “new” filter shone with this, glorious vocals, glorious balance – an absolutely brilliant performance. This really manages to highlight how good the Techne is, and I found myself "bopping" in my seat an nodding my head while it was palying. Always a good sign with any headphone or earphone. It just sounds right!

Bass Quality and Quantity
With the “new” filter in place, bass is definitely a lot more present – and there is now some decent thump and impact. “Bleeding Muddy Waters” by Mark Lanegan was dark, brooding and a joy to listen to. There is very little excess reverb now, and any boom feels like it's supposed to be there. Marks voice has very good pitch and timbre (important for this track), and manages to convey that rough and raw emotion that is essential for this track. The fact that it does this so well, while not skimoing on the bass (and not bleeding anywhere) is a testament to the tuning of this new middle filter.

It was time to check sub-bass, so I moved on to Lorde’s “Royals”. Impact was brilliant, and when the bass guitar hit, the rumble was definitely present. Ella’s vocals remained clear and well defined. Again - this presentation is everything I look for in this track. Magic. Likewise, playing Some Trance from AVB - and this is all the bass I'd ever need. More importantly it really does feel like bass done right. I love it.

Female Vocals
This is an interesting one because before the latest filter change, I would have preferred the gold filter. Now with the new filter, the better bass wins out for greater versatility. With the “new” filter there isn’t quite the same articulation and sweetness of tone, but there is more overall balance – especially when instruments needing a bit more lower end (piano, cello, double bass etc) are present. Aventine was perhaps a little hollow, but all of my other artists were hugely enjoyable. London Grammar was brilliant (Hannah's voice perfectly captured), and Gabriella Cilmi's "Safer" once again brought goose-bumps. Norah was captivating For tracks with bass impact – Feist, FaTM etc – the new filter was definitely a huge improvement over the gold filter (bass impact was really good). Thumbs up from me.

Male Vocals
Queueing up my rock tracks with the “new” filter in place was a welcome change from the original gold filter. The added bass and body through the mid-range is what had been missing originally. The dynamism was back – and it was amazing how much a little bit of bass impact can help with rock as a genre. Vocals had good clarity, guitars had enough edge and crunch, and overall the tonal balance was smooth and very easy to listen to.

Acoustic Rock was really good – especially the Eagle’s Hotel California and Nil’s Lofgren’s “Keith Don’t Go” – and the clarity and tonality of stringed instruments in particular is great. If you have a lot of acoustic music in your library, you’ll really enjoy the Techne with this new filter.

My litmus test though is always Pearl Jam. The Techne nailed this track – fantastic overall tonality. Vedders voice had good depth and timbre. Overall it was a really nice listen - no, better than nice, thoroughly enjoyable.

Genre Specific Notes
My original thoughts (before the final filter update) was that I was caught between my preference on filters. Now I'm firmly behind the middle filter, and it continued to deliver with everything I through at it.

For Alt Rock, the Techne with new filter was very good, and Floyd’s Money and PT’s Trains showed wonderful clarity and articulation. "Money" in particular can be a difficult track to get the right tonality mix between vocals and other instruments. if the contrast isn't there, the track fails miserably. The Techne really did deliver. Bass guitar supplied the backdrop, and then everything sort of fell eprfectly in palce from there. The sax in particular was brilliant.

The new filter worked equally as well on my jazz tracks – Portico Quartet’s Ruins was absolutely sublime, and for my tastes this new filter matches pretty well with jazz – showing great technicality with separation and details. Even better was mixing vocals Portico's "Steepless" was pure brilliance with the Techne.

Blues and bluegrass were also pretty good – again the Techne showing great proficiency with strings.

For EDM and electronic, or any bassier music, the new filter really shines now, and is perfect for me. Again I find the silver filter slightly too bassy for me personally, but the new middle filter is wonderful. And that is the beauty of the Techne - a filter to match everyone's tastes.

Moving to straight pop, and again the new filter continues to deliver. It's amazing how much of a change overall the perfect amount of bass can make. it really sets the foundation for the rest of the track. Add clarity and very good separation and you have a winning combination. With my Indie tracks, the Techne was practically perfect. The tonal balance hit my own personal preferences wonderfully. Band of Horses and Wildlight both were hugely enjoyable.

Finally onto classical and here is where I was slightly torn. The new filter was a great all rounder with every track I tried, and particularly so with Kempffs rendition of Beethoven’s piano sonatas, and Zoe Keating’s cello. The new filter manages to capture the deepness and richness of tone that I know is there. At times though - the purity of the gold filter could take my breath away with pure string based ensembles. Again the beauty and versatility of the filter system - choose the right one for your music and preferences. The best of all worlds.

AMPLIFICATION REQUIREMENTS

The Techne is easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or any of the Fiio Daps. With typical pop/rock songs on the iP5S I’m usually at a volume level of around 30-40%, on the X3ii around 40-50/120. The one thing an amp can bring to the table though is hardware bass boost – and this can help. I connected the little Brainwavz AP001 which engages an automatic bass boost – and this really helped transform the original gold filter. If Bob can bring this tonality to the new middle filter, it would be perfect. So basically the Techne doesn’t need amping – but it can be used if that is your preference.

EQUALISATION

Edited 6th May - after addition of new middle filter
Normally I’d be saying (for a filtered IEM) that EQ should be done with the filters. But before the new filter arrived, I did have a chance to play around with the original filters, and apply a bass EQ to the golds. It worked really well - and the Techne (gold filter) did benefit extremely well from an ascending EQ rise from about 250 Hz through to the sub-bass. However with the new middle filter, I see absolutely no need to apply EQ (I find it perfect "as-is"). It is however nice to know that the Techne is versatile with possible EQ changes as well.

COMPARISONS – TRINITY RANGE

Edited 6th May - after addition of new middle filter
This one will be rough and very subjective. I’m comparing the Techne with “new” filter vs Hyperion vs Delta with middle gun-metal (smooth) filter

Techne vs Hyperion
Techne (with this filter) is fuller and richer in the mids, while the Hyperion is a little brighter and more etched. Both have a nice bass line. Hyperion is a little more vivid, slightly more V shaped, and a little more intense/fun – there is also a little more ‘heat’ up top. The Techne is a little more refined, a little more balanced, and a little smoother.
Techne vs Delta
This is pretty interesting now with the new filter. Techne (with this filter) is slightly deeper in the lower mids – but to me doesn’t have quite the overall refinement or smoothness of the Delta. Both are very clear, and both pretty balanced. They both share a very similar tonality as well. Directly A/Bing, and I'd say subjectively that the Techne has a tiny bit more vividness, and a bit more of an adge to it. The Delta ahs a little more sub-bass, and is a little smoother - but still remains equally as detailed.

VALUE

Indications we have from Bob is that the Techne (after initial launch) will retail at around £65.00/ $95.00 USD (at today’s rates). This makes it very good value – given its overall build quality, and the tuning options with the filters.
At the KickStarter introductory price of £40.00/ $60.00 USD, again this is an extremely good deal, and represents (to me) an opportunity well worth taking up.

TECHNE - SUMMARY

Updated 6th May - (final)

With the Techne, you get the Trinity build promise (quality throughout), with aluminium shells, a fantastic cable, and a very good filter system that gives some very clearly delineated and different options as base for tuning sound to your individual preference.

The silver filter will satisfy the bass lovers among us, and yet still have the retention of the very good Trinity mid-range. At the other end of the spectrum is the original gold filter (which now becomes the third filter) – which has a mid-range and lower treble which I personally really like. This can also be built upon further by use of EQ, or even the addition of you own dampening to further tailor the sound to your individual preference. The new middle filter is the one (for me) that has completed this IEM and made it well worth purchasing. It has a fantastically tuned balance to the overall signature - with a vivid and clear mid-range, and the perfect amount of bass to compliment the overall tonality.

The Techne is a very good IEM – especially at the KS price point. My preference remains firmly with the Delta, but if your budget doesn’t stretch quite that far, the Techne is an excellent alternative. Very versatile, solid build, and comfortable to wear. 4.5 stars from me.

Well that would depend on your own preferences and anatomy

But for my preferences - as much as I love the Hyperions, they don't have the tuning filters, so you can't tune to your preferences. between the Techne and the Vyrus - I prefer the Vyrus. The filters are better - I guess its an evolution, as the range was developed. But if you want to go a step better than both - the Deltas are still my pick as best I've heard from Trinity (for the price)

@Brooko

@Brooko sadly the deltas are way above my budget for now :frowning2:

.... thats why i narrowed down my choices to those 3

. so you mean to say the vyrus has better bass and clarity compared to techne?? also i've read that the bassy filters of the vyrus tend to be muddy, is it the same case with the techne's bassy filter??

I think its the same with adding too much bass to any headphone. Muddiness is simply the bass bleeding into the lower mid-range. Keep it in check, or lat least balanced (frequency), and you won't get those issues.

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For larger views of any of the photos (1200 x 800) - please click on the individual images

PREFACE

I guess everyone who has been around a while knows the Philips brand, but (for me anyway) it’s been a while since I’ve associated the brand with high end audio. My last foray with Philips was buying 2 pairs of Philips SHP2000 at NZD $20 each for my two (at the time) sub-teen children. The SHP2000s actually sounded passably decent, they were cheap, and the kids pretty much loved them to death. The kids are now tween and teen – and have a pair of Momentum on –ears, and UE6000s respectively – and to date I hadn’t heard another Philips headphone.

INTRODUCTION

When Head-Fi user d marc0 contacted me about having a listen to the L2, I was intrigued – especially after hearing some pretty good press regarding some of their other recent releases. I’d like to take this opportunity to thank Mark for giving me the chance to spend time with the L2s. It’s great that we have such a wonderful community here at Head-Fi - able to share our gear so as enthusiasts we can experience a lot more audio gear than many of us could otherwise afford.

I received the courier pack with the L2 almost 3 weeks ago – and it has been a real pleasure spending as much time as I could with the Fidelio L2. This has included using them at work, walking outside, gaming, and just general listening at home.

I’ve listed price at USD $225.00 (approx. current Amazon price at time of writing). I’d estimate I’ve spent somewhere around 60-80 hours with the Fidelio L2 so far.

DISCLAIMER

The pair I have is part of a mini tour, and will be returned to d marc0 after I’ve completed the review. I’m not affiliated in any way with Philips, and this is my subjective opinion of the Fidelio L2.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portable (Fiio X5, X3ii and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). I also use a portable set-up at work – either X5/X3ii > HP, or PC > Beyer A200p > HP. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I mainly used the Fidelio L2 straight from the headphone-out socket of my Fiio X3ii, and NFB-12, but also used (at different times) my X5, iPhone 5S, and Beyer A200p when at work. I have noticed no significant changes in the overall sonic presentation, other than becoming more used to the signature of the L2 as I used them more often (brain burn-in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The Fidelio L2 arrived in a largish retail box and lid. The lid has a nice phot of the L2 on the front, and on one side has specifications. On the rear is a little “marketing speak” on the design and drivers – in English and eight other languages. The box is mainly black with orange accenting (similar to the headphones), and the white text on the box, thought small is pretty legible.

