Who Am I?

I’m a 21-year-old student studying electrical engineering. I’ve been immersed in the world of high fidelity audio for a long while now and been part of the Head-Fi community now for over 5 years. With the support of the community, I have had the opportunity to attend a few meet ups, listen to various Amplifiers, DACs, and DAPs, and write reviews to contribute back! I love seeing the changes that have brought to the market, and I hope that the constant innovation and competition in the market drives better products at lower prices. I always find myself learning something new in these reviews that I write, and I hope you can learn something new too!


Equipment Used

Sources:

• Schiit “Modi 2 Uber” Digital-to-Analog Converter
• Labs “Objective 2” Amplifier
• iDSD Black Label
• Supermini DAP

IEMs:

• Heir Audio 3.ai
• HiFiMan RE-600 “Songbird”

Headphones:

• Sennheiser HD 6XX
• Sennheiser Momentum Over Ear (v1.0)

Disclaimer:

I was not incentivized by any means from iFi to write this review. I am not sponsored by iFi Audio and my opinions on the unit I was provided are my own. At this point in time, the iFi iDSD Black Label provided for this review has already been returned, and is in the possession of iFi Audio.

The opinions expressed in this review are my own. They may not be necessarily what another may perceive. Audio is subjective and your experience will differ from mine in some form. Don’t take my opinion alone to come to a decision on this unit or any unit that I have reviewed. I thoroughly believe that the best way to understand a product in the event you cannot test it is through multiple sources. Luckily for the iDSD Black Label, there are plenty of reviews to read!

I wanted to extend my thanks to the iFi Team for giving me the opportunity to express my opinion on this device, and I hope it helps you, the reader, to better understand this piece of equipment, even if you can’t see it for yourself.


Packaging and Initial Impressions:

One of my favorite things about iFi is their care in packaging. In my opinion, iFi-Audio are what other companies should strive to be in terms in packaging. They present their product not only with a fashionable and professional manner, but also in a very functional way as well. The packaging isn’t space inefficient (one of my biggest pet peeves), and sturdy. The box design hasn’t noticeably changed between this and other previous products they have released (the iUSB comes to mind personally). The packaging served me very well when setting up between dorm room, home, and visiting a friend.

The boxes came compartmentalized with many little boxes with an assortment of many cables, adapters, and other necessities for this Swiss Army Knife of a DAC/AMP. Among these cables include a USB 3.0 USB Male to Female connector from the iDSD to computer, a RCA stereo cable (male to male), SPDIF adapter, and various other adapters to meet other needs, such as pre-amping and using the iDSD as a DAC. Although these cables aren’t exactly the most “premium” in terms of build quality, they are certainly not poorly made either. However, when spending $549.99 (market price July 2017) on an item such as the iDSD, it isn’t uncommon to already have premium variants of these cables already. However, the inclusion of these cables were thoughtful and worked well in practice. Although they wouldn’t necessarily be my “end game” in cabling, it definitely would be something I could appreciate when in a bind.

But all of this aside, the design of the iDSD Black Label shouldn’t come as a drastic surprise to anyone familiar with iFi-Audio. This design is tried and true staple of iFi; using this design for years now, going all the way back to the iCAN. It isn’t the most aesthetically crazy designs on the market, however it makes up what it lacks in fashion in utility, both in size and accessibility. Being an incredibly powerful unit for a variety of reasons in a small package as well as being rack mountable (up to 4 units?!) on the iFi iRack, it seems that the design isn’t going anywhere anytime soon.

Power and Connectivity:

Oh boy, talking about connectivity options on this guy is a doozy. I’m sure that, no matter how much I write out on this, I’ll miss something in some way or another. The iDSD Black Label is so expansive in its connectivity options that it often feels unfair when many people refer to it only as a DAC/AMP since it can do so much more. It can serve any headphone or IEM under the sun with ease. LCD2? No problem, crank up the power mode (gain) to “turbo” and rock out. Got some Noble Savants? Easy peasy. Dial down the power mode, and set the iEMatch accordingly.

Inputs wise, you have three options; USB digital, SPDIF/ Toslink digital, and 3.5mm Analog. Additionally, you get three output options; SPDIF/ Toslink digital, RCA output, and ¼ in (6.3mm) headphone analog out, all in one compact package. To further the insanity, this little guy is capable of handling DSD512, PCM768, and DXD2x. While being able to use all of these capability, is nice, it is critical to remember that not all devices or software support these bitrates and container types. Certain games (CS:GO comes to mind) will refuse to output sound when set beyond 192 kHz. Additionally, certain programs will refuse containers such as DSD and DXD (iTunes, I’m looking at you). With more “exotic” file types, you may finding yourself having to put a little extra effort in to squeeze out that extra data. I know that many praise JRiver for being able to handle the majority of the aforementioned file types, and you may find yourself drifting towards this media player as your musical journey progresses. This isn’t a fault towards iFi by any means.

Connecting to all devices with the iDSD BL seemed to work flawlessly. Windows 10 was accepted without special drivers, Android (v 7.0) was no issue, and even Mac OS X Snow Leopard was without issue. The only “catch” was that the sample rate options that I had on the Android OS was limited to what Poweramp decided was appropriate for that day. I very well could have missed the options where I could change that but I wasn’t able to for the love of this review. Regardless, although I constantly praise the sound quality of the LG V20, carrying the iDSD wasn’t remotely a fair competition. Sure, I can gloat about how much I love to sprint, but put me next to Usain Bolt, and you now have an understanding of the significant rift these two devices have. But I’ll leave those details for later on.

I tried my hand at a detailed table this time around, and these were pulled directly from the manufacturer at this link here.


Sound

I actually had the pleasure of listening and reviewing the new EL Stack right before I was able to listen to the iFi iDSD BL. With their surprisingly close price points, with the iDSD sitting at $549.99, the EL AMP stack sits at a combined $528.00. With impressions fresh in mind and notes on hand, I was very happy to set these two solutions against each other.

However, you may say, “Hey, hey, hey! Hold up just a second! Those two solutions are completely different! One is restricted to a desktop with dedicated power and the other has modularity and portable form factor! How on earth are you going to compare them?” Before I had learned about the unit a little bit and received it for review, I would have absolutely agreed with you. From a spreadsheet, one would assume that the iDSD would get slaughtered in comparison to a two piece set. However, what makes this review and hobby fun is that, until you something a listen, anything can happen.

I chose a few songs that I thought were different but demanding. However, I wanted to make sure that these songs were not only demanding for the sake of being demanding, but chose a few carefully to highlight different frequency ranges. These pieces included:

· Magic (feat. Nile Rodgers and Brandy) – Mystery Skulls (320 kbps MP3)

· Burning Bright – Riot Games (320 kbps MP3)

· Very Early- Bill Evans (11289 kbps DSD 128/ 5217 kbps FLAC)

· Atlantis (Must Die! Remix) – Popeska (320 kbps MP3)

Since I had the Schiit 2 Uber and Objective 2 combo available on hand, I had used those for direct comparison with the iDSD BL on hand. I utilized an RCA switch and a program called “Audioswitcher” to switch between each source respectively whilst isolating each source from interference from each other by being directly connected.


Treble

The song that put the most emphasis on treble out of the selections I critically listened to was “Burning Bright” by Riot Games and “Very Bright” by the Bill Evans Trio, and is the focus of this section.

Starting off with “Burning Bright”, this song was chosen due to its frequent instrumentally chaotic sections. With bright vocal interludes amid the instrumentals, this piece is often a challenge to be properly presented in a couple of spots. Listening to the iFi unit compared to the JDS Labs offering and the Schiit Modi 2U and O2, the most apparent and definitive differences between them in the treble regions was instrumental separation efficiency. The vocals were cleaner, the instruments were more distinct, and the overall sound was less veiled.

However, when I played Bill Evans… oh… oh man… the reason for why people find the iDSD BL to be a game changer became quite apparent. Although the majority of this song hangs out in the midrange (and stay tuned, since we’ll talk more about this soon), the drums in Bill Evan’s “Very Early” are too perfect to possibly forget mentioning.

