Reviews by jjazzy
Introduction to HEDD Audio
Before I start my review, I always like to tell something about the company behind the product. Which is just as interesting as the product itself.
HEDD Audio (Heinz Electrodynamic Designs) is a relatively new player in the hi-fi world, founded in Berlin, Germany. However, that doesn’t mean they lack experience. On the contrary, the team behind HEDD Audio brings decades of audio engineering expertise to the table. One of the key figures is Klaus Heinz, the former founder of Adam Audio and a true pioneer in Air Motion Transformer technology. With HEDD, he and his team channel their extensive knowledge into a new generation of high-performance audio products.
HEDD Audio is a family-run company, led by father Klaus Heinz and son Dr. Frederik Knop. In today’s global market, remaining privately owned is increasingly rare, making HEDD Audio really stand out. Physicist Klaus Heinz, previously CEO and co-founder of ADAM Audio, co-founded HEDD Audio in 2015 alongside his son. Dr. Frederik Knop, a mastering engineer and musicologist, now serves as CEO. He is responsible for the overall direction of the HEDD brand, its global presence, and product strategy.
The unique synergy between Klaus Heinz and Dr. Frederik Knop forms the backbone of HEDD Audio’s success. Klaus, a physicist with decades of experience in loudspeaker design and acoustics, brings deep technical knowledge and innovative engineering to the table. He is the mastermind behind HEDD’s signature technologies.
Dr. Frederik Knop, a trained mastering engineer and musicologist, provides the crucial artistic and practical perspective. His experience in audio production ensures that HEDD Audio products are not only technically advanced but also finely tuned to meet the real-world demands of music professionals. His deep understanding of how sound is perceived and shaped in the studio environment complements Klaus’s scientific approach.
Together they bridge the gap between scientific precision and musical creativity. A rare father-son collaboration where the technical meets the emotional, resulting in sound solutions that is as intelligent as it is inspiring.
Another key person at HEDD Audio is Dmitry Grigoriev, the Head of R&D, who joined the company in 2018. He is essentially the technical father of the HEDDphone TWO and HEDDphone TWO GT. Klaus Heinz, inspired the concept of AMT headphones and collaboratively designed the HEDDphone ONE together with Dmitry. Dmitry has since taken over the responsibility for developing the subsequent two models. Nowadays Klaus Heinz acts more in the background, providing foundational inspiration, while Dmitry leads the technical evolution of the products.
The company focus is on accuracy and quality, rooted in their original background of professional studio environments. HEDD’s philosophy emphasizes transparency, natural sound reproduction and the application of advanced driver technologies to bring listeners as close to the original performance as possible. They try to close the gap between high-end studio monitoring and personal audio.
The HEDD Audio HEDDphone TWO GT is a great new iteration on the former models. Their headphones represent a unique approach in headphone technology, primarily through its innovative Air Motion Transformer (AMT) drivers, which differs from dynamic drivers and planars. A design previously associated mostly with loudspeakers. This technology aims to deliver extraordinary transparency and detailed sound across the entire frequency spectrum.
Test equipment:
– Burson Soloist 3XR GT + Supercharger
– Eversolo A8 + upgraded LHY LPS
– Chord TT2 + Mscaler, both upgraded LPS
– (Portable) Mojo2+Poly
The HEDDphone TWO GT is finished with exceptionally high-quality and exquisite premium materials, like carbon-fibre and magnesium.
Build Quality and Comfort
The HEDDphone TWO GT has made notable improvements over its predecessor, now featuring a lighter, yet robuster construction. Using magnesium components for the chassis and integrating a carbon fiber headband, the headphone achieves a weight of about 550 grams. I listened to them for hours, I never had any issue with the weight or comfort. I am used to other high-end brands, that are around the same weight, or sometimes even heavier.
While significantly lighter! than the first-generation model, it still remains somewhat heavy compared to competitors in this category. The adjustable dual-strap headband system helps though for users customize both fit and pressure distribution.
In short.
– Redesigned AMT driver features new multi-layered Kapton polyimide film with even lower distortion
– Variable Velocity Transformation (VVT) allows reproduction of frequencies from 10 to 40kHz
– Two sets of changeable, soft ear pads: real leather & velour
– Hand-braided and nylon-woven high-grade cables (4-core 5N SPC, High-end GTC upgrade cable 8-core LC OFC available separately)
– HEDDband allows to adjust height, width, curvature, and clamping pressure
– Every possible cable for every type of connection, balanced or single ended.
All covered with an amazing 5 year warranty
Treble
Treble performance is crisp, detailed and most importantly never harsh. The HEDDphone TWO GT strikes a fine balance between smoothness and detail. It offers a slightly warmer tone compared to earlier models, which gives the highs a more organic and engaging character. It is well-suited for both analytical listening and pure musical enjoyment.
Mid
The midrange is where the TWO GT truly shines, offering an exceptional detail, clarity, and realism. Vocals have a natural richness and sit comfortably forward in the mix without sounding pushy or artificial. Instruments come through with clear separation, offering a sense of space and texture that makes acoustic recordings particularly enjoyable. The overall tone leans slightly warm, giving the sound a smooth and engaging character while preserving a high level of detail and balance. It’s a midrange that feels both refined and emotionally resonant.
Bass
The bass reproduction of the HEDDphone TWO GT is impressively articulate and well-defined. It delivers precision and clarity without unnecessary emphasis or exaggerated impact, appealing strongly to listeners who value accuracy over raw power.
However, bass enthusiasts looking for deep and impactful bass might find it somewhat reserved. That does not mean the bass is not powerfull, it is amazing!, it is there when called for, but it is very clean and controlled, but never overpowered or bleeding into the other frequencies. (exactly how it should be!)
Soundstage and Imaging
The soundstage of the HEDDphone TWO GT is spacious and immersive, offering a sense of openness that draws you into the music. It doesn’t exaggerate width artificially but presents a natural, well-proportioned space around the listener. What truly stands out is the precision of the imaging, each instrument and vocal is placed with clarity and intent, making it easy to follow individual elements even in dense mixes. There’s a real sense of depth, allowing sounds to breathe and unfold in a three-dimensional way. The overall presentation feels expansive yet intimate, depending on the recording. the TWO GT is incredibly engaging across all genres.
Diana Krall – Peel me a grape
Listening to “Peel Me a Grape” was a masterclass in intimacy and detail. The headphone’s remarkable midrange brings Diana Krall’s smoky vocals right to the foreground, smooth and full of nuance. Every subtle inflection in her voice, gentle phrasing and even the slight breathiness is rendered with lifelike presence. The treble has air and is very refined. The piano notes have body and sparkle. The upright bass has just the right amount of texture and depth, tight and controlled, anchoring the performance without overwhelming it. The imaging is pinpoint-precise, allowing you to feel the placement of each instrument in this jazz ensemble.
Ella and Louis – Can’t we be friends
Listening to Can’t We Be Friends is like opening a time capsule of pure musical charm. Ella’s silky voice glides effortlessly, full of grace and subtle phrasing. Louis’s gravelly vocals add contrast and character, both are rendered with stunning realism and intimacy.
The headphone’s natural midrange tone lets their chemistry shine through. Ella’s vocals are velvety and pure, while Louis’s trumpet interjections sparkle with a touch of warmth and golden bite. You can almost hear the smile in their voices, the playful back-and-forth and the casual elegance of two legends enjoying the moment.
Instrumentally, the GT presents the gentle swing rhythm with a refined touch. The double bass hums softly and clearly in the background. The piano dances delicately and the brushes on the drums are light and airy, brought forward just enough to complete the atmosphere without ever intruding.
You don’t just hear the music, you feel like you’re in the room with them, seated at a small table in a cozy 1950s jazz lounge.
Robin McKelle – Alterations
Playing “Don’t Explain” by Robin McKelle it felt like being invited into a smoky, dimly lit jazz club where the performance is just for you. McKelle’s voice carries emotional weight and the GT captured every fragile nuance.
The headphone’s warm yet detailed midrange allows her vocals to bloom naturally, never recessed nor overly forward, just perfectly placed within the mix. Bass notes are tight and unobtrusive, offering a gentle pulse that supports rather than dominates. The treble doesn’t show any sharp edges, just smooth articulation that lets every whisper and echo hang in the air with grace.
The emotion of the performance is translated effortlessly!
Ray Brown Trio – F.S.R.
Listening to F.S.R. is like stepping into the heart of a live jazz performance, immediate, energetic and full of presence. The HEDDphone’s speed and precision give the track a vivid sense of realism. The bass is rendered with rich texture and clarity. The GT’s exceptional control in the low is full-bodied but the bass is never overwhelming. It sits in perfect harmony with the crisp piano lines and the lively ride cymbals. The treble is smooth and finely detailed, letting the cymbals shimmer without sharp edges, just the right amount of sparkle to capture the feel of a live setting.
It’s a dynamic, toe-tapping, front-row experience. Every note breathes, every nuance lives.
Jeff Hamilton Trio – Catch me if you can
Playing this track is a thrilling showcase of speed, swing and precision. The track’s brisk tempo and playful interplay demand a headphone that can keep up, the GT delivers with ease! Jeff Hamilton’s drumming is full of detail, every brush, snap and cymbal hit lands with clarity and finesse. The treble extension is smooth and lively. The HEDDphone’s lightning-fast driver response gives the snare and hi-hats a clean, articulate presence that captures Hamilton’s masterful touch.
The midrange is rich and open, letting the sound breathe with dynamics and subtlety. It grooves without muddiness, keeping the energy alive from start to finish.
Conclusion
The HEDD Audio HEDDphone TWO GT is an exceptional audiophile-grade headphone designed primarily for listeners and professionals who value musicality without loosing accuracy, resolution and technical detail.
It truly shines with its midrange clarity, pinpoint imaging and refined high-frequency detail. While its substantial build and revealing treble may take some getting used to, especially with lower-quality recordings. These headphones come really to life (and how!!) with well-produced tracks, offering an exceptionally rewarding and enjoyable listening experience.
If accurate listening and intricate detail retrieval matters to you, the Two GT offers a highly rewarding and distinctive auditory experience.
I’ve thoroughly enjoyed my time with the HEDDphone TWO GT. It’s a significant leap forward compared to the previous two models. The sound is simply outstanding, with every detail effortlessly presented. While some brands tend to emphasize specific parts of the frequency range, the TWO GT offers a beautifully balanced and natural presentation. It’s musical, precise, and impressively comfortable to wear for extended listening sessions.
HEDD Audio has truly crafted something remarkable with this new release.
You can read more reviews on my website as well at: JJAZZIFI
Before I start my review, I always like to tell something about the company behind the product. Which is just as interesting as the product itself.
HEDD Audio (Heinz Electrodynamic Designs) is a relatively new player in the hi-fi world, founded in Berlin, Germany. However, that doesn’t mean they lack experience. On the contrary, the team behind HEDD Audio brings decades of audio engineering expertise to the table. One of the key figures is Klaus Heinz, the former founder of Adam Audio and a true pioneer in Air Motion Transformer technology. With HEDD, he and his team channel their extensive knowledge into a new generation of high-performance audio products.
HEDD Audio is a family-run company, led by father Klaus Heinz and son Dr. Frederik Knop. In today’s global market, remaining privately owned is increasingly rare, making HEDD Audio really stand out. Physicist Klaus Heinz, previously CEO and co-founder of ADAM Audio, co-founded HEDD Audio in 2015 alongside his son. Dr. Frederik Knop, a mastering engineer and musicologist, now serves as CEO. He is responsible for the overall direction of the HEDD brand, its global presence, and product strategy.
The unique synergy between Klaus Heinz and Dr. Frederik Knop forms the backbone of HEDD Audio’s success. Klaus, a physicist with decades of experience in loudspeaker design and acoustics, brings deep technical knowledge and innovative engineering to the table. He is the mastermind behind HEDD’s signature technologies.
Dr. Frederik Knop, a trained mastering engineer and musicologist, provides the crucial artistic and practical perspective. His experience in audio production ensures that HEDD Audio products are not only technically advanced but also finely tuned to meet the real-world demands of music professionals. His deep understanding of how sound is perceived and shaped in the studio environment complements Klaus’s scientific approach.
Together they bridge the gap between scientific precision and musical creativity. A rare father-son collaboration where the technical meets the emotional, resulting in sound solutions that is as intelligent as it is inspiring.
Another key person at HEDD Audio is Dmitry Grigoriev, the Head of R&D, who joined the company in 2018. He is essentially the technical father of the HEDDphone TWO and HEDDphone TWO GT. Klaus Heinz, inspired the concept of AMT headphones and collaboratively designed the HEDDphone ONE together with Dmitry. Dmitry has since taken over the responsibility for developing the subsequent two models. Nowadays Klaus Heinz acts more in the background, providing foundational inspiration, while Dmitry leads the technical evolution of the products.
The company focus is on accuracy and quality, rooted in their original background of professional studio environments. HEDD’s philosophy emphasizes transparency, natural sound reproduction and the application of advanced driver technologies to bring listeners as close to the original performance as possible. They try to close the gap between high-end studio monitoring and personal audio.
The HEDD Audio HEDDphone TWO GT is a great new iteration on the former models. Their headphones represent a unique approach in headphone technology, primarily through its innovative Air Motion Transformer (AMT) drivers, which differs from dynamic drivers and planars. A design previously associated mostly with loudspeakers. This technology aims to deliver extraordinary transparency and detailed sound across the entire frequency spectrum.
Test equipment:
– Burson Soloist 3XR GT + Supercharger
– Eversolo A8 + upgraded LHY LPS
– Chord TT2 + Mscaler, both upgraded LPS
– (Portable) Mojo2+Poly
The HEDDphone TWO GT is finished with exceptionally high-quality and exquisite premium materials, like carbon-fibre and magnesium.
Build Quality and Comfort
The HEDDphone TWO GT has made notable improvements over its predecessor, now featuring a lighter, yet robuster construction. Using magnesium components for the chassis and integrating a carbon fiber headband, the headphone achieves a weight of about 550 grams. I listened to them for hours, I never had any issue with the weight or comfort. I am used to other high-end brands, that are around the same weight, or sometimes even heavier.
While significantly lighter! than the first-generation model, it still remains somewhat heavy compared to competitors in this category. The adjustable dual-strap headband system helps though for users customize both fit and pressure distribution.
In short.
– Redesigned AMT driver features new multi-layered Kapton polyimide film with even lower distortion
– Variable Velocity Transformation (VVT) allows reproduction of frequencies from 10 to 40kHz
– Two sets of changeable, soft ear pads: real leather & velour
– Hand-braided and nylon-woven high-grade cables (4-core 5N SPC, High-end GTC upgrade cable 8-core LC OFC available separately)
– HEDDband allows to adjust height, width, curvature, and clamping pressure
– Every possible cable for every type of connection, balanced or single ended.
All covered with an amazing 5 year warranty
Treble
Treble performance is crisp, detailed and most importantly never harsh. The HEDDphone TWO GT strikes a fine balance between smoothness and detail. It offers a slightly warmer tone compared to earlier models, which gives the highs a more organic and engaging character. It is well-suited for both analytical listening and pure musical enjoyment.
Mid
The midrange is where the TWO GT truly shines, offering an exceptional detail, clarity, and realism. Vocals have a natural richness and sit comfortably forward in the mix without sounding pushy or artificial. Instruments come through with clear separation, offering a sense of space and texture that makes acoustic recordings particularly enjoyable. The overall tone leans slightly warm, giving the sound a smooth and engaging character while preserving a high level of detail and balance. It’s a midrange that feels both refined and emotionally resonant.
Bass
The bass reproduction of the HEDDphone TWO GT is impressively articulate and well-defined. It delivers precision and clarity without unnecessary emphasis or exaggerated impact, appealing strongly to listeners who value accuracy over raw power.
However, bass enthusiasts looking for deep and impactful bass might find it somewhat reserved. That does not mean the bass is not powerfull, it is amazing!, it is there when called for, but it is very clean and controlled, but never overpowered or bleeding into the other frequencies. (exactly how it should be!)
Soundstage and Imaging
The soundstage of the HEDDphone TWO GT is spacious and immersive, offering a sense of openness that draws you into the music. It doesn’t exaggerate width artificially but presents a natural, well-proportioned space around the listener. What truly stands out is the precision of the imaging, each instrument and vocal is placed with clarity and intent, making it easy to follow individual elements even in dense mixes. There’s a real sense of depth, allowing sounds to breathe and unfold in a three-dimensional way. The overall presentation feels expansive yet intimate, depending on the recording. the TWO GT is incredibly engaging across all genres.
Diana Krall – Peel me a grape
Listening to “Peel Me a Grape” was a masterclass in intimacy and detail. The headphone’s remarkable midrange brings Diana Krall’s smoky vocals right to the foreground, smooth and full of nuance. Every subtle inflection in her voice, gentle phrasing and even the slight breathiness is rendered with lifelike presence. The treble has air and is very refined. The piano notes have body and sparkle. The upright bass has just the right amount of texture and depth, tight and controlled, anchoring the performance without overwhelming it. The imaging is pinpoint-precise, allowing you to feel the placement of each instrument in this jazz ensemble.
Ella and Louis – Can’t we be friends
Listening to Can’t We Be Friends is like opening a time capsule of pure musical charm. Ella’s silky voice glides effortlessly, full of grace and subtle phrasing. Louis’s gravelly vocals add contrast and character, both are rendered with stunning realism and intimacy.
The headphone’s natural midrange tone lets their chemistry shine through. Ella’s vocals are velvety and pure, while Louis’s trumpet interjections sparkle with a touch of warmth and golden bite. You can almost hear the smile in their voices, the playful back-and-forth and the casual elegance of two legends enjoying the moment.
Instrumentally, the GT presents the gentle swing rhythm with a refined touch. The double bass hums softly and clearly in the background. The piano dances delicately and the brushes on the drums are light and airy, brought forward just enough to complete the atmosphere without ever intruding.
