Note: The original review can be found on the Headphone List.

Introduction​

Hifiman is a familiar name that needs little introduction, for its reputation in the audiophile community far precedes it. "Planar magnetic" technology forms the nucleus of their extensive research and development, as reflected by the numerous headphone releases powered by the fruits of their technical know-how.


The springboard for this relatively young technology is the humble dynamic driver, a tried-and-tested architecture for producing a highly accurate and "warm" sound. Months ago, I reviewed Hifiman's HE-R9, a full-sized circumaural headphone boasting their proprietary "topology diaphragm" dynamic drivers. What I heard was a technically-impressive headphone with an "organic flavour".


The famous New York-based company didn't become renowned because of its dynamic driver releases. The sudden proliferation of the "topology" diaphragm in their latest releases marks a significant deviation from their business-as-usual. But this can no longer be classified as an experiment.


Earlier this year, Hifiman took an ambitious leap of faith by launching their flagship in-ear-monitor (IEM), the Svanar. Powered by the same "topology diaphragm" engine, the Svanar was priced at an eye-watering USD 1999. A statement piece, Svanar's lavish pricing is inaccessible to most audiophiles who aren't willing to smash the two-kilo-buck ceiling.


Thankfully, Hifiman understands its target demographic. The Svanar's "topology diaphragm" technology has trickled into a more wallet-friendly package, albeit in a new form: the Svanar Wireless (TWS). Killing two birds with one stone, Hifiman does one better by miniaturising their revolutionary "Himalayan" R2R DAC architecture into the Svanar Wireless. Two remarkable technologies for the price of $499.


A far cry from the Svanar's original price tag, the Svanar Wireless has some lofty shoes to fill, given that it shares the same moniker with its wired sibling. Today, we examine Svanar Wireless based on its own merits. The Svanar Wireless can be purchased from the Hifiman Store.

Technology​

There are a lot of good things to unpack with the Svanar Wireless. Firstly, Hifiman has successfully distilled its exclusive R2R ladder DAC architecture (known as their Himalaya module) into its diminutive proportions: a feature unheard of in the TWS market. Paired with an amplifier chipset promising 45mW of power into a 32-ohm load, the Svanar Wireless promises high-fidelity audio whilst breaking the low volume ceiling that plagues most TWS units in the marketplace. On top of that Svanar Wireless is also LDAC compatible, giving users the option of lossless streaming.


In classic TWS fashion, the Svanar Wireless comes with typical accoutrements such as deep active noise cancellation (ANC) and transparency mode to filter ambient noise in or out, depending on your use cases. However, the one point of differentiation is the Svanar Wireless's "Hi-Fi" mode, touted by Hifiman to significantly improve overall sonic performance. While it doesn't explicitly explain how this mode improves its final performance, I suspect it triggers its Himalayan R2R module's oversampling capabilities.


Hifiman further states that the Svanar Wireless case provides 28 hours of continuous charge, and the earbuds themselves can store up to 8 hours of charge. This is of course, dependent on the mode being employed and how long for. Mileage varies between users, depending on their personal preferences.


Lastly, the real meat and bones of Svanar Wireless lie at its beating heart: the topology diaphragm. Hifiman's game-changing topology diaphragm relies on the different resonant and metallurgical properties of competing materials. Depositing a thin layer of nano-composite material on the surface of the dynamic driver or diaphragm allows the Hifiman team to fine-tune the acoustic properties and performance of the IEM. This newly-minted technology has already been established in Hifiman's HE-R9 and HE-R10D.

Unboxing​

The Hifiman Svanar Wireless comes packed in a black-and-red themed cardboard box, adorned in your standard hero shots of the Svanar wireless unit itself, accompanied by the unit's specifications and the package's contents listed behind the box.


To keep this section brief, the box contains the actual unit itself, a mix of miscellaneous-sized tips (S, M, L) in foam and silicon, and a USB-C charging cable, each component generously encased in plush foam for added security and protection.

Design, Build and Comfort​

The Svanar Wireless charging case comprises a distinct, angular aesthetic with sharp lines and bold contours. Reminiscent of a multi-sided die, the Svanar Wireless' appearance is novel in a sea of ubiquity. Sadly, the case itself is a rather bulky affair, less so a pocketable one, its oversized nature a hindrance to outdoor use.


Underneath its clamshell opening, you'll be greeted by the Svanar Wireless earbuds themselves. There are elongated stems on each end housing a miniaturised microphone. Most shells are fashioned from plastic (despite its silver-alloy appearance), save for the inner housing fabricated from carbon fibre. The deliberate combination of feather-light materials enhances the Svanar Wireless's comfort factor for prolonged listening sessions. While plastic wouldn't be my first choice regarding premium fit, finish and durability, there is no denying that its lightweight stature is 100% complementary to users who listen to music for hours on end.


The spout on each channel is surprisingly short, which may prove troublesome for listeners with deep ear canals. However, the inner ear portion of each channel is moulded exceptionally well, resting snugly and comfortably without detectable fatigue over long periods.


In short, the Svanar Wireless certainly leaves an impression on both the eyes and ears. Apart from a few niggles, Svanar Wireless merges style and substance.

TWS Features​

Toggling between each mode is an effortless affair. All a user needs to do is tap and hold for 5 seconds to switch from one mode to the other upon pairing. A verbal prompt (in a female voice) confirms the switch.


ANC: ANC is the first mode that triggers after the first toggle. ANC is an important feature for undisturbed listening in urban environments. From public transport to construction, cosmopolitan cities are especially susceptible to chronic noise pollution.


The Hifiman's ANC feature is pretty effective in nullifying the distracting effects of wind noise and roaring car horns on my daily commute. Unfortunately, it doesn't eliminate the voicings of passers-by very well, which can prove distracting if you're using the Svanar Wireless for phone calls.


Transparency: Transparency mode is the second mode that triggers after the double toggle. Instead of silencing the outside world, Transparency mode filters noise in to ensure that the listener is aware of his/her/their surroundings at all times. This is especially important for crossing busy roads or walking down questionable alleyways.


Svanar Wireless provides enough passage for external noise to enter, but voicings appear flat and dull, with a noticeable haziness that makes audibility difficult. It is well suited for picking up on ambient noise, but not so much with human conversations. At this price point, I think Hifiman could invest more R&D into refining these two features for future product iterations. Perhaps with a software update?


Hi-Fi: The mode that matters the most to audiophiles. Now, I cannot attest to what is happening internally (equalisation versus an overdriven amp etc.), but what I can do is detail my subjective findings are clearly as possible.


Firstly, there is a noticeable boost in the lower treble which aids in detail-retrieval in odd-harmonic rich instruments. Notes are less hazy, albeit shouty on occasion. Bass bloom while deeper, exhibits more discipline and less unruliness in the sub-registers. Lateral width is improved, as is layering between voicings and instruments. And for listeners who like their music loud, Hi-fi Mode gives the listener more headroom for cranking it up. For the rest of the review, I've chosen to use Hi-fi mode permanently.

Sound Quality​

Summary​

Svanar Wireless derives its base tuning from its larger predecessor, the Hifiman HE-R9, which shares Hifiman's proprietary topology technology. To keep things succinct, the Svanar Wireless boasts a focus on tube-like warmth and even-harmonic richness with higher-than-average technical chops; a consumer-friendly tuning that fares well with dynamically compressed recordings, no matter how poor.


The Svanar Wireless has a syrupy midrange with a distinct sweetness in the lower-mids, erring on the side of "dark". The slowness (attack and decay) of the sub-bass emphasises reverb which results in significant colouration in the bass. It's a very welcomed tuning for day-to-day listening: a reminder of why audiophiles appreciate the undeniable coherency of a single dynamic driver.

Bass​

The Svanar Wireless has a robust bass response with a strong presence. Mid-bass runs deep, with a lingering swell of sub-bass that provides definition and texture. The upside to this is that recordings are presented in a manner faithful to their analogue forebears. Bass textures are accentuated with verve, without any perceived haziness or sacrifices in micro-detail.


The downside is the boominess from a sluggish PRAT, which can mask hidden details in the mid-bass. The dimpling of the driver as it compresses. Thankfully, the crowning strength of the Svanar Wireless is its midrange, which compensates for the bass response's propensity for lingering. Agility is not its strong suit, but its alluring qualities are what endears listeners.

Midrange​

The Svanar Wireless has an incredibly moreish midrange that can only be described as luscious. Colouration is done on purpose without perceived gaps in the midrange, save for tasteful boosts in the lower midrange. I've described a lot of earphones in my tenure as "warm", many erring on the side of too warm without the pre-requisite technical chops to back it up.


This time around, Svanar Wireless reverses that trend. This is by no means an analytical earphone, but it strikes a healthy balance between enjoyment and finesse. Notes are presented with strong definitions, with classical instrumentation (pianos etc.) rendered realistically. Unlike its cheaper rivals, the Svanar Wireless does a fine job compensating for the sub-bass gulf that threatens to smear details in the rest of the frequency band.

Treble​

Presence is what injects liveliness and energy into the frequency band, giving it a sharp profile that forms the bulk of what we define as "clarity". Here, there is a detectable segmentation in the treble region between the upper and lower treble, with the latter taking precedence over the former.


The lower treble is the focal point of the presence region, highlighting the gentler undertones with a mellower tone. Principle tones still retain their fundamental timbres without deviating from the status quo, but the liveliness or up-top sparkle tapers off early to avoid unpleasant peaks. The definition is clear below but purposefully avoided up top. Overall treble detailing is on par with sub-$500 wired flagships, which is unprecedented territory for a TWS.


This aversion to upper treble is warranted; ear-piercing shriekiness and raspiness detract from the overall listening experience. However, I believe the Svanar Wireless could use a dB more in the upper regions to "spice" things up with more airiness: a healthy juxtaposition between air from the top (presence) and bottom (bass).

Soundstage and Imaging​

The Svanar Wireless subverts the TWS norm by exhibiting excellent width and depth laterally between both channels: an impressive feat for a TWS IEM. The overall soundstage borders on an out-of-head experience, stretching a fair distance from the ears. It doesn't reach the depth-of-field headphones can achieve, but the Svanar Wireless displays qualities some of its wired rivals can't achieve.


The positioning of instruments and vocals within its peripheral field is realistically placed amongst one another. Imaging, while not analytical, offers an ease of separation and identifiability between each sonic cue. It is important to note that the bass-bloom mitigates the psychoacoustic distance between instruments and vocals, which hurts distinguishability slightly by creating a closeted-in effect.


However, compared to other TWS IEMs in the market, the Svanar Wireless is still miles forward in terms of unadulterated raw performance. It maintains a coherent image whilst offering users remarkable transparency even in the most abrupt swings in volume.

Comparisons​

Grell TWS 1​

Introduction:​

Axel Grell made the bold decision to venture into the sphere of consumer electronics as he departed his cherished role at Sennheiser, a position in which he pioneered some of the industry's best premium headphones like the revered HD650. The eponymously named Grell TWS 1 earmarks its first foray into the TWS segment of the market, the biggest differentiator being Axel's breadth of expertise in R&D.


Priced at USD 199, we're pitting two fan-favourite brands whose repertoires mainly lie in wired earphones, less so TWS ones.

Design:​

German minimalism teethers on the edges of form and function, free from superfluous elements that throw off the design language of a product. The Grell TWS 1 bears the same trademark austerity, with a satin-finished space-grey aluminium frame coming in at just 7.3g on each channel.


Case-finishing is essentially the same, save for an odd design quirk. The L-channel earpiece is stored on the right side of the case, and the R-channel earpiece is stored on the left side. It takes a bit of "brain" reprogramming to get used to.


The earpiece nozzles are rather girthy, less so length-wise, which may limit how well it seal in larger or smaller ear-canals. In theory, the touch controls on the Grell TWS 1 appear to be well-thought-out. The right earpiece contains the bulk of basic commands, allowing users to control the volume (swipe up/down), play/pause music (tap once), and activate a voice assistant (double tap). Conversely, the left-hand side allows users to skip forward or back (swipe left or right), switch to transparency mode (single tap), and switch to ANC or NAR ala Noise Annoyance Reduction mode (long press for 3 seconds and seconds respectively).


Right off the bat, these agglomeration features aren't all that well implemented. Firstly, the connection quality between the source and TWS1 is susceptible to drop-outs and constant extraneous interference. Secondly, the TWS1 struggles to register the more complex gestures and commands, triggering incorrect responses.


And thirdly, the Grell TWS 1 suffers a similar fate as the Svanar Wireless. Each "mode" is ineffectual at filtering noise in/out. Additionally, the NAR mode doesn't seem all that useful, providing an awkward cross-section between ANC and standard listening modes.

Sound Quality:​

To be clear, the price differential between both products makes this a partial contest. The Grell TWS-1 has a V-shaped frequency response, with a sizeable scoop in the lower-mids and mid-bass. On their own merits, the bass and upper mids are expressive, with the classic "Axel-Grell" veil that suppresses unruly peaks. Long-term enjoyment and musicality are priorities numero uno on the TWS 1. Treble exhibits solid qualities, with a fair amount of porousness and airiness that we've come to expect.


Unsurprisingly, the Svanar Wireless is the master in most regards. Both IEMs feature a boomy bass response that could be described as cavernous. However, the TWS 1's low end is miles back in terms of bass texture, microdetail and control. Timbral reproduction is an organic affair on the Svanar Wireless, with life-like mids and a lusher tonality to the treble. Indexing for soundstage depth-of-field and imaging proficiency is the same affair, with the Svanar Wireless being two steps ahead in raw performance.


But of course, this leap in performance comes with a leap in price. I have to give credit where credit is due. The TWS1 fared bravely and commendably, given the sizeable valley in price.

Conclusive Remarks​

The Svanar Wireless is (probably) the king of the hill in the marketplace for flagship-level sonic performance. From a musical but analytical sound signature and its ability to span beyond the ears, the Svanar Wireless is a worthy little brother to the Svanar wired.


While there is room for improvement in its set of features, the Svanar Wireless is

Dan from Periodic Audio has graciously sent me a review unit of the C and the Nickel amplifier for honest reviews. This review is in no way sponsored and I will be honest about my feelings surrounding this product. . This is my humble opinion. YMMV!

Click to expand...

Here is a link to my review on the Periodic Audio Carbon's (for those who have not read it).

Introduction:

"Blah Blah Blah". This is my third time going down this path. I'll let my previous reviews do the talking. Instead, here is a throwback photo to Canjam Singapore 2018 where I met Dan from Periodic Audio for the first time:


The Nickel is the start of Periodic Audio's foray into digital electronics. Being their first portable amplifier, Dan and his team made sure to fine-tune and improve upon existing prototypes, with feedback from consumers at headphone meets and annual CanJams across the globe. Priced at $299 USD, the Ni is an accessible piece of porta-gear that complements any audio setup.




Specs:





Packaging:


In an effort to save time, I'll spare you the details on the packaging. It is exactly the same as their IEM counterparts. The point of departure starts with the box's contents.

1 X Periodic Audio Nickel
1 X 3.5mm to 3.5mm Interconnect (Short)
1 X Microusb to USB Charger (Short)

The Nickel's offerings are a little sparse. It would've been nice if Periodic Audio had included rubber bands for a transport-amp stack. It comes as no surprise that Periodic Audio only includes what is necessary, with reference to their IEM siblings.




Design, Build and Function:


Loo and behold! It is a tiny black box. Nothing much can be said. Let the image do the talking. I'll spare you the verbose word-dump.

Adopting a design language as ubiquitous as eating toast for breakfast, all Periodic Audio products are plain jane in the best possible way.

The most important aspect of the Ni is its chassis. Both the electronics and its outer-shell are machined and sourced from American components. God bless America (tough luck, Shinola). The poly-carbonate chassis feels sturdy and tough enough to weather any storms. The size of the amplifier itself measures to be around 2-3 triple A batteries (I refused to conform to the metric system).

If space is a constraint, the Ni shouldn't take up too much real estate. My only complaint pertains to the blemishes on the Ni. The $299 USD price tag warrants better quality control. However, these cosmetic defects may be unique to the set I received and they do not hinder product performance.

The aux in's and out's are marked with large white arrows above them in order to differentiate them from each other. Its design language is foolproof. There are no physical buttons to operate. Instead, the Ni switches on when both aux's are connected appropriately. The green LED at the front lights up during the boot-up process. A yellow LED indicates that battery is running out of juice.

I have brought them out for several test runs and I can confirm that it works well as an on-the-go solution. I wouldn't recommend anyone to use it as a dongle. As a precaution, store the Ni in a separate pocket if you wish to daisy chain it to your source.

Another quirk that the Ni boasts is the fact that it doesn't accept or feed a line-signal from either a smartphone or a DAP (Digital Audio Player). Instead, the Aux-in is wired to a 10kOhm resistor, effectively turning your transport into a pre-amp.

Dan and his team at Periodic Audio make the argument that modern day DACs' in smartphones do not need to be replaced. The reason why headphones sound disjointed on smartphones has to do with inferior op-amps and poor circuitry (high THD etc). With that philosophy in mind, the team created the Ni; a testament to their collective beliefs. It takes the collective minds of mad scientists to concoct such a revolutionary idea.