Without giving too much of a history lesson, the Bill Evans Trio was a jazz group that were predominant in the 1970s, known particularly for their modal and cool jazz genres. For those unfamiliar with both of these genres, modal jazz is a style that is based off of different “jazz modes”, which is well explained here (http://www.jazzstandards.com/theory/modal-jazz.htm). Cool jazz alternatively is characterized by relaxed tempos and lighter overarching tone, which contrasted the intense and complex bebop style that presided it. But, why does this matter? Understanding the genre, you can understand why it is a very ideal for critical listening. With the simplistic soundscape, the instrumentals are incredibly revealing of the faults of a given sound system. On this track, the differences between the different systems became stark. Looking back on my previous reviews, this type of music was a missed opportunity that won’t be overlooked in the future.

Self-reflection aside, this piece was a fresh slap in the face, showing why the iDSD BL is a crowd favorite. Although the only other DSD device I had available was the HiFiMan Supermini (which the iDSD defiantly trampled), I actually had multiple copies of this piece in varying formats.

For the treble, I focused on the drum kit, particularly the crash and rides. The experience was… fantastic. It was as perfect, no more than perfect, than what you could as for in the given. To be more precise about the experience, a lot of people like to describe the experience of getting nicer headphones as “removing the veiling sheet between the artist and the listener”. Using the iDSD BL, the treble was unforgivingly transparent, and the experience was like upgrading headphones all over again, but on a much more personal level. Instead of things sounding cleaner, the sound was crisp, true, and rolled off more naturally. It was surprising, and I was grinning the way any good surprise makes you do. Sure the EL Stack was good, but it felt less… well… special when compared side to side.


Midrange

I hate to drone on about the same song over and over, but the proverbial “meat” of the Bill Evans piece wasn’t the Treble- no, not remotely. Rather, the focus of this piece was centered around the midrange, with the musings of Bill Evans on the Piano and upper midrange and Eddie Gomez on the Bass covering the lower midrange and bass. In one word, I would describe the iDSD as lush. From Merriam-Webster, the term “lush” means, “appealing to the senses; opulent, sumptuous” or to be characterized by an abundance. I choose this term carefully, as… well, it is hard to describe sound to someone.

However, the iDSD BL has a special way of sounding incredibly wide, luxuriously smooth, and particularly personal. The piano from Bill Evans is fully bodied and clean while Eddy Gomez’s bass fills in the lower registers with equal but subdued presence. The midrange was so sweet that it brought back fond memories of seeing McCoy Tyner live with my father when I was roughly 10 years old. I honestly can’t remember the sound quality of the set that night, but for a fleeting moment I escaped reality and imagined it to sound like what I am hearing now.

Bass

The piece that I used to pay particular attention to bass was “Atlantis (Must Die! Remix)”. This is because this piece is not only busy and aggressive in the low range, but also extends deep into the bass. It’s a piece that I’ve heard too many cheaper, more affordable systems screw up this piece, often getting lost and getting muddy in the lower extremities.

Although the O2+Modi 2U was a surprisingly well handled combo, it was audibly dwarfed by the iDSD alone. The O2 sounded thinner and fatigueingly sharp, whereas the iDSD was significantly more bodied at the lower extremities. Additionally, the iDSD was more pronounced and instrumentation clarity was clearly in favor of the iDSD when compared to the O2+ Modi as well as the JDS EL Stack. It is a treat listening to this song with both the JDS Stack and iDSD. From the various amps I have tried, they are both the first sets at the cheapest cost that provide a bass experience that not only physically shakes my Sennhesier HD 6XX, but does so cleanly and with finesse. I’m not one to encourage going deaf, but with both sets you’ll find yourself hurting your ears before you start criticizing either set for clipping, which can provide for some really entertaining listening sessions.


3D Matrix + and XBass

One of the biggest things that I wish that the JDS EL Stack had that I still haven’t found frequently in many high end DACs or Amplifiers would be the availability of an equalizer, similar to what is available on a lot of the portable Fiio options. Although iFi didn’t exactly provide a full EQ to tamper with, they took a different but similar step with the 3D+ and XBass switches on the device. It’s funny how out of all the million frills that this device has, I am easily the most fond of these two switches. I am a particularly sporadic listener and having the modularity to change the music, no matter how small, is a huge perk to me as a listener compared to the other options out there.

The 3D Matrix + (3D Holographic Sound®) switch is one that, for lack of better description, widens the perceived soundstage of the output without perceived distortion. Reading other reviews, I notice this feature is more often than not overlooked, which is a disservice to this small but wonderful switch. However, it is hard to elaborate when not much information really exists about the finer details of this process. In my experience however, I find the soundstage to be significantly wider, at a cost of a hair of clarity loss.

XBass is a function that adds a mild bump in the lower registers during playback. Though it isn’t the most “mind blowing” or novel feature to be released on a DAC/ AMP, saying that I don’t appreciate it would be an understatement. The execution of this switch is perfect, providing a bump that is noticeable, but never overbearing to my experience. My greatest mistake I think I made in writing this review was my carelessness to neglect getting measurements on the actual differences that this switch makes in playback.

Regardless, listening to music on my 6XX, I found myself keeping both switches toggled on almost all the time. Sure it isn’t a “perfect” reproduction of the mix that made it onto the CD/ WEB based release, but the tuning that these switches provide perfectly satisfy those tiny itches that I’ve longed for that many solutions don’t have to offer. Being able to actively tune older, less bass aggressive pieces to match more modern mixing techniques and tendencies at the flip of a switch is fantastic. However, giving a little cleaner “bump” in the lower registers gives me an experience that I could only imagine the engineers of Beats would dream of. That coupled with the enveloping sound of the 3D Matrix, and I know that I’ll be definitely reminiscing the experience I had till I can get my own iDSD or equivalent offering.


Conclusions

This was easily the most difficult review that I have ever done. Not because it was a product I didn’t like, not because it was a product that I was indecisive about, nor was it a product that didn’t have a lot to talk about. Rather, it was quite the opposite. I have never had the conundrum where I didn’t know which angle to approach a product. But the iDSD BL is a device that does an awful lot, and it does an awful lot well. There was a lot to talk about, but I still think that there is plenty that I missed. Like every product I look at, I recommend getting a second persons option, but with the iDSD BL, even more so. With all the things it can do, I am sure to have missed something, and it is always good to have a second, third, and fourth opinion to weigh in.

Conclusively, I love the EL Stack, and I love my Modi + O2 combo, but using the iDSD was took the listening experience to a new level. Metaphorically, if the O2 or EL Combo was like looking at a beautifully shot professional landscape shot, the iDSD BL was like seeing the scenery in person. Sure, the professional shot is incredible, but there is something inexplicable about seeing a breathtaking view for yourself. Realistically, the differences are minute, but if you are looking at amplifiers in this price bracket, with a little research, you already know that returns on audio quality don’t often scale with price. However, the distinguishing factors between the tested tracks, such as spaciousness and accuracy, made the iDSD BL feel unusually deserving of the stark price difference that these two setups have.

Between the three setups that I had used frequently (Modi 2U+ O2, JDS EL Stack, and iDSD BL), the iDSD was easily my favorite. It had too much to offer on top of its top-notch playback that made it something special. Unfortunately for you as the buyer, iFi has provided so much that something about it will eventually make you consider it. If you get the opportunity at a meetup or at a store, absolutely get a listen, but don’t be surprised if your wallet is $550 weaker when you get home.

Spoiler: Disclaimer:

I was not specially incentivized to write this review for JDS Labs. I am not sponsored or affiliated with JDS Labs beyond writing this review. I was kindly provided the EL DAC and EL AMP strictly for review, and will return them afterwards

Throughout this review, you’ll notice that I’ll make a lot of references between the EL DAC and the JDS Labs “The Element”. This is because there were many aesthetic cues that were borrowed. Additionally, the EL DAC can be seen as an upgrade from “The Element” in the DAC department.

Packaging and Initial Impressions:

I reiterate from my review that the packaging that is done by JDS Labs is incredibly well done. It isn’t the most “flashy” packaging per se, but it unquestionably makes sure that the package reaches its destination without damage. I keep saying repeatedly that I’m not a huge fan of bulky packaging, so this isn’t exactly my favorite example of what a company should do but I’m sure that I’ll find plenty of people to argue with me on this.

