Reviews by Johnny Mac

Zorloo is a new player in the audiophile community based off China which offers a promising set of products pioneered by their ZuperDAC offering which is now superseded by the ZuperDAC-S, designed as an everyday ultra-portable DAC solution. There weren’t any details about what the “S” stands for and my guess would be “Super” as in ZuperDAC-Super, accurate enough, right? The ZuperDAC-S retails for $79.00 which you can get from their official Zorloo site. Thanks to Andy from Zorloo for sending in a review unit in exchange for an honest review.

Specifications:

• True portable HiFi USB-DAC
• Support Hi-Res audio up to 192kHz 24-bit
• ESS Sabre 9018 DAC and amplifier
• USB Audio Class 2 asynchronous mode
• SNR @ 120dB and THD+N @ 0.0005%
• Small size at 50mm x 15mm x 10mm
• Light weight at 10g
• Aluminum chassis with stylish matted finish
• Hardware volume keys with memory
• Battery free, no need to charge
• Includes USB, Micro-USB and USB-C cables

The Zorloo ZuperDAC-S came in a small slim white box which showcases the DAC on the cover as well as the 2 cool logos of the Zorloo brand as well the product specifications and accessory set. Inside is the ZuperDAC-S itself packaged with 3 different cable connectors (Type-C, Micro-USB and USB-A) which is approximately 4.5 inches long and all sheathed black which also has black housings so those who are particular with aesthetics won’t have any issues pairing this with a myriad of products. The cables also have great flexibility to them while still being able to retain its form which is great when it is already connected to your audio devices. The ZuperDAC-S itself has an aluminum chassis and a matte finish, Zorloo provided me the gray colored one. The aluminum body has some sturdiness to it, I tried dropping it on a polished floor twice, once on hip level and once on shoulder level and it only showed a minor dent on the corner and still worked fine.


The ZuperDAC-S weighs in at only 10 grams and only 2 inches long, .4 inches thichk and .5 inches wide. Preference would come into play as to which you’d like to have as a front, the 2 button increase/decrease volume switch or the Zorloo logo/LED light indicator sides. One end of the ZuperDAC-S features a Micro-USB and a 3.5mm headphone out. The volume buttons uses a 16-step configuration which can work separate its source, it also has highly contrasted in relation to the body color and has great feedback click once used and such buttons aren’t centered on the body and oriented near the Micro-USB.



One look on the ZuperDAC-S and its small form factor automatically relieves you of the feeling of having to carry additional gear just to get quality audio and it also fits on your denims inner pocket which for a non-smoker like me was unused most of the time and a lighter for those who do. The aluminum body also guarantees this would last considering the fact that it also doesn’t have a battery for you to charge in order for you to use it.

The 3 included cables on the ZuperDAC-S all worked flawlessly as they should. I using it all on different sources and although the cables and the DAC worked fine, it also almost automatically warms up on different sources. The ZuperDAC-S has almost no learning curve to setup as it was designed to be a plug and play device be it used with a Windows computer (no driver installations needed) and an Android device, I however needed to turn on OTG storage on my OnePlus 3T device for it to work there. Using it with an iOS devices would need one to get their camera connection kit or Apple’s lightning to USB Camera adapter.

The ZuperDAC-S has a single blue LED indicator which stays lit while it is used and while it has no built-in battery, the power draw that it consumes although only at .11A max was still able to drop my 3T’s SOT to around an hour, this is subjective but just keep this in mind. The built-in volume controls also works independently from its source and decreasing or increasing the volume would need one to constantly click on them to adjust volume since long presses doesn’t work so when 1 button fails, you’re stuck unless you use your sources’ volume controls.



Utilizing the ESS Sabre 9018 chip which is widely used on similar products such as from SMSL and Sabaj which also ironically has almost identical IDEA and Da2 products makes me guess they are sister companies or under all made under one roof. The single most noticeable audio feature the ZuperDAC-S lacks is support for DSD and PCM decoding which almost a standard now on devices although on the consumer end, who would be carrying those formats on their mobile phones which this is designed for, right? But yeah, would have been nice if it was included.

You had one job, just one job, and the ZuperDAC-S lives by this mantra which is to output higher quality audio off portable devices in a simplified way. I made sure to once again acclimate myself to using my mobile phone and MSI GF62-8RE laptop for music to get the mood on and just let the ZuperDAC-S go in between. Just by including it on the chain immediately made tracks clearer and fuller. I cycled through Norah Jones’s Come Away with Me, Fleetwood Mac’s Greatest Hits, Suicide Squad’s The Album and DeadPool 2’s Soundtrack albums in 16/44 Flac and although the changes are minimal, it is definitely noticeable as compared to using my 3T and MSI device direct for audio use. The lower frequency performance had a tad more impact to them while the higher frequencies are more articulate, the midrange frequency gained the highest benefits of this device with it being clearer and a kick more crisp. Imaging and soundstage also benefitted making the overall sound more distinct in its delivery.



The Zorloo ZuperDAC-S comes in on the portable DAC party clad in simple looks and the most basic of functions with more than enough versatility and portability at a reasonable price. While all these are petty for some hardcore audiophiles, it certainly does a great job in ushering in the starters into the audiophile party looking for a solution to their basic mobile phone audio and direct PC audio woes.

John Ruskin once said “Quality is never an accident, it is always the result of intelligent effort” and we could all say that we have questioned Knowledge Zenith’s commitment to providing quality audio products knowing that they launch at us a slew of products that keeps us from looking at the big picture and evaluating our purchases. What we have now to realview is one of their many recent releases and make no mistake, more is surely coming as I’m told yet for now, we can focus on the KZ BA10 which sports a spec sheet of 5 Balanced Armature drivers (1 Low-1 Mid-1 Mid/High and 2 High), 20hz - 40KHz Frequency Response, 14 Ohm Impedance and 105dB Sensitivity. You can grab a pair for around $76 to $89 depending on promotion off Linsoul and DD Audio’s Amazon and AliExpress sites which provided the review unit in exchange for an honest review. Did Knowledge Zenith trick us again with the BA10 or is it just worth getting? Let’s find out.




The BA10 came sheltered on a black matte box with a minute KZ logo on the front and some minor company and product information sticker on the side. Opening it up shows BA10 right away, no introductions needed boys and girls, KZ is and will keep it that way until when I don’t know exactly. The package included 3 silicon tips (S, M, L) with the medium tips pre-installed. The foam inserts had a metal plate with the KZ logo and the reminder again that this is a 10BA IEM. Underneath the foam inserts were the silicon tips, warranty card and a product manual.


The IEM housing itself has sharp edges (in IEM housing norm) and is quite huge again against IEM norm, this risky move for me isn’t a good thing since it made the BA10 usability lean on the uncomfortable side since most of the edges doesn’t sit flush on the ears and the rest of the puny jagged edges are the ones that get in contact with the ears and after having tried this while in bed or moving around, the more those sharp edges gets into contact. The housing though feels sturdy and doesn’t feel that it would be coming apart anytime soon and the paint (if it was ever paint) looks good in both matte gold and red, there are 3 lateral vents on the faceplate which is covered with a metal mesh and the nozzle has a lip which is great for eartips rolling and is also covered by a metal mesh. The BA10 still uses the KZ standard .75mm 2-pin interface which has a deep groove around it and doesn’t look great at all with other 2-pin male housings although why would you do cable rolling on this, right? The included stock cable is where it diverges from the usual KZ norm, it isn’t the usual dark tint round braid copper cable from the ZSA and the AS10 although they have the same specifications, the Y-split is a black hard rubber with decent strain relief on all terminals, the gold-plated 3.5mm plug still sits on a black hard rubber which also has decent strain relief and there is also an in-house KZ memory wire tech (using a metal strip along a sheathed cover) near the 2-pin plugs to aid over ear usage. Microphonics is mininmal on the BA10 cable and the mic controls and the mic itself works just fine however there is no chin slider as usual. Overall the build quality of the IEM is well-built but compromises on comfort while the stock cable is indeed improving.



Being the most costly amongst the KZ lineup, the BA10 sure sounds its price in comparison to its peers. It exhibits a balanced sound with distinct attributes on each respective frequency which we would later tackle on. Using the BA10 on multiple phases of daily life was a positive experience in terms of sound, it didn’t show any great extremes that would keep one to dislodge it from your ears except for one, which isn’t related to its sound. I know this is about the overall tonal performance but the sharp edges just didn’t compliment the BA10’s sound. We would be using the Final Audio Type E tips as well as the Opus 1 and Xduoo X3ii for the realview, do note that there is some annoying hiss when I plug the BA10 to my MSI laptop and the Sony CAS-1 system.



I decided to pull out Lana Del Ray’s Love in 16/44 Flac to test out the BA10’s low frequency performance, right off the bat, the track drowns the listener with sub bass drops and the BA10 did fine with its interpretation with it, it doesn’t sound boxy and decay isn’t that fast as well. It enables the bass bursts to progress through smoothly, it however doesn’t deliver great impact, another thing to look forward for the next group of KZ launches.



KZ BA10’s midrange is its lover, working its way gently with its delivery. Michael Buble’s From Russia with Love in 16/44 Flac, the lower midrange entry of Buble’s vocals was quite intelligible giving good accurate pitch and occasional belting gives out a nice air to his voice. Norah Jones’s Shoot the Moon in 16/44 Flac which possessed more upper midrange focus still has good clear delivery and renders it naturally yet a bit devoid of energy which would have been great for that added feel of liveliness. Guitar plucks however were distinct and resounded well even when accompanied with wind instrument tones.


Although the BA10’s is already sounds promising on its other aspects, its high frequency performance is its 2nd biggest area of improvement next to the discomfort of its body silhouette (I can’t stress this much, do I?). There is noticeable harsh peaks and a false sense of sparkle. Listening to treble-heavy tracks on the BA10 is, if not a big No, totally warrants a small No. It performs well when you prefer the vocal-heavy tracks and genre. We could say its tolerable but don’t just try using it when watching an action movie or treble-heavy track where suddenly a gunfire, a tire screech, a sudden burst of energy from the drummer guy comes out of nowhere, the BA10 isn’t your friend in such situations.


Don’t go feeling so low if you have been eyeing the BA10 as your next IEM after reading its High frequency performance. The BA10’s soundstage and imaging is one of the things that alleviates the discomfort of both the highs and the silhouette from the BA10. Those 3 vents on the faceplate certainly works, can’t wait for an actual video of a teardown of the BA10 and seeing the vents covered, LOL. Track dynamics is depicted well and gives distinct instrumental imaging which isn’t too intimate. Left to Right and Right to Left sound movement pans out good as well, a sure recommendation for tracks exhibiting such.



Our earlier quote of “Quality is never an accident, it is always the result of intelligent effort” is clearly not being used by Knowledge Zenith but instead uses the “Strength in Numbers” philosophy, churning out release after release after release and hope some hits the mark as a great audio purchase in terms of overall sound and build. The BA10 is another great statesman for the KZ empire which although has apparent shortcomings such as the weird body language causing discomfort from the 1st 5 minutes of use extending until it is unbearable and also the high frequency which already touches sibilant territory is not a good news for them considering this is their priciest offering to date. We just hope someone inside the KZ Empire takes note of all these observations, the BA10 is doing well but will surely won’t do greater things.

More reviews on my site, http://audiorealviews.site

We have another 1st right here on Audio Realviews, this time from BGVP. I still wonder what does BGVP stands for since there is absolutely no mention of it everywhere, maybe in another language, I’ll never know. What we have to realview specifically is their recent hybrid offering, the BGVP DMG, thanks to DDAudio/Linsould for sending a sample unit in exchange for an honest review. Currently priced at $139 which you can grab a pair at either Amazon or AliExpress. The BGVP DMG is offered in 2 different variations (with and without Mic controls) with 3 colors (Red, Blue and Black). The DMG’s is configured with 4 proprietary BA drivers composed by the 31736 dual BA for Ultra High frequencies and the 10006 Mid and High frequenices matched in 4-way passive crossover with a dual-dynamic driver while also allowing signature changes with its 3 acoustic filter options, silver for treble boost, gold for bass boost and matching housing color (Red, Blue or Black) filter as a reference filter. Spec’d out with a 15-45 KHz Frequency Response, 18 ohms Impedance and a 10dB Sensitivity. Cramping all these specifications at $139 should have its downsides, right? Only one way to know.



The DMG’s came in with a brown box within a detailed cover showing the DMG silhouette and specifications, inside the box is 2 black boxes, 1 for the DMG IEMs themselves and the other for the accessories. The accessory set is great which included 1 set of black silicon wide bore tips (S, M and L), 1 set of gray silicon medium bore tips and 1 set of blue silicon small bore tips. Black medium foam tips are also present as well as a shirt clip and black silicon ear guides. There is no pouch though.



The DMG’s housing is made of aluminum-magnesium alloy which feels sturdy when held and has a smooth matte finish, there are 2 vents present, 1 near the MMCX interface and 1 on the back of the faceplate. I find it odd that their photos and the box itself showed a vent on the faceplate itself but the actual IEM doesn’t have any. The contours of the DMG are very comfortable and lasted around 5-6 hours of use and didn’t bother me much when I fell asleep wearing them. The MMCX interface is gold-plated which is already standard nowadays.



The included cable that the DMG’s came with was the non-mic option. It is a %N SPC cable with looks good when paired with the IEM’s themselves. It uses a gold-plated 3.5mm L-plug with the BGVP branding along with a silver barrel type Y-split, a chin slider is also present which made comfort so much better. The male MMCX connectors uses the Red/Blue color coding to act as L/R markings. A memory wire is also present for over ear use which rendered the silicon ear guides a redundant accessory, minimal microphonics were observed, not something that bothers one much.

The DMG came out sounding rather warm right out of the box on the OnePlus 3T and was totally driven well at that setup already which was a good sign. I rotated the 3 acoustic filters to get an initial impression without some burn-in and even when using the silver filters, the DMG still gave out a warm tonality. I decided to roll with the reference filters and did a “100hour” burn-in for these using the Sony ZX1’s. We would be using the included black medium foam tips for the duration of the review as well as the Xduoo x3ii and Opus 1.

An IEM for those seeking some low-end paradise. The DMG’s lower frequency performance was a pleasure to get intimate with. In Daft Punk’s “Game of Love” in 16/44 FLAC, the bass hits were full-bodied and pans out widely in a lingering manner, not the type that is heard but the one that hangs in your head even when the track flows on. The sub bass drops has great weight to it and resonates deep which fully makes you know that there’s a drop in the frequency. It would be rather weird using the gold filters after knowing all these on the reference filter.

I’m currently on a roll with reviewing audiophile products and lately they tend to lean on the balanced to warm signature and I was really hoping the DMG’s will break the mold. Pumping out ABBA’s One of Us in 16/44 Flac and I am again greeted with a laid back midrange execution. The lower midrange was the midrange’s most prominent aspect adding up to the already warm signature further. There is almost no upper midrange extension on this and I sincerely hope the silver treble filters will do some heavy lifting even if it was for the upper frequencies, there is however great sense of pace and timing on the midrange. Female vocal timber is natural along with the male vocals, there is minimal air to them as well.