Battery:

The Ni has a battery life of 8 hours, contrary to its small size. Taking approximately than 30 minutes for a full charge, the Ni is the perfect companion for the office and the train ride home. The standout feature to me, is its ability to play and charge simultaneously (useful for a clutz like me who regularly forgets to charge my devices).




Sound:

Don't leave, it's my fault

Tyler the Creator: EARFQUAKE

Click to expand...

Now to many, this may be a 'controversial" segment. I do not sit in the camp of "amplifiers can make enormous changes to a IEM/Headphone's sound signature". Instead of waffling between stances, I'll say that I'm a firm believer that any changes made to the audio chain from source to transducer will result in real-world "audible changes". However, I will remain cautious so as to not "overrate" the capabilities of the Ni. After all, what matters the most are the transducers in each headphone/IEM.

Essentially, the functions of an amplifier can be surmised as such; to boost the audio signal to an audible level. It may sound simple in practice, but there are many potential hindrances along the way, not limited to harmonic distortion, noise and clipping.


In the first few hours of using this tiny device, the first thing I noticed is a faint hiss in the background across all my headphones (from the Campfire Audio Cascades to the Hifiman HE400I). In theory, the 10kOhm resistor should eliminate any unwanted background noise from double-amping with the source's built in amp. Unfortunately, the real-world results differ on this front. If you're planning to use the Ni in noisier surroundings, the hiss is unlikely to be picked up on.

Across the board, the Periodic Ni powers all my headphones/IEMs' with ease. The most "power-hungry" headphone I own is the Hifiman HE400I (35 Ohms, 92 dB). For a planar magnetic headphone, it is considered by the community to be highly efficient. From the Campfire Audio Cascades (38 Ohms, 100dB SPL/mW) to the Periodic Audio Carbon (32 Ohms, 98dB SPL/mW), the Ni serves to enhance, not to change the sonic characteristics of each product.

Across the board, the biggest improvement I could identify is how spatial cues sound less congested or closeted. With its enormous 250 mW power output (into a 32 ohm load), bass response is tightened substantially. Each driver attacks and decays at an accelerated rate. Everything sounds cleaner. I'm guessing these improvements are the result of its ultra-low THD (Total Harmonic Distortion) and high current output

Tyler the Creator's Earfquake is a track with unhinged sub-bass rumble. The Campfire Audio Cascade's penchant for ultra-low vibrato is ameliorated by the Ni's excellent damping factor. The mids are clearer, less hazy and brought forward in the mix. If I had to quantify the noticeable improvements, I would say that there is a 25% improvement; an impressive feat.




Conclusion:

Their entry into the portable-audio space has proven to be a success. The Ni's touted power output and its non-descript looks are sure to capture the attention of "utilitarian" audiophiles. With its unique design quirks and its distinct "conspicuousness", the Ni is an animal that adapts well to any audio setup.

You'll be hard pressed to find any alternatives to this stellar amplifier.

Make no mistake; this little powerhouse punches way above its price point.

To purchase the product, visit: https://periodicaudio.com/product/ni/




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Dan from Periodic Audio has graciously sent me a review unit of the C and the Nickel amplifier for honest reviews. This review is in no way sponsored and I will be honest about my feelings surrounding this product. . This is my humble opinion. YMMV!

Click to expand...

Introduction:


We've definitely been down this road before, but if you're interested in learning more about Periodic Audio, check out my review for the entry-level, Periodic Audio Mg.

All you need to know is that the Carbon uses a unique, lab-grown, diamond-like carbon transducer. Because it is impossibly hard to manufacture your own, in-house "dlc" drivers, the C is the most expensive iem that Periodic Audio currently carries, at $499 USD. This is certainly a statement piece.



Specs:

Driver Type: Diamond-like carbon dynamic transducers
Connector: Non-detachable
Nominal Impedance: 32 Ohms
Frequency Response: 12Hz- 38kHz



Accessories:

1 X Periodic Audio C
1 X Periodic Audio Tin Case
3 X Double Flange Silicon Eartips (S, M, L)
3 X Foam Eartips (S, M, L)
3 X Single Flange Eartips (S, M, L)

Like the other iems in their current-lineup, they feature the same exact accessories set. Nothing new, but as per usual, there is more than enough out of the box. Again, the tin's interior is way too small for the typical "three finger curl" technique (BOO).



Design, Build and Comfort:

I sound like a broken record but comfort wise, there is little to whinge about. Like all their other iems, the C features a barrel-style housing that fits snugly in the ear with the right pair of tips. Its mass is negligible and I had no qualms wearing it for hours on end. All Periodic audio iems are incredibly comfortable thanks to their light, poly carbonate shells and straight down cable. I'd suggest users to be gentle with the C and handle them cautiously; their cables don't exactly inspire confidence.

Nothing has changed, including the painfully thin cable. The strain reliefs are exactly the same; they don't feel substantial enough for the daily commute. However, Dan from Periodic Audio has stated that the company is working on a detachable cable solution that is superior to the industry standard MMCX and 2-pin CIEM connectors. Fingers crossed, hopefully they integrate this new system in the near future.

This time, the C features a black-end cap for a sleek and understated look. I dig it.

However, I still think compared to the likes of Campfire Audio, at this $399 USD price point, I expect a build quality reflective of its premium price tag. The plastic shell is fine but the cable needs alot more tweaking.



Sound:

Star Track: Dry the River: New Ceremony (Acoustic)

If the spirit has left you baby
Don't lie to yourself
Put them old records on
And admit that it's gone somewhere else

Click to expand...

Coming to this review, I was using the Mg's as my daily accompaniment for long-listening seshes till the wee hours of the morning. The C replaced them for the past week and the sonic improvements are easily picked up on (as expected of an earphone 4 times more expensive).

First of all, there are some similarities between both earphones. The Mg and the C share a voluptuous, bass response that is bloated in the mid-region. However, the C practices more restraint, with the mids mostly unclouded by that assertive bass-hump.

There were definitely certain acoustic presumptions after demoing the Campfire Audio Atlas and Vega's awhile back. Three of these iems share similar driver-tech and I expected them to share similar sonic qualities.

I am convinced that out of all the three DLC iems, the Carbon is both the cheapest and the most polished.

The Carbon is dark, smooth and velvety. It is inviting and pairs well with many genres of music.

The highs are slightly muted but it carries enough detail for it to sound "coherent".

The mid-range is the star performer. It is organic, smooth and the transient shift from upper to lower-mids is just buttery smooth. Everything is perfectly balanced and nothing sounds offensive. It is refreshing to have an iem with only a single driver at its core. It is incredibly cohesive and nothing seems out of place in the mix.

Bass notes are definitely accentuated and some might consider it overpowering. But that bloom elevates acoustic tracks with a "chamber" or stage-effect that adds body and definition to string instruments with a slow-decay.

Treble is free of sibilance, masking odd-harmonics that can easily cause listener fatigue.

Sound-stage is unfortunately, rather intimate and noticeably narrower in size compared to the Periodic Audio Be. It is definitely a step down.

However, imaging is sublime. Everything is well placed in each track and it is easy to notice a minutiae of new-elements never heard before in cheaper iems. Because of its ultra-clean background, it is easy to distinguish audible cues and the positioning of each instrument. With Dry the River's New Ceremony, each vocalist is presented with studio-like precision. Using your ears as a 3-D reference ball, each vocalist gently envelops you with their sonorous falsettos from all sides, slowly coalescing into a harmonious mix of voices.

At 32 Ohms, it is easily driven out of any source. However, I have been using it with the Periodic Audio Nickel and it is match made in heaven. This thing packs power and I will be reviewing this in the near future. The C was also used with my Shanling m0. Nothing much can be said except it is certainly a more "audiophile" source compared to my Pixel 2 XL.



Conclusion

To quote my previous review of the Mg, the "Cable" needs to GO. I expect a premium build quality if I am paying $499 USD. I understand that Dan doesn't like to use any sort of metal chassis because they have a tendency to ring and amplify unwanted resonances. From an engineer's perspective, it is perfectly understandable. As long as the cable is replaced with something more durable, I'll be a satisfied customer.

Apart from those minor details, the Carbon is a flagship IEM. Syrupy and ultra-coherent, the C is a a smooth operator with the sonic capabilities expected of an earphone in this price bracket.

Spare me the balanced armature arms race. Sometimes, less is more. And the carbon reaffirms that sentiment.

For people interested in purchasing the iem, you can purchase the earphones directly from them.

Periodic Audio: http://50.21.179.130/product/ca/

For more info, visit my blog @ https://headsoundsblog.wordpress.co...perfectly-balanced-like-all-things-should-be/


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Take note that this review is not being sponsored, this is an accurate reflection of my opinion. YMMV

Campfire Audio is an audio brand from Portland, Oregon. Starting out as ALO Audio, a company primarily focused on selling high-end headphone and IEM cables, the Campfire Audio rebrand began its foray into the competitive IEM market.

From their universally acclaimed “Andromeda” to the entry-level “Comet”, Campfire Audio has carved a name for itself among the Porta-audio community in the last 4 years, cementing them as a reputable IEM brand.

When news came around that Campfire Audio was developing an “audiophile” pair of headphones, the hype surrounding its impending release grew. What started out as a passion-project turned out to be a tiresome, 3-year “R and D” process. As a result, the “Cascade” was born. Featuring 42mm Beryllium PVD drivers, these headphones were conceived with the purpose of emulating the “sealed-sound” of an IEM. A bit of an oxymoron, but I’ll explain further as we dive deeper into my review.



Price:
$1099 (AUD)



Specifications:

Cascade is a culmination of a 3 year engineering effort to bring our signature sound to a headphone.

The result is a portable, closed-back headphone that sounds and performs like it’s open. Even better; it has the unique sound you expect from a Campfire Audio headphone.

Campfire Audio

• Frequency Response: 5Hz- 3kHz
• Impedance: 33 Ohms (1kHz)
• 100dB SP/mW Sensitivity
• 5 oz (without cable) or approximately 383 g
• Inside ID is approx.-1.5-inch-wide x 2.5 inch

Packaging:

Like its siblings in the Campfire Audio line-up, the box itself is sourced from an American-made, French paper company. As someone who appreciates writing on high-quality paper (Tomoe River, Midori paper company), I deeply admire a company that takes pride in its packaging. The color-saturated prints and the leafed-lettering oozes personality. Their cohesive aesthetic distinguishes their brand from the rest of the market.

A product is only as good as its packaging.



Accessories:

1. Campfire Audio Cascade + Campfire Audio SPC Litz Cable
2. Campfire Audio Headphone Case
3. Campfire Audio Pin
4. Filter Set (4 pairs of Damping Pads)
5. Warranty Card

There isn’t much to criticize. The lavish leather headphone case is basically an enlarged copy of their IEM cases, with the same faux-wool lining and leather outer-shell. Sadly, the bulky, over-sized case is hardly portable, taking up too much real-estate in my backpack. The case does come equipped with a leather sling; in case someone wants to carry it around like a man-purse (not the most practical option).

Overall, the accessories included are more than substantial.



Design and Build:

The headphone is built like a brick craphouse. According to the Campfire Audio website, the headphone is almost entirely made out of machined aluminium and stainless steel. From the reinforced yokes to its oblong ear-cups, the build itself feels virtually indestructible. The all-black paint job and its angular edges reflects unpretentious, industrial design

The downside of using an all-metal (almost) build is its combined weight; it is a hefty headphone. If you’re looking for something suited for long-listening sessions, this is not for you. If you’re looking for an ultra-portable over-ear headphone, this might not be for you either. Yes, the Cascades are collapsible, but it still occupies a significant amount of space.

The ear-pads and headband-padding are made out of sheep-leather. In spite of the headphone’s heavy mass, the plush padding helps to ease the pressure exerted on my head and ears.

The lambskin pads are magnetically attached and easily switched out should they wear out over time. Do take note that the replacement pads are proprietary to Campfire Audio. The headphones are equipped with HD800 connectors; an odd choice considering the multiplicity of common connector types available in the market. Nevertheless, I have zero qualms with that decision.

My biggest gripe with the Cascades lies in its cable. While the cable is made out of high-end components, the cloth/fabric sheath retains too much memory. The cable bends and twirls uncontrollably. To make matters worse, the fabric is incredibly rigid, resulting in a cable that is barely malleable. It is almost impossible to undo the kinks that form along the cable. In addition, the Y-spit and 3.5 mm termination feel remarkably cheap.

This was a huge oversight on Campfire Audio’s part. It’s hard to not nit-pick when they’ve nailed every other aspect in its design.



Isolation

The headphones aren’t exactly “closed” per se. There is a tiny, pinhole-sized vent at the top of each respective earcup. As a result, it doesn’t seal as well as other closed-backs in the market. In spite of this, it still isolates fairly well. Be prepared to turn the volume pot up in louder settings. Don’t expect Bose levels of NC.

At Home: My apartment is generally quiet. In an undisturbed setting, I used the Creative Super X-fi DAC/Amp at approximately 70/100 steps.

At a Coffee Shop: Slightly noisier, with more ambient noise in the foreground. I used the Creative X-fi DAC/Amp at approximately 82/100 steps, a slight increase from a “home” setting.

Google Pixel 2 XL Test (Now Playing): Thankfully, the placement of my Pixel 2XL next to the Cascades on my head did not trigger the now-playing feature (can’t say the same for open-back headphones).



Sound:

Track List:

• Neko Case- I wish I was the Moon
• Mahavishnu Orchestra- Be Happy
• God of War (PS4) OST- Valkyries
• Fleet Foxes- Tiger Mountain Peasant Song
• Diners- Little Pad

Hardware:

• Aune X1s
• Creative “Super X-fi” DAC/Amp
• Shanling M0

Drivability:

The Cascades are easily powered by the aforementioned source. However, it performed exceptionally well with the Aune X1s in particular, as expected from its higher output power and quality DAC. Nevertheless, the Cascades are a forgiving headphone that pairs well with most sources.


Bass:

PHAT. THICC. In your face. Campfire Audio held no restraint in tuning this bass beast. The low-end is bombastic, with meaty sub-bass rumble and mid-bass punch. The Cascades boast an unconventional tuning, sustaining each bass-note as long as it can.

At this price point, most audio hobbyists would expect your typical mid-range boosted, clarity-centric headphone. Campfire Audio has instead, turned that philosophy on its head.

The bass is fun, exciting and never fails to emulate the chamber-like pressure of an IEM with a proper seal. Unfortunately, the monstrous bass-response does bleed into the mids, overshadowing the vocal-range and other instrumentation in the foreground.

It is important to note that this is not your run-of-the-mill, “Beats by Dre”. I’m simply using headphones in the same price bracket as referents.


Treble:

The Cascade features a treble section with air and sparkle. Stringed instruments are given ample space to breathe, never coming across as strident in the process. Oddly enough, the Cascades allow the treble to decay at the exact moment when vocals start to sound raspy, hitting the acoustic “sweet spot”.


Midrange:

It is safe to say that Campfire Audio has opted for a V-shaped response on these bass-cannons. The mid-range remains clear, with enough presence for it to remain coherent. However, there is still a noticeable dip in the upper mids, with vocals placed further back in the entire mix. The PHAT bass complements the mid-range by backing it with weight and heft, creating an almost “tube-esque, vinyl-like” warmth that hearkens back to an analogue age.


Highs:

Highs are well extended, rolling off at the opportune moment so as to avoid ear-piercing sibilance. Considering the gargantuan bass response of the Cascades, its highs are surprisingly distinct, unfazed and undeterred by its explosive bottom-end.


Sound-stage:

The piston-like bass response overwhelms the sound-stage, stealing its thunder. Expect an intimate presentation when compared to its open-back counterparts in the market (Hifiman HE-560, HD800). I would describe the stage as a circular sphere, your head as the metaphorical center.

On the other hand, imaging is razor-sharp, allowing you to unconsciously pinpoint the placement of instruments and vocals with ease. This an impressive feat for a closed-back headphone. There are some occasions where the bass proves to be too thunderous, drowning out everything else in the process.



Summary:
For their first headphone release, Campfire Audio has undoubtedly, created an unorthodox creature in a crowded sea of high-end, reference headphones. In a market where developers strictly adhere to the Harman Target Response Curve like dogmatic scripture, it is refreshing to witness a company carve its own path.

Like the Audioquest Nighthawk, this headphone is bound to polarize listeners with its velvety tonality. Nevertheless, I believe they will develop their own cult following as time goes by.

If you’re looking for a reference headphone with clinical precision, look elsewhere. If you’re up for an unashamedly fun listen, this is the headphone for you.

This Review is a representation of my humble opinion. YMMV!

Click to expand...

How I found the brand:

CIEM's (Custom In-Ear Monitors) are often lauded as a rite of passage for any portable-audio enthusiast. The barriers to entry; ear impressions done by a professional audiologist, the long-wait time, the potential risk for a poor fit, the cost to entry and the durability of the acrylic used are considered hurdles one most cross.