Inside the large box housed multiple smaller boxes, which included the EL AMP, EL DAC, and Power Adapters for both (which are identical). The EL DAC corrugated cardboard box itself includes the EL DAC, firmly secured by two foam inserts as well as a Monoprice Optical Cable located at the bottom of the box. I will reiterate this for many companies over and over again this point that they need to start taking cues from other companies, such as HiFiman, iFi Audio, and even Apple. They really make the unboxing more than just opening a box, they make it an experience. When getting nice equipment, such as those from the Element series, having packaging to reflect that becomes expected.


Packaging aside, the EL DAC is a gorgeously designed. If you liked The Element, this design will not feel too foreign. The EL DAC ditches the volume adjustment of The Element, however, it picks up a few more input options. I’m a huge fan of both the color scheme and design aspects this has. When paired with the EL AMP, the stack is eye grabbing, and often gets positively pointed out.


Detailed Power and Connectivity:

Unlike The Element, the EL DAC picks up both Coaxial and Optical connectivity. To control this, the EL DACs ring at the front is touch sensitive, and will change color based on the input selected. Additionally, it is to be particularly noted that this DAC also supports up to 32 bit/ 384 kHz audio. This is a decent bit more than my Schiit Modi 2 Uber can do at 32 bit/ 192 kHz.



Although I haven’t had any issues running most music through the DAC at 32 bit/ 384 kHz on the EL DAC, it is worth noting that a few general computing applications struggled when trying to push audio through. An example would be the popular game, Counter Strike: Global Offensive. Additionally, it is worth noting that I had struggled using the EL DAC on a few occasions when I tried to connect it to a USB 3.0 hub. Although the max bandwidth shouldn’t get near the capabilities of the hub, many times when I would try to increase the bit depth and sample rate, it would crash the hub or disconnect the EL DAC. Direct connection to the computer solved all of these issues.

Again, since I am bad at formatting tables, detailed specifications are linked here.


Sound

Because I had previously compared strictly the O2 and the EL AMP, I wasn’t expecting a stark difference between the two DACs. I was horribly misled, and I wasn’t ready for the EL DAC to walk all over the Schiit Modi 2 Uber as definitively as it did. I put both DACs through their paces through a multitude of songs. These songs included:

• New York, I Love You But You’re Bringing Be Down – LCD Soundsystem (724 kbps FLAC)
• Weight of the World/ English Version (from the Neir Automata OST) -Keiichi Okabe/J’Nique Nicole (853 kbps FLAC)
• SHC – Foster the People (320 kbps MP3)
• Wake Up, Get Up, Get Out There (from the Persona 5 OST) – Atlus Sound Team (1047 kbps FLAC)

To test theses different DACs, I hooked up only the EL AMP as an output to a switchbox to both DACs. Both DACs were connected via USB for testing, and were swapped on the computer through a lightweight program called “Audioswitcher”, which allowed for hotkeys to be bound to different audio outputs.


Treble

One of the most notable things that I could pick out when comparing both DACs was that often, it felt that the EL DAC was “reaching” to higher frequencies than the Modi, and was more daring, which often paid off in many songs. In “Weight of the World”, the treble was more transparent, cleaner, and more aggressively driven. The Modi comparatively felt more laid back, and more “safe” in its approach. Additionally, with LCD Soundsystems piece, the crash cymbal hit higher and sharper. Although the Modi was more mellow, it felt like it was being constrained and was limiting itself. The EL DAC however was more drilling, strong, and powerful; perhaps borderline clinical. However, in typical LCD Soundsystem fashion, the drums, regardless of the DAC, become fatiguing all the same.


Midrange

“SHC” by Foster the People is a very busy song, and exposed the differences that the DACs had in the midrange pretty well. Due to the heavy and busy soundscape, the voice of Mark Foster gets easily lost in the instrumentation on the Modi. The EL DAC comparatively does a better job giving emphasis to Mark Foster, providing a wider soundstage for the discerning listener.

In “Weight of the World”, the midrange was well represented on both DACs. However, although the Modi sounds good, the EL DAC takes the music to a new level. The sound is significantly more fleshed out with more tonal expression. Although the Modi 2U still sounds good, I can’t quite put my finger on it. It comparatively feels incomplete.


Bass/ Sub-bass

I liked the Modi 2U a lot until I heard the EL DAC on the “Wake Up, Get Up, Get Out There” by the Atlus Sound Team. Oh man, the upright bass and organ are incomparable between the two. The EL DAC recreated an experience that had incredible immersiveness with particularly the upright bass that the Modi couldn’t touch. Comparatively, the EL DAC hits harder, cleaner, and fatter (but not muddier) at the lower frequencies. I was quite surprised from the experience because I thought I had a good understanding of many pieces, and my EL DAC taught me that there is always more to learn. Unfortunately I may have come down with a bug, and it won’t be solved by more Cow Bell. I may be coming down with upgraditis.

Aural Conclusions

It feels unfair that my only reasonable piece of equipment to compare the EL DAC to is the Modi 2 Uber. However, all things considered, the EL DAC easily puts the Modi 2 Uber in its place. The EL DAC beats the Modi with a wider soundstage, cleaner sound, and distinct instrument separation. I almost wanted to pin the EL DAC as more clinical than the Modi, but I found at that wasn’t necessarily the case. It simply can reach farther and cleaner than the Modi 2 Uber can. It can produce sound where vocals are more expressional and emotionally evoking.

This doesn’t seem like a fair comparison, because it isn’t. At $250, the EL DAC is 66% more expensive than the Modi 2 Uber. However, unlike many DACs that I have listened to with higher price points, the EL DAC is one of the few that are worth the upgrade if your budget allows.

Conclusions

I love my Schiit Modi 2 Uber a lot, I really do. However, I can’t stop thinking about what I’m missing when I listen to the EL DAC and even more so now that it is gone. Unlike the comparison between the Objective 2 and the EL AMP, the differences between these two DACs are significantly more stark, and they are a more accurate representation of what different price points should present. With a $100 price difference, they do hold different price brackets at $150 (Schiit) and $250 (JDS Labs) respectively.

Many people ask me what their “bang for their buck” deal is, and I often have a hard time recommending expensive equipment towards those who want to invest in a nice system. Unfortunately, the folks at JDS Labs just made the game harder, as I really do love the EL DAC, and although their price at $250 may seem steep for the newer audiophile, for the right person, it may come in as a recommendation. For the seasoned audiophile, this is also a fantastic consideration. The plethora of connectivity options and wide range of audio formats (bit depth and sample rate) available are extra icing on this fantastic sounding cake. The only thing that I can imagine that would hold back someone from this at this price point would be the lack of DSD support. Personally, I have not adopted DSD audio as much as many other users may, so the EL DAC was an incredibly welcome addition to the family for its short stay. If I had a little more scratch to work with, it very well could be a permanent addition to the equipment here at home.



Imgur Link to all images here

Packaging and Initial Impressions:

One thing that you won’t have to worry about when being sent a package from JDS Labs is that the items will be damaged in transit. For two items, the packaging used would have safely transited a small child through the postal service. Although I’m not a huge fan of superfluous packaging, I’m sure that many will appreciate the lengths (of bubble wrapped used) to ensure that both the EL AMP and EL DAC made it to its destination safely.

The actual product packaging is more utilitarian. A corrugated cardboard box houses the EL AMP with two foam inserts. I personally don’t mind this design, but I think that many companies need to take some cues from both HiFiMan, iFi Audio, and Apple in the packaging department. First impressions are special, and these companies make sure to give a presentation that is indicative of an expensive purchase. With something elegant such as the Element Series, having reflective packaging is not only ideal, but often expected.

That aside, if you are familiar with the JDS Labs Element, the EL AMP should be a very similar sight. In fact, in Jude’s words, “[the] EL AMP is exactly that – we stripped The Element of its USB DAC and left the rest”. Atheistically, it is near identical to The Element, which is well received for its sleek and sophisticated look. I’ll leave the verdict to the user, but I personally am a huge fan of the design. I love the large volume knob located at the top, and I hope that other companies take this cue. The only thing I dislike is that the light under the knob to indicate the power state of the AMP. It is often difficult to see whether it is on when in a reasonably lit room. If the area under the knob that was lit was a little wider, I think that this issue would be mitigated.

