~: I originally published this on THL. Now I wish to share it with my Head-Fi fellows :~

:: Disclaimer ::
iBasso provided the DX220 free of charge for the purpose of my honest review, for good or ill.

The DX220 sells for $899, AMP8 for $199, and AMP9 for $250.
www.iBasso.com
iBasso on Amazon

Features:
– Dual SABRE ES9028PRO DAC Chips.
– Bit for Bit Playback With Support up to 32bit/384kHz.
– Support of Native DSD up to 512x.
– 5.0″ IPS Full Screen (1080*1920), With On Cell Capacitive Touch Panel.
– Corning Glass on The Front Screen And Rear Panel.
– Support of QC3.0, PD2.0, & MTK PE Plus Quick Charge.
– XMOS USB Receiver With Thesycon USB Audio Driver, Ma king This an Easy to Use USB DAC.
– A Total of 5pcs of Femtosecond League Oscillators, With 2 of Them Being Accusilicon Ultra Low Phase Noise Femt osecond Oscillators.
– 8-core CPU.
– Mini Optical Output And Mini Coaxial Output.
– 4GB LPDDR3 – 64G of Internal Memory.
– 5G WiFi And Bluetooth 5.0.
– Support SDXC And SDHC Micro SD Cards.
– Three Settings of Gain Control.
– Patented User Exchangeable AMP Cards.
– 150-Step Digital Volume Control.
– Audio Formats Supported: MQA, APE, FLAC,WAV, WMA, AAC, ALAC, AIFF, OGG, MP3, DFF, DSF and DXD.
– Support for M3U Playlists.
– 4400mAh 3.8V Li-Polymer Battery (Playtime Will Vary With AMP Cards Used)

Specs:
2.5mm Headphone Out :
Output Level : 6.2Vrms
Frequency Response : 10Hz~45kHz +/-0.3dB
S/N : 125dB
THD+N : 0.00018% (no Load, 3Vrms)，
0.0002% (32Ω Load, 3Vrms)
Crosstalk : -119dB

3.5mm Headphone Out :
Output Level : 3.1Vrms
Frequency Response : 10Hz~45kHz +/-0.3dB
S/N : 123dB
THD+N : 0.00031% (no Load, 1.8Vrms)，
0.00035% (32Ω Load, 1.8Vrms)
Crosstalk : -117dB

Line Out :
Output Level : 3.0Vrms
Frequency Response : 10Hz~45kHz +/- 0.3dB
S/N : 122dB
THD+N : 0.00035% (no Load, 1.8Vrms)
Crosstalk : -116dB

Average Play Time: 8 hours. (The play time varies with different resolutions
and headphone/IEM loads.)

I wasn’t expecting a new flagship DAP from iBasso anytime soon. I wasn’t ready. The DX200 was still my principle player, and I was nowhere near bored with it.

Then I remembered: I got my hands on the DX200 late in the game. It was already an established product with matured firmware when Paul sent me a unit. Grudgingly, I had to accept that maybe it was about due an update.

And “update” is the right word. The fundamental design is much the same, but everything is better, more attractive, of higher quality, and superior tech. The aesthetics are sleeker and less tank-like. The buttons and volume wheel are more elegant. The display is a gorgeous 5” 1080p full screen, and among the nicest I’ve seen in the DAP market. It comes across as flawless. Unlike the screen on the DX200, which looked even lower res than it actually was, with aggressive pixilation and jagged lines. Of course, I never cared a great deal about such things, but I won’t deny, it’s a nice bonus.

The leather case is a bit of a disaster. I had to make liberal cuts to the bottom opening to be able to use wide barrel balanced cables of the sort plusSound employs. Otherwise you can’t get them to plug in all the way. Also, getting the case off is more than a little difficult. While it’s good to know the DAP won’t fall out by accident, one doesn’t enjoy the sense of dread every time they wish to slip the player out. All of my usual tricks for doing so don’t seem to work here, and I always resort to brute tactics, which have caused further damage to the leather.

The DX220 is fully loaded, much like its predecessor, with streaming capabilities, Bluetooth, and all that crap I have no interest in. Only it takes this even further. Not only can you connect to a BT headphone, but you can also control the DAP from your smartphone. This is a feature I’ve seen show up in a lot of recent audiophile devices. It may not be for this old dinosaur, but you may consider it a must-have. So rest assured, iBasso has you covered.

I did, however, spend some time with simple Bluetooth. The Bang&Olufsen Beoplay H9 achieved a stable connection to the DX220, and, apart from a hiccup at the beginning, played flawlessly for about an hour. These headphones have really grown on me, of late. I’ve yet to hear a better sounding pair of wireless cans.

The DX220 is a warm, full-bodied device. Whether we’re talking AMP1mk2, AMP8 high-current module, or even the vacuum tube AMP9, the DX220 is decidedly warm and organic of tone. That’s not to say the AMPs don’t have an effect on the sound, because they most certainly do. And I shall endeavor to articulate their influence over the experience. But I was pleasantly surprised to note the distinct voice of the DX220 shine through, no matter what module you connected it to. Unlike the DX200, there is no inherently cold tilt to compensate for.

iBasso took their new DAP in the direction of the DX150: Bold, musical, and strong. It issues authoritative sonics, with smooth, naturalistic color. This is an easy, pleasing listen that will not soon fatigue. Joyful depth and seductive richness, accompanied by a grand soundstage, makes even the most boring headphones seem brimming with potential. For those monitors capable of portraying it, the DX220 renders exquisite dimensionality, giving shape and structure to the notes, as if you can almost see the artist or instrument releasing them.

As you’d expect from a Pro-grade SABRE chip, the DX220 is one bad mother ******* when it comes to detail retrieval and resolution. The smallest trickle of water at the church window or the subtlest flutter of wings on the 17th ward, and you hear it as if you are there, ears perked. This is top tier quality, make no mistake. And all without that SABRE glare of poorer implementations. iBasso has mastered this stallion, and what you get is a profoundly honest, grounded presentation. The most natural of naturals.

AMP1 mk2 is the perfect starting model. It was enough to impress me right out of the box. It’s nimble and detailed, warm, but artfully reserved. There’s power and authority, with a subtle elegance to beguile the listener. To put it simply, it’s beautiful.

AMP8 is 4.4mm Balanced, and my favorite with the DX200. The high current module added such dynamism and robustness. And indeed, it does this for the DX220, as well. Though it’s not as needed as it was with the last gen player. Still, if you want a bigger soundstage, the strongest punch, and enough power to drive Planar Magnetic headphones to satisfactory levels, then this is indeed the right AMP for you. Everything just seems bigger and more vibrant. But you will lose out on some battery life.

AMP9, which is 3.5mm single-ended, has become my favorite for the DX220. While it’s supposedly high current, it lacks the driving force of AMP8, so it’s not well-suited for seriously demanding headphones, like Sundara, or the LCD-3. But it does manage the 300Ω Atticus splendidly, a setup with which I’ve enjoyed countless hours. AMP9’s claim to fame is the Korg Nutube vacuum tubes. They achieve exactly what you’d wish of them: The Tube Sound. Extra warmth, glorious harmonic overtones, and new plateaus of richness. Even the soundstage seems bigger. I’m tempted to say it exceeds that of AMP8, though without two DX220s to quickly switch between, it’s hard to be sure. While I’d like to have the driving power of a high-current module, AMP9 creates something so utterly magical I cannot bring myself to use anything else.

Making the comparison to the DX200 ($899, Review HERE), you see the older model has a thinner, airier sound. It comes off cleaner, due to brighter tuning. One of the major criticisms of the DX200 with the original AMP1, was how cold and lifeless it could seem. Luckily, subsequent amp modules resolved much of this. The DX200>AMP8 has been my reference player for a long time now, and it never fails to impress. Still, the new DX220 is unquestionably warmer, with greater note weight and a rounder, fuller presentation. There’s a maturity and refinement which is most welcome. Without having two identical AMP modules, I can’t rightly say which has the wider soundstage. They are both quite large, and will not disappoint in that regard.

Cayin’s recently released N6ii ($1,199) is a strong competitor. Not only is the amp circuitry replaceable, but so is the whole DAC portion. But this comparison is with the stock AK4497EQ module. And let me tell you, it’s more than enough! There is a tremendous amount of power here, and I drive the HIFIMAN Sundara with ease. It’s clean power, too. The sound is more vibrant and dynamic than the DX220, with cleaner, blacker background, greater bass presence, and sharper resolution. All this, and the soundstage is a touch wider, too. Now, this comparison is with the AMP9 Nutubes installed. Against the AMP8 high-current module, the gap is less impressive, with the DX220 gaining a bit of vibrancy and sharpness. But I’d still give Cayin the win here, if only by a little. I like both DAPs set with Slow Roll-Off digital filters, for the most natural sonics. Yet to my ears, the N6ii takes the lead in transparency. But of course, it’s more expensive.

With various AMP modules comes various strengths and uses. Because of the succulent warmth of AMP9, brighter monitors will sound their best. AMP8’s savage output power drives full-size headphones to damn-near their potential. I won’t talk much about AMP1mk2 because it’s the vanilla option, and easily summarized by saying, “It’s adequate for most scenarios.” As good as it sounds, and it does sound very good, most folk will be drawn to the superior audio of AMP7, 8, or 9. AMP7 being the single-ended version of the high-current AMP8, which is balanced.


Let’s start off with an iBasso IEM, the InTune IT04 ($499, Review HERE). This thing is relatively affordable, in the world of audiophilia, tuned for clarity and detail, air and soundstage. It leans a little to the thin and bright. So it ought to come as no surprise that AMP9 is the best pairing. Even though there is a little background hiss, the Korg tubes fill her out, introducing a hint of lushness and low-end dynamics. The IT04’s bass driver is capable of so much when properly encouraged. AMP9 even warms up the treble, which is usually a tad cold on the IT04. This pairing is the perfect example of the beauty in marrying two complementary voices. They are stronger together, and you are the one who profits from it.

iBasso also has an excellent set of semi-open cans, the SR1 ($499, Review HERE). Thanks to their super efficient design, they do not need AMP8’s power, so you can bask in the vacuum tubes of AMP9. The SR1 is one of the best-balanced monitors I’ve ever heard. It does everything with just the right measure. There’s clarity, and profound detail. Yet it never strays into brightness or stridency. The bass is full and delicious, warming up the mids to create a very natural, full tone. Due to the masterful balance it walks, the SR1 plays well with every source. Bright, warm, or neutral. Connecting it to AMP9, you are treated to the very essence of lush musicality. And without any sense of veil or claustrophobia.

I spent most of my listening time with the Empire Ears Legend X ($2,299, Review HERE). LX has enough treble clarity, enough low-end weight, enough mid-range vibrancy… it has enough of everything. More than enough. There’s not a source that makes these sound bad, so choose whichever AMP module you like. LX will shine like the sun. The virtues of this monitor are of such a high degree, their technical prowess so great, I consider them the ultimate IEM to unlock the full potential of any DAP. And indeed, they showcase the DX220 like nothing else can.

For those on a modest budget looking for portable, closed-back over-ear cans, I always recommend the Meze 99 Classic ($309, Review HERE). You just can’t beat them in this price-range. They have a sound very few people won’t find enticing. Tons of detail and air, crystalline clarity, and a glorious bass presence that bleeds into the mids just enough to give them warmth and character. They are ever so slightly on the thin side, with treble that can be a little bright. So AMP9 really warms these up nicely, elevating Meze to new heights of greatness.

If you have no budget whatsoever and don’t mind an incredibly bulky set of closed-backs, my personal favorite are the ZMF Headphones Atticus ($1,199, Review HERE). These are the cans I take to work with me every day. While Atticus is 300Ω, most DAPs seem to drive them well. I especially like these with AMP9, as the Nutubes really bring out Atticus’ musicality, making them sound like an acoustically warm concert hall. There’s just enough head-room on the volume that you should be safe with even the most quiet albums. But of course there’s always AMP8, which eliminates any such concerns. And god knows I have no complaints with that pairing.

Now, the Audeze LCD-3F ($1,999) absolutely requires AMP8. Being of Planar Magnetic design, they are hungry *******! I tried them with AMP9, but I was maxing out the volume on a medium-loud album. You will run into trouble there. But AMP8 did great. The smooth, laidback sonics of the LCD-3, with their inherent warmth, mingled in such a lovely way the DX220’s own rich timbre. It’s a heavenly experience, and I love taking this setup to the back porch when I smoke a cigar.

iBasso forged a wonderful upgrade to the legendary DX200. The new DX220 is indeed a worthy predecessor, exhibiting improvements in every aspect of its design and auditory signature. iBasso shows us a mature, more refined philosophy. The sound is richer and more musical. The UI is leaps and bounds ahead of the previous generation, standing alongside industry leaders. And the chassis is sleek, elegant, and beautiful. The DX220 is more than an upgrade, it’s a statement, and a promise for the future. And I’m excited for it.

-~::Pinky_Powers::~-

~::I originally published this on THL. Now I wish to share it with my Head-Fi fellows::~

:: Disclaimer ::
MusicTeck provided Aiva free of charge for the purpose of my honest review, for good or ill.

Aiva sells for $599.
www.MusicTeck.com
SendyAudio on Amazon

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When sweet man Andrew of MusicTeck asked about reviewing the SendyAudio Aiva Black Beauty series headphone, I had to look it up first. This is a product and a company I had never heard of. Yet when my eyes beheld her beauty from one of the promotional images online, I knew I wanted her. That might not be the sentiment of a proper audiophile, but what can I say… Aiva is that gorgeous.

It’s no wonder the final product looks this good. SendyAudio takes the handcrafted, labor-intensive, quality material approach to manufacturing, and they take it seriously. I can’t find any plastics here, just leather, metal, and wood, and some sort of a hybrid earpad. At a weight of 420g, everything feels tight and well-built. There’s no squeaks or rattles. The pads and headband are incredibly soft and comfortable. In terms of build quality, it’s ******* perfect.

Aiva Black Beauty is a planar magnetic set of over-ear headphones, utilizing a 97x76mm ultra-nano composite diaphragm. The frequency range starts at a super-low 5hz, and rises all the way to 55Khz. With a sensitivity of 96dB and 32Ω impedance, she’s not terribly difficult to drive, although she’s not exactly easy. These headphones are obviously made for a desktop amp, or at the very least, a powerful mobile device. I assume it’s open-back design. It certainly looks and sounds that way. But I wouldn’t be shocked to find Aiva classified as semi-open, either. None of the promotional materials I’ve read say one way or another.

Included is a hard-shell leather protective carry case. It’s relatively small, as these things go, and, like the headphones themselves, well-made. My sister proclaimed it the Ass Case, and I suspect you understand why. Indeed, there is an unfortunate posterior resemblance. Must they follow the contours on the outside as well? Oh well.

I am awfully pleased with the cable. It’s rare to see a naked braided cable from the headphone manufacturer. And even rarer when that cable is terminated for 4.4mm TRRRS balanced. It comes with an adapter which turns it into 3.5mm TRS single-ended. Personally, I wish it was setup as 2.5mm TRRS, as I have adapters for 2.5mm-to-4.4mm, but nothing that goes 4.4mm-to-2.5mm. The stock cable is a pretty standard 6N Oxygen-free-Copper. Then there is a $250 upgrade cable called Asura, using 7N OCC copper conductors.

SendyAudio Aiva Black Beauty is a creature of clarity, articulation, and transparency. Vibrancy and detail retrieval are at the forefront, though Aiva never forgets the importance of balance, with decently bodied notes. It’s one of the best headphones for $500-$600 I’ve heard.

Aiva’s treble sparkles, possessed of much air and light. There seems to be an upper treble peak to emphasize the wispy, twinkly aspects of these notes. The extension is phenomenal. It’s like there’s no roof; the venue sounds so open, the music floats freely upward. Details and micro dynamics are highlighted. There’s sharpness to the presentation many will like. For those desiring a smooth, relaxed sound, Aiva may be a bit much. Though I must say, it does not come off harsh or strident. Simply energetic, dynamic, and fun.

Vocals are wonderfully revealing. They really pop. All the grit and texture of your favorite singers shines through in a big way. While Aiva does not deliver the lushest reproduction, neither is it brittle or devoid of soul. I personally favor a rounder, warmer sound, though Aiva does not struggle to captivate my ears. Indeed, there’s a magic happening I thoroughly enjoy.

Mid-range instruments are potent and precise. There is but a touch of warmth and harmonic overtone, though it’s clear the greater portion of the tuning aims for vivacious, resolving energy. High-hats are sharp and vicious, and electric guitars have sick crunch.

The bass is, well, planar magnetic bass. If you don’t know what that means, you are missing out. I’ve owned a number of planar headphones, and while they haven’t all been the best at everything, one aspect stands out every time. The low end has impossible reach, and moves so freely, with so much surface area. The result is a… presence… an entity. And a big one. It’s an unmistakable thing. I also happen to think planar bass sounds more real and lifelike. But that could just be Pinky projecting his evil will. Aiva’s bass is really rather neutral in measure. It doesn’t stand out in quantity, only quality. It’s textured, detailed, and versatile. Both acoustic and electric sound amazingly right.

The soundstage is narrow. Surprisingly narrow for headphones of such an open design. Yet there’s a decent amount of depth, and the height feels limitless. Aiva exhibits great skill at separating the layers and rendering an accurate image. Her resolution is sharpened to a menacing edge. Indeed, in most technical areas, the Avia Black Beauty is a top performer.

HiFiMAN’s Sundara ($499, Review HERE) is a perfect set of cans with which to compare against. They are around the same price, both tuned for neutrality, and are open-back planar magnetic in design. Sundara has the truer neutral. It feels genuinely flat, all throughout the frequency range. Aiva has bright, sparkly treble, which sounds splashy compared to Sundara’s smooth, mature highs. The mids and bass are remarkably similar on these two cans. Yet because of that disparity in treble, there’s a personality shift which affects everything, changing the fundamental feel of the headphone. Aiva comes off more aggressive and energetic. Sundara sounds relaxed and effortless. This difference in philosophy is perhaps mostly a matter of preference. Some might find Sundara boring without that edge of excitement. To my ears, however, Aiva suffers from a hint of artificiality. It’s really only apparent in direct comparison to Sundara, which sounds noticeably more natural. Furthermore, Sundara has the wider soundstage. Nothing enormous, but it helps to create the more pleasing presentation. In terms of detail, resolution, layering, and all that, both headphones are on equal footing, more or less. Though Aiva, with her more aggressive bent, may seem to have the edge here.

The iBasso SR1 ($499) immediately stands out as the warmer, bassier monitor. The notes are fuller, vocals are lush, and that low-end fills things out in a more satisfying way. The SR1 is simply not meant to be neutral, unlike Aiva and Sundara. While the treble is potent and detailed, it’s not as accentuated as Aiva. Combine that with an obvious emphasis on bass, and you have a spectacular, fun transducer. It becomes ever so slightly V-Shaped, with the vocals taking a step back. But not too much! They aren’t small or far away, they just aren’t as big and close as with the other two headphones. iBasso’s balance is superb. It’s musical, resolving, and transparent, tonally rich, sharply detailed, airy and powerful. It does everything, and does it well. Including a nice, roomy soundstage. Certainly wider than Aiva. And in all technical merits, it’s right up there with the other two. All three headphones are damn near equal in comfort, though the SR1 does suffer from microphonics traveling along the cable. So you don’t want to move your head too much whilst wearing them.

Because of Aiva’s neutral-bright tuning, you should be weary of DAPs and DACs with too much of those same qualities. Unless you are perfectly immune to that kind of thing. For best results, pair her with a warm, robust source.

The Audio-GD NFB-28 (around $800) has been my desktop DAC and Amp for a few years now. I’ve never felt the urge to upgrade, it’s so bloody good. As a SABRE DAC, you get the profound detail and resolution the brand is known for, but as an Audio-GD product, all that is presented in a warm, organic, and utterly natural way. Plus, there is more than enough power to fill Aiva out to her fullest. I cannot imagine a better setup to drive these cans.

The iBasso DX200 with AMP8 ($899, Review HERE) is ideal for Aiva in many ways. First, AMP8 has balanced 4.4mm output, and Aiva is terminated for exactly that. Second, AMP8 produces high current, which these headphones crave. Finally, the sound signature of the DX200>AMP8 is bold and clear, spacious and impactful, detailed and musical. In other words, it encourages Aiva’s strengths, and helps with her weaknesses. This is the DAP I’d take to the back porch for a beer and a cigar.

Of course, if you’re looking for the lightest-weight system for true mobility, and willing to sacrifice some audio quality without feeling as if you’re listening to utter crap, then the Hidizs AP80 ($139, Review HERE) is my recommendation. For those who hold price, size, and performance with equal importance, this player is something special. It’s not the best in any one of those categories, but taken together, I’ve yet to find a better option. Unfortunately, its tuning isn’t quite as warm as I’d want for Aiva, but the pairing isn’t at all bad.

For a company I’d never heard of, SendyAudio crafted an exquisite headphone. Aiva Black Beauty Series is a triumph of performance, design, and comfort. When detail and resolution are at the core of your need, and nothing makes you quite so happy as oodles of treble sparkle, Aiva should be on your short list. This sort of tuning can go terribly wrong. It’s a testament to SendyAudio’s skill that they created something so pleasurable. I can’t wait to see what they come up with next.

-~::Pinky_Powers::~-

~:: I originally published this on the THL. Now I wish to share it with my Head-Fi fellows. ::~

:: Disclaimer ::
MusicTeck provided the 8n free of charge for the purpose of my honest review, for good or ill.

The FLC 8n sells for $355 MSRP
www.MusicTeck.com
FLC8n on Amazon

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Not much has changed in the last few years for FLC’s flagship. From what I can tell, it is mostly just a refinement of the old design.

Which is probably a good thing. The FLC8s landed fat and hard on the Audiophile scene, garnering considerable praise for its versatility, form, and sound. It isn’t talked about much today—the community moves on—but that’s all the more reason why an update is not only timely, but needed.

The new FLC8n!

1x 8.6mm DD for Lows
2X BA for Mids and Highs
Frequency Response: 20hz-20Khz
Sensitivity: 107dB/mW @1Khz
Impedance: 11Ω

The housing is a good sturdy metal, and should withstand moderate abuse. A small 2-pin connector is used, sporting robust strain relief. Unfortunately, I was unable to plug in a standard 2-pin cable like my Effect Audio Ares II. The holes are just not wide enough on the FLC.