I've always been fascinated by the bespoke nature of a pair of Customs since 2012. At the time of my infatuation, prices ranged from $400 to the thousands. There was an endless selection of boutique brands worldwide but none of them were priced accessibly. At the time, I was still vanilla to the hobby and uncomfortable in making such a large investment. Distributors in Singapore like Treoo do not include the cost of Ear Impressions and 2-Way shipping for the listed Customs online.

Jump forward to 2018, I was dead-set on taking my audio journey a step further. I wanted to satisfy the Custom Itch I've had for a long 6 years. With the "Balanced Armature" explosion that has occurred over the last 5 years, finding an affordable Custom wasn't that much of a challenge. A few google searches brought me to Music Sanctuary; a company that was reputable for its exorbitantly priced offerings. To my surprise, Music Sanctuary was carrying a "budget-piece" for audiophiles that weren't comfortable with shelling huge wads of cash. The brand responsible for this beauty is ARC Audio; a brand that started out in Thailand. Being their first feature product, the ARC Pollux came across as a no-nonsense Custom; with its muted color palette and single-driver approach.

I decided to settle down with the ARC Pollux; an entry level single Balanced Armature custom at a reasonable $399 SGD. Unlike other companies, the $399 SGD price tag covers the cost of ear impressions and the 2-way International Shipping.




Specs:

Driver Type: Knowles Single Full-Range Balanced Armature Driver
Connector: 2-pin Connector
Impedance: 28 Ohms
Frequency Response: 20 hz- 22 Khz





Packaging:

The ARC Pollux comes with packaged with a opaque black sleeve covering the Pelican Case. Nothing much to ride home about, but it further cements the "Buzz Aldrin" Space-Age theme it's going on (at least that what it appears to be, according to the main website).




Accessories:

1 X Arc Pollux
1 X Cleaning Tool
1 X 2-pin Stock Cable
1 X ARC Labelled "Opaque Black" Pelican Case

The ARC Pollux, like many of its competitors offers the standard package that's expected of a pair of CIEM's; a heavy duty military-spec'ed case, a cleaning tool for ear wax removal and the standard 2-pin braided cable. Considering the price paid for these, the accessories provided are above and beyond (compared to universal IEM's in a similar price bracket) its competitors.





Build Quality:

Before I share my experiences, it is pertinent that everyone understands the delicate nature of constructing CIEM's and how costly it is to customize and acrylic shaped mold for one's ears. Therefore, differences between varying units might exist. YMMV.

Considering the hand-made nature of every CIEM (Hypo-Allergenic Acrylic), it is hard for me to judge this IEM on its ability to withstand hard knocks and daily wear. Having said that, acrylic is known to be durable enough to withstand daily wear. Hard drops onto a solid surface however, might shatter your CIEM. YMMV.

Apart from that, the entire surface of the acrylic has been lacquered and polished evenly; every crevice and gap between the faceplate and the body has been sealed thoroughly. As expected, the CIEM has been finished immaculately.

The cable connectors are my main point of contention. The 2-pin connectors while sturdy, are too tight for the entirety of the 2-pins (male end) to sit snugly in the female ends. The 2-pin male ends are slightly exposed (around 30-40%). Apart from that oversight, the Pollux's feel like a million dollars.


The color scheme was carefully selected by me. It is important to note that the color combinations are limited and do not share the wide variety of design/color schemes offered by higher end competitors. I do expect to see a wider plethora of options in the near future.




Comfort:

It is hard to describe the comfort of a Custom. Like all other Customs in the market, the customized rendition of one's Cochlea feels like an extension of the ears. The customized nozzle shape (unlike Universals) sits snugly in the ear like a glove, eliminating any pockets of air between the ear and the earphone. Isolation is "Etymotic like" without the needle-like flange tips stabbing your ear-canal. As expected of a Custom, the ARC is the most comfortable earphone I've ever had the chance of using. Not surprising, all things considered.




Tracklist:

This is a special playlist (alittle tongue and cheek) dedicated to the "Space" theme of the ARC Pollux:

Ladies and Gentlemen, We are floating in Space- Spiritualized


Space Song- Beach House


Gagarin- Public Service Broadcasting


Tears in Rain (Blade Runner OST)- Vangelis


Space Oddity (Remastered)- David Bowie


Asylum for the Feeling- Silent Poet



It is important to take note that the review has been done without the original stock cable. Instead, I opted for a Cryogenic-ally treated Copper Cable by OC (Original Cable) Taiwan (Yes, I purchased the cable for aesthetic /durability reasons).

"The Pollux provides a balanced tonality with a clear sounding stage. In addition, clean sounding vocals and sparkling treble are proudly presented as ARC's sound signature while the bass remains punchy and tight. The ARC Pollux lends to a mesmerizing sound that allows you to immerse in your music within your own space."

Click to expand...

Lows:
For most IEM crazies like myself, it is universally known that Balanced Armatures lack the ability to displace air like a dynamic driver; it lacks meatiness in the lower registers. However, the ARC Pollux has converted me to the "Custom Clan".

The seamless fit tightens the texture of the bass drastically. With tracks such as Space Song, the bass quickly adapts to the track. It doesn't drag nor does it decay swiftly, It is an under-exaggerated sort of low-end that shares a direct correlation to the track. Depending on the nature of the song in play, the Pollux tries to avoid overplaying or underplaying its qualities. It does however, lack alittle bit more mid-bass kick. A common problem for Balanced Armatures.


Mids:
According to the description posted on Music Sanctuary, the Pollux places a heavy emphasis on vocals with an airy treble. Being named after Pluto's moon, the Pollux is aptly named thanks to its hazy, enchanting mid-range (qualities associated with space).

The lower-mids can be characterized as enchanting; emphasizing the "slower" decay and long sustained notes. It helps to capture the "chamber/reverberation" effect of the tracks "Ladies and Gentlemen, we are floating in space". However, with tracks that require speedy delivery such as "Gagarin", the lower-mid veil doesn't hinder the track's depiction (especially with its snare drum delivery). The Pollux particularly excels in displaying "reverberation" with life-like realism.

The upper-mids are forward and engaging without any grainy treble/shoutiness and all the tracks test.


Highs:
Smooth, velvety but well extended is how I would surmise the highs. It is clear that the ARC Pollux shines with songs that have a longer sustain. Tracks like "Asylum for the feeling" help to showcase the Pollux's ability to smoothen out any graininess in the tracks. Sibilance is nowhere to be found.


Treble:
This is undoubtedly the star of the show. The treble can be described as sparkly, with an almost "wet" texture to it. The treble sounds incredibly saturated, without that "ungodly" forward treble in other reference audio-gear.


Soundstage and Imaging:
This is another case of "Custom fit" playing an integral role in shaping the soundstage/imaging. The snug fit enhances the ability of the Pollux to represent a realistic 3D sound-stage. Instead of the "faux" left-right channel separation, the mix represented sounds accurate and well positioned.




Scalability:

On the Shanling M0:
The ARC Pollux has a considerably low impedance. Paired with the powerful Shanling M0, we have a dynamic duo. The Shanling M0, with its dead-quiet low-impedance output, led to a hiss-free experience. The Pollux/M0 pairing displayed a complementary effect on each other; the end result being warm and inviting.

On the LG G6:
The LG G6 is lauded for its ability to produce reference-quality sound on a phone; something that is unheard of in this day and age. The ARC Pollux sounds less shadowy, with more emphasized treble bite.

On the Aune X1S:
The ARC Pollux while limited by its low input impedance, scales slightly when more current is fed into the load. The Aune X1S isn't the most friendly amplifier for sensitive earphones no thanks to its high impedance output. Thankfully, that wasn't the case for the Pollux. There was virtually no hiss during long-listening sessions. The Aune/Pollux pairing was clear, better separated with enhanced mid-bass presence. I would say that while the ARC Pollux scales noticeably, it can be argued that a smartphone has enough power/current to drive the ARC Pollux with ease.




Comparisons:

ARC Pollux CIEM vs Kinera Idun

Understandbly, this isn't a fair comparison (a custom vs a universal) but the Kinera Idun features an ergonomic, custom like shell. I would say the seal achieved by the ARC pollux is at least 30% better than the Idun (it has a pinhole sized vent to displace back-waves from the dynamic driver).

The Pollux sounds more coherent despite its usage of a single driver vs 3 drivers (2 balanced armatures and 1 dynamic driver). The ARC is warm, inviting and emphasizes the sweetness of female/female vocals. The Idun is fun, forward and surprisingly balanced despite its off the chain bass punch.

However, the ARC doesn't sit far behind the Idun when it comes to the bass. The ARC I would say, takes a point for its more realistic, reserved bass-response. However, the Idun takes the win for its ability to retrieve slightly more detail than the Idun. The soundstage is somewhat similar on both earphones but the imaging on the Pollux is more realistic. The Idun while incredibly separated thanks to its hot treble, there is a feeling of artificiality (commonly associated with multi-driver setups).




ARC Pollux CIEM vs IMR-Acoustics R1

Again, not the fairest comparison (the R1 being more than twice the value of the ARC Pollux). Nevertheless, it is interesting to revive the ole' "Balanced Armature vs Dynamic Driver" comparison. It is imperative that everyone understands that the IMR R1 is currently using the "reference flat" blue filter.

The ARC Pollux is relatively warm and enchanting. The IMR R1 features a soft V-shape, with a sparkly treble and speedy bass. To be honest, it is almost hard to compare both signatures. Do take note that the Pollux has a realistic 3D stage while the IMR R1 features uncanny separation and width.




TLDR:

Being one of the cheapest CIEM's in the market today, is is hard to remain unimpressed by this level of quality at such a reasonable price point. I'm quite certain that you'll be hard-pressed to find a custom with such immaculate value as compared to the ARC Pollux. For audio enthusiasts ready to dip their toes into "custom territory", you've come to the right brand.

Where to purchase:
https://music-sanctuary.com/products/arc-pollux

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https://headsoundsblog.wordpress.com/2018/08/19/earphone-review-arc-pollux-ciem/

A Preface:
This Review is a representation of my humble opinion. YMMV!



How I found the Brand:


Kinera has been frequently featured on Massdrop and I soon discovered the brand through it's first offering; the Kinera H3. Considered as one of Chi-fi's greatest, the Kinera H3 was considered a competent contender in the already saturated market of Budget Hi-fi. At 100 USD for a triple-driver IEM, specs alone were enough for them to sell like hotcakes.

Apart from a few hiccups in the sound signature (Thinny-sound, scooped mids), Kinera showed enough potential to be considered a serious brand that's out to capture some serious market share.

A few months after my first encounter with them, Kinera made a surprise announcement on their official Facebook Page. In come the Kinera Iduns, a fully fledged upgrade to the Kinera H3; everything the H3 was supposed to be. Sporting a 8-Core, Silver-Copper Hybrid Cable and a Similar 2 BA + 1 DD Configuration, The Iduns are probably the spiritual successor to the already aging H3. The name alone had place cells in my brain firing up with majestic imagery of "Yggdrasil birthing the Apples of Idun; the fruits of Immortality" (probably due to my God of War binge on the ps4 prior to this discovery!) Naming Conventions and the Stunning Stabilized Wood faceplates alone had me sold. Did I mention that it only costs $129 USD?

In the weeks prior to the Idun's arrival, I pre-ordered the package following the instructions provided to me through Kinera's official Whatsapp Group. A special thanks to Steve Tong of Kinera for being so amicable; your patience is fully appreciated.



Specs:
Driver Config: 2ba + 1dd
Connector: 2-pin Connector
Sensitivity: 112+2db
Impedance: 32ohms
Frequency Respone: 20hz- 20,000hz



Packaging:
Do take note that there were only 25 pieces of the Kinera Idun Special Editions open for public pre-order (apart from the units manufactured for reviewing purposes).

The unit that I recieved is considered "incomplete", without the official printed Kinera box as the customers involved with the pre-order process opted for faster shipment vs waiting for the paper boxes to be printed. With respect to the given conditions, the packaging segment of this review should not in any way detract from the quality of the entire product experience.



Accessories:
1 X Kinera Themed Metal Case
6 X Pairs of Silicon Tips (S,M,L)


Not the most flashy package, but it certainly has more than enough to get you started. The Kinera Themed Metal Case is a notable upgrade from the regular rectangular clam-shell zippered case provided with the Kinera H3. The Metal Tin case shares some remarkable similiarities to the CIEM Cases offered by Ultimate Ears (UE), an area worthy of praise considering the 129 USD price point.



Build Quality:


The smokey acrylic shells finished with the "stabilized wood faceplates" are aesthetically comparable to the likes of expensive CIEMS offered by Top of the Line brands such as Ultimate Ears or Vision Ears. A commendable effort on Kinera's part. Do take note that this wooden variant is no longer available. The mass-market versions of the Idun will instead, feature a translucent blue/oyster and transparent/ pearl white design (refer to the image below).

As far as acrylic shells go, it is beautifully finished, with no noticeable jagged/sharp edges. The lacquer applied is evenly layered across the shell's contours. Like all other acrylic shells, the material itself is semi-brittle and is prone to shattering if battered around like Thor's hammer. While it is not the most durable earphone around, it is more than substantial for daily usage.


My only gripe about the shell is the placement of a pin-sized vent near the back of the shells (near the placement of the dynamic drivers) looks like a potential point of failure or sediment buildup (ear wax or dust) in the long term.



The cable itself is incredibly supple and lacks any sort of memory. Very impressive for an 8-braid cable. The 2-pin connectors however, do look tacky and cheap. The "Red and Blue strips " on the left and ride connectors do not match the Idun's "rustic" theme that it has going for it. The 3.5mm Termination lacks a lengthier strain relief apart from a tiny bit of heat shrink. The metal Y-split/Choker could've featured an Idun-themed logo for added brand identity. With the price point in consideration, the minor complaints that I've had can be easily overlooked.



Comfort:

The Kinera Idun's use an almost identical shell structure to the Kinera H3 and other Chi-fi "Psuedo" Customs offered on Ali-Express. I am highly suspect that the schematics used to produce shells like the Idun's are openly shared online for IEM Manufacturers to use freely.

The fit of the Kinera Idun is more than perfect, with the nozzle fitting snugly in the Ear Canal with the right tips while the shell sits comfortably on the Concha. The lightweight nature of acrylic also aids in long-term wearability. The cables are feather-light and is barely noticeable. The Idun's are easily one of the most comfortable IEM's I've ever heard the pleasure of owning.



Sound Description:
Gear used: Aune X1S 32bit DAC/Amp
Spotify Premium (320 kbp/s)
LG G6 (ESS Quad DAC)
Shanling M0

Tracklist:



Lows:
The Dynamic Driver is definitely doing its job in the sub-bass department. The lows are delicately balanced; offsetting the unatural timbre of the balanced armatures being used. However, the mid-bass punch decays almost rapidly in an inoffensive manner, utilizing more sub-bass to create a more pronounced low end without overstaying its welcome. This will certainly miss the mark for bassheads but as far as balance goes, the Lows are adequately full.

Mids:
Unlike the H3's with it's paper thin mid-range, the Idun features a mid-range that is rich in tonality but is as equally inoffensive as its low end. It is present and ever forward but it isn't emphasized in any way. In line with "Kinera's" dedication to balance, the mids are just there. One thing to note is the speed to which the mids decay; they attack and decay rapidly with little sustain thanks to the forward nature of "balanced armatures".

Highs:
This is the star of the show. The Idun's are not afraid to push the highs to soaring heights. The highs are wonderfully extended, with crisp "s" notes heard clearly without ringing too loudly to be considered sibilant. There is alot of air and sparkle in the highs to create the illusion of increased separation between the vocals and the instruments. Despite it's forward nature, the lows and the mids somehow coalesce to form a very realistic/coherent soundscape.

Treble:
Treble tends to be a bit of a sore spot for me. I tend to react to forward treble negatively no thanks to its nature to resonate poorly in my ears. This is one area that the Idun has nailed. Treble response has a "wet quality" in opposition to cheap chi-fi earphones that tend to be "brittle and inflexible". It captures the fundamental snap of most intruments and pitchy female vocals without the gharrish ringing effect that occurs when it decays too slowly.

Soundstage and Imaging:
I have to laud the Idun for it's soundstaging and imaging capabilities. L-R seperation is wide and expansive, featuring reference level seperation among different instruments without the need to be hyper-focused. Height is a notch above average and fares considerably well. Thanks to the unrestrained highs and sparkley treble, separation between each characteristic instrument is remarkable.



Scalability:


On the Shanling M0: With the ultra-low output impedance of 0.7 ohms, the Idun's paired with it just nicely, achieving a stable damping factor. The Noise-floor is silent as it should be. If the highs or treble are too strident for you, the Shanling's more mellow nature helps to smooth out the peaks that may seem too "shouty" for some.


On the LG G6: The LG G6 features an incredibly clean sound section that emphasizes a neutral tuning with precision imaging. As per usual, the noise floor is non-existant. Unfortunately, the Iduns have a nominal impedance of 32 ohms, which isn't enough to trigger the "High Gain" output setting of the LG G6. Nevertheless, the LG G6's more realistic presentation complements the airy nature of the Iduns. This is by far my favorite combination for long bus rides!