Aside from that, a USB Type A to USB Type B connector is provided. No RCA cable is provided.




Detailed Power and Connectivity

The Element was often praised for its ability to power nearly anything under the sun and the EL AMP doesn’t deviate from this. From sensitive IEMs to the power hungry AKG K7XX to the well known Sennheiser HD 6XX, the EL AMP had no problem powering anything with fervor.

Because I’m bad at formatting tables, I’ll link the detailed specifications for the EL AMP here and "The Element" here.

If you look at the specifications for “The Element” here, you’ll see that the amplification details are identical!

Connectivity wise, the EL AMP is like The Element, supporting an RCA input with an RCA pass-through output, which is active when the unit is powered off.



Sound

Although I have heard many things about The Element, I have never actually given it any extended listen. However, by using the EL AMP, I could get a better understanding on the question on whether it is a worthy upgrade from the infamous Objective 2 Amplifier.

To compare the EL AMP and the Objective 2, I hooked up a switch box with both amps to an EL DAC by JDS Labs.



Treble

The more I listen to different equipment, whether it be Amps, DACs, or DAPs, the more I realize that the treble is easily one of the most revealing aspects of the product. This is especially the case in this matchup. With treble in mind, I queued up the song “Cut Your Teeth (Kygo Remix)” by Kyla La Grange. Although the O2 more than held its own, the EL AMP brought the music to the next level. Particularly, the snapping and claps were crisper, tighter, and more powerful than its little brother. However, the EL AMP is surprisingly controlled as well, making the treble non-fatiguing in longer listening sessions.

After listening, I returned to a few old favorite tunes. Unfortunately, Amps like the EL AMP keep me sucked into this increasingly expensive hobby. Pairing the RE-600 and the HD-6XX, I was grinning like a Cheshire cat, enjoying the music, and profusely delaying this review.


Midrange

Trying to hone in on the midrange, I took another listen to Martin O’Donnells “Halo Reach: Original Soundtrack”. Listening in, I tried to pay particular attention to the vocals and strings throughout. However, the differences between both Amps were not as distinguishable. However, the midrange in the EL AMP felt fuller and more forward, but only by a hair. Instrument separation was also more clear in favor of the EL AMP but only slightly so. The soundstage felt slightly wider, and the instrumentation felt slightly “airier”.


Bass/ Sub-bass

Finally, to get a good idea of Bass performance, I listened to Han Zimmers, “Time”. The biggest differentiating factor between the two Amps became glaringly apparent as the song progressed. With the progressive intensity and bass of the song, the O2 started to lose its metaphorical footing, becoming increasingly muddy as the demands of the song increased. Distortion wasn’t audible at standard listening levels, but was unpleasantly audible at high volumes. The EL AMP however, could hold on and provide a significantly cleaner signal, even at higher power demands. This was something that wasn’t so apparent on IEMs, but was evident on both the AKG 7XX and the Sennheiser HD 6XX.



Aural Conclusions

It is important to mention that on most of my tested equipment, there were very specific cases where I could pull out qualitative differences between the DACs. These cases were either when I was using IEMs (in my case the RE-600 and 3.ai) or when I was using K7XX or the HD 6XX at high volumes. At moderate to low volumes, I was having an increasingly challenging time in blind tests deducing the differences between the O2 and the EL AMP. I challenged my colleagues to the same tests at low volumes and they had little success perceiving a difference in the first place. However, at higher volumes, they did have overarching praise for the subtly cleaner signal in favor of the EL AMP.

However, many forget that with increasing costs come with diminishing returns in performance, and this matchup is no exception. The biggest overarching takeaway that I had between the two amps was the cleaner signal provided by the EL AMP across all frequencies. However, it is notable that on the Objective 2 (6.5x gain version), I could push a much higher wattage through a given headset. However, with the maximum power of 1.5W at 32 Ohms on the EL AMP, this usually is a non-factor.


Additional Testing

Additionally, I ran a frequency analysis test using an NI MyDAQ to get discrete graphical understanding of output of a given frequency. In our case, this frequency is a 440 Hz “Concert A” pitch.

Objective 2


EL AMP

From the graphs, we can deduce that the EL AMP provides a cleaner signal when both AMPs are playing at their extremities.


Conclusions

Understanding that the EL AMP is better than the O2 in nearly every aspect, you’d expect me to give the clear green light to picking it up. However, this situation isn’t as easy answered as one may expect. The biggest factor that comes into the equation here is cost. The EL AMP at $279 is nearly 2-3 times the O2, which you can buy at $90 to $130. Though it is understood that you won’t get a 2-3 times performance boost for 2-3 the cost, the performance benefits that are gained in this case isn’t necessarily compelling either.

Who it may be compelling for is people who are looking for an Amp that will continue to scale with increasingly more demanding equipment; equipment that I don’t own. However, with this in mind, one may want to give a serious consideration to The Element if they are considering this Amp as well. The difference only lies in the DAC, which, getting the EL Stack separately, comes at near a $180 price premium. The differences between the EL DAC and The Element is briefly highlighted in my DAC review here. You can determine whether this is for you.

Will you regret getting yourself the EL AMP by any means? Absolutely not. It is a rock solid Amplifier with a lot of power to give, a sleek design, that gives a true, clean signal. However, if anything, this review doesn’t state that the EL AMP is bad by any means. Rather, it just reinforces how much of a steal the Objective 2 Amplifier is, going toe-to-toe with amplifiers absolutely out of its price range.

If you’re getting an introductory amp as your first foray into the world of HiFi and don’t want to sink too much money into this hobby, the Objective 2 may be just for you. However, if you buy the EL AMP for future scaling, quoting Morpheus from the Matrix, “You take the red pill, you stay in Wonderland, and I show you how deep the rabbit hole goes.”

EL AMP and EL DAC Album Here

Opening and Initial Impressions:
Similar to the Supermini, the packaging for the Megamini is delightfully minimalistic as well. Minor differences between the Megamini and Supermini can be seen in box color. Where the Supermini has a matte black box to match the color scheme of the device, the Megamini does the same with its white box. In terms of packaging, there was no compromises made between the Megamini and its bigger brother, the Supermini. Fantastic job again on this department. The player is again cradled decently comfortably in firm foam again with a plastic sheet covering the top. There is a small card that gives minimal information about the device, as well as a small compartment below with a few accessories, which include a charging cable… and that’s about it. The Supermini distinguishes itself with it’s accessories in comparison to Megamini.
The Megamini does not include any earbuds stock, nor does it come with a screen protector like its bigger brother. Since the Megamini does not have a balanced output, it isn’t incredibly surprising that it does not come included with in ears. Foregoing this idea hurts the value of this player, especially in comparison to other players in the same price bracket, or those in a slightly higher price bracket (such as the Supermini).
 


 
 
 
 
Design and Construction:
     This was initially one of my favorite parts of the device but quickly became one of my disliked parts of the device, due to a few quirks. Similar to the Supermini, the Megamini is also made out in a metal (Aluminum?) chassis. The device has a total of seven buttons for control. Four are directly below the display, which are the back button, reverse/ up button, forward/ down button, and select/ play/ pause buttons in order. Contrasting the Supermini, the volume controls are on the top left side of the device, with the lock button on the top right side of the device. This button layout is fairly ambidextrous in layout, with all buttons easily accessible when used with both hands, a lesson learned and fixed from the Supermini. On the bottom, there is a single non-balanced output, microSD card slot, as well as a microUSB slot for charging. There is a small impression below the microSD card slot, making adding and removing the card easier, which was a minor, but well needed improvement over the Supermini.
The device is quite attractive and eye grabbing. When using it, I was constantly asked about it by colleagues. In contrast to the Supermini, the device is of a metallic, but not reflective or matte, silver. The design is more boxy in comparison to the smoothed Supermini, which is where most of my complaints stem. The corners are deceptively sharp, and make this device a bad neighbor in the pocket, especially in conjunction with other devices with large screens. My LG V20 (Gorilla Glass 4) with its large screen took a few (a bit small) scratches to the screen when in the same pocket. When swapping out the Megamini, I haven’t had the same issue occur with other DAPs. Additionally, in contrast to the Supermini, the device itself isn’t as impervious to wear as the Supermini. On the very rare occasion that I played the device inside the backpack rather than in my pocket, I risked visible wear (minimal scratches and scuffs, but noticeable for the detail oriented) where the Supermini in comparison never exhibited such problems.