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Front of retail box	Rear of retail box	Retail box in profile

Opening the box reveals foam cushioning in the lid, and normally would have the headphones in a moulded plastic inner (Mark didn’t send this – but I have seen an unboxing with it included). Under the plastic mould, you get a soft cloth bag, booklet, 3.5 to 6.3 mm adaptor, and two cables – one normal, and one with smart-phone controls. I won’t be reviewing the smartphone cable – as Mark didn’t include it when he sent the L2 to me.

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Interior of box (normal mould was missing from this sample)	Accessories - one cable was missing from sample I received	Fidelio L2 inside cloth carry case

The carry bag is a soft almost velour like material on the outside, and a faux satin material on the inside. It closes with an orange draw string. While it is perfectly functional, a more practical and protective case would have been a nice touch.

TECHNICAL SPECIFICATIONS
(From Philips)

Type	Semi-open circumaural portable headphone
Driver	Dynamic full sized – 40mm
Frequency Range	12 Hz – 25 Khz
Impedance	16 ohm
Sensitivity	105 dB (assuming at 1 kHz & 1 Vrms)
THD	< 0.1% (not stated how it was measured)
Plug	3.5mm gold plated straight jack
Cable	1.2m single sided, removable (3.5mm connector - proprietory)
Weight	266g (including cable)

FREQUENCY GRAPH

I’ve included the graph from Innerfidelity (thanks Tyll). What I’m noticing first is a very clear mid-range, and the quality of the vocals are definitely a strong point. Bass seems quite natural, and seems to extend relatively well. Treble is clear and clean without being overly fatiguing – it does have a bit of a peak though, and quite a bright, clear overall signature.

BUILD QUALITY / DESIGN

At first glance, the Fidelio L2 looks both very stylish, and also really well made. Closer inspection confirms the amount of thought and quality that has gone into the overall design decisions. Starting with the headband, it appears to be quite flexible, and I would guess internally it is a spring steel with foam padding for comfort. The headband is designed to mould around your head, to avoid pressure points, and is covered with a soft pleather. The stitching is in orange thread which complements the overall design.

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Very robust design with excellent quality parts	Headband has very good padding	Headband is nicely shaped, but still tended to have top pressure point

The extenders are metal, and slide with a nice firm click. There is a measurement system on the inside of the band, so once you have your ideal size dialled in you can very quickly adjust before you put the headphones on. The connecting arm looks very robust, and I can see these lasting quite well with extended use. The extenders go down a good 40-50mm each side, so should accommodate most people.

The extenders are affixed to a ring mount which allows the earcups to rotate around both axis, and this allows a very good fit. This is also metal and looks very sturdy. Both cups can be folded inwards (flat) for wearing around the neck, or packing flat for travel.

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Very nice adjustment on the headphone yokes	3.5mm connector - note the indents for the cable	Cable connected

The ear cups themselves have a metal main shell, mesh at the rear of the drivers, and are covered with a very soft pleather over memory foam. The drivers are protected by a cloth covering. Unfortunately the earpads are designed to be non-removable (although I’m pretty sure you could remove them – just replacing them might be an issue).

According to Philips, the drivers themselves are “pre-tilted, matching the ear cup's natural angle directs the sound straight into the ear canal. This means much less of the coloration that can occur when sound reflects off the outer ear, together with a more realistic soundstage and enhanced comfort”.

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Cups are high quality with full movement for adjustment	Pads are very soft and accommodate my ears brilliantly	Cups swivel inward one way (able to lie flat)

The cable is detachable, one-sided entry, 3.5mm at both ends, but has a proprietary connecting mechanism at the ear cup. However, I’d imagine any 3.5mm connector should work – it’s just that the connector Philips uses on the L2 helps it stay in a little better. The connector is also designed in such a way that if there is a major trauma on the cable (gets violently tugged), it will disconnect itself. The cable that Mark included is covered with a fine woven cloth exterior , can be slightly microphonic (not so if tucked inside clothing), and is reasonable flexible.

Unfortunately I can’t make any comment regarding the 2^nd cable with smartphone controls as it wasn’t included with this tour unit – but you do definitely get one with a purchased L2.

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Connector to the headphones	Cable and jack (single sided)	Overall - the L2 "style" is simply stunning IMO

The jack is standard straight 3.5mm , gold plated, has good strain relief, and easily fits my iPhone5S, even when the case is on.

Overall, the build quality is absolutely excellent – very robust, and I can see why they only felt the need to include a cloth carry bag rather than a harder case (however I still think a better carry case would have been preferable).

FIT / COMFORT / STYLE / ISOLATION

Style is always going to be a personal thing – and from the first time I saw the Fidelio L2, my immediate thought was that it looked gorgeous (its chic black look with orange highlights), and extremely stylish. This is a headphone I’d have no issues wearing out and about. On me, the headband does extend slightly away from my head (doesn’t mould completely around), but still looks pretty good for street wear.

For comfort, I have almost no issues with the L2 at all – save for the headband. After about an hour or two, I get a slight pressure spot on the very top of my head – but often a quick readjustment and I’m good to go again. YMMV with this though.

The earpads are extremely soft, and my ears fit inside the cups nicely with no pressure points. In fact these cups are exactly what the recently reviewed Ubranite XL should have been modelled on IMO. The internal measurement of the cups is approx. 60mm long, 40mm at its widest point, and pretty close to 25mm deep. The memory foam is also very high quality, and springs back nicely after being compressed.

For a semi open headphone, they actually isolate pretty good. In an open plan office environment, while I could still hear those around me with music off, it didn’t take much volume to isolate myself. More importantly, as long as the music is not too loud, there is not a lot of leakage. Someone sitting next to you will hear it, but someone 12 feet away, not so much. Enough isolation to use while walking for example, but not going to be useful in a really noisy environment (or a really quiet one – eg library – leakage).

SOUND QUALITY

The following is what I hear from the Philips Fidelio L2. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3 gen 2 and NFB-12.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.
Thoughts on General Signature

If I was to describe the signature in a few words – I’d choose the words “clear”, “vivid”, and “clean (dark background)”.

From my first listen, I fell in love with the sound signature of the Fidelio L2. Three weeks later, and I still enjoy every moment with them. They can seem slightly bright at first listen, but once my ears adjust, they settle to be incredibly coherent, quite mid forward (vocals, guitar etc are startlingly clear and “alive”), but they also possess a pretty quick and agile bass than can actually reach pretty low.

Overall Detail / Clarity
In a word – stellar, or stunning, or stupendous! The L2 has an absolutely crystal clear presentation, and shows the sort of resolution of overall detail that my T1 normally brings to the table. With both Steely Dan’s “Gaucho”, and Dire Strait’s “Sultans of Swing”, all the minute details were there and presented stunningly. Gauchos opening sax contrasted beautifully with the bass guitar, and it was the cymbal hits and slow trail off that was absolutely intoxicating. Vocals were beautifully blended in – a truly wonderful presentation of a track I know pretty well. “Sultans” was similar – and also a good taste of how well male vocals could be presented. The only critique I’d have is that at times the upper end bordered on almost becoming peaky – but that’s all it was (getting close but not crossing the line).

Sound-stage & Imaging
I started with my usual go-to track - Amber Rubarth’s binaural recording “Tundra” – to test soundstage and imaging.

The first thing I noticed was the clarity and overall imaging. The L2 was very easy to pinpoint not only direction but also comparative depth. It doesn’t have an overly large stage – extending just outside head with this track, as though the instruments were playing around me – but intimate (6-10 feet away) rather than expansive. The separation is impressive – and I’m still amazed by the overall clarity of this headphone.

Switching to Loreena McKennitt’s “Dante’s Prayer”, and once again I’m struck by the imaging and separation of instruments. McKennet is close, the piano slightly further back, and cello off to the side slightly. This is honestly like listening to a cross between the HD600 and T1 – and it really does floor you when you realise how good this driver is. Queue the applause at the end, and I’m transported into the crowd – but not only that I’m hearing sounds that are usually masked on other headphones (the cello being rested against a chair). It’s enough to give me chills, and anything that engages me this much is really something special.

The last test was switching to Amanda Marshall’s “Let It Rain” (quite a holographic and 3D presentation in this recording). The sense of space is still quite intimate – but the imaging continues to impress.

Bass Quality and Quantity
So we know the L2 nails imaging and clarity – what about the bass?

First test track for me is always Mark Lanegan’s “Bleeding Muddy Water”. This blues rock track is dark, brooding, and has bass that is normally visceral – and the Fidelio L2 handled it wonderfully. The bass was taught, impactful, and showed controlled power. Mark’s vocals were clear, with excellent timbre, and the L2 displayed the gravelly roughness that Mark employs with aplomb.

Time to see how low the bass would go – so switched to Lorde’s “Royals” (my sub-bass test) – and this presentation is stunning. There is just enough bass to give impact without overpowering, and when the bass guitar kicks in, the sub-bass rumble is definitely there. Again I’m impressed by the overall quality of the bass though – no hollowness or mush – just clean, and quick (and low). Also, Ella’s vocals are crystal clear, and euphonic – just magic.

Female Vocals
My early litmus test is usually queuing Agnes Obel – as some of her recordings can become quite strident or shouty if the mids aren’t quite right. The L2 is not just good – it is perfect with this track. It is so vivid and uplifting, and then the cello kicks in with a marvellous low tonality. Honestly – this is as good as I’ve heard this track.

Now it’s time to run through my usual medley of other tracks from artists including London Grammar, Angus & Julia Stone, Christina Perri, Gabriella Cilmi, Feist, Florence and the Machine, Lianne La Havas and Norah Jones. No matter what I played, track after track the L2 just kept reaching new heights in presentation, and I had to continually pull myself back to the review. It would be just too easy to get lost in what I was hearing. Vocals were euphonic, crystal clear, and mesmerising. Time and again I was awestruck by how much emotion was conveyed on each track I played. Vivid and involving would be an understatement! And then when the bass slam hit with FATM and Feist I was instantly reminded of how much fun this presentation could be as well. Cilmi gave me chills once again with “Safer” (this girl has wonderful “pipes”), and Norah was simply sublime.

Male Vocals
Dragging myself away from my female vocalists was difficult, but I needed to go to the other end of the spectrum. Kicking off with 3 Doors Down “Away from the Sun”, and the first thing that hits is how nice the combo of guitar and drum sounds, and then Brad’s voice kicks in and once again that clarity of the vocal presentation is apparent. The acoustic presentation and cohesion is really good – and this is repeated as I skim through tracks by Alter Bridge, Breaking Benjamin, the Eagles (Hotel California’s intro is amazing), Green Day, Nils Lofgren and Seether. The L2 has everything really good rock needs – wonderful speed, clarity and timbre, good bass impact, and ability to contrast really well. Acoustic rock especially is a real standout (Nils Lofgrens’ “Keith Don’t Go” was phenomenal).

Time again for my usual litmus test – Pearl Jam. Vedder’s voice is brilliant with the Fidelio L2 – the timbre and ability to convey emotion is captivating. What really stuns though is the level of detail and separation in the track – cymbal splash, guitar, snare hits ….. it’s just a truly wonderful rendition of one of my favourite tracks.