With a dedicated dual-BA driver to tackle the higher frequencies of the DMG’s, one would be expecting an apparent focus on the highs to be great. I used Supertramp’s Logical Song in 16/44 Flac to try and gauge the DMG’s highs. There is evident snap on the upper frequencies while still being devoid of shrill and sharp peaks. There is minimal treble extension and sparkle is barely found, looking forward to another heavy-lifting by the silver treble boost filters.


Finally, soundstage and imaging, the other sound aspect of the DMG which we can consider a strength. There is great separation on these IEMs and it would be an easy task to spot left to right harmonics. The imaging of each distinct instrument presence is quite tangible. The background leans on the darker spectrum accompanied by a slightly intimate but clear soundstage. The DMG didn’t falter when tackling instrument heavy tracks such as Supertramp’s Take the Long Way Home in 16/44 Flac, detail retrieval gets 2 thumbs up.


Getting the overall result of the reference filter performance led me to really grab the featured filters and although changes are minimal it is great to know that they work. The gold bass boost filter was my least favorable filter, not only it amplified the low-end performance, it made the DMG sound almost muddy and bloated, if you like your lows like that then feel free to use it. The silver treble boost filter does the trick for the DMG, the low-end is diffused faster, midrange a tad clearer and upper frequency with the much needed bump. This might sound too much of a change for some but that is just how the DMG sounded with the reference filters at the low-end and highs, enough but lacking.



So at $139 and sporting multiple features and a great accessory set did indeed tuck away some areas of improvement worthy of being acknowledged although the nice-looking stock cable along with a smooth and subdued metal housing was a winner at $139. Greatest of these AOI’s is the noticeable performance of the quad-BA at the upper frequencies which was clearly overpowered by the low-end. One great thing though that BGVP did was it tucked right at the bottom of the package is the silver treble boost filter, DMG be damned if it wasn’t designed to accommodate filters.

more reviews at my site,
http://audiorealviews.site/

Hot off my rendezvous with the Meze Audio 11 Neo, the exquisite house of Meze in Romania has managed to delight me with another guest and although I am yet to be a full-on convert for the cult following surrounding how Meze has managed to be a company associated with meticulous standards both in form and function. I am yet put again tempted by them to try and prove such standards do exist with their interpretation of what a headphone should look and sound in the form of the Meze 99 Neo. Provided directly by Meze Audio in exchange for an honest realview. You can visit their castle, I mean website at Meze Audio. The Meze 99 Neo, released in 2017 and is priced at $249, it sits smack on a headphone market swarming with audiophile grade options. The Meze 99 Neo Headphones houses a 40mm dynamic transducers on a black ABS plastic earcups, 15Hz - 25 KHz Frequency Response, 103dB Sensitivity, 26 Ohm Impedance. The 99 Neo features detachable Kevlar OFC cable which bodes well for those worried of cable breakage as well as an in-house subdued yet contemporary design conceptualized over long hours of sketches and outlines and with all these specifications, is the Meze Audio 99 Neo worthy of a fan base?






The Meze 99 Neo barged in into my office sporting its packaging with shades of 2-tone grayscale. All the necessary details and information about the headphones is stated with 3 images of the 99 Neo all highlighting its detailed construction, do note that the back of the package has a security hologram on the lower left portion to guarantee authenticity of the 99 Neo which as they say, it’s all in the details. Opening up the box greeted me with an admirable and sexy black case contoured to the curves of the 99 Neo, the zipper zips smoothly and hanging tab is also present as well as a metal chrome and black Meze logo which I would love to have as a pin to stick on my work backpack. A brochure is also present along with all their current line-up of headphones and earphones and company details which was good for light reading. Inside the box was the 99 Neo’s themselves, comfortably resting on the smooth suede lining interiors of the case. A storage pouch was also present along which contained the detachable Kevlar OFC cable, 6.3mm gold-plated jack and an airline adapter. I tried storing the 99 Neo with cables attached on the case and sadly, it doesn’t work so the case is clearly for portable usage and not for storing it when used at home, I’d recommend getting a dedicated headphone stand because the 99 Neo is damn sensual to look at.



The 99 Neo isn’t foldable in any way which was fine since it has a gorgeous case to begin with, trade-offs my lads. It uses ABS plastic for its earcups which had leather-like grooves and is isn’t a fingerprint magnet, it is sturdy and the cable ports as well as the earcup outline is lined with electroplated precision die-cast zinc alloy, I have seen how this electroplating process takes place and believe me, the 99 Neo metal components won’t be rusting anytime soon. The headband is a chromium-manganese alloy which is if you’re familiar with your alloys, this specific combination provides improved strength and ductility for the times your 99 Neo meets your bad days and so far, none of my bad days have broken the 99 Neo. The support system of the 99 Neo utilized a self-adjusting PU leather headband with 99 Neo embedded on the top portion joined underneath by an elastic rubber garter attached to a thin strip of metal which terminates on a striking zinc alloy(also electroplated) joint for the 2-piece headbands.



The earpads uses soft PU leather with medium density memory foam. It is soft and non-irritating to wear and use, I managed to pull off around 3-4 hours of use on it, the clamping force of the headbands is also cozy, I have a relatively small head so the clamping force might be strong for others, depends really. I’m also glad that the Yaxi earpads that I have lying around did fit the 99 Neo and will state the differences in the sound analysis portion of the realview while so far the comfort was relatively similar except that the Yaxi earpads on the 99 Neo gave a encased feeling since it has larger chamber circumference as well as the velour part gave a more movable feel for the earcups.


Changing the earpads on the 99 Neo is easy and doesn’t involve any proprietary molds which I have seen on other headphones making earpads changing a pain. The included detachable Kevlar OFC cable isn’t stiff nor too pliable, it has the right amount of tension to it allowing it easy to store while also being hefty enough to stay in place and not wiggle around when used on the go. All of the cables metal components are machined aluminum with gold-plated plugs. The included mic controls worked flawlessly on both Android and iOS devices as well as the mic itself, the y-split has subtle 99 Neo branding and compliments the headphone aesthetics well. It is slightly microphonic yet unnoticeable most of the time. The overall build of the 99 Neo is indeed a work of art both made for work and art, no clanking and rattling here and there and the design language flows fluidly from each component to another.


Upon using the Meze 99 Neo’s, a sense of lax atmosphere envelops the user. Despite switching from multiple sources ranging from the Opus 1, Sony ZX1, Xduoo X3ii, Sony CAS-1 via an MSI laptop and also direct from the said laptop and the OnePlus 3T, the 99 Neo sound was evidently a non-overdoing set of cans, it delivers a smooth and easy sound which leans on the warmer spectrum. I have used it extensively and haven’t found any singular frequency that distinctly outshines any other aside from the low-end giving a more resonating vibe that ever so slightly extends to the midrange.


Having said that the 99 Neo being a set of warm sounding cans, its low-end performance doesn’t overpower the other frequencies in a manner of great extent. Kicking in Fleetwood Mac’s Dreams in 16/44 Flac showcases its good bass attack capabilities, sub bass drops had good body to it and decays on a slower pace which was surprisingly wasn’t congesting even on consecutive sub bass drops. The bass performance was clean and reverbs effortlessly providing an added zest on the lower frequencies which resulted on its easy sounding warm signature.


The 99 Neo’s midrange gives it its strong coherent performance, transitional notes in the lower and upper midrange weaves through the spectrum smoothly. Angela Bofill’s Angel of the Night in 16/44 Flac had good dynamics on them and the female vocals had distinct clarity on them and had good definition which compliments the bass hits well. Vocal timber sounds a tad colored but doesn’t reach unnatural levels. Trying out the male vocals was done with Scorpion’s Wind of Change in 16/44 Flac, upper midrange performance was clear and detailed even showcasing sporadic extension abilities while the male vocals still sounded a tad colored but had more air to it which was extensively highlighted near the 3:33 minute mark.


I decided to pull out Jerry Cortez’s Around the Globe in 16/44 Flac to focus on checking out the 99 Neo’s higher frequency abilities. There is noticeable lack of bite on this set of cans although it is still able to deliver a lively and musical vibe on the signature. The lack of bite also showed supplemented the fact that the 99 Neo’s doesn’t induce harsh and piercing highs instead gives out a totally non-fatiguing experience.


Spandau Ballet’s Code of Love in 16/44 Flac was used to test out the soundstage and imaging which right off the bat gave out a rather intimate feel, studio-like. Imaging was distinct and easy to identify. There is great sense of left to right orientation especially when instrumental hits are made. Detail retrieval is on point. Those who put a premium on a very wide soundstage would need to look elsewhere.



I was fortunate enough to have the Yaxi Pads for the CD900st’s lying around and from all the other earpads I had the fit the CD900st, it was surprising that only the Yaxi’s managed to fit the 99 Neo. This was all because of the 99 Neo’s very slim earpad lining outline which all the other earpads didn’t managed to fit in, the leather on those were too thick so note that when you are looking forward to trying 3rd party earpads for the 99 Neo’s. The noticeable differences between the stock 99 Neo earpads and the Yaxi’s were the circumference size. The Yaxi’s had a much larger circumference and also had deeper earpad depth giving more area for your ears and the 99 Neo drivers themselves although the cloth lining had the same thickness on both earpads. Sound changes were minimal with the Yaxi giving out more air and soundstage than the stock one’s yet also taking the highs down which wasn’t a good thing. I ended using the stock earpads until now.



There is much to be said for the Meze 99 Neo just from its build quality alone which is unusual for a company who is fairly new to the game. The accessory set checks all the right boxes not to mention the sophistication poured on them. The sound needs no getting used to as it sits right home with it’s easy to love appeal, one not focused on getting critical and clinical with technicalities. Viewing the 99 Neo at $249 on an audiophile perspective familiar with his options wouldn’t entice one much except for the fact that this set of cans would possibly last a long time even with constant use, a result stemming from the confidence you can get just when using it 1st hand which suits its name, 99 Neo, a sign that something new can feel lasting.

More reviews on my site, http://audiorealviews.site/

I happened to stumble upon another audiophile product which was slowly creeping in HeadFi. Little is to be known about Hill Audio except that they are based in Malaysia and supports multiple audiophile products. What we have now however is their very own product, the Hill Audio S8. It is being offered in only 1 color, glossy black. There is however 2 package offerings, a Super Saver pack ($55) and an Audio Pro pack ($65) which is a promotional price until the end of 2018. Let me just brief you that the accessory set offered with the S8 are overwhelming. The Hill Audio S8 is 3-driver hybrid configured with a 10mm custom tuned grapheme dynamic driver and custom tuned dual BA drivers by AMT. It has a Frequency Response of 20 Hz - 20 kHz, 16 Ohm Impedance, 100 +/- 1 dB Sensitivity and utilizes the MMCX interface. Thanks to Hill Audio for providing the sample unit in exchange for an honest review. Those who aren’t based in Malaysia can easily reach out to Hill Audio via their Facebook page, Hill Audio, WhatsApp (+601136329018) and via Hill Audio's email (hillsonicaudio@gmail.com). They respond fast and communication was easy. International purchases would be done via Paypal with free shipping and a 1-year limited warranty. The Hill Audio S8 lacks the marketing hype most $55 to $65 Hybrid + Filter IEMs have so will this carve a niche by itself against more popular options? I’m here to find it out.




Just like their marketing presence, the Hill Audio S8 packaging throws away anything associated with anything fancy. It came to me encased in bubble wrap and immediately the black zipper case. The Super Saver pack includes the handy black zipper case, 3 pairs of acoustic tuning filter for 3 different signature profiles, blue for reference sound, silver for bass boost and black for treble boost sound along with a standard SPC cable with gold-plated 3.5mm straight plug and a multitude of ear tips; 1 pair of blue-nozzle translucent silicon ear tips (sized M), 2 pairs of black-nozzle transparent silicon ear tips (size L and M), 2 pairs of translucent silicon ear tips (sized M and L), 3 pairs of black silicon ear tips (S, M, L), 2 pairs of black foam ear tips (sized L and M). The same goes for the Audio Pro pack except that this time around the included cable would be an 8-core braided SPC cable with more robust carbon-fiber gold-plated 3.5mm straight plugs.


The Hill Audio S8 has a bean-like silhouette and a CNC-machined aluminum body which conforms to the ear canal shape well. There are 3 small round vents near the MMCX interface along with the L-R markings. The nozzle supports the 3 acoustic filters openly which when filters are removed directly shows a single BA and no tubes whatsoever to suggest where the other BA driver is as well as the dynamic driver. The S8 sits comfortably well and takes around 4-5 hours where I start to feel some discomfort in my ear. The Super Saver pack cable has minor microphonics and compliments the small form factor of the S8 rather well since it is fairly thin and the round braid is encased in a transparent plastic sleeve. I have tried multiple ear tips for the S8 and have chosen to use the stock M-sized black-nozzle transparent silicon ear tips and have used the Opus 1, Xduoo X3ii, Sony CAS-1 and MSI GF62 8RE laptop for the duration of the realview.



The Hill Audio S8 has a varied tonality which depends on the acoustic filter used and after doing a full rotation of the 3 different acoustic filters, I have decided to use the blue filter (reference sound) for the duration of the realview while also stating the key differences when using the silver filter (bass boost) and the black filter (treble boost). The blue filter S8 sounds mellow and soft across all the frequencies rendering a good tonal balance, the lows doesn’t overpower and cloud the midrange while the midrange blends well with the lower and the upper frequencies, the highs had no noticeable peaks as well. I have had this S8 fully burned-in at more than 100hours as well.


Pulling out Sheryl Crow’s Halfway There in 16/44 Flac shows that the sub bass hit and depth doesn’t give that much power resulting in being unable to create a great drop in the sub bass that some would definitely enjoy, the sub bass is enough yet we would need to get lower frequency oriented track almost consecutively to feel the S8 being able to deliver. The bass performance however creates a good thumpy feel is able to give a good harmonic warm effect.


The midrange aspect of the S8 is for me personally its best attribute; the vocal timber is easily recognizable between various artists as well as occasional changes in a sole individuals track. Shania Twain’s That Don’t Impress Me much in 16/44 Flac sounded lush and articulate with a sense of subtle air resulting to a very engaging feel. Male vocals was tested with a 16/44 Flac Out of the Blue by Michael Learns to Rock showcased a clear and authoritative that plateaus on a smooth upper midrange execution, the subtle air is still present giving out an engaging feel as well. I would advise against listening to the S8 on a dark silent room, the vocal presence is so lifelike it is scary. No exaggerations.


Hill Audio S8’s upper frequency scores are average at best. I decided to roll with Limp Bizkit’s Show Me What you got in 16/44 Flac and right off the bat the ride cymbal hits were crisp and clear although lacks a much-needed bite, it is however relatively easy to the ears which is audible enough and doesn’t need for one to turn up the volume to notice such presence. The rather soft sound of the S8 on the upper frequencies meshes well with the lower and midrange sound giving it a smooth and delicate sound.