On the Aune X1s: For obvious reasons, the Kinera Iduns sound the greatest with dedicated headphone amplifier/DAC Combo. Surprisingly, the 10 ohm output impedance didn't seem to affect the Iduns that much apart from a slightly flabbier bass response. The Kinera's sound alittle cleaner than the LG G6 or the Shanling with the Aune but there really isn't much need for the Idun's to undergo amplification considering the diminishing returns when it comes to scalebility.



Comparisons:


Idun vs IMR R1: The IMR R1 is my TOTL, flagship pair of Dynamic Open-back earphones, Currently, I'm rocking the Blue filters (Airy Treble, Balanced) on my pair.

The IMR R1 is more resolving in its presentation. The decay isn't as snappy as the Kinera Idun. It lacks the speed and verve that the Kinera Idun has brought to the table. The highs are more analytical on the Idun. Isolation on the Idun's is noticeably better than the open back IMR R1's (I refuse to use them in the closed configuration as it changes the tonality too greatly).

However, the IMR R1 is more coherent and it has soundstage that is far too massive to be compared to the likes of the Kinera Idun when its vents are fully open. Instruments and vocals are seperated with an almost speaker like quality in comparison to the Kinera Idun. Timbre representation is uncanny and hyper-realistic.

Do take note that this is not exactly a fair comparison considering the IMR1 is easily 4-5 times the price of the Idun. The Idun's still put up an admirable fight. A shame that I have to sell them soon to make way for more earphones!


TLDR:
The Kinera Iduns are a phenomenal piece of Chinese Hi-fi. This is most definitely a step in the right direction for Kinera. I believe Steve has nailed down the "fundamental" Kinera house sound; an engaging, balanced signature. I look forward to Kinera's future offerings (particularly their new flagship 8-BA IEM, the Odins!)

The "Pre"-Preface:
I would like to thank Dan Wiggins and his lovely wife @ Periodic Audio for being such a wonderful host in CanJam Singapore 2018! I thoroughly enjoy my conversations with you guys (what a amicable couple!) I look forward to reviewing future releases under the Periodic Audio brand. Best of Luck!




The Real Preface:
As mentioned above, I am in love with Periodic Audio. However, I am not in anyway affiliated with Periodic Audio. I purchased this unit with my own hard-earned cash. I will not let my personal bias impair my judgement. Out of respect for Dan, I will share my honest 2-cents about this product.



How I discovered the Brand:
During one of my random 3am Youtube binges, I discovered Periodic Audio via Innerfidelity's coverage of Canjam New York 2017. Amidst the video, I discovered Periodic Audio and their "no-frills" approach to the over-saturated porta-audio market. Steering away from industry trends, Periodic Audio settled on a "single dynamic transducer" approach to alleviate "timing delays" and "unnatural sound" of balanced armature setups.

Peirodic Audio boasts a line-up of 3 IEM's (Mg, Ti and Be). The Mg is priced at $99, the Ti at $199 and the Be at $299. Each earphone shares the same schematics, apart from the various diaphragm materials being utilized (Magnesium, Titanium and Beryllium). For easy identification, the metal caps at the back of each earphone share the same color of each corresponding diaphragm type.

Intrigued by the quirky lab-themed marketing, I was excited to snag a pair of the entry-level model, the Mg (Magnesium) earphones at the show. That was until I poisoned my ears with the demo Be's. At that given moment, I knew I had to purchase my own pair (THE PRECIOUS). I managed to get my hands on them at a discounted price (Thank you, a la Dan Wiggins!)



Packaging:

Love the Image on the front flap!​

In accordance with Periodic Audio's No-nonsense approach, the packaging is pretty straight forward. Unlike its American counterparts (Campfire audio etc), Periodic audio opted for a cheap bio-degradable package that serves its purpose; protecting the earphones inside and nothing else. To avoid unwanted costs, this approach reduces the unnecessary costs borne on the consumer. To quote Dan loosely, "who listens to the box"? A pragmatic approach indeed.

The print on the front of the box flap features and exploded schematic/blue-print of the earphone itself (very cool!)



Accessories:

​

1 X Periodic Audio Be Earphones
1 X Periodic Audio Tin Case
1 X Boxful of Eartips (Rubber, Foam)
1 X Airline Adapter
1 X 1/4 Inch Adapter

They didn't skimp on the accessories. There's pretty much everything needed to get you started out of the box. I especially love the rounded tin case provided in each Periodic Audio package. It reminds me of the lozenge tins produced by Robitussin and Altoids. A tasteful way to store earphones! The inner of the case itself is lined with foam, protecting the earphones against hard thumps and surface scratches. Overall, its a tasteful package.



Build Quality:

​

At a $299 price-point, most audiophiles would expect a solid metallic construction with an over-ear design (ideally with a detachable cable of sorts). This has none of that. From an engineer's perspective, Dan and his team of industry-trained designers opted for a high-quality poly carbonate build.


For starters, plastic sits more comfortably in the ear canal thanks to its light-weight nature. In addition, plastic serves as a better chamber with better resonance properties as compared to metal. It is obvious that the team has designed this product for long-term, fatigue-free listening. Taking the entire thought process into account, I have no qualms with the build on the actual driver assembly.

The ends of each case are sealed with a beautifully machined rear cap. There are tube/vents built at the top of the earphone to alleviate the build-up of air pressure in the chamber. Thankfully, the placement of the vents do not compromise on its ability to isolate.

The termination between the cable split and the earphones themselves are reinforced with molded rubber jackets. Unlike other non-detachable earphones in the market, these feel ultra-durable with that extra layer of security.


The cable is thin and supple, retaining little to no memory. Cable noise is non-existent during my journeys to Train Station on any given day. My main gripe lies with the cable jacket and the 3.5mm terminated jack. The thinny cable leaves little to be desired when it comes to its longevity. The 3.5mm termination is poorly built when placed next to other aftermarket connectors like Ranko or Oyaide. These are areas that can be improved in future iterations or product releases in the pipeline.



Sound Description:

Gear used: Aune X1S 32bit DAC/Amp
Spotify Premium
LG G6 (ESS Quad DAC)
Cowon Plenue D

Tracklist:





Being the most expensive of the line-up, the Be's house a pure Beryllium diaphragm with a proprietory dynamic transducer on each side (similar to that of the Campfire Lyra 2). According to the listed measurements, the Be's are easily driven and efficient, with an impedance of 32 ohms and 100dB SPL @ 1mW of power.

Lows:
Thick is the right word used to describe the bass section. It has an uncanny rumble on several tracks with a sub-woofer like stage presence (similar to that of the Campfire Vegas). Do not be fooled however, as the bass decays quickly enough without overshadowing other areas in the frequency band. Mid-bass isn't particularly forward but it has enough authority to signify its presence.

Mids:
Now, this is the shining jewel. The Be captures the timbre of each instrument and vocal section with ethereal precision. Mids are full and well-bodied, with enough lower-mid emphasis. The Mids aren't particularly forward but across the entirety of the frequency band, they're placed on an even playing field.

Highs:
The Highs are slightly rolled up. Backed up by the thick bass, the highs are noticeably "muted". IMHO however, it does capture the entire spectrum quite naturally without it being "hostile" to the ears.

Treble:
Treble sensitive listeners, rejoice! The treble here is rolled off at this "acoustic sweet spot", with ample bite to represent cymbals with an accurate timbre. There's enough of it without it being an overpowering, sibilant mess. Treble-heads, please look elsewhere!

Soundstage and Imaging:
The Be's run far and wide. The placing of instruments are realistic, with superb stereo separation. The placement of the vent allows the driver "to breathe", enhancing the experience with the best imaging I've ever had on a earphone at this price-point. It's like loudspeakers in your ears.

Scalability:
Like other dynamic driver earphones, they do respond to amping rather well. More juice allows you to achieve more control over the Be's with a better damping factor. Paired with my Aune X1s, the Be's are noticeably clearer in the mid-band. Soundstage is further improved as well, with wider stereo separation and multi-layered imaging.



Comparisons:

Battle of the Tin cans! ​

Periodic Audio Be ($299) vs Noble X Massdrop ($249) - Understandably, this isn't exactly a fair fight, Sadly, I do not own many earphones at this price point in my rotation.


The Periodic Audio Be utilizes one single dynamic driver while the Noble X's uses a dual-balanced armature array in its setup.


The Be is obviously more "full-sounding", with a superior timbre. The Noble X's places emphasis on the upper-mid registers and a sub-bass rumble that's unheard of in most Balanced Armature Setups. It is quick and nimble in its presentation. It does however, lack the dynamic flexibility and body of the former. The bass section of the Noble X distorts quickly unlike the Be's, with its cohesive bass-response.


Imaging on the Be's blow the Noble X's out of the water. It is wider and larger as compared to the slightly unrealistic representation of the Noble X's. Make no mistake, the Noble X's like most multi-driver setups, feature great separation. It does lack the consistency and accuracy captured by a full range dynamic transducer.


The details picked up on the Noble X is accurate and reference-like thanks to the Prat of balanced armatures. It decays with a planar-like rigidity. The Be's as expected, are slower compared to the Noble X's. However, the Be's draggier sound, is how music is supposed to sound: warm and inviting. Balanced Armatures have a tendency to sound coarse and dry no thanks to its lack of air displacement. Dynamic drivers imo, are the superior transducer type in reference earphones.



TLDR:
The Be's are shining achievements in portable audio. Of all the earphones I've owned, this is arguably the best earphone in my collection to date. The sound is rich and inviting, with sound-stage and width that shoots way above its price point. Periodic Audio has achieved the impossible with this product. Competitors beware, there is a new contender in town!

Before I start, allow this message to serve as a pre-requisite; This review is simply a reflection of my preferences. YMMV


About Takstar:

Figure 1.1 Takstar Monitors for Stage use.

Takstar is a company based in Shenzhen, China. Originally founded in 1995, Takstar serves an OEM for large "audio" focused conglomerates such as Beyerydynamic and Sony. From what I've gathered, Takstar has produced its own inspired line of products, ranging from Microphones to Studio-related equipment at low prices. Recently, Takstar released a new pair of headphones named the "Pro 82", a direct successor to the Takstar Pro 80 (modelled after the Beyerydnamic Dt880). At a measly 72 SGD, its hard to resist the urge to snag a pair, especially with its comprehensive accessories package (we'll talk more about that later).



Accessories:


1 X Takstar Pro 82
1 X Takstar Flightcase
1 X Plush Pouch
1 X Detachable 2.5mm to 3.5 mm Cable
1 X 1/4 Inch Jack
1 X Takstar Certification

I have to say, Takstar did not skimp on the accessories. All is provided for the consumer to use the headphones right out of the box. Need ample protection? Use the Takstar Flightcase. Want to take it outside? Use the provided pouch for portability. Takstar has got you covered.

Its the little details like a "Certificate of Authenticity" that really adds to the experience. Did I mention that the entire package costs 70 dollars?



Build and Comfort:



Lets talk about the elephant in the room; the Takstar Pro 82 clearly draws its design cues from previous iterations of the Sony MDR 10r. The resemblance is uncanny. From the pleather headband to its hinges, the Takstar is a clear ripoff. My guess? The schematics for the MDR 10r were probably designed by Takstar, serving as the OEM on behalf of Sony.

There are some notable differences; one being the bass ports below the earcups and the yoke holding the earcups themselves. However, it is fairly common for chinese companies to replicate design choices of other reputable brands.

Apart from that, this doesn't feel like a $70+ headphone. It easily outdoes the competitors in the same price bracket. The plush headband is reinforced with steel hinges while the ear-cups are made of anodized stainless steel (an uncommon sight on a budget headphone). It is important to take note that the yokes holding the earcups are made of plastic. At this price point, thats something one would expect. Unlike the Sony MDR 10r's, the Takstar's earpads are of a higher quality. The pleather pads easily shapes to the contours of my ears.

The only point of contention I have is with the cable, I dislike 2.5 mm terminations. A 2.5 mm jack doesn't exactly feel substantial (build wise). Judging from the length of the provided cable, this pair of headphones was clearly designed for home/studio use. A more apt choice would be a 3.5mm termination for easily replacement (if the current cable gives way in the near future). Nevertheless, the included cable is well sheathed, easily malleable and doesn't retain memory.



Sound:

Gear Used: Aune X1S 32 Bit Dac/Amp + Spotify (Extreme Quality)
LG G6 (ESS Quad Dac)
Cowon Plenue D

Tracklist:
Gagarin- Public Service Broadcasting
No Deal- Melanie de Biasio
Make the Road by Walking- The Menahan Street Band
Michigan- Milk Cartion Kids
Down on the Street (Remaster)- The Stooges
Ladies and Gentlemen, We are Floating in Space (Moles Studio Mix 7)- Spiritualized
Waiting around to Die- Townes Van Zandt
Here Before- Vashti Bunyan
If you need to, Keep time on me- Fleet Foxes
Honey and Smoke- Case, Lang and Veirs.

On first listen, the Pro 82's are incredibly V-shaped. Not a mild-V, a DEEP V.

Treble: While it borders on "sibilant" to my ears, I would say it decays at the "right time". With "Down on the Street", the treble decays at the right time, without too long a sustain for it to be "uncomofortable", especially with the piss-poor recording quality of the Stooges.However, the strident "S" notes might prove to be fatiguing to some.

Soundstage and Imaging: Being a closed back headphone, there would be some limitations to its soundstaging abilities. With that in mind, the Pro 82's surprisingly exceeded my expectations in this area. The soundstage, while not the widest, is pretty coherent to my ears. With tracks like "Gagarin", the placement of each instrument is distinct. Pair that with a forward treble and we have a realistic 3D sound-stage that remains coherent.

Highs: This is one ballsy headphone. The highs are extended to soaringly high levels without skipping a beat. In this case, it's a double-edged sword. While the highs elevate certain tracks with a lower-mid focus (Here Before and Honey and Smoke), certain tracks with horn sections (the Menahan Street band) start to sound "brittle" and "harsh". The "metallic shimmer" is often characteristic of cheaper headphones so it is easily forgiven.

Mids: I'll admit, I'm not a big fan of the mids. The lower-mids (a personal preference) are clearly lacking. Don't get me wrong, the upper mids are clear and well-defined. On the other hand, the lower mids are scooped out of the mix, thinning the entirety of its mid-section. Tracks such as "Michigan" lacks enough body for it to complement the song's tonality.

Lows: This is where the Takstar shines. The Takstar features 3-tunings with the adjustable notches below the earcups. They are "Flat, Boosted, Full Boosted"


Do take note that the Takstar Pro 82 responds well to amping. It is however, power-efficient at 32ohms so it is easily driven out of any portable sources.

Comparisons:

Emu Walnut vs Takstar Pro82: The Emu Walnuts are a modded rendition of the Creative Aurvana Live, one of Tyll's (of Inner Fidelity) recommendations on his Wall of Fame. Unlike the Takstar Pro 82, the walnut are veiled-sounding, with a more intimate mid-range and more lower-mid bloom that adds to its richer tonality/timbre representation. Treble is typical of biodynamic drivers, being both dry and coarse in its reproduction. The Takstar Pro 82's are miles away from the Walnuts, with an "in your face" sound signature and punchy mid-bass.

Sony MDR 10r vs Takstar Pro82: A fair comparison. The MDR 10r is much warmer and laidback, with nice balance across the spectrum. Mid-bass is nice and tight, sub-bass is tasteful. The mids feel full without being too forward. Despite the shared parentage, they differ substantially in its performance.



Conclusion:

The Takstar Pro 82's are over the top in its presentation. It isn't exactly aligned with my personal preference but they never ceased to impress. Its dynamic sound, paired with its accessible price is hard to argue with. For audio enthusiasts looking for a fun, engaging listen, it's hard not to recommend the Pro 82's.

Do take note that this is solely my opinion and I don't represent the individual tastes of every Head fi'er out there. YMMV

The Infamous AKG "Sextetts". Courtesy of Whitney Dafoe Photography,

"It speaks for itself!"

AKG is an already established company that focuses primarily on the manufacture of radio equipment in Austria. Starting from humble beginnings, AKG started from the ground up, producing the D12 microphone in 1953 with the ability to pick up on wider bandwidths. Soon after, AKG started to amass a wider following amongst the radio-industry crowd. In the years to come, AKG would soon branch out into headphones, developing the venerable AKG K240 "Sextett" and other oddball renditions.

Fast forward to 2017, and AKG is now a subsidiary company under the Harman Audio group. Focusing primarily on pro-audio, with its reference grade headphones such as the K812, AKG is widely regarded as one of the industry giants. And yet, the K240 (do take note that this is a revised model) is still available for purchase to this day. In an already crowded low-fi market, models that serve as a low cost to entry are a dime a dozen, with competitors spitting out headphones on the yearly. Competition is stiff, and companies are eager to be the next big thing. Has the K240 aged well to this day or is it a cheap relic from a time forgotten?


Price:
I live in Singapore and I managed to snag a pair of the AKG K240 Mkii's at 99 SGD (approximately 70 USD) from Lazada Singapore. Do take note that there are no audible differences between the K240 Classic and K240 Mkii's (apart from differing color variants and accessories).