While this is sad, it’s not a complete disaster. The stock cable is alright, with a high purity 7n copper. It’s a bit too springy for my liking, but it’s light and doesn’t get in the way too terribly.

Between the 3 filter positions you can adjust mid-bass, low-bass, mids, and highs, with a total of 36 unique configurations. If you’re anything like me, that might sound daunting. It’s not. In practice, you don’t need to play around with every single setup. FLC provides a booklet which describes what every filter does. All you must do is have a semblance of a notion for what sound signature you enjoy, and install the filters FLC claims will achieve this ambition. If this is your first experience with audio, you’re screwed, and will need to cycle through all 36 options to find your absolute favorite. For the rest of us who’ve been around the block a few times, it’s much easier. Just put in the filters you think will get you the sound you want, and if it’s not quite right, consult the booklet, and make educated adjustments. In other words, if the bass is too much, switch to a filter the book says is less bassy. If you want more highs, use that filter, etc…

I’m using the same filters I did on the 8s: Black, Red, Gold. Ultimate lows, ultimate mids, medium highs. This pleases my ears as well as can be hoped.

Speaking of which, let’s talk about that next.

I would never, under any circumstance, give you 36 sound impressions in one review. *** that! I won’t even give you two filter configurations. No. I’ve told you I’m using Black, Red, and Gold. So, Most Bass, Most Mids, and Medium Treble. Knowing that, you can make your own mental adjustments to figure out if the 8n is capable of matching your sonic preference. I’d be willing to bet it is.

The FLC8n with Black, Red, and Gold filters is warm and bassy, rich, yet elegantly balanced. Clarity has a natural feel, delivering all the goods, without aggression or artificially boosting details. There is a smooth, easygoing quality to the FLC8n, though one not lacking in dynamism.

Treble has plenty of air for my tastes, suggesting good extension. A lower treble peak helps articulate the performance, bringing forth texture and detail. The drum kit is present, but not piercing. Actually, the highs are relatively smooth, with a hint of warmth about them.

Vocals are fantastic! Clean, refined, and possessing a touch of lushness. A moderate amount of body gives the mids authority, without sacrificing transparency. Vocals don’t dominate the music with forwardness, instead choosing to join the band and become a whole. Liquidity mingled with clarity makes this a wonderful, seductive listen.

The bass is a real delight, thanks to that dynamic driver and my fiendish choice of filters. Lows delve mighty deep, rumbling and quaking, punching and kicking as the music calls for it. There’s good texture, and a surprising amount of control and speed. It’s technically very good, but I’ve heard better tonality.

Soundstage is okay. Certainly not small, but also not super wide or tall. It feels pretty natural. Imaging is good, as is separation. Resolution is modest, but nothing to write home about it.

Comparing to the older FLC8s ($299, Review HERE), the new 8n is cleaner, clearer, with better resolution. The 8s has more grain and sounds peaky, perhaps more prone to sibilance. There’s a refinement to the 8n, felt all throughout the presentation. Better separation, more air, tighter bass, and greater beauty in the vocals. Indeed, this is a worthy upgrade.

Final Audio Design released a true winner in the E5000 ($279, Review HERE). For my money, nothing under $500 can beat it. Well, nothing I’ve heard. It’s even more organic and naturalistic than FLC. Smoother, richer, much bigger soundstage, with depth like you wouldn’t believe. The one down-side is how much goddamn power it needs. Most smartphones will struggle to get these loud enough, so you will want either one of those powerful LG’s, or a DAP with decent output. FLC will run fine on anything, as it’s very efficient.

Another superb alternative if you seek organicity and balance in a hybrid design is the Accutone Studio S2 ($339, Review HERE) Plus, no need for filters. It’s more or less perfect right out of the box. S2 has the more natural tuning, with smoother, warmer treble. The bass has a nicer tone, though not as much attack or “fun”. Mids are pretty close between these two. It’s hard to say which is better. They perform very much on the same level.

With such a broad range of possible signatures, you have no need to worry over pairing. If it’s too warm, or too bright, or too… whatever… you can fix it with a simple change of filter. Still, I’ll share with you some of the pairings I played about with.

My reference DAP for sound analysis was the Opus#2 by theBit (#999, Review HERE). It presents a meaty, natural-neutral tone which is full of dynamics and detail. Opus resolves at such a high degree and renders a truly transparent image. FLC8n benefits greatly from this kind of mastery, elevated to new heights, and displaying all it is capable of.

iBasso’s new DX150 with AMP7 ($499, Review HERE) is probably the most fun you can have with the 8n. It’s a goddamn rockbox! So power, so energetic, so brimming with passion and musicality. It’s not the most refined listen, but it will put a sick grin on your face.

Then there’s the Shanling M0 ($99). This is the affordable option, no doubt about it. And it sounds pretty good… for the price. Decent power, clear-ish sound. Small staging. But adequate for out and about, if you’re not too critical. Shanling delivers a warm, dynamic sound, and plays well with these IEMs.

When I first put in the FLC8n, I thought, “That sounds just like the 8s.” Which is good, since I quite like the 8s. But as I went back and forth between them, I knew I had misjudged the situation. 8n is a clear upgrade on all fronts. It is the 8s, just more so… and better. Good job FLC!

-~::Pinky_Powers::~-

~::I originally published this on THL. Now I wish to share it with my Head-Fi fellows::~

:: Disclaimer ::
Empire Ears provided the Legend X for a discounted price, for the purpose of my honest review, for good or ill.

Legend X sells for $2,299
www.EmpireEars.com

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The first EE product I heard was my Spartan Custom. Since then, I’ve also heard Zeus XR, and you know, it’s just impossible not to love these in-ears. They are phenomenally tuned, with state of the art tech and crossovers. The result is a sonic delight. I’ll not be content until I hear everything Jack and his team come up with.

I knew Jack was working on something new back when I turned in my design for Spartan’s shells. I understood it would replace a large portion of the old line-up. As is the way with these sorts of things, R&D lasted much longer than he anticipated, and the project evolved into something far grander.

Two entirely new lines of IEMs emerged:

The Empire Professional Series (EP), with EVR, ESR, and Phantom.

And the Empire X Series, representing the company’s foray into Dynamic Driver hybrids, with Bravado, Vantage, Nemesis, and Legend X.

Of course, before any of that, there were just two prototypes showing up at shows here and there. One was an all Balanced Armature design, and the other, a Hybrid. Jack knew my lust for bass, and had me slated for the hybrid. There was even talk, way back in August, of me helping with the R&D/tuning. Sadly, that fell apart before it began. Empire Ears was besieged by the workload. So I waited… like everyone else.

Then Nic (Flinkenick) laid out the whole grand plan, giving a breakdown of each IEM in the line-up. Turns out, the hybrid I was slated for became a mid-range item, and a new flagship sprung into existence during the preceding months. Nic talked me into upgrading my order for the flagship, swearing it would not disappoint. So I sent my designs, which he passed on to Jack.

The grueling wait began. A wait which seemed much longer due to my early knowledge of EE’s development. In reality, after the order went through, it was only a few weeks. But **** reality! Pinky had been starved for months and months, feeding vicariously off the morsels Nic let fall during his time with the prototypes.

Finally, at long last, this happened:

The Empire Ears Legend X is a 7-driver hybrid. That’s right. A flagship with less than 10 drivers! crap, we’re talking half the drivers of their last flagship. What is the industry coming to?! Well, I’ve spoken with a number of the major companies innovating today, and most express dissatisfaction with the Driver War they’ve found themselves fighting these last few years. Even those who’ve done well in the fight understand the futility of it. They’ve begun looking for ways to deliver more for less.

EE, for example, has achieved true greatness with its 7 drivers. 5 Balanced Armatures: 2x for Mids, 2x for Highs, and 1x for Super High. And a bad mother******* twin dynamic driver setup for bass response called Weapon IX (W9). To complicate things further, LX utilizes a 10-way crossover system called SynX. Just how 7 drivers can have a 10-way crossover is beyond me. I’ve heard it explained, how each driver can have more than one crossover, and I still can’t quite grasp the logistics.

Needless to say, Legend X is an elaborate sonofabitch.

Empire’s build quality is top shelf all the way. I’ve had my hands on three of their IEMs now, and always feel impressed by the immaculate craftsmanship. Though I must say, they’ve outdone themselves here. My LX is gorgeous! Even lovelier than the version I built with the IEM Maker on their website.

Fit took some getting used to. Empire used the same molds which produced my perfect-fitting Spartan CIEM, so I was confused when Legend X didn’t seat in the same fashion. LX is bigger, to accommodate more internals, but I figured it should fit more or less the same. Eventually I figured out how this particular Custom wanted to be inserted. I guess it’s different for every IEM. Since then, I’ve enjoyed perfect seal and wondrous comfort.

The new X and EP Series come equipped with the Effect Audio Ares II cable. A particularly liquid, clean, and robust OCC Copper Litz, which serves as a fine upgrade over any ordinary stock offering.

The Empire Ears Legend X is a superbly balanced, slightly warm piece, with lots of air, and a richness to end all others. For my tastes, this is the single best all-arounder. In that it does everything exceptionally well, but almost nothing at the very top level. Which means, it sounds amazing with all sorts of music, but there are IEMs which do specific things better. Yet nothing I’ve heard so far covers as many aspects as well as LX.

A carefully crafted U-shape gives Legend X a fun, live rock concert tuning. The bass dominates, the highs shine and twinkle, and the mids sit back a step on the stage. It’s full and powerful, yet surprisingly clear and detailed. A wealth of harmonic overtones fill out the music, giving life and body to the notes as they decay naturally.

Treble is beautiful. It’s one of my favorites I’ve heard to date. It extends so very far, has a hint of warmth about it, and possesses a rich, honey-like sweetness. There is a smooth, organic quality, though a decent amount of sparkle does add a little exaggeration.

LX’s highs use a linear path, with perhaps a gentle bump in the lower treble, for articulation. It’s emphasized just enough to ring with magic, but doesn’t come off bright or in any way harsh. Neither is it thin or cold. Indeed, it has thickness, and wholesome density. The treble ushers in plenty of light to avoid congestion or murk. You can really hear how clean and organized the stage is, and perceive a solid blackness behind the instruments. It does just enough, and no more. Empire exercised remarkable control here. The treble is special and delightful and never overstays its welcome.

In spite of being what the kids call “recessed”, Legend X’s vocals play a huge role in making this IEM so exceptional. They are full and weighty, warm, with a touch of lushness about them. But only a touch. For they are not woolly. Detail and enunciation are at a very high level. The artist comes through clear enough, but not in a lonesome way. Meaning, the voice is accompanied by the warmth of the music, particularly the bass, and does not feel isolated or separate. You don’t get the studio experience, where every element exists on its own track. No, you get the LIVE experience, where the music hits you like a wave; a single body of water.

Voices and mid-range instruments have moderate size and great note weight. They are spaced out with ample room to breathe. Richness and articulation walk hand-in-hand. So much depth and musicality complements a sharply defined image, with a tremendous sense of energy. Savage crunch imbues electric guitars, and realistic twang completes the acoustic presence. All of which is rendered in vibrant definition, where you can clearly mark the shape and boundaries of the instruments.

Legend X’s Weapon IX subwoofers put out teeth-rattling bass. Now, does that mean there’s too much bass? Not to me. Hell, in terms of quantity, I’ve heard more. But don’t get me wrong, LX is not neutral. Its low-end is carefully emphasized. You must be careful, because these drivers can kill a moose. Empire paid close regard to balance here. Show off the twin DDs, but rein them in before someone loses an eye.

They strike like a ballpeen hammer, and decay at decent speed… for a DD. Sophisticated detailing and deep layers provide the texture, while angry rumble gives voice to Empire’s hellish tech. Sub-bass bellows loudest, with mid-bass a tad quieter. This results in tighter low-end and less bloom. However, this control is not absolute. A reckless grandiosity allows for a pleasant degree of blossom. It bleeds into the vocals the perfect amount for lush timbre, but never so much as to cloud matters.

Soundstage is very wide indeed. Among the best I’ve personally heard. It seems to stretch passed the confines of the skull with ease. Depth is also superior to most TOTLs out there, creating glorious immersion as you fall through the layers. Height is about average. Nothing to get excited over. It’s sufficient to make the stage feel natural, which helps you get lost in it, but the stage is far from cubical. LX does a fantastic job at imaging, rendering with accuracy every possible position. This solidifies the coherency of the presentation. You feel confident in the recreation, utterly buying into it. Legend X portrays a highly resolving, sharp picture, well deserving of its status as a flagship for the likes of Empire Ears. It’s surprisingly precise, given how smooth and musical LX is. Another boon of the skillful balancing act, I suppose. Separation is also aided by this, for you can cleanly spot every element all across the stage, including ones layered depth-wise. It’s an impressive achievement, and awesome to behold.

Comparing two flagship hybrids from two of the top companies is just too irresistible. The 64Audio tia Fourté ($3,599, Review HERE) is just as unusual an innovation as Legend X. Fourté uses three types of driver technologies. BA, DD, and tia. LX uses, BA, W9 subwoofers, and SynX crossovers… and let’s not forget A.R.C damping. They both deserve their status as cutting edge TOTL products.

The first thing you notice when switching from LX to Fourté is a massive increase in clarity and air. The roof opens up, and you are suddenly in a sky-lit sports arena. Soundstage is a little wider, but much taller. Depth is about the same, being one of LX’s great strengths.

It is obvious you are hearing more treble. Not just in dBs, for there is a slight increase there, but in extension. It goes on forever, creating so much light and air it feels like the parting of rainclouds. However, the highs are thinner and less sweet. More ethereal and less harmonic. Fourté manages all this treble in a smooth, non-fatiguing manner. On the plus side, everything comes off more transparent and clear. On the negative, you lose warmth and musicality.

Fourté’s vocals are larger and closer to you, seeming freer and unbridled. Hell, all the instruments are larger, on a stage that is grander. They sound more vivid and detail-oriented. I’m not of the opinion Fourté is especially thin, when taken on its own. Some IEMs sound thin no matter how long you listen to them. Fourté is balanced in such a way that it actually sounds rather natural… until you compare it to something like Legend X. LX is fulsome of body, with greater note weight. Its warmth and power makes Fourté seem a little lackluster. But only when making direct comparisons. A few minutes of listening, and Fourté shines again. It’s all relative, as both are tuned expertly for their desired purpose.

You might think, given the dynamic drivers both Fourté and LX use, that bass might be the great equalizer of these two IEMs. Not so. Their lows are so very different. Starting with quantity: LX has more across the whole spectrum. Its sub-bass strikes with even greater visceral impact. Mid-bass, also, has heavier presence. In comparison, Fourté sounds cleaner and tighter. Far more controlled. LX is like a demonic sex gimp: absolutely frothing with NEED and pent-up energy. Fourté’s low-end tends to stay in its place, adding very little color to the rest of the presentation. While LX adds weight and warmth and overtones to everything, mids and treble alike. Although Fourté exhibits that naturalistic DD tone and physicality, LX outdoes it in all ways, showcasing superior texturing and detail. Not to mention that guttural rumble. For my tastes, there is no question; Legend X is Lord of the Bass Region.

tia Fourté shows its prowess in other areas, of course. I’ve yet to hear another IEM match it in resolution, micro-detailing, separation, or holographic dimensionality. Legend X competes admirably, especially in dimensionality and resolution, but there is no denying the winner here.

Choosing a favorite is less about quality and more about signature preference. Both tia Fourté and Legend X do their thing like no other. That said, I have found myself utterly enamored with LX, to the extent I must admit it’s become my new favorite. I lose a little of that technical expertise, but not enough to make me feel guilty for siding with the sheer, mad musicality of Empire’s beast.

Unfortunately, I’m short on TOTL IEMs to which to compare LX. I wanted to write about the FIBAE ME by Custom Art, but that is currently back in Poland for a refit. I could do Noble Audio Kaiser Encore, but tia Fourté is basically Encore Ultra, so I’d be repeating myself there.

So why not make an Empire Ears comparison, with the Spartan IV CIEM ($749, Review HERE)?

Spartan is neutral with a capital N! Everything is in harmony, resulting in a linear, smooth signature, which excels at clarity and air.

Treble is well extended, and a touch brighter than Legend X. Yet bright is not the defining character here. I’ve always celebrated Spartan’s liquid, natural highs. They reveal well, but are not sharp or harsh. They are a little thinner than LX, and less syrupy.

Vocals don’t have anywhere near the same weight and density of LX. They have less body and warmth and sit more neutral on the stage. Note size is about the same, though. They come off a little less energetic and more relaxed. While they are quite articulate, they have a ways to go before Spartan catches Legend X’s mid-range.

Bass is properly neutral. Meaning it is not lacking, but it’s also not trying to draw your attention. For BAs, it has great extension, achieving good lower-bass, and a natural upper-bass hump for realistic tonality. Needless to say, LX’s Weapon IX woofers destroy Spartan. There is simply no comparison. Spartan is like a kitten trying to play with a lion. Extension, texture, timbre, presence… LX is infinitely superior.

Spartan also falls short in soundstage. Only in height does it seem to match LX. Imaging is more or less perfect. But separation, resolution, layering, etc… LX dominates in a big way.

I feel I need one more comparison. And I have one which actually provides a lot of the very same things I love in Legend X. The IMR Acoustics R1 (around $700, Review HERE) is a powerhouse in bass, with remarkable clarity, soundstage, and resolution.

Treble is tunable, but always thinner and brighter than LX. It has amazing extension, which lets in more air and light. But it doesn’t have LX’s rich treble timbre. Lots of detail comes through, nearly as much as LX. Where the R1 loses the most ground is with the coldness which permeates these highs. LX is warmer and sweeter.

Vocals possess brilliant transparency. They manage great separation from the other instruments, helping the perception of layering. LX’s vocals feel much more part of the music, making for a greater sense of cohesion. R1 renders detail and texture with skill, but the mids lack body and a sense of energy. LX has gobs of body and energy.

Bass is R1’s greatest strength. It’s nearly Legend’s equal. In fact, before I heard LX, the R1 jumped to the top of my list of most impressive IEM bass. It’s so full and dynamic. Detail and resolution are out of this world. Extension is fathomless. And you can tune it with filters to just about any quantity, including one that is quite a bit heavier than LX delivers. To be honest, I can’t even say with 100% certainty that LX has better quality lows. I think I like better, but on merely a technical level, R1 is so amazing, it may be Empire’s equal.

R1 does beat LX in soundstage. Dynamic drivers have to really **** up to fall behind Balanced Armature in this arena. It’s probably the tubes that do it. DDs are so much more open and natural-sounding. R1 is wider, and insanely taller. Depth, however, is more or less the same between these two. Resolution goes to LX, but not by much. R1 is outstanding. Separation… probably R1’s win. Despite the profound difference in price, IMR Acoustics has created a frightfully vicious competitor.

Thanks to the adroit tuning Legend X sports, you shan’t easily find a bad source with which to pair this IEM. LX is neither overly warm nor overly bright, and therefore a source is unlikely to push it too far in either direction. Furthermore, it is already endowed with phenomenal bass, and equally phenomenal resolution. So your source doesn’t need to help it where it’s weak. As I said early on, Legend X has no weaknesses; it’s the strongest all-arounder I’ve come upon.

So? ****ing don’t worry about tuning. Just feed these buggers the best juice you can, and bask in the moisture-inducing audio.

To that end, I use the DX200 with AMP4 module by iBasso ($899 + $199, Review HERE). It’s my current reference player. Unreasonable levels of detail, and raw, resolving power. The enormous soundstage is intensely real in depth and spatial reproduction. Transparency is off the charts. Simply put, it’s the best I own. And Legend X deserves the best. It scales like a champ and will thank you for every ounce of performance you can muster. For an IEM which does everything well, a DAP with these sorts of abilities makes a truly magical pairing.

My previous reference DAP, the Opus#2 ($999, Review HERE) is nearly as fulfilling for LX. It has the peculiar trait of being unrelentingly natural of tone. It just sounds true. Note weight, dynamics, bass, mids, and treble… all feels absolutely correct. And real. The soundstage is quite large, in the most effortless way possible. Detailing and resolution are among the best you’ll ever find, yet it conveys its virtues humbly, without conceit. This makes for a lovely counterpoint to LX, who is rife with ego and showmanship. Opus gives these IEMs a grounded platform upon which Legend X can dazzle and confound.

The Cayin N5ii ($369, Review HERE) is perhaps the greatest bang for your buck player out today. It’s feature-rich and sounds tremendous. Performance-wise, it is not far off from the TOTL DAPs I’ve mentioned. Soundstage is huge, and it renders dimensionality better than most. It is so good, in fact, when I connect Legend X, I sense no mediocrity or lack. Cayin sounds refined, and complete, and so does Legend X.

How about a warmer, thicker sound, with a crap-ton of features, excellent build, and proper mid-tier price and performance? The iBasso DX150 ($499) fits that bill to a T. It takes the fun musicality of Legend X and adds mescaline. This setup is wild. Smooth and robust, rich, and dripping with gooey goodness. Might be too warm, or lacking detail for some. But if you desire less of a reference player and more of a rockbox, this is my recommendation.

Cables. Cables? Cables! What’s to be said about them? Well, finding the right cable is less about spending the most, and more about spending the wisest. Depending on what you want to do to the monitor—and all cables do something—you may get away with a fairly simple copper, and still achieve an upgrade.

However, that’s not likely to occur in this case, because LX already ships with a truly wonderful cable which would amount to a noteworthy upgrade in any normal situation. If you want better than Ares II, get out your ****ing wallet!

Effect Audio Thor Silver II Bespoke 8-Wire: Right now, of the cables I have on-hand, this is my favorite with LX. And it just came in yesterday! It unchains the beast in terms of power, dynamics, and bass impact, widens the soundstage, blackens the background, and increases clarity. All this without brightening the highs, so it remains silky to the very end. But oh my, treble is given extra headroom. The extension and air is fabulous.

plusSound Exo Tri-Copper: This was my favorite until last night. Tri-Copper beefs up all of Legend X’s most incorrigible habits. Sub-bass and mid-bass get boosted, vocals thicken, treble warms, and the whole tone gains weight and aggression. It’s a joyous experience, but not especially refined.

