First Off, big thanks to @Barra (and AAW) for allowing me to participate in the AAW loaner tour and allowing me to live with this fantastic IEM for a week.

Build/Fit/Acessories

The Build (at least for this universal loaner) appears to be standard fare, with big purple acrylic shells enclosing the (immensely complex) 8BA + 1DD driver setup within, there’s a small vent for the dynamic driver well out of the concha spot. The finish is very good, though not exceptional or remarkable, I’d leave more detailed examination of this to the people with customs, as I am not sure this loaner is fully representative of what actual customers will be getting. The cable included with this pair of IEM is (apparently) the Null Audio Ethos cable, which appears to be well built, being soft, pliable, generally microphonics and tangle free during my use, my only clear gripe with them is that the y-splitter appears to be too far down the cable for my liking, which was compounded by the fact that the chin splitter is done in a weird way on this cable.

The fit, despite the rather thick shells, is very good, fitting snugly into my ears and being comfortable for long stretches, something many CIEM makers appear to have trouble with their universal demos. Isolation and seal has also proven to be exemplary. That said, given (I anticipate) that many of AAW clientele would be opting for customs, feel free to skip this section.

Not much to say on the accessories front except that the unique, AAW-branded compact carrying case is a nice touch, setting it apart from the generic pelican cases that most of the competition seems all too happy to use these days. Given that this is a loaner unit and not true customer packaging, it’d be misrepresentative for me to comment more in this regard.

The Sound

All sound impressions/comparisons were done with the Fiio X1

Overall, the W900 is a prime example of how to tune a reference Hybrid TOTL IEM right. The signature is neutral, tilting towards warmth, and as a result, very natural tonality wise. One thing that stood out to me is that, despite the very complex driver setup (8BA + 1DD), coherency is excellent, with no noticeable disjointedness between the DD and the BA drivers, or between the BA drivers themselves, a commendable achievement from AAW.

Bass:

The W900’s bass, unlike many other hybrid IEMs, nearly strictly adheres to reference neutral in volume, that said, this does not mean that the unique qualities of the DD driver have been lost in translation, the combination dynamics, rumble and decay conveyed by the DD cannot be matched by any BA-only driver setup. This has the effect of making the bass sound more emphasized than a BA-only IEM that might measure similarly, it is only when switching to music with less bass, that it is evident that the bass is disciplined and integrated well within the presentation of the IEM, resolution is very good (although frankly you wouldn’t care too much bobbing your head to the awesome basslines).

Mids:

The mids of the W900, as mentioned above, tilt slightly towards the warm side of the spectrum, as a result, details are not pushed forward in your face like some reference monitors could be. Instead opting for a more musical sound with thicker body and weight. That said, resolution and texture are still exemplary across the entire mids spectrum, picking out microdetails, such as the vocalist’s spit while singing within certain tracks, is done with relative ease. There does appear to be some unevenness in the midrange, with a minor rise within the 1-2k area that can make vocals appear shoutier than usual, but this is a minor complaint on an otherwise very well done mids.

Treble:

The treble of the W900 can best be described with the phrase, laid back but effortlessly extended. To my ears, there’s a lower treble dip that makes it more easygoing than a strictly neutral monitor might be, but ramps back up from the middle treble onwards for extension and air that ranks as among the best, if not the best I’ve heard in an IEM, shaming many of its TOTL competitors in comparison. In addition to this, the huge extension and air does not come at the expense of treble smoothness, if there were any apparent peaks, I didn’t hear them, the only complaint I have of the treble is that sometimes, it lacks definition, which may have to do with the lower treble dip, giving it a fuzziness that might not be strictly accurate for some recordings, even if resolution is still very good.

Staging and imaging:

If there’s one thing that might stand out with the W900, it’s the soundstage and imaging. The W900 is shockingly adept at producing a big, wide stage, with excellent separation of musical elements within the stage, depth is less spectacular but still well above average in my experience. To my ears, it matches the stage size of many ADEL/APEX products without compromising on isolation or imaging precision, the only other IEMs that I remember being as impressed by the stage/imaging combo of the W900 was the Zeus-XR Adel and the Campfire Andromeda, but I’d need to have a long, hard A/B to decide the victor between them.

Comparisons:

Campfire Jupiter:


The differences between the Metal-CNC build Campfire Jupiters and the Acrylic-shelled W900s are just as drastic as their differing looks suggest. While as mentioned before in my review of the Jupiters, they do nearly everything desired for a high end BA model in the bass region, compared to the W900’s well-implemented DD, this translates to a lack of rumble, authority, with hits appearing hard and 2-dimensional in comparison. Likewise, the mids diverge between the two as well, with the Jupiter having a 1-2k dip where the W900 rises in that area, completely negating the shout that the W900 can exhibit there. The mids are also noticeably thinner with less body than the W900, but appear no more open due to the W900’s stellar staging. Moving on to the treble, while I thought the TAEC system implemented was a great boon to treble extension and air, it has be clearly upstaged by whatever implementation the W900 uses, which provides even more air up top (somehow), and more importantly, smoothing out peaks that usually come with such extension, moving from the W900 back to the Jupiter makes this abundantly clear, with songs sounding harsh and aggressive in comparison. Overall, the W900 puts a great case for justifying it’s price tag over an already expensive and very competent IEM in the Jupiter.

Campfire Dorado:


While both IEMs are hybrids that are at (or near) the top of their companies’ respective lineups, in most other aspects, they take radically diverging paths. The Dorado, being free from the burden to be the TOTL reference representative for Campfire, is free to pursue a more musical, colored signature that can be best described as a bass-heavy u-shape presentation. The low end of the Dorado is more immediately muscular and powerful due to its relative emphasis, but leaves the mids feeling recessed and darker compared to the more even-handed approach of the W900. As mentioned above, while the unique TAEC system used in Campfire IEMs provides great extension up top, I feel that the W900 upstages it in that aspect with even more extension and air while being less peaky, the Dorado does provide more sparkle than the W900, however. Staging is another distinguishing factor between the W900 and the Dorado, with the Dorado feeling significantly more closed in, which is exacerbated by the aggressive, overwhelming bass power that the Campfire product provides.