 

Specifications:
 
 
This link (Click me) will give you the specifications for the Megamini. It is to be noted that the DAC/ AMP chip configuration is not available to the public, so I cannot speak to that regard.
 
 
 
Software and Related:
The Operating System for the Megamini is quite simple and intuitive to use. Similar to the iPod Classic and Supermini, navigation of media is through a series of menus, organized by different metadata, such as Artist, Album, and Genre to name a few. The button layout and use is pretty self explanatory, which is nice since Hifiman does not hold your hand and provide instructions on its use.
The stability of the operating system was rock solid, which was pretty nice, given that at the time of review, the product was not yet released. If the device needed to be reset, the soft reset pin hole was located on the bottom left hand of the device. I had to do this only on one occasion, which  However, performance of the system was dependant on the battery life of the Megamini. Menu speeds would be slower as the battery drained. Additionally, there was a delay between pressing the unlock button of the device and it responding, which was an issue when I wanted to pause the device to chat with someone. Furthermore, this delay grew as battery further decreased.
One big miss that I noticed which was consistent with the Supermini was the lack of EQ. It is a fairly common feature on DAPs, especially in the price bracket. As a feature that could be software implemented, I hope it is an offering that could be introduced in a future software update.
Metadata was hit/ miss, with the song more often having some sort of quirk rather than being 100% perfect. Often, the album art didn’t present itself properly, which I discovered happened more frequently with higher bitrate files. However, with the multitude of different file formats tried, I could not get a definitive rhyme or reason on why it occurred on all files, but this tendency often showed itself more on larger file formats, such as FLAC. On this tangent however, I was able to successfully able to have playback on all the file formats I had available, ranging from MP3 V0 to DSD64 and everything inbetween.
In the Megamini, Hifiman decided to opt away from the OLED screen for a colored LCD screen. With this, they are able to bring more data to the “now playing screen”, specifically the album art. However, on a small display, the album art comes close to maybe 4 cm2 in size. Screen resolution between the Megamini and the Supermini felt pretty similar, with the Megamini edging out the Supermini. However, similar to the Supermini, the screen didn’t seem to have a brightness setting, which would have been welcome even more so on the Megamini than on the OLED Supermini. However, the Megamini does have a screen auto shut off, which is definitely welcome.
Battery on the Megamini is pretty solid, but doesn’t live up to the 15 hour battery life that was advertized by Hifiman. With constant usage, I find the battery life to hover closer to the 10 hour mark. Additionally, similar to the Supermini, the device does not have an auto shut off feature, so make sure that you don’t pocket the device without shutting it off first when done! You may find yourself on a long trip without any juice in the Megamini!
 


 
 

 
Sound:
As many may know, listening can be very subjective and the impressions that the Megamini have made on me may be different than the impressions that it may have on someone else. That being said, the information written here are a product of my subjective listening, and shouldn’t necessarily be treated as a one shot, end all. Rather, it should be just a piece of the puzzle, which can be expanded upon by impressions of others as well as personal listening if the opportunity arises!
 
That being said, when I listened to the Megamini after extensive listening of the Supermini, I was astounded by the similarities that I heard. To further investigate, I used a switch box and connected both players to do a direct sound comparison only to find that my initial hunch mostly correct. The soundstage sounded a pinch narrower on the Megamini comparatively, but the tonal tendencies of the treble, midrange, and bass were strikingly similar. That’s incredible since the sound quality on the Supermini is probably the best sound per unit weight I have ever heard on a portable player.


 
 

 
 
Treble
Similar to the Supermini, the Treble range is probably one of my favorite, if not my favorite part of the device. The Megamini lays down all notes in the typically fatiguing high registers with authoritative strength. The Megamini is relentless when it comes to ensuring that playback is sharp and deadly accurate, which I can’t say many portable solutions are able to accomplish. Additionally, when called upon, the treble can be controlled, but present in situations where other players may falter and overextend, especially in instrumentally dense pieces.
 
Midrange
I didn’t really appreciate the midranges of the Megamini until I gave the right songs a listen. To better understand the midrange capabilities of the Megamini, I listened to Wear by Ken Ashcorp. I mentioned in my analysis of the Supermini that for a solid state player, the sound reproduction is often deceptively warm, and the Megamini doesn’t deviate from this trend. Ken’s voice is impressively clear and transparent, but also whole bodied. The warmth of the device gives a stronger sense of engagement than other devices, such as the Objective 2 Amplifier. Just don’t get too carried away thinking this device will compare to a tube amplifier.
 
Bass/ Sub-bass
The Bass was well controlled by the Megamini, and along with the many parallels that this shares with the Supermini, the bass tacks onto the neverending list. The bass is very present, but cautiously, never overextending to muddiness, nor accenting music contrasting to the intent of the artist. Listening to the Journey Original Soundtrack by Austin Wintory, the bass is superbly well balanced, while providing warm rumble that is akin to presentation in a concert hall. The Megamini was even able to keep up when connected to more demanding headphones, such as the AKG K7xx, as well as a brief audition with a colleagues Sennheiser HD 600. When he was surprised about the sound from the Megamini in comparison to his Fiio E10, it shows just how much Hifiman was able to pack into something so small.
 
Viability as a Cell Phone Killer:
My stance on this subject is pretty similar to my opinions with the Supermini. I compared the Supermini across multiple other players and sources here, and my stances with the Megamini compared to these sources are pretty parallel. If you want detailed rundowns on how they compare to other sources tonally, that may be a good place to read up.
 
Overarchingly, the viability for this to be a replacement for a cell phone player is dependent on a  few factors, such as on your scrutiny as a listener, the devices you hook up to your phone, as well as the age and type of phone you use. If you have a newer phone, such as a Google Pixel or LG V20, and you wanted to solely drive large headphones with leniency on sound quality, you may be perfectly fine with your flagship device alone. However, if you have an older device that may be struggling to drive some unique IEMs or headphones, you may start looking towards the Megamini. Additionally, the Megamini is still a clearly superior DAP to any phone (that I have heard) on the market. Therefore, if you are particular about the sound quality of your device, the Megamini may be just what you are looking for.
 
Wished Changes
Easily the number one thing I wish could have been changed would be the sharp corners of the device. The fact that I have to worry about it damaging other devices in my pocket should be a non-factor, but unfortunately is something I need to be conscious about. Secondly is adding earbuds for the device. I understand that for the Supermini, being a balanced output device as well, including in ears is logical for a standard that isn’t terribly popular. However, if Hifiman can produce a modified RE-600 for the Supermini for the balanced output, including a modified RE-400 for the Megamini would be well appreciated. Additionally, though more radical in thought, opting for a balanced output for the Megamini rather than the non-balanced output may distinguish the device in the large array of DAPs in the price range.
 
Concluding Statements
The Megamini, while a fantastic player, can be a hard recommendation in its current state in comparison to its older brother the Supermini, which provides a better value. Although the sound quality is more often in striking distance then it isn’t to the Supermini, the more premium design of the Supermini, along with the bundled RE-6xx in ears, balanced output, and slightly better sound quality makes it a better value if you can justify the $150 price difference. However, if balanced output isn’t something that provides any sort of interest, and you already have a set of in ears and/ or cans that you swear by, then the Megamini may make more sense to you. Minor quirks aside, the Megamini offers a lot for such a small package. Smaller than a pack of gum, and offering many flavors of file formats, with the capability to run circles around a typical phone output, the Megamini may just be the next portable audio player you didn’t know you needed.

Opening and Initial Impressions:
I hate unnecessary packaging, I hate it a lot. I try to be utilitarian and I’m particular about providing something to the end user that can be used reasonably and usefully in the future. Good news, Hifiman did a solid job on it. Similar to how Apple is praised for presentation, Hifiman has taken similar steps and, dare I say, improved upon it.
Foregoing the usual paper-based construction, foam cradles the player with a small plastic sheet above. Below you will find a small pamphlet about the device and below that again, a small compartment for some balanced earbuds (we will call these the RE-6xx), some eartips for said earbuds, a screen protector, and a micro-USB charging cable. Hifiman is offering a premium product and the unboxing experience definitely helps reinforce that.