Genre Specific Notes
I’m not going to run through this in detail this time as I’d rather look at the L2 in contrast to my other full sized headphones. But I did run through my usual test tracks (http://www.head-fi.org/a/brookos-test-tracks), and the L2 handled everything I threw at them with ease.

It would be hard to list standout tracks as well – because everything I played just sounded brilliant on the Fidelio L2. But if I had to choose 4 tracks to give you a short taste, they would be:

Porcupine Tree’s “Trains” – the cohesion between Wilson’s vocals and the other instruments was seamless, and the bass was dynamic, clean and the whole track has tremendous clarity.
Alison Krauss & Union Station’s “Dust Bowl Children” - the L2 is just incredible with stringed instruments, and the banjo in the track was simply magical. It just got better when the double bass and other instruments kicked in.
Netrebko & Garanca with Lakme’s “Flower Duet” – the ability to convey the depth of emotion and clarity of vocals as an instrument is one of the strong points of the L2. This track was breath taking, and it did manage to convey some of the sense of space that I know is present in this performance.
Zoe Keating’s “Escape Artist” – for the L2’s portrayal of the timbre and tonality of a magical Cello performance. If you want to see a true artist at work – I’d suggest trying his link to see Zoe at work (it is inspiring) -

AMPLIFICATION REQUIREMENTS

The Fidelio L2 is easily powered straight out of the portable devices I have, and although I tested it with both the X3ii – both unamped and amped with the E11K, I haven’t noticed any difference in actual dynamics. On my iPhone 5S most tracks were perfect at around 50% volume. The one thing I did like about using the L2 with the E11K though was just the addition of the hardware bass boost. It is subtle, but just added a tiny bit of bottom end warmth that I personally found enjoyable. Bottom line though, the L2 is designed to run perfectly out of a portable device – so amping isn’t a requirement, but a choice.

RESPONSE TO EQ?

This was an interesting one because there isn’t too much I’d change with the L2’s signature. But I do know the L2 may be a little peaky with brighter tracks for some people, so I endeavoured (with my trusty X3ii equaliser) to take some of the brightness in the mid-range out (a shallow “smiley” cut between 1K and 4K), while at the same time boosting the sub bass. The L3 responded well and became a little less mid focussed and a little warmer. So from my brief trial I’d suggest that the L2 can be moulded quite well to personal individual tastes via EQ. Whether you want to play with this will be very much individual preference.

QUICK COMPARISON – OTHER HEADPHONES

This is simply going to be a very rough comparison (on sonics) with the other full sized open headphones I have on hand – the HD600, and Beyer T1.

L2 vs HD600
1. The first thing I noticed was that the Fidelio L2 is actually clearer and cleaner than the HD600 – quite a feat.
2. Soundstage is very similar with the HD600 slightly better on width and depth
3. Both have a very similar bass impact relative to the mid-range, with the L2 maybe hitting just a fraction harder.
4. Overall I’d still say the HD600 portrays timbre better, and sounds more natural. The Fidelio has more detail, but sounds a little more etched.
5. Both are outstanding headphones. The HD600 is definitely more comfortable for long term listening.
L2 vs T1
1. This time the boot is on the other foot – the T1 is cleaner and more refined. The clarity on both is very good though.
2. Compared to the L2, the T1 sounds slightly thin – the L2 has more lower end, and a little more thickness to the mid-range
3. Soundstage and imaging definitely goes to the T1 – a lot more spacious, and really good portrayal within the space available. L2 is a lot more intimate.
4. L2 definitely has more bass impact – and it is even more noticeable because of the more intimate stage.
5. Timbre is very good on both, and both are tilted more toward the brighter end of the frequency range.
6. Overall I’d call the T1 more balanced, but slightly bright – where the L2 in direct comparison has more of a V shape – but is fuller and richer.

FIDELIO L2- SUMMARY

The Philips Fidelio L2 is simply a wonderful headphone, and in the first week of having it with me, it simply blew me away with its tonality, clarity, and ability to sound excellent across most genres. In fact, at the end of the first week, I was even seriously contemplating selling my HD600s as I was enjoying this headphone so much.

Over the next two weeks, my opinion of the L2 hasn’t changed – I still regard it extremely highly, but I won’t be selling the HD600s.

What the L2 brings to the table is a portable semi-open headphone that is pretty comfortable, very stylish, and has excellent build. It sounds phenomenal – very clean and detailed, and an extremely black background allowing for excellent separation of instruments, and wonderful imaging ability.

The fact that the L2 is made by Philips (really!) and possesses a driver that is nothing short of stunning, has really made me sit up and take notice – and I will look forward to seeing what else the release in the coming years.
I would thoroughly and unreservedly recommend this headphone to friends and family, and at a price of around USD 225.00 (Amazon) it represents very good value for money.

I will really regret having to post these back to Australia next week – but just wanted to acknowledge Mark once again for the loaner. Thankyou for giving me the opportunity with these, my friend. I can see that I will probably have to go out and buy a pair at some stage.

RECOMMENDATIONS TO PHILIPS

My recommendations are pretty simple – and hopefully they may be addressed in future models:

Don’t change the SQ.
If you can – work on the headband. A little softer padding around the crown is all that is needed.
A harder carry case would be a great addition.
Replaceable earpads these days are a must. It wouldn’t take much to implement.

And finally – thanks for creating such a wonderful headphone.

Thanks again for the comments. Leo - I still absolutely rate them and will pick up a pair if I can find them at the right price. In the interim I have purchased a pair of closed AKG K553, and while not as portable, they are filling a missing niche in my collection. More on them soon.

quick question do you remember if the screws where it says fidelio, do you remember them being a different shade then the stiching at the top of the headband, the headband has orange stiching mine has orange stiching however the screw seems to be a bit of a reddish color not matching the orange on the headband.

Sorry mate - I no longer have them - so the only thing you can do is judge by the photos I took. They were all taken in natural light (outdoors) - so colours should be reasonably accurate.

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

For those who haven’t heard yet, Trinity Audio Engineering (from this point we’ll just call them “Trinity”) is a new company, based in the UK, who is about to come to market with 3 brand new IEMs. Trinity is the brainchild of the main designer from RockJaw UK (you know him on the forums as RockBob). Bob is starting the new company with RockJaw’s blessing, and as I understand it, the whole reason for the new company is simply so that Bob can pursue his dream to build a range of IEMs purely to his specification. He will also continue to work and design for RockJaw.

The underlying vision and philosophy behind Trinity is that high quality audio should be affordable to everyone – and without compromising on build or materials. And just because it is high quality – it shouldn’t mean it has to be high cost.

So in the last few months, Bob has been working behind the scenes on his new product line, and along the way has enlisted the help of Mark2410, H20fidelity, and myself, to help him with feedback on what we’ve liked and didn’t like along the design process. One thing I really appreciate with a company like Trinity, and a designer like Bob, is the willingness to involve his consumers in some of the design decisions, so that the end result is (hopefully) exactly what the target audience is looking for.

I count myself incredibly lucky to have been approached to work with Bob on this project – via email, PM and phone – and must admit a little personal pride in what Trinity have achieved. So without further comment – let’s have a look at the Delta – the current ‘flagship’ and only hybrid of the new entrants to the Trinity range.

DISCLAIMER

I was provided the Delta by Trinity as part of development and for final review of the end product. Apart from my obvious involvement in feedback on the development, I am not otherwise affiliated with Trinity in any way, nor do I make any financial gain from my contributions.

PREAMBLE - 'ABOUT ME'.   (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portable (Fiio X5, X3ii, X1 and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). I also use a portable set-up at work – either X5/X3ii > HP, or PC > Beyer A200p > HP. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock.   I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I mainly used the Delta straight from the headphone-out socket of my Fiio X3ii, and also used (at different times) my iPhone 5S, and Beyer A200p when at work. Although I tested them with an amplifier, I do not think they benefit from additional amplification. In the time I have spent with the Delta, I have noticed a slight change in the overall sonic presentation, but am aware that this is simply that I am becoming more used to the signature of the Delta as I use them more often (brain burn-in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

[size=24.5699996948242px]THE REVIEW[/size]

The Delta I am reviewing today is essentially a prototype – but Bob has said that any further changes will be purely cosmetic rather than sonic. As such I do not have complete packaging and accessory information, but I will share with you what I do know, and I can update any missing detail as it comes to light.

PACKAGING AND ACCESSORIES

The review sample I have did not come with packaging, and the accessory package is not finalised, so at this stage I’ll show you what it “should” come with.

So for a start I’ll show you the packaging I’ve seen from an early Delta we sampled – which should be roughly similar to what is being used for the final release. The box is likely to be a “book-style” (fold out top cover) in a grayish slate type design with the name and simple statement about the product on the front cover, and specifications and other details on the rear.

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Delta front of box (provisional)	Delta rear of box (provisional)	Delta box in profile (provisional)

Opening the front flap will reveal a foam inner with appropriate cut-outs to house the Delta, carry case, provided tips, and filters.

The accessory package at this stage includes the carry case, 4 sets of silicone filters (1 pr small, 2 pr medium and 1 pr large), the filters (3), and Bob confirmed they will also provide 2 pairs of foams (M, L) and 1 pair of double flange silicone.

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Proposed boc interior	First opening of carry case	Case, filter tube, tips and the Delta

The Trinity standard case is a nice rich red colour, has an internal mesh pouch for tips etc, is triangular shaped, and zips to open/close. It is very spacious, has a good mix of both flexibility and strength – so it is comfortably to pocket, but still protects your IEMs really well.

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The carry case	Silicone tips - foams and double flange will also be included	Silicone tips - foams and double flange will also be included

TECHNICAL SPECIFICATIONS

(From Trinity)

Type	Hybrid BA + 8mm Dynamic Driver
Frequency Range	19 Hz – 21 Khz
Impedance	16 ohm
Sensitivity	110 +/-3dB @ 1kHz 1mW
Plug	3.5mm gold plated, straight jack
Cable	1.2m – OFC
Weight	Approx 16g with tips in place
IEM Shell	CNC polished aluminium

FREQUENCY GRAPH

At the time of writing, I’m waiting for frequency response graphs from Bob, but just for a bit of fun, I’ve composed my own measurements using my trusty SPL meter. I used A-weighting in a quiet environment. While I was at it, I checked for channel matching using 500, 1000, and 5000 Hz tones, and both earpieces were within 0.1 dB on my system for all 3 readings (just like the Hyperion). Again very impressive.