Conclusion:

The AAW W900 is a stunning example of how a TOTL hybrid (heck, TOTL-any) IEM should be tuned and made. The combination of a coherent tuning showcasing the hybrid setup, immense technicalities highlighted by exceptional staging, and a neutral, but smooth tonality makes this a tough package to match, let alone beat. In truth, I had difficulty writing up the comparisons above because it’s been difficult pulling myself away from the W900 to put significant lots of listening time into them (not to mention my poor desktop setup…). While the W900’s retail price of $2849 SGD is intimidating, and it’s not 100% perfect, from my experience, you can do a lot, lot, worse for lots more money, so this earns a hearty recommendation from me.

In the present state of portable audio markets, with one-upmanship of driver counts (and prices) fast becoming the norm, Campfire Audio has blazed its own path by offering immaculately crafted, often great sounding IEMs featuring unique designs, which has proven to be a breakout success. While the community's attention has shifted towards the newer models (e.g Andromeda, Vega), it is worth remembering the original flagship that started it all, the Jupiter. 
 
Build/Fit/Acessories
 
By now, every other review has spoken at length about the packaging so saying much more about them would be wasting time, it's the standard CA fair, with a small plain cardboard box signifying the model you are getting. Inside, there are the IEMs, a leather case for storage (for Jupiter, it's brown), three pairs of single-flange silicon tips, three pairs of foam tips, cleaning brush and a metal badge with the Campfire Logo. One thing that must be pointed out is the quality of the individual accessories, The leather carrying case is built superbly well, lined with wool on the inside to prevent the IEMs from being knocked around and chipping, while the included foam tips are of a high enough quality for me, who absolutely detests complys, to use regularly, just as well then that the Campfire IEMs are tuned to sound best with the in-house foam tips. 
 

 
Moving on to the actual shells, they are a beauty to behold, with high quality CNCed metal shells that look distinct from the competition (in a good way), making the IEM feel like they'd last a very long time. The MMCX connectors on the IEMs feel very sturdy, which is more than can be said for some manufactuers, the only gripe for me is the lack of a filter under the sound bores, which means its easier for undesirable stuff to go inside. Unfortunately, the cable that came on my older pair (ALO Tinsel) is a bit of a problem, as anyone who has used it knows, while it seems to be constructed well out of nice materials, the cable has a very annoying habit of tangling and kinking in a way that almost defies physics. Luckily, the Litz cable that is included with the newer versions is much more tangle-proof, so rest assured new buyers.
 

 
Fit-wise, for me, it has been very comfortable, especially with the foam tips, which means that the shells are not entirely flush with the ears. Those with smaller ears and/or silicone tip users may find the edges from the shells digging in. Isolation ranges from average (with silicon tips) to good (with foam tips).
 
The Sound
 
All sound impressions/comparisons were done with the Geek Out 450 connected through OTG to the Xiaomi Mi4c
 
Overall, the Jupiter's presentation is best summarized with one word: effortless. While I've heard its bigger brother, the Andromeda, be described as somehow able to making all three frequencies feel that they are each emphasized, the Jupiter isn't so immediately engaging, opting for a presentation that does not appear to shift focus to any single frequency. The advantage to this is that the Jupiter is not particularly picky on source and/or music, happily plugging straight into a smartphone with questionably mastered music and still being enjoyable. That's not to say it doesn't scale with better upstream components, it's just that compared to most other IEMs of similar technical ability, it's significantly more forgiving.
 
Bass:
The Jupiter has bass that's nearly everything desired from high-end Balanced Armature models. Strictly speaking, in relation to the mids and upwards, the bass of the Jupiter is slightly north of neutral in volume, but in a subtle way that's never obvious. The bass remains very flat throughout, except some slight rolloff at the very extremes (~30hz downwards). Dynamics are excellent for a BA, providing hard-hitting impact and punch when called for, while never being bloated, accordingly, speed is top-tier, with great articulation of small details in the music. The only real gripe is one that might be endemic to all BAs: somewhat hard, unnatural timbre and texture, but even in that area the Jupiter betters many of its peers.
 
Mids:
Transitioning upwards into the mids, the effortless presentation of the Jupiter becomes clear to hear, the overall tuning leans towards the warm side, with lower mids having some precedence over the upper mids. In other IEMs, this might have posed serious issues, but the Jupiter solves it by virtue of its supreme transparency and articulation throughout the range. The relatively forward lower mids lend male vocals some intimacy and emotion, but not overtly so, clarity is maintained thanks to superbly controlled (i.e minimal) bleed. Upper mids are no doubt, on the laid back side, with female vocals and cymbals/snares somewhat further back in the mix than normal, this does it no favors in terms of perceived clarity at first glance, however in further listening, the Jupiter continually surprises with its ability to represent small gradations in volume, making detail articulation very good. Overall, the mids tread a fine line between musicality and analytical prowess, being a major contributor to the Jupiter's effortless detailed presentation. 
 
Treble: 
The treble on the Jupiter comes with surprising amounts of energy coming from the mids. maybe a hair above strict neutrality but below the bass in terms of emphasis. Continuing with the theme of effortless detail, the treble of the Jupiter has plenty of sparkle and air up top, but almost never becomes strident, it is clear that the TAEC system in the Jupiter is doing great work in this area, providing treble extension that is very rare with IEMs. Treble timbre is precisely rendered and clarity is excellent, middle treble and upwards is somewhat emphasized over lower treble, preventing the Jupiter from becoming too laid back sounding.
 
Staging and imaging:
The stage of the Jupiter is above average in both width and depth, but not exceptional. There is more width than depth, but the comparison is not as lopsided as most IEMs. Where the Jupiter makes its mark is in imaging and separation within its stage. Pinpointing specific instruments and other musical elements in recordings with all but the most terrible mastered recordings is a breeze, mainly aided by the way the Jupiter presents a near pitch-black background of canvas with which the music can be painted over.
 
Select Comparisons:
 
Sony MDR-EX1000:
In appearance, these IEMs can't be further apart, the EX1000 being a large and unwieldly single DD with mediocre isolation, dwarfing the 4BA Jupiter in comparison. The upper mids and treble are considerably more emphasized on the Sony's, which gives it an edge in perceived clarity. Unfortunately, this is with a trade off, has the Sony has rather peaky treble that is far less forgiving and far more ready to send treble daggers to ears at a moment's notice. The bass of the Sony is one of the best I've heard in an IEM, having supremely tuned timbre and texture that hasn't been matched by any BA, including the Jupiter, but gives up slightly in speed as a tradeoff. Similarly, the EX1000 has the widest soundstage I've ever heard in an IEM, but can seem rather flat compared to the Jupiter's more 3D stage, imaging is a wash due to the Sony's sheer stage size, while resolution is a slight edge towards the Jupiter.
 