You don’t just hear the music, you feel like you’re in the room with them, seated at a small table in a cozy 1950s jazz lounge.
Robin McKelle – Alterations
Playing “Don’t Explain” by Robin McKelle it felt like being invited into a smoky, dimly lit jazz club where the performance is just for you. McKelle’s voice carries emotional weight and the GT captured every fragile nuance.
The headphone’s warm yet detailed midrange allows her vocals to bloom naturally, never recessed nor overly forward, just perfectly placed within the mix. Bass notes are tight and unobtrusive, offering a gentle pulse that supports rather than dominates. The treble doesn’t show any sharp edges, just smooth articulation that lets every whisper and echo hang in the air with grace.
The emotion of the performance is translated effortlessly!
Ray Brown Trio – F.S.R.
Listening to F.S.R. is like stepping into the heart of a live jazz performance, immediate, energetic and full of presence. The HEDDphone’s speed and precision give the track a vivid sense of realism. The bass is rendered with rich texture and clarity. The GT’s exceptional control in the low is full-bodied but the bass is never overwhelming. It sits in perfect harmony with the crisp piano lines and the lively ride cymbals. The treble is smooth and finely detailed, letting the cymbals shimmer without sharp edges, just the right amount of sparkle to capture the feel of a live setting.
It’s a dynamic, toe-tapping, front-row experience. Every note breathes, every nuance lives.
Jeff Hamilton Trio – Catch me if you can
Playing this track is a thrilling showcase of speed, swing and precision. The track’s brisk tempo and playful interplay demand a headphone that can keep up, the GT delivers with ease! Jeff Hamilton’s drumming is full of detail, every brush, snap and cymbal hit lands with clarity and finesse. The treble extension is smooth and lively. The HEDDphone’s lightning-fast driver response gives the snare and hi-hats a clean, articulate presence that captures Hamilton’s masterful touch.
The midrange is rich and open, letting the sound breathe with dynamics and subtlety. It grooves without muddiness, keeping the energy alive from start to finish.
Conclusion
The HEDD Audio HEDDphone TWO GT is an exceptional audiophile-grade headphone designed primarily for listeners and professionals who value musicality without loosing accuracy, resolution and technical detail.
It truly shines with its midrange clarity, pinpoint imaging and refined high-frequency detail. While its substantial build and revealing treble may take some getting used to, especially with lower-quality recordings. These headphones come really to life (and how!!) with well-produced tracks, offering an exceptionally rewarding and enjoyable listening experience.
If accurate listening and intricate detail retrieval matters to you, the Two GT offers a highly rewarding and distinctive auditory experience.
I’ve thoroughly enjoyed my time with the HEDDphone TWO GT. It’s a significant leap forward compared to the previous two models. The sound is simply outstanding, with every detail effortlessly presented. While some brands tend to emphasize specific parts of the frequency range, the TWO GT offers a beautifully balanced and natural presentation. It’s musical, precise, and impressively comfortable to wear for extended listening sessions.
HEDD Audio has truly crafted something remarkable with this new release.
You can read more reviews on my website as well at: JJAZZIFI
Attachments
DrSeven
Thanks very much! Your review made me really want to give these a try. The price is really amazing - I was first considering the utopia or meze elite as my next purchase but this sounds like the best bang for the buck in totl headphone offerings, so Im very curious and might try these first. And if I can even stick with the Hugo 2 for these for now it's even better for my wallet. Thanks!
jjazzy
You’re welcome
Introduction
HIFIMAN is widely recognized as one of the most innovative brands in the hifi industry, particularly famed for its groundbreaking contributions to planar magnetic headphone technology. Founded by Dr. Fang Bian, the company has steadily reshaped the audiophile landscape through its continuous pursuit of sonic perfection.
Planar magnetic technology uses an ultra-thin diaphragm with evenly distributed conductors, driven uniformly by powerful magnets. This design allows headphones to deliver precise, transparent sound reproduction with exceptionally low distortion. They have an enhanced transient response, and superior imaging capabilities, especially compared to conventional dynamic drivers.
A notable characteristic of HIFIMAN’s product philosophy is the consistent flow of cutting-edge innovations from flagship models, such as the legendary Susvara and HE1000 series, down into more affordable and accessible headphones. This strategic approach ensures audiophiles at various levels benefit from technological advancements like improved diaphragm materials, advanced magnet arrays, and optimized open-back designs. As a result, every new HIFIMAN model, regardless price, inherits these groundbreaking features.
The HIFIMAN Arya Unveiled is a fully open-back planar magnetic headphone. It features a fully grille-free, open architecture, it aims to reduce sonic interference.
Test equipment:
– Burson Soloist 3XR GT + Supercharger
– Eversolo A8 + upgraded LHY LPS
– Chord TT2 + Mscaler, both upgraded LPS
Design & Build
The Arya Unveiled continues HIFIMAN’s iconic teardrop-shaped design but introduces an entirely open-back construction that removes the traditional grille, allowing sound waves to pass through unhindered.
Visually, it has an elegant, modern appearance, combining a glossy black finish with exposed silver drivers. Though primarily plastic, these keep the headphone very lightweight and comfortable. However, I can imagine some might wish for a sturdier, more premium build, given its high-end market positioning.
The adjustable headband and ear pads use faux leather, which provides both comfort and secure fitting.
Comfort & Fit
At around 413 grams, the Arya Unveiled is quite comfortable for long sessions. Its headband evenly distributes weight (nothing new in the Arya range), eliminating pressure points. The uniquely shaped ear pads offer a soft gentle fit, ensuring comfort.
Sound Quality
Bass
The Arya Unveiled delivers impressively deep sub-bass performance with excellent extension and neutrality. While mid and upper bass have notable warmth and body. Bass-heavy music might lack a bit of the punch and impact some enthusiasts typically desire. The Arya Unveiled is more focusses on realism and warm neutrality. Nonetheless, bass clarity and texture remain excellent, making it particularly enjoyable with acoustic instruments, strings, and bass guitar. Nothing is overpowering.
Mid
The midrange is where the Arya Unveiled truly shines, providing exceptional clarity and resolution. Vocals come across as richly detailed and emotionally engaging, whether male or female. The Arya Unveiled presents vocals intimately and expressively. Instruments within this frequency range also benefit from this timbre and presence, resulting in a natural and realistic sound signature.
Treble
The Arya Unveiled has a slightly warmer treble tuning, I would say a very pleasont ‘new’ side track compared to the other Hifiman’s, leading to a smoother, less fatigue-free listening experience without compromising clarity.
High-frequency instruments such as cymbals and percussion have good definition without excessive brightness or sibilance, creating an overall balanced, airy presentation.
Stage and Image
One of Arya Unveiled’s standout qualities is its wide and precise soundstage. It really excels here, creating a huge space, accurately placing instruments and vocals around you, which greatly enhances complex musical arrangements.
Comparison to Similar Models
Compared to the HIFIMAN HE1000 Unveiled, the Arya offers a slightly warmer presentation (hence the comment, of more of a sidetrack). While the HE1000 provides a more neutral sound with greater emphasis on dimensionality and precision, the Arya appeals to those preferring a more dynamic and warm signature.
The Arya Unveiled needs to be covered for protection after listening, by magnetic plates
Let’s get into some tracks, explaining what makes the Arya unveiled stand out
Melody Gardot – Your Heart Is As Black As Night
Melody Gardot’s smoky, silky voice is beautifully rendered by the Arya Unveiled. Her voice sounds warm, with exceptional realism and separation, I have not heared this before in any Arya yet! The double bass and soft percussion are subtle yet deep. The new Unveiled brings remarkable spaciousness and realism, creating an experience akin to attending a live performance.
Sinne Eeg – The Windmills of Your Mind
Sinne Eeg’s clear, delicate vocals benefit greatly from the new smooth sound signature of the Arya Unveiled, Her voice seemingly floats in front of you within a three-dimensional soundstage, with subtle brushes and gentle piano notes beautifully defined and transparent. The Arya creates an amazing atmosphere.
Stacey Kent – The Ice Hotel
This track is especially impressive due to Arya’s clear and open soundstage. Stacey Kent’s airy, elegant voice is presented with remarkable clarity, while each instrument is subtly placed within the soundscape. Particularly, the delicate guitar notes and smooth drum performance benefit from Arya’s outstanding detail retrieval and expansive stage.
Harry Connick Jr. – It Had to Be You
Harry Connick Jr.’s warm, classic crooner vocals and the swinging big-band arrangement come vividly to life thanks to the warm (new) smooth sounding Arya Unveiled, excellent dynamic range! The energetic brass section maintains power without harshness, while the deep double bass and gentle piano accompaniment sound rich and full. Arya effortlessly balances all elements, presenting the track in an engaging, musical way. NICE!
Nat King Cole – Unforgettable
Nat King Cole’s iconic, velvety baritone voice sounds enchanting on the Arya Unveiled. Thanks to the natural tonality and lush, smooth midrange, it feels as though Nat King Cole is performing right in front of you. The Unveiled reproduces subtle nuances in his voice with impressive transparency, while the warm strings and gentle piano blend beautifully into an intimate and captivating soundstage.
Conclusion
The HIFIMAN Arya Unveiled is a good choice for who appreciate detailed mids, smooth treble, and still a huge soundstage. Its innovative open-back design provides an open sound signature, ideal for various genres. I can imagine some are worried for this open design, beeing more fragile. I can’t see this as a big issue, for most. Although build quality could feel a little more premium, the comfort and sonic qualities compensates more than fairly for this.
I think Hifiman did a huge upgrade in the Arya range, making this headphone a highly recommended option for enthusiasts seeking for a great new addition of the Hifiman Arya range.
Want to read more reviews, check out my website at: JJAZZIFI
HIFIMAN is widely recognized as one of the most innovative brands in the hifi industry, particularly famed for its groundbreaking contributions to planar magnetic headphone technology. Founded by Dr. Fang Bian, the company has steadily reshaped the audiophile landscape through its continuous pursuit of sonic perfection.
Planar magnetic technology uses an ultra-thin diaphragm with evenly distributed conductors, driven uniformly by powerful magnets. This design allows headphones to deliver precise, transparent sound reproduction with exceptionally low distortion. They have an enhanced transient response, and superior imaging capabilities, especially compared to conventional dynamic drivers.
A notable characteristic of HIFIMAN’s product philosophy is the consistent flow of cutting-edge innovations from flagship models, such as the legendary Susvara and HE1000 series, down into more affordable and accessible headphones. This strategic approach ensures audiophiles at various levels benefit from technological advancements like improved diaphragm materials, advanced magnet arrays, and optimized open-back designs. As a result, every new HIFIMAN model, regardless price, inherits these groundbreaking features.
The HIFIMAN Arya Unveiled is a fully open-back planar magnetic headphone. It features a fully grille-free, open architecture, it aims to reduce sonic interference.
Test equipment:
– Burson Soloist 3XR GT + Supercharger
– Eversolo A8 + upgraded LHY LPS
– Chord TT2 + Mscaler, both upgraded LPS
Design & Build
The Arya Unveiled continues HIFIMAN’s iconic teardrop-shaped design but introduces an entirely open-back construction that removes the traditional grille, allowing sound waves to pass through unhindered.
Visually, it has an elegant, modern appearance, combining a glossy black finish with exposed silver drivers. Though primarily plastic, these keep the headphone very lightweight and comfortable. However, I can imagine some might wish for a sturdier, more premium build, given its high-end market positioning.
The adjustable headband and ear pads use faux leather, which provides both comfort and secure fitting.
Comfort & Fit
At around 413 grams, the Arya Unveiled is quite comfortable for long sessions. Its headband evenly distributes weight (nothing new in the Arya range), eliminating pressure points. The uniquely shaped ear pads offer a soft gentle fit, ensuring comfort.
Sound Quality
Bass
The Arya Unveiled delivers impressively deep sub-bass performance with excellent extension and neutrality. While mid and upper bass have notable warmth and body. Bass-heavy music might lack a bit of the punch and impact some enthusiasts typically desire. The Arya Unveiled is more focusses on realism and warm neutrality. Nonetheless, bass clarity and texture remain excellent, making it particularly enjoyable with acoustic instruments, strings, and bass guitar. Nothing is overpowering.
Mid
The midrange is where the Arya Unveiled truly shines, providing exceptional clarity and resolution. Vocals come across as richly detailed and emotionally engaging, whether male or female. The Arya Unveiled presents vocals intimately and expressively. Instruments within this frequency range also benefit from this timbre and presence, resulting in a natural and realistic sound signature.
Treble
The Arya Unveiled has a slightly warmer treble tuning, I would say a very pleasont ‘new’ side track compared to the other Hifiman’s, leading to a smoother, less fatigue-free listening experience without compromising clarity.
High-frequency instruments such as cymbals and percussion have good definition without excessive brightness or sibilance, creating an overall balanced, airy presentation.
Stage and Image
One of Arya Unveiled’s standout qualities is its wide and precise soundstage. It really excels here, creating a huge space, accurately placing instruments and vocals around you, which greatly enhances complex musical arrangements.
Comparison to Similar Models
Compared to the HIFIMAN HE1000 Unveiled, the Arya offers a slightly warmer presentation (hence the comment, of more of a sidetrack). While the HE1000 provides a more neutral sound with greater emphasis on dimensionality and precision, the Arya appeals to those preferring a more dynamic and warm signature.
The Arya Unveiled needs to be covered for protection after listening, by magnetic plates
Let’s get into some tracks, explaining what makes the Arya unveiled stand out
Melody Gardot – Your Heart Is As Black As Night
Melody Gardot’s smoky, silky voice is beautifully rendered by the Arya Unveiled. Her voice sounds warm, with exceptional realism and separation, I have not heared this before in any Arya yet! The double bass and soft percussion are subtle yet deep. The new Unveiled brings remarkable spaciousness and realism, creating an experience akin to attending a live performance.
Sinne Eeg – The Windmills of Your Mind
Sinne Eeg’s clear, delicate vocals benefit greatly from the new smooth sound signature of the Arya Unveiled, Her voice seemingly floats in front of you within a three-dimensional soundstage, with subtle brushes and gentle piano notes beautifully defined and transparent. The Arya creates an amazing atmosphere.
Stacey Kent – The Ice Hotel
This track is especially impressive due to Arya’s clear and open soundstage. Stacey Kent’s airy, elegant voice is presented with remarkable clarity, while each instrument is subtly placed within the soundscape. Particularly, the delicate guitar notes and smooth drum performance benefit from Arya’s outstanding detail retrieval and expansive stage.
Harry Connick Jr. – It Had to Be You
Harry Connick Jr.’s warm, classic crooner vocals and the swinging big-band arrangement come vividly to life thanks to the warm (new) smooth sounding Arya Unveiled, excellent dynamic range! The energetic brass section maintains power without harshness, while the deep double bass and gentle piano accompaniment sound rich and full. Arya effortlessly balances all elements, presenting the track in an engaging, musical way. NICE!
Nat King Cole – Unforgettable
Nat King Cole’s iconic, velvety baritone voice sounds enchanting on the Arya Unveiled. Thanks to the natural tonality and lush, smooth midrange, it feels as though Nat King Cole is performing right in front of you. The Unveiled reproduces subtle nuances in his voice with impressive transparency, while the warm strings and gentle piano blend beautifully into an intimate and captivating soundstage.
Conclusion
The HIFIMAN Arya Unveiled is a good choice for who appreciate detailed mids, smooth treble, and still a huge soundstage. Its innovative open-back design provides an open sound signature, ideal for various genres. I can imagine some are worried for this open design, beeing more fragile. I can’t see this as a big issue, for most. Although build quality could feel a little more premium, the comfort and sonic qualities compensates more than fairly for this.
I think Hifiman did a huge upgrade in the Arya range, making this headphone a highly recommended option for enthusiasts seeking for a great new addition of the Hifiman Arya range.
Want to read more reviews, check out my website at: JJAZZIFI
Hifiman Arya Unveiled product page
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It is an understandable choice, and certainly not a reason for not buying these
Introduction
The HIFIMAN TWS450 is an entry-level true wireless earphone designed for listeners who want an affordable yet engaging sound for a very budget friendly price. While HIFIMAN is better known for their planar magnetic headphones, It aims to deliver a pleasant sound and reliable everyday usability for casual listening.
Test equipment:
– Iphone 16 pro
Test Tracks
– Samara Joy – Tight
– Immanuel Wilkins – Fugitive Ritual, Selah
– Kandace Springs – Devil May Care
– Samara Joy – Guess Who I Saw Today
– Gregory Porter – Dry Bones
Build & Design
The TWS450 takes a straightforward approach when it comes to design. The earbuds are compact, lightweight (around 3.5 grams each). Their construction is clearly tuned towards portability and comfort rather than luxury, but the fit is secure enough for commuting, working out, or daily use.
The charging case is minimalistic and pocket-friendly, with a soft-touch finish and magnetized lid. It feels robust enough for everyday carrying. The earbuds are rated IPX4 for water resistance, meaning they will survive sweat and light rain, perfect for gym sessions or outdoor activities.
Features & Connectivity
The TWS450 offers Bluetooth 5.3, providing stable connections and relatively low latency for general use, including casual gaming or video streaming. There’s no active noise cancellation (ANC) onboard, but the earbuds do support Environmental Noise Cancellation (ENC) during phone calls, helping to reduce background noise when speaking.
The touch controls are responsive and cover basic functions like play/pause, track skipping, volume adjustment, and call management.
Codec support includes SBC and AAC, which will be sufficient for most users, but the lack of high-resolution codecs such as aptX or LDAC might disappoint more audio-focused listeners
Sound Performance
Sound-wise, the TWS450 delivers a V-shaped tuning, with a clear emphasis on bass and treble.
Bass
The bass response is solid, reaching deep enough to give music a satisfying sense of weight and energy, but don’t expect wonders here, their budget, not flagship IEM’s
Mid
The midrange is slightly recessed, which gives vocals and instruments a more laid-back character. Voices come through clearly, though they don’t sit as forward as they might on more neutral-tuned IEMs. This isn’t necessarily a flaw, as it fits the overall easy-going sound signature.