Silver filter

Hz	60 Hz	80 Hz	100 Hz	150 Hz	200 Hz	250 Hz	300 Hz	400 Hz	500 Hz	600 Hz	700 Hz	800 Hz	900 Hz
dB	52.7	57.7	61.1	66.4	69.6	71.7	73.3	75.5	77.0	78.0	78.8	79.5	79.9
Hz	1 kHz	2 kHz	3 kHz	4 kHz	5 kHz	6 kHz	7 kHz	8 kHz	10 kHz	12 kHz	14 kHz	16 kHz	20 kHz
dB	80.4	85.4	90.2	84.6	84.1	84.2	79.9	75.2	69.6	62.6	62.8	47.4	40.1

Black Filter

Hz	60 Hz	80 Hz	100 Hz	150 Hz	200 Hz	250 Hz	300 Hz	400 Hz	500 Hz	600 Hz	700 Hz	800 Hz	900 Hz
dB	53.8	58.7	62.1	67.3	70.4	72.4	73.9	75.8	77.1	78.0	78.7	79.1	79.6
Hz	1 kHz	2 kHz	3 kHz	4 kHz	5 kHz	6 kHz	7 kHz	8 kHz	10 kHz	12 kHz	14 kHz	16 kHz	20 kHz
dB	80.0	84.6	88.9	84.5	81.9	80.2	76.5	72.9	68.3	59.8	58.7	47.4	40.0

Champagne Filter

Hz	60 Hz	80 Hz	100 Hz	150 Hz	200 Hz	250 Hz	300 Hz	400 Hz	500 Hz	600 Hz	700 Hz	800 Hz	900 Hz
dB	45.0	49.4	52.8	58.4	62.2	64.9	67.1	70.4	72.7	74.3	75.5	76.4	76.9
Hz	1 kHz	2 kHz	3 kHz	4 kHz	5 kHz	6 kHz	7 kHz	8 kHz	10 kHz	12 kHz	14 kHz	16 kHz	20 kHz
dB	77.5	82.2	85.7	80.9	74.6	70.4	68.5	68.9	60.0	52.1	55.2	43.2	40.2

Couple of points to note – the champagne filter does have visible acoustic dampening – which could explain the lower readings throughout the spectrum. All 3 were taken without touching the volume pot.

Also – the bass on the gun-metal filter shows slightly higher under A-weighting, but I later switched to C and just measured the bass frequencies. The Silver filter showed more bass than either of the other two filters – especially in the sub-bass frequencies.

EDIT - I've added graphs below from Bob for each of the filters, and also a combined graph showing (rough) an idea of all 3 filters.

BUILD QUALITY / DESIGN

The Delta is once again a very good looking IEM, featuring a beautiful polished gun-metal aluminium housing. At the rear of the housing is a single vent for the dynamic driver (adjacent to the cable exit). The Delta is approximately 11-12 mm in circumference, and 14-15mm long with filters removed, or 20mm long with filters in place. The mathematicians among you will be able to work out that the exposed filter measures approx. 5mm long. It has a slight bevel at the end (making it easier to get tips on), and has a generous lip to make sure they stay on. In terms of width of the nozzle – again my new T400 Comply tips fit well (tight – but firm). On my prototype sample there is no L/R markings – but these definitely should be in place for the finished product.

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Delta body - CNC aluminium	Rear port	Filter intact

The Delta comes with three screw in filter options, which I’ll go into more detail regarding sonics later in the review. The filters look to be very well made and fit my unit extremely well.

The strain relief at the housing is flexible and appears reasonable strong. Bob has informed me that the final model will have both sturdier exit reliefs, and these will also be colour coded for easy L/R identification. The Y-split is a really nice looking aluminium tube, a really good strain relief at the bottom. The jack is gold plated, and both spring loaded and also covered with Trinity’s heat shrink, so plenty of protection. Again – personally I’d prefer a right angle jack – but this is built to last and there should be no issues long term.

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Filter from the front	Chamber with filter removed	The chassis only

The cable is the same as the one used on the Hyperion and is gorgeous. The cable consists of 4 OFC wires – both sets of two tight woven into a spring like weave. These two weaves are then woven again together below the Y-split. The end result is an extremely flexible, and gorgeous looking cable with virtually no memory. The weave also gives it strength. So far in my testing (over-ear), cable noise is minimal – unless it comes into contact with a rough surface (zipper etc). My model does not have a cinch – but the final release will have. The cable can be slightly tangle prone – but careful winding and storage solves that easily.

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Gold plated jack	Y split	The gorgeous Trinity cable

So again for me, the build quality and attention to detail is top notch, and befitting the top end of the Trinity line.

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I initially tried the included large silicones and I couldn’t get a consistently decent fit or seal. Like my experience with the Hyperion - not Trinity’s fault – just my weird ears. I next tried Sony Isolation tips, and they sealed beautifully, were very comfortable, and showed no signs of driver flex, or pressure issues at all. The nozzle for the Delta is almost slightly too large for the Sony tips (they do fit – but I have to force them), so I next tried my trusty Comply tips – and for my particular tastes – the T400 sport were ideal.

Isolation with the Delta is average for a hybrid containing a vented dynamic driver. With music playing you’re isolated pretty well.

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Bob's professional Delta photos	Bob's professional Delta photos	Bob's professional Delta photos

Comfort is excellent – and once again they are very light, so that I hardly feel that I’m wearing them. With their relatively short length, they stay inserted without protruding past my outer ear, and it is easy for me to lie down or sleep whilst wearing them. The cable is very soft, and extremely comfortable in my preferred over-ear position.

The Delta looks good, and likes its sibling (the Hyperion) has a fantastic build. Let’s have a look at the filters, and then move onto sonic impressions.

DELTA FILTER SYSTEM

The Delta comes with three exchangeable filters to allow you to tailor the sound to your preference. Whenever I’ve tried most other IEMs with filters, they’ve often just been bass+ / “neutral” / treble+, and depending on the flavour of the “neutral”, sometimes this has been very hit or miss.

The Delta is a bit different in this regard, and we even had a discussion on how to name the filters because they were so different. So here is my take on the three included filters:

Silver = “fun”
Gun metal = “smooth”
Champagne = “vivid”

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Filters and storage cylinder	Silver (fun), champagne (vivid) and gun metal (smooth)	Silver (fun), champagne (vivid) and gun metal (smooth)

The silver “fun” filter is the only one with nothing in the chamber, and no vent. What this filter appears to do is raise both sub-bass and also the upper mid-range and treble response. So it basically creates a more V shaped signature. I’m not usually a huge bass lover – but I really like this filter. Not only does it give a lot more life in the bottom end – and it can really thump – it also lifts the clarity a notch. Too many bass filters make the overall sound very warm and quite dark. The silver filter just adds slam and clarity. It’s an intoxicating combo – and when you need a lift sometimes, it has the ability to just pick you up and put a huge grin on your face. Thumbs up from me for this one.

The gun metal "smooth" filter is really the default or reference filter. It has a micro vent, and a membrane to give its particular tuning. I call it smooth – because to me that’s exactly what it delivers – beautiful smooth sound. It is definitely the most balanced of the three filters, and while the sub bass is there – it doesn’t over-power. Nor is there a massive mid-bass hump, but there is enough mid-bass and lower mid-range IMO to sound really natural. I once commented to Bob that I thought the black filter almost had an HD600 tonality about it. Of course it can’t come close to the timbre and truly natural sonics of the legendary HD600 – but it does deliver a lovely clear, smooth, liquid sound. It’s the sort of sound I can listen to for hours, and although it didn’t wow me at first, it has rapidly become my favourite filter, and one of the most favourite IEMs I own (more on that during the comparisons). If you’ve read my reviews before, you’ll know I tend toward slightly brighter IEMs – and with the “smooth” filter you actually get clarity without being overly bright. But I don’t reach for the EQ with this one. It’s perfect without the hyper clarity. With the tuning of the Delta this is one of the best IEMs I’ve heard to date for long term relaxed listening.

The third filter I’ve called “vivid”, and it’s the only one of the three I don’t tend to listen to a lot. I do think it’s necessary to round out the range – but it’s just not my ideal tuning. The champagne filter has both a vent and acoustic dampening. The biggest change is that a lot of both sub and mid bass has been attenuated – so you are left with more mid-range and treble. The nice thing about this filter though is that the way it’s tuned the treble isn’t overdone at all. It gives you a very light, but very clear and “vivid” presentation. Personally I like a little more bass than this filter delivers – but anyone preferring a lighter overall sound will enjoy this filter.

All three filters simply screw off the main body, then screw easily back on again. Possibly the only thing that I’d change would be the addition of a small rubber washer just to make tightening and loosening a little more secure.
The spare filters are housed in a clever little aluminium tube with a screw on cap. This is brilliant as the tube fits neatly in the case so that your filters are always with you – and the tube should be big enough so that it won’t get easily lost.

The implementation of the filters on Delta is amongst the best (if not the best) I’ve experienced so far.

SOUND QUALITY

The following is what I hear from the Trinity Delta. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii as source, the gunmetal “smooth” filter in place, and Comply T400 sport tips.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

I’ve also shortened the genre section a little so that I could spend more time on comparisons – as that seems to be what a lot of people have asked for (on the forums and via PM).

Thoughts on Default Signature
I mentioned earlier, my immediate impression listening to the Delta with the “smooth” filter the first time was like listening to my HD600. The sound is natural, effortless, clear, and velvety without losing any clarity.

One of the things I love about it is the natural progression from bass through lower and upper mids and into the lower treble. It extends pretty well into the sub-bass, and I tested this by using a calibrated 1 kHz test tone at 70 dB, and then switching the same volume to 25 Hz – easily heard, even with my “aged” ears. In the upper end, it’s detailed and clear – but not brash or in your face like some of my other IEMs. Now some may want a little more shimmer – but the funny thing is that I don’t with this IEM (and that is really weird considering my normal tastes). I know there is roll-off in the upper treble yet despite sounding smooth, the Delta also manages effortless detail. I’m not sure how he achieves it – but I do know I like it.

Overall Detail / Clarity
Nothing missing with “Gaucho” or “Sultans of Swing”- good balance, great tonality and dynamism. There is crunch to the guitar, shimmer on the cymbals, timbre in the bass guitar. Bass is well defined. Overall cohesion is excellent.

Sound-stage & Imaging
Much better sense of space than the Hyperion and the imaging during Tundra is really clean, clear and well defined. It’s not hugely “out of head” with this binaural track – but it’s far enough not to qualify as intimate. With McKennitt’s “Dante’s Prayer”, the presentation was stunning – so natural, smooth yet compelling at the same time. The tonality of piano and cello was gorgeous. With the applause at the end, it was more width than depth – but I was in the audience which is very good for an IEM.

Side note too - Amanda Marshall’s “Let It Rain” – wonderful. Holographic, but so natural sounding too – in a word – magical.

Bass Quality and Quantity
Goes low (we discussed this above), and has very good impact with “Bleeding Muddy Waters” by Mark Lanegan. No mushiness or imbalance in the overall bass cohesion. Mark’s voice had great timbre, and the gravel really came though well. Lorde’s “Royals” took the Delta impressively low and had great impact. Ella’s vocals were clear, well defined, and euphoric.

Female Vocals
Tick, tick, tick – euphonic, no stridency, no noticeable sibilance. Agnes Obel was dreamy (and that cello tone!), London Grammar was clean, clear and perfect (Hannah - release another album please!), and it didn’t matter what I played – each track eminently enjoyable. Cilmi’s “Safer” once again gave me chills & Norah was sublime (like she was singing just to me). If you get the chance, check out Lianne La Havas – on the Delta she is amazing.