Design and Construction:
    The body is solid aluminum with a smooth, matte black finish. The buttons laid out on the right side of the body or the 3 main control buttons giving a small bump in front. It rocks a simple OLED display that displays text information, whether it be menus or song information.The side buttons control from top to bottom, Volume, Back button, and Lock/ Power. The reset button is located just below the Power Button. On the bottom, we have two 3.5 connectors. The left one is for balanced headphones and the right one is for unbalanced headphones. More on this later. There is a micro-SD card slot which is a bit tough to use, as well as a micro-USB charging port.
    The statement that Hifiman tries to exude here is one of bold simplicity, and it works. The Supermini is incredibly well balanced in the hand, and is the first music player that felt comfortably small and easy to use since my beloved 1st Generation iPod Shuffle. My only complaints are that I’m awful at applying screen protectors, and you only get one shot with the one provided. Also with the button layout, the media player heavily favors usage with the left hand. With the left hand, the button placement is perfect, but when I use my right hand, my thumb finds itself confused.
    In terms of durability, the Supermini holds itself quite well, in fact, I was a tad impressed about it. With something so seemly delicate, it was able to survive my commutes in the backpack with no physical wear whatsoever in contrast to its smaller sibling, the Megamini. Any scratches I thought I had, were wiped away with a brush of the finger. Additionally, the smoothed corners were a lot friendlier than the Megamini when placed in the same pocket as my phone. It didn’t cause any damage to its neighbors in my pocket.
 
 

 
 
 
 
Extras
The Supermini also comes with a small assortment of accessories. In addition to the Supermini, you also receive a charging cable, a screen protector,  and the RE-6xx with some assorted eartips. The charging cable is a standard microUSB to USB cable for your charging and media transfer needs. The included screen protector is about average and will protect your screen. However, it will not save you from being bad at applying it like me. After application, I highly considered taking it off since the device looks fantastic without a screen protector. I wish they had more than one screen protector though. I’m not fantastic at applying them still, and I can’t imagine everyone who orders one of these will be able to apply it perfectly the first time either. Additionally, I really wished that HiFiMan had included some sort of silicone holder for the device, similar to the E07K. Although the device seems pretty rugged, a lot of people, myself included, would feel significantly more at ease with a little more protection. Also, a small microSD card would have been very welcome. I could imagine being flustered about not having a microSD card and not having a means of using the product right out of box. Finally, that leaves us to the RE-6xx.
 

 
The RE-6xx
Unmarked, unnamed, and unseen till the release of the Supermini, these unknown earbuds may be someones first venture into the world of balanced sound. Many ties have been made between both these and the RE-600, and I think that is a good baseline to start explaining these IEMs.
Listening in comparison to the RE-600, it is easiest to draw similarities between the two IEMs.

Similarities
Imagining is still a wonderfully maintained between both IEMs, and easily is my favorite aspect of them. They aren’t necessarily the widest IEMs known to man, however their ability to separate individual sounds are incredible, especially with the size footprint of each respectively.
The soundstage across all frequency ranges are flat, perhaps unapologetically. Trebles are seemingly bright, with mids forward, and bass reduced. It is a theoretically dry sound, but  I found myself perplexed at how something at a critical listening standpoint was so enjoyable to listen to. Reading in on the RE-600, I stumbled across something user HiFlight mentioned, which I think explains my enjoyed listening. The reproduction of sound is more or less , “a lifelike representation of what [is] most often heard during most non-amplified live performances” (user HiFlight). Naturally this isn’t a sound signature suitable for everyone, especially with a industry tendency to selectively boost bass and cut trebles. However, with an open mind, you may find this sound signature to be something you didn’t know you could enjoy! I noticed that songs with more live instrumentation and less artificial instruments provide for a more pleasant sonic experience, whereas more the converse can create a more dry experience, especially with the precision that both IEMs offer.
 

Differences
Although the RE-6xx are fantastic IEMs, they are not of same caliber as the RE-600, but the 6xx some within striking distance of the 600s so frequently that it is more fair to associate it with its bigger sibling rather than its smaller sibling, the RE-400. Aurally these differ mostly in precision of the drivers as well as breadth of the drivers. Primarily, the 6xx is slightly less accurate than the 600s, and has a slightly more narrow soundstage. The sound signature of the two IEMs slightly differ as well, with the 6xx being a more “fun” IEM with a hair more bass presence and slight veiling to the treble. Finally, the construction of both IEMs slightly differ. The 600 has about 50% of the cable reinforced within a sleeve, where the 6xx runs a rubber reinforced cable construction throughout instead.
 

 
 
Specifications
I’m bad at formatting tables, so I will redirect you to HiFiMans Product page for the Supermini for specifications.
 
 
 
Software and Related
 
Luckily, the control and navigation of the Supermini is quite simple and fairly intuitive to use. The device uses an organized list of menus, akin to the system used by Apple in the iPod Classic. The button layout is obviously different, but idea is the same.
The Operating System for the most part was rock solid stable, but there were several occasions infrequently where the OS would hang, and a reset was necessary (stick a pin in the hole beneath the power button). Luckily, cold startup time is about 10 seconds. Past initial formatting of the microSD card inserted, the file management worked similarly to a USB Flash device when connected (which means no drivers either). If you are using Musicbee as a music client, you can Drag + Drop files directly into the Supermini when connected!
Metadata was hit/ miss for me. Sometimes the metadata would be read perfectly, regardless of language or file type. Other times, the metadata would include track numbers in the title, and other minor quirks of similar nature. It could easily be an issue on my end, but I am fairly through with metadata. On a similar tangent, the Supermini played almost any and all file types I threw at it, from MP3 to ALAC to WAV to DSD64.

 
The screen is beautiful to look at and looks great under most situations. However, the ability to change brightness of the Supermini would have been quite welcome for the very few situations that the brightness wasn’t ideal for.
Finally, the Battery, although quite often quite good, definitely doesn’t live to its 22 hour advertized length unless possibly sitting idle the entire time. User Brooko stated that at 7/32 volume, the device approaches 15 hours of battery life, which feels very similar to what I have been getting. It is critical to keep in mind that the device does not have any auto-shutoff and will drain battery in standby, even without anything plugged in. Additionally, the device will not stop audio playback when disconnected.
 
 
Sound
 
Treble
The Treble of the Supermini was unarguably my favorite part of the device, hands down. The upper registers which typically are fatiguing were surprisingly crisp and forward. In regards to all of the mobile devices I have ever used, I think this one provided my favorite experience in the treble regions. Although not perfectly lifelike, the reproduction of sound easily ranked among the best I have ever heard on a portable solution.
I listened to “Jupiter’s Lightning” by Cœur de Pirate to listen for Treble reproduction. The symphonic midtones highlighted by crashing cymbals and bright Flutes was an absolute pleasure to listen to.
 
Midrange
The midrange of the Supermini are decently clear and gives presence to the vocals. However, this will not give additional presence to equipment that doesn’t highlight it. For example, my Heir Audio 3.ai, which is notoriously V-shaped, would not see any benefit to vocal reproduction in comparison to something like the RE-600 or K7xx did. Vocals had a very close and personal feel, and were pleasant to listen to, but often could be overshadowed by instrumentation in the same frequency range. Midrange felt less precise when comparing to the Modi 2U+ O2 Stack, but felt more realistic and musical. This is one of the “warmest” solid state playback devices I have had the ability to experience, managing to give a little more fun and musicality than its other solid state counterparts.
 
Bass/ Sub-bass
The bass is something that I think that Dr. Feng did perfectly on the Supermini. Originally, I was quite concerned that similarly to many portable DAPs, the bass end of the player would either A) non-existent or B) would have started clipping when power demand got too high. The Supermini does not suffer from either one of these issues. Listening through multiple multiple in-ears as well as headphones, I found the bass to be deep and impactful, but cautiously so. The low frequencies are disciplined and precise, not lingering and punchy. I think the cautious nature of this bass response contributed to a sound signature that allowed for hours of non fatigued listening across all of my playback equipment. Additionally, the Superminis unrelenting ability to keep up when connected to demanding equipment (AKG K7xx in my case) at maximum output was definitely one of my favorite aspects of the entire product itself. I loved playing Madeon and Porter Robinsons - Shelter and passing around the headphones to curious colleagues. The warm soundscape and impactful lows caused every single person who was listening to grin from ear-to-ear. Clearly Hifiman is doing something right here.
 