Soundstage and Imaging on the Hill Audio S8 is well-defined. Left to right sound localization pans out well and instrumental hits are distinct. It doesn’t sound too intimate nor is it too wide. There is great retrieval as well.



The silver bass boost acoustic filter of the S8 has a thin layer of white cloth on the mesh itself which was the major physical difference against the black (fully bare metal mesh) and the blue (thin layer of almost metal-like mesh). The decay of the sub bass is the filters most notable signature change, it enables the S8 to have a clouded effect on the lower frequencies although the impact and thump is still average. The mids are more laid back as well on the silver filters and the higher frequencies took a hit, note that it already lacks the needed treble presence on the blue filter.


Hill Audio S8’s lack of treble bite on its blue reference acoustic filter is addressed by the black treble boost acoustic filter, the change is subtle and still doesn’t render the S8 sibilant yet it is great that the filters do actually work. It is also to be noted that the black acoustic filter has a bare metal mesh which might have attributed to the higher frequencies being able to have more presence. The midrange still sounds great and the upper midrange has better extension.



The Hill Audio S8 hype is lower than the saying “under the radar”. Most of you who have reached this part of the realview only found out about this IEM right here on my blog. Priced at $65 with the Audio Pro pack, the S8 offers a variety of signature that suits different needs. The filters do actually function as they should and it is good that there is even a small rubber bearing to allow a really secure fit of the nozzle and not have it dropping somewhere. It checks out all the needed aspects of great budget friendly IEM in terms of sound quality, build and accessory set, not to mention that reaching out to the seller itself is easy. Do note as well that they are about to update the Super Saver cable with one that has an over the ear guide which the current one didn’t have. All in all, you may not have heard of the Hill Audio S8 IEM being talked about but if you ever get to try one, you’d love hearing it again.

More reviews on my site,
http://audiorealviews.site/

Being in this audio hobby is oftentimes a roller-coaster ride. One day you find aiming for a specific set of gear only to find another release being propped out of the blue. Knowledge Zenith however has a different way of doing the roller-coaster ride. 1 day they release a 10 driver IEM and then follow it up immediately with a little brother. What we have now to realview is their recent hybrid IEM, the KZ ZSA. Thanks to Linsoul/DDAudio for providing the review unit in exchange for an honest review. The KZ ZSA is currently priced at $19 and you can grab a pair from Linsoul/DDAudio which you can grab at their DDAudio/Linsoul Amazon site and their Aliexpress store as well, DDAudio/Linsoul AliExpress. The KZ ZSA sports a single BA driver coupled with a single dynamic driver. A Frequency Response of 7-40000Hz, 18Ohm Impedance, 101dB Sensitivity and metal housing which comes in 2 shades, grayscale and a red/black faceplate/shell combo. With a lot of other options out there on the $19 range, some even coming from KZ themselves, is the ZSA have anything significant to offer? Let’s dig in.




Okay, nothing to see here really. Packaged in a semi-glossy white cardboard box with the ZSA outline silhouette and black fonts stating the brand and model of the IEMs inside it. This is already a standard among the entry-level KZ lineup and the ZSA is no exception. Opening the box itself reveals the ZSA immediately covered by a clear plastic sheet and the ZSA embedded on a black plastic mold, underneath this black mold is the stock cable, warranty cards, manual and 3 pairs of black stock KZ silicon eartips with the M size pre-installed on the ZSA. The cable used is a 1.2M round braid copper cable on a gold plated 3.5mm L-plug with strain relief both on the jack and the Y-split yet no cable cinch which would have been appreciated since the Y split sits lower than most cables I have tried. The cable is easy to store and easy to tangle as well even though it’s a braided cable and glad to have found that it isn’t microphonic as well when used on the go. The memory wire on the cable near the .75mm 2pin connection had a thin metal strip to aid in the memory wire conforming to your desired shape. The IEM housing itself is a 2-part faceplate/shell union and what we have now is the red/black colorway.



The faceplate has white printed “hybrid technology” on it and 3 horizontal vents with a metal mesh underneath and 3 installed allen screws which isn’t painted black, the shell is a matte red with L and R markings on each. I wasn’t a fan of these silhouette yet after sometime it wasn’t that bad except for the in-your-face “hybrid technology” on the faceplate. The included silicon tips that came with the ZSA is clearly a mismatch for it and it is highly recommended to get a 3rd party tip hence in this realview, the Final Audio Type E was used due to its perfect bore size that matches the ZSA nozzle nicely, at 1st it was weird not seeing a nozzle lip to aid with tip security however the Final Audio Type E didn’t come off when the IEM was removed for the duration of the realview, a metal mesh is also present on the nozzle which is good.



The 1st foray I had into the KZ lineup was the AS10 and that was a welcome sound which was easy on the ears, the ZSA showcased similar tonality after the “necessary” burn-in which this time around reached 150 hours. The ZSA gave out a relatively flat response which didn’t show aggressive emphasis on the lower and upper frequencies. Let me drop the ball this early, I prefer the ZSA over the AS10 in overall sound, the AS10 had slower decay on the bass which I wasn’t a fan on how the effect caused the overall sound to be warm however the other frequencies were similar between the 2. I used the Opus 1 and Xduoo x3ii churning out 16/44 FLACs on multiple tracks under the One More Light, Best of Olivia Ong, Fleetwood Mac Greatest Hits and Dead Mau albums.


DeadMau’s Cat Thruster track played a soft thumpy bass. I would have preferred a more full-bodied bass on this aspect but it is great that this still allows for a cleaner definition for the midrange tones. The sub bass plunges deep and sounds very easy on the ears even when used with more powerful sources. The ZSA’s low-end performance showcases a well-controlled bass that isn’t thin or too powerful. This can satisfy your regular need of low-end kick.


Although the ZSA sounds rather flat overall, its midrange execution comes out alive and kicking. RUN D.M.C’s Peter Piper in 16/44 showcased clear and definite vocals even when the various instrumental tones kick in. It has great articulation on each vocal and instrument presence. The low-midrange performance is also clean and gives out a smooth transitional kick for the overall midrange sound. Upper midrange is delicate.


Nigel’s Stanford’s Cymatics in 16/44 Flac started smoothly on its low-end and midrange delivery yet when the upper frequencies kick on the 1:03 mark there is a soft treble bite without too much shrill which is further reinforced on the 2:04 mark. Note that the ZSA’s also emanates well the increase in both low and high volumes. It is best that this be properly driven with enough power which is should also be clean which doesn’t mean that this is hard to drive though. Trying the Sansa Clip+ on the ZSA is underwhelming.


The ZSA faceplate features 3 grilled vents which should account for an affinity of an airy soundstage in relevance to IEMs however testing it out using Tom Jones’ To Love Somebody in 16/44 Flac gave out a spatially intimate width and has clear depth to it. Trying out the Beatles’ Hello, Goodbye still showcased an intimate soundstage with distinct imaging but also shows that the ZSA can also pan well with left to right instrument presence transition. The vents on this IEM don’t do a lot this time around.



Launched along with its famous siblings, the KZ ES-4 and the ED-16 which I am yet to try out gives the ZSA 1 distinct feature among its peers which its metal body and kind of weird silhouette. It is however comfortable to wear over long periods of time especially with your choice of ear tips. The ZSA comes with a good stock cable at best and along with its sturdy build and comfortable silhouette while still being able to give out a rather flat response with subtle focus on the lower midrange and a soft treble bite gives the ZSA a chance to be included in your entry level collection.

Brainwavz Audio is at it again with their signature Earpad products but this time around they have another trick up their sleeve in the form of their new “Micro Suede” material. I’ve had my fair share of using suede from Puma’s suede sneakers and DC’s skate’s shoes as well and they were some of the most comfortable sneakers I had, in and out, but isn’t the most durable as well. This would however be my 1st encounter of suede being used on an earpad surface. What we have now to realview is the new Brainwavz Oval Micro Suede with Memory Foam earpads, thanks to Marlon for providing this pair in exchange for an honest review. It is currently priced at $26.50 with free world-wide shipping and a 12-month warranty, you can check it out at the Brainwavz official site, Brainwavz Audio, they also have this statement to claim for the Oval Microsuede Earpads “extra comfy pads are pure indulgence, providing our softest and most comfortable pads to date, designed to give extra relief for longer extended use.” We would put that to the test then.

Brainwavz Oval Microsuede dimensions:

Thickness: 30mm

Height: 110mm

Width: 90mm

Inner Hole: 45mm x 70mm



The packaging is the same Brainwavz signature packaging for all their earpads or maybe just for the one’s I tried, it is a minimalist translucent plastic ziplock pouch with a built-in hanger and the Brainwavz Earpads printed on them. No manuals are included whoever more information about the Brainwavz company and their vast earpad offerings are included in the form of a paper insert, their social platform links are also provided for future contact with their support group which is great. It is great that they kept in mind the minimal packaging so as not to increase production costs and be environment-friendly. Right out of the pouch, the earpads was very soft and smooth to the hands, nowhere near the suede that I am used to which is a bit stiff. The stitches are well-spaced and no loose ends which may lead to breakage with constant remove/install of the pads.



As the name implies, these are made for Headphones that possess the oval earcups which they also made a list of headphones these supports such as the following;

• Brainwavz HM5
• AKG 701 Q701
• Audio Technica ATH-M50 (and all other M50 sub models)
• Shure SRH 440
• Koss DJ100 / DJ200
• Takstar HI 2050 and Pro 80
• Ultrasone HF 580 / SH 1 Pro / HFI 780
• Sony MDR V6 / ZX 700
• Fostex T50RP T50
• M-Audio Q40
• JVC S500S

Those who have 2nd thoughts are free to reach out to the dedicated Brainwavz Support team, Brainwavz Audio Support, for more information. After having personally used these, the actual dimensions are indeed an estimate as the leather silhouette that is being used to attach to the earcups itself is flexible and can undergo quite some force of stretching to fit your headphone’s although the leather used is a bit thick and for headphones which uses slim lines for those earpad outlines like the Meze 99 Neo’s might find themselves struggling and eventually not fitting these but for headphones with wider earpad outlines and is near the advertised dimensions, you are good to go.



The Brainwavz Oval Microsuede is plush and fluffy to the hand and that is very evident when used with your favorite pair of headphones, I was able to squeeze out around 3-4 hours of use with the Sony CD900ST’s on them. The included memory foam also conforms well to any individuals head after letting some of my friends try out the headphone’s attached with the Oval Microsuede’s. Using it on a room with air-conditioning can push the 3-4 hours to 4-5 hours of use with occasional adjusting yet no great build-up of sweat however on a room with no AC on, comfort is still great yet build-up of sweat would already appear after the 2nd hour of use. It is a really comfortable pair of earpads to use which if you factor the stock earpads of the CD900ST which only lasted at a maximum of 30 minutes of use and that Is pushing it already.



Haven’t I mentioned that these pads are thick? No, right? Well, they are! They might be fluffy and soft however they create a totally big gap with your ear-to-headphone driver gap ratio which tames the upper frequencies a great deal. The signature emphasized upper frequency and treble presence of the CD900ST was pushed back and replaced with a multitude of sub bass presence which reverbs on the gap created by these pads. It was however a welcome signature change in a way for the CD900ST which still allows the treble hits and peaks cut through occasionally.


The Brainwavz Oval Microsuede replacement earpads is another well-built and well-though product from Brainwavz. It hit all the right spots with the comfort and build quality aspects which is already to be expected from a company like Brainwavz and anything inferior will be considered a flop. The materials used on the Oval Micro Suede scream premium which is most likely to stand longer sessions of wear and tear. They have also stood their ground for their claims for these earpads. The sound changes however is a thing to note when considering these pads, be sure that the stock pads or the one’s you are used to using and replacing also has the similar ear-to-headphone driver gap ratio so as not to throw you off your preferred sound preference.


More reviews at my site, http://audiorealviews.site

There are literally thousands of $20 IEMs out there that is not made to target the audiophile market but the masses who are happy with just being able to hear their tunes or watch their daily dose of media shows straight out of their mobile phones and laptops. Enter the Brainwavz Zeta IEMs and competition gets interesting, we are talking about IEMs you’d usually find on your MAC centers here and the entry level audiophile IEMs as well. The Brainwavz Zeta uses a single dynamic 10mm driver with specifications of a 10 Ohm impedance, 20 Hz - 20 kHz Frequency Response, Sensitivity of 103 dB at 1 mW and a Rated Input Power of 3 mW. Thanks to Marlon of Brainwavz for providing the review unit in exchange for an honest review, the Brainwavz Zeta is priced at $20 and you can grab them at Brainwavz official website, Brainwavz Audio, along with all of their other audio solutions. Brainwavz also mentioned that the Zeta’s will “Energize your day” with “Exceptional Sound and Comfort”. Here’s to hoping it delivers.




The Zeta’s came in a small translucent pouch with a built-in hanger, the pouch uses adhesive for sealing it and after some repetitive close/open actions, it is unusable, would have been cool if they used the ziplock pouch which they use on their earpads packages. The package is simple and has some interesting quotes like “24-Month warranty” which was confusing since their site says it has a 12-Month warranty. It also quotes “Smooth Detailed Bass, Lightweight Design and Comfortable Fit”, we’d get back to these later on. Inside the pouch is a tiny ziplock pouch which stores the included 3 size black silicon eartips (S, M, L), 2 red rubber earbud housing loops and a black shirt clip. A cool accessory set for $20. The Zeta’s themselves are in a separate pouch and has a velcro strap keeping it intact.



The Zeta’s has a fixed cable which is black all over and has excellent strain relief on both the Y-split and on the 80-degree gold-plated 3.5mm plug. A cable cinch is also present along with a single button that controls both music stop/play playbacks and answer/drop call functions. The IEM housing itself is built strudy and uses a corrugated round silhouette which is great for gripping when removing and inserting the Zeta’s, a vent is also present on the backside which upon use is almost 90% blocked. Overall the build is excellent and I have used it quite extensively at work since it can be basically tossed here and there and also on my bedside for the late-night FB videoclip scourging which sometimes is left in my ears when I fell asleep and the IEMs being rolled over when I twist and turn on my sleep and so far, it isn’t broken. So, their “Comfortable Fit and Lightweight Design” claims are marked appropriate.


Now this is tricky, right off the pouch, the Zeta’s were BASSY and BOOMY. I’ve never heard Ed Sheeran sang that low to be honest when I plugged it my OnePlus 3T mobile phone. I then handed it to my girl and it was confirmed when she immediately asked “why is this so bassy?”. I just chuckled and told her, “Burn-in”. I have decided to use a medium-sized black generic (the one you’d find randomly on some IEMs) foam tips for the Zeta’s as the stock silicon eartips weren’t giving any good seal on my ears. I also did a full 200-hour burn-in for this since I really want to know if this were any good since the out of the pouch experience was kind of a letdown. I had a really hard time choosing what I’d use of the duration of the realview for the Zeta’s and ended using my OnePlus 3T with the BlackPlayer App along with 16/44 FLAC’s and the Opus 1 as well.