Campfire Andromeda:
The newer brother that has taken over the Jupiter's place as Campfire's all-BA flagship, the most apparent difference between the two models is the more aggressive presentation of the Andromeda, with more forward upper mids and slightly more forward treble. Stage size is a step up from Jupiter, turning the already excellent imaging and seperation of the Jupiter into OMGWTFAMAZEBALLS levels. Resolution is a slight step up from Jupiter, but not immediately apparent without significant A/B. Unfortunately, out of the 0.47ohm output of my Geek Out, the Andromeda was too bassy for my tastes, straying further from neutral than the Jupiter IMO. This is due to the far more reactive nature of the Andromeda's impedance curve, pointing out the issue that Andromeda is far more picky of upstream components than the Jupiter.
 
Campfire Dorado:
The hybrid sub-flagship that is the rough equivalent of Jupiter on Campfire's dynamic side, the Dorado is noticeably warmer, with elevated bass and lower mids compared to the Jupiter. The DD-powered bass can't help but have more satisfying rumble, power and texture than the Jupiter's BAs, but trades off for that with speed. The Dorado also sounds noticeably more organic and somewhat more musical than the Jupiter, with comparable resolution in the mids and bass, but trades off with lessened clarity and staging as a result, the treble is also noticeably more laid back on the Dorado, losing out on the sparkle and air of the Jupiter. Overall, its a great choice for those who prefer a more colored sound and/or treble sensitive, while the Jupiter is for those who like a more neutral signature.
 
1964Ears A12
The former flagship of 1964ears, the A12 dwarfs the Jupiter in both driver count (12 vs 4) and price ($1999 vs $799), so what does the extra price give you? I was wondering the same after comparing the Campfire's elegant shells to the generic Acrylic shells of the A12. Straightaway, the A12 impresses with it stage, being clearly wider and deeper than the Jupiter, no doubt as a result of the Apex modules. However, imaging isn't quite as pinpoint as the Jupiter, while separation is equal by virtue of the big stage. The A12 is somewhat bassier than the Jupiter, but executed in a nice way, with great texture. The upper mids are more up front in the A12, and have some grainy texture that is a little annoying compared to the Jupiter's smoothness, but the biggest mark against the A12 is in the treble, while not bad on its own, feels somewhat rough and peaky compared to the excellent treble of the Jupiter. Resolution may lean towards A12, but the Jupiter fights back with better tonality. So, is that worth $1200 more? You decide.
 
Conclusion:
 
While overtaken in the spotlight by newer models in the lineup, the Campfire Jupiter still makes a very compelling case for itself with its combination of excellent technical ability, highly forgiving nature (of both source and music) and stellar build quality that stands apart from other IEM manufactuers, it earns a hearty recommendation from me as a great introduction to high end IEMs to newbies and veterans alike. 
 
 

 
Build/Accessories:
 
The Earsonics SM3 is a triple balanced armature IEM, with one driver for the lows, one for the mids, and one for the treble region.  the shell is clear acryllic on the outside, and black on the ear-facing side, as seen from the picture, on both the inner and outer sides, there are physical "ES" letters engraved into the housing, an understated touch that many modern IEM manufacturers can learn from.
 
 

 
 
The cables are non-removable, which was the norm when this IEM was released but is rather archaic nowadays, luckily, the cables themselves are nicely braided, with what appears to be thin, but tough material, there is no memory wire section (I don't mind either way but some prefer this way) and a thoughtfully designed y-splitter. Microphonics are little to non-existant when worn in the default over-ear style.
 

 
 
The accessories for the IEM include:
- 3 pairs of bi-flange silicone tips (S, M, L)
- 2 pairs of Comply tips
- 1 filter cleaning tool
- 1 zippered carrying case to store them when not in use
 
 
Ergonomics/Usability
 
The housings are made of plastic, in a flat and boxy way, with squared-off corners that seems anachronistic given the designs coming out nowadays, these would be major marks off for ergonomics if not for a saving grace: the shells themselves are very small compared to modern competition, which means that these should fit in most ears without the edges causing discomfort, YMMV though. Also of note: Isolation is decent, but not great.
 
Sound
 
All listening and comparisons were done on the Hifiman HM650 (Balanced)
 
Bass:
Not what I expected at first, and definitely not what most would have in mind for "BA" bass. The bass is somewhat pronounced above neutral with good extension, and unlike the vast majority of its BA brethren, has great sustain and weight, which gives music great foundation and body that's rare with a lot of more modern BAs, and more akin to a dynamic driver in this regard. Unfortunately, this comes at the exchange of the speed and crispness that many high-end BA IEMs possess lower in the region. While the bass is pronounced, the rounded note presentation also means that it doesn't slam as hard, nor reveal as much texture as a quality DD IEM can, overall a nice, unique presentation.
 
Mids:
Leading on from the bass, there is some warmth in the lower mids, with the rounded note presentation also being a prominent feature of the mids. There is virtually no unevenness in this part of the frequency range, with vocals from both genders getting equal (good) treatment, sounding smooth, full-bodied and musical. The rounded note presentation, however, means clarity takes a step backwards, which may give the false impression that the SM3 are not particularly detailed, when it is actually pretty detailed in the mids, it's just that it takes more effort to notice the details. Which is just as well, since the other nice properties of the mids should be enough to compensate most of the time.
 
Treble:
Arguably the weakpoint of the SM-3's presentation, there is a clear recession from around 4-5k onwards before rising up to the 10k mark. The recession in this area means that some instruments have off timbre, electric guitar riffs lack crunch which gives them energy, while cymbals can sound dull and lack shimmer, for those that have experience with headphones from the Audeze LCD series, the treble is tonally akin to those headphones. On the upside, the recessed treble means that the SM3 is very forgiving of poorly mastered recordings, where harsh treble and sibilance may be an issue with more revealing gear.
 