Effect Audio Leonidas: Now this is refined. So mature, and well-mannered. Leo brings a thoroughly controlled, liquid quality, where clarity and transparency are at an all-time high and dimensionality expands to new territories. Treble is extended, and air is increased. But honestly, I think Thor II 8-wire may have it beat even in this.

Effect Audio Thor II 4-Wire: If you want the Leonidas sound, but for half the price, Thor II gets you most of the way there. It is liquid-y. It is refined. Clear as a bell, with tight, controlled lows. Treble is better extended than Ares II, but not quite as free and airy as Leo, and certainly not on the level of 8-Wire Thor. Yet both 4 and 8-wire share that unique treble warmth which defies tradition for silver cables.

This was an easy review to write. The Empire Ears Legend X, slowly, over the course of the last month, grew in my heart until it usurped tia Fourté as my new favorite earphone. I’ve always known my tastes lean towards the warm and musical, but Fourté won the crown by wielding unparalleled technical might. It took the dark sorcery of Legend X to bring me home. I needed the world-class clarity, detail, and resolution, but I so desperately hungered for earth-shattering bass, lush tonality, and sweet, honeyed highs. Legend X is the complete package. How could it not take the throne?

The King is dead! Long live the King!

-~::Pinky_Powers::~-

~::I originally published this on THL. Now I wish to share it with my Head-Fi fellows::~

:: Disclaimer ::
Periodic provided the Be free of charge for the purpose of my honest review, for good or ill.

The Beryllium sells for $299 USD MSRP
www.PeriodicAudio.com
Periodic on Amazon

I like to start my reviews with a little story. Since I’m first and foremost a creative writer, finding the story helps me get started.

Well, there’s no story here. I found Periodic Audio by looking through the forums for my next article. I contacted them, and they sent out their top model, the Be (Beryllium).

Why Be? It looks like Periodic Audio uses the Periodic Table as a naming scheme. Be is the official designation for the element known as Beryllium, which makes up the diaphragm of the dynamic driver. They manufacture all this in-house, and sweet god are the results impressive.

Taken from their website:

Frequency Response
12 Hz to 45 kHz
Impedance
32 Ohms nominal
Sensitivity
100 dB SPL at 1mW in ear
Power Handling
200 mW continuous
Peak SPL
123 dB
THD
Less that 1% THD at 1mW

The shell is a light and sturdy polycarbonate. The cable is thin and flexible, with very little memory. Cable-down is a bit awkward, but if I wear it looped over the ear, I’ve had good experience. Just add a few twists, and it serves as a chin cinch to keep the wire from flopping over your ear. In this fashion, the Be wears fairly transparent and transmits practically no microphonics.

Periodic is a weird company. They don’t care whether you reverse the Left and Right signals. You know this to be true, as there is no L and R markings anywhere. Not on the IEM, nor the cable. However, the nozzle seems to be at a subtle angle. Very subtle. I think. It’s terribly hard to tell. And you can try… try… and figure out which goes in which ear based on that. But of course, this goes out the window if you wear the IEM upside-down, which is how I do it for the over-the-ear style.

-~::Update::~-
Turns out I was wrong. The filter at the end of the nozzle is a different color on each side. Red, of course, belongs to the Right Side.

Other than that, and my eternal wish for replaceable cables, I have no complaint about the build. This is a solid product.

Upon first listen, I loved the tonality of the Beryllium. However, I did feel they lacked dynamism. So I didn’t listen long before I threw them on my Cayin i5 for a full week of burn-in, using pink noise. When I picked them up again I heard… perfection.

The treble is smooth, with a warm yet airy timbre. A touch of sparkle accompanies this predominately organic profile. For the most part, the Be’s high frequencies are downplayed. There’s just a bump in the lower treble for clarity, and incredible extension, infusing the soundscape with impressive resolution, atmosphere, and air.

Be’s low-end is my favorite thing about it, and the first thing I took note of. For starters, there’s a lot of it. Bass is accentuated beyond neutral, but not so much as to drown out the other frequencies. Still, the presence it holds is impossible not to obsess over. Intriguing textures wrap the flood of bass notes, giving layers and detail to the bloom and oomph. There’s powerful impact, along with a wealth of richness, which carries over into the mids. The tonality here gives me goosebumps every listen.


Speaking of mid-range… surprisingly, there isn’t an abundance of weight or body. This is probably due to a dip in mid and upper bass. Vocals are tinted warm, but they are a little thin and wispy. However, they are of good size and fairly neutral on the stage. Clarity, also, is quite good, with nimble articulation and realistic texture. There’s a naturalness in its tone, though it could use a bit more note weight.

Soundstage is marvelous, and very cubical, giving you great space in all directions, including height. The instruments on that stage are on the large size, too. So it doesn’t feel like insects playing within a grand hall. Thanks to the Be’s superior resolution, separation is clean and individual elements are easily identifiable. This is another of those cases where an IEM performs well beyond my expectation. I’ve fallen hard for these.

iBasso released a ******* beast that just kills higher-priced IEMs up to a certain point. The IT01 ($99, Review HERE) is brighter in the treble and more sub-bass oriented. As such, it has the better sense of clarity and detail. Whereas Be is warmer and fuller, drawing closer to perfect naturalness. Their vocals are both on the lean side, and their dynamism is about the same. Soundstage is also on equal footing to my ears, with Be possessing the taller ceiling. I’d say they are again matched for resolution and separation. What I can I say? Between these two in-ears, I see no winner. It’s a matter of tuning preference. Like I said, this cheap little ****** is that good.

You will be hard pressed to find a DAP or amp which does not mingle well with the Beryllium IEM. It’s tuning is such, that if you fancy it, there’s little a source can do to ruin it. It’s neither too bright nor too warm. Your DAP will only accent the Be this way or that, while the impeccable balance will remain more or less intact. Furthermore, this earphone is easy to drive, and none of my players struggled in anyway.

The Opus#2 ($999, Review HERE) unleashes Periodic’s full potential. With life-like resolution and dimensionality, and natural weight and timbre, you will be amazed at what a $300 IEM can achieve. The bass hits with hellish impact, yet it never has a chance to cloud the image, for the soundstage is so grand and clean.

Cayin’s N5ii ($369, Review HERE) renders such a clear, detailed sound. Its dynamics attack hard, its resolution is high. There’s an excellent sense of depth and layering. The Beryllium truly comes alive with this player. For a rather reasonable price, this setup is good enough to qualify as any sane person’s end-game. It is SOOOOOO good!

If you want to go full Budget-Fi, the Cayin N3 ($149, Review HERE) will cast a warmer pall over the Be. Smoothness, rich bass, and rolled off highs, no one will cry fatigue with this pairing. There’s very little depth, and the clarity could be better, yet it’s hard not to bask in the sheer musicality of it all.

Well there you are. The Periodic Beryllium is outstanding. It’s one of the most pleasant things I’ve ever listened to. The tuning just speaks to me, caressing my spirit with its warmth and texture. It is a dynamic in the very best of ways, with monumental scope and richness, performing well beyond personal hopes or expectations. This is the second Beryllium encrusted driver I’ve had the pleasure of reviewing, and both instances impressed me. While I can’t say empirically it’s due to the element being used, I shall, nonetheless, keep my eye on this sort of product from here on out. I highly recommend you give the Be a shot.

-~::Pinky_Powers::~-

~::I originally published this on THL. Now I wish to share it with my Head-Fi fellows::~

:: Disclaimer ::
MusicTeck provided the 1S free of charge for the purpose of my honest review, for good or ill.

The Opus#1S sells for $399.00 MSRP
www.MusicTeck.com
Opus on Amazon
____________________________________________________________________________________________________________________________________________

I’ve been a staunch supporter of Audio-Opus/theBit since I borrowed a Head-Fier’s Opus#1 for a short stretch back in 2016. It blew me away, coming very close to matching the sound quality of my then reference player, the AK120II. The price disparity between these two devices is no small matter. And it’s not like I hadn’t put other players against the Astell&Kern. I had, and none gave the AK this kind of run. I knew then Opus was a special breed.

I even finagled a good deal on a unit of my own, just so I’d have one on-hand for reviews.

When I decided I was ready to upgrade my reference player, I replaced the AK with the Opus#2. It’s a DAP so robust of resolution, and true of tone, that I have a hard time distinguishing between it and my desktop DAC, the NFB-28 by Audio-GD. theBit is one of the few companies that has utterly mastered the SABRE DAC, removing all coldness, and achieving a profoundly natural disposition.

So when Andrew over at MusicTeck asked if I wanted to review the shiny new Opus#1S, there was clearly only one response in keeping with my doctrine.

For fans of the original #1, the 1S will be like fingering an old friend for the first time; familiar, yet weirdly novel. Build, shape, and chassis dimensions are identical. As is button layout. It comes in two color choices: blue and purple. Andrew sent me the purple, and I’m rather smitten with the pigment. DAPs these days tend to be either black or silver, or some alarming member of the primary hues. The purple 1S is dark, subdued, with but a hint of its royal shade. Precisely the way I would have made it.

Then there’s the case. I have the burgundy leather. Again, this is a refreshing deviation from the norm, and marries handsomely with the purple chassis. Opus cases have always been very good. Genuine leather. Well-dyed. Protective, without interfering with any device function… save for covering up the SD slot. It seems theBit has lost none of its skill. This case is as good as ever, and I’m a big fan.

Software is also mostly the same, though updated to be in line with how the #2 and #3 work. For instance, with the original #1, you had to manually turn on Balanced Output, and then turn it off again before you could use Single-Ended. Now the DAP recognizes when you’ve plugged into the 2.5mm port, and switches over automatically, then back again when you connect to 3.5mm. In other words, like every other balanced DAP on the planet. Way to go, theBit, stepping into the modern era!

The Opus#1S remains steadfast in its predecessor’s mission: Be a DAP, not a Smartphone. You’ll find no Bluetooth output or WiFi connectivity. You have no access to apps, streaming, video, or the internet in general. This is a music player, and nothing more. Pinky appreciates such singular focus. It can’t help but strengthen the final product.

Although perhaps not the highest pixel-count, this 4” IPS is crisp, and with better color reproduction than most DAPs I’ve tested. Out of this lot, the only one that surpasses it is the DX200, which not only has more realistic colors, but also perfect resolution for the size, with no visible pixilation.

In sound, the Opus#1S deviates quite a bit from the original. This is a warm, thick, almost mid-forward device. Great smoothness permeates the signature. Notes possess weight and tangibility. The low-end was paid special attention, endowing it with no small measure of authority. My monitors produce extra oomph when hooked up to the 1S.

While clarity is not the main goal of its tuning, Opus manages to avoid too much wooliness. It’s clean and articulate, allowing vocals and instruments to come through with power. There is a laidback and effortless quality which feels thoroughly organic. For certain, this Opus is not overly energetic or trebly. In truth, it feels a little rolled off in the highs, though I won’t go so far as to say it’s actually lacking extension.

Music is rendered with above average dimensionality, giving a sense of layering and 3D space. Wholesome mid-bass impregnates the timbre, delivering oodles of harmonic overtones for a thoroughly analogue presentation. The stage is quite large, though it does lack a bit in depth and height. Your sense of resolution is hampered by the tuning, but that’s not to say it sounds lo-fi. It’s too refined and deep for that. The 1S simply pursues a different agenda.

I shall state upfront, of the three DAPs referenced below, I feel wholeheartedly the first two are of equal quality to the 1S. Deciding between the two should be a matter of features, price, and signature preference.

The most obvious comparison to make is that of the original Opus#1 (Review HERE). Flipping between the two with my line-switcher, I hear the new 1S to have a fuller, richer low-end. This continues up through the mids, which become warmer, bigger, and forward. The old #1 has the extra treble energy, however. It’s tuning is less full, and more clear and detailed. It does come off sort of thin and wispy in contrast. Soundstage is equally wide, though the #1 is a tiny bit taller than the 1S, and noticeably deeper.

Cayin’s N5ii ($369.99, Review HERE) sits squarely between the #1 and 1S in signature. It’s warmer and weightier than the first Opus, but clearer and more analytical than the 1S. The 1S has the fuller bass and mids, while Cayin showcases a more vivid image with greater dynamics. Again, soundstage width is fairly equal, though the N5ii is taller and deeper than both #1 and 1S. This best-of-both-worlds-mentality makes the N5ii a little more to my tastes. Yet I know many who would prefer the 1S.

Now, the Opus#2 ($999, Review HERE) is a clear step up. It has much of the 1S warmth, yet somehow comes off utterly neutral at the same time. No frequency seems tampered with. Bass, mids, and treble are on equal footing. Perfect naturalness. Furthermore, notes possess such realistic weight, while powerful dynamism imbues the soundscape. The stage is the largest yet, with particular skill at rendering depth. Indeed, here lies a true upgrade, but you’ll ******* pay for it.

Many times when a player is tuned for warmth, it loses clarity, detail, and articulation, pairing best with a monitor which emphasizes those traits. In other words, put a warm DAP with a brighter headphone. The Opus#1S, however, is not so picky. Thanks to its adequate resolution and clarity, I found even very warm gear to play well with this device.

For example, the new Massdrop Exclusive FIBAE by Custom Art is a true warmth monster. Apocalyptic bass presence and calm, smooth treble takes the warmth factor to 11. Yet the FIBAE ME never forgets a singer must be heard and felt, thus achieving a remarkable balance where all things work together. The result is some kind of ultimate music, and Opus lends itself beautifully to that endeavor. You’ll also enjoy a healthy expanse of soundstage, thick, lush mids, and killer harmonic overtones.

Another bit of surprise synergy is the Periodic Audio Beryllium (Be, $299). This single Dynamic Driver IEM is awesomely natural, with subdued, silky highs, titanic, textured bass, and airy, detailed vocals. There’s something about this tuning that gives me goosebumps. It’s so right my body physically responds. I feared the Opus#1S may tip the balance, introducing a veil, and closing in the boundless soundstage. Thankfully, that’s not the case. In fact, I couldn’t be happier with the combo.

Noble Audio’s Kaiser Encore ($1,850, Review HERE) is a monitor I always expected to mesh nicely with the 1S. Due to its brighter nature, a fat, bass-heavy source does nothing but enrich Encore. And Opus held true to this pattern. You keep all of the transparency, resolution, and sick detail, and add just a touch extra smoothness and low-end heft. If you augment the chain with the plusSound Tri-Copper wire, you are treated to nothing less than perfection: slightly warm and velvety, mingling with gobs of clear and vibrant. This instantly became one of my favorite setups.

Shocking though you may find it, there is a far less expensive setup I enjoyed even more. The IMR Acoustics R1 (about $700 USD). With the copper filter, the R1 hits me in just such a way as to destabilize my passion for the hobby, causing me to flirt with notions of retirement, wherein just Pinky and this IEM live happily ever after, to the end. There’s phenomenal dynamics and clarity, sparkly, limitless treble, transparent mids, and unbelievable bass resolution… not to mention lethal impact. What’s more, the Opus#1S handles it all like a hero, hindering naught, though adding to the deliciousness.

One dreadfully dull day at the office, the AudioQuest NightOwl ($699.95, Review HERE) saved the day. Its chocolaty tones and wealth of detail were only amplified by the 1S. Opus had no issue conveying the chasmal soundstage and profound depth which characterizes the NightOwl experience. With a DAP like this, these headphones are like walking around with an acoustically rich concert hall on your head. So good it’s probably immoral.

Looking back over the review, I’ve said some pretty nice things about this player. That’s interesting, since I was not blown away by it. Nothing about this device screams “THE BEST” or “MOST AWESOME”, yet somehow it worms its way into your heart, insinuating itself with moments of serenity. I suspect much of it is thanks to how artfully Opus sculpts its relaxed, yet dramatically musical signature. It’s hard to find fault when the sound is both smooth as satin and clear as church bells. Both rich and articulate. Take also into account the immense output power, and you have one hell of a portable solution for anything you care to drive.

-~::Pinky_Powers::~-

The Opus#1S

• 24BIT / 192KHZ HIGH RESOLUTION SOUND
• CIRRUS LOGIC CS43198 X 2EA DUAL DAC
• ARM CORTEX-A9 1.4GHZ, QUAD-CORE CPU DDR3 1GB
• SNR 123DB, THD+N 0.0007%, CROSSTALK – 140DB, OUTPUT 3.1VMRS ( UNBALANCED )
• SNR 125DB, THD+N 0.0005%, CROSSTALK – 142DB, OUTPUT 3.4VMRS ( BALANCED )
• LOW-CLOCK-JITTER SENSITIVITY: 50PS(TYP)
• 4INCH TFT WIDE TOUCH DISPLAY (480 X 800), IPS PANEL
• WAV, FLAC, ALAC, AIFF, DSD, WMA,
• MP3, OGG, APE(NORMAL, HIGH, FAST)
• INTERNAL MEMORY 32GB
• EXTERNAL MICRO SD CARD MEMORY 256GB X 2EA
• ENHANCED ABS SOLID BODY AND TEMPERED GLASS
• ULTRA POWER SAVING MODE

~::I originally published this review on THL. Now I wish to share it with my Head-Fi fellows.::~

:: Disclaimer ::
plusSound provided the Tri-Copper cable free of charge for the purpose of my honest review, for good or ill.

The Tri-Copper EXO sells for $549.99
www.plusSoundAudio.com

________________________________________________________________________________________________________________________________________

I heard through the proverbial grapevine plusSound just finished development on new insulation for all their cables. This excited me, since I quite like their cables, but always felt the ergonomics needed a little work. They weren’t terrible, but in the question of comfort, I would choose Effect Audio every time.

So I contacted Christian over at plusSound, and he hit me with the good word on their new insulation and the improvements in flexibility and longevity. It all sounded very nice. Christian then asked what sort of conductor I’d like this time around. Seeing as I already have a few supremely clear and transparent cables, I told him I desired something warm and robust. Lo and behold, plusSound had a new product in development which Christian thought would fit my needs perfectly.

He sent the new Tri-Copper in Exo form.

plusSound ever creates such lovely works, and this one belongs among the very best. An array of gold, copper, and silver weaves together to dazzle and delight the eye. The braid handsomely gathers it all into form and function, capped with quality plugs and connectors, by the diligence of careful hands.

The new PS insulation is wonderfully supple, making for a soft, flexible wire which drapes comfortably and transmits practically no microphonics. It is no small improvement over their last iteration. plusSound now stands among the best in ergonomics.

Tri-Copper is so named due to the use of three different copper-based philosophies. Alternating strands of simple naked copper, silver-plated copper, and gold-plated copper make up this unique cable. And of course, it wouldn’t be plusSound if it weren’t also Litz wire.

It turns out Christian had the right of it. He thoroughly understood the character of this cable.

It is warm, smooth, and rich, delivering well-bodied notes and inoffensive highs. plusSound has introduced a liquidity I’ve not heard in their earlier offerings. It’s not quite on Effect Audio levels, but it’s there, and I enthusiastically welcome it.

Tri-Copper’s warmth is achieved on two fronts: Treble, and mid-bass. Higher frequencies are tamed with the strictest of discipline, subduing any peaks, and hammering down the lower treble to ensure no IEM will ever sound harsh up top. Then there’s elevation, where the bass blends into the mids. Vocals get extra weight, attaining a mild lushness, and the lows bloom nicely. All this must, by the laws of nature, reduce clarity, but can benefit some monitors which lack organicity.

There is impressive extension at both ends. You’ll hear just how deep the bass of your in-ears can go, and the highs are capable of ushering in superb air, for they can reach the furthest registers. Soundstage is expansive, though not the greatest of all-time. Separation is excellent, while resolution stands as a real strength. Indeed, the technical qualities are no joke. In spite of all its warmth, Tri-Copper can be such a transparent cable, when paired correctly.

As you can no doubt tell from the photos, I’ve fallen in love with the Noble Audio Kaiser Encore pairing. In my other cable reviews, I’m constantly trying to find an option that helps Encore with what I perceive as its weaknesses: Lack of bass, thin mids, bright/cold treble. The plusSound Gold-Plated Copper X-Series was good. The Effect Audio Thor II was even better. This Tri-Copper is the best yet. About 85% of the coldness is gone, and practically all of the harshness from high-hats and cymbals. The mid-bass is fattened enough to bring satisfying body to vocals. Meanwhile, clarity remains top-notch, and Encore’s soundstage is still one of the best in the business. There’s added warmth and harmonics, and an overall more musical and smooth presentation. Though clarity does lessen a bit, transparency is actually increased due to a more natural sound. I consider it a net gain, and have never enjoyed these IEMs more.

My 64Audio tia Fourté did not mesh as well. This came as a surprise, as the tuning for Fourté and Encore are terribly similar. crap! I’ve often called them Encore Ultra, so you can imagine my confusion. The problem, I believe, lies in the lower treble. 64Audio’s flagship is much more linear as it moves from mids to highs. It doesn’t have the same peaks. So Tri-Copper’s natural tendency to quell that region causes too much of a dip, and the music loses a significant portion of its clarity and vibrancy. This has an effect on many things, including separation and transparency. Where Encore just gets warmer and fuller, Fourté gets dull and veiled. Sort of. That’s an exaggeration, but it gives you an idea of the result. Ultimately, these IEM’s are sticking with the Leonidas cable, for now. That’s a match made in heaven.

So how does Tri-Copper compare to some of my other cables? Here’s a quick breakdown:

plusSound X-Series GPC: warm and full. Very natural. Highly transparent. Grounded. Tri-Copper is more aggressive in its warmth. Meatier. Liquid. And has quite an effect on the treble.

Effect Audio Thor Silver II: Cleaner. More linear across the spectrum. Treble has a kind of warmth to it, but Thor doesn’t tinker with any one area, so it doesn’t have as much of an effect. Nice full-bass. Holographic soundstage. Greater liquidity. Tri-Copper is fuller, especially in mid-bass. And its warmth is felt everywhere. Soundstage is not as three-dimensional, nor is separation as potent.

Effect Audio Leonidas: Cleaner, clearer, airier. Even better separation. Transparency through the roof. Strong bass, with some extra heft in mid-bass. Crystalline vocals, and treble extends forever. Insanely holographic. Liquidity taken to a new level. Tri-Copper is warmer and fuller. More mid-bass. Less airy. Much less holographic. High frequencies not as free and extended.