Package:
Right out of the box, we have:

1 X AKG K240 Mkii (Blue)
1 X Mini XLR Coiled Cable
1 X Mini XLR Regular Cable
1 X Velour Earpads
1 X AKG Sticker + Warranty Card

For 99 dollars, this is a pretty sweet deal. For such a low cost, we're pretty much set out for life with this pair! Overall, a generous package from AKG.


Build Quality/Comfort:

At 99 dollars, I didn't have any overblown expectations and I'm glad I didn't. I was pleasantly surprised by the overall build and comfort.

Weighing in 240 grams (without the cable), the headphone is ergonomically designed, fitted with the already signature AKG Styling that we've all come to love over the years. The rounded earcups sit snugly on the head with just the right amount of clamp. The self-adjusting vinyl headband allows the headphone's weight to be evenly distributed across the head.

The detachable connector on the left feels sturdy, showing no signs of loose pins. The build, while plasticky, feels sturdy enough for heavy usage. Every part of the headphone can be replaced easily, with a market of readily available parts. Do take note that the K240's are manufactured in China, unlike it's pricier counterparts (Q701, K712, K612). Do not let the aforementioned fact affect your judgement, the K240's are still a fine pair of headphones.


Amping:
Impedance: 55 Ohms
Sensitivity: 91 dB SPL/V
Maximum Input: 200mW


My pride and joy!

Make no mistake, AKG's are notoriously power-hungry beasts (ala the K240 "Sextett" with its power-sucking 600-ohm impedance). The K240's are wired to be more "consumer friendly" but even on my Aune X1s, the volume knob has to be turned past the 12 O clock region. Like Sennheiser, AKG focuses on Electrical Damping to achieve more nuanced movements on the dynamic driver diaphragms, with an ideal damping factor. My guess; it has something to do with it's large XXL Varimotion transducers.

Back to the topic at hand, the K240's responds well to a powerful amp section. More juice= More control. It clearly shows with the K240's. Paired with the Fiio K1, the K240 reaches ample listening volume but it doesn't exactly shine. When it's powered by my Aune X1s, the headphones really sing, with added control on the mid-bass section. Go for power with the K240's.


Sound Quality:
Source:

• Spotify Premium (Highest Quality)
• Aune X1s
• Fiio K1
• Denon DP300F Turntable

Tonality:

• Liquid/Rich Mid Range
• Rolled-up Mid-Bass/Sub-Bass
• Extended Highs
• Decent 3D Soundstage

After using the K240's as my daily drivers for the past 5 days, the K240's can be characterized as a mid-centred headphone, with layered mids and a phenomenal vocal range, the likes I haven't soon in a headphone at this price point. The somewhat forward treble is bordering on the threshold of sibilance without overstepping the "boundaries".

The highs are well extended, without the stiff peaks that accompany cheap headphones. The highs are a tad brittle, however, lacking shimmer for more excitement. These are most definitely tuned for the "studio engineer" in mind, with its lack of coloration

The main detraction, however, is its bass section. The bass leaves nothing to be desired. Its mid-bass punch is present but lacks the thick sub-bass to back it up. It's a flabby, sort of dry bass reminiscent of balanced armatures and their characteristic lack of air movement.

While the soundstage isn't going to win any awards, the K240's prove to have decent imaging. Picture your head as a 3D reference ball. Each instrument remains grounded in a circular soundstage. The soundstage isn't your typical "out of head" experience with an oval soundstage but rather, it is more in line with what you'd expect from a semi-open pair of cans.

Featured Track:
Jonny Lang- Still Raining


The perfect companion track, Jonny Lang's raspy howls paired with the reverberation of tube amp blues riffs perfectly compliments the mid-section of the K240's. The realistic imaging adds a layer of forwardness, akin to sitting in front of a live stage performance.


Are the AKG's a fine wine?
There are so many headphones to choose from today. But the K240's stood the test of time and are still considered to be an industry standard by many recording artists and studio engineers. Sometimes, you can't beat the old timers. I'd give the K240's my highest recommendation if you're looking for mid-focused listen.

A web of controversy:
 
 
The usual suspect of "snake oil items"
 
Audioquest has established itself as a notorious company, solely focused on the manufacture of "state of the art" Hi-fi, primarily "exclusive cables" that focus on reducing audible distortion, bit errors and clean data transmission between audio sources and the output speaker/headphones.
 
Started up by William Low, Audioquest's philosophy focuses on the sum of its parts. Every component of one's audio setup plays a key role in the reproduction of quality music.
 
However, in the recent years as forums dedicated to Hi-fi have been gaining traction, many audiophiles are quick to call out Audioquest as a company selling wishy-washy products on the basis of psuedo-science. Products such as the Jitterbug and the plethora of high-end cables have been caught under the gaze of a group of "hard-core audiophiles". 
Amidst all the flak they've been receiving for at least 10 years, the company has managed to hatch a few golden eggs; not limited to the brilliantly tiny yet mighty Dragonfly Dac. Audiophile zines for a more "mature" clientele such as Stereophile adore Audioquest's journey to sound nirvana.
 
Be that as it may, the company has made a bold decision: to venture into the world of Hi-fi headphones. Their latest invention: The AudioQuest Nighthawk took the headphone world by storm. With over 9,000 replies on Head-fi, the Nighthawk's startling sound and design philosophy is something that must be experienced. From its unusual walnut earcups, to its wire-frame headband, the Nighthawks certainly knows how to leave a positive impression. 
 
Priced at 699 USD at launch, the Audioquest Nighthawk's are steeply priced against an already crowded market of mid-fi headphones from the likes of Sennheiser and Sony. But against the backdrop of such established brands, how does the Nighthawks fare against the current market? 
 
 
 
Things to take note: 
 

1. I am not a governing authority for audio. This is merely my opinion. If there are any disagreements pertaining to the review, feel free to voice it out in the comments section. I'll happily share an open discussion.
2. The headphones were burned in for at least 50 hours before testing. 
3. I purchased a used pair with 1.5 years of warranty left. 

 
 
 
What are the Audioquest Nighthawks?
 

 
The Audioquest Nighthawks are an expensive pair of dynamic driver headphones. The nighthawks were created to reduce EMF (Electromotive Forces) and harmful resonances that tamper with the actual end result. Some of revolutionary features include:
 

1. 3D Printed Crystal Lattice Grills (to reduce to EMF)
2. Utility Patented Suspension System (to avoid resonances or unwanted interference)
3. Bio-Cellulose Piston Diaphragm with a Split Gap Motor and Rubber Surround
4. Liquid Wood Earcups with a special internal coating (Injection Molded)
5. Audioquest Patented Thickly Plated Silver Braided Cables

 
Engineered by a Sound Engineer named Skylar Grey, the aforementioned list of components listed above took at least 2 years of research and development. The Audioquest Nighthawks are targeted to musically inclined audience. Stating to reproduce music that wasn't focused on wonky frequency extensions, the tonality of the Audioquest Nigthawks is described as natural, airy and almost intimate. Akin to a pair of speakers, Audioquest has labelled it as a pair of "earspeakers" (alittle too pretentious for my taste). But enough chatter. Lets get on with the review. 
 
 
 
The Included Package: 
 

 
 
Foregoing the matte-finished cardboard boxes of its competitors, the Audioquest Nighthawks jumps right into its accessories, the packaging being an oversized leather bag with ample foam cushioning. Inside the case, we have:
 
1 X Audioquest Nighthawks
1 X Oversized Travel Case
1 X Audioquest Thickly Plated Silver Cable (3.5 mm to 2.5 mm LR)
1 X Audioquest Standard Cables (3.5 mm to 2.5 mm LR)
1 X Audioquest Thickly Plated Silver Jack
1 X Tidal Subscription 
1 X Instructions and Warranty
 
Now that's a giant package of accessories. Audioquest definitely nailed the "generosity" aspect. Seriously, that is a giant package! I especially love the oversized case as an added bonus. The case is entire is suspended in cushy foam interiors, ready to protect the Nighthawks at any costs. The silver cables are a nice touch, as expected from a company proud of its top-tier cable engineering. As a Head-fi first, I'll have to give the Nighthawks a perfect score in the accessories department. I'm duly impressed. 
 
 
 
Comfort and Build:
 

Thanks to https://c1.staticflickr.com/9/8822/17780498244_098dd02fc7_b.jpg
 
The earcups themselves are suspended in a strange web-like structure, with rubber poles keeping the earcups suspended in traction. The framed headband with pleather cushion is comfy and lies firmly on the head. The protein leather pads cup the ears nicely with its oval curvature. The clamping force is adequate, without bordering on the threshold of discomfort. Unlike other headphones that I previously owned in a similar price range (ZMF Vibro Mkii and the Sony MDR Z7). The oval cups cover the ears nicely, without pressing against the earlobes and causing unwanted discomfort. 
 
The wood earcups are finished beautifully, with its burled edges and lacquered/glossy finish. The cables are termed with 2.55mm connectors, allowing the headphones to run in Balanced mode. The cables are a strange bland of straight and twisted design, with uneven twirls occurring as it reaches the 3.5mm end. The 45 degree angled jack is a nice touch, allowing the cable to tugged without weary of it every snapping into half. Another Head-fi First, the headphones get a perfect score in this department. So far, so good. 
 
 
 
Sound Quality:
 
Sources used: Spotify Premium on PC
                          Cowon Plenue D
                          Sony Xperia Z5
  
Amplifiers/Dacs used: Aune X1s
                                       Fiio K1
 
Tracklist:
 
She and Him: Stay Awhile
 

 
Case Lang Veirs: Honey and Smoke
 

 
Bloc Party: Banquet
 

 
The Twilight Sad: The Airport (Acoustic)
 


The Jam: Town called Malice
 

 
Burn in: 50 Hours
 
Impedance: 25 Ohms, 100dbSPL/mW
 
The Audioquest Nighthawks when paired with the Aune X1s or the Fiio K1, they had a significant improvement in terms of sound quality as compared to a direct source (cleaner sound, wider soundstage, and a tighter mid-bass hump). It is good to take note that the Nighthawks respond positively to amp/dac combos with low impedance output to achieve a proper damping factor. 
 
The Audioquest Nighthawks are easily driven out of portable devices and sound pretty damn good all things considered. I would, however, encourage the usage of an amplifier for optimal performance. 
 
Amidst the head-fi commotion, I have to say that the Nighthawks are truly a strange beast to behold. Dare I say, an oddity. With tracks such as "Stay Awhile" and "Honey and Smoke", females vocals are velvety smooth, with a sweet mid-range. The saccharine vocals are presented intimately in a closed 3D sphere (and that's not a bad thing). Imaging is superb and the sparkly yet un-peaky treble is something to behold. It captures enough audible information to reproduce an accurate sound. 
 
The Airport by The Twilight Sad is presented with intimacy, with the echo of the plucked strings reverberating against a black background. The distant vocals add a touch of realism to the size and intimacy of the small soundstage. 
 
Fast and transient tracks like "Banquet" are quick, speedy and again, smoothened out to create a   somewhat bloated indie rock track, with jangly guitars sounding smoother than ever.
 
The Jam's a Town called Malice sounded incredibly fluid and dynamic, breathing new life into the already old track. 
 
The Audioquest Nighthawks can be described as sweet, mid-centered and almost "speaker like", with a intimate soundstage and an articulate treble that can is almost impossible to describe. Sure, the sound signature is considerably dark and warm compared to other headphones in the same price bracket such as the HD700 and other Planar Magnetic options, but the enigmatic and hazy sound signature is aurally, a more enjoyable listen to my ears. I am madly in love with the nighthawks.

 
 
Sound Comparisons:
 
Vs Sony MDR Z7: The z7 is touted to be a treble free, with extended highs, solid imaging, and a bombastic low end. Unlike the z7, the Nighthawks are more laidback, its imaging on par with the z7. However, the sweet and articulate mid-range while recessed presented music with vinyl-like tone. I'm glad I sold the MDR z7 for the Audioquest Nighthawks.
 
Vs ZMF Vibro Mkii: These are tough the compare. The Vibros Mkii are a cult favorite, with a dedicated fanbase proud of Zach's creations. The Vibros, being Planar Magnetics, are characterized with speedy bass with quick attack, a realistic mid-tone and sparkly highs unlike dynamic drivers. The Audioquest Nighthawks are miles away in the sound department, with its dark and liquid-like mid-range. The Nighthawks are a safer bet for easy listening. For more oomph and vibrancy, the Vibros are a better pick. Make no mistake, both headphones are great at what they do. 
 
 

Conclusion: 
 

 
 
The Nighthawks are , a polarizing pair of headphones. I, however, view it as a raving success. An auditory experiment, Skylar Grey has engineered a pair of headphones unlike any other. Suited for anyone and everyone, the Nighthawks are a revolutionary pair of headphones that has gotten people talking. I dare say, that these are my end-game headphones until the Nightowl Carbons drop in price. 
 
For the naysayers that tend to dislike headphones that are characterized as "dark" or "veiled", I suggest you give them a listen. You have to hear them to believe.

What's with the tacky company name:
 
From what I gathered, Knowledge Zenith (KZ) is an infamous name in the budget Chinese Hi-fi community. Directly rivaling the likes of Xiaomi, 1More and other Chinese Conglomerates, KZ specializes in the mass manufacture of wallet-friendy earphones for the consumer who isn't willing to fork out copious amounts of cash for gaudy looking, multi-driver earphones. Over the past 3 years, the head-fi community has constantly sung praises with regards to the company's simple offerings and its no-nonsense approach in manufacturing. No frills, no pretention. What you hear is what you get.
 
This is most definitely the case with the KZ Zs3, one of their latest offerings in the Southeast Asian Market. 
 
 
 
Accessories
 

The Accessories Package
 
 
 
1 X Kz3 Drivers
1 X 2-Recessed pin detachable cable
3 X Pair of rubber tips
1 X Instruction manual 
 
With a 20 dollar iem, it is somewhat expected that the product at hand would have a sparse offering of accessories. The no frills ideology adopted by KZ is somewhat understandable. Corners had to be cut to produce a budget-friendly product. However, in light of recent iem offerings by Fiio with their F1 and F3 earphones, I expect at least a carrying case to be provided. Apart from the lack of a carrying case, the accessories included are enough to get you started. 
 
 
 
Build Quality and Design
 

Inear's Stagediver Series 
 
 
Stealing its innovation from a reputable German company, Inear-Monitoring, the driver housings are shaped like the concha of our ears, replicating the signature "custom-universal" fitment of the Inear line of iems. The fitment of the actual earpieces are surprisingly comfortable. The weight of each driver is feather light, with its weight evenly spread across the ear. The cables are worn over-ear, with a recessed 2-pin connector cable. For 20 dollars, a detachable cable is unheard off, let alone a 2-pin cable commonly utilized in custom iems. The cable sheathing is springy and retains memory, clumping together like a ball of tangled wires. Despite its shoddy cables, the earphones themselves are smartly designed. 
 
 
 
Sound Quality:
 
Audio Setup:  Cowon Plenue D
                      Aune X1S + Spotify Premium 
                      Sony Xperia Z5 + Fiio K1
 

My Selected Playlist:

 

Moanin by Art Blakey and His Messengers (Imaging/Sound-stage)

Lover Killer by My Brightest Diamond (Female Vocals)

Loose (Remastered) by The Stooges (Fatigue)

Handyman Blues by Billy Bragg (Male Vocals)

 

Like my previous reviews, my summarized impressions will be featured at the end of this review. Do take note that I am not a firm believer in burn-in. YMMV. The Kz3 has 18 ohms of impedance and it is easily driven by weak sources. Like other dynamic drivers, more juice= more power. I would encourage other head-fiers to test the Kz3 both amped and un-amped. 

 

Imaging/Sound-stage: Surprisingly, the Kz3 impressed me on first listen. The soundstage wasn't the most expansive "left-right" experience. However, the height and spacing between various instruments hit way above its pay grade. The overall sound was coherent, slightly bombastic with a punchy mid-bass region. Art Blakey's drum section comes to life, with the Kz3's enhanced V-shape sound signature. The wind section featured in the track had ample sparkle and airy treble for it to sound pronounced. Overall, the Kz3 left me impressed with its outstanding performance. I'll take this over "faux" channel separation any day.

 

 

Female Vocals: First off, I am a huge fan of My Brightest Diamond (aka Shara Nova) of Asthmatic Kitty Records, This test meant a lot to me and it's safe to say that the Kz3 did the track justice. The melodic trumpets and groovy bassline sounded lively and energetic, bereft of any sibilance or harshness. Cymbals and other instruments that are higher in pitch sound a little thinny, lacking a meaty mid-range for more accurate timbre. Shara's vocals, on the other hand, is presented in a forward manner, with her voice at the forefront. Not the greatest listen, but it certainly is the greatest relative to its low price point. 

 

 

 
Fatigue: The Stooges are the epitome of unadulterated rock and roll. Sharp snares, howling vocals and a cavalcade of messy power chords permeate their discography. With the track "Loose", there is no exception to that rule. The Kz3 presents the Stooges in a more "melodic" light. The bombastic basslines are present, the snares toned down a notch, Iggy Pop's wails sounding a tad timider than the original hotly mastered recordings. Nonfatiguing and musically engaging, the Kz3 does a great job at taming poorly recorded tracks. 
 