Male Vocals
Dynamic, clear, balanced, but also delivering vigorous punch and very good guitar attack. Acoustic is brilliant. Even older stuff like 10CC and Jethro had zest. Vocal quality is outstanding and this is one of the few IEMs I’ve heard which does both male and female vocals really well (like the DUNU 2000 for instance). There is something about the tonality with most instruments as well – really cohesive – really involving, but no sign of harshness or grit.

My litmus test is always Pearl Jam. In a word – perfect. All the detail is there, but best of all I can hear the emotion in Vedder’s voice. I’m finding it hard to listen critically at this point. Too easy to egt lost in the music with the Deltas.

Genre Specific Notes
Not going to bore you with this section – except to say that the Delta just kept knocking everything out of the park. I’d list the strongpoints, but there were too many. What the Delta does is portray everything with realism. Tonally I find it magical – especially with well recorded Jazz (Portico Quartet and Miles both shone), and Blues (Bonamassa’s live performances were enthralling). Even EDM and Rap were very good – purists might want a bit more bass, but if you do, simply swap for the silver filter.

I could listen to Indie on the Deltas for hours – again the tonality just seems to hit a spot. And Wildlight’s “Dawn to Flight” for some strange reason was actually better than the Altones normally deliver it!

Classical was light, lively, enthralling – very different from my experience with the Hyperions. The standout though was Netrebko & Garanca’s duet from Lakme. Soaring vocals – but never peaky, and a real sense of space
again.

AMPLIFICATION REQUIREMENTS

The Delta is again easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or any of the Fiio Daps. With typical pop/rock songs on the iP5S I’m usually at a volume level of around 40%, on the X3ii around 40-50/120. Again, I did try amping with the E11K, but noticed no obvious signs of improvement.

EQUALISATION

Didn’t try, doesn’t need it – and if you do, change the filters first.

COMPARISONS

OK – this is the section I was asked about a lot – and this is very subjective. Comparison was once again with the X3ii, gun-metal filter, and Comply tips. All IEMs were volume matched with a 1 kHz tone and using a proper SPL meter.

Small note though – I’ve been using the Delta a lot in the last 3 days, so I am very used to its signature – more so than some of the IEMs I’ve put it up against tonight. I also am getting over a dose of influenza, so my ears are unlikely to be 100% (are they ever?). Please take this into account when trying to assimilate my thoughts.

Vs Altone200
Altone is clearly brighter, and bassier, detail is a lot more apparent. Very much more in your face and vivid. Delta still has plenty of detail, but somehow sounds cleaner. There is more distance and space, and far more balance. Male vocals sound natural – where on the Altone, they are slightly contrived. Both do female vocals well – but I’m leaning toward Delta as being the more enjoyable of the two. If you prefer V shaped, and leaning toward upper mids than lower – then the Altone is still king. If you want more balance and realism, the Delta nails it. My preference – Delta (by quite a bit actually).
Vs Fidue A83
This is a lot closer. The Fidues again are bassier, but show a lot more balance than the Altones. The do show more overall detail and have a very vivid presentation. Deltas still show more distance and separation, and clearly have less grain – despite the slightly lower resolution. Deltas also continue to show a more natural tonality. Another thing I noticed – personally they are more comfortable to wear. The A83 have been my go to for a long time now – they are wonderful earphones, but at this point for my personal tastes, I’m leaning toward the more natural tone of the Delta as preferable to the more vivid tone of the Fidue. I wasn’t expecting this.
Vs DUNU Titan
Tonality is very similar – surprising as I would have expected the Titan to be a lot brighter than the Delta, and it isn’t. Titan has a bit more mid bass, and might be slightly brighter in the lower treble, where I think the Delta might have a little more upper mid-range. Titan has a slight bit more overall space – but it’s not as much (again) as I’d expect. Vocals are slightly further back on quite a few tracks, where the Delta brings them closer. Titan also has more apparent sub-bass presentation (Lorde Royals) - and shows its slight V, where the Delta remains very balanced. Hard to pick a preference with these two – but for similar price, the ability to go over-ear, change filters, and the better cable – I’d just about give the nod to Delta.
Vs Havi B3 Pro1
I know there is a bit of a price difference here, but I know it will be asked – so …… Havi is comparatively thin. Both sound pretty balanced. Delta sounds cleaner, clearer. Havi struggles a bit on sub-bass where it is more easily heard on the Delta. Havi still has that wider stage, but Delta has the ability to portray a more believable stage (if that makes sense). Although both have a good sense of balance, the Delta sounds a lot more natural, and that plus the overall refinement makes it for me. The Havi puts up a good fight though.
Vs Alclair Curve
This one really isn’t fair – because I’ve only had the Curve for 3 days and hardly have had a chance to listen to them so far. The Curve is warmer, bassier. Both are very smooth, and also quite refined – especially in the vocals. Delta is a more natural sound. On comfort – the Curve by a long shot though – easily the most comfortable IEM I’ve ever worn. I won’t pick a preference on this as it’s not fair on the Curve. But the Delta is still probably closer to my default preference as far as sound goes.

VALUE

Indications we have from Bob is that the Delta (after initial launch) will retail at around £90.00/ $135.00 USD (at today’s rates). This makes it very good value – given (for my tastes) it is on virtually equal footing (or better) than some triple hybrids at much higher pricing.

At the KickStarter introductory price of £60.00/ $90.00 USD, this is daylight robbery, and Trinity is the victim. Don’t stop – go buy one now. You can thank me for it later.

DELTA - SUMMARY

Once again, I’ve pretty much covered everything above, but I’ll try to boil it down into a short summary.

The Trinity Delta is the best tuned dual driver earphone I’ve heard to date, and I’d even go so far as to say that it sits up there in SQ with a lot of the triple driver earphones I’ve heard.

It’s playing in a crowded price bracket though – but when you look at what Trinity offers with the Delta, it’s hard not to admire the overall package.

You get the Trinity build promise (quality throughout), with aluminium shells, a fantastic cable, and a really nice filter system that breaks the mould on most typical filter systems I’ve seen. You also get SQ that is balanced, or flavoured, depending on your choice of filter – but more importantly is refined, and (with the “smooth” filter) very natural and non-fatiguing.

The Delta is an easy recommendation due to all of the above – and is now most often the IEM I reach for when I want relaxation (away from the reviews). The fact that you can pick one up on KS at the moment for under $100 USD makes it possible the best value you may see this year.

I’ve already backed the campaign – and my review should show how much I like the Delta. 5 stars from me. I’d give it 6 if I could.

Got these last week. They are freaking amazing.

How do they compare to audio-technica ath ckr9 or 10?

Unfortunately I've never tried either AT IEM.

For larger views of any of the photos (1200 x 800) - please click on the individual images

INTRODUCTION

For those who haven’t heard yet, Trinity Audio Engineering (from this point we’ll just call them “Trinity”) is a new company, based in the UK, who is about to come to market with 3 brand new IEMs. Trinity is the brainchild of the main designer from RockJaw UK (you know him on the forums as RockBob). Bob is starting the new company with RockJaw’s blessing, and as I understand it, the whole reason for the new company is simply so that Bob can pursue his dream to build a range of IEMs purely to his specification. He will also continue to work and design for RockJaw.

The underlying vision and philosophy behind Trinity is that high quality audio should be affordable to everyone – and without compromising on build or materials. And just because it is high quality – it shouldn’t mean it has to be high cost.

So in the last few months, Bob has been working behind the scenes on his new product line, and along the way has enlisted the help of Mark2410, H20fidelity, and myself, to help him with feedback on what we’ve liked and didn’t like along the design process. One thing I really appreciate with a company like Trinity, and a designer like Bob, is the willingness to involve his consumers in some of the design decisions, so that the end result is (hopefully) exactly what the target audience sis looking for.

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Some of Trinity's studio photos of the Hyperion	Some of Trinity's studio photos of the Hyperion	Some of Trinity's studio photos of the Hyperion

I count myself incredibly lucky to have been approached to work with Bob on this project – via email, PM and phone – and must admit a little personal pride in what Trinity have achieved. So without further comment – let’s have a look at the Hyperion – the smallest and cheapest entrant to the Trinity range.

DISCLAIMER

I was provided the Hyperion by Trinity as part of development and for final review of the end product. Apart from my obvious involvement in feedback on the development, I am not otherwise affiliated with Trinity in any way, nor do I make any financial gain from my contributions.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portable (Fiio X5, X3ii, X1 and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). I also use a portable set-up at work – either X5/X3ii > HP, or PC > Beyer A200p > HP. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line). I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I mainly used the Hyperion straight from the headphone-out socket of my Fiio X1, X3ii, and also used (at different times) my iPhone 5S, and Beyer A200p when at work. Although I tested them with an amplifier, I do not think they benefit from additional amplification. In the time I have spent with the Hyperion, I have noticed a slight change in the overall sonic presentation, but am aware that this is simply that I am becoming more used to the signature of the Hyperion as I use them more often (brain burn-in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

The Hyperion I am reviewing today is essentially a prototype – but Bob has said that any further changes will be purely cosmetic rather than sonic. As such I do not have complete packaging and accessory information, but I will share with you what I do know, and I can update any missing detail as it comes to light.

PACKAGING AND ACCESSORIES

The review sample I have did not come with packaging, and the accessory package is not finalised, so at this stage I’ll show you what it “should” some with.

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Delta box - front - Hyperion boxing should look similar	Delta box - rear - Hyperion boxing should look similar	Delta box - profile - Hyperion boxing should look similar

So for a start I’ll show you the packaging I’ve seen from the Delta – which should be roughly similar to what is being used for the rest of the line. The box is likely to be a “book-style” (fold out top cover) in a grayish slate type design with the name and simple statement about the product on the front cover, and specifications and other details on the rear. Opening the front flap will reveal a foam inner with appropriate cut-outs to house the Hyperions, carry case and provided tips. A small note here – the photo shown does show a different IEM, and the filter capsule at the top – but the Hyperion doesn’t have removable filters, so none will be provided.

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Inner cut out from Delta - Hyperion won't have the filter set	The Trinity case	Hyperion, case and some of the tips

The accessory package at this stage includes the carry case, 4 sets of silicone filters (1 pr small, 2 pr medium and 1 pr large), and Bob confirmed they will also provide 2 pairs of foams (M, L) and 1 pair of double flange silicone. The Trinity standard case is a nice rich red colour, has an internal mesh pouch for tips etc, is triangular shaped, and zips to open/close. It is very spacious, has a good mix of both flexibility and strength – so it is comfortably to pocket, but still protects your IEMs really well.

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The Hyperion carry case	Silicone tips	Final will also include foams and dual flange

TECHNICAL SPECIFICATIONS

(From Trinity)

Type	Single 8mm neodymium dynamic driver inner ear monitor
Frequency Range	19 Hz – 21 Khz
Impedance	16 ohm
Sensitivity	108 +/-3dB @ 1kHz 1mW
Plug	3.5mm gold plated, straight jack
Cable	1.2m – OFC
Weight	Approx 12g with tips included
IEM Shell	CNC polished aluminium

FREQUENCY GRAPH

At the time of writing, I’m waiting for a frequency response graph from Bob, but just for a bit of fun, I’ve composed my own measurements using my trusty SPL meter. For this recording I used A-weighting in a quiet environment. While I was at it, I checked for channel matching using 500, 1000, and 5000 Hz tones, and both earpieces were within 0.1 dB on my system for all 3 readings. Very impressive.