As always, it’s important to remember, it’s not about which cable is the best. It’s about which pairs best with which monitor. Out of all the choices I have, plusSound’s Tri-Copper is the best I’ve heard for a monitor like Kaiser Encore. It adds what I wish to be added, and smoothes out those less friendly areas. It’s the greatest companion to a thin, cold, or bright IEM, and could give new life to many other signatures, if that’s where your tastes lay.

-~::Pinky_Powers::~-

~::I originally published this on THL. Now I wish to share it with my Head-Fi fellows::~

:: Disclaimer ::
iBasso provided the DX200 free of charge for the purpose of my honest review, for good or ill.

The DX200 sells for $899, and each AMP module for $200.
www.iBasso.com
iBasso on Amazon

____________________________________________________________________________________________________________________

This came as one of those bad-ass surprises which makes you smile in a fiendish grin and fills your guts with butterflies OD’ing on Ecstasy. I did not request the DX200. Well, that’s not true. I did, months ago, but never received a reply. That happens a lot, so I thought nothing of it and moved on.

Recently, I contacted iBasso again, inquiring about their new IT04 IEM. This time I did hear back. However, the 04 was not ready for release, and Paul Hu suggested I review their new IT01 instead. I’ve since done so, and it’s outstanding. He also asked if I wrote about more than just earphones. This is probably when the early stages of the grin began. Walking him through my recent DAP reviews, and my Beta Testing of the Cayin N5ii, hope burbled within. His next reply was pure sex.

“I’m sending you the IT01, as well as the DX200.”

Four days later, this spilled onto my hardwood floor.

Included in Paul’s package is the standard DX200 player with AMP1 module installed. As well as AMP4 and AMP5 in separate boxes. I also found a 2.5mm TRRS-to-4.4mm TRRRS adapter, so I could use my 2.5mm balanced cables with the AMP4 module. This turned out to be extremely useful. Further supplies include a lovely leather case and a burn-in cable, along with the USB Type-C cord and a few other things I never used and so don’t recall off-hand.

It’s a generous assortment of gear I’ve had a great time playing with. Much thanks to iBasso and Paul for the opportunity!

So let’s get into it, shall we?

The iBasso DX200 is built like a tank, fortified and rugged. Beauty is not a virtue iBasso prioritized in this design. They wanted something which would stand up to hard use in practically any environment. That doesn’t mean there isn’t a kind of elegance to it. You know you’re holding a high-end, quality product, especially when you throw on the leather case with that brass snap. An IPS panel is used for the display: 4.2inch, 768×1280. It’s vibrant, smooth, and free of pixilation. Very nice. Each button depresses with a solid feel, and the volume wheel, secured behind part of the chassis, turns with smooth, precise clicks.

I do so fancy a good leather case. I have a bit of a collection growing. This one, though, is by far the most unique.

This is a full and open Android device. You can get access to 3rd party apps, WiFi, Video, and Bluetooth. I can’t speak to how stable any of that is, since I like to use my DAP as a locked-down, dedicated music player. Even as a reviewer, I just can’t be bothered with features that don’t interest me. I’m the worst, I know.

Well, Bluetooth did receive some love from me. I have a few wireless headphones: B&O H9, Klipsch X12 Neckband… and the DX200 gave me decently stable playback. Not flawless, but above average for a boutique Asian company.

Pinky’s a purist. I use all DAPs the same: 16bit and 24bit FLAC, from 44.1Khz to 192Khz, and a few DSD albums, all accessed via Browse by Folder from microSD and Internal Storage. If it handles that well, it’s passed my functionality test. I can’t tell you how well it sorts by Artist or Genre, or how finicky it is as a USB DAC. I just don’t use it like that.

So how does it handle my basic use?

First, the iBasso UI is weird. It’s unlike any other DAP I’ve tried and took a while to familiarize myself with. This is not necessarily a bad thing, but you should prepare for a bit of a learning curve. Once you do grasp the UI, it’s still a bit awkward and could do with a serious overhaul. It’s not very intuitive or streamlined. It is functional, though, and full of tools to customize your experience.

You will experience some lag. Most notably when the DAP buffers before playing a new album. This would be awful enough in and of itself, but it gets worse. Many times, after the buffer-period, the song is already a few seconds into playback before you hear anything. Fortunately, this only occurs on the first song in a playlist or album, and everything after that flows smoothly. Indeed, Gapless weaves the songs together without hitch or seam.

In standby/sleep mode, the battery drains so slowly you may be tempted to just keep the DX200 on all the time. That’s how I use Opus DAPs. However, the iBasso develops quirks if I keep it on for two days in a row. It randomly pauses my music while I’m listening, forcing me to hit play again. And this issue can come on with frightful frequency. I don’t need to tell you, a disruption like this is a potential deal-breaker. A music player that doesn’t play music smoothly is pointless.

The way I’ve avoided this game-breaking bug is by rebooting the DX200 every day. It’s on all day and charging all night. In the morning, I just hit Reboot before I begin my listening session at work. This seems to keep things fresh and more or less bug free. Playing my FLAC and DSD files in the iBasso music app becomes a pleasing endeavor.

~::All sound impressions were done after the unit and AMP modules went through a full week of burn-in, plus a few additional weeks of simple listening and use.::~

The iBasso DX200 delivers a big, powerful sound of immaculate detail and clarity. It’s been called bright, with its dual SABRE DACs, and I can’t exactly argue the point. It definitely has more treble energy than I’m used to. Yet somehow, iBasso balanced this brightness with authority and weight. There’s significant body to these notes, and only a fool would call the DX200 thin or cold.

I’ve learned, through reviewing so many DAPs, nothing separates one tier from another quite so distinctly as how well they render depth and three-dimensionality. DX200 dwarfs everything else I’ve heard. It has a remarkable gift for conveying space, and the shape of the various elements within that space. Among all the DAPs I’ve tested, this one stands the furthest from the crowd.

Each time I listen to this device, I am struck by its resolution and transparency. Every player these days boasts “Hi Res” capacity, but the DX200 ******* sounds it, to a degree other players ought to envy. I would not praise this feat nearly so much if iBasso didn’t marry its tremendous resolution with a profoundly natural, realistic quality. DX200 is grounded, deep, and honest of spirit. Never does it suffer from the artificial SABRE glare common in some other devices bearing that chip. Its implementation is sublime.

Soundstage is enormous—no other way to describe it—its width, depth, and height just phenomenal. As is the separation of elements, and the cleanliness of the stage. The darkness of the background makes the notes pop vividly, and you can sense the space behind them. Truly holographic, and mighty impressive.

Now, all that was based on AMP1 Module… the least-special of all available options. Here’s how the others compare:

AMP4 with its 4.4mm balanced port is my favorite. The soundstage expands to unreasonable dimensions. And since I’m an unreasonable fellow, I appreciate the madness. The power and weight of the music reaches all-time highs. Smoothness and detail increase, as does naturalness and dynamism. You could say it’s an improvement in dichotomies. But the sickest aspect of all is how deep and rich the holographic image becomes. With the right monitors, this sensation is so palpable it can overwhelm me. So real it’s surreal. I love it!

AMP5 with its 3.5mm single-ended port is stronger than AMP1, and on par with AMP4. It’s the smoothest and warmest of them all. Very full and organic sounding. Yet it lacks the transparency of AMP1 and the magic of AMP4. It feels more traditional in some ways, whereas AMP4 is way outside the box. This is a great choice if you just need to power some full-size cans and don’t have a balanced cable for them. With bodied, meaty notes, and awesome driving power, there aren’t many headphones that will fail to come alive on this Module. Maybe it’s not as fun and weird as AMP4, but it will get the job done and sound bloody amazing while doing so.

The Opus#2 ($1,299, Review HERE has been my top player and reference source for around a year now. I’ve found its replacement. While the Opus has a grand soundstage, DX200, especially with AMP4, is grander. Depth on the Opus is excellent, but nothing like DX200. The 3D rendering, also, is flat-out beaten. In terms of tuning, the Opus#2 is noticeably warmer, and this helps it achieve a more natural, organic character than even DX200 can match. I want to say it has a blacker background, though to be honest, both are very good in this regard. You can’t go wrong with either DAP, but I’ve begun favoring the DX200, and I don’t think that’s going to change any time soon.

Now, the newly released Opus#1S ($399) is warmer still, and wonderfully smooth. It has a delicious, cozy sound which is perfect to relax to. Soundstage is smaller, dynamics aren’t as punchy, yet the 1S draws you in with ease, and holds your attention. While depth and dimensionality are good, it’s clear we’re no longer in the TOTL range. Still, if you’re looking for a warm, natural DAP with tons of power and storage capacity, one of the very best UI’s around, without forking over all the monies, the Opus#1S is a righteous choice.

Cayin’s new N5ii ($369.99, Review HERE) is a solid mid-tier SABRE implementation. It has much of that DX200 sound, though everything is on a smaller scale. Soundstage is not as big. Detail and transparency fall short of iBasso’s glory. Depth and dimensionality are impressive as hell, but not quite on the same level. Sorry Cayin. Dynamics are strong. DX200 is stronger. Yet the disparity isn’t that huge; the N5ii holds up surprisingly well. If you don’t want to spend the better part of a grand, and maybe fancy a smaller device with a streamlined UI and 2x µSD, the Cayin N5ii is an awesome alternative.

In spite of the brighter nature of the DX200, after burn-in, I found most everything I owned paired up beautifully. The brighter and the warmer gear, it all sounded so splendid. Of course, I’m not terribly sensitive to treble, as it turns out. If you are, be on the safe side and match a warmer monitor with this player.

I hate to be that guy, but you haven’t heard tia Fourté ($3,599, Review HERE) until you’ve heard it on the DX200 w/ AMP4. Likewise, you haven’t heard the DX200 until you install AMP4 and spend some time listening to Fourté. Nothing quite opens up these pieces like pairing them together. It’s an experience unlike any other. Nothing sounds like this. The transparency, soundstage, depth and dimensionality… it’s unbelievable. Hearing this system is what finally convinced me, beyond all doubt, the DX200 outperforms the Opus#2. It took me a while to admit that, I was ridding the fence for a couple weeks, but this setup pushed me over the edge.

For those in search of the perfect mix of deep, chocolaty warmth, and outstanding resolution and staging, the AudioQuest NightOwl ($699, Review HERE) combines with the DX200 to deliver just that. Significant, black depths. Richness and scope. Goddamn what a special sound they make. It might not be for everyone, but for those who lust for true warmth sometimes, yet never want to lose clarity and resolution, I can think of nothing quite like this pairing.

iBasso’s own IT01 ($99, Review HERE) may seem like a bottleneck for a music player of this caliber. Yet I find it a marvel of resolution and clarity. It scales nicely to take advantage of summit-fi sources. You get a rich, detailed, expansive sound, making you question the impulse to indulge in more costly gear. For those on a budget, this is the king of price-to-performance ratio.

Another killer bang-for-your-buck is the Meze 99 Classics ($309, Review HERE). These cans may possess my ultimate favorite signature. With deep, warm lows, crystalline mids, and clean, sparkly highs, Meze is at its absolute best with a DAP like the DX200. You are treated to unbridled musicality, presented in a clean, oh so revealing execution. To my ears, it does everything just right, and the result can move me to tears.

DITA the Dream ($1,800, Review HERE) moved me in much the same fashion. Its synergy with DX200 AMP4 left an impression on me I doubt will ever entirely vanish. To put it simply, I loved this setup.

No question about it, the Noble Audio Kaiser Encore ($1,850, Review HERE) is on the brighter side, with its enhanced treble tuning. With DX200, you could be forgiven for calling it “too bright”. For me, however, they play together awfully well. Much like tia Fourté, Encore celebrates all iBasso’s strengths, creating one of the most insane systems I’ve heard for high-resolution audio. This is not warm or smooth or laidback. It’s detail-first, aggressive, and transparent, but not without a good measure of musical fluidity.

I remember, as I looked for an upgrade to my AK120II, I dismissed the DX200 rather swiftly. It was too new and unproven, and the threads were full of mixed impressions. So I went with the Opus#2. Make no mistake, that is a serious DAP and has served me well this past year. The DX200, it seems, has come a long way in that time. With the AMP4 Module in particular, I’ve found my new reference. I won’t say it’s an outright upgrade to the Opus#2, as the tuning is different enough to make that a matter of preference, but it sure as crap delivers the goods. Of those qualities I prize most, the DX200-AMP4 outshines all.

-~::Pinky_Powers::~-

~::I originally published this on THL. Now I wish to share it with my Head-Fi fellows.::~

:: Disclaimer ::
iBasso provided the IT01 free of charge for the purpose of my honest review, for good or ill.

The IT01 sells for $99 MSRP
www.iBasso.com
IT01 on Amazon

______________________________________________________________________________________________________________

I contacted iBasso because I had seen a photo of an early build for their IT04 in-ear monitor. Wood. Lots of wood. You know how Pinky likes that. So I thought I should strike up a dialog as soon as possible.

But of course, that release was still a ways off. Paul Hu of iBasso suggested I try their new entry-level IEM, the IT01, and maybe the DX200, if I was into reviewing DAPs. hoho! Boy am I!

In a snap of the finger, this lot arrived on my doorstep.

iBasso put in some serious effort in creating something no sane person would call “Just a Dynamic Driver.” 1 Tesla magnetic flux magnet. Dual Helmholtz Resonator driver. Multi-layered 5µm Graphene Diaphragm… I don’t know what it all means, but goddamn, it sure sounds exciting. And not to give anything away, but I believe some of the hype. This thing does not perform like you’d expect.

The IT01 is kind of large for a single-driver product, but it fits my ears very well. They go in comfortable, and remain that way for long sessions. They come with a few different tips, but I tend to neglect stock provisions and just throw on my standards, the JVC Spiral Dots. They worked a treat here, as always.

What really sits you back in your chair is the cable. If they sold this cable as a $100 upgrade, I’d call that more than fair. It’s excellent! But they don’t. This is all stock, included in the whole package for $99. It is one of the most supple, ergonomically compliant wires I’ve ever owned. I’m not a huge fan of MMCX connectors, but this one is quite nice, and with zero noticeable microphonics, I can’t find anything to complain about. I heartily approve of this whole thing.

I rate the iBasso IT01 at neutral-warm, with strong leanings towards clarity and resolution. After a full-week of burn-in, these monitors deliver a controlled, yet highly musical performance. They are energetic, yet know how to rein it in and gently romance you. There is a richness of tone and well-layered depth. Couple that to a highly revealing profile, and you have a special kind of creature that sort of does it all.

Treble is accentuated, but not spiky or harsh. It walks an interesting line between warm and bright. It feels dead center, like it could tip either way with just a nudge. Refinement is not the highest I’ve ever heard, though it is better than almost anything in the mid-range, let alone budget-tier, which is where the IT01 sits. The highs are a touch splashy, yet well within acceptable margins. Extension is remarkable, giving you all those upper-register notes, for an airy, spacious environment. Listening to classical violins is really very pleasant.

They’ve been called V-Shaped, or U-Shaped. I don’t hear it quite like that. Maybe a gentle U. The vocals certainly aren’t forward, and probably do stand a step back on the stage. However, the artist is portrayed with good size and can be heard loud and clear. Details, texture, and articulation come through in a big way. Note weight is well balanced, so neither thick nor thin. There is a smooth, natural quality to voices which belies the amount of detail present. The IT01 is not artificially aggressive, but rather bold and powerful.

Bass may sound overwhelming out of the box. I didn’t listen to it long enough to say for sure. But after burn-in, I can say it’s very well balanced with the rest of the signature. Rarely do I hear it standing out as the main focus. Nonetheless, it can do just that when the song calls for it. BLACK SABBATH by Black Sabbath shows you the monster lives. The IT01 packs one mean punch. The lows are textured and quick, large-sounding, and capable of such delicious rumble.

Soundstage is quite large in width and height, and better than average depth, giving you a thoroughly out-of-head experience. This is bolstered by the IT01’s talent to separate the elements in a clean, vivid fashion. Imaging seems more or less flawless, marking every sound with adequate precision. Then great resolution completes the presentation, resulting in one of the mightiest performers I’ve come across under $400.

I have much fondness for the Oriveti Basic, another $99 single DD IEM. It has a very warm, easy sound. Yet compared to the IT01, Basic sounds like $99. By that I mean Basic has nowhere near the same level of clarity or separation. Details come off blurry and resolution is downgraded by many units of measurement. It honestly doesn’t seem fair to put Basic against IT01, but it’s the only other $99 IEM I own. In regards to tuning, Basic is much warmer, with lots of mid-bass that bleeds into the vocals. The treble is less extended, less airy, and in the background of the mix. Mids are smooth, big, and warm. Yes, it’s a fun IEM, but it doesn’t perform anywhere near the same level.

So let’s jump to $300, with the FLC8S (Review HERE). This race is significantly closer. Using the filters Red, Black, and Gunmetal, the tuning is not far off, though FLC is a little warmer, with more mid-bass to thicken the mids. As a result, FLC8S presents a slightly fuller, warmer sound. Clarity and transparency goes to IT01, with FLC not far behind. iBasso also takes it in detail retrieval, resolution, and separation. FLC’s treble, on the other hand, is a bit more refined. IT01 turns the tables again with bass, delivering better texture, speed, and resolution. Vocals are great on both, though IT01 renders bigger and more vivid. Finally, soundstage: IT01 creates a gander venue, no question.

One must go all the way up to the DUNU DK-3001 ($469, Review HERE) before a proper victory can be had over iBasso. Here I am met with a profound sense of depth, allowing for holographic immersion, which you simply don’t get with the IT01. The bass is also on a whole other level, not only in quantity, but timbre and scope. You really feel the size of that 13mm driver. However, iBasso gives more texture and detail. DUNU lays out the frequency spread with awesome silkiness, from the lowest of lows, all the way to the furthest reaches of treble. In comparison, the IT01 sounds grainy. The DK3001 carries thicker notes and more body. The vocals are front and center, not back on the stage at all. DUNU’s soundstage is also a bit bigger, on all axes.

Since the IT01 walks the line between warm and bright so well, they are not tricky to pair. Practically any source will sound good. If you want a little extra bass, or more treble, the device you choose can swing the scales. They are highly efficient and require very little power to drive. Like I said, you really can’t go wrong. Still, here are a few pairings you may find interesting:

The Shanling M3s ($279, Review HERE) is a fantastic budget DAP for the IT01. Smooth, clean, and revealing as ****. With a hint of warmth and plenty of treble, you get quite a lot of musicality without leaving neutrality. Soundstage is above average, and there’s great separation. It allows the IT01 to show off its qualities without aiming for the stars… and emptying your wallet in the process.

theBit’s newest release, the Opus#1S ($399) is a warmer, fuller device. It adds a more natural, relaxed quality to the IT01. The treble is less splashy, the grain less noticeable. Soundstage is bigger and depth increases. There’s a degree of refinement and maturity to this setup that is seriously impressive. Normally I’d consider a budget earphone not worth the effort of such a fine source, but the IT01 responds with vigor to the added richness.

My reference player is the Opus#2 ($1,299, Review HERE), and the DAP I use for my audio break-down and comparisons. It has the weight and naturalness of the #1S, but also manages the clarity and transparency of the M3s. That’s what Top of the Line gets you, I guess; the best of both worlds. It doesn’t stop there, either. #2 also delivers a significant upgrade in depth and separation, with a grander soundstage, and all around greater realism. The fact IT01 can illustrate these changes with such articulation may be the single most impressive feat I’ve seen it perform yet. They scale like a mother******!

Before I move on, I’d like to mention the Cayin N5ii and iBasso DX200 are also highly recommended for these. You can’t go wrong with either one, but in this case, the price difference does yield greater quality. Set your budget, and buy the best you can afford. You won’t regret it.

Sweet Jesus! We’ve come to the end. Are you still hazy on my stance? Do you really need me to say it? Fine, I will. I love these things. Are you happy? The iBasso IT01 should not sound this good. Or if it should, it shouldn’t be this inexpensive. Or if it should, everyone else ought to readjust their prices. I won’t say it’s a game-changer, because the only game Pinky cares about is the game of love. That’s a different article entirely. Still, something’s changed, and iBasso did it. I can’t wait to see what they do next.

-~::Pinky_Powers::~-

~::I originally published this review on THL. Now I wish to share it with my Head-Fi fellows.::~

::Disclaimer::
Cayin provided the N5ii free of charge for the purpose of my honest review, for good or ill.

The N5ii sells for $369.99 MSRP.
www.Cayin.com
www.MusicTeck.com
Cayin on Amazon

_________________________________________________________________________________________________________________________

Andy Kong of Cayin bestowed upon me the great honor of beta testing their newest audio player, the 2nd Generation N5, AKA, the N5ii.

I was thrilled, and spent quite a while with it. Found some bugs. Tinkered, toiled, and generally had a blast. But this review is of the final production unit. We’ve moved past Beta on both hardware and software. This is the N5ii. My experience should reflect yours, if you were to buy one.

And you should. This is an outrageously good DAP.

Starting with the aesthetics, the Cayin N5ii conveys a streamlined elegance. It’s sleek, relatively small, with a handsome volume wheel secured protectively into the chassis. The buttons are simplistic, intuitive, and solid. The back plate is laser etched into a motif of endless, cascading hills.

One cannot escape the Astell&Kern vibe. I owned the AK120II as my main source for well over a year, and this DAP looks and feels like an homage. Right down to the crocodile-print genuine leather case. Pinky approves! I always felt, no one quite surpassed Astell&Kern in the aesthetic department, and if anyone ever would, it would be Cayin, who has made some of my favorite devices over the years.

Does the N5ii beat the AK120II in looks? Well, I like the volume wheel on the Cayin better. Not only is it more solid, but that hint of gold makes for a sexy accent. On the other hand, the AK is a little less square and symmetrical, which I fancy more. So… we’ll call this a tie.

If you’ve spent any time with the Cayin i5, you’ll be at home with the N5ii’s custom Android OS. From Home Screen, you can swipe right for a whole slew of settings and features. And at any time you can swipe down for more standard options, such as Gain, Bluetooth and WiFi. This is also where you’ll find the icon to ferry you to System Settings. I find the Cayin Operating System to be one of the best. There are better, but there are far worse as well. This one is rather intuitive, and I’ve always liked it.