 
Soundstage:
The uniqueness of the SM3's presentation is most apparent with the way staging and imaging is presented. The soundstage is not particularly wide, even by IEM standards, but depth is top-notch, making for a stage that is nearly spherical in nature, almost unheard of in the land of Headphones/IEMs. Which gives the feeling of music that envelops you, which may be a 'love it or hate it' feature, that aside, imaging is pretty good, with individual musical elements getting there own spots, but in a way that may not be the most accurate to the recording, an analogy would be staring up at the night sky and looking up at the stars, while each star is clearly seperated from the others, it's very hard to discern the relative distances of the stars from you, that would be analogous to the staging of the SM3, with each star being a musical element.
 
 
Comparisons:
 

EX1000 on the left, SM3 Center, Jupiter on the right
 
Below are comparisons to various IEMs that I have experience with through ownership and A/B comparisons.
 
Sony MDR-EX1000
A legendary Dynamic IEM that is still seen a benchmark to this day, they are nearly polar opposites with the Earsonics in terms of tuning. Immediately, the most striking difference is that the Sony's have a much more energetic presentation and thinner notes, courtesy of significant treble emphasis, which includes prominent lower treble peaks that will put off a LOT of people. Needless to say, the Sonys are much more fatiguing and can be brutal with songs that the Earsonics has no problem handling, but in exchange, get stunning clarity and resolution through all frequencies in return. Bass is relatively shelved down on the Sonys, but provide marvelous texture and timbre that leaves the SM3 in the dust. (16mm dynamic driver doing wonders). Headstage is massively wide (in IEM terms) on the EX1000, bringing with it great imaging, but losing some intimacy in relation to the SM3. Macrodynamics on the EX1000 feel effortless in a way that can make the SM3 (and most other IEMs) feel compressed. Isolation and wind-noise are big disadvantages to the EX1000 for outdoor use.
 
Campfire Jupiter
Another Multi-BA (almost) flagship, but 5 years later. First impressions comparing the Campfire Jupiter to the Earsonics SM3 shows how much technology has progressed in the timeframe, the mids on the Jupiter are significantly cleaner, effortlessly retrieving microdetail not apparent in the SM3. The bass is more typical "BA" style in the best way possible, being extremely quick, utterly devoid of any bloat which may crop up with the slower bass of the SM3. The treble is also masterfully tuned on the Jupiter, providing plenty of sparkle and air lacking in the SM3 while being nearly as forgiving. One of the few spots where the SM3 claws back points is in the upper mids, which are very even on the SM3, but not so on the Jupiter, which can cause some weirdness with female vocals and a few instruments. Staging on the Jupiter is far more conventional, with excellent separation and imaging that handily trounces the Earsonics SM3's efforts, but loses the enveloping sensation that makes the SM3 so special.
 
Summary
 
Many years have passed by since the SM3 was getting top billing as a flagship, and the world of IEMs has moved on, for better or for worse, despite being surpassed, in both aspects of build and sound performance, there are still some intriguing qualities to the SM3 that make it, if not timeless, at least an interesting footnote that should be remembered.

The entry-level open back on-ear market is not one that has an overabundance of choice, the most popular option for recommendations is to default to the legendary Koss Porta-Pro, but leave no other alternatives for people who wanted to try something different. I had an opportunity to buy the EP700 for relatively cheap and wanted to try it out just for giggles, and what I found was a musical on-ear that compares itself very well against the more expensive headphones/IEMs in my collection (that is to say, all of them).
 
Build/Accessories/Ergonomics:
 
As mentioned above, the EP700 is an open back on-ear, with small cups that place snugly on the ears, the velour earpads are relatively comfortable, but the headband might clamp a bit too hard for larger heads. The cable is fixed, terminates single-ended into a 3.5mm connector out of the left cup and is reasonably solid, if a tad thin for a headphone cable. What's perplexing to me is why the cable terminates backwards, which seems like a puzzling design decision to me. The cups can each rotate nearly 180 degrees, which means they can be stored flat when not in use, a lifesaver for backpack storage. 
 
It is a very light headphone, with nearly no pressure coming from the well padded headband, those who loathe Audeze headphones for their weight can rejoice! Despite the light weight, the plastic and metal parts (in the headband) are reasonably well put together, especially given the price of these headphones.
 
Acessories? Uh there's a 3.5mm to 6.3mm adapter, and that's it, what do you expect?
 
Sound
 
Given the lack of information out there on the EP700, I had zero expectations or ideas on what to expect from this headphone. What I found was a musical, involving tuning that is amenable to both newcomers and veterans to this hobby alike. All listening was done on the Hifiman HM650 (Balanced) with a mixture of 320 kbps MP3 and FLAC.
 
Bass:
The first thing that hit me with this headphone was the quantity and cleanliness of the bass, having no experience with on-ears. The bass is nice and punchy, with a midbass hump that peaks at around 60-80hz to my ears, texture and tactility are reasonably good, I detect some noticeable rolloff from the midbass hump to the subbass, but it does not seem to be excessive and there's still some rumble detectable.
 
Mids:
The party piece of literally every celebrated Audio-Technica headphone, and no exception here, somehow, vocals have this amazing ability to make vocals (esp. female) upfront, without making the presentation claustrophobic, due to the open sounding nature of the headphones. There's a smooth downward slope from the upper bass to the mids, which gives a sense of warmth and lends some musicality to the signature. The mids are not especially resolving here, especially coming from more expensive headphones, but the smoothness and musicality mean that they are still very enjoyable.
 
Treble:
Compared to the bass and mids, the treble is somewhat laid back, but not overly so to detract from any airiness, as mentioned before, the headphones are relatively open sounding, this laid back but airy nature of the treble also means that the headphones are relatively forgiving with regards to sibilant recordings.
 
Soundstage:
The sound stage of the EP700 is surprisingly large, belying the small appearance of the earcups, the staging is relatively spherical for a headphone, which makes it appear more natural, unfortunately, imaging within the stage isn't highly precise, which is no surprise given the price point and intended usage of these headphones.
 
Summary:
It is often rather difficult to recommend newcomers to this hobby on what headphones to get for a strict budget, while the Porta-Pro & KSC-75 have admirably filled this space, the Audio-Technica EP700 should be considered as a worthy alternative, with its combination of musical tuning and portability, it gets a hearty recommendation from me as a starter headphone for newcomer audiophiles.