Hz	60 Hz	80 Hz	100 Hz	150 Hz	200 Hz	250 Hz	300 Hz	400 Hz	500 Hz	600 Hz	700 Hz	800 Hz	900 Hz
dB	55.0	60.7	64.6	70.2	73.2	77.7	76.2	77.6	78.4	78.8	79.1	79.4	79.6
Hz	1 kHz	2 kHz	3 kHz	4 kHz	5 kHz	6 kHz	7 kHz	8 kHz	10 kHz	12 kHz	14 kHz	16 kHz	20 kHz
dB	80.0	82.6	87.8	84.6	80.6	79.5	80.6	78.5	64.0	52.5	45.7	43.3	40.1

I’ve said before to Mark and H20 that I thought the Hyperion sounded just a little like my Altone200. So I also measured them – and below 1kHz, every measurement was within 0.1-0.2 dB of the Hyperion. It’s only when you get into the upper mid-range and treble, that the Altone’s hotter tone starts making itself shown fully.

Altone graph added from Bob

BUILD QUALITY / DESIGN

The Hyperion is a gorgeous little IEM featuring a practically flawless polished aluminium housing. It is definitely 2 piece – because you can see the seam – but the join is pretty smooth on the sample I have. At the rear of the housing is a single vent for the dynamic driver (adjacent to the cable exit). The Hyperion is tiny too! It is only 9mm in circumference, and 15mm from the rear of the housing to the tip of the nozzle. The nozzle itself is approx. 5mm long, has a slight bevel at the end (making it easier to get tips on), and has a generous lip to make sure they stay on. In terms of width of the nozzle – brand new T400 Comply tips fit perfectly. On my prototype sample there is no L/R markings – but these definitely should be in place for the finished product.

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Rear view with driver veent	Side view	Filter view

The strain relief at the housing is flexible and appears reasonable strong. Personally I’d prefer something a little more rigid – as they fit so far inside my ear, that the only way to remove them is to gently pull on the relief. Bob has informed me that the final model will have both sturdier exit relief, and these will also be colour coded for easy L/R identification. Nice!

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With standard tips fitted - they are bigger than the Hyperion!	Rear port + good look at relief and cable	Front view

The Y-split is a really nice looking aluminium tube, a really good strain relief at the bottom. The jack is gold plated, and both spring loaded and also covered with Trinity’s heat shrink, so plenty of protection. Again – personally I’d prefer a right angle jack – but this is built to last and there should be no issues long term.

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Jack	Y split	Cable

The cable is flat out gorgeous. Bob and I talked at length about this in the development phase, and how a lot of “budget” IEMs can have terrible cables. The cable is very different from the original prototypes, and consists of 4 ofc wires – both sets of two tight woven into a spring like weave. These two weaves are then woven again together below the Y-split. The end result is an extremely flexible, and gorgeous looking cable with virtually no memory. The weave also gives it strength. So far in my testing (over-ear), cable noise is minimal – unless it comes into contact with a rough surface (zipper etc). My model does not have a cinch – but the final release will have. The cable can be slightly tangle prone – but careful winding and storage solves that easily.

So for me, the build quality and attention to detail is among the best I’ve seen at this price point. Factor in the quality of the cable – and I haven’t seen a design yet of this quality at this price.

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I initially tried the included large silicones and I couldn’t get a consistently decent fit or seal. Not Trinity’s fault – just my weird ears. I next tried Sony Isolation tips, and they sealed beautifully, but caused some driver flex, and every time I swallowed or moved my jaw – I got some pressure problems in my ear drums. Isolation was excellent – but I needed a new solution. So I switched to the Comply T400s, and it hit the spot for fit, comfort and isolation. Zero driver flex, and no pressure issues. Isolation with the Hyperion is better than average for a dynamic driver (pretty good in fact) – probably due to the single small vent.

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The Hyperion really is tiny	Compared to size of Altone200, Havi and even "small" M1	My preferred T400 tips

Comfort is excellent – they are so light and small that I hardly feel that I’m wearing them. With their micro size, they stay well within my ears, and it is easy for me to lie down or sleep whilst wearing them. The cable is very soft, and extremely comfortable in my preferred over-ear position.

The Hyperion looks good, and has a fantastic build – can this tiny IEM deliver where it matters most – the sound?

SOUND QUALITY

The following is what I hear from the Trinity Hyperion. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii as source.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on Default Signature
I mentioned earlier, my immediate impression listening to the Hyperion the first time was like listening to the Altone200 – with just a little less heat in the upper mid-range and lower treble, and possibly a little more balance overall.
The other major impression – surprise really – on my first lesson was the really “big sound” I was getting from such a tiny IEM. I just didn’t expect it. This is the sort of sound I’d expect from a well-tuned dual driver – not a tiny single dynamic!

If I was to describe the Hyperion in a few words, it would be “vivid”, “detailed”, “alive” – yet at the same time, it has its own refinement and balance. When I first heard the Hyperion I was sure there was a slight V shape – and I guess there still is – but it doesn’t seem out of place (and for someone who like’s overall balance, that is really saying something). The Hyperion seems to strike a very good match between detail and balance.

Overall Detail / Clarity
For this I always use both Steely Dan’s “Gaucho” and Dire Strait’s “Sultans of Swing” as there is a lot of micro detail in both tracks, and the recording quality for both is excellent.

The Hyperion’s detail retrieval is brilliant – in both tracks I’m getting everything I’d normally expect to be hearing from both tracks. On Gaucho there isn’t as much cymbal shimmer as my Altones, but the cymbal hits themselves are clear. The brass is gorgeous – especially the sax, and the bass has plenty of depth and definition. Switching to Dire Straits, and cymbal hits come to the fore a little more. Knopfler’s voice has pretty good tone, and the guitar has nice edge and crunch. Really dynamic portrayal – I like it.

Sound-stage & Imaging
For this I use Amber Rubarth’s binaural recording “Tundra”. I use this because it’s a pretty simple way to get comparative data on sound-stage.

It’s usually difficult to get a reasonable stage size from an inner ear monitor. The stage is often quite small / close – with an average impression of space. The Hyperion (like most IEMs) has an intimate stage with this track, and the sense of space is not expansive. Again, this is not a bad thing, as few IEMs manage an expansive presentation.

I switched to Loreena McKennitt’s “Dante’s Prayer” and it was an enjoyable listen – wonderful tonality in both piano and cello. Loreena seemed to be quite close, so again very intimate presentation overall. I always use this track because at the end the applause on a few headphones (HD600, Titan, T1) has been able to literally put me in the audience (it’s a special moment when the applause washes around you). The Hyperion almost managed it (close and still enthralling) – but the overall listening experience was still very good.

I finished this section with Amanda Marshall’s “Let It Rain” – which was recorded in such a way that it can sound quite holographic on many headphones and IEMs. The Hyperion handled this brilliantly. The presentation was very 3D – quite close, but still very dynamic and alive. Thoroughly enjoyable.

Bass Quality and Quantity
I’ve been spoilt recently with impactful and good quality bass from some of my other hybrid IEMs (Altone 200, DN-1000 and A83), and looking at the tiny Hyperion you’d be forgiven for thinking that it might be weak in this area. As I mentioned earlier though, the Hyperion sounded a little like the Altone200 to me from day one – and it is in the sub-bass, bass, and lower mid-range where this really exhibits itself.

The bass on the Hyperion reaches impressively low (even with my hearing, I could easily hear 25Hz). The bass is pretty agile and well defined, and I’ve noticed no real mid-bass bloom, maybe just a little mid-bass hump on some tracks where big hits can get a little boomy. But overall, bass impact, texture and speed so far have been very good.

Amongst my test tracks, one of my go-to test tracks is “Bleeding Muddy Waters” by Mark Lanegan. This blues rock track is dark and brooding – and exposes any mushiness or imbalance in bass cohesion. The Hyperion was really good with this track, clean and impactful bass, and Mark’s voice also has great tone and texture.

I wanted to see how low the bass would go in real music – so switched to Lorde’s “Royals” – and the Hyperion delivered (massively). When the bass guitar kicks in, there is definite rumble, and yet Ella’s vocals remain clear, and well defined.

Female Vocals
Around 60-65% of my music revolves around female vocals – be it jazz, pop, rock, electronic, or even opera. I’m an unabashed fan. For me a necessary attribute for any IEM is how it renders female vocals.

The one thing I’ve noticed so far has been how well the Hyperion has handled vocalists like McKennitt and Lorde. But how would it handle some of the tougher artists like Agnes Obel – as some of her recordings can become quite strident or shouty if the mids aren’t quite right. With the Hyperion, her vocals aren’t as perfectly euphonic as the Altone200 (missing some of the upper mid-range maybe) – but the overall presentation is still thoroughly enjoyable, and there is no hollowness or shoutiness present.

I then proceeded to play a medley of my other tracks from artists including London Grammar, Angus & Julia Stone, Christina Perri, Feist, Gabriella Cilmi, Florence and the Machine, and Norah Jones. The first track I played from London Grammar gave me chills – Hannah’s voice was close to perfect – and this continued as I queued up each artist. Again – presentation is not quite as euphonic as the Altone200 – but it’s still captivating, and thoroughly enjoyable. The contrast between the dynamic beat with Feist and FaTM was also brilliant. The standout for me though was Gabriella Cilmi’s “Safer” – instant chills from the first words, and I know at that stage that the Hyperion is really well tuned for my tastes. Any time I can get this sort of reaction from music I know well – it’s just magical.

Male Vocals
At the other end of the scale sits a lot of my rock tracks.

The theme here was coherence, balance, clarity and dynamics. The combination of clear vocals and dynamic bass is something the Hyperion presents really well. Factor in a nice crunch from guitar, and you’ve got a great base for most rock tracks.

3 Doors Down, 10CC, Alter Bridge, Green Day, Breaking Benjamin, Eagles, Jethro Tull, Nils Lofgren, Seether – all sound excellent and the vocal quality is superb. Maybe slightly missing some of the finer nuances of texture (compared to say my A83, or a DN-2000) – but then I have to remind myself that I’m listening to essentially a budget IEM – and then reality hits home, the Hyperion has no right to sound as good as it does at this price point. When I played Diary of Jane (Breaking Benjamin), there was very little guitar distortion (this track can overwhelm some drivers), so I’m pretty impressed. Standouts for me were anything acoustic – the Hyperion nails these big time – Hotel California, Keith Don’t Go, and Immortality were just wonderful with this little IEM.

My litmus test still is Pearl Jam (huge fan). Once again, wonderful overall presentation, and the dynamic contrast was again brilliant. My one critique again (and it is very minor) is that the Hyperion doesn’t quite capture the texture of Vedder’s voice (I know this track really well) – but that is when it is compared to IEMs 5-6 times the price of the Hyperion. It doesn’t stop the track being thoroughly enjoyable – and just shows I’m being overly picky.