Unlike the i5, the N5ii has no trouble with Gapless playback. It is seamless as ****. Cayin users waited, not so patiently, for a firmware update to solve the i5’s Gapless problem. No matter how they tried, the issue remained. As Andy explains it, when Cayin moved over to the Rockchip 3188, Gapless suddenly worked. No firmware fixes were needed, as it wasn’t a software issue, but a hardware one. They had no idea, and even now, probably can’t explain it entirely. That’s electronics for you: black magic and pure devilry.

I found Bluetooth playback on my B&O H9 quite stable, with just the occasional hiccup. I never once connected to WiFi or attempted streaming. It’s not worth signing up for those services just so I can write about it in my reviews. Andy knows well where I stand on all that. No one expects Pinky to emerge from this partially fossilized husk, suddenly transformed into the Lord of Streaming. Others have already reviewed those features, and I encourage you to seek them out.

My usage consists of playing FLAC (16bit, 24bit, 44.1-192) or DSD files from internal storage, or one of the two—count them, two!—microSD slots. And apart from the occasional software crash, resulting in the error message “The Cayin Player has stopped responding”, I’ve encountered very few troubles. And even that crash is just a button press away from solving itself. I have yet to see a hard lock, but of course, this is an Android device, so it’s bound to happen eventually.

However, there still lingers a bug from the beta software, which can cause the touchscreen volume controls to lock and ratchet up the volume to 100 if you hit the button just as it’s about to disappear. Activating this bug requires unlucky precision and timing, and as such, few have stumbled upon it. But still, I’d recommend only using the hardware volume wheel until you know it’s fixed. Otherwise, you could hurt your ears.

The Cayin N5ii has neutral-warm tuning, exemplifying clarity and resolution above all other conceits. The single 9018K2M SABRE DAC is implemented expertly, avoiding that cold thin sound many SABRE devices suffer from. While it’s not as warm or organic as the very best SABRE examples (Opus#2), the N5ii walks a delicate line, with a smooth yet revealing character.

CLEAN is the first thought that comes to mind. Cayin renders so very clean. You can hear everything, and it’s all so unspoiled. Details are highlighted, but not in the aggressive way brighter gear tends towards. Here, there is simply nothing obscuring them. The clearness is profound.

The N5ii has good body and dimensionality. You get weight and a decent sense of depth. The hint of warmth seems to come mostly from ample bass, as the treble has significant presence and is in no way lacking. Yet don’t expect a bass-monster here. The lows are capable, with strong attack, but they are not a showstopper. If anything, I’d call the mids the real star, for they are portrayed with vivid articulation and awesome transparency. It’s listening to the instruments and vocals that I am most impressed by this DAP.

The soundstage of the new Cayin is exceptionally wide. One of the biggest I have on-hand. And it illustrates depth better than any of the lower-budget gear I’ve tried. Dynamism is remarkable, as well. This is a lively ****er and will immediately engage you. What really separates the N5ii from the pack, though, is its gift for natural, clear, high resolution audio. There are DAPs which do one or two of those three things better, but Cayin manages them all, and on a level of proficiency you have no right to expect at this price point.

Now, you may be saying, “Fine fine fine, you longwinded ghoul, but how does it compare to X, Y, or Z?”

Well… **** you. You’re a ghoul! And here’s how it compares, you hurtful creep:

First, I must pit the N5ii against that which has long held the crown for Best Mid-Tier DAP… in Pinky reckoning. The Opus#1 ($289, Review HERE). And yes indeed, Cayin edges it out by the smallest margin. For the most part, I don’t consider the N5ii an upgrade to Opus. Their performance is just so goddamn close. Yet Cayin has a fingernail’s extra width in soundstage. The mids are fuller, with more body. Opus#1 comes off thinner, and sort of dry. Cayin’s treble is not as bright, and sounds smoother, more liquid, and just a tiny bit more natural. Even this feels like I’m exaggerating, as the differences are so minor. Rest assured, either device sounds incredible. However, I will give Cayin the unqualified win on build. It’s in a whole other league.

Perhaps the audio player with which folk are most eager for a comparison, is the Cayin i5 ($399, Review HERE). The i5 is much warmer and more analogue-seeming. Or you could say more “tube-like”. The bass is huge and indomitable, resulting in a fuller, meatier sound. The treble has less energy, attributing to that warm theme. However, the N5ii has the wider soundstage and the much cleaner, detail oriented presentation. I would say the N5ii is more transparent because of this, but the i5 is perhaps more musical, or engaging. Also, the i5 is significantly more powerful. Playing the rather quiet album, SESSIONS FROM THE 17TH WARD by Amber Rubarth on my HD6XX, both players on High Gain, I get good volume at 80/100 on the N5ii, and only 50/100 on the i5. Of course, that’s only on the 3.5mm single-ended output. In Balanced, the N5ii has tons more juice, though I don’t know the exact i5 equivalent.

At $269, the Shanling M3s (Review HERE) is a great budget-friendly alternative. It shares quite a lot in common with the N5ii in terms of tuning. Still, there’s no question to my ears Cayin is the more robust device. There’s greater note weight and a more realistic portrayal of depth. The elements on the stage are just a little more three-dimensional. Oh, and the N5ii is wider-sounding.

So what about a device that handily defeats the Cayin N5ii at its own game? Well, you’ll have to empty your pockets for that. The iBasso DX200 with AMP1 ($899) is a true upgrade to the N5ii’s mission statement of clarity and resolution. It renders clearer and sharper, yet somehow doesn’t over-do it, as it also feels more natural and real. Layering and depth are superior, and transparency is taken to a whole new level. Dynamics and punchy-ness are noticeably stronger, and the soundstage is all around bigger. But again, look at the price difference. Good luck finding something for under $600 that clearly beats Cayin.

Because the Cayin N5ii is more neutral than warm, with strong treble energy, it pairs well with most headphone profiles, but it does especially well with those of a warmer, bassier disposition.

Andy is fond of extolling the synergy of the Meze 99 Classics ($309, Review HERE) and Cayin’s players. I wholly agree. Something magical happens every time I hook these cans up to the i5, and I get a lot of that same alchemy in the N5ii>99C brew. The tonality sends shivers down my spine, never more so than with acoustic rock. It’s rich, with such mighty, rumbling bass. Vocal clarity is at a crystalline degree. Imaging and depth are addictive. Meze does a wonderful job of showcasing a player’s soundstage, revealing just how good the N5ii is. These are the headphones I use to conduct my critical A/B comparisons between DAPs, and they find a true lover in Cayin.

The Sennheiser + Massdrop HD6XX ($200) is, as we all know, a fairly warm set of monitors, with above neutral bass. The ideal sig for this player. Now, the HD6XX is not meant for portable devices, but even so, on High Gain, they get good and loud to my ears and sound very clean and dynamic. If you run balanced (which I’m not) you’ll have even more headroom.

iBasso has blown me away with their $99 IT01 single-dynamic-driver IEM. Of course, with Tesla magnets and Graphene diaphragms, these are no ordinary DDs. The IT01 is actually a kindred spirit to the N5ii. Neutral-warm, high levels of clarity and detail, energetic and smooth. Naturally, they pair well together. The bass is strong and deep, the treble has good sparkle, and the mids are vibrant. It’s a fantastic setup that won’t break your bank.

This holiday season, whenever I had to brave the tumult of retail, I took the Cayin N5ii and my only set of CIEMs, the Empire Ears Spartan IV ($749, Review HERE). They combine to create a pinnacle of musicality and transparency. A perfect balance is met, where naturalness and emotion swirl together in smooth liquidity. This system never feels like it’s trying. In fact, the “system” disappears, and all you have is music… music that just sounds right.

Finally, how about I bring out the big guns? The 64Audio tia Fourté ($3,599, Review HERE) is the most revealing, transparent, and resolving earphone I’ve yet heard. It opens up the N5ii and brings it to its very limits. With Fourté, I can hear its strengths and its weaknesses. And let me tell you, there are no obvious weaknesses. I can listen to this setup and become so caught up in the perfection of it all I forget I have bigger and better DAPs on-hand. Oh yes, Fourté illustrates the virtues of those other players, but it also shows me the N5ii is a rock-hard f**king gladiator that never fails to wow.

So what more do you need? Buy one today. If your budget is anything under $600, even $599, buy the N5ii. It is jammed full of awesome, and sounds as good, or better, than anything else in this price-range. It is currently my favorite DAP in terms of size and form, and one of the finest-looking things yet wrought by man. The Cayin N5ii is indeed the new King of Mid-Tier. They should be proud of what they’ve accomplished.

-~::Pinky_Powers::~-



Product Highlight

MCU: Rockchip RK3188
Display: 3.65” 845×480 TFT touch screen
DAC: ESS9018K2M
Op-Amp: OPA1622 x 3
Storage: 32GB + TF (up to 400GBx2)
Headphone: 3.5mm + 2.5mm (Balanced)
Line: 3.5mm (shared)
Digital: Coaxial, USB Audio (in/out)
USB: Type C (2.0), charging, OTG

System: Custom Android 5.1
RAM: 1G DDR3
Wi-Fi: 802.11 b/g/n 2.4GHz
Bluetooth: BT4.0 (SBC)
Battery: 3000mAH
Duration: ~12 hours (single-ended) ~9 hours (balanced)
Charging: ~3 hours (2.1A)
Dimension: 115*57*15.3 (mm)
Weight: ~150g

Specification

Phones Out (Single-ended)
Power rating: 150mW+150mW (@32Ω)
Frequency Response: 20-20kHz (±0.2dB, Fs=192kHz) 5-50kHz (±1dB, Fs=192kHz)
THD+N: 0.002% (1kHz, Fs=44.1kHz；20Hz-20kHz, A-Weighted)
Dynamic Range: 116dB (20Hz-20kHz, A-Weighted)
SNR: 116dB (20Hz-20kHz, A-Weighted)
Channel Separation: 76dB
Output Impedance: ≤0.4Ω
Connector: 3.5mm TRS (shared with Line Out)

Phones Out (Balanced)
Power rating: 250mW+250mW (@32Ω)
Frequency Response: 20-20kHz (±0.2dB, Fs=192kHz) 5-50kHz (±1dB, Fs=192kHz)
THD+N: 0.002% (1kHz, Fs=44.1kHz；20Hz-20kHz, A-Weighted)
Dynamic Range: 117dB (20Hz-20kHz, A-Weighted)
SNR: 117dB (20Hz-20kHz, A-Weighted)
Channel Separation: 92dB
Output Impedance: ≤0.6Ω
Connector: 2.5mm TRRS

Line Out
Output Level: 2.0V (@10kΩ)
Frequency Response: 20-20kHz (±0.2dB, Fs=192kHz) 5-50kHz (±1dB, Fs=192kHz)
THD+N: 0.003% (1kHz, Fs=44.1kHz；20Hz-20kHz, A-Weighted)
Dynamic Range: 116dB (20Hz-20kHz, A-Weighted)
SNR: 116dB (20Hz-20kHz, A-Weighted)
Channel Separation: 92dB
Imp. matching: ≥10kΩ (suggested)
Connector 3.5mm TRS (shared with Phone Out)

USB Audio Output
DSD Mode: DSD64/DSD128, DoP or D2P*
PCM Mode: Upto 24Bit/384kHz

S/PDIF Output
DSD Mode: DSD64, DoP or D2P*
PCM Mode: Upto 24Bit/192kHz convert higher resolution to 176.4kHz or 192kHz

Recommended Headphone: impedance Range 16～200Ω (recommended)

*D2P: DSD to PCM, always output at 24bit/88.2kHz

~::I originally published this on THL. Now I wish to share it with my Head-Fi fellows::~

::Disclaimer::
MusicTeck provided the FLC8s free of charge for the purpose of my honest review, for good or ill.

www.MusicTeck.com
FLC8s on Amazon

MSRP: $355
Hybrid design
2x BA
1X Dynamic Low
Impedance: 11 Ohm
Sensitivity: 93 dB/mW
Frequency Response: 20Hz-20KHz

__________________________________________________________________________________________________________

That stalwart chap Andrew over at MusicTeck emailed me one day and asked if I was interested in reviewing FLC Technology’s flagship IEM, the FLC8s. Understand, this is a famous earphone. It took the community by storm a year or two ago. I did quite a lot of reading on it back then, and even had the briefest listen to a set in a café when I met up with a friend and fellow reviewer in my area.

Naturally, I told Andrew “Yes!”

I like almost everything about the FLC8s.

Beginning with size and shape. These are seriously comfortable IEMs. They are light-weight, and ergonomically righteous. You can insert deep, or shallow, if you have the right size tips. They do not fight you. Wherever your desires lie, the FLC8s will accommodate.

The cable is… okay. It’s light, which is good, but it’s also rather springy, and can get a little out of hand. I would like to see a tamer solution in their next release. This is really just about my only complaint about these earphones, and it’s a minor one, all things considered.

FLC Technology includes a high-endurance, anodized aluminum puck-shaped travel case. I’ve used a number of these over the years, and they work quite well. Very protective.


This IEM can be tuned using swappable parts at three points. Each point has three possible filters. This makes for a tuning variety of 36 distinct signatures. Some of these filters can be tricky to work with, due to their ridiculous small size. Always work on a flat surface, and be ever so careful. Losing one is all too possible.

Now… there’s no way I’m going to describe all 36 signatures. In fact, I have not listened to them all. After reading the manual, I installed Red, Black, Gold. Then, after speaking with a friend, switched to Red, Black, Gunmetal. I have not experimented further. That is the sound I like. It is the most bass-heavy and warmest, despite what the manual claims.

So as you read my sound description, remember, the other filters can give you significantly less bass and more treble, if that’s your thing.

Again, my impression of how the FLC8s sounds is based on the Red, Black, Gunmetal filter setup. For me, the Gold nozzle filter was still a little too bright in the treble, and a friend suggested I try Gunmetal. This sounds just about perfect to my ears, with the biggest bass, warmest mids, and least harsh treble.

The FLC8s is a fundamentally clear, detailed IEM, and with the right filters, counterbalanced for delicious warmth. Tonal richness mingles with transparent, highly articulate rendering. The weight of the notes is on the lighter side, but do not feel hollow. Instead you get a thinner, airier quality. Yet that dynamic bass is ever-present to keep things grounded and deep.

FLC has struck a curious balance between clarity and detail, and a relaxed presentation. It has all the vibrancy of a quick performer, but feels laid-back like a much warmer transducer. Whatever trick they’ve pulled, I approve. These are a very easy listen.

No matter what filter you use, the treble is on the brighter side, and sparkles freely. I find Gunmetal warms it up the most and is quite pleasant to my ears. Using Gold, it was a little fatiguing. Listening to Gunmetal, the highs are well-extended and smooth. There’s quite a lot of air, and light bathes the stage, revealing everything. Symbols and high-hats become prominent in the mix. Textures sharpen into relief. Details galore!

If you want laid-back treble, these are not the IEMs for you. Even with a dynamic driver dedicated to the low-end, the highs are really FLC’s main asset. You can feel the effects on every note, in the transparency and cleanness. The treble is not the finest I’ve ever heard. There is a slight glare, and it will bring out the sibilance if the recording contains any. Indeed, the FLC8s is a revealing monitor.

The mid-range is where that incredible balance shines the brightest. It’s so rich, yet so clear. Honest, beautiful warmth imbues the acoustic guitar, but never at the expense of precision. The intricacies and grain of a vocal piece are showcased in full, all while possessed of subtle lushness.

The romantic notions of the FLC8s are there, though tempered by high levels of technical proficiency. Voices sit large, center stage, with clean boundaries. The empty spaces around, and especially behind the vocals, are filled with a fairly black atmosphere, adding to one’s immersion in the music.

I hear the mids as quite linear and coherent. From male vocals to female, the characteristics are the same: Warm, clear, and extremely detailed. They are powerful and very present, but not shouty or unnatural.

Oh that sweet, sexy dynamic bass. Some people find hybrids a terrible mismatch of tone and quality, but I love them. I have a passion for Balanced Armature IEMs, but a Dynamic Driver delivers a low-end like nothing else in this form factor. Indeed, if you’re using the bassiest filters, the FLC8s is awfully satisfying. It’s not outright bass-heavy, but the lows are emphasized enough to create a thumping, driving force to the music, with great warmth. It’s likely more than some purists want, but as always, there are filters for that.

Sub-bass is raised a bit over mid-bass, and there’s a gradual decline through upper-bass into mid-range. This produces a visceral, rumbling low-end, but one that doesn’t suffer aggressive bloom, and doesn’t bleed into the vocals. It’s tight and controlled, yet mighty as ****. The resolution and texturing of these sub-registers is impressive. FLC generates such a large, deep bass line. Its timbre is fulsome and luscious. In short, I’m a big fan.

Soundstage is not great, but not depressingly tiny, either. In truth, it’s sufficient to capture your imagination and hold you in the illusion. And at the price point, I’m not sure there is better. Imaging is excellent left-to-right, and okay on the depth axis. The stage itself isn’t very deep, so what do you expect? FLC8s resolves at a high level for a mid-tier IEM. It does a fantastic job rendering all the elements in sharp detail. And those elements have better than decent separation. I’m going to say it: these IEMs are stellar examples of what $300+ can get you.

Oriveti’s New Primacy ($299, Review HERE) is another three driver hybrid, with the DD dedicated to bass. It is warmer and less clear than FLC. The bass is flabbier, with a notable mid-bass hump which does cloud the vocals quite a bit. NP’s treble rolls off earlier, making for a less airy stage and less note articulation. FLC8s is to my tastes a proper upgrade to an already excellent IEM in New Primacy. It separates better, renders at a high resolution, and produces a slightly larger soundstage. If you ask me, FLC’s normally higher price-tag is indeed worth it in this case. Between these two, I go with the 8s every time.

Now… the DUNU DK-3001 (currently $469, Review HERE) is an interesting comparison. Here we have a 4-driver hybrid, with a king-hell 13mm DD for bass. It’s a lot like the FLC8s, only smoother, gentler, and altogether more refined. It flows like a clear blue stream and is one of the most pleasant-sounded monitors I’ve ever heard. The bass is everything the 8s is, even tuned the same, only more organic and a goddamn force of nature. The vocals are just as clear and transparent as the 8s, only liquid, and with a less aggressive presentation of details. DUNU’s treble is much smoother and more linear in its rise. And it extends higher, giving even more air to the stage. In fact, the whole slope from bass to treble feels more coherent. Not that the 8s sounded chaotic, but when you switch over to the DK-3001, you hear the difference. Even soundstage is wider and deeper with DUNU. Separation and imaging is about the same, both being super good examples of quality. The only advantage the FLC8s may have over DUNU is in resolution. I feel the 8s is a touch sharper. Oh! There is one other thing FLC does better: Ergonomics. The DUNU DK-3001 has monstrous problems in this area, and FLC is a f**king champion. The difference is so significant it could mean a decisive win for the FLC8s.

My reference player is the Opus#2, and this happens to be a wonderful choice for FLC8s. With its neutral-warm tuning and strong dynamics, it adds an uncolored, bold flavor to these IEMs. Opus renders weighty notes, and a robust, yet refined production. This helps to put some meat on the bones of those thinner FLC mids. Last but not least, Opus’ truly expansive soundstage pushes the 8s to its full potential.

Cayin’s very, very, VERY soon to be released N5II is also neutral-warm, but with a little extra treble energy. It’s a whole hell of a of lot like the Opus#2, but just a small step down in quality, and much less expensive. It pushes the clarity and smoothness of the 8s. The treble seems to take on more air. The bass grows in liquidity, but loses a touch of that visceral impact. Vocals render a crystalline image that is not as natural to my ears. Still, this pairing is awesome and oh so enjoyable.

For the very best in budget range, the Shanling M3s is a delightful choice for the FLC8s. It has a killer low-end, vital, transparent mids, and superb treble presence. It renders at a higher resolution than any of the other budget DAPs I’ve tested, which helps to showcase the 8s’ special talents in that arena. Shanling’s relaxed presentation nudges the 8s a little further down that path, reducing the overall dynamics. It’s a player that performs beyond its price, and brings out the best in some of my more shockingly expensive IEMs. The FLC8s gets everything it needs, and then some.

Alright. There you have it. FLC Technology created a fiendishly good IEM with their FLC8s. Now I understand where all that hype came from. These perform well outside their expected range. The 8s is comfortable, light, easy to use (except some of those filters are a right pain to replace. Be careful!), and did I mention, sounds incredible? The fact is, at this price, I’ve never heard anything better. The FLC8s is an unequivocal recommendation.

-~::Pinky_Powers::~-

~::I originally published this review on THL. Now I wish to share it with my Head-Fi fellows. Enjoy.::~

::Disclaimer::
Shanling provided the M3s free of charge for the purpose of my honest review, for good or ill.

The M3s sells for $279.00
www.Shanling.com
www.MusicTeck.com
M3s on Amazon

_______________________________________________________________________________

Shanling was all sorts of kind to good Pinky and sent over their new player, the M3s. I reviewed the M2s not too long ago, finding much awesome within its tiny frame, and I was eager to see what they came up with next.

So thank you for the opportunity, Shanling. Cheers!

The M3s is bigger than the M2s. Taller, for sure. Yet considering just how itty biddy the M2s is, that’s not saying much. Rest assured, this thing is far from large. The M3s is easily one of the slimmest, low-profile DAPs I’ve tested. Not to mention light weight.

The M3’s frame is wrought of a solid block of aluminum. Aluminum is also used for the buttons and back plate. Basically the whole thing, save the screen, which is glass. Despite this, the M3s is still vulnerable to Electro Magnetic Interference. If you have your smartphone within a few inches of this DAP, you will pick up patterned noise. In my experience, when a DAP is encased in metal, the shell becomes a Faraday Cage, blocking stray signals from reaching the internal components. With a plastic case, well… This interference is only really noticeable when the music stops, or gets good and quiet, but it’s there. So when I’m at my desk, I just move my phone a few feet away, and the EMI goes away.

I don’t consider this a mark against Shanling, since my favorite mid-tier DAP, the Opus#1, suffered this same issue. And I recommended the crap out of that player to anyone with a budget under $800. But again, that DAP was encased in plastic. What I’m saying is: it’s not a deal-breaker, but something you ought to be aware of.