Treble
The treble offers good clarity, however, at times, the high frequencies may come across as a touch sharp, depending on the track and volume. Listeners sensitive to sibilance might notice this with certain recordings.
The soundstage is modest, as expected. The stereo separation is decent enough to avoid a congested presentation. Imaging is sufficient for general music listening, although it won’t rival wired IEMs or audiophile-grade headphones. (Which is more than logical ofcourse)
Battery Life
The TWS450 offers around 5 hours of playtime on a single charge, with the case providing about three additional charges, giving a total of roughly 20 hours of use. While it doesn’t lead the class, this is more than enough.
Conclusion
The HIFIMAN TWS450 has a egg-cellent price performance ratio, for those who prioritize budget, over technical perfection. Its lively tuning, stable connectivity, and comfortable fit make it an easy recommendation for casual listeners or anyone looking for an affordable backup pair of wireless earbuds.
It lacks some modern features like ANC and high-resolution codec support, but considering the price, it delivers where it matters most, fun and engaging.
Want to read more reviews, check out my website at JJAZZIFI
The HIFIMAN TWS450 is an entry-level true wireless earphone designed for listeners who want an affordable yet engaging sound for a very budget friendly price. While HIFIMAN is better known for their planar magnetic headphones, It aims to deliver a pleasant sound and reliable everyday usability for casual listening.
Test equipment:
– Iphone 16 pro
Test Tracks
– Samara Joy – Tight
– Immanuel Wilkins – Fugitive Ritual, Selah
– Kandace Springs – Devil May Care
– Samara Joy – Guess Who I Saw Today
– Gregory Porter – Dry Bones
Build & Design
The TWS450 takes a straightforward approach when it comes to design. The earbuds are compact, lightweight (around 3.5 grams each). Their construction is clearly tuned towards portability and comfort rather than luxury, but the fit is secure enough for commuting, working out, or daily use.
The charging case is minimalistic and pocket-friendly, with a soft-touch finish and magnetized lid. It feels robust enough for everyday carrying. The earbuds are rated IPX4 for water resistance, meaning they will survive sweat and light rain, perfect for gym sessions or outdoor activities.
Features & Connectivity
The TWS450 offers Bluetooth 5.3, providing stable connections and relatively low latency for general use, including casual gaming or video streaming. There’s no active noise cancellation (ANC) onboard, but the earbuds do support Environmental Noise Cancellation (ENC) during phone calls, helping to reduce background noise when speaking.
The touch controls are responsive and cover basic functions like play/pause, track skipping, volume adjustment, and call management.
Codec support includes SBC and AAC, which will be sufficient for most users, but the lack of high-resolution codecs such as aptX or LDAC might disappoint more audio-focused listeners
Sound Performance
Sound-wise, the TWS450 delivers a V-shaped tuning, with a clear emphasis on bass and treble.
Bass
The bass response is solid, reaching deep enough to give music a satisfying sense of weight and energy, but don’t expect wonders here, their budget, not flagship IEM’s
Mid
The midrange is slightly recessed, which gives vocals and instruments a more laid-back character. Voices come through clearly, though they don’t sit as forward as they might on more neutral-tuned IEMs. This isn’t necessarily a flaw, as it fits the overall easy-going sound signature.
Treble
The treble offers good clarity, however, at times, the high frequencies may come across as a touch sharp, depending on the track and volume. Listeners sensitive to sibilance might notice this with certain recordings.
The soundstage is modest, as expected. The stereo separation is decent enough to avoid a congested presentation. Imaging is sufficient for general music listening, although it won’t rival wired IEMs or audiophile-grade headphones. (Which is more than logical ofcourse)
Battery Life
The TWS450 offers around 5 hours of playtime on a single charge, with the case providing about three additional charges, giving a total of roughly 20 hours of use. While it doesn’t lead the class, this is more than enough.
Conclusion
The HIFIMAN TWS450 has a egg-cellent price performance ratio, for those who prioritize budget, over technical perfection. Its lively tuning, stable connectivity, and comfortable fit make it an easy recommendation for casual listeners or anyone looking for an affordable backup pair of wireless earbuds.
It lacks some modern features like ANC and high-resolution codec support, but considering the price, it delivers where it matters most, fun and engaging.
Want to read more reviews, check out my website at JJAZZIFI
HIFIMAN, founded by Dr. Fang Bian in 2007, has firmly established itself as a visionary leader in the world of hi-fi. They pursue perfection with every new generation, the company is renowned for pushing the boundaries of audio technology. Specialized in state-of-the-art planar magnetic headphones, digital audio players and amplifiers, HIFIMAN combines innovation with craftsmanship.
At the heart of HIFIMAN’s vision lies a commitment to deliver pristine sound reproduction that captures every nuance and emotion of music. Dr. Bian and his team believe that exceptional audio is not merely about technical specifications but even more about creating deep, meaningful connections between listeners and music. Each new product reflects this philosophy.
In this review, we dive into HIFIMAN’s HE-R9, already a while on the market, exploring its build quality and most importantly, its performance. The HE-R9 is not a planar what I am used to listen to, so I am curious how it performs.
Hifiman asked my opinion so will give these a decent testrun.
Test equipment:
– Iphone 16 pro
– Chord Mojo 2 + Poly
– Eversolo A8 + upgraded LHY LPS
– Chord TT2 + Mscaler, both upgraded LPS
Test Tracks
– Dave Brubeck – Take Five
– Patrica Barber – Regular Pleasures
– Diana Krall – Temptation
– Bill Evans – Waltz for Debby
– Art Blakey & The Jazz Messengers – Moanin
The HE-R9, is rich featured, by supplying a 3.5 cable and usb&bluetooth dac
First Impressions
When unboxing the HIFIMAN HE-R9, it is immediately clear that this is not your average headphone. The large, dynamic cups, wrapped in a glossy red finish, quite bold. The shape the cups made me think of the legendary Sony MDR-R10 from 1988/1989, one of the first ‘real’ high-end headphones back then.
Instead of wooden cups, the cups are made of polymer with a sturdy headband, giving the headphone a decent balance between weight and robustness. The comfort is surprisingly good, thanks to the soft, leatherette earpads and the balanced clamping force. Despite the size, you can wear these for long listening sessions without discomfort. They are extremely light, very nice when traveling.
The design is clearly a continuation of the aesthetic used in their closed-back models, but the R9 adds a touch of extra flair with its unique look. While it may not appeal to everyone’s taste, it certainly makes a statement. The quality of materials feels fine for the asking price, though it’s not as premium as some of HIFIMAN’s more expensive models.
What is in the box
Inside the box, you’ll find a detachable cable that features the 3.5mm connector, if you decide to upgrade later. The stock cable is functional, though nothing extraordinary, but it gets the job done.
Besides that, there is also a R2R Hifiman Bluemini R2R mini bluetooth adapter, you can connect this unit directly to the headphone, easy when you don’t want a cable. This dongle can also be used as a direct connected usb dac. It is quite multi functional.
Bluemini R2R Bluetooth Module
The Bluemini R2R is a compact Bluetooth DAC/amp add-on specifically designed for HIFIMAN headphones that feature the TRRS balanced input, such as the HE-R9, DEVA, and DEVA Pro. What makes this module stand out is its built-in R2R (ladder) DAC, based on HIFIMAN’s proprietary “HIMALAYA” architecture. Unlike conventional delta-sigma DACs, the R2R design uses a network of precision resistors to handle digital-to-analog conversion, often praised for its smoother, more natural, and organic sound signature.
With support for high-resolution Bluetooth codecs like LDAC and aptX HD, the Bluemini R2R enables wireless playback without sacrificing too much quality. The module also doubles as a USB DAC as mentioned, making it versatile for both wireless and wired use.
The Bluemini R2R Bluetooth module can also be used as USB-C dac
Sound Performance
The HE-R9 delivers a sound signature centered around a rich, warm and somewhat bass-forward presentation. The lower frequencies are prominent but never sloppy. They carry good texture and depth. People who prefer a little bit more low end power, will likely enjoy the punch and authority these headphones offer. The midrange is slightly recessed but smooth nonetheless, giving vocals and instruments a relaxed and easygoing character.
Treble is laid-back, never harsh, which makes the HE-R9 very forgiving. This sound signature makes it suitable for long listening sessions without causing fatigue. However, those who prefer an analytical or very detailed sound might find it somewhat lacking in resolution and sparkle at the top end. To them I would advise, going for their amazing planar headphone range.
The soundstage is intimate, which is typical for almost all closed-back designs, but it doesn’t feel claustrophobic. Imaging is good, instrument placement is natural and easy to follow. It doesn’t reach the spaciousness of open-back headphones, but it does create a pleasant and immersive listening bubble. And let’s be honest, open-back headphones ‘altough amazing’ is actually only usable in a calm, quiet environment.
Amplification
Without the Bluemini R2R, the HE-R9 is relatively easy to drive, working fine even from portable devices, though it does benefit from a decent amplifier.
I connected it to my Chord TT2 combo, and my small mojo2-poly… The HE-R9 Scales very nice. When powered properly, the bass tightens up and the dynamics improve noticeably. Pairing it with a neutral or brighter amplifier can also help to balance out the warm signature and open up the treble a bit more. It’s all about matching (nothing new in Hi-Fi)
This headphone has a sensitivity of 100dB and an impedance of 32 Ohms, making it relatively easy to drive. It will work fine with smartphones, dongles, or portable players, but of course, pairing it with a proper amplifier will push its performance further.
Technical Details
The HE-R9 uses a 50mm dynamic driver, different from the planar magnetic drivers that HIFIMAN is mostly known for. This dynamic driver is paired with what the company calls “Topology Diaphragm” technology. The diaphragm has a nano-coating applied in a specific pattern, which, according to HIFIMAN, helps to improve sound clarity and reduce unwanted distortions.
Bass
The HE-R9 puts a strong emphasis on the bass frequencies. The low-end is full-bodied, with a substantial presence that bass enthusiasts will likely appreciate. The sub-bass reaches deep, giving tracks that extra layer of rumble when needed.
Mid
In the mids, the HE-R9 tends to lean towards a smoother and slightly recessed presentation. (For me personally a little too much, but I am a open-back planar fan) Vocals, both male and female, sound natural but are a bit further back in the mix compared to the bass. This gives the overall sound a laid-back character. The midrange is not the most detailed or resolving in the closed-back market, but it’s consistent and non-fatiguing, Like a good old glass of aged scotch.
Treble
The high frequencies are somewhat softened, avoiding sharpness or harshness. Not everyone likes that, but it makes for a more forgiving headphone for longer sessions, as you don’t get any piercing treble that could cause listening fatigue.
However, those who are looking for sparkly or extremely detailed treble might find it slightly rolled off.
Soundstage & Imaging
Given that it’s a closed-back design, the soundstage is naturally more intimate than that of its open-back siblings. Still, it manages to avoid sounding boxed-in. There is a pleasant sense of space, and the imaging is accurate enough to position instruments and vocals correctly within the sound field.
The HE-R9 is multi-functional (cabled, usb-dac, bluetooth) and very lightweight, so a perfect travel companion, and quite pretty too.
Conclusion
The HIFIMAN HE-R9 positions itself as a headphone that prioritizes musical enjoyment over absolute precision. Its warm, bass-emphasized tuning, makes it a solid choice for those who want a closed-back headphone for casual listening, movies, or bass-heavy genres. While it may not satisfy those searching for micro-details and ultra-resolution, it delivers a smooth, fatigue-free experience.
If you’re after a fun, non-analytical listening experience with a good dose of bass and relaxed highs, this headphone is well worth considering.
Pros
– Included Bluemini R2R Dongle
– Easy to drive
– Warm relaxed sound signature, very forgiving for bad recordings
– Very lightweight, so a very good multi functional travel companion
– Very comfortable
Cons
– Recessed midrange
– Soft Treble, missing sparkle
– Not bad, but somewhat limited soundstage
Want to read more reviews, check out my website at JJAZZIFI
At the heart of HIFIMAN’s vision lies a commitment to deliver pristine sound reproduction that captures every nuance and emotion of music. Dr. Bian and his team believe that exceptional audio is not merely about technical specifications but even more about creating deep, meaningful connections between listeners and music. Each new product reflects this philosophy.
In this review, we dive into HIFIMAN’s HE-R9, already a while on the market, exploring its build quality and most importantly, its performance. The HE-R9 is not a planar what I am used to listen to, so I am curious how it performs.
Hifiman asked my opinion so will give these a decent testrun.
Test equipment:
– Iphone 16 pro
– Chord Mojo 2 + Poly
– Eversolo A8 + upgraded LHY LPS
– Chord TT2 + Mscaler, both upgraded LPS
Test Tracks
– Dave Brubeck – Take Five
– Patrica Barber – Regular Pleasures
– Diana Krall – Temptation
– Bill Evans – Waltz for Debby
– Art Blakey & The Jazz Messengers – Moanin
The HE-R9, is rich featured, by supplying a 3.5 cable and usb&bluetooth dac
First Impressions
When unboxing the HIFIMAN HE-R9, it is immediately clear that this is not your average headphone. The large, dynamic cups, wrapped in a glossy red finish, quite bold. The shape the cups made me think of the legendary Sony MDR-R10 from 1988/1989, one of the first ‘real’ high-end headphones back then.
Instead of wooden cups, the cups are made of polymer with a sturdy headband, giving the headphone a decent balance between weight and robustness. The comfort is surprisingly good, thanks to the soft, leatherette earpads and the balanced clamping force. Despite the size, you can wear these for long listening sessions without discomfort. They are extremely light, very nice when traveling.
The design is clearly a continuation of the aesthetic used in their closed-back models, but the R9 adds a touch of extra flair with its unique look. While it may not appeal to everyone’s taste, it certainly makes a statement. The quality of materials feels fine for the asking price, though it’s not as premium as some of HIFIMAN’s more expensive models.
What is in the box
Inside the box, you’ll find a detachable cable that features the 3.5mm connector, if you decide to upgrade later. The stock cable is functional, though nothing extraordinary, but it gets the job done.
Besides that, there is also a R2R Hifiman Bluemini R2R mini bluetooth adapter, you can connect this unit directly to the headphone, easy when you don’t want a cable. This dongle can also be used as a direct connected usb dac. It is quite multi functional.
Bluemini R2R Bluetooth Module
The Bluemini R2R is a compact Bluetooth DAC/amp add-on specifically designed for HIFIMAN headphones that feature the TRRS balanced input, such as the HE-R9, DEVA, and DEVA Pro. What makes this module stand out is its built-in R2R (ladder) DAC, based on HIFIMAN’s proprietary “HIMALAYA” architecture. Unlike conventional delta-sigma DACs, the R2R design uses a network of precision resistors to handle digital-to-analog conversion, often praised for its smoother, more natural, and organic sound signature.
With support for high-resolution Bluetooth codecs like LDAC and aptX HD, the Bluemini R2R enables wireless playback without sacrificing too much quality. The module also doubles as a USB DAC as mentioned, making it versatile for both wireless and wired use.
The Bluemini R2R Bluetooth module can also be used as USB-C dac
Sound Performance
The HE-R9 delivers a sound signature centered around a rich, warm and somewhat bass-forward presentation. The lower frequencies are prominent but never sloppy. They carry good texture and depth. People who prefer a little bit more low end power, will likely enjoy the punch and authority these headphones offer. The midrange is slightly recessed but smooth nonetheless, giving vocals and instruments a relaxed and easygoing character.
Treble is laid-back, never harsh, which makes the HE-R9 very forgiving. This sound signature makes it suitable for long listening sessions without causing fatigue. However, those who prefer an analytical or very detailed sound might find it somewhat lacking in resolution and sparkle at the top end. To them I would advise, going for their amazing planar headphone range.
The soundstage is intimate, which is typical for almost all closed-back designs, but it doesn’t feel claustrophobic. Imaging is good, instrument placement is natural and easy to follow. It doesn’t reach the spaciousness of open-back headphones, but it does create a pleasant and immersive listening bubble. And let’s be honest, open-back headphones ‘altough amazing’ is actually only usable in a calm, quiet environment.
Amplification
Without the Bluemini R2R, the HE-R9 is relatively easy to drive, working fine even from portable devices, though it does benefit from a decent amplifier.
I connected it to my Chord TT2 combo, and my small mojo2-poly… The HE-R9 Scales very nice. When powered properly, the bass tightens up and the dynamics improve noticeably. Pairing it with a neutral or brighter amplifier can also help to balance out the warm signature and open up the treble a bit more. It’s all about matching (nothing new in Hi-Fi)
This headphone has a sensitivity of 100dB and an impedance of 32 Ohms, making it relatively easy to drive. It will work fine with smartphones, dongles, or portable players, but of course, pairing it with a proper amplifier will push its performance further.
Technical Details
The HE-R9 uses a 50mm dynamic driver, different from the planar magnetic drivers that HIFIMAN is mostly known for. This dynamic driver is paired with what the company calls “Topology Diaphragm” technology. The diaphragm has a nano-coating applied in a specific pattern, which, according to HIFIMAN, helps to improve sound clarity and reduce unwanted distortions.
Bass
The HE-R9 puts a strong emphasis on the bass frequencies. The low-end is full-bodied, with a substantial presence that bass enthusiasts will likely appreciate. The sub-bass reaches deep, giving tracks that extra layer of rumble when needed.
Mid
In the mids, the HE-R9 tends to lean towards a smoother and slightly recessed presentation. (For me personally a little too much, but I am a open-back planar fan) Vocals, both male and female, sound natural but are a bit further back in the mix compared to the bass. This gives the overall sound a laid-back character. The midrange is not the most detailed or resolving in the closed-back market, but it’s consistent and non-fatiguing, Like a good old glass of aged scotch.
Treble
The high frequencies are somewhat softened, avoiding sharpness or harshness. Not everyone likes that, but it makes for a more forgiving headphone for longer sessions, as you don’t get any piercing treble that could cause listening fatigue.