There is no question that the Zeta’s cup of tea is its low-end, even after the 200-hour burn-in, the low-end is still its prominent feature. It however tamed the excessive bass bleed that clouds the totality of the sound spectrum. In Daft Punk’s “Game of Love” in 16/44 FLAC, the bass sounded boxy and impact had moderate thump on it while the decay gave a lingering effect even when the midrange comes into play. Overall the low-end sound of the Zeta is its most dominant aspect yet one that you can’t pride over much. Brainwavz claim that the Zeta’s gives out a smooth detailed bass is about 70% accurate, they did nail that the Zeta’s is a basshead IEM.


Maroon 5 came to play with the Zeta’s midrange, their “Moves like Jagger” in 16/44 FLAC which has a good balance of lows, mids and highs gave Adam’s vocals a run for his money. The midrange performance gave no notable dips and peaks and sounded pushed back at some point. The midrange is clearly laid-back and doesn’t emanate any of the lively or musical ambience the “Moves like Jagger” should have displayed at a great degree. The “Out of Goodbyes” track featuring Lady Antebellum in 16/44 sounded much more enticing on the Zeta’s rather than letting this IEM churn out upbeat tunes, the female vocals blends well in the spectrum and sounded natural but then again, the bass is still there, bass extension that is.


The highs of the Zeta’s are your peace of mind, it is almost guaranteed to never provide harsh treble peaks and gives out a good deal of articulate and detailed highs albeit at a pitch lower yet also doesn’t give out sparkle and any sizzle. It however gives a smooth sounding result which is a welcome feature at $20.


The soundstage performance of the Zeta’s is intimate and pans out rather a wee bit slow rendering an almost mediocre imaging. Left and Right instrumental hits are still distinct with also mediocre accuracy. It is very important that you find a good seal on the Zeta’s to aid for a respectable soundstage and imaging performance.


The Brainwavz Zeta is a well-built IEM for the masses which can also handle your tunes respectably. The functionality of the 1-button mic is also accurate and responsive in both the iOS and Android platforms and the cable also doesn’t give any microphonic issues when used on the go or when idle. The accessory set is great and the sound allows for a smooth experience which a heavy emphasis on the low-end, at $20 and if that 24-Month warranty is indeed applicable, it’s a no brainer to be awarded a recommendation.

More reviews on my site, http://audiorealviews.site/

I certainly didn’t come from the space race timeline nor have I witnessed significant space exploration milestones in my lifetime until now. When I first heard of the Astrotec brand, it got me thinking that maybe they are making equipment using space tech because you know, Astro plus Tec or maybe not but one thing is for sure, their products are "celestial-bodies" inspired especially their earlier iterations with the shimmering and rounded edges. What we have now to realview is the Astrotec NG30, their entry level dynamic in-ear earphone. Thanks to Astrotec for providing the realview unit in exchange for honest opinions, you can check out their official online store, Astrotec, in case you’d want to grab one. The NG30 sports a single 10mm Dynamic driver which is a DuPont multi-layered coated diaphragm and a CCAW light mass voice coil, along with these the rest of the NG30 specs are 16 Ohms, 110db Sensitivity and a Frequency Response of 8Hz-27KHz. Astrotec is quite buzzing right now with a lot of products about to be released and let see if they can build upon the NG30 on the entry-level market.




Let’s once again mention that this IEM is priced at $29.90 but when you see its packaging and presentation, you’d have mistaken in to be within the $50-60 range. The packaging is a glossy dark gray box with orange accents and labeled on the cover is Astrotec’s branding and the NG30 name along with their slogan “Explore real music”, perfect for a realview, right? The backside showcases the earphone specs and the company details. Opening up the box shows the NG30 covered with an opaque plastic cover along with the foam insert as a cushion, underneath the foam insert is where the magic happens.


Astrotec has managed to cramp a gray pouch which is built great and works awesome. They also included a silicon ear guide, 3 sized silicon tips (S, M, L) and black foam tips. The NG30 housing is a bullet-type 2-piece aluminum which had a dark hue of gun metal to them, it is robust yet had at least 2 nicks on them out of the box. There is a vent on the underside right next to rubber housing for the cable. It was easy to hold and use with the ear tips providing all means of isolation and seal so choose what’s best for you.


The cable is supple and doesn’t tangle at all when stored on its pouch, microphonics however is easily observed on the NG30. Thankfully there is a chin slider on the cable and the right-angled 3.5mm gold-plated plug also has great strain relief. With all these accessories and build quality and at the price of $29.90, the NG30 is already a winner.



Not really having heard of any Astrotec products before except for some which I already forgot made the NG30 their introduction for me as to what they can do, this time on the entry level audiophile market. The NG30 right off the box sounded smooth and mellow when I used my OnePlus 3T device for the 1st week that I had it. I also used an Opus 1, Sony ZX1, Ibasso dzero mk2 and the Sony CAS-1 to test how it scales. I had the Shawn Mendes “Handwritten” album in 16/44 FLAC on my OnePlus 3T and the NG30 sounded mellow on the midrange and on the highs with the low-end being the prominent frequency rearing its head all over, Shawn Mendes’ “Something Big” track sounded dynamic and full while clarity and detail retrieval took a back seat. It was great to find out that the NG30 can sound good on a mobile phone, warm and mellow that is. For the rest of the realview, we would be using the stock foam tips and the Opus 1.



The low-end performance of the NG30 was tested with Anathema’s “Distant Satellites” in 16/44 FLAC. The steady influx of the bass frequencies has a tight presence and creates a soothing feel that is steadily felt more than it is heard. Transitioning into “Cymatics” by Nigel Stanford in 16/44 FLAC which by the way has a great video that I would recommend you check out as well, the bass impact had good grip and was right on point in speed and the bass decay didn’t overcast to the lower midrange. The NG30’s performance on the low-end over multiple sources clearly cuts through to reveal that it is the leader of the band.


Dire Straits’ “Brother in Arms” in 16/44 FLAC took the stage for NG30’s midrange examination. The male voice in here sounded clear, guttural but still pleasant and airs out a rumble which is nice to be this audible on the NG30. Guitar plucks are clear and distinct with a soft hollow effect. The upper midrange delivery is crisp on the snare hits giving a good upper frequency coherence. Trying out Norah Jones’ “Don’t Know Why” in 16/44 FLAC gives out a breathy response with the female vocals turning clear and gentle sounding. The NG30 works well with both the male and female vocals and the upper midrange is also clear enough to please the ears.


I summoned Candy Dulfer’s “Lily was Here – Live with Dave Stewart” in 16/44 FLAC to try out for the upper frequency diagnosis and they obliged. The treble presentation on the NG30 is controlled quite well yet with a dialed back definition which I hoped wasn’t the case since the low-end of the NG30 already resonates well. The snares and cymbal crashes are crisp which doesn’t sizzle and doesn’t sound too musical. I would have loved for a more definite detail retrieval yet the NG30 still does the job.


The NG30’s low-end, midrange and upper frequency coherence showcases a rather narrow soundstage which is intimate yet not congested. Instrument separation and imaging is notable with a toned-down clarity thus attributing to the overall NG30 warm and cozy sound signature.



Astrotec has been around for some time and has already released a number of audiophile products and with their NG30 offering for the entry level audiophile market. They are hoping that it gains traction to its users for their upcoming releases. The NG30 is built cleanly and had no major aesthetic flaws. The cable although a bit microphonic works wonderfully and doesn’t tangle which is a big plus since it sports a non-removable configuration making replacing the cable a non-option when it breaks. The sound is enjoyable on a daily basis and will do good for casual listening. The accessory set is stellar along with the included black foam tips which complements the NG30 quite well. You’d be hard pressed to find a $30 IEM with the smooth sound profile of the NG30 and still get a complete accessory set that you can indeed use for the exact purpose you’d cop the NG30 yourself, to enjoy music effortlessly.

More reviews at http://audiorealviews.site/

It wasn’t long when I reviewed the Tin Audio T2 and only after approximately 2 months later, Tin Audio has decided to release a refreshed version of it in the form of the Tin Audio T2 Pro which we will tinker and see if it warrants the Pro in its name. The T2 had positive feedback from its users especially due to its balanced sound along with its exceptional build quality capping it off on a price that doesn’t break the bank. Some have even dared mod the vents it had on the faceplate, guess the price wasn’t a thing to worry on the T2 for them. The Tin Audio T2 Pro however is priced at $59.99 which is a $20 price difference, it is however recently released on Massdrop for a pre-order price of $49.99, feel free to check it out. The T2 Pro sports dual dynamic drivers in 10mm woofer + 6mm tweeter configuration but is tuned to please even more, the T2 Pro still comes with an Impedance of 16Ω, 12-40000Hz FR and still on the MMCX interface albeit with a higher quality component of which is not stated in the manual. With all these configurations and price difference, is the Tin Audio T2 Pro really a Pro to cop or a Con?

Note: Part of this realview might be similar as well with my T2 realview especially regarding the packaging, build quality, the stock cable and the accessory set.




Packaged in the same white glossy white cardboard box as the T2, the T2 Pro package only differs with the Tin HiFi branding placement and of course the Tin Audio T2 Pro model name on the upper front corner. The Tin Audio logo is also present and is well-thought, one that I would be proud to parade. Opening the cardboard box reveals the matte navy-blue book with a cream palette interior which is very pleasing to the eye, Tin Audio nailed this one, again. The manual covers the T2 Pro underneath. Seeing the T2 Pro initially is kind of a letdown with how similar it looks with the T2 which is almost identical. Checking the manuals description for the T2 Pro's color shows "gun color" which I think is intended to be Gun Metal, at this point though, the shade of the metal used on the T2 Pro has lighter hue which made identifying the T2 Pro easier despite having the T2 and T2 Pro being put side by side. The IEM itself has heft to it and feels premium.


The T2 Pro still has a vent on the round faceplate and another on the lower portion of the nozzle, using the foams attached on the T2 didn't block the vent when in use which is unlike other IEMs which is blocked right away when used failing to function as a vent otherwise. The cable is supple and uses the round braid, it is a 1.2M 5N OFC silver-plated wire. The male MMCX interface on the cable is transparent which adds to its sleek look with L and R markings respectively. The 3.5mm Carbon fiber gold-plated straight plug used on the T2 Pro now has a bigger housing and is silver with digitized camo on them as opposed to the T2’s gold housing with black digitized camo which is the T2 and T2 Pro’s biggest aesthetic difference. Microphonics is minimal and the Y-split and 3.5mm plug has adequate strain relief, no cable cinch was present and the included silicon tips was left untouched and unopened ever since. No pouch and case were provided as well again which would have been a welcome accessory with the price increase it had. The mentioned vents would be put to the test in our Sound analysis once again.



The Tin Audio T2 Pro underwent the “recommended” 50-hour burn in period “necessary” for dynamic drivers. I used the same tracks that I had used with the T2 which was MJ's The Girl is Mine in DSD on the Opus 1 and indeed still provided the smooth experience but there is noticeable bump on the upper midrange and treble on the T2 Pro. The lows were still defined, the midrange articulate and the highs crisp with greater extension than the T2 ever had. Progressing through MJ's Thriller album supplemented the fact that the T2 Pro is still indeed a balanced sounding product.



Tin Audio stayed true to its sound from the T2 especially on the low-end, T2 Pro’s bass is still clean and lean. MJ's “Wanna Be Starting Something” in DSD on the Opus 1 delivered a full-bodied bass impact with a non-overbearing sub bass. There are no major changes on the low-end performance of the T2 Pro against the T2 except for a subtle depth on the mid bass impact. The lows on the T2 Pro still knows when to provide you the clean and lean bass and when not to.


The T2’s midrange is its cherry on top and while that can still be said of the T2 Pro, it is clear that there is a new king in town for Tin Audio’s new T2 Pro. MJ's “Heal the World” in DSD on the Opus 1 still gives that lush outcome especially on the 1:45 to 2:02 part. Vocal range was well pronounced and the male and female vocals were still natural and still on point in clarity. The T2 Pro retains the aspect that made the T2 great and by doing so, users that would opt to get the T2 Pro over the T2 would not be losing out and having second thoughts about it.


My oh my, Tin Audio gave the T2 Pro the one thing that would complement it very well, a great upper frequency kick, what a kicker I’d say. Lenny Kravitz's “Always on The Run” in 16/44 on the Opus 1 was used to once again check the T2 Pro’s highs, the T2 was already hovering on being borderline sibilant and yet with the T2 Pro, Tin Audio still managed to add a little bump on the highs that still didn’t induce sibilance, the treble is still distinct and detail retrieval excellent. The T2 pro was able to give out great upper frequency extension and the lacking sparkle that isn’t found on the T2 when it came to town.


The vents on the T2 Pro still does the job just like the T2 does which is a good thing for those once again ready to mod their T2 Pro’s. Covering the vents indeed altered the signature which made the soundstage too intimate when covered. The T2 Pro still showcases intimate staging which reinforces the affinity it has for the acoustic genre but pans out better than the T2. Imaging was not too tight on the T2 Pro and yet still articulate; each instrument is distinguishable most of the time. With sparkle being present and the upper frequencies having the extra bump, imaging greatly benefited from these configurations.


The Tin Audio T2 Pro is released at a rather abrupt timeline considering the previous release cycles of the T2 and the T1 which makes users quite uneasy but as some say, why fix what isn’t broken, right? Then and there, that quote is highly embodied by the Tin Audio T2 Pro in relevance with the Tin Audio T2. The Tin Audio T2 was already an excellent audiophile product in itself and the minor changes the T2 Pro underwent were for me, good enough to warrant the price increase. I had previously gone about how the T2 3.5mm housing lost its gold luster after a week’s use and that is addressed by the T2 Pro with the bigger silver digitized camo 3.5mm housing, a pouch or a cable cinch is however still welcome. Although the overall look and feel of the T2 Pro is similar to the regular T2, those that are hesitant of picking up the T2 which might be a little lifeless for them would find that the excellent choice to add a minor bump in the upper frequency resulting in a still balanced sounding T2 Pro but capable of easily spicing the signature with a much-needed sparkle is in itself a great upgrade worthy of being called a Pro.

More reviews at http://audiorealviews.site/

TRN as a company is a fairly new player in the earphone market but has already made a total of 4 entry-level offerings in the form of the V10, V20, V60 and the V80 which we have now for the realview. Launching a variety of earphones that targets almost the same market is gaining traction now among entry-level earphone makers and telling them apart is getting rather slim. The TRN V80 sports Dual Composite Neodymium Dynamic (10mm woofer and 6mm twitter) and Dual Composite BA hybrid drivers, 24 Ohm Impedance, 108dB Sensitivity, 7-40000Hz Frequency Response and utilizes the .75mm 2pin connection. I tried checking for any distinct taglines that TRN was using for their V80 IEM and came up empty-handed which clearly leaves the marketing aspect to the reseller and distributors coupled with the fact that they also have no dedicated site as of the moment. Thanks to Lillian of Linsoul for sending a review unit to Audio Realviews in exchange for an honest review, you can get it for yourself for $39 from their site at AliExpress and Amazon.