Shanling’s M3s continues the company’s principle mission of bringing volume wheels to the masses. A noble goal I celebrate with abandon. There is no internal storage, so all such capacity is determined by the single microSD slot and however much you shove in there. M3s sports both 3.5mm single-ended output and 2.5mm balanced output, which sounds especially nice. This DAP, like the M2s, uses USB Type-C connection for power and interfacing with a Computer.

The software UI is simplistic and intuitive and as easy to navigate as you can hope for without the aid of a touchscreen. The volume wheel also works as a scroll wheel, which can be pressed to select items you’ve highlighted. You can connect to your smartphone via Bluetooth for all your streaming needs, and HiByLink allows you to control the DAP from your phone… which is really cool. Pairing up with Bluetooth headphones is a cinch; I had no trouble maintaining a connection to my Klipsch X12 Neckband. Then of course, there is the basic USB DAC function. Can’t say I tested that… but I hear it works. Fingers crossed!

Shanling included with my package their lovely leather case. I have not used it much, since the hole for balanced output is not wide enough for some of my 2.5mm plugs. I got so frustrated with it I threw the case in a drawer and never touched it again. The same sort of thing happened with their M2s case, only it was the volume wheel that became useless. Again, I threw the case in a drawer and forgot about it. Because of this, my Shanling DAPs are a little banged up. You will see, here and there, some scruffs and scratches. Don’t be alarmed. It’s fine by me, although it doesn’t exactly make for pretty pictures.

The Shanling M3s is about two main conceits: Clarity, and smoothness. What struck me first was just how fluid the sonics were, without relying on warmth to achieve it. Because the M3s is not very warm at all. In fact, it’s really quite neutral. And it uses this tuning to further its second agenda of immensely clean, transparent audio. The overall tone is airy and light, but the M3s is not without serious richness.

There is impressive refinement and maturity to this player. The rough edges are sanded smooth. All signs of digititis are cleared up. We’ve stepped beyond budget performance, and things like depth and layering are on full display. The M3s does an admirable job of giving you a vivid image of the elements, where the singer takes on proper dimensions and is sharply defined. Vocals have weight and truth to them and sound very much like they’re in the room with you.

Dynamics are strong enough that the M3s never gets dull or anything less than engaging. However, it is going for a smoother, more laid-back sound. Aggression is not in its character. It walks the line between energy and smoothness like a champion. The M3s creates a profoundly transparent sound, where the “device” disappears and all that’s left is the music. It’s natural, conveying more of those overtones and atmospheric effects than you get in lower tier products. The space/venue is rendered well. The background is good and black with most headphones, though super sensitive IEMs may pick up some very low-level hiss only noticed when the music is not playing.

Soundstage is quite big, capable of giving you great width and height, and moderate depth. Depending a lot on the headphones of course. Yet I’m pleased to say, it delivers a grander hall than most DAPs I’ve tested. Combine that with the excellent imaging and layering, and a real gift for high resolution rendering, and you have all the ingredients for a tremendously lifelike performance.

All that is fine and good, right? But it’s hard to parse my heinous gibberish without solid context. So here are some pertinent comparisons with which to plague your conscience:

The Shanling M2s ($199) is really very close in tuning. When I first heard the M3s, I was sure it was brighter than the M2s. But after conducting an A/B test, using a line switcher for immediate changes, I found them nearly identical in tone. The M3s may have slightly better treble extension, however. Where it really struts its stuff is in soundstage, being noticeably larger. Also, it creates a greater sense of depth and three dimensional form. The M2s comes off rather flat in comparison. The M3s is more organic, with lingering notes and fuller overtones. Energy is a bit more in-your-face with the M2s. Finally, the M2s is rougher and less smooth, sounding a tiny bit more “digital”.

Cayin’s N3 ($149) is indeed warmer. The treble is a little rolled off, and the bass is enhanced. It achieves its smoothness the easy way, whereas the M3s does so by rendering with finer skill. Soundstage on the M3s is wider and deeper. The image is clearer and more vivid. The N3 feels kind of dull in comparison. Once again, the M3s outclasses with a holographic presentation, causing the N3 to sound utterly 2D. They are both kind of laid-back in dynamics, but compensate for it in different ways: The N3 throws a party with slamming bass. While the M3s thrills you with crystalline treble and transparency. Here also the M3s fills in those empty spaces left by Cayin with more complete harmonic overtones, resulting in greater realism and musicality.

The new Cayin, the soon-to-be-released N5II, is inarguably an upgrade. The price is yet to be set, but it should be around $400. And it sounds like it. The tuning is very much in line with Shanling, aiming for neutral with maybe just a hint of warmth. Performance wise, though, it is a step up. It’s a more dynamic, punchy mother******, while being just as smooth and refined. Clarity and transparency is increased in the N5II, taking things to a whole new level. It resolves at a higher degree, with blacker backgrounds, greater depth, and cleaner separation of elements. While the M3s is good at dimensionality, the N5II is better, illustrating a more compelling, holographic hall. And finally, yes, the soundstage on the N5II is a touch wider. So it’s an upgrade, but one you’ll have to pay for.

Because the Shanling M3s is neutral, with a light emphasis on treble, it pairs well with the most gear. The one thing you ought to be wary of, and this is only if you’re extremely sensitive to high frequencies, is brighter headphones and IEMs. Combining treble-bright monitors with this player might push things over the edge for you. The M3s is not a bright-sounding DAP… at least not to my ears. It simply has a little extra energy in the treble. What’s the difference? I’m not exactly sure. It’s sort of a “you know it when you hear it” kind of thing. I’ve heard bright sources. This doesn’t come off like that. Others may disagree. It’s up to you.

Meze’s 99 Classics ($309) is one of those potentially troubling pairings. The 99C is a warm headphone, with serious bass presence, yet its highs are on the brighter side. If your sensitivity is extreme, these may be too much for you. I, however, find them to sound absolutely amazing with Shanling’s player. After only a minute, the extra treble moved to the background of my conscious, and I was swept up in a flood of richness and layered transparency. These headphones have a nice wide soundstage, and the M3s gives them what they need to sound genuinely big.


Spartan IV by Empire Ears ($749) makes a perfect couple with the M3s. This is an exceptionally well-balanced IEM and really benefits from Shanling’s clear, crystalline production. I felt the M2s didn’t quite live up to Spartan’s potential, but the M3s really does. These are neutral, transparent IEMs with a neutral, transparent DAP. Spartan showcases the M3s’ talent for portraying layers, that being one of its own strengths. They feed their goodness into each other. It’s pure sex.

The highest praise I can heap upon the Shanling M3s is when I plug in the 64Audio tia Fourté ($3,599) I don’t feel as though I’m slumming it. The M3s>Balanced out>EA Leonidas>Fourté is utterly glorious. These IEMs are on the brighter side of the treble spectrum, and yet this system works so well together. It’s spacious, clean, deep and layered, and transparent as ***! Way to go Shanling!


The Fostex + Massdrop T-X0 ($149) pushes the M3s to its limits. These might be the least efficient cans I own. Nonetheless, at 85/100 on High Gain, playing a quieter album, I get these damn things pretty loud. The T-X0 is crazy warm… even dark. And the M3s does all in its power to bring in the light and air. It fights for vocal clarity and detail, and achieves it more or less. The pairing works well together if you like mad lushness and warmth without restraint. You will also learn whole new notions of sonic smoothness.

If you want a more balanced headphone, but still warm and bassy and easy on the highs, I personally love the AudioQuest NightOwl ($699). With the Shanling M3s, this setup is liquid. So chocolaty and velvet. The soundstage is quite wide, and there is incredible depth. Shanling’s cleanliness, blackness, and ability to separate the elements, allows NO to show off its high levels of technical performance. The one thing I wish for is a little more punch to the sound. The M3s’ laid-back demeanor makes NO seem very, very relaxed. Which might be exactly what you’re looking for.

How about affordable IEMs? Wouldn’t that be something! The Oriveti New Primacy ($299) is a well-balanced, warmish monitor. It isn’t very bright, but has good clarity. The M3s increases air and light, while NP has fun with its bad-ass bass driver. It makes for a really nice audiophile setup on a budget.

A personal favorite of mine is the M3s feeding the Noble Audio Sage ($599). Throw in the Effect Audio Ares II cable, and you have one of the very best systems for airy, fluid, and musical audio… without going bankrupt. Detail retrieval is not on Front Street here. Richness, smoothness, and clearness is. The M3s adds treble energy where needed, and Ares II opens Sage up, bringing out the best of its inherent virtues, like bass and vocal clarity. The balance is breathtaking.

By far the worst IEM to pair with Shanling’s M3s is the HiFiMAN RE800 ($699). These things have hot treble on any DAP, but on Shanling… sweet ****! Most music and genres will become fatiguing on this setup. Unless your tolerance is well beyond mine. Brighter music, with aggressive drums and electric guitars, are downright painful. Only acoustic and binaural music sounds even enough for long listening sessions. It fact, it can sound truly amazing and lifelike. But unless that is the only music you play, I would consider looking at a different monitor for this source.

The Shanling M3s is a superb player, packed full of features, and sounds amazing. It’s small, light, and really just the perfect thing for on-the-go use. I did not expect this level of quality from this price range. Balanced output that performs better than some of the bigger and badder players? The M3s sounds so good I don’t find myself itching to get back to my more expensive gear. That says a lot. I shall herald this a resounding success. The Shanling M3s just became my chief recommendation for the under $300 mark. Buy one today!

-~::Pinky_Powers::~-

The Shanling M3s：
Dimension: 113mm×53mm×14.5mm
Net weight: about 135g
Screen: 3 inches Retina screen
DSD playbackSD256DAC: supported up to 384kHz–32bit
Bluetooth: 4.1 with APT-X
D/A converter: AK4490×2
Amplifier: AD8397×2
Gain: high gain/low gain
Supporting format: MP3、WAV、WMA、FLAC、AAC、ALAC、APE、IOS、DSF、DFF、cue、m3u、m3u
Sampling rate: 44.1kHz–384kHz
Output: Single ended output (3.5 mm) balanced output (2.5 mm)
Output power: 130mW@32ohm(3.5 mm) 230mW@32ohm(2.5 mm)
Frequency response: 20Hz–20kHz（-0.15dB）
THD+N: 0.0015%（A-weighting，outputing 500mV）
SNR: ＞115dB（A-weighting ）
Output impedance: <=0.3Ω
Channel separation: ＞102dB
External memory: supported up to 256G TF card
Capacity: 2600mAH lithium battery
USB interface :Type-C（USB2.0）
Playing hours: about 13 hours(3.5 mm) 8 hours(2.5 mm)

~::I originally published this on THL. Now I wish to share it with my Head-Fi fellows. Enjoy::~

::Disclaimer::
No disclaimer. I bought this ****er. hehe

64Audio tia Fourté sells for $3,599
www.64Audio.com
Specs:
10 Ohms @ 1Khz
4-Way Crossover
1x tia High
1X High-Mid
1X tia Mid
1X Dynamic Low
Internal APEX M20

_________________________________________________________________

So… Pinky was not searching for a new IEM. I don’t know what I was looking for—maybe nothing—but seeing as I found myself on the Head-Fi Classifieds I imagine a shrink might claim otherwise. The demon was at it again, driving me to the rhythm of insatiable lust. This culminated in a feargasm the likes of which the Earth has never seen when I stumbled upon an ad, selling a B-Stock tia Fourté for $2300.

I knew in my heart I would pay it. Yet dignity demanded that I at least ask for $2000. As I waited for a response, I began the psychological rigmarole of deescalating my hysteria, consoling myself with the reality that these IEMs were almost certainly sold. The price is too good, and Fourté is a goddamn hotcake. No way a deal hasn’t already been struck.

Then I heard back from him. $2000 was too low, but could I do $2200? I hemmed and hawed and said you bet your ****ing ass I can!

It turns out I was right; this was a hot-ticket item. Folk were offering him much more than his asking price. But it also turns out he knew me and liked my reviews. Though I suspect what really synched the deal was the most serendipitous aspect of it all: We both live in Kansas City. In fact, we made the hand-off in the parking lot where I work, mere moments after I clocked out for the day.

Words cannot express how unlikely all this is. The Mid-West is a dry-zone for audiophiles. There are no high-end stores in which to audition prospective buys. Indeed, this was the first time ever I got to listen to something before I sent payment.

It took less than five minutes of Fourté in my ears before I said, “**** yes! I’ll buy it!”

And here we are. I’ve enjoyed tia Fourté for over a month now… maybe two. Hard to keep track. My impressions of it have changed some over that time, but for the most part, it is as I originally knew it. But we mustn’t get into all that just now. Let’s talk about build, first.

You could be forgiven for thinking Fourté is ugly. It looks particularly bad in the photos. In person, I find it less offensive. Part of that is due to the obvious quality of its construction. Solid black aluminum housing, and textured faceplates. Color scheme aside, it’s a fine piece and looks and feels upscale.

The only thing that makes these B-Stock is a subtle double-stamp of the name on the inside shell. And for that, I saved $1,400.

These are fairly large IEMs. Not JHAudio large, but still. They’re certainly bigger than my U12, which is hilarious, considering how many more drivers U12 contains. But I’m not complaining. The acoustic chambers Fourté uses may take up space, but the sound they deliver is well worth the sacrifice. I may not feel that way if they were much bigger. As it stands, these monitors fit rather comfortably, and don’t stick out much. Actually, it’s only on my left side they stick out at all. Nice and flush on the right. They isolate quite well, given the APEX tech and the Dynamic venting port. I’d say they’re about as good at blocking out environmental noise as most universal multi BA IEMs.
tia Fourté showcases two tia drivers. One for the upper frequencies, which 64Audio is calling the tia High Driver, and incorporated into their A18 co-flagship. What the A18 does not have, however, is Fourté’s tia Mid Driver. Just wait till you hear that crap! Fourté is also unique among 64’s lineup due to the Dynamic Driver dedicated to bass response. Then, just for kicks, they threw in a single traditional Balanced Armature for the High-Mid crossover. So let’s recap: That’s a 4-Way driver config, but a 3-Way hybrid. A mother****ing hybrid using three different driver technologies.

This is officially the Frankenstein IEM.

As is my twisted habit, I refused to even look at the included ear tips. JVC Spiral Dots worked great, as always. But it was the MandarinEs Symbio W that won a permanent position on these lordly earphones. They simply stay in better than all others, and make a more lasting, complete seal.

If you’re familiar with the traditional 2-pin stock cable that comes with most high-end IEMs, Fourté’s cable is a step up. It’s sturdier, thicker, and has an altogether nicer feel. But even that wasn’t enough for me. The moment I got home with this baby, off went the stock cable and on went one of my custom jobbies. I have a number of nicer cords terminated for 2.5mm TRRS, so I can use the balanced output on my DAPs. I shall include a cable-pairing section towards the end of the article, to give you some sweet options.

It comes with a carry case and tips, cleaners, and other random accessories, blah, blah, blah… NO ONE CARES! Let’s move on to sound. Next page, please.

The 64Audio tia Fourté is heaven on earth. To say these are airy doesn’t cover it by half. The emphasis on upper treble, combined with the sheer audacity of its extension, blows the roof wide open, letting in unimaginable air and height. Reference seems the aim here, with a rather flat line of superb tuning. This is not usually to my tastes, as I’m more of a warmth fiend. Fourté, however, won me the **** over. In spite of an abundance of clarity and treble, Fourté renders a remarkably smooth signature. It doesn’t hit you with harsh spikes; it progresses upward with a linear stroll that seems to go on for hours with nothing but a gentle hump at the higher frequencies for that little extra magic.

That’s right, tia Fourté is magical. Not to mention, energetic. They give the impression of a perpetual explosion of sorcerous power somehow contained by older and wiser spellwork. Every note releases like a solar flare from the sun’s fusion furnaces and vanishes just as quick. If that containment field were to weaken, we’d all die instantly. Details are presented with excitement and a level of resolution that will slake anyone’s hunger for technical brilliance. Yet there is a restraint at play which keeps things from getting too aggressive or violent. It’s an artful balance.

64Audio’s tia High technology is one of those things you know you’re hearing from the first few notes of whatever song you play. It doesn’t sound like anything else. The closest contemporary it has is Campfire Audio’s TAEC system, and even that fails to match the grandeur of Fourté’s treble. TAEC sounds big, but also queerly sweet and thick. It can come off rather unnatural. tia, however, is airy, thin, and ethereal, and shimmers in a most free and effortless manner. Of course, to be considered truly natural, I believe treble ought to possess a good measure of warmth. Fourté’s upper range does not contain any real warmth. I wouldn’t call it cold, however. There’s far too much life in there for such a cadaverous description. No, it’s just bright. The overall signature is not bright, but the treble certainly is. No way around it. While this is not, strictly speaking, a natural tone, it is where most of Fourté’s magic comes from. The tia High driver brings every instrument into vivid relief, and produces more of those overtones than we usually get to hear in IEMs… or even headphones, for that matter.

tia’s improbable extension also fills the stage with class-leading air and atmosphere. This adds an organic touch to the proceedings which invokes a naturalness the tuning alone fails to capture. It’s a give and take which culminates in a thoroughly engaging, hyper-real experience. “Hyper-real” meaning “more than real.” tia Fourté is a fantasy. It aims for reference, yet overshoots, landing in Narnia. Its ability to reveal and expose goes beyond great. We’re approaching HD800 territory here, with nearly the same penchant for resolving an image. Beware, though! If you’re shy of treble, these may put you off.

Clarity and transparency of the highest order are the defining traits of Fourté’s mid-range. It is a cliché to talk about how a new headphone makes it sound like the artist is in the same room with you… but sweet Jesus these do sound like that. These are the best IEM’s I’ve come across at removing the veils between you and the music. It just sounds so… naked. Fourté comes dangerously close to HD800’s level of transparency. It’s so good at this some may come away from an audition feeling the mids were thin. I think that’s the wrong term. While vocals may not seem thick or particularly warm, they are not really thin. Freakishly clear, yes, but not thin.

Perhaps part of the reason they avoid weakness is the sheer power and dynamism on display. They transcend the normal pitfalls of super clear tuning. Fourté’s vocals possess weight and authority without the orthodoxy of thickness and warmth. Could this be a characteristic of the tia-Mid Driver? Don’t know. What I can say is I don’t crave the lusher tuning of my old favorites.

tia Fourté’s mids are crazy neutral. I would not say there is any inherent warmth in them, nor any coldness. Both male and female voices sound vivacious and alive. Melissa Menago sings her songs with a warm, sweet, and airy tonality. Warmth exists because she brings it. Patricia Barber, however, sounds thinner, airier, with a very natural brightness. When David Draiman sings The Sound of Silence, you get all the depth and richness of his lower key opening, and when the song shifts upward, he sounds smooth and angelic. Fourté recreates it all truthfully. No range suffers or sounds anything less than… real.

The hyper-realism is helped along to greater heights by Fourté’s stellar resolution. Again I’m reminded of the HD800 here. You can hear the subtlest of breaths, and the wetness of a singer’s tongue. The precise location of each guitar string… hell, even the individual vibrations of the string off the frets. Okay, I might exaggerate some, but not by much. tia Fourté is the best I’ve found at rendering these things.

My review so far probably reads like rotten hype. So let’s talk about Fourté’s weakest feature: Bass. And really, the “weakness” I speak of is just about personal preference. You see, I like a demon in my sonic basement. I want to feel a little overwhelmed by that darkenss. Fourté fails to accomplish this. Which is a damn shame, as it’s packing the perfect weapon for the job; a Dynamic Driver can kill a man with awesome. And in fact, I can Equalize Fourté to do just that. Which goes to show how under-utilized it currently is.

Fourté’s low-end is not really tuned light. From a certain perspective, it’s quite appropriate. Very neutral. I’m sure a great many purists want it just the way it is. Sub-bass is raised over mid-bass, making for a clean, tight presentation. That sub-bass delves to some exquisite lows, too, rumbling where you feel it more than hear it. Kicks land with decisive impact, visceral and honest. The amount of detail and texture Fourté conveys is right up there with the best of them.

Bass notes sound organic, but a little dry. By its nature, bass is a warm tone, yet Fourté fights to keep that under control. Undoubtedly this aids Fourté’s technical brilliance, but it also robs you of a little musicality. A major benefit of this profile, and the splendid treble extension, is how much air imbues even the lows. They are more a part of the stage than is often the case, existing beside the other instruments, instead of merely permeating the atmosphere. Again, we see that give and take. The result manages to give me a cohesive, satisfying experience, in spite of how my bias leans towards that bassier sound.

Speaking of cohesive… that’s a great way to describe the soundstage. It’s massive, but in every direction. tia Fourté creates a cube to live in, but a very big cube whose boundaries lie beyond the head. The elements on this stage are fairly large as well. Voices are front and center and in your face. Instruments are placed all around the singer in a spacious manner, though not exaggeratedly stretched-out. The musicians are arrayed naturally, not forced to opposite ends of a super wide stage. It feels so… cohesive. Imaging is utterly without fault, both horizontally and in terms of depth. Fourté is the king of holographic earphones, illustrating the space between layers better than anyone else. It’s so bloody good, this might just be its most impressive skill.

Pitting this against my old favorite, the 64Audio U12 ($1,599, Review HERE), the first thing which stands out is the loss of vibrancy and clarity. The U12 is much warmer, and thicker, but this comes at a cost. Fourté’s mids are phenomenally transparent, with a level of detail and resolution that U12 pales before. You feel that immediately. There’s a wooly impression when comparing against such clarity. U12 is one of the warmest IEMs in the TOTL category, and while Fourté is nowhere near as warm, it does not come off cold or analytical. But there is so much weight in U12’s mid range, that Fourté can feel light. This is really only felt when switching from one to the other. After just a few short minutes of listening to tia Fourté, you hear there really is nothing thin or hollow about it’s mids. Vocals are utterly naked with Fourté, and they seem to be quite clothed with U12. The U12 is lush, and sinfully smooth. Fourté renders as though they are literally there in the same room as you. Frightfully realistic.

The U12’s bass is hard to beat. It’s hands-down the closest I’ve heard any Balanced Armature setup come to mimicking a good dynamic driver. Sadly for U12, tia Fourté packs just such a weapon for its low-end. Fourté’s bass delves deeper and strikes with more visceral impact… in spite of U12’s greater quantity. Indeed, U12 has significantly more bass, a sort of ever-present bass that enriches everything, adding tremendous warmth. Its mid-bass, especially, is good and fat. But this carries with it the consequence of bass-bleed, which clouds the vocals. Fourté wields a much cleaner sub-section, with no noticeable bleed. It’s also shockingly quick and articulate, which is more commonly the province of good BA drivers. U12 actually sounds slower and looser in comparison. And Fourté, somehow, manages better resolution and texturing. I know! It’s bizarre!