Driven by a desire to try out a Hybrid configuration IEM, and hearing good praise for the ASG-1PLUS from ears I trust, when I spotted an opportunity to get them for cheap used, I jumped on it, after a couple weeks living with the IEM, I have to say I don't regret this decision at all. This is despite me not having any liking for "basshead" signatures, which Aurisonics/Fender has been known for.
 
Build/Accessories:
 
The ASG1-PLUS is a hybrid IEM featuring a 14.2mm Dynamic Driver (sidenote: Why don't more IEM manufactuers use big dynamics these days?) complimented by a Balanced Armature tweeter for the highs. The shells are made of acrylic and appear to be of high quality, while the red "AS" lettering on black shells is a nice, understated look that doesn't appear overly obvious, which is a welcome respite given some of the IEM designs cropping up in the past years. 
 
 

 
 
The cables use a 2-pin connector system, which I am not particularly fond of due to its fragility, the cables themselves are nicely braided, with a memory wire section (which I personally don't mind, but YMMV) and a thoughtfully designed y-splitter. Unfortunately, the 2-pin connector on my left earpiece appears to be somewhat recessed for some reason, which is concerning for long term use (shown in picture below).
 

 
The accessories for the IEM include:
- 4 pairs of Aurisonics tips (S, M, M+, L)
- 1 cleaning tool
- 1 hard plastic box to store them in when not in use
 
I can't comment on the box, as it did not come with my used copy, the tips supplied by Aurisonics did not work well with my ears, while they are made of silicon like everyone else's, the silicon they use has a different texture and irritated my ear canals, luckily, with some elbow grease, I managed to fit the silicon tips supplied with the MEE P1 over the wide nozzles, which would be the basis for the sound evaluations later on.
 
Ergonomics/Usability
 
The housings are made in a CIEM-style design that has been catching on nowadays, with a deep but not wide housing that sticks out of my ears a little. I have fairly small ears, so with the housings stuck in the concha area as they should be, it's not the most comfortable, but it's not egregiously uncomfortable either. The memory wire section does not conform very well to my ears, but it approximates it well enough that I don't have significant issues with it.
 
The good news is that with this sort of style, isolation is top notch, noticeably better than other over-ear style IEMs like the MEE P1 and Westone W40. 
 
Sound
 
I honestly wasn't sure what I was gonna get with this pair of IEMs soundwise, I had seen from reviews that these are supposed to be the "neutral" sibling of the ASG lineup, but was not sure what that meant, given the reputation for Aurisonics as a purveyor of basshead IEMs. What I found was a pleasant surprise, a signature that does not stray too far from neutral while still being highly enjoyable for non-critical listening sessions. All listening and comparisons were done on the Hifiman HM650 (Balanced)
 
Bass:
Very nicely done, while there is some emphasis in this area to my ears, it's not to the point where it's bloated and interferes with the overall presentation. The emphasis is most heard in the subbass, with basslines being presented in a relatively forward manner and plenty of audible, powerful-sounding rumble, this, to me is a very suitable tuning decision, as for outdoor use, subbass may be drowned out more easily by background noise. The mid and upper bass also slam with plenty of weight and texture, in a unique way that can only be found with large, dynamic driver IEMs, of course, the drawback to this is that the bass isn't gonna compete speedwise with BAs, but for me, the presentation was too enjoyable to nitpick.
 
Mids:
The mids of the ASG-1Plus can be described with one word: Lush. From the lower mids onwards, notes are presented in a rich, thick manner, but not to the point of impeding detail retreival, the lushness manifests itself in perceived warmth with male and female vocals, upper mids are slightly dipped from what might be strictly neutral, but not in a manner that makes female vocals overly distant. I don't detect any coherency issues between the bass and mids, which has been a concern with many hybrid IEMs.
 
Treble:
The treble is well extended, relatively speaking for an IEM, but not especially prominent in the signature, whatever treble that is present is smooth and detailed, without much in the way of fatiguing peaks. While this means the IEM isn't especially airy, the large stage that it presents prevents it from feeling closed-in.
 
Soundstage:
As mentioned above, the ASG-1Plus has a rather large stage for an IEM, with great ability to present spatial cues within the music. It is more wide than deep, as per usual with headphones/IEMs, but not overly so, separation and imaging is also good, but the lack of absolute black background prevents this aspect from being excellent.
 
Comparisons:
 
Below are comparisons to various IEMs that I have extensive experience with, either through ownership or demos, (* indicates demos)
 
Sony MDR-EX1000
 
A legendary Dynamic IEM that is still seen a benchmark to this day. Immediately, the most striking difference is that the Sony's have a much more energetic presentation and thinner notes, courtesy of significant treble emphasis, which includes prominent lower treble peaks that will put off a LOT of people. Needless to say, the Sonys are much more fatiguing, but in exchange, get stunning clarity and resolution in return, not matched by the Aurisonics. Bass is relatively shelved down on the Sonys and doesn't extend as low as the ASG-1Plus, but still provide texture and articulation that matches, if not slightly exceeds the Aurisonics in quality due to its better speed. (16mm dynamic driver doing wonders). Headstage is massively wide (in IEM terms) on the EX1000, but is somewhat flat compared to the more spherical presentation of the Aurisonics. Isolation and wind-noise are big disadvantages to the EX1000 for outdoor use.
 
MEElectronics P1:
 
Despite the MSRP difference between the two IEMs ($500 vs $200 for P1), it is the P1 that feels like the higher quality product due to the nice feeling Zinc shells and cabling. The biggest difference sound-wise can be found in the bass, where the P1 somewhat rolls off in the subbass, resulting in a mid-bass oriented hump, the Aurisonics extend all the way, with muscular rumble that the P1 is no match for. There is some upper mid emphasis in the P1 that is also not found with the ASG-1Plus, which makes female vocals more intimate, resolution is similar between the two, besides that, the P1 has thinner notes and can give the perception of being more airier due to some mid-treble peakage not present in the Aurisonic. Isolation is somewhat worse in the P1, as well as comfort, as the mmcx connector doesn't agree with my ear shape.
 