However, those who are looking for sparkly or extremely detailed treble might find it slightly rolled off.
Soundstage & Imaging
Given that it’s a closed-back design, the soundstage is naturally more intimate than that of its open-back siblings. Still, it manages to avoid sounding boxed-in. There is a pleasant sense of space, and the imaging is accurate enough to position instruments and vocals correctly within the sound field.
The HE-R9 is multi-functional (cabled, usb-dac, bluetooth) and very lightweight, so a perfect travel companion, and quite pretty too.
Conclusion
The HIFIMAN HE-R9 positions itself as a headphone that prioritizes musical enjoyment over absolute precision. Its warm, bass-emphasized tuning, makes it a solid choice for those who want a closed-back headphone for casual listening, movies, or bass-heavy genres. While it may not satisfy those searching for micro-details and ultra-resolution, it delivers a smooth, fatigue-free experience.
If you’re after a fun, non-analytical listening experience with a good dose of bass and relaxed highs, this headphone is well worth considering.
Pros
– Included Bluemini R2R Dongle
– Easy to drive
– Warm relaxed sound signature, very forgiving for bad recordings
– Very lightweight, so a very good multi functional travel companion
– Very comfortable
Cons
– Recessed midrange
– Soft Treble, missing sparkle
– Not bad, but somewhat limited soundstage
Want to read more reviews, check out my website at JJAZZIFI
Review Tanchjim Zero
When it comes to audiophile brands, the expensive brands often dominate the conversation. Every so often, a smaller player quietly steals the spotlight. One of those brands is Tanchjim. Born from the vibrant Chinese audio scene, Tanchjim has carved out a loyal following by doing something few manage: delivering genuinely musical and refined sound on a budget.
Make no mistake, this is not a luxury brand flaunting milled aluminum housings or exotic driver arrays. Tanchjim is unapologetically focused on budget-conscious audio, yet manages to achieve a level of musicality and finesse that (also in my case) surprises even seasoned listeners.
Let’s be honest, in the audiophile world, there are always those who refuse to even give budget gear a fair shot. Some won’t grant it the courtesy of a listen or even a look, convinced that good sound must come with a hefty price tag. But those willing to approach Tanchjim with open ears will quickly discover that music doesn’t care about price. It either moves you, or it doesn’t.
In this review, we will take a closer look at two of Tanchjim’s new budget offerings: the Tanchjim Zero, an ultra-affordable in-ear monitor aiming for sonic precision, it reflects Tanchjim’s philosophy music first, price second.
The Tanchjim Zero is a budget-friendly in-ear monitor (IEM) that has garnered attention for its neutral tuning and impressive technical performance, especially given its modest price point of around $16 USD. Designed with musicality not the bass happy few in mind, the Zero aims to deliver a balanced and accurate sound signature without breaking the bank.
Test equipment for this test:
– Chord Mojo2 + Poly
– Tanchjim Stargate II (for the Tanchim Zero ofcourse)
– MacBook Pro 2024
Tested Tracks:
Melody Gardot – Morning Sung
Sinne Eeg – Unpredictable Love
Big Phat Band – Hit The Ground Running
Catherine Russel – Talk to Me
Michel Camilo – Suite Sandrine Pt 3
Unboxing and Accessories
Upon opening the compact packaging, users are greeted with a selection of (expected) accessories. The package includes a carrying pouch, three sets of wide-bore silicone eartips (S, M, L), and three sets of narrow-bore silicone eartips (S, M, L), allowing for a customizable fit.
The inclusion of multiple eartip options ensures that listeners can achieve optimal comfort and sound quality.However, it’s worth noting that the Zero comes with a non-detachable cable, which in this price range is not a weird choice, buying a new one is cheaper than a seperate cable.
Design and Comfort
The Tanchjim Zero features a minimalist design with clear shells that house a 10mm composite diaphragm dynamic driver. The lightweight and small form factor contribute to a comfortable fit, making them suitable for extended listening sessions.
Sound Quality
The Zero’s sound signature can be described as neutral with a slight emphasis on the upper mids and treble regions.This tuning approach results in a clean and detailed presentation that appeals to listeners who prefer accuracy over coloration.
I also tested these IEM’s on the Chord Mojo2 + Poly, and to my surprise, the Zero scaled nicely, I actually listened to the Zero, writing this review…. that should say enough (I am very sensitive to listeners fatique)
Bass
The bass response is lean and actually quite precise, focusing on accuracy rather than quantity. While it may lack the depth and impact desired by bass enthusiasts, the zero delivers a clean low-end that complements its overall neutral profile. For people like me that prefer neutrality above all, no bloated bassline, it is actually very nice.
You need to get a decent fit though. Like most IEM’s, choose the right eartip, to get a decent bass. Otherwise like some (I read) misjudge the neutral signature of the Tanchjim Zero missing low end bass. This is by no means a Bass happy iem (and that is a GOOD quality!) In fact the Zero has a clean and actually REAL audiophile neutrality in the sound signature. It actually surprised, because jazz sounds very nice on these, without anything sounded bloated and no overpowering bass..
Midrange
The midrange is clear and flat, providing a natural reproduction of vocals and instruments. The upper midrange is slightly forward, which enhances the presence of female vocals and certain instruments without introducing harshness.
Treble
The treble is lively and engaging, offering a good level of detail without becoming sibilant or fatiguing. This contributes to the overall sense of clarity and openness in the sound.
Technical Performance
Despite its budget-friendly price, the Tanchjim Zero exhibits commendable technical performance. The soundstage is notably wide for its class, providing a sense of space and air, Instrument separation and imaging are unheard of in this price.
The bass details are not the highest class, or the most smooth sounding, but can you really expect flagship performance? I don’t think that’s fair. Getting a pleasant sounding in-ear like this, in this low price range, I already would call quite an achievement to begin with!
Final Thoughts
The Tanchjim Zero shows that Tanchjim knows exactly how to make budget products that sound anything but cheap. Together, however, they form a budget-friendly chain that delivers a surprisingly refined and musical listening experience. And altough I am used to very expensive flagship IEM’s and DAC’s, I enjoyed listening to music on them both, while writing this review.
The Zero offers an impressively neutral and balanced tuning, with excellent clarity and separation that rivals IEMs far above its price point (I mean 16USD less expensive than a average fastfood meal). Paired with the Stargate II, the synergy becomes clear: the DAC enhances the Zero’s already impressive resolution, gives it just a touch more openness, and smooths out the listening experience without sacrificing detail.
Besides that, trying the Zero in a highend Mojo2+Poly, showed the Zero could give more than that.
For anyone looking for an affordable yet truly nice sounding portable setup, the Stargate II and Zero combination is a reminder that great sound doesn't always come wrapped in luxury packaging. In this particular situation the packaging is very stylish. Sometimes, it just sounds right.
Want to read the combined review of the Zero and Stargate II, have a look at my website:
JJAZZIFI REVIEWS
When it comes to audiophile brands, the expensive brands often dominate the conversation. Every so often, a smaller player quietly steals the spotlight. One of those brands is Tanchjim. Born from the vibrant Chinese audio scene, Tanchjim has carved out a loyal following by doing something few manage: delivering genuinely musical and refined sound on a budget.
Make no mistake, this is not a luxury brand flaunting milled aluminum housings or exotic driver arrays. Tanchjim is unapologetically focused on budget-conscious audio, yet manages to achieve a level of musicality and finesse that (also in my case) surprises even seasoned listeners.
Let’s be honest, in the audiophile world, there are always those who refuse to even give budget gear a fair shot. Some won’t grant it the courtesy of a listen or even a look, convinced that good sound must come with a hefty price tag. But those willing to approach Tanchjim with open ears will quickly discover that music doesn’t care about price. It either moves you, or it doesn’t.
In this review, we will take a closer look at two of Tanchjim’s new budget offerings: the Tanchjim Zero, an ultra-affordable in-ear monitor aiming for sonic precision, it reflects Tanchjim’s philosophy music first, price second.
The Tanchjim Zero is a budget-friendly in-ear monitor (IEM) that has garnered attention for its neutral tuning and impressive technical performance, especially given its modest price point of around $16 USD. Designed with musicality not the bass happy few in mind, the Zero aims to deliver a balanced and accurate sound signature without breaking the bank.
Test equipment for this test:
– Chord Mojo2 + Poly
– Tanchjim Stargate II (for the Tanchim Zero ofcourse)
– MacBook Pro 2024
Tested Tracks:
Melody Gardot – Morning Sung
Sinne Eeg – Unpredictable Love
Big Phat Band – Hit The Ground Running
Catherine Russel – Talk to Me
Michel Camilo – Suite Sandrine Pt 3
Unboxing and Accessories
Upon opening the compact packaging, users are greeted with a selection of (expected) accessories. The package includes a carrying pouch, three sets of wide-bore silicone eartips (S, M, L), and three sets of narrow-bore silicone eartips (S, M, L), allowing for a customizable fit.
The inclusion of multiple eartip options ensures that listeners can achieve optimal comfort and sound quality.However, it’s worth noting that the Zero comes with a non-detachable cable, which in this price range is not a weird choice, buying a new one is cheaper than a seperate cable.
Design and Comfort
The Tanchjim Zero features a minimalist design with clear shells that house a 10mm composite diaphragm dynamic driver. The lightweight and small form factor contribute to a comfortable fit, making them suitable for extended listening sessions.
Sound Quality
The Zero’s sound signature can be described as neutral with a slight emphasis on the upper mids and treble regions.This tuning approach results in a clean and detailed presentation that appeals to listeners who prefer accuracy over coloration.
I also tested these IEM’s on the Chord Mojo2 + Poly, and to my surprise, the Zero scaled nicely, I actually listened to the Zero, writing this review…. that should say enough (I am very sensitive to listeners fatique)
Bass
The bass response is lean and actually quite precise, focusing on accuracy rather than quantity. While it may lack the depth and impact desired by bass enthusiasts, the zero delivers a clean low-end that complements its overall neutral profile. For people like me that prefer neutrality above all, no bloated bassline, it is actually very nice.
You need to get a decent fit though. Like most IEM’s, choose the right eartip, to get a decent bass. Otherwise like some (I read) misjudge the neutral signature of the Tanchjim Zero missing low end bass. This is by no means a Bass happy iem (and that is a GOOD quality!) In fact the Zero has a clean and actually REAL audiophile neutrality in the sound signature. It actually surprised, because jazz sounds very nice on these, without anything sounded bloated and no overpowering bass..
Midrange
The midrange is clear and flat, providing a natural reproduction of vocals and instruments. The upper midrange is slightly forward, which enhances the presence of female vocals and certain instruments without introducing harshness.
Treble
The treble is lively and engaging, offering a good level of detail without becoming sibilant or fatiguing. This contributes to the overall sense of clarity and openness in the sound.
Technical Performance
Despite its budget-friendly price, the Tanchjim Zero exhibits commendable technical performance. The soundstage is notably wide for its class, providing a sense of space and air, Instrument separation and imaging are unheard of in this price.
The bass details are not the highest class, or the most smooth sounding, but can you really expect flagship performance? I don’t think that’s fair. Getting a pleasant sounding in-ear like this, in this low price range, I already would call quite an achievement to begin with!
Final Thoughts
The Tanchjim Zero shows that Tanchjim knows exactly how to make budget products that sound anything but cheap. Together, however, they form a budget-friendly chain that delivers a surprisingly refined and musical listening experience. And altough I am used to very expensive flagship IEM’s and DAC’s, I enjoyed listening to music on them both, while writing this review.
The Zero offers an impressively neutral and balanced tuning, with excellent clarity and separation that rivals IEMs far above its price point (I mean 16USD less expensive than a average fastfood meal). Paired with the Stargate II, the synergy becomes clear: the DAC enhances the Zero’s already impressive resolution, gives it just a touch more openness, and smooths out the listening experience without sacrificing detail.
Besides that, trying the Zero in a highend Mojo2+Poly, showed the Zero could give more than that.
For anyone looking for an affordable yet truly nice sounding portable setup, the Stargate II and Zero combination is a reminder that great sound doesn't always come wrapped in luxury packaging. In this particular situation the packaging is very stylish. Sometimes, it just sounds right.
Want to read the combined review of the Zero and Stargate II, have a look at my website:
JJAZZIFI REVIEWS
Attachments
Tanchjim Stargate II
When it comes to audiophile brands, the expensive brands often dominate the conversation. Every so often, a smaller player quietly steals the spotlight. One of those brands is Tanchjim. Born from the vibrant Chinese audio scene, Tanchjim has carved out a loyal following by doing something few manage: delivering genuinely musical and refined sound on a budget.
Make no mistake, this is not a luxury brand flaunting milled aluminum housings or exotic driver arrays. Tanchjim is unapologetically focused on budget-conscious audio, yet manages to achieve a level of musicality and finesse that (also in my case) surprises even seasoned listeners.
Let’s be honest, in the audiophile world, there are always those who refuse to even give budget gear a fair shot. Some won’t grant it the courtesy of a listen or even a look, convinced that good sound must come with a hefty price tag. But those willing to approach Tanchjim with open ears will quickly discover that music doesn’t care about price. It either moves you, or it doesn’t.
In this review, we will take a closer look at Tanchjim’s new budget offering: the Tanchjim Stargate II, a compact USB DAC. Both products reflect Tanchjim’s philosophy music first, price second.
Test equipment for this test:
– Chord Mojo2 + Poly
– Tanchjim Stargate II (for the Tanchim Zero ofcourse)
– MacBook Pro 2024
Tested Tracks:
Melody Gardot – Morning Sung
Sinne Eeg – Unpredictable Love
Big Phat Band – Hit The Ground Running
Catherine Russel – Talk to Me
Michel Camilo – Suite Sandrine Pt 3
The portable DAC market is packed with options nowadays, yet every once in a while, a product surfaces that makes you do a double-take, not because of bold claims or gimmicks, but because of how effortlessly it balances price, usability, and sound quality. The Tanchjim Stargate II is exactly that kind of product. It even supports a PEQ config through their application.
The Tanchjim Stargate II can even be configured with a PEQ, a nice extra
Specs:
– Decoding support | PCM384kHz/32Bit DSD64/128/256
– Total Harmonic Distortion | 0.00023%
– Dynamic Range | 127.4dB
– Signal-to-Noise Ratio | 127.4dB
– Signal-to-Noise and Distortion Ratio | 113dB
– Output level: 2Vrms
– Crosstalk |-75dB
– Power Output | 82mW@16Q<THD+N 1%
– 75mW@32Q<THD+N 1%
Build & Design
Right out of the box, the Stargate II is all about simplicity. The DAC is lightweight, sleek, and finished in a tasteful matte aluminum. Its compact form factor and soft braided cable, you almost forget it’s there until you plug it in. It terminates in a USB-C connector and offers a standard 3.5mm single-ended output, keeping things fuss-free. For the price, it feels more premium than expected. No RGB lights, no futuristic gimmicks, just purposeful design, with a little nice feature, a window to see the dac chip.
Features & Tech
Inside the modest shell lies a Cirrus Logic CS43131 DAC chip, capable of decoding up to 32-bit / 384kHz PCM and DSD256. Not bad for a DAC that costs less than a fancy diner. Output power is around 75mW @ 32Ω, enough to comfortably drive most IEMs and even some portable-friendly headphones. Don’t go crazy now, plugin in flagship full sized headphones, they may produce sound, but everyone on their right mind, knows this mini dac is not intended for that.
One of the standout features is its (sadly) Android-only companion app, which offers a fully adjustable 8-band Parametric EQ and a dedicated gaming mode that tweaks spatial cues. While it’s unfortunate that iOS users are left out, Android users will appreciate the extra tuning flexibility without relying on external DSP solutions.
Sound Impressions
Tanchjim clearly took the “clean and musical” route with the Stargate II. It delivers a neutral presentation with a slight touch of warmth, steering clear of the dry or sterile signature some budget DACs suffer from.
Bass
Is tight and controlled, not overpowering, but present enough to add weight when called for. It’s not a bass-head DAC, but it has definition and texture.
Mids
Comes through clean, natural, and uncolored. Vocals sound organic, neither pushed nor recessed, making the Stargate II surprisingly competent for vocal-heavy genres and acoustic music.
Treble
Is smooth but detailed. There’s enough sparkle to keep things lively without triggering sibilance or fatigue, even with brighter IEMs.
The soundstage is slightly wider than you’d expect for such a tiny DAC. Instrument separation is excellent for its class. It’s not the deepest or most holographic presentation, but it’s more than respectable.
Technical performance
Yes, it’s still a budget DAC, and no, it’s not going to dethrone desktop-class gear. However, for casual listening, on-the-go use, or as a daily driver for your phone or laptop, the Stargate II nails the essentials.
Note: It also plays well with microphones, so you won’t lose voice chat functionality when gaming or taking calls.
Some will criticize the Android-only app, the single-ended output, or the fact that it won’t drive power-hungry headphones, but that’s totally missing the point. This is a budget-friendly, music-first device that prioritizes good sound for a reasonable price, even my flagship IEM’s I own, sounded fine and musical with the Stargate II.
The Tanchjim Stargate II is a perfect example of a “simple but good” product. It doesn’t try to be something it’s not. Instead, it focuses on delivering musicality, decent power, and tuning options at a price that makes it hard to ignore.
If you’re looking for an ultra-portable DAC for everyday listening, and you’re not running 300-ohm beasts, this little device might just surprise you.
Pros
– Neutral and slightly warm sound, smooth and detailed
– Cirrus Logic CS43131 chip delivers clean high-res playback
– Supports PCM up to 32-bit/384kHz and DSD256
– Compact, lightweight, and stylish
– Android app with parametric EQ and gaming mode
– Plug & play without extra drivers on most systems
Cons
– Android-only app (no iOS support)
– Limited power output for demanding headphones
Final Thoughts
Tanchjim Stargate II show that Tanchjim knows exactly how to make budget products that sound anything but cheap.