The V80 is clearly on the entry-level despite it being TRN’s flagship IEM starting off with its packaging already showing minimal to no fanfare at all. Packaged in a matte white cardboard box with the V80 outline silhouette and 2 red linings with white font describing the IEM. Opening the box immediately reveals the V80 with a small flap to see the cable and 3 black silicon eartips (S, M, L) with the M being pre-installed. The included cable is a black 4-core round braid OFC cable which is glossy and soft to the touch which led to tangle most of the time despite the braiding. Strain reliefs are there on the necessary places like the lower-part of the Y-split and on the 3.5mm plug. The cable isn’t too microphonic most of the time which doesn’t affect the experience.


The IEM housings are anodized aluminum and as per TRN has 3 layers of enamel coating which is offered in 2 color options, blue and black. It is to be noted that the initial batches of the V80 had a glossy finish while the recent releases are in matte finish. No noticeable glue and kinks are found on the housing which is nice, the TRN logo is in white and doesn’t seem to come off anytime soon. 4 vents can be found on the V80 with 3 on the faceplate and 1 on the stem just before the nozzle, we’ll later see if these vents are a gimmick or if it actually works. The nozzle terminates with a lip which is great for tip rolling although having this is really a must-have, the mesh screening the nozzle is metal and is sturdy. Overall the TRN V80 packaging and its build is downright entry-level.


Not having tried the earlier iterations of TRN IEMs got me interested as to what they have to offer. The V80 realview was done using Spiral Dots eartips which supplements the V80 rather well and is nearly built like the stock tips. We’ll also use the Opus 1 for the V80 with occasional usage of a OnePlus 3T mobile phone, Sony ZX1 DAP and the Sony CAS-1. The v80 has good seal and isolation off the box and finding the appropriate tips for each user only gives a greater result. I chose to pull out Eminem’s latest Kamikaze album in 16/44 FLAC. Playing “The Ringer” already shows the V80 strength which is the low-end, cruising throughout the album and it is further confirmed, the V80 is warm and even on the “Stepping Stone” track which has occasional upper midrange and treble bursts are still moderated by the sub bass decay that lingers on the spectrum.


We would have to guess that the V80 was indeed tuned by its makers to be used in the tropical regions of the world with how the lows are delivered. The sub bass impact and texture on the V80 is full-bodied and borderlines congestion already when turning up the volume. The bass performance however is cleaner than the sub bass and gives an overall pleasing reverb on the V80 signature. This would be respectable for the bass heads and will be a welcome treat for those needing their shot of bass every once in a while.


The midrange performance of the V80 is where it takes a backseat. Vocal clarity is decent at best with the male and female vocals sounding natural. It does however perform fairly better on the male vocals with the air it gives whilst the female vocals are often times sounding a pitch lower than it should be. I would play more of the masculine oriented albums that I have on this rather than forcing my way with acoustic female singers.


TRN V80’s performance on the upper frequencies is totally something to be wary of. The occasional treble peaks of some tracks will sometimes disorient the overall presentation while still being able to hear that mid and sub bass lingering on the background. Sibilance is not observed on the V80 but the aggressive nature of the highs which can also be mistaken for detail retrieval and clarity might shoo some listeners off, good thing the low-end compensates for the excessive highs which will lead you to not really use the V80 on treble heavy tracks.


The V80 makes use of 4 vents to supposedly provide a wide soundstage. The right to left and left to right transition of instruments on some busy tracks are distributed on a narrow feel giving an intimate overall, imaging is distinct attributing to the aggressive upper frequency nature of the V80 despite having an overall warm sound. It is however noteworthy that when non-treble-heavy tracks are played, the V80 performs rather well in the soundstage and imaging department with great resolution, just don’t pump out those treble-heavy tracks, please?


The TRN V80 is a flagship In TRN perspective and also in the uber cheap audiophile market and they are indeed in that regard. Make no mistake, they posses no outstanding features and the sound is decent at best yet when factoring TRN’s intended market, they are no question, a recommendation. The build is solid with no rattling or factory blemishes here and there, the sound is on the mellow and soft side of the spectrum with random flares from the upper frequencies gives it a stable overall signature. For all those who just started in this audiophile journey, the TRN V80 is a nice place to take off and for those seasoned enough, a perfect gift that would do justice for your effort or as a daily beater that doesn't stray from an audiophile standpoint.

More reviews on my page, http://audiorealviews.site/

There are a number of intriguing facts about Vietnam that is still unverified due to my personal lack of direct communication with a Vietnamese from decisively emerging victorious from the Vietnam War against a totally large nation despite the war being North against South originally and to having heard that Vietnamese students loving to question their professors when a topic is unsatisfactorily tackled and finally is the familiarity of the “Nguyen” name within their circles, I would bet that most would automatically think of Vietnam upon hearing Nguyen and after taking some research works, the Nguyen name supposedly means “Musical Instrument” which I found a coincidence for me to find out about this and then have a direct involvement with their culture in the form of being fortunate enough to check out their home-brewed audiophile brand, Nguyen Customs Monitors.

Nguyen Customs Monitors offers various audiophile services yet their distinct attribute is crafting Custom IEMs initially for their countrymen and now ready to take it on the international stage. They currently have 9 offerings and what we have now to realview is their NC5-V2, the middle child caught right in the crosshairs ripe for all audiophiles that doesn’t settle for the entry level and plays it safe not to go immediately for the flagship. The NC5-V2 features 4 BA drivers and a single 10mm Dynamic driver with 4-way crossovers, 20Hz to 20KHz Frequency Response, utilizes the triple bore nozzle, 19 Ohm Impedance, 111db Sensitivity, MMCX connection and a single screened vent. Thanks to Thomas of NCM for sending the NC5-V2 loaner unit over and letting me get intimate with it in exchange for an honest review. Those interested to secure a pair can check out their site, Nguyen Customs Monitors.
Packaged in a strapped black pseudo-pelican case with a cursive silver NCM logo which is really heavy for a portable case yet does well in protecting the NC5-V2, I did try to sit and stand on it which luckily didn’t break since this is only a loaner unit, imagine it breaking with the IEM inside and yours truly will surely be taking one for the team. Inside the case is 2 more portable cases, 1 is a black velvet pull-strap pouch again with silver NCM branding and the other is a zipper type case which uses velcro straps to attach to the pseudo-pelican case, making it a dual-purpose pouch that can be removed when you need a bigger container for the IEMs yet not wanting to sport the heavy black case. They do include a cleaning tool and cloth except the tool wasn’t in this one, it is standard though as per checking and the stock cable came installed with a plug cap.
Priced at around $540, the NC5-V2 is an investment in its own stake already, right out of the box, the NC5-V2 emanates the $540 the user has paid for except for the stock cable which reminded me of my old dual dynamic IEMs circa 2014 which was nowhere near the price bracket the NC5-V2 is at now. The stock cable is a 4-core OFC black cable with stress relief on all the necessary places, Y-split and on the 45 degree 3.5mm gold-plated plug, memory wire is also present to aid the cable for over ear use and has large white L and R markings. The NC5-V2 IEM itself is all 2-piece shell-faceplate union and running my finger all throughout the IEMs themselves only showed a slight dimple on the left earpiece and on the upper outline of the faceplate near the nozzle, these mere imperfections can’t be perceived with regular use and only during carefully scrutiny.
The IEM nozzles had no issues during tip rolling and worked best with the Spinfits after trying the Spiral Dots, Sony Hybrids and Final Audio Type E tips, the rest of the realview would be done with the Spinfits as well. The nozzle also utilizes the 3 bore design with the main bore being reinforced with metal and the other 2 are naked. The vent is strategically placed to be near the dynamic driver rather than being on the BA drivers as well and is almost 1/3rd the size of the main bore on the nozzle. The IEM is marked with a gold NC5 marking for the left earpiece and a silver NC5 marking as well for the right earpiece. Design is subjective since those who elect to secure a pair will have the option to fully customize the NC5 aesthetics for their liking.
Checking NCM’s site will greet you with a recommendation that the NC5-V2 is a sub-bass enforcer which doesn’t let the midrange and the highs all get lost in translation. We would be using the Opus 1, Spinfit eartips and a Fiio OFC balanced cable for the realview. I indeed tried the stock cables for around 2 weeks and it did its job well but having the option to use balanced is an opportunity I can't pass up, after all we are here to find out how this sub-bass enforcer sounds and using it balanced just pushed the NC5-V2 harder than the stock cable. Black Eyed Peas "Hey Mama" in FLAC 16/44 cruised smoothly on the NC5-V2, the waves of sub-bass that occasionally shows itself is profound and resonates fast and cleanly, the male vocals are presented naturally while the female vocals are smooth. The highs are clear and distinct. Balanced tonality overall.
Testing the lower frequencies was done with Daft Punk’s "Game of Love" in 16/44 FLAC which gushes tremendous amounts of mid bass and sub-bass while still incorporating all other infrequencies. All throughout the song, the existent sub bass has excellent texture which meshes well with the lower midrange creating a smooth bass response. The mid bass and bass attack and decay is accurate and clean. The NC5-V2 will make you question if you are a basshead or not with just 1 dynamic driver and a vent working harmoniously, safe to say that NCM’s recommendation that this is made for those looking for stellar sub bass is appropriate.
Where is the love? It is all over the place with the NC5-V2, Black Eyed Peas "Where is the Love?" in 16/44 FLAC provided some conscious euphony, don’t get me started with the wordplay here. The lower midrange is admirable, gives the lows further distinct body overall. The male vocals modulation can be picked up easily in transition and doesn’t sound too organic nor robotic. The upper midrange specially at the 2:54 mark was punchy and very engaging. The opening salvo of Black Eyed Peas "Don’t Phunk with my Heart" in 16/44 FLAC also dispenses accurate and articulate harmonics. Thumbs up for the BA performance on the midrange.
The NC5-V2’s performance on the upper frequencies are to be noted, Fleetwood Mac’s "Don’t Stop" in 16/44 FLAC delivers subtle high notes that are none shrilling and peaks quite smoothly. Pumping up Amy Winehouse’s "Cupid" shows that the NC5-V2 doesn’t shy from being aggressive when needed, the occasional peaks were crisp, sharp and detailed. Keep in mind that even at the exceptional delivery of the highs the NC5-V2 was able to showcase, it wasn’t fatiguing at all even for longer listening sessions.
Spacious, this baby was able to give you all the freedom to luxuriate in without losing the diminutive details. Eagle’s "Hotel California" in 16/44 FLAC instrumental aspects were able to be rendered in depth and in great accuracy. Timbre doesn’t sound off and distinct tones had great speed and detail when being hit respectively. Your audio is kept at a distance that lets you savor your NCM experience.
Tired of hearing all the positivity arising from this NC5-V2 realview already? Don’t get me wrong, the NCM NC5-V2 isn’t perfect at all, that stock cable wasn’t the best you’d be expecting to be paired with this baby however even that isn’t crappy even at worst and when you are done questioning NCM’s decision for their stock cable choice, you’d find yourself in a stalemate with the sonic capability of the NC5-V2, you might have tried some good balanced sounding signature that gives moderate lows, midrange and highs which plays safe, sadly or fortunately (your choice) you won’t be getting that with the NCM NC5-V2, this would play with you to heart’s extent, getting mellow and aggressive real fast which is sure to be worth your while, it was with me when I had it.

More realviews at my site, http://audiorealviews.site/

Form and function go hand in hand in each and every manufactured product. The art that goes into crafting aesthetically pleasing silhouettes has always been a welcome view so when I 1st saw the Meze 99 Classics, it is clear which direction this certain headphone is aiming for and only to find out that it was from a company with emphasis on providing products with elegance and finesse. What we have to realview now however isn’t the 99 Classics but Meze own approach for an entry level audiophile product in the form of the Meze 11 Neo IEM which is thanks to their trust, we are able to secure a pair in exchange for an honest review, priced at $59.00 and can be purchased directly on their site at Meze Audio. The Meze 11 Neo has 2 shade options to choose from, Iridium and Gun Metal and what we have now is the Gun Metal version. The Meze 11 Neo is spec’d out with a single Titanium coated 8mm mylar dynamic driver, 16Hz - 24KHz Frequency Response, 16Ohm Impedance and a 101dB Sensitivity. If there were any doubts about Meze artistic perspectives, one need not look far to have all doubts dispelled and just take a peek with the Meze Audio logo, such faint opulence.




I never check unboxings of products that I am about to review to preserve each unboxing experience one to look forward to and when the Meze 11 Neo arrived, bubblewrap and all. I was dismayed when I saw that the box was damaged due to courier handling. Although the box was all roughed up, the unboxing experience was still delightful, the 11 Neo’s came in a white smooth finished box with an attached hook on top and the specification sheet on the underside, separating the top and lower boxes reveals the 11 Neo’s placed on a molded foam with a round matte zipper case and once again, the opulent Meze Audio logo on it. Opening the case shows the shirt clip, 3 sized silicon tips (S, M, L) and 1 bi-flanged tips yet the main attraction was the included Comply T500’s which is what we would be using for the duration of the realview after trying for 2-3 days of going back between the bi-flanged or T500 to get a feel of which would showcase 11 Neo’s optimal performance.



The unboxing joy continued on when I found 2 Meze Audio stickers! What a way to get an initial user to be a fanboy, I am already. The 11 Neo driver housings, y-split and 3.5mm housing are all aluminum which cries out superiority over all those who choose plastic. The rounded approach all over the product was evident on the concaved shell housings and rounded edges on the y-split and 3.5mm housing. A 1.2m 7N OFC cable was used to run through the IEM and included was a mic control with only the play/pause-accept/drop function, it doesn’t tangle too much and is thick enough as well, not sticky and compliments the Gun Metal color quite well. Subtle microphonic is observed when used and not bothersome even during listening sessions. All in all, one should savor going through the 11 Neo’s package and build for the precise work they did this.


Being Meze’s entry level representative, one should get a hint to whatever house sound are they aspiring for in this one. The Meze 11 Neo’s sound right off the bat shows a fairly soothing low-end and midrange rendition. It is clear that they aimed this to sound neutral which they successfully did, it is however noteworthy that it also has more emphasis on the low-end than the brilliance aspect which resonates a warm signature, well controlled warmth at that.


Meze 11 Neo doesn’t sweat taking on the lows, it provides a well bodied bass if not full at best, Anathema’s Distant Satellites in 16/44 FLAC on the Opus 1 provides an almost thumpy midbass that doesn’t sound thin at all. All throughout the track, the sub bass also slams cleanly creating a reverb that diffuses fast yet softly creating the ambient warmth signature more prominent. Boomy bass is not an attribute one can find on the 11 Neo but the clean and smooth bass performance is its forte.


Incorporating the midrange on a well bodied low-end often requires an accentuated midrange to lift the vocal range on the levels that is distinctive. Michael Jackson’s Baby Be Mine in DSD2.5 on the Opus 1 lets the male vocal burst through the frequency intimately and blends well, crisp and clear. It is gentle, don’t be looking for those peaks here and there for the 11 Neo keeps the midrange on a delicate and accurate tone. MJ’s The Girl is Mine in DSD2.5 on the Opus 1 as well sounded engaging with no noticeable sharping of the treble and upper midrange, timbre is constant.