When I received the Supermini, I spent about a week isolating myself from other mobile audio devices, primarily my LG G3 and also My Fiio E07K. It was after this time that I went back to my other devices to listen to again and was able to discern the differences. Below are the different Players that I compared them to.
 
 

Supermini vs. Fiio E07K “Andes”
With the price point difference between the devices, I was initially confused about how the E07K performed decently well in comparison. However, the consideration had to be made that the E07K is not a media player, and is only a DAC/ AMP. This point aside, the Supermini not surprisingly outperformed the E07K. However, the most apparent conditions where the Supermini outperformed the E07K were when using IEMs. Soundspace was noticeably wider and easily significantly more accurate in favor of the Supermini. My main complaint here is the lack of EQ on the Supermini. The E07K in contrast had an Equalizer available (10 Step Treble/ Bass EQ). It’s not a deal-breaker, but isn’t an uncommon feature in DAPs, and I hope to see it possibly implemented through software in the future.

 

Supermini vs Megamini
Between the two devices, there are significantly more traits that these devices share sonically then they differ. However, one of the things I noticed when comparing the two were the differences in soundstage. The Supermini was wider comparatively, not to a significant degree, but enough to appreciate the extra sound space. Additionally, the sound of the Supermini is well described by Dr. Fang as “dynamic, sweet, punchy [...] similar to their flagship HM901”, especially in the treble region. The bass of the Supermini has a more noticeable sub-bass region. If users are familiar with the “bass mod” for the AKG 700 series headphone, the difference between the Supermini and Megamini felt similar on a similar tangent.
 

 
Supermini vs. LG G3
The LG G3 was my EDC (everyday carry) for a long time now, and I had grown comfortable to its warm, fairly accurate sound. Enter the Supermini. This little monster took almost everything I loved from the G3, and made me infuriated that the Supermini could present it better. Soundstage was wider. Treble was crisper and cleaner. Bass was extended, punchy, and clean. However, the Superminis ability to drive my AKG K7xx to pleasure was my favorite contrast between the two devices. It felt like a crime being able to wear them on casual walk outside. I enjoyed the experience enough to forgo the judgement and scorn the people around me probably had for walking around with open-back headphones. However, the UI of the phone completely outclasses the Supermini, and for good reason. The two devices serve different purposes at the end of the day. Additionally, at release, the phone was at least 50% more expensive than the Supermini, and the fair majority of the cost was likely dedicated to the manufacturing of the screen (first 2k screen phone on the market) and usability of the device.
 

Supermini vs. LG V20
This is the only portable source that I have had that caused me to hesitate on the recommendation on the Supermini. The Supermini is clearly a superior audio product to the V20, but the casual listener doesn’t always need a superior product. Especially with what LG calls their “Quad DAC” and ESS, the V20 is able to drive headphones often out of the range of a typical cellular device. I was able to drive every single headphone in my inventory well with it, and even the 7XX became unbearably loud with it maxed out.
Compared to the Supermini, the V20 is still audibly quieter at max volume than the Supermini. Maximum sound output was measured using a National Instruments myDAQ, which although not laboratory grade equipment, will give us a fairly accurate idea of measured output. A 440 Hz constant tone was played through both devices. The soundstage is definitely in favor of the Supermini having the edge in breadth of sound. Additionally, the lows hit harder and with more fervor, the mids were more present, separated, and personal, and the treble were more delicately handled, with the most subtle aspects of music to be picked out.

 
 
 
In the end, the decision between the Supermini and LG V20 is determined by the needs of the end user. The Supermini is a more precise instrument which produces a more pleasurable experience to the discernible ear. It provides an incredible sound experience with a small size footprint. However, LG made a compelling offering here to the casual listener. Keep in mind however, that similarly to the G3, the V20 has a hefty price tag of $800 USD unlocked.
 

 
Balanced Vs. Unbalanced
 
If you do not know what balanced is, check out this link.
 

(Image edited from User rvas18)
 
Before receiving the Supermini, I couldn’t comprehend what other users reviewing the Supermini were writing about a balanced output being superior in sound. Theoretically, it shouldn’t make a significant difference in sound quality output, however, when I took a comparative listen on both outputs on the Supermini, I was shocked. The balanced output defies the theoretical minute differences in sound reproduction, producing an audibly wider soundstage, and less crowded reproduction of sound. Notes and sounds were more easily discernible and more natural.
 
I was able to listen to the RE-600 in addition to the RE-6xx when I had the Supermini as mentioned earlier, and both of them had solid improvements when listening to them balanced. I just wish that I had other balanced equipment to also test as well, due to the countless similarities between the RE-6xx and the RE-600. However, based on the Supermini, I do think that balanced output devices will definitely have a place in the future. My only hope is that more companies adopt this output. Keep in mind that TRRS doesn’t necessarily denote Balanced, which would explain if you don’t get proper output on a Smartphone for example!
 
 
 
Functionality
The biggest question I am constantly asked is, “is it good?” However, I don’t think that this is the correct question to ask. I own a Fiio E07K, and initially owned it to be a portable DAC/ AMP for my daily use. Is it a good product? Yes. But is it something that I bring around with me everyday reliably? No. I think the appropriate question that should be asked is, “Is this something you would use reliably on a daily basis?”. In regards to the Supermini, the answer is for the most case, yes.
As someone who had an LG G3 as a daily carry until recently, the Supermini was an easy choice to also carry in my pocket. The sound quality is vastly superior, and having a device that performed better, lasted longer, and provided less drain on the phone was a no-brainer to have around. However, picking up the LG V20 and it became harder to find a definitive answer. If you are particular about sound accuracy, tonality, and soundstage, then the Supermini is the answer. However, if you are looking for a device that has reasonably good sound quality that can power your more demanding headphones/ IEMs, the V20 may be good enough.
 
 
 
Conclusion: Supermini Vs. Megamini
Overarchingly, they both are fantastic devices, but I find more personal enjoyment from the Supermini. Everything else about the device aside, the sound of the Supermini is more dynamic, forward, cleaner, and punchier than its smaller sibling. With considerations for the other elements of the device, such as included accessories and construction, the clear value winner is the Supermini as well. With the subjectively better design of the chassis, more responsive software, RE-6xx included, and better ergonomics, it is hard to recommend to the Megamini between both of them, keeping in mind that the Supermini has so much to offer. If you are looking for a pocket sized “end-all”, you may have found the device you were looking for in the HiFiMan Supermini.
 

    It’s been a while since I’ve done a review, so please bear with me, as I tell you a little bit about the Edifier P293 Sports IEM. I would like to thank Edifier for providing me a free sample in return for an honest review, which I will try my best to provide with few weeks I have had it.

 
 
Design
    I was given the “candy green” variant of these IEMs, and boy are they bright. They run the typical “drop down” cord style. These IEMs have a unique, asymmetric design. The particular characteristic causes the inability to run the “around-ear” cord style that I am personally adjusted to, without reversing the sides of the earbuds. Although I see why they took the route of “drop down” cord style with its popularity with the populace, I still somehow dislike the style. It may be due to the downwards pull that these seem to give, which other IEMs of similar style circumvent, due to spreading out the weight over the ear with the “around-ear” design. It is to be mentioned that this does have a flat cable, but that doesn’t do much for me personally, although from practice, cable tangle is lessened.
 

 
 
 
 
3/5 Design (I wanted to like them, but there were a couple of misses that do bother me)
3/5 Cable Design (For an IEM that is this large, around-ear may have been a good idea. Flat cable may entertain some, but I’m indifferent about it.)
5/5 Style (They said they are “flashy”. Well, they’re right. It is to be mentioned that the silver backs are subtly shiny; a good touch)
 
 
Construction
    These IEMs are constructed from what feels like a very durable plastic. If I dropped these, I wouldn’t be concerned of breaking them. The connections that connect both the 3.5mm connector and the cord to the IEMs themselves seem well reinforced, so I expect them to have a fairly long life. If any of this changes, expect a revision of this review!