Sure, it won't dethrone summit-fi gear, and some die-hard audiophiles might scoff at the idea of great sound for less than the price of a single premium cable. But those who give this combo a fair listen will quickly realize that music is what matters, not the price tag.
For anyone looking for an affordable yet truly nice sounding portable setup, the Stargate II and Zero combination is a reminder that great sound doesn't always come wrapped in luxury packaging. In this particular situation the packaging is very stylish. Sometimes, it just sounds right.
Want to read the combined review of the Zero and Stargate II, have a look at my website:
JJAZZIFI REVIEWS
When it comes to audiophile brands, the expensive brands often dominate the conversation. Every so often, a smaller player quietly steals the spotlight. One of those brands is Tanchjim. Born from the vibrant Chinese audio scene, Tanchjim has carved out a loyal following by doing something few manage: delivering genuinely musical and refined sound on a budget.
Make no mistake, this is not a luxury brand flaunting milled aluminum housings or exotic driver arrays. Tanchjim is unapologetically focused on budget-conscious audio, yet manages to achieve a level of musicality and finesse that (also in my case) surprises even seasoned listeners.
Let’s be honest, in the audiophile world, there are always those who refuse to even give budget gear a fair shot. Some won’t grant it the courtesy of a listen or even a look, convinced that good sound must come with a hefty price tag. But those willing to approach Tanchjim with open ears will quickly discover that music doesn’t care about price. It either moves you, or it doesn’t.
In this review, we will take a closer look at Tanchjim’s new budget offering: the Tanchjim Stargate II, a compact USB DAC. Both products reflect Tanchjim’s philosophy music first, price second.
Test equipment for this test:
– Chord Mojo2 + Poly
– Tanchjim Stargate II (for the Tanchim Zero ofcourse)
– MacBook Pro 2024
Tested Tracks:
Melody Gardot – Morning Sung
Sinne Eeg – Unpredictable Love
Big Phat Band – Hit The Ground Running
Catherine Russel – Talk to Me
Michel Camilo – Suite Sandrine Pt 3
The portable DAC market is packed with options nowadays, yet every once in a while, a product surfaces that makes you do a double-take, not because of bold claims or gimmicks, but because of how effortlessly it balances price, usability, and sound quality. The Tanchjim Stargate II is exactly that kind of product. It even supports a PEQ config through their application.
The Tanchjim Stargate II can even be configured with a PEQ, a nice extra
Specs:
– Decoding support | PCM384kHz/32Bit DSD64/128/256
– Total Harmonic Distortion | 0.00023%
– Dynamic Range | 127.4dB
– Signal-to-Noise Ratio | 127.4dB
– Signal-to-Noise and Distortion Ratio | 113dB
– Output level: 2Vrms
– Crosstalk |-75dB
– Power Output | 82mW@16Q<THD+N 1%
– 75mW@32Q<THD+N 1%
Build & Design
Right out of the box, the Stargate II is all about simplicity. The DAC is lightweight, sleek, and finished in a tasteful matte aluminum. Its compact form factor and soft braided cable, you almost forget it’s there until you plug it in. It terminates in a USB-C connector and offers a standard 3.5mm single-ended output, keeping things fuss-free. For the price, it feels more premium than expected. No RGB lights, no futuristic gimmicks, just purposeful design, with a little nice feature, a window to see the dac chip.
Features & Tech
Inside the modest shell lies a Cirrus Logic CS43131 DAC chip, capable of decoding up to 32-bit / 384kHz PCM and DSD256. Not bad for a DAC that costs less than a fancy diner. Output power is around 75mW @ 32Ω, enough to comfortably drive most IEMs and even some portable-friendly headphones. Don’t go crazy now, plugin in flagship full sized headphones, they may produce sound, but everyone on their right mind, knows this mini dac is not intended for that.
One of the standout features is its (sadly) Android-only companion app, which offers a fully adjustable 8-band Parametric EQ and a dedicated gaming mode that tweaks spatial cues. While it’s unfortunate that iOS users are left out, Android users will appreciate the extra tuning flexibility without relying on external DSP solutions.
Sound Impressions
Tanchjim clearly took the “clean and musical” route with the Stargate II. It delivers a neutral presentation with a slight touch of warmth, steering clear of the dry or sterile signature some budget DACs suffer from.
Bass
Is tight and controlled, not overpowering, but present enough to add weight when called for. It’s not a bass-head DAC, but it has definition and texture.
Mids
Comes through clean, natural, and uncolored. Vocals sound organic, neither pushed nor recessed, making the Stargate II surprisingly competent for vocal-heavy genres and acoustic music.
Treble
Is smooth but detailed. There’s enough sparkle to keep things lively without triggering sibilance or fatigue, even with brighter IEMs.
The soundstage is slightly wider than you’d expect for such a tiny DAC. Instrument separation is excellent for its class. It’s not the deepest or most holographic presentation, but it’s more than respectable.
Technical performance
Yes, it’s still a budget DAC, and no, it’s not going to dethrone desktop-class gear. However, for casual listening, on-the-go use, or as a daily driver for your phone or laptop, the Stargate II nails the essentials.
Note: It also plays well with microphones, so you won’t lose voice chat functionality when gaming or taking calls.
Some will criticize the Android-only app, the single-ended output, or the fact that it won’t drive power-hungry headphones, but that’s totally missing the point. This is a budget-friendly, music-first device that prioritizes good sound for a reasonable price, even my flagship IEM’s I own, sounded fine and musical with the Stargate II.
The Tanchjim Stargate II is a perfect example of a “simple but good” product. It doesn’t try to be something it’s not. Instead, it focuses on delivering musicality, decent power, and tuning options at a price that makes it hard to ignore.
If you’re looking for an ultra-portable DAC for everyday listening, and you’re not running 300-ohm beasts, this little device might just surprise you.
Pros
– Neutral and slightly warm sound, smooth and detailed
– Cirrus Logic CS43131 chip delivers clean high-res playback
– Supports PCM up to 32-bit/384kHz and DSD256
– Compact, lightweight, and stylish
– Android app with parametric EQ and gaming mode
– Plug & play without extra drivers on most systems
Cons
– Android-only app (no iOS support)
– Limited power output for demanding headphones
Final Thoughts
Tanchjim Stargate II show that Tanchjim knows exactly how to make budget products that sound anything but cheap.
Sure, it won't dethrone summit-fi gear, and some die-hard audiophiles might scoff at the idea of great sound for less than the price of a single premium cable. But those who give this combo a fair listen will quickly realize that music is what matters, not the price tag.
For anyone looking for an affordable yet truly nice sounding portable setup, the Stargate II and Zero combination is a reminder that great sound doesn't always come wrapped in luxury packaging. In this particular situation the packaging is very stylish. Sometimes, it just sounds right.
Want to read the combined review of the Zero and Stargate II, have a look at my website:
JJAZZIFI REVIEWS
Attachments
Sparkos Labs has already build up quite a good name in the high-end audio community, driven by a simple yet powerful philosophy: ‘exceptional’ sound demands ‘exceptional’ components.
Based in the USA Colorado, Sparkos Labs specializes in creating fully discrete, class-A biased operational amplifiers, headphone amps and power supply solutions tailored specifically for audiophiles seeking uncompromising sound quality.
Sparkos Labs was founded by Andrew Sparks, an engineer with deep expertise and a genuine passion for music and electronics. He has a lot of experience, his parents propably were not very happy about it in his childhood, sabotaging the house, trying to figure out how things work. Sparkos Labs designs each product to bring unprecedented quality. One of those products I will be reviewing, the Sparkos Labs SS3602.
The SS3602 consists of two stacked circuit boards equipped with components on the upper surface and standard DIP-8 connectors on the underside. I have a certain level of understanding how opamps work, but if you want a full technical description, you can find more information on the sparkos labs website here: SS3602
Their commitment to precision engineering and attention to detail has earned them a (deserved) loyal group of followers worldwide.
In this review, I’ll dive into how Sparkos Labs’ discrete opamps perform in practice, exploring whether their bold claims of sonic excellence truly hold up under critical listening conditions.
Before I started testing, Sparkos Labs SS33602 run in for a full of 48 hours.
Test equipment:
– Headphone: The new Hifiman Arya Unveiled
– Amp: Burson Soloist 3XR GT + 5A Supercharger
– Streamer: Eversolo A8 + upgraded LHY LPS
– DAC: Chord TT2 + Mscaler
The Sparkos labs are not much bigger than regular opamps, which makes them perfect in nearly any device that supports opamp swapping.
Why discrete build opamps?
In the fascinating world of audiophile listening, nuance is everything. Music isn’t merely sound, it’s emotion. Where a lot of people just hear music, audiophiles really ‘listen’ to music, yes there is a difference. At the heart of this emotional connection lies the delicate architecture of an operational amplifiers called opamps.
Unlike standard integrated chip-based opamps, which squeeze hundreds or more transistors into a small casing, discrete opamps are handcrafted from individually selected high-quality components. Each transistor, resistor, and capacitor is chosen explicitly for audio quality rather than manufacturing convenience or cost-cutting.
Looking at the SS3602, they actually look real high tech from close up. Some brands lock descrete opamps in a metal casing, for obvious reasons like cooling ofcourse, but Sparkos Labs don’t need them, they look really cool without, if you ask me!
Standard chip opamps, while convenient and efficient, tend to deliver a sound that’s competent but in most cases constrained; music feels subtly flattened; dynamics are compressed, less vibrant. Their compact construction often introduces more noise, distortion. It’s like the same with many DAC chips, compared to their FPGA counterpart.
Discrete opamps, in contrast, reveal music with breathtaking clarity and nuance. Bass notes are tighter, deeper, more controlled. Midrange frequencies bloom naturally, revealing voices and instruments with lifelike presence. High frequencies shine with transparency, yet never feel harsh or overly bright.
Discrete opamps aren’t merely a component, in the case of Sparkos Labs, they are crafted instruments in their own right, ensuring that every nuance and emotion intended in the recording reaches the listener unspoiled.
For audiophiles, the journey from chip-based to discrete opamps isn’t just a technical upgrade, it’s a rediscovery of music itself.
Note:
Before installing the opamp, it’s important to identify the proper orientation. Most circuit boards have a marking to show where Pin 1 should be placed, match this indicator with the gold-colored marking found on one corner of the op-amp.
How do they sound?
One of the first differences I noticed after installing the SS3602 discrete op-amps, how controlled the bass became. The Sparkos units deliver bass with accurate precision and definition without sacrificing depth. Kick drums gained extra punch, and bass guitars showcased rich textures.
Bass
This enhanced bass control positively impacts the midrange, offering greater spaciousness and clarity against a noticeably quieter background. Many times I heared bass bleading into the midrange, not here. Transients appear sharp, quick. Vocals and instruments are forward and engaging and with perfect separation, especially noticeable during complex musical passages.
Treble
Treble performance are smooth yet extends effortlessly. Notes ascend with a refined, almost infinite delicacy, revealing layers of micro-details. This transparency makes the listening experience feel richer and more nuanced.
Soundstage and imaging
Soundstage and imaging represent another area where the Sparkos SS3602 clearly excels. While the overall dimensions of the stage remain similar to other discrete opamps, the SS3602 organizes the soundstage with greater precision. Instruments and vocals are positioned more tangibly, enabling better clarity and easier perception of individual elements within the music. The overall effect is a more natural listening experience.
I just had a review with the new Burson V7, so I made a comparison too ofcourse.
The Sparkos SS3602 discrete op-amps are more close than they are different from the Burson V7, quality wise, there are both extreme performers! But signature wise they are different. The SS3602 have an impressive tonal accuracy and clarity. Where the Burson V7 presents a somewhat warmer, denser signature, the SS3602 offers superior precision, allowing music to be heard exactly as intended, without coloration.
It is all a matter of taste in this case. But in practice that means the SS3602 are a little less forgiving, but rewards more with good recordings.
Bass
Bass reproduction is one key area where the SS3602 excels. While the V7 certainly delivers controlled bass, the SS3602 manages a little tighter, more articulate low-end performance. Bass notes are very defined and detailed, resulting in clear textures and superior impact.
In the midrange, the Sparkos SS3602 provides a greater openness and separation. Vocals and instruments have more breathing space, and are effortlessly transparent. This additional clarity ensures a lifelike presentation, whereas the V7, though engaging, can sometimes blend layers together during demanding musical segments.
I have compared them both, and honestly, it would be my mood that would have to decide which I like at a specific moment. Because They are both amazing. Isn’t it great, brands like these exist!
Treble
Regarding treble, the SS3602 has a more delicate finesse. The SS3602 retrieves more micro-details without becoming overly bright or harsh. The result is an airy, transparent upper frequency range.
Soundstage and imaging
Lastly, the SS3602 provides a very great soundstage and imaging. Its precise staging is exceptional, instrument placement offer superior realism. Creating a convincing three-dimensional stage, with height and depth.
Although the Burson V7 offers depth and width, the Sparkos SS3602 are a little ahead regarding pinpoint precision.
What also is important to mention though, is their size. The Sparkos Labs SS3602, fits almost anymore, their size is not much bigger than most normal opamps, making them a perfect fit in almost any situation.
Let’s run through a few songs, like I always do, to show what I mean.
Miles Davis – So What
Listening to one of my favourite tracks ‘So What’ by Miles Davis, revealed just how effortlessly these op-amps handle space and detail. Nothing but AMAZING! The upright bass is tight yet full, and Miles’ trumpet floats with natural decay and air. Each instrument occupies its own distinct place, creating a huge soundstage. The SS3602 doesn’t just reproduce the music. It places you right in the room with the musicians.
Norah Jones – Don’t know Why
‘Don’t Know Why’, captured Norah Jones’ voice with intimate realism, soft, breathy with air, emotionally present . The piano is warm almost creamy but still articulate. The background remains whisper-quiet, letting every nuance shine through.
It had been ages since I last heard this song, but the smile that crept across my face said it all, the way those opamps breathed life into this track was pure joy!
Christian McBride Trio – Down by the Riverside Live at the Village Vanguard
Here the Sparkos delivered the energy of the live performance with precision and control. The double bass hits with authority and control, the piano sparkled with clarity. The audience ambiance added realism. The SS3602 kept everything in control, even in the most dynamic moments.
It captured that unmistakable jazzy New York vibe, as if I were right there at the Village Vanguard, soaking in every note from a front-row seat.
Three selections from Harry Potter Hedwig’s theme from the album – Celebrating John Williams Live at Walt Disney Concert Hall (Track 4)
Here the Sparkos SS3602 brought the magic of John Williams’ music to life with breathtaking clarity. The delicate sparkles like stardust, while strings sweep in with a graceful, cinematic warmth.
Every instrument was precisely placed and the dynamic swells felt natural and full of emotion. It is like stepping straight into the enchanted world of Hogwarts. It is an amazing track, especially when it is portrayed so delicate and detailled through the SS3602.
Águas de Março, on the ‘Live in Tokyo’ album from Emilie-Claire Barlow
The SS3602 unveiled every playful nuance of Emilie-Claire Barlow’s performance with crystal clarity. Her voice flowed effortlessly across the stage, light, precise, and full of charm. The band surrounded her with warmth and intimacy. The Ambiance and finesse were perfectly captured, preserving the natural reverb of the room.
It gave you the feeling as though you’re right in the music, basking in the rhythm of brazilian jazz.
Conclusion
To sum things up, the Sparkos SS3602 dual discrete op-amps deliver a truly impactful improvement to the listening experience. Regular opamps don’t stand a chance, The bass becomes noticeably more controlled and articulate, unveiling finer detail and clarity without sacrificing depth or presence. This sense of precision naturally flows into the midrange, offering a cleaner, more open soundstage while preserving the lively character of vocals and instruments. Treble is refined and extended, allowing high frequencies to float effortlessly and uncover subtle nuances that enrich the overall presentation.
Their compact design makes them an excellent fit for a variety of setups, especially in devices with limited space. Installation is straightforward, thanks to their sturdy construction and thoughtful engineering. Altogether, the SS3602s stand out as a smart and rewarding upgrade for anyone looking to elevate their system’s performance or fine-tune its sonic character.
In the vast landscape of audio components, the Sparkos Labs SS3602 stands out like a finely cut gemstone, craftmanship, rich in character, and undeniably precious. Its sonic signature is one of clarity, control and refinement, revealing the hidden facets of music much like a diamond reveals light from every angle. With each note it renders, the SS3602 peels back layers, exposing detail and dimensions.
It doesn’t shout for attention with exaggerated warmth or overly romantic coloration. Instead, it presents the music as it truly is, pure, balanced and breathtakingly natural.
For the listener who values fidelity over flair, depth over drama, the SS3602 isn’t just an upgrade, It’s a sonic jewel that elevates any system, a testament to what truly high-end audio should sound like!
I highly recommend the Sparkos Labs SS3602
Want to read more of my reviews, have a look at my website at JJAZZIFI
Based in the USA Colorado, Sparkos Labs specializes in creating fully discrete, class-A biased operational amplifiers, headphone amps and power supply solutions tailored specifically for audiophiles seeking uncompromising sound quality.
Sparkos Labs was founded by Andrew Sparks, an engineer with deep expertise and a genuine passion for music and electronics. He has a lot of experience, his parents propably were not very happy about it in his childhood, sabotaging the house, trying to figure out how things work. Sparkos Labs designs each product to bring unprecedented quality. One of those products I will be reviewing, the Sparkos Labs SS3602.
The SS3602 consists of two stacked circuit boards equipped with components on the upper surface and standard DIP-8 connectors on the underside. I have a certain level of understanding how opamps work, but if you want a full technical description, you can find more information on the sparkos labs website here: SS3602
Their commitment to precision engineering and attention to detail has earned them a (deserved) loyal group of followers worldwide.
In this review, I’ll dive into how Sparkos Labs’ discrete opamps perform in practice, exploring whether their bold claims of sonic excellence truly hold up under critical listening conditions.