Taking queue from its color, 11 Neo’s Highs are almost gun metal like, cold and dark, not ideally the words you’d want to see on the higher frequencies yet the highs of this IEM compliments the low-end and midrange excellently. Daft Punk’s Beyond in 16/44 FLAC on the Opus 1 delivered great high frequency attacks and gives great clarity and definition on instruments. No piercing peaks and shrills as well, this is how an 11 Neo gun metal shoots everybody.


Daft Punk’s Within in 16/44 FLAC on the Opus 1 creates a rather intimate club ambience and great detail retrieval, specially on the 1:00 minute mark. Instrumental placing is distinguishable. Coherence with the low-end, midrange and highs makes the imaging definite. Do take note of the crash cymbals on your tracks when using the 11 Neo’s and you’d find it easily identified and a very fun ordeal to spot here and there.


We have established the Meze 11 Neo’s overall sonic performance and it is a balanced sounding piece with a very calming low-end that lets the midrange and highs cut through effortlessly. Throughout the realview, the Opus 1, Hidizs AP200, Sony ZX1, Sansa Clip+, Sony Cas-1 and OnePlus 3T was used with often times the Opus 1 and CAS-1 churning out the DSD’s and the rest 16/44 FLAC’s. The Meze 11 Neo synergizes the most with the neutral sound of the Opus 1 and did exceptionally well with the OnePlus 3T as well. The Comply T500 also works best with the 11 Neo’s so they might have done this on their own R&D since I have done a whole rotation of JVC Spiral dots, Final Audio Type E, Sony Hybrid tips and the Comply T500 was the perfect match, great seal and isolation.


Made with the aim to craft elegant works of art transitioning to audiophile products, Meze 11 Neo gives its user a glimpse of the world they work in. Showcased in a complete package with precise determination of not leaving the entry level users alienated, the inclusion of the Comply T500 and Meze Audio stickers welcomes those who venture into their product with open arms. The Meze 11 Neo provides a balanced sound with a touch of warmth and robust build quality to ease you into their other offerings. Comparisons with other products are welcome yet inessential for they approached their products on a level of careful scrutiny, from build, sound quality to price which preference will only precede such. Unlike the witch that offered Snow White with a fatal apple, Meze offers its users a delicate treat you would be coming back for more.

More reviews on my page, http://audiorealviews.site

They say the higher number of drivers in an IEM doesn’t translate to stellar sound quality but instead how it was implemented. The tendency of determining the performance of an IEM by solely relying on the number of drivers used in an IEM is a topic that will get audiophiles want to chime in, and speaking of audiophiles, it is safe to say that most are no stranger to Knowledge Zenith, popularly known as KZ. Their aggressive marketing strategy and their spam of numerous product launches for prices that are cheap in comparison to other audiophile offerings have made them the ultimate choice for new audiophiles hungry to be in the scene. What we have now to realview is their current flagship in terms of their pricing scheme, the KZ AS10 which was provided by DD Audio in exchange for an honest review, you can secure a pair for $55-$65 depending on store discounts from their respective stores in Amazon and AliExpress. The KZ AS10 is spec’d out with a whooping 5 Balanced Armature per earpiece, 20-22,000Hz Frequency Response, 32 ohms Impedance and a 106dB Sensitivity. I tried to dig out more information about the BA’s used on the AS10 and hit no luck, no further information is present on any of their marketing platforms.



The AS10 was packaged on a black matte box with nothing but a subtle KZ logo on the front and some minor company and product information sticker on the side. Opening the flap will reveal KZ’s special note: Don’t forget, the original intention of using earphones is to enjoy music (changed for correct grammar and spelling, not that its important). That was a nice conditioning note in my opinion, one that will remind you of the AS10’s price when judging its performance. The package included 3 silicon tips (S, M, L) with the medium tips pre-installed. The foam inserts had a metal plate with the KZ logo and the reminder again that this is a 10BA IEM. Underneath the foam inserts were the silicon tips, warranty card and a manual on how to use the AS10 and not much product details. It also hid the cable underneath which was a 1.2M round braid copper cable on a gold plated 3.5mm L-plug with strain relief both on the jack and the Y-split yet no cable cinch which would have been appreciated since the Y split sits lower than most cables I have tried. The cable is easy to store and easy to tangle as well even though it’s a braided cable and glad to have found that it isn’t microphonic as well when used on the go.



The memory wire on the cable near the .75mm 2pin connection had a thin metal strip to aid in the memory wire conforming to your desired shape. The IEM itself was a smoky black on the faceplate and a solid black on the shell leaving no way to admire the insides yet it has a clean maroon chamber with the KZ logo in gold print and the L and R markings near the 2pin sockets. The included silicon tips that came with the AS10 is clearly a mismatch for it and it is highly recommended to get a 3rd party tip hence in this realview, the JVC Spiral Dots M was used due to its perfect bore size that matches the AS10 nozzle nicely, at 1st it was weird not seeing a nozzle lip to aid with tip security however the Spiral Dots didn’t come off when the IEM was removed for the duration of the realview, do note as well that the mesh for the AS10 nozzle is embedded inside providing a tube-like aesthetic where one might think that the mesh came off.


Knowledge Zenith aka KZ has been ruling the budget level market for sometime now and is already a household name in various audiophile groups specially in the SEA region but this is my 1st KZ IEM to have ever get intimate with, I am not familiar with the KZ sound but the AS10’s tonality lies on the warmer sector of IEMs, throughout the duration of the realview, the signature of the AS10 doesn’t alter much irrespective of the ear tips and file format used which is a good thing to see on this price range, we’d find out later on if this scales well on various sources given its 5 BA setup, I have used the Opus 1, Hidizs AP200, Sony ZX1 players all churning out 16/44 FLACs and the Sony CAS-1 desktop system for the realview.


The Lows has never been my preferred frequency when considering my affection for an IEM and providing sufficient low-end is enough for my preference. The AS10’s performance on the low-end is composed where the sub-bass extends in a clean transition for the frequencies to mesh well with the lows, it presents the midbass with a thump that is full bodied and impactful that doesn’t linger. The Black-Eyed Pea’s Greatist Hits playlist in FLAC 16/44 was a joy to run through as the low-end performance of the AS10 was panned equally providing pleasurable and non-fatiguing low-end experience. This is not your bloated type bass IEM that just throws the whole dynamic off but the type that allows cohesion across frequencies.


Tackling the Midrange frequencies for the AS10 gives it a smooth ambiance feel and the vocals are energetic and lifelike in delivery although it is on the softer side in its presentation, male vocals are breathy and often times emanates reverb that gives it a distinct sense of air even for softer modulations of the masculine gender. Female vocals mimic the sense of masculine presence, Norah Jones’s Come Away with Me and Land Del Rey’s Cherry was lush and full, inviting and will indulge the listener to relax and take it easy. Even Foo Fighter’s Best of You still retains the authoritative vocal presence and still clear and had great resolution. I even used the AS10 for movie watching for its great performance on the midrange.


Great low-end, Great midrange and a touch of subtle sparkle on the highs would make the AS10’s highs its official weakest link which if targeted specifically will still find one losing out, listening to Angela Bofill’s Angel of The Night on the AS10 is a luxury you can afford without being at risk of piercing highs.


It is a joy for any ensemble member to find their band having individual awareness of where to position themselves amidst sudden and abrupt formation and the AS10 does this well. Soundstage is less than that of a cinematic feel yet no congestion as well is observed, it handles dynamics well and imaging is fleeting yet articulate. There is definite detail retrieval. The Spiral dot tips did well for the seal and isolation aspect for the AS10 and would recommend it over the Comply T500 and Final Audio tips after using all 3 ear tips.


The AS10 did well with pairing it over various sources, from bright, neutral and warm sounding sources, it didn’t exhibit heavy adapting behavior when paired with such sources yet only sounded fuller when fed with more power. I have enjoyed it most off the Sony CAS-1 with its ability to give the AS10 its well-blended frequency delivery and smoothing the low-end impact even more. Overall pairing the AS10 on a source that would enable the low-end to exhibit a cleaner sound will make the AS10 sound its best.


KZ has flushed the budget level market for some time now and have always eluded me, given the feedbacks I have heard from other previous KZ users, the AS10 is a great IEM to start exploring the KZ line which allowed me to hear what they are capable of. The build quality is something to be improved specially that nozzle design and the ear tips included would have made the AS10 a better package overall. The cable quality is great for its price and adding a cable cinch will complete make it even greater. The AS10 sound performance enables a cohesive sound across all the frequencies resulting in an experience that will welcome any user to the KZ dominion on a good note.


Check out more realviews on my page, http://audiorealviews.site

You may have not known this, but I’m an avid fan of all things Sony. Ever since I have 1st tried using any of their products, it has drawn my attention and adoration, from the industrial form factor to the stealth black hue they use on almost all of their products. I then found myself gaming on their platform, watching using their televisions, connecting with their mobile phones and even shooting photographs on their system so when I made the jump into the audiophile world it is only natural for any audiophile to have heard of the already legendary Sony MDR-CD900st. I eventually grew interest and coveted to have the right to own the CD900st. Luck was on my side when I finally was able to secure one. Those who own the CD900st will readily and easily tell you the stock earpads it came with might be its most vulnerable flaw for its claim of being legendary.

Having checked options to have this flaw sorted out, I came upon the company Brainwavz Audio, which if you are into headphones are renowned for their HM5 earpads. I was ready to pass through them since I have known all along that they haven’t made a dedicated upgrade alternative for my CD900st and instead struck on the Yaxi’s. Only to my surprise to find out that they have released just barely a month ago their very own Cherry to my Pie. Brainwavz Audio officially supported the Sony MDR-CD900st! And for all the crazy things I’d do for my quest for a full-on transformation of my CD900st, I contacted Brainwavz Audio for a shot at checking out their Sony Replacement Earpads for not only the MDR-CD900st but also for the MDR-7506 and V6 which we all know share similar earcup outlines. Excitement turned to joy when they agreed to cooperate for a Realview for the full lineup of their Sony Replacement Earpads which can be purchased direct from their site at Brainwavz Audio. I’d like to thank Brainwavz Audio specially for the trust and enthusiasm of Marlon of Brainwav for being one of the reasons this Realview was possible and only 2nd for my passion to have my CD900st sounding at its best while being comfortable.The New Sony replacement earpads from Brainwavz comes in 3 distinct offerings, the Brainwavz Replacement Sheepskin Earpads, Brainwavz Replacement Perforated PU leather Earpads and the Brainwavz Replacement Perforated PU leather Earpads which all comes with memory foam.


The whole line of Sony Replacement Earpads from Brainwavz for the MDR-CD900st, MDR-7506 and V6 all used identical packaging materials and inserts. The packaging is a minimalist translucent plastic ziplock pouch with a built-in hanger and the Brainwavz Earpads printed on them. No manuals are included whoever more information about the Brainwavz company and their vast earpad offerings are included in the form of a paper insert, their social platform links are also provided for future contact with their support group which is great. It is great that they kept in mind the minimal packaging so as not to increase production costs and be environment-friendly. We will now have the realview be specific on the 3 different offerings of the Sony Replacement Earpads from Brainwavz.

Note: The Sony Headphone used in this realview is a modified Sony MDR-CD900st (modified with a 3.5mm to 3.5mm detachable stock cables using standard 3.5mm gold-plated plugs) and driven by the Sony CAS-1 Audio Speaker system and an Opus 1.



Brainwavz Perforated PU leather Earpads($19.50)

Form factor and Build: The Perforated leather earpads by Brainwavz had the most appealing aesthetic look for me in their 3-choice lineup of the Sony earpads. It had the most contrasting silhouette against the monotonous CD900st layout. The stitches on the underside of the earpads are spaced equally and the cutout is shaped on the Sony Headphone layout it was made which indeed when used was easy to install and the flexibility had a good tension on them, you might have a slight feeling that it would be torn apart yet no such thing will occur. The cloth used on the earpads which will be the only thing getting in between your ears and the Sony drivers are soft and thicker than the stock pads and even on the Yaxi stpad2 that I have. The memory foam used on the Perforated leather earpads are soft and supple. Don’t even dare comparing this with the stock pads. Just don’t.



Sound Changes: Using the Perforated leather earpads compared with the stock pads doesn’t alter the CD900st’s tonality at all yet makes the treble and upper midrange be controlled way better than the stock pads. The lows are also diffused better creating a better soundstage effect. Isolation also underwent significant improvement with the seal being better overall attributing to the plush memory foam which contours well with the shape of the head as well as any facial hair, this might appear trivial to some but to those who has sideburns will say otherwise. It is great that what made the CD900st a legend is not lost in exchange for getting the comfort offered by the Perforated leather earpads.



Comfort: The Perforated PU leather earpads by Brainwavz seats flush on the ears and when in contact with the skin provides a smooth and soft feel, the clamping force of the CD900st is almost non-existent on this. I have managed to have tried this while my hair was still longer and it was still good just make sure your hair doesn’t get in the way too much and after a visit to the barber, the Perforated leather earpads worked even better. I was able to use it for an average 4-5 hours after having the need to move them a bit for ventilation.



Brainwavz PU Leather Earpads($19.50)

Form factor and Build: The PU leather earpads had the best complimentary look with the CD900st out of all the 3 offerings by Brainwavz. It has the no non-sense form factor, the perfect example of how the stock earpads for the CD900st should have been all along. It has identical build quality with the Peforated PU leather and only lacking the perforations.

Sound Changes: The PU leather earpads has identical seal and isolation benefits with the Perforated PU leather earpads, having attached the PU leather earpad on the left and the Perforated one on the right, the changes are subtle with only a minor upper midrange being less distinct on the PU leather. The lows still has great diffused effect on them like the Perforated ones.

Comfort: When worn, it also seats flush on the ears when in contact and also provides a smooth and soft feel thanks to the memory foam and the clearly high-quality leather used. The only noticeable difference I have really noticed with the PU leather earpads in comparison with the Perforated PU leather pads was the ventilation that was really extended on the Perforated ones, make no mistake, the PU leather is still comfortable for longer use yet the Perforated got me using it way longer around an hour longer before the need for some ventilation.

Brainwavz Sheepskin Leather Earpads($29.50)

Form factor and Build: The Sheepskin leather earpads is Brainwavz’s top of the line offering in their Sony replacement earpads. It uses real sheepskin which I think is from BaBa (the black sheep). It still utilizes the same memory foam used on the other 2 offerings and identical form factor as well as underside stitching which are both top-notch. The cloth to cover the drivers are still the same as well.

Sound Changes: The Sheepskin leather earpads has similar effects with the PU leather earpads when attached to the CD900st and the main difference is only the comfort level which is a premium on the Sheepskin sibling.

Comfort: The texture and feel of the leather used on the Brainwavz sheepskin earpads is what sets it apart from the 2 other offerings, it is indeed way smoother to the skin and also doesn’t bother as much when the sweat starts to occur as compared with the PU leather and the Perforated ones. It has similar usage rate with the Perforated leather pads with the PU leather being the least comfortable in my opinion yet still a great deal of improvement over the stock pads.