Campfire Lyra II*:
 
Lyra II has beautiful ceramic shells that exude quality, with great ergonomics and comfort unfortunately for me, the sound quality does not match the build. Similar to the Aurisonics, there is a clear emphasis in the bass, but it appears to roll off in the subbass, leaving a significant midbass hump that is not to my liking. In addition to this, the dynamic driver in the Lyra II does not appear to be able to convey texture like the larger DDs in the ASG-1Plus and the EX1000, to its credit, it appears to have quicker bass in return, but that is still rather disappointing. Mids on the Lyra II are lush, with an upper mid dip that is similar in presentation to the ASG-1Plus, including the lack of black background that hinders ultimate separation and imaging, even though resolution appears to be better, treble is noticeably more peaky on the Lyra II. Overall, given the price difference between the Lyra II ($699) and the Aurisonics (~200 used), I can't recommend getting it, as the SQ improvements are low for the extra expenditure.
 
Fender FXA7*:
 
A comparison between the past of Aurisonics hybrids and the present Fender products might be illuminating. Compared to the ASG-1Plus, the FXA7 appears more v-shaped, with a clearly more bassy tuning, which makes it seem somewhat bloated in comparison, there is also a more severe upper mid suckout on the FXA7, bass texture is similar between the two but the FXA7 appears to be slower. Overall, I am rather disappointed, as it appears to be a step backwards from the old Aurisonics lineup.
 
Summary
 
The ASG-1Plus has proven itself to be a great, all-rounded IEM that has earned itself a rightful place in my collection, with a great combination of ergonomics, sound signature and technicalities that compel me to reach for it every time I head out of the house, while the accessories could use some work, the sound more than makes up for it, at the current used price these go for, they are a great value for money and well worth it for those looking for a laid-back, but still engaging signature.

Background:
The Audio-Technica CK10 is a dual BA IEM that was released in 2008, back then in those simpler times, CIEMs were a highly niche market, three BA drivers per ear was considered a lot, and $500 on a pair of IEMs would be considered preposterous. The market that the CK10 faced then is a completely different world from IEMs today, and given the last review for these here was done nearly 5 years ago, how have they held up?
 
Gear Used:
HM650 Balanced Card - Source
Sony MDR-EX1000
Campfire Audio Orion
Campfire Audio Jupiter
 
Build and Fit:
The overriding impression one initially gets with these is that they are a very high quality product, the housings are absolutely tiny, with a polished metal faceplate and tough rubber otherwise, the cable is thick, made up of rubbery material, with a straight jack 3.5mm connector on the other side that has plenty of strain relief, unfortunately, the cables are non-removable, and the strain relief on the earpiece side is not stuck to the cable itself, which is a lingering concern.
 
In terms of fit, these are intended to insert very deeply into your ears, almost ety-style deep, with very small tips, large tips + shallow fit lead to severe loss of nearly all bass, personally I find the deep insertion very comfortable, but YMMV.
 

 
 
 
 
Sound:
So how do these sound? In a few words, unique, clear, and unlike anything else on the market today.
 
Starting on the low end, the most striking thing that the CK10s convey is their bass, these are bass-light even with very deep insertion, with very little body and mediocre extension, a fact which is highly apparent next to the EX1000 and the Jupiter. In return for that, the CK10s low end has extremely quick decay, punchy, and is blazing fast, able to separate individual notes in a way that very little IEMs are able to do. While I personally prefer the bass in the EX1000 which exchanges some of the speed for oodles of note weight, texture, extension and slam, I could see some prefering the opposite. Also, macro-dynamics in general are significantly behind the Jupiter and EX1000.
 
In the midrange, these are characterised by clarity and detail, which is brought on by the fantastic imaging and separation the CK10s provide, the stage is large for a IEM, a bit smaller than the EX1000 and easily beating the Campfire IEMs in that regard, individual notes are very well defined in their own space allowing one to focus on individual instruments in recordings. It's very easy to pick up micro-detail in the CK10s, beating the Orion, matching (maybe slightly beating) the EX1000, and only slightly behind the Jupiter. Conversely though, this can make the presentation seem distant and somewhat unnatural, as if the dual BAs struggle to fill up the soundstage, the EX1000 are much better in this regard with filling up it's larger soundstage, making for a more coherent presentation. Another point that detracts from the CK10's musicality is the rather unusual texture/timbre they present, somewhat as if the notes are smoothed over, even if detail is still present. This is problematic for rock/metal, where having some more "grit" is desirable, again, something that the CK10 loses out significantly to the EX1000 (with it's natural texture) on.
 
The CK10s pick up emphasis in the treble, being brighter than both the Campfires while presenting an interesting comparison with the EX1000, which also has a treble emphasis. Generally, the CK10 will appear brighter than the EX1000, with more treble air present in MOST recordings, however, due to the EX1000s peakiness at the 5k and 7k marks, cymbals will be "hotter" on the EX1000, that is not to say the CK10s are completely problem free in the treble/presence region, they pick up sibilance rather easily, but the unusual texture/timbre, which presents problems in the midrange for some instruments, helps to mitigate how painful the sibilance can be, compared to EX1000.
 
A thing to add about these IEMs, if you love Trance/EDM in general, GET THESE. The timbre/texture issues become much less of a problem, while the fantastic imaging, separation and speed of the CK10s become highly useful tools to enjoy the music.
 
Conclusion:
Are the CK10s all-rounders? Not really. But they are a highly capable IEM with unique qualities that make them ace for certain genres, even many, many years after their discontinuation, the CK10s still deliver aspects that are very, very hard to overcome by modern, much more expensive competition.

It's been nearly six years since the EX1000s were first launched, at that time, with a launch price of $999, they attracted much uproar over the rising price of audio gear, how times have changed since then...
 
In short, how have they held up? Very, very well.
 
The first thing one notices about the EX1000 is the rather awkward shell shape, which protrudes out of the ear by a large margin, while weird at first, it actually makes for a very comfortable wearing experience, especially for those who have small ears that may find the normal blend of multi-ba shells too big for their ears. Unfortunately, isolation is sacrificed as a result, so for those looking for Ety-level isolation, look elsewhere.
 