Nothing quite separates these two IEMs more than their take on treble. Yet oddly enough, they both execute their highs in such a manner that you may need some time to adjust to it before you fall for them completely. They come at it from opposite extremes, though. U12 is hushed in the high frequencies, mixing them lower in volume than any other part of the spectrum. Whereas tia Fourté is rather aggressive up top. I haven’t seen a graph, but it wouldn’t surprise me if the treble is given a little more volume than the rest. Certainly parts of it must. U12 possesses profoundly smooth, non-fatiguing treble. It’s warm and laid-back, with no real sparkle to speak of. tia Fourté sparkles better than any IEM out there. There’s nothing laid-back about it, either; it has serious energy that makes everything pop. Yet both earphones do share nice extension, though Fourté reaches much higher. The tia drivers kill U12 with detail, which doesn’t utilize its standard BAs as wisely as other TOTLs. U12 lacks a lot of air when listened against Fourté, who sounds so big and open, and has such great light up top that every note is under its own spotlight.

Soundstage goes to Fourté: It’s a little wider, much taller, and unfair in its representation of depth. And since U12 is one of the very best in this category, what Fourté accomplishes is no mean feat. Both are very, very good at imaging, but Fourté has superior separation and layering. It renders the space between elements so much better than U12. The major contributing factor to this is tia Fourté’s impossibly high resolution. It’s quite a few steps above the U12. As is transparency. Fourté is simply so far ahead of the game in this regard the comparison feels like a sham.

Noble Audio Kaiser Encore ($1,850, Review HERE) is a kindred spirit to Fourté. In fact, I think of tia Fourté as Encore Ultra. Everything Encore does, Fourté does better. Encore’s mids are super detailed, wildly transparent, and anything but thick. Fourté has greater detail, is more transparent, and even airier. They’re both vivid and remarkably natural, but Fourté explodes with superior energy, sounding more vibrant. Encore has a little extra note weight and feels more grounded because of it. Whereas Fourté seems unable to do anything but soar through the heavens. While this is glorious, it does lack a certain tangibility.

Bass is tuned the same between these two, with leaner mid-bass and good, deep sub-bass. Encore is fast, detailed and textured… and so is Fourté. However, Fourté owns the Dynamic Driver, and therefore the more impactful, natural quality. In truth, due to the way it’s tuned, Fourté’s Dynamic Drive is more like a Balanced Armature than most hybrids I’ve heard. So the difference between these two IEMs is less than one might expect.

Treble is again tuned the same. It gives brightness, air, and great detail. The linear extension is very much alike. Both are capable of irritating those who fear treble, but are not inherently harsh. The main difference is found in Fourté’s tia-High Driver. That crap takes what Encore is doing and goes ****ing pro. Those highs open up and breathe like no other IEM; they shimmer and decay in a freer, more effervescent fashion. It’s like being led, floor by floor, to the top of a grand building by the eccentric owner. The madcap display thus far has thoroughly wowed you, only to learn you have yet to see the penthouse. Indeed, the frivolities have only just begun.

As for soundstage, Encore is one of the widest performers on the market. Its depth is pretty good, but height is not a goal here. Fourté is a little wider, significantly deeper, and oh so very tall. The resulting sound is just bigger… bigger in every way. Imaging is about the same, both possessing serious gift. Yet because of Fourté’s depth, you can place an object with even greater accuracy along that axis. Resolution… Encore is really ****ing good. Fourté is a step above. The same is true for transparency. Encore was the most transparent earphone I’d experienced, until Fourté blew it out of the water. Again, I’m exaggerating. They are quite close. But there’s no denying which is better.

I’m borrowing the Empire Ears Zeus XR ($2,399) from a friend. subguy812 over on Head-Fi was kind enough to loan his universals to me for the purpose of this comparison.

Right off the bat, I’m struck by how little bass these have. And I thought Encore and Fourté were a little light down below for my tastes. Even using the X setting, which is the warmer, more vibrant configuration, Zeus’s bass fails to bring a smile to my face. When listening to Black Sabbath’s fist album, the bass is jacked up to a quantity that sounds pretty good, yet still doesn’t do anything truly special. This is that unapologetic Balanced Armature Bass: Fast and textured, but soft, and lacking visceral attack. The exact opposite of Fourté’s Dynamic. To my ears, I’m hearing more mid-bass than sub-bass. In fact, I’m hearing very little sub-bass. It’s there… a bit. Enough to get some low rumbles. But I’m not feeling it like I should.

Zeus is known for its mid-forward “special” vocals. I can understand why. They have remarkable note weight and definition, though aren’t enormous on the stage. Maybe that’s because the stage itself is more intimate than any of the other IEMs mentioned in this review. Zeus’s vocals are warmer than Fourté’s, and less transparent. Zeus sounds more physical, while Fourté tends towards the ethereal. It’s like Zeus brings the music to you, while Fourté lifts you up into the heavens. They both feel like you’re there, just through vastly different philosophies. Zeus has good air in the mids, but Fourté outdoes it with ease.

Zeus’s treble is warmer than Fourté’s. There’s very little brightness to it. It’s rather natural. Extension is most excellent, though not quite on tia level. There’s great air and realistic sparkle and decay. Fourté is brighter, more energetic, but less organic. Zeus is detailed and revealing, but Fourté pops more and has better vibrancy. The highs on Zeus give you a darker, warmer presentation. Oddly enough, this makes for less blackness in the background compared to Fourté.

Soundstage is quite a bit smaller on all axes, staying well within the bounds of your human head. More intimate, less grand. Imaging, like in all the TOTL IEM’s I’ve talked about, is the very example of perfection. Resolution and transparency are indeed wonderful, but I would give the edge to Encore, with Fourté outpacing them both. Where Zeus really gives Fourté a run for its money is layering and dimensionality. Zeus renders a marvelous 3D image, better than just about any other… except Fourté, who honestly takes it that extra mile further.

As promised, here are some cable options to pair with tia Fourté.

plusSound X-Series GPC Litz: The most naked, transparent cable I’ve found. This is what I use when I am comparing IEMs, as it gives what I consider to be the truest, most natural tone. There’s a touch of warmth and a little extra body. The treble is warmed ever so slightly, which is very nice for the likes of Encore and Fourté.

Effect Audio Thor Silver II: The unusual silver. This one smoothes out the highs and attenuates them to some extent. It creates a bizarre liquidity, flowing around you in a dizzying three-dimensional display. The power of Fourté only amplifies this, taking you into Wonderland territory. When you finally gain your feet, it’s like listening to whole new gear. Fourté seems to mimic the traits of the LCD-2 with this cable.

Effect Audio Leonidas: Take the liquidity and 3D holographic qualities of Thor II, increase transparency and treble clarity, thicken the bass and warm the mids, and you’ll have some idea what Leo is about. But you won’t be prepared for the apocalyptic musicality. If Fourté is a fantasy, Leonidas twists it into a fever dream. This is my favorite way to listen to these earphones.

Ordinarily I would suggest pairing a brighter monitor with a warmer source. And I guess I still do. But I’ll be honest with you, nothing I’ve thrown at Fourté has sounded bad. On the contrary, it’s all sounded so very, very good.

My main DAP is the Opus#2 by theBit ($1,149, Review HERE). With neutral-warm tuning, immense soundstage, and the ability to resolve at the highest level, Opus reveals the truth of the transducer like none other. Fourté is at its most transparent and realistic here. Dimensionality deepens, and layers become more observable. Notes take on extra weight, feeling properly tangible, and the background is pitch black. No hissing whatsoever. In simple terms, Opus#2 pushes tia Fourté to its limits.

I’ve been testing out a preproduction unit of Cayin’s soon-to-be-released N5 2nd Gen, the N5II. This player sounds so good with everything, and Fourté is no exception. It’s maybe a little less warm than the Opus#2, but still organic and musical. Clarity and resolution is top shelf, and soundstage is quite big. The N5II is dynamic, vivid, and refined to a fabulous degree. Even though it nudges Fourté a little more into the bright category, it remains free of all harshness or fatiguing elements. This device also gives off no audible hiss. After many days of sessions that lasted hours, I can say the N5II>tia Fourté is sonically flawless and a system anyone should feel proud to own.

If you’re looking for something a little closer to the budget-range—and after buying these IEMs, I can understand why—I can recommend the Shanling M3s. Tuning wise, it’s more like the N5II than the Opus#2. A slightly brighter sound, though not really bright per say, and definitely not cold. The M3s has leaner notes than the others and a slightly smaller soundstage. Like the N5II, it is clean and astonishingly smooth. Compared to the other DAPs, Fourté lacks just the barest amount of depth and resolution on the M3s, but the final result is like supreme honey on the ears.

Prior to Fourté, my favorite IEM was the 64Audio U12. I bought that one used as well. It fed my spirit better than any other IEM or headphone. Even the technically superior Encore couldn’t fully steal my heart from the bassy lushness of the U12. So when I tell you I sold the U12 after a couple of weeks with Fourté, try and understand what that means. Despite my sonic preference leaning towards the U12’s tuning, tia Fourté so outclasses it, I simply had no use for the U12 any longer. Whenever I put them in, I felt like I was listening through a blanket and missing out on all the details. I just couldn’t go back, even for a single prolonged session. So I sold my beloved U12, to help pay down the charges incurred by this insane purchase.

Do I miss it? Yes. But there are other ventures on the horizon. And Fourté’s magic is such that one must surely forget past loves whilst enthralled by this new pinnacle of personal audio. I should never have imagined parting ways with the U12 before tia Fourté came along and raised the bar so very high. Now, I can hardly imagine going back. tia Fourté defies preference and taste and simply decimates you with pure awesome. It dwells somewhere between the Audeze LCD-2 and the Sennheiser HD800, as a sort of best of both worlds paradigm. If that sounds like biased hyperbole, you’re probably right. Pinky has been compromised. I don’t know how to talk about these IEMs without going too far. That’s what happens when you find your new ultimate favorite audio gear. Restraint, objectivity, and measured sentiment, go out the bloody window. You are in love, and only the poets can guide you from here.

-~::Pinky_Powers::~-

~::I originally published this review on THL. Now I wish to share it with my Head-Fi fellows.::~

::Disclaimer::
Effect Audio provided Thor II free of charge for the purpose of my honest review, for good or ill.

Thor II sells for $399
www.EffectAudio.com

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I sent many a message to Eric Chong of Effect Audio before I got anywhere. I suspect he feared me for a frothing lunatic. Indeed, my emails justified that assumption. But I persisted, and eventually he sought help from Nic (Flinkenick), who probably told Eric to buy a gun and seek shelter… but also to give this foul Pinky a cable to review, or he’d never stop.

And along came the Thor Silver II, for which I offer Eric a heartfelt call of thanks.


This thing is mesmerizing to behold. The photos do it little justice. It’s easy to understand why silver is so valued in jewelry. Thor drinks in the light and seems to faintly glow with it. Simply beautiful.

The ergonomics on this cable are stellar. STELLAR! I don’t know how they did it, but it’s the softest, supplest, and most flexible conductor I’ve ever used. It drapes like silk, not wire. It’s a little heavy, but not cumbersome. Use a shirt clip and it’s perfect.


The one thing I wish were different is that the ear-loop stuck out a little farther. The 2-pin connects are short, and the wire begins its backward loop a little early. For most IEMs, this is fine. But for the current generation of Noble Audio universal shells, this can lead to a detrimental interaction with your ear, and the IEM struggles to insert deep enough for a secure fit. This is really not an EA issue, but a Noble issue. ALO’s Reference8 is also a pain to use with Noble gear. But if EA began the loop farther away, it would work better with these bizarrely shaped IEMs.

All cables **** with the audio. They all have resistance, and that resistance tweaks things. There’s no such thing as a truly transparent wire. I find the question of cables to lie not so much in how little it alters things, but in what way. Take any headphone or IEM and ask yourself, “What do I want to change about this sound?” Once you answer that with as much specificity as possible, you can begin looking for the right cable to accomplish your ambition. Spending THE MOST MONEY on a cable is not guaranteed to meet your desires. A $150 copper jobby may pair better with your gear than an $800 silver + gold litz.

Here we have a $400 silver litz. Read carefully before you decide if it’s right for you. This is some crazy alien tech, and the results may frighten you.

The Effect Audio Thor II is not like other silver cables. It is not bright or thin-sounding. There are no harsh edges to the notes. No dryness. In fact, the treble is smoothed out and warmed up. The overall tone is warm and liquid, though it’s infused with great air and sense of space. But it doesn’t sound like a copper conductor, either. Thor is ****ing weird and I find it difficult to describe. There’s an otherworldly depth created, where layering is spaced out so much you feel as if you can walk among the elements. The better the IEM, the stronger the effect. You can hear the silver in the cleanliness of the stage, yet it’s married with so rich and velvety a character you’ll never mistake this for an ordinary silver cable.

I do not find Thor to pair well with very warm IEMs with naturally recessed highs. The U12 is not the right monitor for this cable. I look for a cable that brings out the U12’s treble, not smooth it out.

Where Thor II really shines, is with IEMs which possess a rather bright upper range, and could use a little attenuation.


Noble Audio Kaiser Encore paired with EA’s Thor II is one of the most splendid listening experiences of all time. Encore is mighty in clarity and transparency, with more detail than you could ever ask for. Some find the treble a little harsh. I would agree it’s slightly unnatural, but not fatiguing to my ears. Still, I can’t help but appreciate the effect Thor has on it. The treble smoothes the **** out, and the whole presentation takes on this marvelous liquidity. Everything becomes oddly holographic, with new depth and dimension. The bass kicks in, the mids richen, and treble simply sounds extended and clear, but not as aggressive. Thor transforms Encore into the perfect balance of lush and transparent. It’s one of my favorite things to listen to now. As I mentioned before, I only wish the cable and the IEM worked together a little better in terms of ergonomics. But again, this is more of a Noble issue than EA.

When I bought my second-hand B-Stock tia Fourté by 64Audio, it replaced Encore as my top monitor for resolution and transparency. It’s like Encore Ultra; they share so much in common. Because of this, I enjoy making them as different as possible, using Thor with Encore to induce warmth and smoothness, and using my plusSound GPC to push Fourté farther down its natural path of clarity and transparency. However, when I attach Thor to Fourté, it becomes the in-ear equivalent of the Audeze LCD-2.2 Fazor… and that is ****ing addictive! The silky richness, the clean and layered warmth… yeah, it loses some of its transparency, but oh boy, it’s a goddamn delight. I find it hard to say which cable I like better for these IEMs.


I’ll tell you, I love everything about Effect Audio’s Thor Silver II. It’s not the perfect match for every monitor, but no cable is. I love that it’s weird. I love that it’s different. Thor II is a truly unique creation, one which adds potent magic to your favorite IEMs, making them… stranger.

-~::Pinky_Powers::~-

~::I originally published this article on THL. Now I wish to share it with my Head-Fi fellows.::~

::Disclaimer::
Mr. Speakers provided ÆON on loan for the purpose of my honest review, for good or ill.

ÆON sells for $799.99 MSRP
www.MrSpeakers.com

_____________________________________________________________

I’d heard enough good things about Mr. Speaker’s newest closed-back, and indeed received enough requests for a review, that I broke down and agreed to Danny-boy Speakers’ offer to spend a month or so with a loaner unit.

So let’s dive right into them, shall we?

The DUMMER cable is heavy and not as flexible as I’d like. But honestly, it’s not bad. I can deal with this, though it is sort of long for a potentially portable headphone. It’s much less cumbersome than the monstrosity AudioQuest includes with NightOwl.

Build quality is excellent. You may not see it in photos, but in-person, these exude quality. The finish is glossy and frightfully reflective. You’ll see my Galaxy S6 in just about every photo, because I could not find an angle from which to hide. All the materials and their construction are top-shelf. You never doubt eight hundred dollar worth of headphone rest in your hands.


Mr. Speakers provides a really nice carry case. Easily one of the best I’ve seen. I think I may prefer Meze’s a little more, but this is well-above what most companies give you.

ÆON is comfortable. It’s as simple as that. You put them on, and they fall right into position, displacing their weight so well you’ll think you’re wearing a much lighter headphone. After hours of use, I feel no pain or awkwardness whatsoever.



Mr. Speaker’s ÆON is decently efficient, with 95dB/mW at 13 Ohm impedance. I’ve heard it said, in spite of this, they really need a powerful amp to bring them to life. Maybe I have a different interpretation of “powerful”, but I find ÆON to sound just as dynamic out of my Opus#2 as it does from my desktop DAC/Amp, the Audio-GD NFB-28.

I do, however, suggest a good long session of burn-in. Upon first listen, ÆON sounded rather dull to my ears. Clear and detailed, yes, but seriously lacking in dynamics. Rather boring. So I put them aside for a couple hundred hours running pink noise. I can’t give you an exact time for when they started to open up, as I wasn’t monitoring them that closely. But when I gave them another listen, I really loved what I heard.

One more note before I talk about sound: I’m not using the included filter you can put between your ears and the drivers. I thought I would, as I love a good warm sound, but it lost too much clarity and transparency, and didn’t add anything I especially liked. So Pinky is running ÆON naked.

ÆON is a rather flat headphone, with natural, warm timbre. There’s a good amount of air and light on the stage, but ÆON is aiming more for realism and easy listening than bright, hyper analytical tuning. Smooth liquidity is balanced beautifully with clarity and detail, making this a stellar all-arounder. It just sounds right.

Treble is bubbly and marvelously clean. It possesses that bite which can only be achieved with proper extension, though ÆON is not in its own right harsh or aggressive. A good amount of sparkle gives life to these highs, without overdoing it. The treble, while having a touch of warmth, brings light and great detail to the proceedings… not to mention resolution. The bowstrings of violins are sharply defined, every symbol crash precise. ÆON’s upper registers are some of the very best I’ve heard, and oh so satisfying.

Vocals, whether male or female, have excellent body. There’s a mild richness, and superb depth. They’re of moderate size, and sat utterly neutral on the stage. Once again, you hear ÆON’s masterful balance of musicality and detail retrieval. All the texture and nuance of the artist’s voice is revealed, swathed in seductive warmth. For me, it’s the mids, particularly vocals, where I can tell how transparent the sound is. ÆON attains high levels of transparency. What warmth there is does not intrude much on the cleanliness of the presentation. A measure of air fills the gaps between elements, giving you a strong sense of how they layer each other.

It wasn’t until I sat down right now and asked myself, “How is ÆON’s bass?” that I realized there isn’t much. You see, ÆON tricked me! There’s such warmth and richness I took it for granted ÆON must house a full low-end. But it doesn’t. When you play a song you know has dominant bass, ÆON’s poverty shows itself. There is no visceral punch, and only the hints of sub rumble. Black Sabbath’s first song on their first studio album ought to be a powerhouse of low frequencies. Your mouth is supposed to open a bit, as an involuntary sign of awe. You will not experience Black Sabbath with these headphones. Yes, there’s good detail and texturing, blah, blah, blah… but not the soul of rock. ÆON is much better suited for acoustic and classical. Melissa Menago is a glorious treat!


Soundstage is decent but not extraordinary. I do quite enjoy the depth ÆON can create. Imaging and separation is outstanding. Resolution and transparency is high, but not the best. Taken together you have a mighty fine closed-back headphone.

I only own one Planar headphone, the Audeze LCD-2 v2 Fazor ($995.00), so I feel that would be a fair comparison. Even though they seem to be built for different purposes, one being closed, the other open, one light and portable, the other really not in any way. But their price is close… as is their sound.

Starting with treble, I find Audeze to extend just as well as ÆON. The LCD-2 is less warm or smooth up top. There is better shimmer, and slightly more detail. Neither headphone is all that aggressive, and they share a lot in common with how they portray their highs. But Audeze does come off a little brighter and airier. It sounds like the ceiling opened up, letting in extra light.

ÆON’s mids are thicker, LCD-2 a touch thinner. Both have very clear, powerful vocals. ÆON comes off warmer and lusher. LCD-2 is cleaner. ÆON has a delightful roundness, or depth, to the vocals, and in comparison, LCD-2 sounds flatter. I feel ÆON may retrieve details a little better, but LCD-2 is more transparent by a hair.

Both LCD-2 and ÆON have exceptional bass on a technical level. Planar drivers of this caliber produce some of the lowest sub-bass around, and it’s punchy and well-defined. LCD-2, though, has more body, producing a greater rumble. ÆON’s bass may be quicker, with a finer sense of texture, but only by the smallest margin.

The LCD-2’s soundstage is a little wider, and more than a little taller. Depth probably goes to ÆON. Imaging and separation is god-tier on both. Though, to my ears, ÆON renders at ever so slightly higher resolution. Very slight. ÆON layers a little better, also. LCD-2’s comfort is one of its biggest detriments. It’s heavy and awkward, doesn’t feel great when worn. ÆON beats it without breaking a sweat.


Now for a more interesting comparison. The AudioQuest NightOwl ($698.75) is a mere hundred cheaper, closed back, and efficient enough to be driven by most mobile devices. I can understand why so many people have asked me for this comparison. However, that is sort of where the similarities end. These two headphones are tuned for two very different people.

Starting with treble: NightOwl is rolled-off, and does not extend as far as ÆON. For the most part, it makes up for this with carefully placed peaks to bring light, resolution and detail to an otherwise dark set of cans. But there’s no substitute for true extension, and you can really hear the loss when switching between these two. NightOwl’s treble is thick, and surrounded by deep, warm overtones, yet it does a nice job of piercing the gloom. ÆON simply has more light and air and sounds more natural up top.

Who wins at the mid-range is really a toss-up over personal preference. Both are rich, deep, and detailed, but NightOwl does go that extra mile with its warmth and lushness. If it lost clarity and resolution because of this, it would be an easy matter to decide… but it does not. It keeps up with ÆON surprisingly well, merely taking a different route. Listening to Amber Rubarth’s vocals, NightOwl has a way of immersing you in a more complete way. The vocals are possessed of a little extra soul. NightOwl aims for Romantic over Neutral, and it does it better than any other. Again, whether this is the right choice depends entirely on you.