The legendary Sony MDR-CD900st has already been around for quite a long time and has seen a multitude of 3rd party earpads wanting to be the perfect compliment for them. Brainwavz decision to finally have a dedicated line for the Sony MDR-CD900st, MDR-7506 and V6 triumvirate has been long time coming and shows their dedication to offer premium products that isn’t half-baked and stand being criticized for jumping the bandwagon. The strategic pricing of their lineup also warrants approval since they indeed offered great value for money specially for audiophiles who put the Sony triumvirate on a pedestal like I do. It is a great complimentary piece which indeed raises the bar higher for the Sony triumvirate. The comfort provided by the 3 offerings as well as the sound improvements makes these earpads worthy of being worn together with the Sony legends.

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There’s a notion in us when hearing the word Tin, being a metal itself has the “sturdy” linked to it but not the type that will stand some beating. Then there’s the Tin which we all know is associated with cheap and low-end. For a company to use Tin in its company name shows their gamble or they might have a reason for choosing otherwise which we might know soon. What we have now to realview is the Tin Audio T2, the successor to their former audiophile offering, the T1. It can be purchased at Amazon and AliExpress for $49.99. I would like to thank Tin Audio for sending the T2 in exchange for an honest review. The Tin Audio T2 is a dual dynamic IEM in 10mm woofer + 6mm tweeter configuration with an Impedance of 16Ω, 12-40000Hz FR and sporting the comeback of the MMCX interface. Tin Audio’s slogan of “Listen and Enjoy every day” will be put to the test with the T2 as its champion.
Packaged in a glossy white rectangular cardboard box, printed on the lower left front is the TIN HIFI branding and the T2 model name on the upper front corner. The Tin Audio is also present and is well-thought, one that I would be proud to parade. Opening the cardboard box reveals the matte navy-blue book with a cream palette interior which is very pleasing to the eye, Tin Audio nailed this one. The manual covers the T2 underneath. Laying my eyes on T2 for the 1st time is a very positive experience, only the rounded edges and the color resembles the T1. Checking the manuals description for the T2’s color shows “gun color” which I think is intended to be Gun Metal. The IEM itself has heft to it and feels premium.
It has a vent on the round faceplate and another on the lower portion of the nozzle, using the foams attached on the T2 didn’t block the vent went in use which is unlike other IEMs which is blocked right away when used failing to function as a vent otherwise. The cable is supple and uses the round braid, it is a 1.2M 5N OFC silver-plated wire. The male MMCX interface on the cable is transparent which adds to its sleek look with L and R markings respectively. The 3.5mm Carbon fiber gold-plated straight plug used on this one was already turning silver after a week’s use however the 3.5mm plug itself is still gold-plated which is the important thing. Microphonics is minimal and the Y-split and 3.5mm plug has adequate strain relief, no cable cinch was present and the included silicon tips was left untouched and unopened ever since. No pouch and case were provided as well. The mentioned vents would be put to the test in our Sound analysis.

The Tin Audio T2 fresh off the box was already sounding flat and after the recommended 50-hour burn in period which is observed for this case since the T2 is a dual dynamic IEM. Listening to MJ’s The Girl is Mine in DSD on the Opus 1 was a smooth and easy experience. The lows were defined, the midrange articulate and the highs crisp. Progressing through MJ’s Thriller album supplemented the fact that the T2 is indeed a balanced sounding product.
Get your bass clean and lean, that is true for the seafood and the T2’s bass performance. MJ’s Wanna Be Startin Something in DSD on the Opus 1 delivered a full-bodied bass impact with a non-overbearing subbass. Adding a bump on the T2’s low-end will greatly alter the experience and signature so a controlled bass aspect as appreciated. The lows on the T2 knows when to provide you the clean and lean bass and when not to.

Tin Audio’s Midrange is its cherry on top. MJ’s Heal The World in DSD on the Opus 1 provided a lush outcome specially on the 1:45 to 2:02 part. Vocal range was well pronounced and the male and female vocals were realistic. It is clear that this is made for listening to acoustic music. The midrange of the T2 will be the reason you’d be wanting to add this on your shopping cart.

No peaks and no shrills. Lenny Kravitz’s Always On The Run in 16/44 on the Opus 1 was fun way of exploring the T2’s highs, it hovers on borderline bright yet still pleasant to the ears, no piercing highs and the treble is distinct on this. Considering how the highs works coherently with the non-overbearing bass of the T2 ensures the owner to a relaxing experience. This might not satisfy listeners who put a premium on the treble extension and sparkle but for a critical listener who adores their audio all flat, this is a great deal.

Remember those vents? That is the only time you’d ever get a sense of being airy if there was ever one on the T2. Covering the vents indeed altered the signature which made the soundstage too intimate when covered, I’m glad this a functional design and not some gimmick to add to the aesthetic aspect of the T2. The T2 exhibits a pub-like staging which reinforces the affinity it has for the acoustic genre. Imaging was tight and articulate; each instrument is distinguishable most of the time. Clarity comes a close 2nd to the T2’s midrange for its primary weapon of choice.

Get a neutral sounding DAP, pair it with the Tin Audio T2 and that is where you will get its optimal performance. The Opus 1 had 90% of the share for this realview for the fact that it compliments the T2 very well. Pairing the T2 with a warm DAP like the Sony ZX1 will make you lose interest on the T2 faster unless you are a guy who uses it on the go and getting an ambience of “Hmmm” is your cup of tea. The T2 when paired with the Hidizs AP200 was a close call between the Opus 1, I just found the highs on the T2 too emphasized.

The Tin Audio provides a balanced sounding affair, a great stock cable (note that I was able to carefully unscrew the 3.5mm gold plug and see the internal solders it has without the cable breaking apart) and excellent build quality makes at an easy product to love. Adding a cable cinch and a pouch or case and the T2 warrants a “must-buy” recommendation regardless of the competition it is facing on the $49.99 market. It is with joy that we can say Tin Audio T2 proudly embodies Tin Audio’s slogan of “Listen and Enjoy every day”.

A few months ago, a new budget tier IEM entered the market and made quite a wave in the SEA region. It went by the name of Geek Wold with their debut IEM product, the GK3. The GK3 uses 3 dynamic drivers which is a feat in itself, so far the only triple dynamic IEM I can think of is the new Unique Melody 3DD-Ti which is priced almost 60 times the GK3, let that sink in. The GK3 also has a 20Hz-20KHz FR and 8ohms impedance which is indeed designed for portable device usage.
The Geek Wold GK3 can be purchased for $19.99 at Penon Audio which I would like to thank as well for lending the review unit in exchange for an honest review.

The Geek Wold GK3 came in a black matte cardboard box which had the Brand and Model printed in gold with the tagline "born for extreme audiophile", interesting though, let's see if it is indeed intended for the GK3 or for Geek Wold's aspirations. Underneath the box is the IEMs specifications and maker.
Upon opening, a warranty card in white with fancy floral prints covers the overall IEM itself. Included are 2 sets of blue-bored silicon tips which upon use is not too soft not too hard yet leans on the more shape retaining form. We will be using stock tips that came with it during this realview. No other accessories are provided and that is expected at the price point it is offered.
The GK3 is made for batman's sidekick, the shell is all in black as well as the 4 core OFC cable and with the carbon fiber finish faceplate, it already looks premium for its price. It also has a metal-finished cylinder Y-split with the Geek Wold brand on it. The cable has no cinch and not that microphonic when used on the go. The typical round braid is used as well and makes the cable curl and tangle a lot when not store properly. The gold-plated 3.5mm plug is in the L orientation and has adequate strain relief. The cable is also fixed and non-removable, not an advantage or disadvantage for me but for those who are thinking of how to fix them in case the cables break, it would be harder than usual. I personally like this orientation specially for the target market the GK3 is made for, being used daily and on the go.

I initially used the GK3 on my Sansa Clip+ playing Adele's He won't go in mp3 and the lows were the most dominant frequency you'd notice even after the song progresses. I continued on through Adele's 21 album which is a vocal oriented album and still GK3's warm tonality is still noticeable. After the "recommneded" 50-hour burn in, I used the Sansa Clip+, Hidizs AP200, Sony ZX1 and Opus 1 playing Adele's 21 album with all in 16/44 flac except the Sansa. The seal and isolation of this IEM is good but since I have a bigger outer ear space, I tend to wiggle them around some more and helps with the overall sound. The GK3 exhibited the warm tonality across all DAPs used.

The lows of the GK3 is its calling card, appreciating the lows of the GK3 is the reason you'd be loving this IEM. The subbass of the GK3 isn't bloated and tubby although it would sound fuller when being powered by the AP200 rather than the Sansa and my OnePlus 3T phone. The impact the subbass creates specially in Foo Fighter's Over and Out is easy to love. Although the bass speed is moderate and its impact sometimes extends further than desired. If your playlist is focused on the lows, you can start smiling if you plan to get the GK3.

The Mids of the GK3 is the aspect where it relaxes. It doesn't provide stellar performance and neither does it disappoint. The vocals are breathy and is presented in a manner that lets the lows still take the attention. Norah Jones's Don't Know Why in 16/44 would show a good level of clarity. Those who adore and put a premium on the Midrange won't be wowed by the GK3 but would't turn their ears away as well. A safe play for the GK3.

The Brilliance area of the GK3 was the aspect where we can find fault in and still at the price point it is offered, finding fault on the Highs of the GK3 is a tough task. Playing Lily Was Here by Candy Dulfer in 16/44 was a fun experience, the instruments are articulate and distinct. The treble isn't peaky and no shrills will be experienced unless we all push the volume up(who would?). I was carefully looking for a time when this GK3 would sound tinny even when knowing the lows aren't weak but still struggled. Finding sparkle and extension on the highs is were we can expect Geek Wold to work on for their next offerings.

Move away, not too far, not too close but sometimes on top of each other. That statement best pictures the imaging this IEM offers. Details sometimes gets hard to pinpoint except for the time that the instruments are being articulate enough which we can attribute on the music itself and not on the GK3. You'd find sometimes that depth is missing. Soundstage leans on the intimate side and never in the wild.

Having identified the GK3's strength and weaknesses, I still went on the pair it with multiple sources and genres. The GK3 paired best with the AP200 which is a balanced sounding player with emphasis on the highs. This might struggle with uber warm players as the Sony ZX1 with GK3 already is my least favorite combination. I also loved how it tackled vocal oriented songs and are great for acoustic listeners and those that love their bass down low are in for a good time.

The Geek Wold GK3 is an easy recommendation and is hard to fault with specially being a debut offering. Make no mistake, this is not "born for extreme audiophile" but I'm glad Geek Wold has the ambition to excel, we are looking forward to their next launch. The build and sound quality is on the safe side so you'd get your money's worth with the GK3. I love using it with Sony Hybrid tips and would have loved to see a cable cinch but overall the Geek Wold GK3 is good buy for all of us.

Launched 5 years ago, the open back AD900x headphone is smacked right in between Audio Technica’s High Fidelity series spearheaded by the new ADX5000. With all the contenders in the mid-level open-backed headphones market from the Brooklyn built Grado’s, German built Sennheiser’s to the New York based Hifiman’s. Is the Audio Technica AD900x headphone still even relevant in 2018? Let’s find out.


The packaging was a simple white box with “AIR” printed on the front and opening the front flap reveals the headphones, there’s only a 6.3mm adapter included, would have loved a travel bag. The AD900x weighs 265g and made of plastic all over except for the honeycomb aluminum casing, the cable is wrapped in matte rubber and retains the initial tangle once removed from the box, it also an OFC (oxygen-free copper) cable to note. It’s fairly long which lead me to shorten it and also change the plugs to a standard gold-plated 3.5mm plug, the lone difference we would be having compared to a full stock ad900x.

The foam pads used on this are soft and not irritable to the skin for me, however it gets hot on my head after only about 2 hours of use, that’s even having my hair fresh off the barber. The weight doesn’t bother me at all and is not an issue as well as the ear-wing type support used which I’ve known to be a headache for some. Overall, packaging is downright simple, build is somewhat on the cheaper side specially if you place this beside the Meze 99 yet ample when placed beside the Grado 225e but will last you a long time with proper use. Comfort is a breakeven experience, as much as the earpads are comfortable, it is also vacuum.

Let’s clear this up fast and on point, the AD900x is clearly bright, once again, CLEARLY BRIGHT. I’ve tried to pair it with the warm sounding Sony ZX1 and the bright signature is smack present. It just doesn’t lean on the bright side, it sits and lays there.

When I stated that this set is bright, it’s just best that we get straight to the bass performance of this cans. The bass here is presented rather weak and struggles to deliver weight. The sub bass isn’t powerful and nor does the mid bass provide punch over this region. It is ample not to be honky yet it doesn’t also provide a controlled grip. I didn’t expect much on the ad900x’s bass and I got what I expected, although it didn’t disappoint, it didn’t overwhelm as well.


I first read and knew about the ad900x’s being a strong contender in the 150-200USD region and that was attributed to how well they performed in the midrange and the upper frequencies. When I first got this, I was using the cd900st as my go to cans and this sounded a tiny bit fuller on the midrange as compared to the cd900st however the detail retrieval and on the cd900st is far superior. The midrange on the ad900x also sounded less realistic and natural than the cd900st. It’s just a matter of preference on this one at least it did perform way better than the bass region.

The ad900x is borderline edgy on the higher frequencies and the polar opposite of the mellow highs which I found on the Audio Technica WS1100is which was also almost steely but since I prefer the strong emphasis on the highs, I regrettably parted away with my ws1100is over the ad900x. Take note that despite the ad900x’s borderline edgy highs, it still handles the higher frequencies excellently. I found it delicate and crisp. Absolutely a recommended can for audiophiles who adore their highs and put a premium on it over other frequencies.

Being a frustrated gamer, I was looking for superb performing cans on the imaging and soundstage aspect and boy did we hit jackpot with the ad900x. Going back to the build being plastic all over just adds to the fact that this is light on the head and with the imaging on this which articulately spaces the dynamic facets of audio resulted in a great gaming performance. But you ain’t all gamers so back to audiophiles, Pink Floyd and Chris Botti did great on this, delivery was fast, had depth on each and pace was on time and definitely distinct. This one held up the marketing of Audio Technica being airy with that bold caps “AIR” on the packaging.

The ad900x is easy to drive, it sounded good even on the Oneplus 3T and did sing lightly on the Sansa clip+, on the Sony ZX1 player, it was not hard to like and a nice departure with the noticeable edgy highs you’d get when used with the Hidizs ap200. It sounded most natural on the Opus 1 but most of the time I’ve been using it with the Sony CAS-1 which gave the most compelling performance of its strengths and uplift the bass weakness it had specially when paired with the Hidizs ap200.