Once these are on ears and music is being played through them from a good source, some qualities start to stand out:

1. Bass slam and decay is one of the best I've heard in an IEM, these big dynamic drivers can move a lot of air quickly, while there isn't a big amount of bass presence, whenever called for, the EX1000 punches unflinchingly hard and extends very deep, without any of the "mushiness" that can be present in some BA IEMs.
2. Soundstage and separation is excellent for an IEM, this is probably due to the fact that the driver is much further from the ears than a normal IEM, as a result, they throw out a big, 3-D stage, making it easy to separate instruments and vocals.
3. Clarity, possibly as a result of the staging, is also very good, every element of the music can be separated onto its own plane, with a black background in between the elements, which makes picking out small details in the tracks relatively easy, even if the Sonys may lose out on ultimate resolution to the modern crop of TOTL IEMs, midrange is detailed while being very grain-free.
4. Highly Dynamic*, the EX1000 can brutally assault your eardrums on loud sections of tracks, while presenting music in a very soft manner in quiet sections, just about all the multi-BA IEMs that it was compared to suffered from some compression compared to the Sonys.
5. Treble emphasis, from IF's FR graph, one can see noticeable peaks at the 5k and 7-8k mark, this corroborates to sibilance in vocals and cymbal "splashiness", which combined with the general treble lean, can make these seem somewhat fatiguing.

*Source dependent, from something like a mobile phone, dynamics and clarity suffer, the EX1000s are inefficient for IEMs and prefer more power in the source, I personally use HM650, which powers the Sonys very well.
 
In conclusion, for those of you sick of the BA driver wars, and the countless thousand dollar, hundred BA IEMs that spawn from it, I will highly recommend you take a look at these Sonys, while they lose out on isolation and treble smoothness, they offer qualities that, 6 years later, are very hard to match by much more expensive competition.

Overview:
 
A high-end DAP by Hifiman, it shares the same platform as the HM802/HM901/HM901s in terms of looks and amp card interchangeability, which make it very unique in terms of DAPs in terms of customizing to the person's needs.
 
Non-sound bits:
 
This thing is very bulky and thick, don't expect it to fit in most pants pockets, and even if it does, keep in mind that it can get pretty warm when turned on, it's class A amplification after all. The UI is....passable I guess, it's not going to win any awards for smoothness or features but it has most of the things you want...except playlists, which it doesn't have, instead, you get a favorites feature to lump all the songs you like.
 
Perhaps the biggest thing against this DAP is the short battery life, in my experience, running mainly balanced mode, this thing is all outta juice in 7-8 hours, this isn't 7-8 hours of listening to music, this is 7-8 hours of the thing being turned on, it's battery drain doesn't seem to be much affected by playing music or not, so for those who want long battery life, stay well away.
 
A plus in Hifiman's favor is the modularity of the thing, in terms of it's ability to swap amplification cards to suit the owner's needs, driving sensitive IEMs? Go IEM card! Driving balanced headphones? Go for the balanced card! There are a total of 7 (incl Normal) amp cards to choose from, this customisability sets Hifiman's DAPs apart from other brands.
 
Sound:
 
Before talking about the sound sig, an aside on the power of this DAP. It has a ton of power at it's disposal, the specs say that with the balanced out, it can push 0.5w into 30 ohms, a ridiculous figure for a portable DAP. I believe it, the HM-650 has no problems driving inefficient planars, I listen to the HE-400i out of the DAP at ~4.5/8 in high gain, balanced mode, and the Talos (T50RP mod) at ~5/8 in high gain, balanced mode, and there's no sign of underpowering them at all (lack of bass, peaky treble), with slamming, authoritative bass as needed, I actually use the HM-650 more with headphones than IEMs, so if that's your preferred way to go, be assured that the DAP has plenty of power to drive just about anything under the sun.
 
The Sound signature is what one would expect from a Wolfson DAC, in that it is a warm and smooth sound, like the edges are sanded off. This helps greatly when listening to more harsh recordings prone to sibilance with more analytical sources, but it also takes some of the visceral nature of the music off, as if you're listening with a slight haze. The DAP is plenty resolving and does technicalities well enough, with good imaging and great separation when called for, it's just that the warmish tone and the smooth tonality means that it is not the most revealing portable source out there. But overall, the sound signature of the HM-650 makes for an easy listen with most genres.
 
Value:
 
With the Balanced amp card fitted, the HM-650 is ~$650 from Hifiman, that's a lot of money for a DAP with the shortfalls discussed earlier, if your goal is to drive full-size headphones well, this is probably one of the only DAPs that can drive inefficient planars with power, but if your goal is to use this with IEMs, there are likely more user-friendly DAPs out there that can do the same thing without the compromise that the HM-650 has.
 
TL;DR - Niche, High-end DAP uniquely suited to drive inefficient orthos with a warm, smooth sound signature. 

Overview:
 
The black sheep of Electrostatic headphones, the ESP-950 has been around since 1990 and is still in production now, overshadowed by Stax & co, they do not receive a lot of publicity, but are still highly competent in their own right.
 
Source Gear:

1. E90 Energizer
2. Fiio E10 (Line out)
3. Schiit Magni

​
Comparing Headphones:

1. Hifiman HE400i (Grill-modded)
2. Fostex TH-X00

 
Non-sound bits:
 
The ESP-950 is an open-backed headphone, and is rather tall, painted all black with mainly plastic parts, except for the metal grill, which gives a sense of flimsiness, on the upside, this construction is lightweight and comfortable on the head.
 
The stock earpads are pretty meh, but the light weight and low clamping force makes these comfortable on the head nontheless, unfortunately, my pair has developed audible squealing on the right driver, this is apparently very common among ESP-950s, and should be a consideration in buying them.
 
There are other odd quirks and features with the ESP-950, on the stock E90 energizer, volume controls are separate for each channel, which is great for those with mismatched sensitivity in each ear, the amplifier is also able to be powered by a battery-pack, in case you get the urge to listen to these on the go.
 
One thing that is AWESOME about the ESP-950s is the lifetime, no-questions-asked warranty that Koss provides, simply ship them the headphones with a note detailing the issues and a $9 check, and they will repair it, big kudos to Koss here.
 
Sound:
 
Overall, the ESP-950s are a mid-focused pair of headphones with an emphasis on being non-fatiguing and smooth. I was not impressed with these at first, as they seemed rather boring in presentation compared to my other cans, but over time, I came to appreciate how forgiving and non-fatiguing these cans are, without sacrificing technicalities.
 