 
 
 
4/5 Cable Reinforcement (I’m fairly impressed by the reinforcement of the cable, but I dislike the almost “flimsy” feel of the flat cable.)
4/5 IEM Housing (Very sturdy, strong enclosure however, the plastic isn’t something special to write home about.)
 
 
Comfort and Fit
    So, as mentioned above, there were a couple nitpicky things that I had against the design of the IEMs, particularly the design choice against wrapping the ear. However, the comfort of the IEM itself isn’t bad. In terms of weight, it drops itself comfortably between an acrylic CIEM and a generic metal earbud. I had used them on multiple particularly long listening sessions to test ear fatigue and there is slight ear fatigue. It is to be noted however, that this can be due to a multitude of factors which I have experimented with.
 
1)      Ear tip chosen.
a.       These IEMs have deeper insertion than usual. Take extra care on size chosen, and investigate different sizes. Some ear fatigue I faced was actually due to taking a size too small. Choosing a size up alleviated some fatigue.
2)      Wire tension
a.       The wire clip included can help relieve wire stress, which can reduce some of the downwards force that is present with the “drop down” style of the wire.
 
    As much as I harass Edifier about the wire choice, I do have to hand them their ability to nail down the insertion. The insertion of the P293 impressed me, and is often something that I have seen improperly done at this price range. It is well known that a good seal is essential for optimal audio quality, and this IEM does a good job at addressing this. In fact, I was able to get a good seal from multiple different sizes of ear tips (medium and large) although choosing the medium tip did cause more ear fatigue than its larger counterpart. In addition, the solid insertion does a fair job at passive noise cancellation as well!
 
 
Ear Fatigue 3/5 (It’s not something particularly surprising to see at this price point, but any fatigue can be detracting)
Insertion 5/5 (I was very impressed for the insertion of the earbud. Something that I can often struggle with other ones)
 
 
Application
    Edifier does technically market this as an IEM suitable for “fitness and workout” so I tested out them in a couple situations to see how well these guys held up. I tested mostly to see how different activities impacted the earbuds ability to stay put in the ear.
 
    For many exercise activities with repetitive, non-major motions, such as running or indoor cycling, these guys faired very well, and adjustment was minimal. The included clip reduced the cable from going everywhere as well in action. However, in more rigorous activities, such as yard work, the “drop down” style haunts us yet again. With the full body motions, it is fairly common that the cable will loosen and tighten, ripping the earbud out. Experimentation has shown that tightening the cable reduced the occurrence of this, and rendered similar results casually and on the go.
 
 
Application 4/5 (For the most part, the P293 fared well, but failed at the more rigorous tasks.)
 
 
Sound
   It’s funny how far a little bit of break in can do for an IEM. Initially, sound wasn’t something I was going to write off as something terribly significant until I got more familiar with it. Head-fi user Army-Firedawg mentioned in his review of this IEM that “The ‘V-Shape’ is very prominent in the P293, even more so than [Edifiers] H850”, and he was dead correct. However, I disagree with the statement that the soundstage is on par with others in the price range, as I believe that these do exceed the majority of the price point competition. However, this statement is subjective to the preferred sound signature of the end user.
 
Bass
·         Tight, deep, and hard hitting. The bass is by far my favorite part of these IEMs, as they provide a strong, sophisticated sound which go toe-to-toe with many IEMs way out of price range. To best describe them, they are accented and provide a forward, dynamic, non-bloated/“lazy” bass signature. To quote Army-Firedawg a second time “I find myself always bobbing my head and enjoying the bass hit the P293 gave me.” These provide pure and utter bliss for genres such as Hard Rock, Electro Dance Music, and other genres demanding a strong lower frequency.
 
Mid-range
·         I personally am a huge fan of a “V-Shaped” sound signature, but I would be silly not to acknowledge the importance that the midrange contributes to a piece. Unfortunately, Edifier didn’t acknowledge its importance enough. Although the midrange did fill in a lot more since initial listen (with burn-in), it still has a “hollow” feeling to it, which can be a turn off to those who really love it.
 
Treble
·         If someone could draw a line to represent successful treble playback for these IEMs, it would be drawn firmly at the 75% mark. At the higher registers, the treble becomes uncharacteristic of the original sound, and can sometimes be a burden to listen to. I find this to be problematic when listening to genres such as Poptronica, Pop, and even some cases, Classical.
 
    Other major characteristics of this IEM to be noted would be its surprisingly analytical nature. In addition, the soundstage is larger than you would expect for the price point after burn-in. Finally, these IEMs scale well with good equipment. I paired this up with both a Fiio E07K and an Objective 2 Amplifier, and was pleasantly surprised by the performance boost!
 
 
Bass 5/5 (By far my favorite part of the IEM itself. Punchy, non-bloated)
Midrange 2.5/5 (Weak and noticeable gap in the sound signature.)
Treble 4/5 (Close, but when the treble gets too overbearing, it can be detracting)
 
 
The Extras
    These IEMs came with a few extra accessories, and it wouldn’t be fair to exclude them in this review. That being said, it came with a leather pouch, a 3.5 mm male to female extension, cord clip, 3 pair of ear tips, and an inline microphone with control.
 
    The leather pouch is wonderfully beautiful but I often have a hard time using it, as a sleeve is difficult to utilize with IEMs of this shape and size. I resorted to using a hard case I had laying around for regular use.

 
 
 
 
    The extension is 5.5 inches (about 14 cm) and interestingly, worked with every single headphone and IEM I had ranging from the AKG 7xx to the Heir Audio 3.ai but didn’t work for the Edifier P293. I actually couldn’t figure out why this was, and made a deduction based on the design of the plug of the P293 itself.
 
    Cord clip was mentioned a little earlier, and although I don’t always use it, I always keep it on hand with the P293. They can be critically important in reducing cable noise in certain situations, since the “drop down” cable style can introduce that problem.
 
    The amount of ear tips Edifier provides is actually lower than what I usually see at price point (usually anywhere from 5-9 different sets). However, I was able to find two of the three actually fit reasonably well, but I wish to have seen more sizes and types.
 
    The inline controls and mic worked flawlessly. I never had a hardware related issue with it. It was also brought to my attention that I had good clarity when using the inline microphone.

 
 
 
 
Leather Pouch 4/5 (Pretty, but not practical)
Extension 4.5/5 (Sturdy construction, worked with everything but what it shipped with)
Cord Clip 4/5 (Sometimes fitting it on the wire is cumbersome)
Ear Tips 3/5 (I found ones that worked, but diversity wouldn’t hurt)
Inline Controls 5/5 (Worked every time, microphone is of good quality)
 
 
Overall
 
Design 3/5
I really, really wanted to like them. They are flashy enough to look good without looking cheap, but the cable design personally bothered me. Your mileage will vary.
 
 
Construction 4/5
Sturdily built. Flat cable isn’t my favorite, but it does help mitigate tangling. I am concerned for the life of the cable that isn’t reinforced.
 
 
Comfort and Fit 3.5/5
I wanted to like them more, but sometimes I would imagine how it could potentially be easier to wear with an “over ear” cable. However, ease and depth of insertion of the IEM is a pleasant feature.
 
 
Application 4/5
Served its purpose for most activities. Only notable failure was in actions which the entire body was involved.
 
 
Sound 4/5
It’s hard to give a rating for sound. However, the failures of the midrange as well as some parts of the treble can be forgiven from other aspects of the IEM. Extra brownie points were given for how analytical it can be, the soundstage, and decent scaling.However, it would be unreasonable to overlook the few flaws this has.
 
 
Extras 3.5/5
Some of the extras were really nice (note: the leather pouch), but my biggest stipulation was the lack of ear tip diversity.
 
 
    I think these IEMs are great, but they can be situationally niche. The particular highlights of this IEM will appeal to many people, especially those who are willing to dismiss mid-range, and some treble for “a good time”. Its “V-Shaped” sound signature definitely characterizes this crowd. That being said, this IEM isn’t without its flaws, but still remains a good contender for the piece point.