Before I started testing, Sparkos Labs SS33602 run in for a full of 48 hours.
Test equipment:
– Headphone: The new Hifiman Arya Unveiled
– Amp: Burson Soloist 3XR GT + 5A Supercharger
– Streamer: Eversolo A8 + upgraded LHY LPS
– DAC: Chord TT2 + Mscaler
The Sparkos labs are not much bigger than regular opamps, which makes them perfect in nearly any device that supports opamp swapping.
Why discrete build opamps?
In the fascinating world of audiophile listening, nuance is everything. Music isn’t merely sound, it’s emotion. Where a lot of people just hear music, audiophiles really ‘listen’ to music, yes there is a difference. At the heart of this emotional connection lies the delicate architecture of an operational amplifiers called opamps.
Unlike standard integrated chip-based opamps, which squeeze hundreds or more transistors into a small casing, discrete opamps are handcrafted from individually selected high-quality components. Each transistor, resistor, and capacitor is chosen explicitly for audio quality rather than manufacturing convenience or cost-cutting.
Looking at the SS3602, they actually look real high tech from close up. Some brands lock descrete opamps in a metal casing, for obvious reasons like cooling ofcourse, but Sparkos Labs don’t need them, they look really cool without, if you ask me!
Standard chip opamps, while convenient and efficient, tend to deliver a sound that’s competent but in most cases constrained; music feels subtly flattened; dynamics are compressed, less vibrant. Their compact construction often introduces more noise, distortion. It’s like the same with many DAC chips, compared to their FPGA counterpart.
Discrete opamps, in contrast, reveal music with breathtaking clarity and nuance. Bass notes are tighter, deeper, more controlled. Midrange frequencies bloom naturally, revealing voices and instruments with lifelike presence. High frequencies shine with transparency, yet never feel harsh or overly bright.
Discrete opamps aren’t merely a component, in the case of Sparkos Labs, they are crafted instruments in their own right, ensuring that every nuance and emotion intended in the recording reaches the listener unspoiled.
For audiophiles, the journey from chip-based to discrete opamps isn’t just a technical upgrade, it’s a rediscovery of music itself.
Note:
Before installing the opamp, it’s important to identify the proper orientation. Most circuit boards have a marking to show where Pin 1 should be placed, match this indicator with the gold-colored marking found on one corner of the op-amp.
How do they sound?
One of the first differences I noticed after installing the SS3602 discrete op-amps, how controlled the bass became. The Sparkos units deliver bass with accurate precision and definition without sacrificing depth. Kick drums gained extra punch, and bass guitars showcased rich textures.
Bass
This enhanced bass control positively impacts the midrange, offering greater spaciousness and clarity against a noticeably quieter background. Many times I heared bass bleading into the midrange, not here. Transients appear sharp, quick. Vocals and instruments are forward and engaging and with perfect separation, especially noticeable during complex musical passages.
Treble
Treble performance are smooth yet extends effortlessly. Notes ascend with a refined, almost infinite delicacy, revealing layers of micro-details. This transparency makes the listening experience feel richer and more nuanced.
Soundstage and imaging
Soundstage and imaging represent another area where the Sparkos SS3602 clearly excels. While the overall dimensions of the stage remain similar to other discrete opamps, the SS3602 organizes the soundstage with greater precision. Instruments and vocals are positioned more tangibly, enabling better clarity and easier perception of individual elements within the music. The overall effect is a more natural listening experience.
I just had a review with the new Burson V7, so I made a comparison too ofcourse.
The Sparkos SS3602 discrete op-amps are more close than they are different from the Burson V7, quality wise, there are both extreme performers! But signature wise they are different. The SS3602 have an impressive tonal accuracy and clarity. Where the Burson V7 presents a somewhat warmer, denser signature, the SS3602 offers superior precision, allowing music to be heard exactly as intended, without coloration.
It is all a matter of taste in this case. But in practice that means the SS3602 are a little less forgiving, but rewards more with good recordings.
Bass
Bass reproduction is one key area where the SS3602 excels. While the V7 certainly delivers controlled bass, the SS3602 manages a little tighter, more articulate low-end performance. Bass notes are very defined and detailed, resulting in clear textures and superior impact.
In the midrange, the Sparkos SS3602 provides a greater openness and separation. Vocals and instruments have more breathing space, and are effortlessly transparent. This additional clarity ensures a lifelike presentation, whereas the V7, though engaging, can sometimes blend layers together during demanding musical segments.
I have compared them both, and honestly, it would be my mood that would have to decide which I like at a specific moment. Because They are both amazing. Isn’t it great, brands like these exist!
Treble
Regarding treble, the SS3602 has a more delicate finesse. The SS3602 retrieves more micro-details without becoming overly bright or harsh. The result is an airy, transparent upper frequency range.
Soundstage and imaging
Lastly, the SS3602 provides a very great soundstage and imaging. Its precise staging is exceptional, instrument placement offer superior realism. Creating a convincing three-dimensional stage, with height and depth.
Although the Burson V7 offers depth and width, the Sparkos SS3602 are a little ahead regarding pinpoint precision.
What also is important to mention though, is their size. The Sparkos Labs SS3602, fits almost anymore, their size is not much bigger than most normal opamps, making them a perfect fit in almost any situation.
Let’s run through a few songs, like I always do, to show what I mean.
Miles Davis – So What
Listening to one of my favourite tracks ‘So What’ by Miles Davis, revealed just how effortlessly these op-amps handle space and detail. Nothing but AMAZING! The upright bass is tight yet full, and Miles’ trumpet floats with natural decay and air. Each instrument occupies its own distinct place, creating a huge soundstage. The SS3602 doesn’t just reproduce the music. It places you right in the room with the musicians.
Norah Jones – Don’t know Why
‘Don’t Know Why’, captured Norah Jones’ voice with intimate realism, soft, breathy with air, emotionally present . The piano is warm almost creamy but still articulate. The background remains whisper-quiet, letting every nuance shine through.
It had been ages since I last heard this song, but the smile that crept across my face said it all, the way those opamps breathed life into this track was pure joy!
Christian McBride Trio – Down by the Riverside Live at the Village Vanguard
Here the Sparkos delivered the energy of the live performance with precision and control. The double bass hits with authority and control, the piano sparkled with clarity. The audience ambiance added realism. The SS3602 kept everything in control, even in the most dynamic moments.
It captured that unmistakable jazzy New York vibe, as if I were right there at the Village Vanguard, soaking in every note from a front-row seat.
Three selections from Harry Potter Hedwig’s theme from the album – Celebrating John Williams Live at Walt Disney Concert Hall (Track 4)
Here the Sparkos SS3602 brought the magic of John Williams’ music to life with breathtaking clarity. The delicate sparkles like stardust, while strings sweep in with a graceful, cinematic warmth.
Every instrument was precisely placed and the dynamic swells felt natural and full of emotion. It is like stepping straight into the enchanted world of Hogwarts. It is an amazing track, especially when it is portrayed so delicate and detailled through the SS3602.
Águas de Março, on the ‘Live in Tokyo’ album from Emilie-Claire Barlow
The SS3602 unveiled every playful nuance of Emilie-Claire Barlow’s performance with crystal clarity. Her voice flowed effortlessly across the stage, light, precise, and full of charm. The band surrounded her with warmth and intimacy. The Ambiance and finesse were perfectly captured, preserving the natural reverb of the room.
It gave you the feeling as though you’re right in the music, basking in the rhythm of brazilian jazz.
Conclusion
To sum things up, the Sparkos SS3602 dual discrete op-amps deliver a truly impactful improvement to the listening experience. Regular opamps don’t stand a chance, The bass becomes noticeably more controlled and articulate, unveiling finer detail and clarity without sacrificing depth or presence. This sense of precision naturally flows into the midrange, offering a cleaner, more open soundstage while preserving the lively character of vocals and instruments. Treble is refined and extended, allowing high frequencies to float effortlessly and uncover subtle nuances that enrich the overall presentation.
Their compact design makes them an excellent fit for a variety of setups, especially in devices with limited space. Installation is straightforward, thanks to their sturdy construction and thoughtful engineering. Altogether, the SS3602s stand out as a smart and rewarding upgrade for anyone looking to elevate their system’s performance or fine-tune its sonic character.
In the vast landscape of audio components, the Sparkos Labs SS3602 stands out like a finely cut gemstone, craftmanship, rich in character, and undeniably precious. Its sonic signature is one of clarity, control and refinement, revealing the hidden facets of music much like a diamond reveals light from every angle. With each note it renders, the SS3602 peels back layers, exposing detail and dimensions.
It doesn’t shout for attention with exaggerated warmth or overly romantic coloration. Instead, it presents the music as it truly is, pure, balanced and breathtakingly natural.
For the listener who values fidelity over flair, depth over drama, the SS3602 isn’t just an upgrade, It’s a sonic jewel that elevates any system, a testament to what truly high-end audio should sound like!
I highly recommend the Sparkos Labs SS3602
Want to read more of my reviews, have a look at my website at JJAZZIFI
Sparkos labs discrete opamps product page
Last month Burson asked me if I wanted to test and review a set of Vivid V7 Pro’s unbiased in the Soloist 3XR GT. You can find that review here: Review Vivid V7. The Vivid V7 were without a doubt a better version of the Vivid V6. Now it is time to give the V7 Classics a test run.
Before I started testing, I let the Classic V7’s run in for a full of 48 hours.
Test equipment:
– Hifiman Arya Stealth V3 / Hifiman Arya Unveiled
– Burson Soloist 3XR GT + 5A Supercharger
– Eversolo A8 + upgraded LHY LPS
– DAC : Chord TT2 + Mscaler
This time I will make a comparison between the V7 Vivid and V7 Classic, ofcourse a brief comparison with the V6 is only logical.
The Burson Classic V7 op-amp presents itself as an elegant but quite an evolution over the V6.
From the very first notes, the Classic V7 delivers vocals with captivating realism, placing singers intimately within the sound space. Instruments possess a rich harmonic structure and acoustic music with remarkable authenticity and warmth. Its midrange is quite something special in the V7 Classics.
The Classic V7’s bass response is effortlessly smooth, possessing depth and warmth without compromising clarity (a lot of times the price for smoothness is the loss of clarity, not in case of the V7).
The sound is robust yet refined, the stage looses a little in stage compared to the Vivid V7 but a engaging soundstage nonetheless. The Classic V7 invites you to extended listening sessions without fatigue. Treble frequencies are articulate yet gentle, complementing rather than overshadowing the music.
If you are seeking for a sonic profile with an almost vintage analog warmth. The Burson Classic V7 stands out as an excellent choice, elevating the listening experience through a deeply musical and natural presentation.
I will let some songs pass by, trying to describe what I mean by all of this.
Sophie Milman is a captivating jazz vocalist known for her warm, in my opinion a slight smoky sounding voice. Her album ‘Take Love Easy’ beautifully showcases her talent, blending classic and modern jazz influences.
Listening to the track ‘That is love‘ accentuated the warm textures of her voice, highlighting the intimate nuances. Her voice sounded refined and the analog presentation complements the track perfectly, delivering an emotionally engaging and deeply immersive listening experience.
Nat King Cole one of my all time favourites! I love his velvety voice. His album Just One of Those Things beautifully combines sophisticated arrangements with Cole’s signature charm, Perfect for reviewing the Burson V7 Classics!
Listening to the track ‘These foolish things remind me of you‘ brought out the rich, velvety textures of Cole’s voice and warmth of the jazz arrangement. The Classic V7’s presentation perfectly complements Cole’s timeless charm, enhancing the emotional intimacy and musical depth essential for a truly immersive audiophile experience. What started as one track, ended up listening to the whole album.
In my experience I have heard many very expensive equipment fail with nat king cole’s arrangements. Instead of a smooth warm experience, a clinical one.
Willie Nelson is an iconic country singer-songwriter known for his distinctively warm voice. His album American Classic revisits timeless standards with gentle sincerity and soulful authenticity
Listening to Willie Nelson’s rendition of Come Rain or Come Shine the Burson Classic V7 op-amps beautifully highlights Nelson’s warm vocal delivery and the nuanced instrumentation. The Classic V7 complements this album amazingly, revealing rich tonal textures, gentle warmth, and an engaging analog depth.
The iconic jazz album Ella & Louis unites Ella Fitzgerald’s effortlessly graceful vocals with Louis Armstrong’s warm musical magic.
The track April in Paris beautifully showcased this example. The Burson Classic V7 op-amps rendered this recording with an exceptionally natural warmth and intimate sounding Ella Fitzgerald’s with Louis Armstrong’s unmistakable gravelly tone. Where some opamps show a lot of simbilance in Louis voice, that trade was happily absent.
Emilie-Claire Barlow is a Canadian jazz vocalist known for her silky-smooth voice. Her album Seule Ce Soir is a stunning collection of the French jazz genre.
Listening to La Belle Dame Sans Regret beautifully enhanced the track’s delicate phrasing and emotional depth. The Classic V7’s lush, analog-like warmth brings out the rich tonal textures of Barlow’s voice. The intricate instruments remained smooth yet very airy and detailed.
Dirk Maassen is a pianist and composer known for his deeply emotive and atmospheric compositions. His album Here and Now blends delicate piano melodies with rich soundscapes.
Listening to track Here and Now elevated the emotional depth and warmth of his delicate piano work. The Classic V7 enhanced the natural resonance of each note, it had an organic flow through the whole track.
The Classic V7’s perfectly captured the essence of his music, beautiful!
Conclusion and comparison Vivid V7 vs Classic V7
After thoroughly listening to both the Burson V7 Vivid and V7 Classic op-amps, I realized that forming a well-rounded conclusion without directly comparing the two would be impossible. Each variant possesses unique sonic characteristics that define its strengths, making any assessment incomplete without considering how they differ.
The Vivid and Classic are not just two versions of the same op-amp; they are distinct interpretations of musical presentation, each catering to different listening preferences. Therefore, rather than focusing on one in isolation, a direct comparison is necessary to truly understand what each brings to the table.
When comparing the Burson V7 Vivid and Burson V7 Classic op-amps, you can find yourself at an intriguing crossroad. Each offering has a distinct sonic signature tailored to specific listening preferences. Both, especially in the case of the V7 with both exquisite performance.
The Burson V7 Vivid delivers a lively, energetic presentation that breathes life into your music. It excels in transparency, dynamics, and precision, making it particularly well-suited to modern genres, electronic music, or intricate acoustic recordings where micro-details and spatial cues are essential. Some might say that genres like Jazz or classical are less suited, but I would fully disagree that. The vivids are amazing, with all genres.
The Vivid boasts an impressive soundstage, extending wide and deep, with remarkable separation between instruments, hollographic almost. Its treble response is crisp yet refined, showing an airy sparkle without any harshness. The bass is tight, controlled, and punchy, ideal for listeners craving rhythmic precision and impactful transients.
In contrast, the Burson V7 Classic embodies warmth, depth, and a more analog-like musicality, a little bit of a vintage vibe sound. It’s often favored by those who prioritize emotional engagement, tonal richness, and harmonic textures. The Classic imparts a gentle smoothness to recordings, taming sharp edges and providing a slightly fuller-bodied midrange. This warmth results in vocals and string instruments sounding particularly inviting and lush. The bass is deeper, warmer, and a touch rounder compared to the Vivid, delivering a comforting, enveloping sound that enhances prolonged listening sessions, particularly suited to jazz, classical, blues, and vintage rock.
Ultimately, choosing between the V7 Vivid and the V7 Classic comes down to personal preference and musical tastes:
One of the most striking improvements in the V7 series is its ability to reveal micro-details with exceptional clarity while maintaining a natural and engaging tonal balance. The enhanced transparency ensures that each instrument is distinctly placed within the soundstage, offering a more three-dimensional and almost holographic listening experience. Whether it’s the V7 Vivid’s energetic and precise delivery or the V7 Classic’s rich, analog warmth, both variants showcase significant refinements in resolution and musicality.
Burson has further optimized power handling and noise reduction in the V7, resulting in cleaner background and a more effortless, flowing sound. The transient response and harmonic richness make these op-amps an indispensable upgrade for those seeking the ultimate balance between technical excellence and musical enjoyment.
For audiophiles looking to push their systems to new heights, the Burson V7 series stands as a testament to continuous innovation, offering a level of refinement and sonic purity that redefines what discrete op-amps can achieve. I can only say, well done Burson Audio!
I highly recommend the new V7 Classic and Vivid opamps!
Want to read my review of the V7 Vivid’s? look here: Review Vivid V7
Want to read the reviews on my website: JJAZZIFI REVIEWS
Have a look at the Burson Audio V7 Product Page
Before I started testing, I let the Classic V7’s run in for a full of 48 hours.
Test equipment:
– Hifiman Arya Stealth V3 / Hifiman Arya Unveiled
– Burson Soloist 3XR GT + 5A Supercharger
– Eversolo A8 + upgraded LHY LPS
– DAC : Chord TT2 + Mscaler
This time I will make a comparison between the V7 Vivid and V7 Classic, ofcourse a brief comparison with the V6 is only logical.
The Burson Classic V7 op-amp presents itself as an elegant but quite an evolution over the V6.
From the very first notes, the Classic V7 delivers vocals with captivating realism, placing singers intimately within the sound space. Instruments possess a rich harmonic structure and acoustic music with remarkable authenticity and warmth. Its midrange is quite something special in the V7 Classics.
The Classic V7’s bass response is effortlessly smooth, possessing depth and warmth without compromising clarity (a lot of times the price for smoothness is the loss of clarity, not in case of the V7).
The sound is robust yet refined, the stage looses a little in stage compared to the Vivid V7 but a engaging soundstage nonetheless. The Classic V7 invites you to extended listening sessions without fatigue. Treble frequencies are articulate yet gentle, complementing rather than overshadowing the music.
If you are seeking for a sonic profile with an almost vintage analog warmth. The Burson Classic V7 stands out as an excellent choice, elevating the listening experience through a deeply musical and natural presentation.
I will let some songs pass by, trying to describe what I mean by all of this.