Bass:
 
The Bass is well-extended and reasonably linear* down to the subbass. Punchy with very quick decay, lacking in impact and rumble compared to dynamic and planar counterparts, HE-400i's are more visceral and have more texture, while TH-X00s feel like subwoofers in comparison. Overall, IMO they're not bass light headphones, but bass-heads and those who can't live without impactful bass, look elsewhere.
 
Mids:
 
The meat of the ESP-950 experience. They are a very different type of presentation from normal dynamic or planar headphones, with a sense of lightness and effortlessness that can seem boring at first, but grows on you with its ability to reveal low-level information without being overly analytical or in-your-face. This is helped greatly by the great separation and staging these cans possess, the downside to this sort of ethereal presentation is that the ESP-950 can lack engagement and note weight, which is a mark against it in genres that benefit from a more visceral presentation.
 
Treble:
 
Treble is well-extended, albeit slightly behind the mids, they lend good airiness to instruments. The FR is very even with little peaks, meaning that sibilance is very rare, only noticeable in very hot recordings, and even then is well-controlled and doesn't stick around. HE-400i and TH-X00 are both not able to match this, and are more fatiguing in comparison.
 
Soundstage:
 
A big strength of the ESP-950 is the soundstage, these cans are up there in terms of their ability to project a big soundstage. The soundstage is very, VERY wide, which allows for great separation, and ability to single out sections of complex passages, which is a key part of their ability to be resolving without being fatiguing, soundstage depth is less impressive, but still good enough to allow for accurate imaging.
 
Miscellaneous:
 
The ESP-950s have a very coherent presentation, no part of the FR feels particularly recessed or forward, meaning these headphones play well with many different genres
 
*Bass significantly rolls off if seal is broken, which is easy to do given the height of the headphones.
 

TL;DR - A versatile set of cans that can play many different genres, a laid-back, wine-sipping complement to the agressive, shot-chugging TH-X00, the ESP-950 are a great pair of cans if one can find them cheap and/or used, for the price I paid for them, they are a MASSIVE bargain.

(1st product review, so critique away!)
 
Overview:
 
The Cascadia Audio Talos is a new T50RP mod by mad_economist of r/headphones. With a price of $250 (Launch sale of $200), it is one of, if not the cheapest commercial T50RP mod on sale at the moment, which is a breath of fresh air in the face of escalating pricing of head-fi equipment. Given the high pricing of most other T50RP modifications on sale today, the Talos has an opportunity to create a nice niche for itself, does it succeed?
 
Source Gear:

1. Geek Out 450
2. Fiio E10 (Line out)
3. Schiit Magni
4. Hifiman HM650 (Balanced Card)

 
Comparing Headphones:

1. Hifiman HE400i (Grill-modded)
2. Fostex TH-X00

 
Non-sound bits:
 
From the outside, the Talos is basically a stock T50RP with the following additions:

1. Suspension Headband
2. Brainwavz HM5 Hybrid Pads
3. Orange Vinyl sides
4. Cascadia Audio Stickers

The rather stock look of the Talos is to be expected for the price tag, the frame is a stock, sturdy T50RP frame we know and love/hate. Of more concern regarding the build quality is the aesthetic elements, namely the stickers and vinyl, on my pair, the vinyl isn’t perfectly matched with the headphone sides, and there is some unevenness regarding the opening for the removable headphone jack. Time will tell how these aesthetic elements hold up.
 
On the comfort side, these are a very comfortable pair of headphones, they’re not particularly light (~385g), but the suspension headband distributes weight very well, and the combination of low clamping force and earpads means low pressure on the ear area, much lower than that of the HE-400i. They are decently isolating (better than TH-X00), but don’t expect IEM levels of isolation.
 
Sound:
 
Overall, the Talos are a v-shaped pair of headphones with an emphasis on a more exciting/fun sound.
 
Bass:
 
There is a definite bass emphasis in the signature, while not as bass-heavy as the TH-X00, they are definitely north of neutral (HE-400i) in this regard. There is a mid-bass hump, with a rolled off subbass, these cans can slam hard and provide plenty of rumble, but stop short of being noticeably boomy with most recordings. The rumbly nature of the bass means that it’s not as quick as some other cans. In DOOM (2016) OST - Ultraviolence & End Boss, there are some very quick kick drums, where the HE-400i, with it’s quick and linear bass, can reproduce very well, and the Talos can’t quite keep up in terms of texture and detail.
 
Mids:
 
The Mids of the Talos, relative to the Treble and Bass, take a slight back seat. There is good presence in the lower-mids region, which is good for male vocals. However, there is a dip in the upper-mids, which can make female vocals somewhat more distant. It’s rather similar to the TH-X00 in this regard, but with more lower-mids and less upper-mids. The cans appear to be fairly resolving in this area, just don’t expect intimate vocals.
 
Treble:
 
Treble is another point of emphasis on the Talos, it appears to be well-extended, with instruments having good sense of airiness. There is some sibilance present in more ‘hot’ recordings due to the elevated treble, but it’s a general elevation without significant peakiness (as I can tell), it’s more even than the HE-400i, which has a 9-10k peak, and maybe the TH-X00 as well, but it’s not clear due to the darker signature in general of the Massdrop cans.
 
Soundstage:
 
Soundstage is not particularly large either depth-wise or width-wise, as expected for a closed pair of headphones, but the imaging is pretty good, with decent separation between instruments/vocals within the stage.
 
Portable Use:
 
These are good cans for use out-and-about, with several caveats:

1. Power: These headphones are pretty inefficient and will not be adequately driven by phones, or likely many DAPs. I normally turn the HM650s, at Balanced + High-gain mode (extremely powerful in portableland), between 5-6 (out of 8) on the volume knob, in comparison, the HE-400is are at between 4-5 (out of 8)
2. Size: They are pretty bulky headphones and pretty conspicuous on the head
3. Sweating: The closed design and pad combination is going to induce sweating, especially in hot weather.

 
Plugged straight into a GO450, they are a highly transportable and enjoyable setup.
 
TL;DR - A great pair of headphones that hold up well against more expensive competition, great ergonomics and exciting sound signature, highly recommended.