 
 
Male Vocals: Billy Bragg is an English Americana Singer-songwriter. Handyman blues is one of my favorite track of his in recent years. The low-end of his guitar is thick and heavy, with each pluck of the string resonating audibly with authority and presence. His mellow vocal range paired with his ballad-like guitar rhythm suits the elevated bass-response of the Kz3. It emphasizes the low notes well with superb tonality. A fine track on a fine pair of earphones.
 

 
 
 
In Conclusion:
 
After a barrage of tests from many different sources, I can simply say the Kz3 is a fine addition to any collection. Its forgiving price tag, solid build quality, and engaging sound signature are enough to warrant a purchase. Alongside my Fostex te-04's, this serves as a fine respite from my daily drivers. 
 
The sound is engaging. lively and energetic. The shimmery treble while detailed enough, lacks any harsh peaks. The mids are present, without any shouty upper mids. The bass has a nice mid-hump that doesn't bleed into the mids (for me at least). It is any easy must have for the budget oriented audio enthusiast. The Kz3 is an excellent pair of earphones and is easily KZ's best offering yet. For the head-fiers that are interested in snagging a pair, do follow the links listed below: 
 
 
AliExpress: 
https://www.aliexpress.com/item/2016-Original-KZ-ZS3-Noise-Cancelling-Headset-With-Mic-Hifi-Sport-In-ear-Earphone-Dynamic-Driver/32679857635.html?scm=1007.13339.60109.0&pvid=8f606813-4754-4a21-9a4c-58853e86e7ef&tpp=1&src=google&albch=search&acnt=479-062-3723&isdl=y&aff_short_key=UneMJZVf&albcp=266121556&albag=7593673036&slnk=&trgt=dsa-42862830006&plac=&crea=64152518716&netw=g&device=c&mtctp=b&memo1=1t1&gclid=Cj0KEQiAgJTGBRDLr5_az_Ouk44BEiQAIxaA4hOzwedgAWjbaaFYkfuUUdZVg557K-A_cRRCR7O_NFoaAsDe8P8HAQ

Before I start this review, I would like to reiterate that we all have different experiences when it comes to using earphones/headphones. YMMV and this is merely my "subjective opinion". I hope that helps and if there are any disagreements, feel free to comment . I'm all ears! 
 
 
 
My 2 cents on Audio Technica as a Brand:
 
Japanese companies are an enigma to me. They are entities with unsure motives and the lack of marketing/communication with the international audio community  leaves us with hazy expectations. When it comes to this conglomerate giant, their personal audio products always fall in the "hit or miss" category. "You never know what you're gonna get". 
 
On the plus side, my experience with products from Audio Technica remain positive. In 2014, I used to work in a personal audio shop called Soundwaves Studios. Our "prized" in-ear monitors in the affordable price bracket were the Audio Technica IM Series line of IEM's. I purchased my first pair of "mid-range" IEM's AKA the IM02's on a staff discount at the store I worked in. They are highly regarded in the Head-fi community for being "a top-grade reference IEM with a tinge of added warmth". As I sit here writing this review, the IM02 remains an unchallenged victor in my personal top 3 list. Having said that, I remain unconvinced to call Audio Technica a "perfect"company.
 
 
 
For example, I was left wanting after frequent demos of the cult-favorite ATH m50x over-ear headphones. They weren't the Remoir or the Sistine Chapel that everyone was painting it to be. It was a muddy mess, nothing more and nothing less. Don't get me wrong, I love a smooth, unfatiguing sound like the next guy but this was a poorly implemented sound in a misguided pair of headphones. I am a pretty tough cookie to break when it comes to getting a "sound" that i thoroughly enjoy. 
 
Pop comes the E-series of IEM's, an unexpected follow up to their previous line of in-ear monitors. Announced in June 2016, the E40, E50's and E70's were unveiled at a few international audio festivals. It wasn't receiving gobs of attention like other cult brands (JHaudio, Noble etc.) In fact, the "no-frills" appearance of the shells looked underwhelming or rather dull in comparison to its bespoke counterparts. I wasn't expecting much, especially when the new TOTL  E70 was a considerable downgrade to their  previous flagship (IM04), lacking 1 extra balanced armature in its array. 
 
At a $550 SGD Retail price, I should be looking elsewhere for better earphones (on-paper specifications at least). But the uncertainty surrounding their new flagship drew me closer. I bit the bullet and decided to trade my pair of Fender FXA7 (I'll write a short review in the future) for the E70 on a local forum in Singapore. Thankfully, the IEM's were pristine and almost untouched, with the accessories being brand-spanking new. I even got a brand new Null Audio Arete Cable from the opposite end without top-up! 
 
 
 
Package and Accessories:
 
The cubic packaging was compact. I applaud Audio Technica for doing away with the ostentatious IM Series packaging that wasn't needed. Props to them for reducing the wastage of cardboard for excess packaging. Upon unboxing, we have the following contents:
 
 
 
1 X Audio Technica E70
1 X Large Hardcase
3 X Different Sized Tips (S,M,L)
1 X Comply Premium Tips
1 X 1/4 inch Jack
 
The entire package and its contents serve their purposes well. However, at the $400+ USD price point, I would expect a more premium package, inclusive of extra cables. The brick-shaped Audio Technica hardcase is reminiscent of the cases used in the previous IM series, albeit a larger size. They're rigid and brittle, surely being able to stand the test of time with ease. The bonus tips are standard, but a wider selection of different sizes or extra pairs would be nice.
 
Breaking the bank for such an investment, I believe I deserved to be spoilt for choice. The comply's included are a plus point for me, especially when the market price for comply's are exceptionally high. 
 
Overall. a decent package but one that doesn't leave a lasting impression like the much cheaper 1More Triple Driver.
 
 
 
Build Quality:
 
 
On first impressions, the overall build quality gets an almost perfect score for me. The E70's are housed in an plastic shells, with a translucent window showing off the active crossover unit used as the triple driver array. The other half of the body that lies on the outer ear has a smoky-grey matte finish. The shells feel weighty and dense, a monumental improvement over the scratch-prone hollow acrylic used in the IM series. 
 
The nozzle fits snugly in the ear with a deep insertion fit, providing excellent noise isolation. Unlike its dynamic driver counterparts, a vent is not needed to displace air, resulting in a better seal from environmental noise. The weight of the drivers themselves are distributed evenly across the outer ear. Worn cable down, the transparent memory wire is pliable and easy to mold. The chin-slider at the Y split is taut and easily adjustable. Strain-reliefs at the L-jack and connector points are well-sheathed. The cable retains some memory and does get into tangles pretty often. Nevertheless, they feel supple enough for daily use.
 
Audio Technica's new A2DC connectors feel tough and durable, with a shape akin to an MMCX connector, the difference being a smaller bore size on the male end. While I prefer this to the IM series 2 pin connectors, the ever-changing catalog of proprietary cables is a confounding experience for users who want to use their old IM series cables as an upgrade. Nevertheless, I was more than satisfied with the no bullsh*t design that gets the job done.
 
 
 
How they Sound:
 
 

Setup Used: Cowon Plenue D

                    Fiio X3 Mkii

                    Foobar 2000 v1.3.6 +  Aune X1s

 

 

My Selected Playlist:

 

Bach off by Nicolas Godin   (Imaging/Sound-stage)

Sex Beat by Katy Goodman and Greta Morgan (Female Vocals)

Wave Goodnight to me by Jeff Rosenstock (Fatigue)

Lost my Shape by David Bazan (Male)
 
As per usual like my previous reviews, scroll to the bottom for my summarized impressions. Do take note that I am not a firm believer in burn-in, especially so with balanced armature opinions. YMMV. The E70 has 39 ohms of impedance. However, be wary that multi-driver setups with an active crossover do experience wild impedance swings so hiss can be expected from some sources. 
 
Imaging/Sound-stage: As my first review track on the E70, there is an eerie lack of highs in the foreground, with a "wet" sound replacing the unhinged crash of a hi-hat or ride cymbal. Usually, this serves as a foreshadowing for a potentially disappointing review. Instead, I was hooked by the viscosity of the sound on show. The maccaras alongside the tight rythym section pound with realistic timbre, with the best "balanced armature bass" I have ever heard. Thick yet nimble, the gloomy bass-line that shifts the track into a slow-burner/espionage thriller sounds rich and engaging, with instruments positioned in a realistic sound-stage (unlike awful faux left-right channel separation). 
 

 
 
 
Female Vocals: Naturally, this song is drenched in reverb and unnatural hall-echo. The track in-itself is a smooth, engaging listen. Paired with the coherently rich sound of the E70, you get a dynamic sound that constantly focuses on the "fundamental tones" of the mids without sacrificing "detail". Unfortunately, the highs remain muted and the treble tamed. Katy Goodman's vocal range is a fantastic pairing with the E70. 
 

 
 
 
Fatigue: Being my favorite test, I decided to play a emo/pop-punk track by the notoriously whiny Jeff Rosenstock. Jeff's wails and howls are perfectly suited for a fatigue test. Surprisingly, even at earth-shatteringly loud volumes, the tracks remains sibilant free and retains its fundamental signature, The E70 is perfectly suited for long listening sessions, even with the harshest of "dynamically compressed' recordings.
 

 
 
 
Male Vocal: David Bazan has an amazing baritone (to my ears at least) male vocal range akin to Bon Iver without the annoying falsetto. On the E70, his voice is eerrily realistic, backed by his reverberant guitar. David's vocals shine with gusto, each note dragged accordingly like reverberance in an echo chamber. A beautiful representation of what the E70 can do when given the right tracks.
 

 
 
 
My Conclusive Report after Ample "Research"
 
After my exhaustive tests, It is safe to say that the E70 can be described as mid-focused with ultra-large bass. The bass is the star of the show, with a slightly draggy quality to recreate the sub-bass prowess of a dynamic driver. The mids capture the fundamental tones needed to hear vocals in all of its glory. Sound-stage is expansive, with a realistic 3D sphere that sounds and feels coherent. Treble is splashy and tamed compared to reference IEM's. The downside for most people (I presume) are the muted and distant highs, lacking the sparkle and energy that most people admire in IEM's, Do take note that amping did not result in a monumental difference in sound-quality.
 
 
 
Yes or No?
 
I can't believe I'm saying this, but this is a definite yes! I have a penchant for hating dry sounding balanced armature setups (which is almost all balanced armature setups). I was proven wrong for the first time and this is easily my new favorite daily driver. You may not be into a "bombastic" sound, but do give it a chance to impress you with it's mystical dark qualities! I give it a 4.5/5, one of my highest scores! . Can't wait to get a pair of E50's as my spare driver! Here's to Audio Technica for hitting way above the mark this TOTL IEM!  If anyone is interested in purchasing a pair, you may visit the following links: 
 
Amazon: 
https://www.amazon.com/Audio-Technica-ATH-E70-Professional-Monitor-Headphone/dp/B01AXSYIVA
 
BH Photo and Video: 
https://www.bhphotovideo.com/c/product/1216775-REG/audio_technica_ath_e70_e_series_professional_in_ear.html 

Before I start this review, I would like to reiterate that we all have different experiences when it comes to using earphones/headphones. YMMV and this is merely my "subjective opinion". I hope that helps and if there are any disagreements, feel free to comment . I'm all ears! 
 
 
 
Some history behind Shozy:
 
Shozy is a brand from Hong kong that is relatively known amongst the "audio enthusiast" community for releasing the odd looking "Shozy Alien". Recently, the brand decided to release several IEM's to penetrate the already crowded "budget IEM' market. I didn't show much interest initially, until I saw the gorgeous Shozy Zero. I'm rather fond of "wooden housings" (my ZMF Vibro Mk2's are a testament to that statement). The CNC finished nozzles and resonance chamber housed driver sounded rather ambitious, considering that this is Shozy's first IEM offering. Most importantly, they only cost 59 SGD. The attractive price called out to me. 
 
 
 
As you guys know, I am an avid believer in single-driver configurations. I tend to apply a reductionist-objectivist view with IEM's. "Less is more" and damping/material design is the best way to achieve any given sound signature. The Shozy Zero fits that bill and I decided to purchase them from Null Audio. Do take note that I am in no way affiliated with Shozy or Null Audio. 
 
Special thanks to Null Audio for the speedy delivery of my IEM's.
 
 
 
Package and Accessories:
 
 
The package was rather sparse. The box's design is non-descript, with some of the Shozy Zero's features printed at the back. Upon opening, we have:
 
1 X Shozy Large Pouch
1 X Shozy Zero IEM
1 X Frequency Chart/Measurements
1 X S, M, L Eartips
 
I am pleased to say that the overall package is rather cohesive. There is enough provided to get started with your IEM's. The Shozy Pouch has an embossed "Shozy" logo on the top. Its clam-shell design is rigid yet flexible, providing ample protection for your IEM's. Do take note that the case is a tad too large (considering the IEM's have a slim, negative profile). The extra space allowed me to fit in a couple more accessories (My Cowon Plenue D fits snugly inside). 
 
I have to commend Shozy for including the frequency chart print-out. This is unheard of with most audio companies and it serves as a "convenient extra", saving us the trouble of visiting the website for the measurements. I welcome this change and I hope competitors could be as transparent as Shozy.
 
Overall, the accessories and it's offerings are well thought out and I have no qualms about them. 
 
 
 
Build Quality:
 
 
Right out of the box, the Zero's feel solid and robust. The  shells are beautifully finished, with some minor imperfections (characteristic of the wood used) such as discoloration. Aesthetically, the earphones look exotic. The rosewood chinslider is easy manageable, with a taut firmness when adjusted. The engraved "Zero" logo on the Y-split and jack-end are nice subtle touches. The fitment of the Zero's is incredible. The nozzle length is adequate and fits snugly in my ears with the medium tips. The IEM's are comparatively tiny to many of its competitors, with an almost negative profile. Isolation is decent, blocking out at least 80 percent off outside noise (YMMV) 
 
However, the springy cable sheathing is oddly "sticky" and clumpy feeling. It tends to spring out into a mess when rolled up nicely. The strain reliefs on the driver housing and jack end doesn't exactly inspire confidence. The strain reliefs feel a tad too soft, with a lack of "length" to offset the weight of the cable to the reliefs. 
 
 
 

How they sound:

 

Setup Used: Cowon Plenue D

                    Fiio X3 Mkii

                    Foobar 2000 v1.3.6 +  Aune X1s

                

 

My Selected Playlist:

 

Plastic Love by Takeuchi Mariya (Imaging/Soundstage Test)

Songs for Judee by Case/Lang/Veirs (Female Vocals)

No Fun by The Stooges (Fatigue Test)

Downtown by Destroyer (Vocal Positioning Test)

 

From the get go, my first impressions of the Zero's are "Lush, Mid-Centric and Recessed". The liquid mids are smooth and supple. The highs are somewhat muted, with a tinge of sub-bass and speedy mid-bass punch. These are not "bass-monsters" and I wouldn't recommend these to bass-heads. I burned them in for approximately 20 hours through regular usage (had a holiday in Chiang Mai). The treble was noticeably clearer with an added "rigidity". The Zero's have an impedance of 32 ohms. The low input impedance is easily driven from any portable source. 

 
 
Imaging/Soundstage Test: This J-pop (lollita) track sounds mellow, rich and spatious. The highs from the wind instruments and keyboards are rather muted, but the forward presence of the mids captures the timbre of the aforementioned instruments beautifully. As mentioned in my previous reviews, IEM's aren't exactly known for their immaculate soundstage. But as far as IEM's go, the Zero's have vivid depth and width between the instruments and the vocals. Takeuchi's slow and slightly masculine voice is easily positioned among the array of instruments in the track. The somewhat "misty" atmosphere of the track fits perfectly with the Zero's.
 

 
 
Female Vocals Test: When it comes to female vocals, a clear and concise mid-range is required to achieve peak performance. In this case, the Zero's sounded "engaging". The thickly layered vocals displayed by Case/Lang/Veirs were superbly presented by the Zero's. The inflections of their voices were natural and enveloping. However, alittle more shimmer/ high-extension is needed to launch this song into "detailed" territory. 
 

 
 
Fatigue Test: Being an archaic song recorded in the 1960's, No fun is rash, loud and poorly recorded. The treble spikes are intense, with claps sounding razor sharp and distorted guitars sounding mushy and discombobulated. However, the Zero's are naturally forgiving. The incessantly loud treble spikes and gritty highs are masked over, with a clear mid-range capturing the spirit of the song effectively. From that conclusion, it's safe to say that the Zero's are forgiving of poor recordings. 
 

 
 
Vocal Positioning Test: As featured previously in another review, Dan Bejar's musky spoken word are at the forefront, alongside blaring saxophones and a thick bass-line. The female back-ups are effortlessly easy to pin point . If my head were represented as a 3D ball, the soundstage would be that of a intimate performance. Overall, the vocals are separated with no overlap. 
 

 
 
The Conclusive Sound Description:
 
After ample usage and testing, it is safe to say that the Zero's are a strong contender in the Mid-fi market. The creamy mid-range, it's smooth forgiving nature and "warmish" tint is suited for all genres. It has a quick sub-bass decay and strong mid-bass punch. The highs are muted and could be lackluster to some. Soundstage is surprisingly large and instruments are easily distinguished (even in poor recordings). 
 