Genre Specific Notes
Again for tracks, albums, artists – please refer to this list: http://www.head-fi.org/a/brookos-test-tracks

Alt-Rock – I listen to quite a bit of Alt-Rock, so tried my two usual tracks (PF’s “Money” and PT’s “Trains”). “Money” showed good dynamic contrast and clarity – and “Trains” was absolutely brilliant – the tonality of Wilsons voice suits the Hyperion down to a tee. When the bass kicks in – pure magic. I definitely need to listen to all my Porcupine Tree albums with the Hyperion (note to self)!

Jazz / Blues / Bluegrass – Portico Quartet’s “Ruins” is always a first stop for me when testing a new IEM with Jazz, and the Hyperion didn’t disappoint. In fact I had to tear myself away from listening to the whole album – great detail, excellent tonality. In the end I caved and also listened to PQ’s “Steepless” with Cornelia on vocals – another absolutely enchanting interlude – but I need to finish this, so onward …

Switching to female vocal jazz, and Diana Krall’s “Love Me Like A Man” is equally as enthralling –Krall’s voice is clear and clean, and the piano is coming through perfectly. The electric guitar is the perfect accompaniment – the whole track just gels perfectly.

For a change with Blues I used Beth Hart’s “Lift’s You Up”, and for me this one of the top tracks of the entire review. Hugely passionate and thoroughly vivid presentation, with so much dynamism throughout.

Rap / EDM / Pop / Indie – Although so far the Hyperion has been a wonderful all-rounder, all of these genre it seems to absolutely excel with. Eminem’s “Lose Yourself” is amazing with the Hyperion – bass hits incredibly low and hard – and this contrast perfectly with the crystal clear vocals. Switching to EDM and Little Dragon, portrays the same traits – fantastic bass, and crystal clear vocals. Lindsay Stirling almost had me “bopping” in my seat (a good sign), and even milder electronic music (The Flashbulb) had the same overall magic.

Switching to some pure Pop, and first Adele and then Coldplay continued with the Hyperion’s versatility. The presentation of both was hugely enjoyable.

I’ve become quite the Indie fan in the last couple of years. My usual test tracks are Wildlight’s “Dawn To Flight” and Band of Horses “Is There A Ghost”. Probably easiest to say that if for some reason the Hyperion was my only IEM for listening to Indie – I wouldn’t be disappointed. With my Indie – it’s all about tonality – especially the transition between lower and upper mids. The Hyperion nails it yet again – and especially Ayla Nereo’s voice – euphoric, captivating, brilliant.

Classical / Opera – Ticks all around here – although I have to admit, I prefer something with a little more of an expansive stage (like the Titans). Piano in Kempffs Beethoven Sonatas, and Zoe Keating’s Cello performances were really good – but I would have preferred just a little more space with Opera (Netrebko/Garanca), and especially the full symphony presentations (Fischer / Mutter). It was enjoyable – but just a touch flat.

AMPLIFICATION REQUIREMENTS

The Hyperion is easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or any of the Fiio Daps. With typical pop/rock songs on the iP5S I’m usually at a volume level of around 30-35%, on the X3ii around 35-60/120. I did try amping with the E11K, but noticed no obvious signs of improvement.

EQUALISATION

I think it’s likely that most people will love these without EQ, but being the tinkerer that I am, I had to give it a go. The only area (for my own tastes) that I wanted to try and lift was to try and get a little extra sparkle and euphony – especially from my female vocalists. So on the X3ii I raised the 2K (+6) and 8K (+4) sliders, leading everything else intact. The X3ii automatically drops volume by ~ 4dB to compensate for the cut, so I readjusted volume and then retried my test tracks. To my ears this is practically perfect (for my own peculiar tastes), and the only track that suffered was Beth Hart (which is mastered very hot anyway). There was no sign of added distortion. I think I’ll keep this as a permanent EQ setting for this little gem.

VALUE

Indications we have from Bob is that the Hyperion (after initial launch) will retail at around £30.00/ $45.00 USD (at today’s rates). This makes the Hyperion incredible value – and I cannot think of another IEM in this price bracket that gives a better combination of sonics and build quality.

HYPERION - SUMMARY

I’ve pretty much covered everything above, but I’ll try to boil it down into a short summary.

The Trinity Hyperion has no right to be aiming for the price point it is currently being targeted at, and will be a real wake up call for many manufacturers. There are some great sounding IEMs in this bracket – but I am yet to see an IEM with this level of sound, and of build, and of quality (remember the driver matching!)

You’d be forgiven (looking at its diminutive size) for assuming this is simply another budget offering – but when you look at the total package, you realise how much you are getting. Fully aluminium shell, a cable that you’d normally only find on much higher level IEMs, and SQ that just continues to shine no matter what the genre. They also seem to respond well to EQ – so you can further fine tune them to your liking if desired. The biggest shock for me was the first time I listened to them – how could a sound this “big” be coming from something so tiny? It still stuns me.

Would I recommend these to my friends and family – unequivocally yes! In fact I’ll be telling them all about the Kickstarter campaign soon to be launched. At its current RRP it’s already a steal. At the discount that is going to be offered to early adopters (Bob tells me it is likely to be £20.00/ $30.00 USD), it is one you simply can’t turn down. I’ll be one of the first in line for the Hyperion – I’ll be getting 3 of them as Christmas gifts for my immediate family. At this price it would be a crime not to.

I looked back over my reviews to date - and I've only ever given three 5 start ratings - the HD600, the A83 and the Titan. The Hyperion joins the 5 start brigade because of what it delivers for such a low cost. It isn't going to match higher end offerings for outright resolution - but I can't think of any other current IEM that delivers this much for so little.

Trinity’s mission was to make high quality audio affordable to everyone – mission accomplished with the Hyperion.

Wrote you a quick comparison here : http://www.head-fi.org/t/760277/introducing-trinity-audio-engineering/195#post_11483438

Two very different earphones.

Great photography skills.

Thanks. Still need more practise, and a better camera.

For larger views of any photo - please click for access to 1200 x 800 images

INTRODUCTION

I’ve only recently heard about thinksound™ audio, and before Head-Fi user d marc0 contacted me, I’d never heard any of their products. So always keen to hear something new, I agreed to be part of a mini tour.
thinksound™ audio is the brainchild of Aaron Fournier and Mike Tunney. They are a small company started in 2009, and based in Somersworth, New Hampshire (USA). They formed the company to (and this is from their website):

create incredible sounding headphones with the smallest eco-footprint possible. Our headphones are made with real wood, creating a more natural resonance and unparalleled acoustics.

We take our environmental impact as serious as we do our audio products. Our packaging is crafted from recycled materials, with minimal plastic components. We also use PVC-free cables and choose our wood from renewable sources. The result is great sound that you can feel good about.

For the last several years, thinksound™ engineers and designers have been perfecting their unique line of earphones. Each and every component and material has been chosen with care. Only the finest quality components make it into a thinksound™ product.

Our Green Initiative
thinksound™ headphones are designed with the following features to reduce its overall environmental impact:

* Wood is from renewable sources
* Packaging is made from recycled materials
* Bleach-free packaging materials
* Smaller packaging size = less materials used
* Elimination of plastic bubble insert
* Cotton carrying pouch is sewn from renewable sources
* PVC-free cables

Their current catalogue encompasses 4 base IEMs (ranging from USD 75 – 120), and one full sized set of headphones – the On1 @ USD 300. Today I’ll be reviewing the rain2 – which is described by thinksound™ as “having a clean, clear and warm sound for the average listener”. The rain2 arrived 2 weeks ago, and since it arrived, I’ve spent as much time as I could manage coming to grips with its signature – for me that has been around 20 hours of listening time.

DISCLAIMER

I was provided the rain2 (as part of a tour) from d marc0. I am in no way affiliated with thinksound™ - and this review is my subjective opinion of the rain2. I’d like to take this opportunity to thank Mark for giving me the opportunity. It’s great that we have such a wonderful community here at Head-Fi - able to share our gear so as enthusiasts we can experience a lot more audio gear than many of us could otherwise afford.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

I'm a 48 year old music lover. I don't say audiophile – I just love my music. Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up. I vary my listening from portable (Fiio X5, X3ii and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). I also use a portable set-up at work – either X5/X3ii > HP, or PC > Beyer A200p > HP. My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).

I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock. I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock. I am particularly fond of female vocals. I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences. I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.

I have extensively tested myself (abx) and I find aac256 or higher completely transparent. I do use exclusively redbook 16/44.1 if space is not an issue. All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).

I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences. I am not a ‘golden eared listener’. I suffer from mild tinnitus, and at 48, my hearing is less than perfect.

For the purposes of this review - I mainly used the rain2 straight from the headphone-out socket of my Fiio X3ii, but also used (at different times) my iPhone 5S, and Beyer A200p when at work. I did not further amp them, as IMO they do not benefit from additional amplification. In the time I have spent with the rain2, I have noticed a significant change in the overall sonic presentation, but am aware that this is simply that I am becoming more used to the signature of the rain2 as I use them more often (brain burn-in).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The rain2 arrived in a small to medium sized retail box/sleeve – with a picture of the rain2 on the front, and information on the rain2, and about thinksound™ on the rear. The box is very clean, clear, and the subtle use of the green print does give a hint of the environmentally friendly position of the company.

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Front of retail box	Rear of retail box	Retail box in profile

Opening the sleeve and sliding out the inner container was a revelation. The first thing I noticed was the use of recycled cardboard to house the rain2. This is really clever – and shows commitment to their mission statement. These guys do walk the talk.

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Inside the box = first impression	Eco friendly packaging	Wonderful idea for walking the "green" talk

The next thing I noticed was the cotton carry pouch and the gorgeous rain2 themselves – but on to them shortly. The accessory package is a little spartan – simply including the cotton drawstring pouch, a cord clip, and 4 sets of silicone tips.

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Cotton carrying bag, tip package and rain2 IEMs	Included tips	Included tips

TECHNICAL SPECIFICATIONS

(From thinksound™)

Type	Single 8mm dynamic driver inner ear monitor
Frequency Range	18 Hz – 20 Khz
Impedance	16 ohm
Sensitivity	96 +/-3dB @ 1kHz 1mW
Plug	3.5mm gold plated, angled jack (45 deg)
Cable	1.35m
Weight	Approx 13g with tips included
IEM Shell	Gun metal aluminium mated to chocolate brown stained wood

FREQUENCY GRAPH

At the time of writing, I’ve been unable to find a frequency response graph for the rain2 – but what I’m hearing is pretty much what thinksound™ have advertised – a very warm sounding IEM with smooth vocals. For the record – using an spl meter and frequency tones – here’s what I recorded.