Sophie Milman is a captivating jazz vocalist known for her warm, in my opinion a slight smoky sounding voice. Her album ‘Take Love Easy’ beautifully showcases her talent, blending classic and modern jazz influences.
Listening to the track ‘That is love‘ accentuated the warm textures of her voice, highlighting the intimate nuances. Her voice sounded refined and the analog presentation complements the track perfectly, delivering an emotionally engaging and deeply immersive listening experience.
Nat King Cole one of my all time favourites! I love his velvety voice. His album Just One of Those Things beautifully combines sophisticated arrangements with Cole’s signature charm, Perfect for reviewing the Burson V7 Classics!
Listening to the track ‘These foolish things remind me of you‘ brought out the rich, velvety textures of Cole’s voice and warmth of the jazz arrangement. The Classic V7’s presentation perfectly complements Cole’s timeless charm, enhancing the emotional intimacy and musical depth essential for a truly immersive audiophile experience. What started as one track, ended up listening to the whole album.
In my experience I have heard many very expensive equipment fail with nat king cole’s arrangements. Instead of a smooth warm experience, a clinical one.
Willie Nelson is an iconic country singer-songwriter known for his distinctively warm voice. His album American Classic revisits timeless standards with gentle sincerity and soulful authenticity
Listening to Willie Nelson’s rendition of Come Rain or Come Shine the Burson Classic V7 op-amps beautifully highlights Nelson’s warm vocal delivery and the nuanced instrumentation. The Classic V7 complements this album amazingly, revealing rich tonal textures, gentle warmth, and an engaging analog depth.
The iconic jazz album Ella & Louis unites Ella Fitzgerald’s effortlessly graceful vocals with Louis Armstrong’s warm musical magic.
The track April in Paris beautifully showcased this example. The Burson Classic V7 op-amps rendered this recording with an exceptionally natural warmth and intimate sounding Ella Fitzgerald’s with Louis Armstrong’s unmistakable gravelly tone. Where some opamps show a lot of simbilance in Louis voice, that trade was happily absent.
Emilie-Claire Barlow is a Canadian jazz vocalist known for her silky-smooth voice. Her album Seule Ce Soir is a stunning collection of the French jazz genre.
Listening to La Belle Dame Sans Regret beautifully enhanced the track’s delicate phrasing and emotional depth. The Classic V7’s lush, analog-like warmth brings out the rich tonal textures of Barlow’s voice. The intricate instruments remained smooth yet very airy and detailed.
Dirk Maassen is a pianist and composer known for his deeply emotive and atmospheric compositions. His album Here and Now blends delicate piano melodies with rich soundscapes.
Listening to track Here and Now elevated the emotional depth and warmth of his delicate piano work. The Classic V7 enhanced the natural resonance of each note, it had an organic flow through the whole track.
The Classic V7’s perfectly captured the essence of his music, beautiful!
Conclusion and comparison Vivid V7 vs Classic V7
After thoroughly listening to both the Burson V7 Vivid and V7 Classic op-amps, I realized that forming a well-rounded conclusion without directly comparing the two would be impossible. Each variant possesses unique sonic characteristics that define its strengths, making any assessment incomplete without considering how they differ.
The Vivid and Classic are not just two versions of the same op-amp; they are distinct interpretations of musical presentation, each catering to different listening preferences. Therefore, rather than focusing on one in isolation, a direct comparison is necessary to truly understand what each brings to the table.
When comparing the Burson V7 Vivid and Burson V7 Classic op-amps, you can find yourself at an intriguing crossroad. Each offering has a distinct sonic signature tailored to specific listening preferences. Both, especially in the case of the V7 with both exquisite performance.
The Burson V7 Vivid delivers a lively, energetic presentation that breathes life into your music. It excels in transparency, dynamics, and precision, making it particularly well-suited to modern genres, electronic music, or intricate acoustic recordings where micro-details and spatial cues are essential. Some might say that genres like Jazz or classical are less suited, but I would fully disagree that. The vivids are amazing, with all genres.
The Vivid boasts an impressive soundstage, extending wide and deep, with remarkable separation between instruments, hollographic almost. Its treble response is crisp yet refined, showing an airy sparkle without any harshness. The bass is tight, controlled, and punchy, ideal for listeners craving rhythmic precision and impactful transients.
In contrast, the Burson V7 Classic embodies warmth, depth, and a more analog-like musicality, a little bit of a vintage vibe sound. It’s often favored by those who prioritize emotional engagement, tonal richness, and harmonic textures. The Classic imparts a gentle smoothness to recordings, taming sharp edges and providing a slightly fuller-bodied midrange. This warmth results in vocals and string instruments sounding particularly inviting and lush. The bass is deeper, warmer, and a touch rounder compared to the Vivid, delivering a comforting, enveloping sound that enhances prolonged listening sessions, particularly suited to jazz, classical, blues, and vintage rock.
Ultimately, choosing between the V7 Vivid and the V7 Classic comes down to personal preference and musical tastes:
- Choose V7 Vivid if clarity, openness, precise imaging, and dynamic agility are your top priorities, especially suitable for analytical listening sessions or genres requiring high energy and detail.
- Choose V7 Classic if you value musical warmth, natural timbres, emotional depth, and a relaxed, engaging listening experience, ideal for those who enjoy smooth and immersive musical journeys.
One of the most striking improvements in the V7 series is its ability to reveal micro-details with exceptional clarity while maintaining a natural and engaging tonal balance. The enhanced transparency ensures that each instrument is distinctly placed within the soundstage, offering a more three-dimensional and almost holographic listening experience. Whether it’s the V7 Vivid’s energetic and precise delivery or the V7 Classic’s rich, analog warmth, both variants showcase significant refinements in resolution and musicality.
Burson has further optimized power handling and noise reduction in the V7, resulting in cleaner background and a more effortless, flowing sound. The transient response and harmonic richness make these op-amps an indispensable upgrade for those seeking the ultimate balance between technical excellence and musical enjoyment.
For audiophiles looking to push their systems to new heights, the Burson V7 series stands as a testament to continuous innovation, offering a level of refinement and sonic purity that redefines what discrete op-amps can achieve. I can only say, well done Burson Audio!
I highly recommend the new V7 Classic and Vivid opamps!
Want to read my review of the V7 Vivid’s? look here: Review Vivid V7
Want to read the reviews on my website: JJAZZIFI REVIEWS
Have a look at the Burson Audio V7 Product Page
Fosi Audio K7 Gamers DAC and Headphone amp
In the ever-expanding universe of hi-fi audio, the pursuit of exceptional sound quality often leads enthusiasts down paths filled with complexity, high costs, and intimidating setups. However, every so often, a brand emerges that manages to defy these expectations by making high-quality audio remarkably accessible.
Enter Fosi Audio, a company dedicated to providing audiophiles, music lovers, and newcomers alike with powerful yet compact amplifiers, DACs, and audio solutions that promise outstanding performance without breaking the bank.
Fosi Audio has swiftly garnered attention for its ability to combine sleek, minimalist designs with robust engineering, offering products that easily integrate into both seasoned audiophile setups and beginner-friendly environments. Whether you’re looking to elevate your desktop listening experience or enhance your home stereo system, Fosi Audio positions itself as a game-changer, challenging traditional perceptions about the cost and complexity required for exceptional sound.
In this review I will have a look at the new Fosi Audio K7
The Fosi Audio K7 is positioned as a “gaming headphone amp & DAC,” targeting audiophiles and serious gamers who value high-quality audio. Specifically for gamers, the K7 includes a microphone input with built-in noise cancellation, ideal for clear communication during online gaming sessions.
The K7 stands out as an appealing device because it combines a high-quality headphone amplifier and DAC with excellent operational features, and there is even a very nice informative LCD screen
The K7 offers four digital inputs:
– Coaxial
– Optical
– Bluetooth
– USB-C (The K7 supports UAC 1.0 and high-resolution UAC 2.0 audio)
Outputs:
– RCA Analogue, to connect to an external amp or active speakers.
The unit includes volume control, adjustable treble and bass controls (which can be bypassed)
Two headphone output, single ended 3.5 mm and a balanced 4.4 mm jack. By pressing the left volume knob you can switch between low and high gain. And left from the headphone ports a microphone input.
From a technical standpoint, the DAC is equipped with the AKM4493SEQ chip, known for handling PCM audio signals up to 384kHz/32bit and DSD256 via USB, while coaxial and optical inputs support resolutions up to 24bit/192kHz.
Bluetooth connectivity is managed by the Qualcomm QCC3031 chip, which provides lossless audio streaming at 24bit/48kHz and supports aptX HD, aptX LL, aptX, AAC, and SBC codecs.
The amplifier circuit employs dual chips OPA1612 and TPA6120 enabling effective driving of headphones with impedance ratings from 16Ω up to 300Ω.
The unbalanced 3.5mm headphone output delivers 600mW+600mW at 32Ω (with THD+N <1%), the balanced 4.4mm output increases this significantly to 2100mW+2100mW at the same impedance and distortion rating.
The unit is powered via an external power supply rated at 12V 2A
My test equipment:
– Fir Audio M5
– Arya Stealth
– Eversolo DMP-A8
– MacBook Pro 2024
– Playstation 5
Tested Albums:
– Stacey Kent – Summer me, Winter me
– Robin Mckelle – Alterations
– Terell Stafford – Brotherlee love
– Catherine Russel – Strictly Romancing
– Chris Minh Doky/Larry Goldings – Scenes from a Dream
Sound Quality
The sonic presentation of the K7 is impressively transparent and balanced, faithfully reproducing the entire audible spectrum without coloration. It offers genuine neutrality, conveying exactly what’s present in the source material. Across various scenarios, music playback, gaming sessions, or teams meetings, the audio remains effortlessly smooth and articulate. Enough power for planar headphones yet sensitive IEM’s exhibit no audible noise, hiss, or distortion, resulting in an exceptionally pure listening experience.Treble
High-frequency performance on the K7 is articulate and refined, revealing fine detail and excellent definition. The integrated tone controls offer adjustments smoothly. Treble changes are subtle yet effective. This design makes it straightforward to enhance brightness or tame overly sharp recordings gently. Gamers, particularly those requiring precise micro details, will find these detailed adjustments beneficial.Bass
Bass reproduction on the K7 is tight and dynamic, delivering fast performance without overwhelming the listener. It has depth and punch, enriching music and enhancing immersion in games. Adjustments are here just as gradual, meaning you won’t experience abrupt tonal changes. This thoughtful implementation allows users to finely calibrate warmth and impact without any loss in clarity.Bluetooth
The pairing process is fast and effortless, and once connected, the device maintains a stable, uninterrupted signal, even a few meters away from the device. Audio quality via Bluetooth is impressively clear. It is no secret I am not a fan of bluetooth audio, but this exceeded my expectations. It is a shame LDAC is not supported though.Conclusion
The synergy between the AK4493S DAC chip and the TPA6120/OPA1612 amplifier is impressive. Immediately noticeable was the spatial precision compared to similar units I’ve heared before, especially in this price range!The overall sound signature strikes a compelling balance, revealing but not too analytical, enriched with a pleasing touch of warmth. Its remarkable coherence ensures a pleasant listening experience, and should you prefer a different sonic flavor, subtle tone adjustments provide ample flexibility. I liked the bypass mode the most though, altough the difference between bypass mode was almost none existent (which is a
Last but not least, the device also fits perfectly in my day to day use, in my working day at home with a lot of teams meetings, muting was faster than a mouse click.
You can read the reviews and more at my website as well:
https://jjazzifi.com/fosi-audio-k7-gamers-dac-and-headphone-amp/
Attachments
KBear is a rising name in the world of budget and mid-range audio gear, known for delivering impressive sound quality at an affordable price. With a focus on in-ear monitors (IEMs) and audio accessories, KBear combines solid engineering, stylish designs, and competitive pricing to attract both casual listeners and audiophiles on a budget. While not as established as some high-end brands, KBear has built a reputation for offering great value, often punching above its weight in sound performance.
In this review, I’ll take a closer look at KB02, exploring its sound, build quality, and whether it lives up to the KBear name. They were provided by KEEPHIFI.
The KB02 is equipped with a dual-driver configuration, featuring a 10mm beryllium-plated dynamic driver alongside a 10mm bone conduction driver. The implementation delivers a well-balanced sound signature.
I have been familiar with the KBear brand for quite some time, primarily for their IEM cables. They have built a strong reputation for offering high-quality cables at remarkably affordable prices. While some other brands charge exorbitant amounts for similar materials. I own a few pair of those cables as well.
What is in the box:
- A sleek, nice thin ofc cable (I am a fan of those lighter thin cables)
- A generous selection of silicone eartips (which did not work for me, more on that later)
- Two elegantly polished in-ear monitors that exceed their price point in appearance and sound.
I must mention that the included eartips doesn’t do the KB02 justice. Achieving a proper, tight seal proved to be quite challenging for me with the included one’s, which significantly impacted the bass response.
I opted to replace them for this review with foam eartips and better silicone one’s to give a fair honest review, the difference after changing these was remarkable. The improved fit and isolation enhanced the overall sound quality substantially. I would highly recommend upgrading the eartips for the best possible experience. Why I mention this, because with not having a tight fit, there is a change you misjudge the KB02. So it might well be with different shape ears, the included one's are adequate
Since I primarily use gear from the much higher-end segment, I wasn’t sure what to expect. However, this turned out to be a very positive and enjoyable experience, an eye-opener, even. $40 in the hifi is not expensive, so let's see how it performs.
My test equipment:
- Mojo2 +Poly
- TT2 + MScaler + Lumin U2
- Astell and Kern se180 + SEM3/SEM4
- MacBook Pro 2024
Tested Tracks:
Sami Yusuf Live in Amsterdam – The meeting
Compay Segunda – Te Doy La Vida (from the Buena Vista Family)
Willie Nelson – The Nearness of you
Diana Krall – L-o-v-e
Herbert von Karajan – Ludwig van Beethoven 9 symphonies
Cristina Santori – Alleria
HAEVN – One Day
Melody Gardot – There where he Lives
Stacey Kent – Thinking about the rain
Eva Cassidy - Wade in the water Acoustic
Oscar Peterson – There Will Never be Another You (Album City Lights)
Nat King Cole – Mona Lisa
Myriam Alter - Come with me
Treble:
The graph shown a steep drop-off in the higher frequences (so it seems) which in this case enhances tonal balance but still adds a sense of air and openness, Vocals benefit from this airiness and linearity, while instruments sound detailed and energetic. The upper treble is never sibilant or shows harshness, resulting in a laid-back and relaxed presentation. Vocals and instruments has a forward yet non-fatiguing presence. The result is a enjoyable listening experience.
Mid:
I always love a smooth midrange, here the KB02 does not dissapoint. The vocals are exceptionally well-articulated. Notes carry weight and warmth, resulting in a rich, engaging sound. The upper midrange blends seamlessly with the lower treble, delivering an open and airy presentation without sacrificing body or detail. The smoothness is just right, without being excessive.
The lower midrange, while slightly recessed, maintains excellent structure, allowing female, male vocals and instruments to surface effortlessly.
Male vocals sound deep and nuanced and have a noticeable depth , while female vocals feel fresh and lively. While female vocals retain a soft yet vibrant quality. I could hear some moments where I heared better IEM's, but nothing disturbing. Melody's voice came through with amazing tone...
Instruments had weight to them.
Overall, the midrange is lively, airy, and forward, striking a great balance between presence and musicality.
I would say the focus is realism with a hint of warmth without taking it to far.
Bass:
Here the bone conductor comes into place:
Bone conduction drivers transmit vibrations directly through the skull rather than relying solely on air conduction. This results in a more tactile, physical bass experience, making low frequencies feel more immersive without overwhelming the mix. It adds depth and impact to sub-bass without requiring excessive air movement, which can sometimes cause bloating in traditional dynamic drivers.
The KB02 delivers a impressive texture and detail, creating a tactile sensation that mimics the feel of bass rather than just the sound. The impact and physicality are remarkably well-controlled. The sub-bass reaches deep, producing subtle rumbles and well-controlled punches, while the mid-bass provides weight and impact without bleeding into the mids.
The track Compay Segunda – Te Doy La Vida, let you clearly feel that deeper bass, as well as Melody's There where he lives.
Myriam Alter's bass, has a deep bass drum part, around 5:10 min in the track, here the bone conductor showed it could cope, it lacked a little micro details, but impressive nonetheless in this price range.
The Iem's tuning brings certain bass notes to the forefront, making them more prominent in the mix. However, the bass dynamics and texture are exceptional in this price range.
Overal conclusion
I think the KB02, is a very nice sounding IEM, you can enjoy. What you get for around $40 is a very nice and smooth sounding IEM with very good note separation, the soundstage is impressively holographic and airy, allowing for effortless distinction between instruments and pinpointing their positions with accuracy.
I would call the KB02 a very balanced IEM. These are not for the ultra bass happy fans, although for some very enjoyable, it is far from realistic, the KB02 is more focussed on realism, with a hint of warmth.
Is everything perfect, in this price range you can't expect that, with the KB02 you won’t get the smallest macro details in treble or the best layers in lower bass regions. Is that a bad thing or a flaw, ofcourse not!
The KB02 performs well and way beyond their price point, eventhough I am used to very expensive IEM's , I enjoyed listening to the KB02, it had a very nice detailed and smooth sound.
I share all and more of my reviews als at my website as well: JJAZZIFI REVIEWS
In this review, I’ll take a closer look at KB02, exploring its sound, build quality, and whether it lives up to the KBear name. They were provided by KEEPHIFI.
The KB02 is equipped with a dual-driver configuration, featuring a 10mm beryllium-plated dynamic driver alongside a 10mm bone conduction driver. The implementation delivers a well-balanced sound signature.
I have been familiar with the KBear brand for quite some time, primarily for their IEM cables. They have built a strong reputation for offering high-quality cables at remarkably affordable prices. While some other brands charge exorbitant amounts for similar materials. I own a few pair of those cables as well.