Do take note that the Zero had a noticeably wider sound-stage and speedier mid-bass slam when amped (the improvement isn't exactly night and day).
 
 
 
Yay or Nay?
 
It's a YAY (if you're in the market for a easy-going daily listen). It isn't going to dethrone high-end IEM's, but the Zero's are all-rounded and adept at what they do. It is truly a breath of fresh air to see IEM manufacturers doing "simple" the right way. They do the "mid-range" justice and I highly recommend them as a spare beater. 

Before I start this review, I would like to reiterate that we all have different experiences when it comes to using earphones/headphones. YMMV and this is merely my "subjective opinion". I hope that helps and if there are any disagreements, feel free to comment . I'm all ears! 
 
 
How I got to know about 1More:
 

Driver View (2 balanced armature + 1 dynamic driver).
 
 
In early February, I was scouting Carousell (A local marketplace in Singapore) for various budget IEM's  and a dear friend of mine recommended me the 1More "Voice of China" Single Dynamic Driver earphones. They aren't exactly what I was looking for. I was in the market for a budget hybrid (single or dual balanced armature + single dynamic driver configuration) apart from the supposedly shady offerings of Taobao. I however, kept an eye on 1More and it's offerings.
 
Fast forward to early August, and I came across a piece of old news (being officially released 3-4 months earlier): 1More actually released a Flagship Triple Driver Hybrids (2 In-house Balanced Armatures and 1 layered Dynamic Driver Diaphragm) for an average price of 99.99 USD. Who could resist such an attractive price tag, let alone such amazing specs? Here is a quote from an article based on 1More's Official Earphone Launch in North America:
 
Quote:

 Now the company is making waves in the competitive North American consumer audio segment, delivering on its promise to offer the highest quality sound technology at the lowest possible price. “In a time when high-end audio product costs are skyrocketing 1MORE is bucking the trend by driving prices down while bringing quality up, and the industry and consumers have taken notice,” they state. 

Click to expand...

 
Following Schitt's Mantra, 1More is planning to offer consumers a gargantuan price to performance ratio without skimping on quality. This is mantra we all can live by. I managed to snag a pair on Aliexpress for 82 USD (Reseller's Promotion) plus express shipping. I would like to thank Aliexpress for the smooth transaction and order.
 
 
 
Package and Accessories:
 
 `
 

The 1More Box is incredibly "Beats" like. Branding is important and 1More does it's own brand justice. The packaging is incredibly ostentatious, with a faux-book style flap and opening. The presentation view on the inside is dare I say, alittle "artsy". The Gold and Black accents are in tandem with "1More's" color scheme. All this was achieved for a 99 USD price tag. Color me impressed!

 

Opening the secondary flap, we are greeted with 3 separate "cardboard modules" that hold their generous offering of accessories:

 

1 X 1More Triple Driver Hybrid Earphones

1 X Silicon Tips (5 pairs of Rubber Tips, 3 pairs of Foam Tips)

1 X 1More Leather Magnetic Flap Pouch

1 X 1More Aluminium Lapel Clip

1 X 1More Airplane Adapter

 

Damn, the Accessories are superb. The Silicon tips are displayed in an oblong display box. The leather case is almost "Astell and Kern" level, with hot-red stitched accents. The Aluminium lapel clip and Airplane Adapter sported a brushed surface, with an embossed 1More logo. The accessories provided are above and beyond, with regards to the actual price paid for them. Hopefully, many of its competitors take notice and follow suit. This proves that luxury doesn't have to cost an arm and a leg. 

 

   
 
 
 

Build Quality:

 

 

 

The earphones are eye-catching and "loud". The polished aluminium driver chasis feels tough and well-built. The Kevlar cables are supple, with a rubber tube-like sheathing, followed by a cloth sheath below the Y-split.Thanks to thoughtful design, the entire earphone is luxuriously built. Many reviewers online have complained about the fitment of the drivers in the ear canal. I don't seem to have that problem. The funneled shape of the drivers fit nicely in my ears. To each their own I guess.

 

There are some microphonics due to its "worn down" wearing style. I'm not a big fan of the straight jack (right angled jacks are more durable and less prone to cable stress).

 

I know this is entirely subjective, but the gold and black accents are striking and somewhat "outlandish". I would've preferred a more subtle approach. Nevertheless, the build quality is excellent and I'm sure that with proper care, these earphones could last for an indefinite period of time.

 

 

 

How they sound:

 

Setup Used: Cowon Plenue D

                    Fiio X3 Mkii

                    Foobar 2000 v1.3.6 +  Aune X1s

                

 

My Selected Playlist:

 

Suicide Demo for Kara Walker by Destroyer (Imaging/Soundstage Test)

I'm not your Toy by La Roux  (Female Vocals/ Highs Test)

Cheap Beer by Fidlar (Fatigue Test)

Shaker Hymns by Dry the River (Vocal Positioning Test)

Deer Creek Canyon by Sera Cahoone (Timbre Test)

 

 

Right out of the box, the 1More could be described as a V-shaped earphone, balanced in both the highs and lows. There is enough heftiness and some flutter of the lows that could be too thick for some, but the "bass" slam is quick and concise. Bassheads, look elsewhere. I left the earphones to burn in for approximately 10-15 hours. The audible differences are incredibly slight, with the bass response being alittle more nuanced. The earphones have an impedance of 32 ohms, requiring slightly more juice from my Digital Audio Playe/Amp.

 

 

Imaging/Soundstage Test: Suicide Demo for Sarah Walker sounded incredibly lush, with an average sized soundscape. Instruments are well-placed and easily definable. Dan Bejar's vocals are incredibly smooth, with a focus on the lower mids. The highs lack the bright shimmer to be categorized as "detailed' but has decent extension and spaciousness. Overall, the 1More paired well with this track. However, the soundstage is somewhat narrow as compared to full-sized headphones (as expected)

 

 

 

Female vocals/High Test: I'm not your toy is a bright song. The piercing analogous synths and La roux's screechy vocals are smoothened off by the 1More's. The vocal performance is clear and concise, but the lack of a forward mid-section doesn't do the song complete justice. However, the thickness of the low end keeps the song balanced and unbashedly fun. The layered diaphragm is doing it's part to add punch to the mix. 

 

 

 

Fatigue Test: This is a track that is recorded poorly on purpose. If an earphone can play this song fatigue free, it has succeeded in having a "smooth" signature. Cheap Beer is a loud, congested mix of distorted guitars and peaky vocals. Surprisingly, the track was a comfortable listening experience. The low end is speedy, keeping the song grounded while the highs remained tame. The treble, while not harsh by any means, had enough sparkle to sound "clear" enough. For those garage rock lovers, this is a dream come true. 

 

 

 

Vocal Positioning Test: Now, this sounds lovely. The earphones did the recording justice, with a low noise floor and black background. The soothing vocals are easily distinguished. Guitars were beautifully represented, with nice body and tautness. The split job of detailed mids/highs on the balanced armatures and the rigid push/pull of the dynamic driver results in the detailed yet airy sound experienced here.

 

 

 

Timbre Test: Sera Cahoone is a lo-fi Americana Artist. Her music is often mellow, with an "analogue" warmth. With this track, Sera's vocals are sublime. The 1-More's lower mid and low focus places emphasis on her voice, as though her vocals had been layered.The highs are just about right for the track, so as to not appear muted. The acoustic guitars/drums paired with her porous voice sounded diffuse yet realistic. 

 

 

 

The Conclusive Sound Description: After enough testing, it is safe to say that the 1More is a rich-sounding IEM. It's V-shaped focus, hefty low-end (Weighted bass, without bloat) and decent high-extension is well suited for pop/rock music (even dingey genres like punk).

 

Across all tracks, the mid's felt somewhat missing (lacking richness), as though they were a tad too laidback. It lacks a more forward mid-section for my taste but the emphasis on the lower mids (to my ears at least) go hand in hand with more "sombre" recordings. It's non-fatiguing nature is suited to a more "consumer-friendly market". Imaging has great depth and feels spread out evenly across an average 3D soundstage. Overall, it's a balanced sound that can't go wrong. It's sure to be a crowd pleaser

 

Do take note that Amping helps to tighten the bass response (not a big difference, but definitely noticeable in terms of speed and punch).

 

For reference, the 1More's sound is rather similar to the FLC 8S (Max mid/vocals, Max bass and Sub bass tuning) but the mid-range and speedy bass slam on the FLC's sound much better. Soundstage is noticeably larger too. 

 

 

 

Are these really worth the hassle?

 

It's a resounding yes on my part. It is always refreshing to see the Chinese market shelling out quality products at such an affordable price. There is a tendency for "audio snobs" with high-end gear to shun "lower priced goods" in a condescending manner. It's companies like 1More that dare to challenge that notion. 

 

This is what the "portable audio" market needs: products that achieve more than what you pay for. The competition has never been more intense.

 

Make way for Chinese royalty! Interested parties can refer to the links below:

 

Purchase Link:  https://www.aliexpress.com/wholesale?catId=0&initiative_id=AS_20160906043705&SearchText=1more+triple+driver+in-ear+earphones

Information Link: https://usa.1more.com/products/triple-driver-in-ear-headphones
 

Understanding More about the Company:
 
TFZ is an enigmatic company from China that has released a catalog of Custom-looking Universal IEM's. TFZ, like it's regional competitors, are focused in producing low-end IEM's that utilize dynamic drivers with some "added" changes. According to their website and some stats from "lendmeurears.com", their entire catalog uses the same proprietary "Dual Crystal Loop Titanium Diaphragm". Doesn't roll off the tongue too well. With prices ranging from 30-80 USD, TFZ is trying penetrate the "budget market" of audiophiles. With their "custom-universal" aesthetic and color options, TFZ is easily identifiable in an already huge see of Chinese IEM's.
 
 
 
Thanks to international distributors such as Shenzhen Audio, people from around the globe can easily purchase a pair with no hassle. But before I get on with this review, I would like to thank Lendmeurears for offering impeccable service and assistance when I needed it. 
 
 
 
Accessories Package:
 
Coming from my previous review on the Ocharaku Co-Donguri, this package is an enormous improvement. The box is made out of cardboard (not of the smooth variety), with a silver embossed logo titled "TFZ Series 5". Inside the " no frill's" looking box, we have:
 
1 x TFZ Series 5 IEM
1 x S,M, L Silicon Tips
1 x Velvet Pouch
1 x Lapel Clip
1 x Foam Tips (not comply's)
 
The package offerings are rather generous, with everything that's needed to bring your IEM's on the go. But, considering I paid approximately 89 USD, I'm sure it's within TFZ's means to throw in a Clam-Shell Hardcase instead. Apart from that, this is a solid package with enough accessories to get going. 
 
 
 
Build Quality:
 
From first glance, the TFZ's resembles a CIEM with a Custom Aluminium Faceplate on each side. Aesthetically, it is a gorgeous pair of IEM's. But there are some poor design choices. 
 
 
The IEM's driver housings are made out of a matte finished TPU, finished off with an Aluminium Faceplate. It is easy to grip, allowing for an easy placement and removal of the IEM's from your ears. Sadly, fingerprints and stains are easily noticeable thanks to the matte finish (this does not affect the product's performance in any way). The "semi-curved" strain reliefs are thin and flexible. This doesn't exactly give me a sense of security. The cable is supple and well sheathed, albeit being alittle thin for my taste. The driver housings are well built, but are considerably bulky. It fits nicely in the ear without much movement or displacement while walking. It is however, a tad large for extra small ears, with the housing lying on the outside of the ear. The nozzle length is rather short, but it is easily "stuffed" into the ear. 
 
With the existence of other budget IEM's, notably the KZ Z3 with detachable cables, we now know that Chinese OEMs' can manufacture them for cheap without worrying too much about a smaller profit margin. With that said, TFZ should consider implementing standard 2 pin detachable cables in the future. As of now, the standard hard-wired cables are of substandard quality. 
 
 
 
Sound Quality:
 
Setup Used: Cowon Plenue D
                        Fiio X3 Mkii
                        Foobar 2000 v1.3.6 + Aune X1s
 
 
Specifications: 

​

Taken from lendmeurears.com​

 ​

 
 
Before I go deeper into this review, I would like to mention that this is entirely subjective and YMMV. This is merely my opinion .
 
On first listen, "Fun, Musical and Exciting" were the descriptors to pop up in my head. They are incredibly lively! To reiterate my stance on "burn in", I'm not a fervent believer or "burn in" making a tremendous difference, but the difference I heard in the demo set at the Lendmeurears Retail Outlet was definitely audible vs the "right out of the box" model. I gave my pair approximately 15 hours of burn in before doing any subjective listening tests. The impedance is only 12 ohms, so driving them isn't a problem. Isolation is at least passable, due to venting like other dynamic driver IEMs'.
 
First off, the Lively and Dynamic sound on show here is rather V shaped with a smooth treble without the harsh and stiff peaking associated with untamed Mids and Highs. Detail is somewhat loss to make way for a "less fatiguing sound".Bass is incredibly robust, with sub-bass overpowering mid-bass by a mile. The attack and decay on the mid-bass is fast and almost instantaneous, while the sub-bass has more body. The "flabby" bass can and will often overshadow with regards to tracks with a large bass-line/section. Highs have decent but "not quite there yet" extension, with some wind instruments sounding rather mellow. Test tracks such as "A Savage Night in the Opera" by Destroyer", with its mellow nature sounded much more distant and hazy. The sound was rather thick and enveloping, perfectly suited for atmospheric music.
 
 
Sound-Stage in all IEM's are honestly, incredibly narrow and mediocre compared to open back headphones. A massive sound-stage on an IEM to me is a clear and coherent sound-floor, with effortless imaging. With this definition in mind, the TFZ's did a decent job. Instruments are well placed, with enough breathing space for each instrument/vocal to ring clearly. Again, the flabbier bass response can overpower other instruments in the foreground (depending on the track choice). The lack of a more brittle treble results in a "inaccurate" timbre. 
 
 
 
To End Off: 
 
TFZ has released a solid contender in a already tight low-fi market. I'm certain that it's lively and bodacious sound will be a attractive selling point to EDM Listeners. It's not for everybody and it isn't perfect but I had a lot of fun with them. Overall, TFZ has released a great product. 

Some "Provenance" to the Brand Name:
 
Ocharaku is a "tea themed" company based in Japan. Focusing on Dynamic Driver IEM's, Ocharaku pushes the envelope when it comes to breaking the negative "dynamic driver" stigma (Balanced Armatures being viewed as the superior transducers by audio snobs). Utilizing resonance chambers and other proprietary technologies, Ocharaku is pushing the boundaries of dynamic driver IEM's, destroying the placebo of "more drivers= better sound". Despite developing reference class IEM's, Ocharaku is a relatively unknown brand, remaining a niche domestic brand in Japan's audiophile market. However, Ocharaku has garnered a passionate cult following of South-east Asian users, especially those looking for a "purely-reference" sound. Paired with Ocharaku's striking "aesthetic" and unorthodox driver designs, Ocharaku is a rebellious brand that refuses to conform to "audiophile" norms (refer to picture below).
 
 
 
Despite their large catalog of earphones, their hefty price tags coupled with the clear lack of marketing has mired their potential to penetrate overseas markets and further expand on their horizons. Many of their distributors are all based in Japan (e-earphone.net being the biggest). However, without announcement, Ocharaku has released an affordable follow up IEM to the Ocharaku Donguri Raku (Approximately 150 USD). Featuring a "Tornado Equalizer" and a single dynamic driver, this is officially Ocharaku's cheapest and most accessible IEM to date. The reception so far has been rather tepid. Costing less than 50 USD, I decided to own my first pair of Ocharaku's, albeit being the cheapest model available. I managed to snag an almost brand new pair for approximately 35 USD in Singapore. This is my honest and in-depth review (these were not sent in and I'm in no way affiliated to Ocharaku or its distributors).
 
 
 
Accessories Package:
 
 
Understandably, most reviewers on Head-Fi offer snapshots and pics of the contents provided when it comes to any given product review. Sadly, the standard Ocharaku Co-Donguri package is rather sparse. The miniscule box is representative of that. The package includes:
 
1 x Ocharaku Co-Donguri IEM
1 X SpinFit Tips (S,M,L)
1 x Instruction Manual
 
I am somewhat disappointed by Ocharaku when it comes to the lack of a carrying case . Even budget IEM's that cost less than 40 dollars in the Chinese IEM Market come with a little faux-velvet pouch to store IEM's. However, the provision of  ​ tips is thoughtful, especially when the retail value for SpinFits are considerably high.
 