Hz	60 Hz	80 Hz	100 Hz	150 Hz	200 Hz	250 Hz	300 Hz	400 Hz	500 Hz	600 Hz	700 Hz	800 Hz	900 Hz
dB	55.1	61.4	65.7	72.1	75.6	77.7	79.1	80.6	81.2	81.4	81.3	81.0	80.6
Hz	1 kHz	2 kHz	3 kHz	4 kHz	5 kHz	6 kHz	7 kHz	8 kHz	10 kHz	12 kHz	14 kHz	16 kHz	20 kHz
dB	80.0	79.6	80.3	81.4	80.6	80.7	76.5	70.6	61.3	55.3	50.4	45.0	40.4

The noise floor during the recording was 39.2 dB

BUILD QUALITY / DESIGN

The rain2 is a beautiful looking IEM featuring a practically flawless polished wood rear housing joined to an aluminium front end. At the centre of the rear of the wood housing (partially hidden by the thinksound™ logo) is a single vent for the driver. The aluminium is gun metal in colour, nicely rounded, and has a generous nozzle and lip. The nozzle has a mesh filter. The rain2 is approximately 52mm in length from rear to tip, and has a circumference of marginally under 10mm. The nozzle is approximately 6mm long.

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Really solid build quality. Rear port just visible	Fit and finish is really good	Nozzle has mesh filter in place

There is generous strain relief at the housing, the Y split is a simple aluminium tube, and the jack is set at 45 degrees, and has a robust build and very good relief. There is a cable clip included – but I would have also liked to have seen some sort of cable cinch. The cable is PVC free, very smooth and very flexible. It is very easy to wear – either straight down or over ear.

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rain2 with default tips fitted	Default tips - the rain2 does look stunning	Jack and Y-split

So for me, the build quality and attention to detail is very good.

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I initially tried the included XL and L silicone tips, and I couldn’t get a decent fit or seal. Not thinksound’s™ fault – just my weird ears. I next tried Sony Isolation tips, and they sealed beautifully, but caused massive driver flex, and every time I swallowed or moved my jaw – I got constant pressure problems in my ear drums. Evidently the driver venting may not quite be enough to cope with a tight seal. This is good for isolation – but for me, limited my tip choice. Eventually I settled on Comply T400 sport foam tips – which gave me a good seal, no flex, and a very comfortable fit.

Isolation with the rain2 is better than average for a dynamic driver (pretty good in fact) – but I do wish that they had better venting to allow me to use the Sony tips.

Comfort is excellent – they are so light that I hardly feel that I’m wearing them. With their small size, they don’t protrude past my ears, and it would be easy for me to lie down or sleep whilst wearing them. The cable is soft, and very comfortable in my preferred over-ear position.

So the rain2 looks good and has good build – how does it sound?

SOUND QUALITY

The following is what I hear from the thinksound™ rain2. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii as source.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Thoughts on Default Signature

I need to state this one early, so you can then factor in my bias. This is not my type of signature – I don’t really like the rain2's default signature.

If we look at some of the descriptors thinksound™ gave for the rain2 (clean, clear and warm sound), then they’ve hit some of their intended sound signature – although for my tastes I’d question the “clean and clear” more than a little. If I was to describe the default signature in a few words – I’d choose the words “very warm”, “very smooth” and (subjective speak coming up) “organically dull”. Their problem is simply that there is not enough sparkle, and the lower mid-range and upper bass is so thick that for a lot of my music there is no contrast, and it becomes so non-descript as to be unenjoyable. Like I said – it’s simply not my type of signature.

My very first impressions of the rain2 were very negative (really overpoweringly warm) – but I persevered with them, and gradually became used to their signature – and on some tracks it is actually pretty good (as long as I listen to it, and only it). If I come from a brighter IEM (the Titan, Altone or A83), then I have to go through an adjustment period again – because first impression always resorts back to the very warm and dull impression again.

Overall Detail / Clarity

For this I always use both Steely Dan’s “Gaucho” and Dire Strait’s “Sultans of Swing” as there is a lot of micro detail in both tracks, and the recording quality for both is excellent.

The rain2’s detail retrieval is OK – but I have to listen hard to get all the detail which IEMs like the Titan show easily. Gaucho actually doesn’t sound too bad – smooth sax, a little too much bass coming through, but the shimmer on cymbal hits is AWOL and a lot of the dynamic contrast I’m used to from this track is gone. Sultans of Swing is a little better – but darker than I’m used to – and there is no bite or crunch from guitars. It’s smooth, claustrophobic, uninspiring. These are descriptors I never thought I’d use with this track. It’s clear enough – there just isn’t any dynamic contrast.

Sound-stage & Imaging

For this I use Amber Rubarth’s binaural recording “Tundra”. I use this because it’s a pretty simple way to get comparative data on sound-stage.
It’s usually difficult to get a reasonable stage size from an inner ear monitor. The stage is often quite small / close – with an average impression of space. The rain2 has an intimate stage with this track, and the sense of space is not expansive.

I switched to Loreena McKennitt’s “Dante’s Prayer” but I only got through about 30 seconds of the track. Piano was really nice, as was the Cello, but Loreena’s voice was actually muffled – so in the end I gave up.

Genre Specific Notes

Again for tracks, albums, artists – please refer to this list: http://www.head-fi.org/a/brookos-test-tracks

Rock / Alt-Rock – The rain2 was actually Ok with most rock tracks. Too smooth for my liking – but I could see some people enjoying this presentation. Vocals are relatively clear, and the bass is present enough to give a good beat. The rain2 is once again weak in guitar edge and upper mid-range detail, although acoustic rock did sound pretty good. Seether’s cover of Immortality sounded nicely balanced (again too smooth) – but again cymbals were a flat tap – no air or shimmer. I tried my two usual Alt-rock tracks (PF’s Money and PT’s Trains) – but I can’t say I was impressed with either. Money is supposed to have a lot of changing dynamic contrast – but once again the rain2’s cloying smoothness just pasted a shade of bland over both tracks. Vocals were good and bass was OK – but things shouldn’t stop with the mid-range.

The funny thing was that one of my litmus tests (Pearl Jam) actually sounded pretty good. The rain2 did nail Vedders voice really well – and there was enough detail through the track (including cymbals) to make it a really enjoyable track to listen to.

Jazz / Blues / Bluegrass – Portico Quartet’s “Ruins” is always a first stop for me when testing a new IEM with Jazz, but the rain2has a little too much double bass for my tastes, and the sax just didn’t have the compelling timbre and warble that I know is there in the track. Once again – smooth, smooth, smooth – no real contrast – and it’s just bland.

Switching to female vocal jazz, and Diana Krall’s “Love Me Like A Man” is actually pretty good – the rain2 handles piano pretty well – and Krall’s voice is clear and clean. There is a little contrast with the electric guitar this time – not bad at all.

Onto a bit of Bluegrass, and Dust Bowl Children is OK. Not great – still too smooth, but OK. The banjo doesn’t have its magic – but the mid-range is covering vocals and most instrument fundamentals OK. Blues with Joe Bonamassa’s “India/Mountain Time” was again pleasant, but once again missing something. The normal “bite” from Joe’s guitar was again a casualty – although the rain2 did portray Joe’s vocals pretty well.

Rap / EDM / Pop – Eminem’s “Lose Yourself” is really good with the rain2 – bass hits low and hard – and the vocals this time are very clear. This is the first track I’m genuinely enjoying. Time to switch to some pop and this time Coldplay’s “Speed of Sound”. Again the presentation is mildly enjoyable – I’d prefer more upper end – but I could listen to this type of music portrayal without feeling too claustrophobic.

With electronic – I queued up The Flashbulb, Little Dragon and Lindsey Stirling. Stirling was brilliant with the rain2 – dynamic, fun, a touch boomy – but enjoyable. Likewise Little Dragon’s “Little Man” really hit the spot too – and I think we’ve found a niche with the rain2 that really works rather well.

Classical / Opera – Kempffs Beethoven Sonatas were quite enjoyable, as was Zoe Keating’s Cello performances, but anything else I tried just didn’t gel at all. And the attempt at opera (Netrebko/Garanca) was simply flat – no dynamics, no magic. Avoid.

Indie / Female Vocals – Although this covers a couple of different genres, they make up a lot of my library current listening. First up was Agnes Obel’s Aventine, and I expected the worst (this track needs some reasonable upper mid-range or it sounds hollow). Fears realised – it was horrible – strident, hollow – unenjoyable. London Grammar fared a little better, but still too dark for my tastes, and Gabriella Cilmi’s Safer was actually pretty good.
I finished with Wildlight and Band of Horses. Both Indie groups were actually pretty good. Ayla Nereo’s voice still had some magic – but again a little too warm and smooth. Band of Horses was pretty good though – it’s a brighter sounding track by default which probably helped the rain2. All in all, some hits, some misses.

AMPLIFICATION REQUIREMENTS

The rain2 is easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or any of the Fiio Daps. With typical pop/rock songs on the iP5S I’m usually at a volume level of around 45%. I did try amping with the E11K, but noticed no obvious signs of improvement.

EQUALISATION?

The easiest way to apply quick equalisation for me is with the iPhone 5S and the Accudio Pro app. When I’ve had this problem with excessive mid-bass and lack of treble before, I usually just load the correction for the Sennheiser CX300 (which is one of the worst IEMs I’ve heard for excessive warmth). All of a sudden the rain2 had a veil lifted. It was articulate, nimble, detailed, and clear. I replayed Aventine, and the hollowness was gone. Sultans of Swing had the guitar crunch and its dynamism back. The difference was huge. If this was the default signature, I’d recommend it in a heartbeat.

RAIN2 - SUMMARY

I like the direction Fournier and Tunney have gone with the thinksound™ rain2. It's a very well built, stunning looking IEM which stays true to their eco-friendly ideals and goals. It fits really well, and is extremely comfortable to wear, and for a dynamic driver isolates pretty well.

Unfortunately for me - the rain2 just goes overboard on the warmth, smoothness, and mid-bass, and under performs in the upper mid-range and treble. The end result is an earphone which IMO is very genre dependent, and unfortunately misses the mark on most of the music I listen to. Interestingly, I asked my 13 yo son and 11 yo daughter to have a quick listen - and (maybe because they've both been exposed to more neutral sound headphones) neither were wowed by it.

However, the rain2 responds incredibly well to EQ, and this really transforms it to a pleasant sounding IEM. In fact - whilst I was editing this review, I left the Accudio EQ in place, and spent the next 3 hours listening to the rain2, and it was a very enjoyable experience.

The question is how to rank it? On fit, build, comfort, and ideals (I truly believe we all should be looking after the planet more) - the rain2 would rank really highly. The problem is that for about USD 45.00, I can buy RockJaw's Arcana V2 - another earphone with a gorgeous wooden housing, and warmish signature. The Arcana V2 (without EQ) has what the rain2 is missing - contrast, sparkle, "life".

So for me a 3 star review. I can't recommend it unless you might be very much tied to EDM and Hip-hop/Rap, and like a warm and cloyingly smooth signature. There is better out there. If thinksound™ change the signature for rain3 - I'd definitely be interested to see what they come up with - because the drivers definitely have potential.

Ooooh - the Stage Diver - sign me up!

Good review.
Very thorough and we'll stated.
You mention EQ helps. Could you tell what you changed?
Thanks!
BG

Hi Bob - I cheated by using the Accudio app and my iPhone 5S. I preloaded the CX300 preset - which will basically cut mid-bass, and added some upper mid range and lower treble. If you wanted to do it with an EQ setting on a DAP - think of an S lying on it's side - scoop some of the mid bass - and then start a shallow rise starting around 1-2 kHz.