What is in the box:
- A sleek, nice thin ofc cable (I am a fan of those lighter thin cables)
- A generous selection of silicone eartips (which did not work for me, more on that later)
- Two elegantly polished in-ear monitors that exceed their price point in appearance and sound.
I must mention that the included eartips doesn’t do the KB02 justice. Achieving a proper, tight seal proved to be quite challenging for me with the included one’s, which significantly impacted the bass response.
I opted to replace them for this review with foam eartips and better silicone one’s to give a fair honest review, the difference after changing these was remarkable. The improved fit and isolation enhanced the overall sound quality substantially. I would highly recommend upgrading the eartips for the best possible experience. Why I mention this, because with not having a tight fit, there is a change you misjudge the KB02. So it might well be with different shape ears, the included one's are adequate
Since I primarily use gear from the much higher-end segment, I wasn’t sure what to expect. However, this turned out to be a very positive and enjoyable experience, an eye-opener, even. $40 in the hifi is not expensive, so let's see how it performs.
My test equipment:
- Mojo2 +Poly
- TT2 + MScaler + Lumin U2
- Astell and Kern se180 + SEM3/SEM4
- MacBook Pro 2024
Tested Tracks:
Sami Yusuf Live in Amsterdam – The meeting
Compay Segunda – Te Doy La Vida (from the Buena Vista Family)
Willie Nelson – The Nearness of you
Diana Krall – L-o-v-e
Herbert von Karajan – Ludwig van Beethoven 9 symphonies
Cristina Santori – Alleria
HAEVN – One Day
Melody Gardot – There where he Lives
Stacey Kent – Thinking about the rain
Eva Cassidy - Wade in the water Acoustic
Oscar Peterson – There Will Never be Another You (Album City Lights)
Nat King Cole – Mona Lisa
Myriam Alter - Come with me
Treble:
The graph shown a steep drop-off in the higher frequences (so it seems) which in this case enhances tonal balance but still adds a sense of air and openness, Vocals benefit from this airiness and linearity, while instruments sound detailed and energetic. The upper treble is never sibilant or shows harshness, resulting in a laid-back and relaxed presentation. Vocals and instruments has a forward yet non-fatiguing presence. The result is a enjoyable listening experience.
Mid:
I always love a smooth midrange, here the KB02 does not dissapoint. The vocals are exceptionally well-articulated. Notes carry weight and warmth, resulting in a rich, engaging sound. The upper midrange blends seamlessly with the lower treble, delivering an open and airy presentation without sacrificing body or detail. The smoothness is just right, without being excessive.
The lower midrange, while slightly recessed, maintains excellent structure, allowing female, male vocals and instruments to surface effortlessly.
Male vocals sound deep and nuanced and have a noticeable depth , while female vocals feel fresh and lively. While female vocals retain a soft yet vibrant quality. I could hear some moments where I heared better IEM's, but nothing disturbing. Melody's voice came through with amazing tone...
Instruments had weight to them.
Overall, the midrange is lively, airy, and forward, striking a great balance between presence and musicality.
I would say the focus is realism with a hint of warmth without taking it to far.
Bass:
Here the bone conductor comes into place:
Bone conduction drivers transmit vibrations directly through the skull rather than relying solely on air conduction. This results in a more tactile, physical bass experience, making low frequencies feel more immersive without overwhelming the mix. It adds depth and impact to sub-bass without requiring excessive air movement, which can sometimes cause bloating in traditional dynamic drivers.
The KB02 delivers a impressive texture and detail, creating a tactile sensation that mimics the feel of bass rather than just the sound. The impact and physicality are remarkably well-controlled. The sub-bass reaches deep, producing subtle rumbles and well-controlled punches, while the mid-bass provides weight and impact without bleeding into the mids.
The track Compay Segunda – Te Doy La Vida, let you clearly feel that deeper bass, as well as Melody's There where he lives.
Myriam Alter's bass, has a deep bass drum part, around 5:10 min in the track, here the bone conductor showed it could cope, it lacked a little micro details, but impressive nonetheless in this price range.
The Iem's tuning brings certain bass notes to the forefront, making them more prominent in the mix. However, the bass dynamics and texture are exceptional in this price range.
Overal conclusion
I think the KB02, is a very nice sounding IEM, you can enjoy. What you get for around $40 is a very nice and smooth sounding IEM with very good note separation, the soundstage is impressively holographic and airy, allowing for effortless distinction between instruments and pinpointing their positions with accuracy.
I would call the KB02 a very balanced IEM. These are not for the ultra bass happy fans, although for some very enjoyable, it is far from realistic, the KB02 is more focussed on realism, with a hint of warmth.
Is everything perfect, in this price range you can't expect that, with the KB02 you won’t get the smallest macro details in treble or the best layers in lower bass regions. Is that a bad thing or a flaw, ofcourse not!
The KB02 performs well and way beyond their price point, eventhough I am used to very expensive IEM's , I enjoyed listening to the KB02, it had a very nice detailed and smooth sound.
I share all and more of my reviews als at my website as well: JJAZZIFI REVIEWS
I was introduced to Burson Audio a few years back when I started to get into decent headphones in additions to my full speaker/amp rig. I went to a specialist shop and ended up listening to quite a bunch of amps headphones etc… one brand stood out to me right away, it was Burson. I was in love at first sight, looks, sound. I ended up buying a soloist 3XR GT in 2022 with full Vivid v6’s. I use it daily.
A few days back Burson asked me if I wanted to test and review a set of Vivid V7 Pro’s in the Soloist 3XR GT. The Vivid v7 is without a doubt a better version of the Vivid v6, I was very interested how much better, and if the stories I read were true.
Before I started testing, I let the Vivid V7’s run in for a full of 48 hours.
Test equipment:
- Hifiman Arya Stealth V3
- Burson Soloist 3XR GT + Supercharger
- Eversolo A8 + upgraded LHY LPS
- Chord TT2 + Mscaler, both upgraded LPS (is amazing, but The Burson makes it perfect)
All comparisons will be made with the Vivid V6
The first noticable distinction of the V7 compared to the V6 was its tighter, more agile sound with a sharper (don’t read treble hot) and drier bass response, offering greater precision and control. what you hear is a more enhanced separation and cleaner, more distinct notes, which is especially evident in the improved midrange, openness, and transparency. Vocals gain a refined fuller tone, while the treble is more articulate and crisp. Both the lower and upper frequencies have a cleaner extension, it gives you a very well 3D soundstage and a more precise presentation.
Compared to the already good Vivid v6, it is like they removed a thin curtain that was still between you and the artist, or removing the foam grill of speakers, impressive, very impressive
I will let some songs pass by, trying to describe what I mean by all of this.
One song I use many times is: The album If from Myriam Alter with the track ‘Children Play’
Myriam Alter is known for her compositions that subtly convey emotions and human experiences, this track has slow, fast paces and only real instruments are used. On the wrong equipment this song and album can quickly become treble hot, on the right equipment it is heaven.
With the V6’s it was just still in the safe zone regarding that, but I did like a pair of V6 classic in the volume stage because the Vivid V6’s had just a tad of sharpness at times with specific music.
What you immediately notice with the Vivid V7 Pro’s that issue is just not existent.
More often than not, with increased detail, there’s a risk of harshness or sharp treble, but that’s absolutely not the case here. The Vivid V7 really lifts the track up a huge level, and I mean huge. With the Vivid V7, you can hear the buttons of Dino Saluzzi’s harmonica as if you could touch them directly.
The v7 is the winner easily, crisp, detailed, more stage and depth, never harsh, and even with that much detail it never looses smoothness.
The next song I choose
The album:
El Ultimo Trago – Buika, the track Somos. It is a duet with legendary pianist Chucho Valdes.
The first thing I noticed, with the Vivid v6, the piano was just a tad thinner sounding, the moment the Vivid V7 pro’s came into place, it felt like the piano strokes, sounded more creamy, more piano like (if that makes sense) with a little bit of warmness, and we are talking about the v7 Vivid’s here. Don’t confuse that creamy with overly warmness/smoothness, definitely not. The music stays airy, with a deep stage, tight bass. The background just seemed dark, everything in the piece of music was just easier to distinguish.
The next track I listened to was: Jane Monheit album Home the track There’s a small Hotel.
With the Vivid V7, her voice became fuller. This track contain’s a Trumpet part from Joe Magnarelli, compared to the V6, the separation was better, more micro details in the trumpet, it just sounded already amazing with the V6, but with the V7, this track was so much better, the track just sounded more effortless. The V7, made me like this track even more.
I also listened to: Melody Gardot the Album The essential contains a live track Ain’t no Sunshine.
Here the improvement was big, there was much more stage and depth, background was very dark in a positive way, air around Melody Gardot and the band, like you paid for better seats at the concert and everyone sat extra quietly listening to her music. I heared specific smal micro details, I missed with the v6 (still keep in mind, the v6 vivid are amazing! in there own right and place, this just says, how much better the v7 vivid is)
The next album I used was: Buena vista’s 25th anniversary Edition
I always use to see how a amp copes with a busy track like this, it might not seem complex, but make no mistake, I have heared the best dacs and amps having difficulty with this album in separation, stage and depth. In this case I use the track ‘El Cuarto de Tula’
What you notice directly is the separation and layering of everything goes up with V7, and this was not bad to begin with the V6! But the v7's really showed their power, the same as with Melody Gardot's track, Buena vista sounded top notch, depth was okay, instrument seperation was perfect, bass tight and very controlled, and besides that immense control, never becoming analytical, everything was musical as hell, I could not resist tapping my toes listening to the track with a big big smile on my face.
The last album I listened to, is one of my favourites.
Tony Bennett – Playin with My Friends, a duet with Stevie Wonder ‘Everyday (I have the Blues).
I Think I never heared Stevie Wonder playing the harmonica so detailed and tight ever before on a headphone amp, it reminded me of hearing that song one’s on the Accuphase E-800, I was so impressed it stayed with me, this is the second time.
My conclusion
Where the V7 Vivid really separate from the Vivid V6 are its impressive clarity and enhanced detail, The V7 Vivid goes beyond what the V6 Vivid already offers, revealing additional layers in the music and delivering greater definition. The opamp shows total control over the whole spectrum.
With the V7 the treble shines with remarkable clarity, creating a feeling of depth and width in the soundstage. Every note is reproduced with greater accuracy, leading to a improved imaging and precision. They are totally transparent and uncolored, without ever being harsh, bright or too analyticall sounding. The background is black, noise free, and where the Vivid v6 compared to the V7, could show some treble glare so now and then, it is totally gone in the v7 Vivid. For that alone they are worth it, but they are so so much more.
Going through this review was a very fun experience, and It can be that I sound overly excited, but I honestly am. I am a person that is honest by heart (despite what people think of it). If these opamps were not the real deal, I would have definitely mentioned it… but the v7… simple word is wow, yes WOW!
When I started this review, I never expected such a huge upgrade, I was even worried, would it even matter?, because it is not the 2023 version of the soloist with cleaner power SP2, or the existing voyager.
I highly recommend everyone to do the upgrade to the new V7 opamps, you're selling yourself short if you don't. And don't confuse that with V6 are no good, they are amazing!, but the V7 Vivid are my next best friend
So to Burson, well done! it is not easy to better an already very good product to begin with.
I hope my review helps you make a well-informed decision regarding the V7 Vivid's
Want to read my review on the V7 Classics and a comparison between the two? V7 Classics, have look here: https://www.head-fi.org/showcase/authors/jjazzy.564552/reviews
And I share all and more of my reviews on my website as well: JJAZZIFI REVIEWS
Have a look at the Burson Audio V7 Product Page
A few days back Burson asked me if I wanted to test and review a set of Vivid V7 Pro’s in the Soloist 3XR GT. The Vivid v7 is without a doubt a better version of the Vivid v6, I was very interested how much better, and if the stories I read were true.
Before I started testing, I let the Vivid V7’s run in for a full of 48 hours.
Test equipment:
- Hifiman Arya Stealth V3
- Burson Soloist 3XR GT + Supercharger
- Eversolo A8 + upgraded LHY LPS
- Chord TT2 + Mscaler, both upgraded LPS (is amazing, but The Burson makes it perfect)
All comparisons will be made with the Vivid V6
The first noticable distinction of the V7 compared to the V6 was its tighter, more agile sound with a sharper (don’t read treble hot) and drier bass response, offering greater precision and control. what you hear is a more enhanced separation and cleaner, more distinct notes, which is especially evident in the improved midrange, openness, and transparency. Vocals gain a refined fuller tone, while the treble is more articulate and crisp. Both the lower and upper frequencies have a cleaner extension, it gives you a very well 3D soundstage and a more precise presentation.
Compared to the already good Vivid v6, it is like they removed a thin curtain that was still between you and the artist, or removing the foam grill of speakers, impressive, very impressive
I will let some songs pass by, trying to describe what I mean by all of this.
One song I use many times is: The album If from Myriam Alter with the track ‘Children Play’
Myriam Alter is known for her compositions that subtly convey emotions and human experiences, this track has slow, fast paces and only real instruments are used. On the wrong equipment this song and album can quickly become treble hot, on the right equipment it is heaven.
With the V6’s it was just still in the safe zone regarding that, but I did like a pair of V6 classic in the volume stage because the Vivid V6’s had just a tad of sharpness at times with specific music.
What you immediately notice with the Vivid V7 Pro’s that issue is just not existent.
More often than not, with increased detail, there’s a risk of harshness or sharp treble, but that’s absolutely not the case here. The Vivid V7 really lifts the track up a huge level, and I mean huge. With the Vivid V7, you can hear the buttons of Dino Saluzzi’s harmonica as if you could touch them directly.
The v7 is the winner easily, crisp, detailed, more stage and depth, never harsh, and even with that much detail it never looses smoothness.
The next song I choose
The album:
El Ultimo Trago – Buika, the track Somos. It is a duet with legendary pianist Chucho Valdes.
The first thing I noticed, with the Vivid v6, the piano was just a tad thinner sounding, the moment the Vivid V7 pro’s came into place, it felt like the piano strokes, sounded more creamy, more piano like (if that makes sense) with a little bit of warmness, and we are talking about the v7 Vivid’s here. Don’t confuse that creamy with overly warmness/smoothness, definitely not. The music stays airy, with a deep stage, tight bass. The background just seemed dark, everything in the piece of music was just easier to distinguish.
The next track I listened to was: Jane Monheit album Home the track There’s a small Hotel.
With the Vivid V7, her voice became fuller. This track contain’s a Trumpet part from Joe Magnarelli, compared to the V6, the separation was better, more micro details in the trumpet, it just sounded already amazing with the V6, but with the V7, this track was so much better, the track just sounded more effortless. The V7, made me like this track even more.
I also listened to: Melody Gardot the Album The essential contains a live track Ain’t no Sunshine.
Here the improvement was big, there was much more stage and depth, background was very dark in a positive way, air around Melody Gardot and the band, like you paid for better seats at the concert and everyone sat extra quietly listening to her music. I heared specific smal micro details, I missed with the v6 (still keep in mind, the v6 vivid are amazing! in there own right and place, this just says, how much better the v7 vivid is)
The next album I used was: Buena vista’s 25th anniversary Edition
I always use to see how a amp copes with a busy track like this, it might not seem complex, but make no mistake, I have heared the best dacs and amps having difficulty with this album in separation, stage and depth. In this case I use the track ‘El Cuarto de Tula’
What you notice directly is the separation and layering of everything goes up with V7, and this was not bad to begin with the V6! But the v7's really showed their power, the same as with Melody Gardot's track, Buena vista sounded top notch, depth was okay, instrument seperation was perfect, bass tight and very controlled, and besides that immense control, never becoming analytical, everything was musical as hell, I could not resist tapping my toes listening to the track with a big big smile on my face.
The last album I listened to, is one of my favourites.
Tony Bennett – Playin with My Friends, a duet with Stevie Wonder ‘Everyday (I have the Blues).
I Think I never heared Stevie Wonder playing the harmonica so detailed and tight ever before on a headphone amp, it reminded me of hearing that song one’s on the Accuphase E-800, I was so impressed it stayed with me, this is the second time.
My conclusion
Where the V7 Vivid really separate from the Vivid V6 are its impressive clarity and enhanced detail, The V7 Vivid goes beyond what the V6 Vivid already offers, revealing additional layers in the music and delivering greater definition. The opamp shows total control over the whole spectrum.
With the V7 the treble shines with remarkable clarity, creating a feeling of depth and width in the soundstage. Every note is reproduced with greater accuracy, leading to a improved imaging and precision. They are totally transparent and uncolored, without ever being harsh, bright or too analyticall sounding. The background is black, noise free, and where the Vivid v6 compared to the V7, could show some treble glare so now and then, it is totally gone in the v7 Vivid. For that alone they are worth it, but they are so so much more.
Going through this review was a very fun experience, and It can be that I sound overly excited, but I honestly am. I am a person that is honest by heart (despite what people think of it). If these opamps were not the real deal, I would have definitely mentioned it… but the v7… simple word is wow, yes WOW!
When I started this review, I never expected such a huge upgrade, I was even worried, would it even matter?, because it is not the 2023 version of the soloist with cleaner power SP2, or the existing voyager.
I highly recommend everyone to do the upgrade to the new V7 opamps, you're selling yourself short if you don't. And don't confuse that with V6 are no good, they are amazing!, but the V7 Vivid are my next best friend
So to Burson, well done! it is not easy to better an already very good product to begin with.
I hope my review helps you make a well-informed decision regarding the V7 Vivid's
Want to read my review on the V7 Classics and a comparison between the two? V7 Classics, have look here: https://www.head-fi.org/showcase/authors/jjazzy.564552/reviews
And I share all and more of my reviews on my website as well: JJAZZIFI REVIEWS
Have a look at the Burson Audio V7 Product Page
Ofcourse the desktop amps like the tt2&burson played a little better, but I listened hours with mojo2, and really enjoyed it.