 
 
Build Quality:
 
I have to say, these are "interesting" with respects to its design. The back of the IEM has an interesting bead blasted finish (akin to pebble), which provides easy-grip when it comes to the placement or removal of the earphones from your ear-canals. The entire IEM feels as if it has been "CNC" Machined and Manufactured, thanks to it's solid aluminium construction, being both lightweight and durable enough to take a beating. Do take note that the "front" and "bead blasted back" of the IEM's appear to be modular, as though these two parts are somehow "glued" or bolted together to form the driver housing (refer to picture below)
 
 
 
The nozzle length paired with the superbly comfortable SpinFit tips make for a deep insertion, ensuring a snug fit. Any sudden movements are unlikely to displace the IEM's from your ears. The strain reliefs are ingeniously designed. The "inverted" or "angled" strain reliefs are hard plastic, molded over the cable sheathing to offset the weight of the cable and prevent cable-driver separation, a common issue with IEM's without removable cables. The cables are supple and nice to the touch, being pliable enough to  wear "under" or "over-ear". Oddly enough, the cable sheathing has a strange perforated "tubing" design. Overall, you are definitely getting more than you pay for when it comes to its build. 
 
 
 
Sound Quality:
 
Setup Used: Cowon Plenue D
                    Fiio X3 Mkii
                    Foobar 2000 v1.3.6 + Aune X1s
 
 
Specifications:
 
 
I have to admit on my part that these IEM's "WOWED" me on first listen. I'm not a fervent believer of "burn in" vs "psychological burn in" per se (audible differences aren't exactly night and day), but I decided to remain as objective as possible. I burned them in for approximately 20 hours without prior listens (to prevent unconditional biases from kicking in). The IEM's are rated at 18 ohms, so there shouldn't be any worries when it comes to driving these IEM's.
 
 
I was floored by the unobtrusive yet shimmery highs. Cymbals, Stringed and Wind instruments had a eerily accurate timbre/resonant reproduction unlike anything I've ever heard in this price bracket. The higher-end had just enough forwardness and grit to be considered "natural", with a slight tinge of sibilance. Female vocals, especially by vocalists in the "Mezzo Soprano" region such as Neko Case were larger than life, with an uncanny resemblance to a front seat performance. Male hymns or European Folk Groups such as Dry the River were represented beautifully by the Ocharaku's. It's almost impossible to describe and best left to the listener to decide for himself/herself. 
 
 
The mid-frequencies were clear and remained unaffected by the usual bombastic lows that or often characteristic of poorly optimized dynamic drivers. The highs took center stage but the mids followed suit. The lows had a "shy of neutral" tuning, with mid-bass thumps akin to a balance armature with a tad more sub-bass decay. 
 
For a budget IEM, the sound-stage trumps many of it's competitors (even those that cost up to 8 times more). It's sound-stage, while not as wide as a flat-plain like some of its balanced armature counterparts (with their faux left-right channel separation that comes as off unnatural at best), the Ocharaku's recreate an incredibly clear and coherent sound-stage. Imaging was a blast, with instruments/backing vocals being well positioned and easy to identify. IMHO, the Ocharaku's actually sounded better than my previous daily beaters! (the Noble 4 to be exact)
 
Overall, the Ocharaku Co-Donguri is a stellar single dynamic driver that gives its competitors a run for their money. Do take note that they paired superbly with my ​ and  ​ but sounded a tad to forward and somewhat fatiguing when paired with the  ​  (YMMV)
 
 
 
In Conclusion;
 
I was left completely speechless. When it comes to price to performance ratio, the Ocharaku's are an easy 1:10. As stated previously in a review I did on the ever-changing FLC 8S, I stated clearly that I hated single or multiple balanced armature setups due to it's unnatural tingey sound and psuedo "left to right" sound-stage. These Japanese beasts are living proof that dynamic drivers can be superior to multiple driver setups if done right. Sometimes less is more, and in this case, they are WAY more.
 
For those interested in purchasing or finding out more about them, check out the links provided below:
 
Rakuten (Purchase link): http://global.rakuten.com/en/search/?k=ocharaku+co-donguri
 
Official Website (For more Information): http://www.trdsn.com/eng/product_codonguri.html

 

The Procurement Process:
 
Being a student and all, I could barely afford a fresh pair of Vibros straight from the factory. Plus, my impatient ass didn't want to sit around waiting for a 2-3 week shipment. As luck should have it, a fellow "carouseller" (an ebay clone created locally for Singapore) advertised an almost mint condition ZMF Vibro (specifically the Massdrop Galaxy Edition Purple) at approximately 360 USD. Without hesitation, I sold most of my current headphones/iems (Beyerdynamic Custom One Pros, Noble 4+ Silver Dragon Cables) to fund this purchase. Fostex Mods are hard to come by in Singapore and having little to no experience with planar-magnetics, I decided to pick up these little curiosities.
 
 
 
General Information:
 
ZMF (an abbreviation for Zach Mehrbach Films), is a side project opened by a guitar manufacturer, Zach Mehrbach. Fond of music and pursuing the craft of good audio, he decided to use his work experience with wood and its resonant properties to create "Franken-headphones", utilizing modular parts (padded headbands, lambskin earpads, different cable terminations, tunable open-bass ports). The consumers can opt for different terminations, wood type + finish, earpads and headbands etc. His wife also offers the service of handcrafting various cable upgrades that can be purchased alongside the headphones themselves. Zach often frequents various threads on Head-fi, interacting with the general crowd on the forums.
 
From the looks of it, this is much more than a passion project. 
 
This particular model is circum-aural, utilizing the infamous Fostex T50RP drivers with added damping, a completely new sound signature and CNC'ed Cherry Wood Earcups that supposedly improve the dynamic response of the headphones. They're also fitted with Pilot Headbands and Lambskin earpads. They come with a standard 1/4 inch jack terminated cable, with Audeze style connectors (mini xlr's). Their rated impedance is at 50 ohms.
 
 
 
Initial Impressions:
 
The first thing that I noticed was the size of the entire package. The non-descript white cardboard box (with a ZMF sticker) was rather wide. Lifting up the front lid of the box, I was greeted by a pair of chunky beasts. The headphones are fitted with ZMF's famous Pilot Headband and Earpads made out of Lambskin. Most of its size comes from the solid padding for extra comfort. 
 
Out of the box, the package includes the headphones themselves, more than sufficient bubblewrap, a satin carrying case (don't know why you'd want to carry these gargantuan headphones out) and a certificate of authenticity (complete with serialized numbers and the date of manufacture). I would've expected a Pelican hard-shell case if I paid full price for them. Considering I purchased these at a significant discount, I sure as hell can't complain.
 
The Purple Cherrywood Earcups are reminiscent of exotic furniture from luxury brands. They have a similar alluring charm that draws people to its distinct appearance. A few blemishes and an imperfect surface make them look more natural and less artificial than a crapty piece of machined chipboard. Replacing the plastic earcups was a brilliant idea that stood out from similarly priced competition (MrSpeakers, Mayflower Electronics). 
 
The heavily-padded headband (Pilot Headbands) and the 2-3 inch thick Lambskin Earpads adds a needed comfort for long listening sessions. The headband effectively balances the weight of the entire headphone across the skull effectively. They clamp with just enough force to provide a snug fit on the head. Understandably, Planar-magnetic headphones are often heavy and outlandishly big. Don't get me wrong, these are WAY larger than your run-of-the-mill pair of headphones. These are cantankerous and some would be put off by its "not so subtle" profile. I am happy to report that the weight does not affect its listening comfort. I wear them for over 4 hours (gaming+ music sessions) on a daily basis, free from ear-fatigue or a sore head (from the clamping force). From my 2-3 months of using these headphones, I can easily vouch for their comfort. 
 
With regards to the build quality, I'll let this "durability test" video speak for itself.
 
https://www.youtube.com/watch?v=odQUqnOKGl8 
 
 
 
Sound Quality:
 
Setup used: Aune X1S + ZMF Vibro Mkii + Foobar 2000 v1.3.6
 
Smooth and intimate, the natural sound of the Vibro Mkii is bound to attract an audience. They sound lush and intimate, with a "front row" sound-stage that immerses you in the music's forefront. Instrument separation is substantial enough without sounding incoherent. They especially shine on jazz recordings or female vocal tracks. Diana Krall's California Dreamin was an exercise in perfection. Her smokey voice, the glint from the violin section and a tightly strung bass almost sounded like a live recreation of that specific track.
 
Most importantly, the purchase of this modified pair of Fostex T50RP (retailing at approximately 180 USD) is definitely justified. Sounding unlike its little brother, the Vibro's are slightly mellower, with a cloudy sound that exercises control on the treble and sibilant high frequencies that can cause excessive ear fatigue. Do not be fooled by my previous statement. The Vibros have more than sufficient detail without the dry harshness commonly associated with crystalline highs and realistic treble. They pump out an assertive bass section, with incredible mid-bass speeds and just enough sub-bass for those who prefer a leaner low-end. Do take note that these headphones aren't for bassheads looking out for sub-woofer levels of crazy. The mid-bass decay is too fast and rigid to be called a basshead's dream. 
 
Alas, there is so much one can do to push headphone drivers. The Fostex T50RP drivers has a tendency to lack ultra-low frequencies. This was noticeable on the ZMF Vibros, with a strange lack of sub-bass decay and natural slam. To be fair, these drivers have their limits and there's only so much one can mod. 
 
For customization and all its intended purposes, the headphones has 3 tunable ports on each earcup. Rubber stoppers can be inserted into these ports to close and open the sound. In my honest opinion, this only affects the sound-stage significantly, with minor differences to the bass and treble regions. The summaries are as written below.
 
No Ports Closed => Semi-open Sound-Stage, Lush Bass Section, Slightly Masked Treble
One Port Closed => Less open Sound-Stage (compared to previous configuration), More Control on the Bass, More Treble Detail
Two Ports Closed => Less open Sound-Stage (compared to previous configuration), Bass becomes more intimate, Treble is alittle more Brittle
Three Ports Closed => Closed but more forward Sound-Stage (compared to previous configuration), Bass is more "in your face", Treble gains slightly more detail
 
 
 
All ends well
 
Even with its few caveats, the ZMF Vibros are easily the most engaging and musical pair of planars to ever come by. These are purposefully made to be as inviting as possible. Even at full price, these headphones are definitely comparable to the likes of higher end planar magnetic headphones (Audeze EL-8, Hifiman HE400i etc.) If they were paired with a reference amplifier/dac section with ample juice, these headphones will definitely shine and show its vast potential. Here is a poorly done shot of my pair (I suck at picture taking, my apologies):

Before I start on my endless tirade on this hidden gem, allow me to make a formal introduction.
 
 
My Formal Introduction
 
I'm a 19 year old (coming 20) Singaporean Student waiting to serve my Mandatory Army Service. I grew up captivated by music and its divergent genres. From subversive punk (The Germs, Black Flag) to the Mellow Jazz Cats (Miles Davis, John Coltrane), I was always fond of music history and the preceding factors that led to the formation of several bands and genres. Ever since my brother brought me to Jaben in its glory days (in a crummy, old warehouse with a pile of imported iems), I started to stick my itchy fingers into the personal audio market. I'm no audiophile, but I'm just here to give my two cents on products that I find far more than capable at a suitable price. I despise the lifeless sound of a Balanced Armature on its own. The unnaturally faux left to right soundstage and the rigid/dry bass response always irked me. Hybrids and Dynamic Drivers will and always be the top tier transducer/combinations in my heart. 
 
 
Alittle Bit of Backstory
 
FLC Technology is a company based in Guangdong, China. Opened by Forrest Wei (correct me if I'm wrong), a industry regular that has worked with the likes of UE and Jabra, the FLC 8 is their first foray into the Universal IEM Market. Launching their first CIEM in 2011, FLC Technology hopes to make a name for itself in a congested IEM Market. The FLC 8S is an exact cut/copy replica of the FLC 8, provided with a 4-braid SPC Cable instead of the poorly sheathed cable by its predecessor. Forrest believes that the consumer should have a say in the sound signature of any IEM, hence the provision of tunable filters.
 
The FLC 8S is a hybrid in-ear monitor, with a 2 Balanced Armature + Dynamic Driver (3 Way Crossover) configuration. The FLC 8S boasts a whopping 36 tunable options, setting itself apart from the competition. China is making a name for itself in an already crowded IEM market dominated by the big three (Shure, Audio Technica and Westone). I'm proud to report that the FLC 8S is a top tier contender that blows the competition out of the water. They are a diamond in the rough, a hidden gem waiting to be discovered.
 
 
Build Quality/Accessories
 
Right off the bat, the lavish wooden box looks downright expensive. FLC definitely went out of its way to package the product beautifully. Inside the box, we have several eartips (S,M,L), a anodized aluminium rounded case (this crap is built like a tank) and a keychain carrying the different filters and nozzles. The accessories provided are impeccable and feel almost premium, rivaling the likes of the Shure SE846. Gotta give a shoutout to FLC for giving us a premium package at an affordable price point.
 
Moving on to the IEM's, they look almost alien-like. The driver-housing or the actual body of the IEM's are shaped like curved S's, with a glossy finish. There are several ports or tiny holes to allow the user to interchange filters and try out a variant of sound signatures. Apart from the outlandish appearance (at first), the IEM's are feather-light with negative profile. The flushed fit and lightweight housing provided me with a comfortable listening experience. It's as if the FLC 8S melds with the ear to become a unified body. I've used them for over 3 hours straight with no signs of discomfort or fatigue. They feel solid in the hand and I have no doubt's that they were built to last for a long time.
 
The cable termination is a recessed 2 pin connector (the UE Triple -fi connectors), which are easily user replaced. Having said that, the stock 4-braid SPC cables provided marked a significant improvement compared to its predecessor, which provided a rubber-sheathed cable with stiff strain reliefs and a bad tendency to clump into a giant ball. They are easily pliable and the memory wire offsets the weight off the IEM onto them, acting as a strain relief.
 
I have to say, I am duly impressed by the overall build and accessories provided.
 
 
Sound Quality
 
I have to say, these IEM's are absolutely stellar. Admittedly, these are IEM's are ever changing chameleons, with 36 tunable options that leaves the user baffled by its ability to adapt. I for one, value my time and choose not to review every single combination. Having said that, the combination I have utilized centers around a heavy low end, distinct mid range and medium high frequency (minor filtering). Do take note that the tuning process has a steep learning curve. Time and patience must be exercised to find a suitable combination that meets your tastes. Its time for me to dive head first into the delicate art of finding the right "sound".
 

Credits to Lendmeurears for the image
 
Nozzles
- Black Filter: Medium Mid Range and High Frequency
- Green Filter: Medium Mid Range and Most High Frequency
- Blue Filter: Medium Mid Range and Least High Frequency 
- Gold Filter: Most Mid Range and Medium High Frequency
 
Rubber Stoppers (white, black grey)
- White Stopper: Medium Bass
- Clear Stopper: Least Bass
- Black Stopper: Most Bass
 
Rubber Thumbtacks (lol)
- Clear: Least Subbass
- Black: Medium Subbass
- Red: Most Subbass
 
As you can see, the art of finding the right sound can be tedious. It makes for a fun project though. Be wary that the intricate filters are tiny and easily lost. Thankfully, Lendmeurears Singapore stocks replacement filters at a reasonable price.
 
As of now, I'm utilizing the Gold Nozzle => Black Stopper => Red Thumbtack Configuration. It focuses primarily on a creamy mid range, smooth highs with ample detail and a airy bassline. 
 
The FLC 8S left me floored. Balanced Armatures are known for their distinctly sharp mid range, extended highs and accurate/rigid response. The addition of an 8.6mm Dynamic Driver offsets the weaknesses of the 2 Balanced Armatures by providing a robust bassline and superb subbass decay. What boggles my mind is the coherence of it all. I believe that transient smearing and the use of 3-4 balanced armatures with no dynamic driver results in an incoherent, artificial sound that feels vastly separated. The unnatural left-right channel separation (faux soundstage) and crummy low-end response doesn't leave me satisfied. This is certainly not the case for these hybrid badboys. 
 
The Gold Nozzle tames the highs and smoothens the peaks, but it does it in such a way where the highs aren't sibilant and provide just enough detail. With tracks such as Charles Mingus's Moanin, the baritone saxophone barely loses detail and in fact sounds almost natural (apart from minor smoothing)
 
The Midrange is rich, easily distinguishable and detail heavy, with a non-fatiguing wet sound that avoids the harsh trebles and sharp mid-ranges commonly associated with balanced armatures. It provides for a non-fatiguing listen for any genre. It's even listenable with the sharpest of treble-heavy genres such as Hardcore Punk. That is an achievement on itself.
 
The low end is the highlight of the FLC 8S that separates the men from the boys. Using the Black Stoppers and Red Thumbtacks, the sumptuous low end proves to be well controlled, with a tight midbass response and sublime subbass decay. Most importantly, the bass in my opinion, doesn't bleed into the mid range at all, leaving us with a fun/controlled bass response that faithfully captures the air and stage presence of any given recording.The FLC 8S is a forgiving IEM, even with 128kbps MP3 Files.
 
 
In Conclusion
 
The FLC 8S is a representation of Chinese innovation. Over the years, I have seen the growth of many a Chinese Audio Company, each trying to tap into the Southeast Asian market. Some companies left me impressed (Vsonic, Havi) but nothing blew me away. The FLC 8S has done just that. Their penchant for perfection in sound, build and customization is a testament to Chinese quality. I would've given them a perfect score, if not for the fragile tuning components. I certainly hope that people give the FLC 8S's a shot and be mesmerized by their sound.