The ad900x is a compelling offering from Audio Technica specially those unfamiliar with their other series except the M series. I haven’t tried any of those since I didn’t have any reason to except now to finally see how the A, M, R and WS series of Audio Technica diverges. The WS series is clearly the way to go is you are after overall aesthetics and knowing how popular the M series, it’s a typical safe choice. You’d only be convinced to pick the ad900x if you’re after the best possible gaming headphone while also hitting the right boxes of your audiophile side (except the mic function). The extended highs and great midrange and overall easy drivability makes the ad900x easy to love and keep. I still have my doubts of keeping this can until I try the rivaling Grado’s on this price range (only tried the sr60e, sr80e and ps500e) but since I already half-pulled the trigger with modding this with a removable cable to roll with one’s that has the mic function, the Audio Technica ad900x just might be a keeper after all.



Note: Some tracks used during the realview are as follows;



True Colors – The weekend (FLAC/24-44)

Over and out – Foo Fighters (FLAC/16-44)

Starting Over – The Crystal Method (FLAC/16-44)

Grey Skies – Josh One (FLAC/16-44)

Pink Panther theme – Henry Mancini (FLAC/16-44)

Money – Pink Floyd (DSD 2.8)

Tomorrow – Alicia Morton (FLAC/16-44)

Bangarang – Skrillex (FLAC/16-44)

Don’t Know Why – Norah Jones (DSD 2.8)

The Hidizs AP200 that we would be realviewing was purchased independently so no affiliation and influence from Hidizs whatsoever would impact this realview. Hidizs was founded in 2009 and released their 1st music player way back 2014, the AP100, roughly 3 years after, the supposed successor for the latter was released in September 2017, the AP200 (this should be 100 times better, right?) which initially started as a Kickstarter project resulting to 943 backers which successfully received their respective AP200’s. The Ap200 was able to secure JAS (Japan Audio Association) and CEA (Consumer Technology Association) certification to ensure a high-quality sound device inside and out, priced at USD $299 for the 32gb and USD $399 for the 64gb, it targets the heavily contested mid-tier audio player market.


Offered in both Aluminum Alloy body in Silver, Black and Blue hues and Stainless-Steel body with multiple rear panel options including Glass, Rosewood and Carbon Fiber, aesthetics was indeed taken into account by Hidizs to cater the mid-tier market. I opted to get the 64gb Stainless steel Carbon Fiber weighing at roughly .46 lbs or 210grams to compliment my trusty pseudo steel finish Acer Aspire F15. Driven by Quad core Rockchip 3188 processor, 1gb of RAM in a deeply customized Android 5.1.1 utilizing Dual ES9118C DACs and the TPA6120A2 AMP chip, on paper this should feel similar to our old flagship android user experience way back 2015 with emphasis on audio, similar to the LG v20’s target market a year ago.

Package in all matte box embossed with the Hidizs branding and model number upfront with the backside adorned in silver lettering spec sheet. The sides would show the serial number as well. This would sit well on our shelves for the box fetish in us. Lifting the cover would immediately reveal the player with a pre-installed screen protector which wasn’t applied really well and showed bubbles underneath, they should have done a better job here although a spare is provided. Inside one would find the AP200 case, USB Type C cable, warranty card and user manual.


Right of the box and grasping the player, the 1st thing that comes to my mind is that this is THICK! The typical stainless-steel feel is evident and the form factor coupled with the build material makes one to be feeling like holding a gym barbell, this might be good for some which would assure you that this is built sturdy yet when I was using it regularly, it is already hefty enough for my khaki and denim pockets.
The left side play/pause and volume up and down buttons have great click responses although when using the included plastic clear case, the accessibility and ease of usage of these physical buttons fall drastically. The plastic clear case is the way to go over the Hidizs ap200 leather case which I purchased separately, it is nowhere easy to use and the cut outs of the leather case which was made to be inserted from the bottom made it very hard when using the power on and off button for turning off the display when in use as it slides the leather case down thus disorienting the whole display and physical side buttons and one would need to push it back up again, a waste of leather case materials and consumer expenses, I personally just use it for looks now. The latest firmware being 0.2.8Beta was installed and used for the duration of the realview and overall it was better than the initial firmware used on the ap200, the UI is more responsive in comparison to the initial firmware. Note that this is 1st a music player but since it has the Android playstore, I decided to install the usual suspect applications Youtube and Facebook and boom, one word, DON’T.
This player is not a phone it would take around 2 to 3 minutes before one would finish typing any username along with the @gmail.com, password and keywords before you get what you want off Youtube and Facebook. Spotify was then installed and used to stream regularly, no software issues were encountered. Accessing the settings page is easy and all the necessary options are there along with in-line remote option which surprisingly my Fiio F5 with inline Mic doesn’t work. The gold shielded 3.5mm jack is built like a tank and should be commended, I think this would last longer than most average players except Sony along with the Type C connection as it blends well with all my devices, it’s great when a single Type C cable handles all our gears, right? Overall the build quality of the device is great yet the weight might turn off some, the handling is not your best buddy either as well as the UI though it would suffice for daily usage for a user who just let his whole playlist run through its course.

Dual crystal oscillators and gold-plated Dual ES911C DAC chips that supports almost all music files an audiophile nowadays uses from FLAC, APE, WMA, WAV, ALAC, Apple LOSSLESS, DSF, and DSDIFF and Native support for DSD 64/128, PCM up to 384Khz/32bit, this mid-tier player got you covered. Bluetooth 4.0 and Apt-X support is there as well, those wanting LDAC and Apt-X HD might need to wait for the ap300 if it would ever come. I opted to fill up the 64gb internal memory 1st with FLAC and DSD files with some mp3’s for fun and conduct my realview off there. The Sony Cd900st with Yaxi pads stpad2, Koss Porta pro with Yaxi pads, Kinera Seed with H3 cable, Fiio f5, Audio Technica AD900x and Black Bud Red were used in the realview, I will mention which gear and track was used on each observation. I tried the Black Bud Red, a 32-ohm bud from Good Sound Gadget, this exhibits warm with great clarity for its price signature, using the DeadPool OST Album in FLAC, Ashes was presented calmly with the sub bass resonating all over the song yet Celine’s voice still climbs above, Nobody Speak guitar plucks was crisp and DJ Shadow’s rap was laid back, each rap outro didn’t exhibit excellent thump. All out of Love’s guitar plucks was still crisp yet the sub bass here is more controlled. Next up is the Koss Porta Pro with Yaxi pads, note that this can exhibits bass heavy signature with great control and couple with the Yaxi pads, sub bass is further refined. Ashes was still presented calmly and now the sub bass wasn’t resonating anymore and Celine’s voice has more body and clarity. Nobody Speak guitar plucks are still crisp and DJ Shadow’s rap is a wee bit clearer yet rap outro still has shallow thumps. All out of love’s guitar plucks are still crisp and sub bass controlled as well but the vocals are more airy, ample Air Supply maybe? Next up is the Fiio F5, I’m personally not a fan of this for its warm signature yet it has its own place for that particular characteristic, warmth. Norah Jones’s Don’t Know Why opened up great, imaging was noticeable albeit intimate, separation was delivered well too and Norah sang clear and lush while each opening note when she begins each stanza, vocal extension is greatly observed. Come Away with Me was subtle and detailed, Norah’s vocals here are airy and sparkle is to be found, I normally hate the f5 for not being able to at least showcase this. I finally pulled out the cans, 1st up is the Sony cd900st, a classic in its own right due to its reference sound, it does lack punch yet has ample punch on the low end. The ap200 easily drives this, identical tracks were used and the vocals here are clearly highlighted, mids and highs are very detailed, separation and imaging are clean and mimics a small conference room, clarity of different instruments distinct sound are distinguishable. The ATH AD900x was also driven quite well by the ap200, staging and imaging right off the bat are the noticeable improvements compared to the cd900st, the midrange is similar with the ad900x cutting more into the top-end with its near sibilant ability. The bass aspects were nowhere special. I both toggled between the High and Low gains throughout and preferred to keep it on High 90% of the time. Navigation of the Hidizs player powered by Hiby was decent considering my stubby fingers coupled with the occasional hiccups of the software itself. I tried to tinker with the ap200’s Low Pass filter options and after sometime, I opted to keep it at “Brick Wall” although personally each option was barely noticeable with each toggle. Bluetooth pairing was done with the Sony CAS-1 system and it was a delight, no stutters whatsoever except when the music software stutters on itself. Battery Life was great since considering it is under Android’s umbrella, FLAC usage in pure music mode yielded around 7 hours of playback with 3 to 5 pauses ranging from 5 to 7-minute intervals. DSD in music mode came at around 5.5 hours. Volume output was at 65-80/100 95% of the time. Android mode with Spotify streaming in Extreme quality came at around 5.5 hours. I personally didn’t check Hidizs advertised battery life so feel free to check it out yourself and find out for yourself.


The Hidizs ap200 targeted the mid-tier market with emphasis on “Experience Music like never before”. It is a well-built device and has variety of aesthetic options. The weight is a double edge sword as well as its compactness. The leather case is a big NO and not a lot of 3rd party case options makes one to settle in the plastic clear case provided. Software and User Interface experience is acceptable at best and for a device already out in the market for a year, this is its biggest weakness. If by some case anyone from Hidizs reads this, we hope they take care of their software now more than ever with successive releases of entry level music players by the company, building a dedicated fanbase is crucial and from the social platforms managed by Hidizs, things are not looking great. The materials used are awesome, the use of the gold shielded 3.5mm is commended specially that it was released at a time when a noted music player it was compared to got its 3.5mm jack questioned (guess the player? it’s named N**). I wished this had balanced out since single ended use was great. The strength of this music player is in its sound. Based on my listening sessions, it clearly shows a fairly balanced signature with emphasis on the top end which paired great with warm earphones complimenting what it lacks and at a decent volume output, bright sound signature gears will be shine with this player. Did it hit the “Experience Music like never before” slogan? As much as I find its sound and synergy with most of my gears interesting, this player will be in the used market sooner than later without a feeling of longing.

I was on a month-long vacation back home when a very familiar parcel arrived in my workplace, the Kinera Seed Yin or Kinera Seed black as most would call it which retails for $49 and is a hybrid single Dynamic with a Balanced Armature driver configuration. It was sent directly by the Kinera group for me to be reviewed. Note that this is my first attempt at reviewing an audiophile grade item so feel free to close the page already but it wouldn’t hurt if by chance you would see through this realview until the end, see what I did there with the “Realview”, a novice trying to sound cool. Before the review, a quick description from yours truly, I started having this audio hobby way back 2013 when a friend introduced me to a local audio group and found the glory there is in Hi-Res audio and the chain from the source file to your earphone ear tips will greatly impact how a gear would produce sound. I’ve had my fair share of research and experience and personally prefer neutral sounding gears leaning towards the brighter side but so much about me and let’s get back to business. Going back to the Seed Yin, the package was made of matte white cardboard box loaded with the necessary information one needs about the IEM (In Ear Monitor for those not familiar), take a good look on them before you proceed onward.


The Seed Yin package covers the basic needs, 3 sized S, M, L black silicon tips and a rubbery snap-on pouch with red trim and a pale “Kinera” logo. The 3 silicon tips provided decent sizing options, texture is great which isn’t slippery at all and not too rough as well, great for entry level personal use, no noticeable irritation was observed and for the rest of the realview, we would be using the M sized tips. The pouch was the one that got the most interest within the overall package, it is delightfully easy to use on to go and the snap-on feature is just too easy and fast to use and store the Yin Seed on, here’s to hoping they would continue providing this on the next entry level Kinera IEMs.

Staying true to its name, Seed Yin mimics your typical seed silhouette which rests easy on the ears, taken into consideration individual ear shapes, mine is of the rounder frame. Made out of 2-part plastic bound into a single earpiece, no noticeable glues are observed if ever glue was used in the first place. The backside of each is printed with a faint white Kinera Seed branding while the frontside is highlighted by gold trimmed Kinera lettering along with the L-R markings along with a vent. A gold-plated metal nozzle is used with no mesh included but instead utilizes the dual bore system so better keep those ears clean. The Seed Yin has removable cables and uses the .78mm 2-pin configuration which is widely used so cable rolling can be done if the idea is welcome with you. It is also a 6 core AWG SPC OFC cable with black plastic Kinera branded Y-split and 3.5mm gold-plated jacks.


Kinera is widely known by some either by their previous BD005 and H3 IEM’s, the BD005 showcasing the warm sound signature and the H3 showcasing the uber bright sound signature. You’d be guessing by now that the Seed Yin would be neutral? Well, the Seed Yin was marketed as such. Do take note that it was recommended to let it undergo a 50-hour “burn-in” process, for those who believe it, you’re the North, those who don’t, you’re the South which really is based on personal experience but for the benefit of the doubt, the recommended 50-hour burn-in process was done using my trusty old rockboxed Sansa Clip+. For the realview, I used the Opus 1, a known neutral sounding player, on a 110-step volume configuration and no EQ’s used. Listening to Incubus’s Megalomaniac in FLAC made me lean my head, the usual crash and ride cymbals that I wholly adore were noticeably tamed down yet the highs were easy to the ears and sparkle was barely there, the bass had the body of a supermodel, narrow but has a touch of impact to it. As the song progressed, vocals came in and there we go, it made me smirk, it was clear and crisp and had air that didn’t cloud the spectrum. I played the same song again to check if the supermodel was still there, present! I then moved mover to Pink Floyd’s Money because I needed some cash for the supermodel, right off the bat the coins falling down each side exhibited a semi-intimate soundstage the one you would feel on a private cinema or a pub, then the guitar plucks chimed in, crisp and clear but had me looking for pronounced plucks. The mid bass was there again, just showing up but not showing off and then came the vocals, David Gilmour sang definite and clear. He might be serenading the supermodel so I finished the song twice and moved over to Spandau Ballet’s True. I was again greeted by the crunchy guitar plucks but not the one similar to a roast pig’s skin, this might have been sitting on the table for a good 20 minutes losing some of the crunch. The bass was still narrow and had impact, sub-bass skinny. Succeeding songs such as Linkin Park’s Sharp Edges, DNCE’s Toothbrush, Fleetwood Mac’s Rhiannon, Shawn Mendes’s I don’t even know your name were then used and overall the Seed Yin exhibited the easy sounding nature of this IEM, mids and vocals detailed and airy, highs and treble toned down, bass narrow and had subtle impact, sub-bass echoes but doesn’t cloud. This might not have accurately represented the neutral sound signature it was targeted to achieve, it did however push the right buttons to be used on the go and for breaktime sessions that would last longer than you planned.

The Kinera Seed Yin, priced at $49 is definitely a recommended gear, sounds easy to the ears, comfortable design language which may be subjective and the inclusion of the snap on case just sealed the deal. It did however had a drawback when it was initially released as the 1st batch came with the problematic cables being tainted black in some areas, my realview unit had the stain but had no sound signature effects, I was ready to call it a bummer as who likes a brand new gear looking like it was dirtied and used but to my surprise, Kinera released a statement and updated all Seed Yin cables to a new one and sent non-tainted brand new cables and as a plus, you’d get to keep the older one. How’s that for after service. However, new purchases will come with the new cables and no replacements will be sent. See you next time and by the way, the Supermodel would still be around.