Where NightOwl beats ÆON, hands-down, is the bass. Now, I’m sure someone somewhere will bitch about that comment, but this is my subjective opinion, of course. The sub-bass is there, like with ÆON, but there’s serious quantity. Mid-bass, also, is present in a big bad way. We’re not talking loose or boomy, either, but tight, controlled, and detailed. It’s not quite on the level of Planar resolution, but goddamn, it is satisfying, and agile like a mofo! NightOwl and ÆON give you tremendous depth, but NightOwl’s lows are fuller and puts a smile on my face every time.

Soundstage on NightOwl is wider and taller, though I’d give depth to ÆON. Once again, imaging is stellar on both. I’m not sure I’d give either the edge on that. Yet ÆON takes it in separation and resolution by the smallest amount. And again, layering is ÆON’s forte. In terms of comfort, NightOwl is one of the very best, and even easier on the head than ÆON.

Now for some quick comparisons with headphones I think are important to this discussion:

The Sennheiser HD800 (can be found for around $1,000 now.) is significantly clearer and airier. Of course, the soundstage dwarfs ÆON’s. I doubt anyone would be surprised to hear that. Resolution is also noticeably higher on HD800. There is a drier, more analytical quality, whereas ÆON is warmer and has that lushness. But get this, the HD800 has more bass. What the ****?! I know, but it’s true. HD800’s treble is just as extended, and brighter and more detailed. This is also arguably the most comfortable headphones in existence. Not even ÆON can compete.

The Meze 99 Classics ($309) are not the hard downgrade you may expect. For starters, the mids are even clearer, but also thinner. The soundstage is quite a bit wider. There’s more air and brightness in the highs and mids, but never enough to take away the rich, musical quality. ÆON’s bass is deeper and of significant technical prowess. However, Meze is fuller down low, with more seductive tonality. With stock pads, the 99C is certainly less comfortable, but with the Brainwavz Angled Sheepskin, I find they actually surpass ÆON.

ÆON’s neutral-warm tuning is the sort that pairs beautifully with just about any device. If it was brighter, a brighter source might make it harsh-sounding. If it was warmer, like NightOwl, then it could turn dark and congested with the wrong gear. But neutral-warm is perfect. Seldom will you find a poor pairing for headphones like that.

For most of this review, I had ÆON hooked up to my Audio-GD NFB-28, using its single-ended output, since I don’t have a balanced cable for these cans. The 28 is also neutral-warm, or what I call “natural”. It’s spacious and clean, with great dynamics, and seriously high resolving power. Yet unlike many Sabre DACs, there is a wonderful, full-bodied richness. ÆON is right at home. The synergy here is awesome.


My Opus#2, by theBit, is a duel-Sabre setup, just like the NFB-28. Also just like the 28, it’s neutral done right. In fact, the audible differences are so negligible, I think of the Opus as very nearly its equal. ÆON sounds full and right from this player. ÆON is at peak performance, with resolution, clarity, and depth to die for.

For a DAP that compensates for ÆON’s lack-luster bass response, I recommend the Cayin i5. This player is a bass monster. The i5 produces a deep, warm sound, where clarity is not lost, and smoothness and detail walk hand-in-hand. Its enormous low-end energy brings a lot of fun out of ÆON, and has more than enough power. At only 50 on Low Gain, these headphones are exploding with intensity. This pairing may be my favorite of the bunch.



If you’re looking to squeeze the most transparency and detail out of ÆON, without spending gobs of money, the Opus#1 is my choice. It’s dynamic enough to bring tons of life to ÆON, but neutrality is its prime directive. Unlike i5, which is fat down low, Opus#1 pushes the treble instead. It doesn’t make ÆON bright, but its quality to reveal is impressively high.

The Shanling M2s is a sick little player for a pittance. It doesn’t quite fill out ÆON as well as the i5, but it comes really close. The soundstage is not as big, it lacks some of the refinement, but the bass is quite fulfilling. Shanling also renders a clear picture, with excellent detail. At this price, it’s hard to fault it.


I was given the option of buying these headphones at 50% off if I liked them. And I do like them. A lot. Yet I find between NightOwl and 99C, ÆON doesn’t fill any specific need that isn’t already met. And their weak bass unquestionably diminishes ÆON’s appeal.

Somehow, though, in spite of my lust for meaty lows, ÆON manages to captivate me. When I put them on and play good music, ÆON creates a splendid experience, one where I am not mindful of preference or personal bias. I merely fall into the supreme musicality ÆON champions.

Yes. I am awfully fond of these headphones. Their technical proficiency coupled with the profound richness and depth makes ÆON the easiest recommendation I can make.

-~::Pinky_Powers::~-

-::I originally published this review on THL. Now I wish to share it with my Head-Fi fellows.::-

::Disclaimer::
DD Audio provided the DXB-04 free of charge for the purpose of my honest review, for good or ill.

At the time of this writing, the DXB-04 sells for $99.00, though it has seen much higher prices in the past.
www.DDAudio.com

_____________________________________________________________

I had never heard of DD Audio, since they exist primarily in the realm of car audio, and I am all about headphones and IEMs. But when I saw Head-Fi member Hawaiibadboy post a photo of these simple yet gorgeous cans, I had to know more.

Contacting DD Audio, I explained how Pinky is ravenous for wood and must try these ****ers out! Kevin Doyle of Sales, Service, and Support must have sensed my dangerous need, and shipped them right away. A mere two days later, I had them.

The DXB-04 does not feel quality in-hand. It’s sort of flimsy and rattle-y, and the pads are very low-grade I-don’t-know-what. Yet upon closer inspection, instead of plastic you see only stainless steel and hand-oiled Black Walnut wood, screws instead of glue. They may “feel” flimsy, but I’d wager they’ll last for ages. Maybe not the ear pads, but… who knows.

In person, the DXB-04 looks even more beautiful than in the photo I saw. They really are a handsome set of cans. And quite comfortable. The ear cups are on the small side, and may rest on part of your ear, instead of completely encompassing them. Nonetheless, I felt no discomfort or pain, even after hours of steady use. Whatever they’re made of, the pads are soft enough not to intrude on your enjoyment of the music.

The cable is standard OFC, which incorporates a mic for phone calls, and uses 2.5mm mono plugs for L & R channels. DD Audio went the extra mile for aesthetics, however, adding what looks like more Black Walnut for the plug housings. Very nice! Pinky approves!



DD Audio’s DXB-04 is a creature of neutral-warm tonality, where clarity and smoothness sing together in harmony. These headphones have a very clean presentation, with an abundance of air imbuing expertly balanced tuning.

High frequencies are well-extended, leading an arc into great light and sparkle. It has smooth treble, which does not exhibit harsh peaks, yet is capable of sharpness when called for, thanks to its impressive linear extension. The DXB-04 is fun and lively up top, though it sounds surprisingly mature. I hear a measure of refinement unexpected at the price-point.

DXB-04’s vocals possess a hint of warmth, but are mostly uncolored. They sit quite neutral on the stage, though are rather large in scale. They have GREAT transparency. Articulation is high, and textures are well-detailed. Male vocals receive some bass-bleed, adding more warmth and color, while females come off ever so slightly dry in comparison. Neither the color nor the dryness goes so far as to make them sound anything but superb. Still, there is a change while moving up the mid-range.

Like with the treble, the bass is of a quality to satisfy those of us who lust for that particular frequency range. Its 50mm dynamic driver extends VERY low and has a most mouthwatering timbre. The DXB-04’s low-end is full and rich, and sits fatter than purely neutral. However, it’s balanced with the rest of the mix and does not cloud the mids. The bass has moderate speed and texture, not sounding too slow or muddy. It’s very rounded and natural in tone.

Soundstage is remarkably cubical, with equal width, height, and depth. It is large and spacious. Imaging is excellent, as is separation. Resolution is OKAY. Better than I’d except from this price, but not mind-blowing. Layering is above par, but not by too much. To boil it all down, this headphone performs well beyond its asking price.


The Klipsch Reference Over-Ear ($249) has a more closed-in sound. Not as large and expansive. It’s warmer and smoother than the DD Audio. This warmth is achieved not through extra bass, but tamer highs. It’s not as airy or extended up top. Resolution is about the same, though transparency easily goes to the DXB-04. The Klipsch is ever so slightly more comfortable, and quite a bit more solid and luxurious-feeling… in spite of its plastic.

For an obvious upgrade over the DXB-04, the Meze 99 Classics ($309) has you covered. It’s just as rich, full, and airy as DD Audio’s headphone, but even clearer, and noticeably bigger in soundstage. The lows may be a little more bloated, and don’t produce sub-bass as well, yet they do so much right it’s impossible not to love them. Vocals are more vivid and detailed, and reach a greater level of transparency. There is just an extra degree of refinement to the sound I can’t ignore. Like DD Audio, Meze deals in metal and wood, but they do it better, crafting a headphone that feels genuinely up-scale.

I forgot how much I love the Sennheiser Momentum 2.0 Over-Ear (Discontinued). These were my first mobile cans, and they are truly enjoyable. But they haven’t aged well. Meze defeats it handily, and even DD Audio’s DXB-04 has a more transparent, detailed sound. The M2’s treble is far too rolled off, lacking the air, sparkle and clarity of the DXB-04. The bass is wooly, and does not extend very far into the lower registers. Vocals are sort of veiled. Still, Sennheiser takes the win in soundstage, as well as build quality and comfort.


If you desire the absolute best from the DD Audio DXB-04 in a portable solution, my reference player is the Opus#2 by theBit. Opus fills out these headphones with a powerful, clear sound, and comes off utterly natural. It pushes the resolution as far as possible, and really showcases the DXB-04’s knack for transparency. The bass hits hard and realistic, the treble extends forever, and the vocals are quite simply perfect.


For a lusher, warmer sound, and one that won’t break the bank, the Cayin N3 is a decent choice. Cayin’s house sound is about serious bass-slam and a more intimate stage. But this little player does quite well with its sense of depth. Clarity is quite good, as is dynamics. The DXB-04 takes on a very rich, chocolaty tone with this player. It’s delightful.


Cayin’s i5 takes all those things I wrote about the N3 and raises the quality and refinement by a few steps. That rich, chocolaty tone is now on a level of pure decadence. The bass has more power, but is also more controlled and detailed. i5 takes better advantage of the DXB-04’s soundstage and skill with transparency.

To push DD Audio’s virtue of neutrality and clarity to its fullest, without spending a terror-sum, the Opus#1 is possibly the best you can find for under $600, and it’s nearly half that right now. It’s a little thinner-sounding than the Opus#2, while packing so much dynamism you never feel it’s missing anything. Opus#1 takes the DXB-04 to supreme heights of transparency and crystalline mids. But it doesn’t lack bass. Oh no, it punches hard, but in a neutral way.


When I first looked up the DXB-04 on DD Audio’s website, it was selling for $249, and I thought it was worthy of that price. In terms of sound quality it’s as good if not better than most of the competition in that bracket. The only headphones that would make me hesitate to recommend it was the offerings from Meze: the 99C and Neo.

Less than two months later, you can buy the DD Audio DXB-04 at $99. They are now well below the Meze range. I don’t know what to tell you. Buy it. Buy it now! If you’re in the market for anything even remotely like the DXB-04, it’s a goddamn steal at this price.

-~::Pinky_Powers::~-

-::I originally published this review on THL. Now I share it with my Head-Fi fellows::-

::Disclaimer::
Empire Ears provided Spartan free of charge for the purpose of my honest review, for good or ill.

Spartan IV CIEM sells for $749.00
www.EmpireEars.com

One of the first things I did when I became a reviewer for THL was reach out to Jack Vang of Empire Ears. Not to hit him up for a review sample, but just to make contact. I knew he was working on some new designs, but they were a ways out. I also knew I wasn’t all that interested in Zeus, due to the very neutral bass response. And Athena was “secretly” on the way out of production. So there was nothing I really craved from his current lineup. Yet I desired to connect with him, all the same. Empire Ears had earned a place in my mind as one of the most important IEM makers in the industry, and I wanted to get to know them.

Late one evening, when I was too tired to think clearly, I wrote Jack a letter. It was weird. It was raw. Sort of Pinky Unfiltered… and through a blender. I felt more than little anxious over his response. Had I gone too far? Did my missive make any kind of sense? Was he now arming himself in defense against this clearly dangerous character? Only time would tell. And so I waited.

A month went by.

When he did respond, it was brief but heartening. He told me my “super awesome email hasn’t gone unnoticed,” and that he was very busy on his new projects, but hoped to have some interesting news for me in a few weeks.

Thank ****! Contact made! And he didn’t sound scared at all. Righty’O, I’d just reach out again in a few weeks.

When I did, Jack had very little he could share. The prototypes were well underway, and he was buried in R&D. Clearly they were many months out yet. Which was fine with me. I’m never in any hurry. Plenty to write about in the meantime. I established a friendly discourse, and EE didn’t feel the need to open an FBI file on me. Mission accomplished!

But I did ask my super special Pinky Question, the one I like to pose to respected manufacturers: Was there an item in Jack’s lineup he felt deserved more attention than it got?


The Empire Ears Spartan IV is a hero of neutrality. As the website puts it, Spartan is all about discipline and self-denial. Its philosophy is one of uncolored, accurate tuning. Indeed, I cannot call these IEMs warm, or bright. Either characterization feels like a lie. Spartan is neutral. It’s possessed of such air as to create an effortless realism. You get the sense you’re breathing the same oxygen as the musicians, in the same room.

The first thing that struck me was the vocals; they are phenomenally transparent. They hover there in front of you, with weight and density, yet an entire universe persists beyond. You feel as if you could walk right through them and explore that new world, full of song and wonder. Articulation is stellar. Details flourish in every lyric or strum of the guitar. The mids have a rich, wholesome timbre, while remaining markedly uncolored. Warmth exists when the recording contains it, and Spartan handles this with skill.

Spartan has such beautifully extended, pure highs. They are smooth and resolving, lacking bite or glare, yet rendering finite details with ease. The treble has the slightest sense of warmth to it, discouraging bright or fatiguing elements, but without losing that light and air. Violins sound honest and sharp, yet never take you to an uncomfortable place. Even something like the sharp drum-strikes in Metallica’s Master of Puppets manages not to offend the ears.

The bass is neutral. The correct type of neutral, where the lows are not lacking in any way, but are simply not exaggerated. Now, you know I love exaggerated bass. My preferred signature has a hearty lift down low. Still, Pinky is capable of admiring the mastery of Spartan’s tuning. It does its thing so well I don’t find myself longing for a warmer, bassier profile. Spartan is an experience too delightful to spurn over so petty an issue. Not to mention, Spartan’s bass is technically brilliant. It reaches some impressive depths, and hits with tight, forceful punches, showcasing speed and detail. Texture and tone are above average for a Balanced Armature, and there’s some satisfying bloom which really fills out the music with a realistic degree of warmth. The piano in Black Sabbath’s CHANGES generated so much sub-frequency resonance I had to remind myself this was Spartan and not my U12.

Spartan’s soundstage is quite big, with very nearly equal dimensions in width, height, and depth. Its depth, particularly, is impressive, helped along with top-tier layering and separation. Imaging is about as good as you’ll ever find, conveying a seemingly infinite variety of positions, depending on the needs of the song. Spartan achieves a level of resolution that makes you snigger at the driver war, and the prices of those $2000+ IEMs. It’s a serious performer, with some of the best transparency I’ve heard.

Right off I must compare this to Noble Audio Kaiser Encore ($1,850). And goddamn it is a righteous battle. These two share mostly the same signature. They’re both very neutral, with an elegant balance of warmth and lots and lots of air. I hear Encore as having the denser, more tangible sound, though. Spartan is kind of thin and ethereal.

Encore’s treble is the major deviation. It’s a little more prominent, lacking some of that warmth Spartan uses to sound easy and natural. Encore has a bit more energy in those highs. It’s also thinner, and cooler. There’s a brightness which Spartan shies away from, and it does aid in Encore’s detail retrieval. I would not call Encore harsh, but I could see some feeling it is, especially if you’re used to a more relaxed, warm treble. All in all, I’d call Spartan’s upper frequencies as having a more natural timbre.

Encore and Spartan possess large, vivid vocals, rendered naked, with every detail and texture highlighted. They both achieve a marvelous transparency which is nigh unto the best in the industry. Encore, however, is indeed clearer by a small margin. It’s just that extra inch more resolving, exposing those details just a little better. Note weight seems about the same, though Spartan has an ounce more warmth. While Encore is clearer, I think Spartan is just as transparent. I’m not sure how far you can separate clarity and transparency, as they seem tied closely together, but I hear them as two different qualities, and somehow Spartan matches (or nearly does) Encore’s amazing transparency. Let me assure you, that is high praise.

Bass is one of Encore’s more peculiar aspects. Like with Spartan, it’s measured for neutrality. Yet Encore has less mid-bass, and thus overall warmth is reduced. Spartan sounds a tad fuller down below, its lows adding natural warmth to the mids and highs. Encore’s bass is exquisitely nimble, and even more textured than Spartan. It has great depth, and good, controlled impact. Yet Spartan rumbles in a more satisfying manner, and may even reach deeper.

As I said, Spartan’s soundstage is impressive, but Encore is bigger. Wider, for sure, but maybe not as tall, and I do think Spartan portrays depth in a more 3D fashion. Encore bests Spartan in resolution, hands down. The image is so sharp and realistic you know exactly where each string on the guitar is, like you can reach out and pluck them yourself. Encore’s separation is just a bit higher, thanks to its sharper, more resolved stage.

Spartan gets you about 90% of the way to Encore’s performance, and for much less gold. And it does some things I like better, such as treble tone and bass quantity. Still, it’s clear Encore is TOTL in this profile. But hot damn, Spartan puts up one hell of a fight.

Campfire Audio’s Jupiter ($799) is not as neutral as Spartan. In fact it has a gentle V-Shape sound. But I put it high on my list of detailed, high-res IEMs, and since it’s also priced within range, it makes for a great comparison. Like Spartan, Jupiter has a good balance of warmth and air, though I do classify Jupiter as crossing that line into genuine warmth, not just hints of it. As such, it loses out to Spartan in the clarity department.

Jupiter’s treble is achieved with CA’s unique TAEC system (Tuned Acoustic Expansion Chamber). This gives the highs a thick, sweet sound, with quite a lot of sparkle. It’s fun and lovely, but not as natural-sounding as Spartan. I can’t say which extends farther, as both do a fine job of that. But Jupiter’s high frequencies do seem delightfully large, and tall.

Compared to Spartan, Jupiter’s mids are smaller, taking a step or two back on the stage. They’re also thicker, and much less clear or transparent. Campfire’s extra warmth is apparent here, giving Spartan the edge, with vocals that come across as significantly more vivid. Jupiter almost sounds like it has a veil over it, which just goes to show how clear Spartan is; I’d never have said that of Jupiter when compared against most IEMs. Yet even in detail retrieval—Jupiter’s greatest strength—Spartan dominates the field. Jupiter, it appears, simply can’t keep up.

Bass response is heightened in Jupiter, with noticeably more quantity. They both enjoy good fullness, and a wonderful blossoming effect which adds beautiful timbre to the notes. It’s hard to say which does it better, but I’m inclined give it to Spartan as I think it rumbles deeper, and manages to do so without coloring the whole presentation. Honestly, though, it’s a matter of preference.

Jupiter’s soundstage is one of the tallest I’ve heard, but Spartan is wider. Depth may be equal here, but Spartan layers itself in a more holographic way. Add to that higher resolution and much better transparency, and Spartan feels like it’s in a whole other league. Imaging is quite good on both, though separation once again goes to Spartan.

Because the Empire Ears Spartan is so neutral, which source pairs best will depend entirely on your preference. Do you want more warmth? What about a little extra treble energy? It’s up to you. For my tastes, Spartan is so well-balanced already I desire only a strong, dynamic source, with as much naturalness and neutrality as possible within those parameters.

Opus#2 by theBit is my reference for ultimate musical neutrality. It’s ever so slightly warm, with powerful clarity and resolution, making for the most correct sounding DAP I’ve ever heard. The bass has great weight and control. The treble is utterly clean, extended, and devoid of any hint of harshness. Vocals are rich and lifelike, revealing layers of detail and texture. Spartan is in fighting trim paired with Opus. Matching Spartan’s skill with transparency to Opus’ ability to disappear behind the music, gives an experience you can easily lose yourself in. The realism on display here is staggering.

For that bassier sound, I recommend the Cayin i5. It’s no slouch in detail-retrieval, but that’s not its focus. Warmth and mad musicality is. i5’s lows are enormous, imbuing the music with dynamism, and deep, rich overtones. It’s certainly the “fun” DAP in my collection, when I just want ungodly power to flow over me. Spartan is an interesting monitor for Cayin, since it brings out tons of clarity I don’t often hear from this DAP. And i5 kicks Spartan’s bass driver into over-gear, making it hit like a villain. Soundstage is good, but not as good as with my other sources. Again, the i5>Spartan isn’t about technical prowess, but supreme happy-times.

If your sense of fun lies in crystalline transparency, and high-res at an affordable price, the Opus#1 is my choice. It’s the best-sounding player I’ve heard under $600, and you can get it for almost half that! It’s less warm than the Opus#2, and much less warm than the i5. Of my DAPs, it has a marginally thinner sound, but **** me does it sound clear and detailed, with dynamics for days. There is also a refined, smooth quality. So no digititis. Spartan sounds like a true reference, detail monster. Yet even with Opus’ extra treble energy, this IEM never becomes fatiguing. Together they make a heavenly melody.

We’re at the end now. If you aren’t intrigued by the Spartan IV at this point, I question your credentials. What are you doing here? Empire Ears has forged a beast in this IEM, and then tamed that beast into the perfect companion, one that will not bite or growl… unless you ask it to. Control and discipline. It’s capable of everything, but makes no assumptions. Spartan is tuned for naturalness, better than almost anything I’ve heard. It defies preference, seducing you against your will. And I love it for that!

-~::Pinky_Powers::~-

~::I originally published this review on The Headphone List. Now I share it with my Head-Fi fellows.::~

::Disclaimer::
DUNU provided the DK3001 free of charge for the purpose of my honest review, for good or ill.

The DK3001 sells for $469.98 MSRP
DUNU-TopSound.com
DK3001 on Amazon

_______________________________________________________________

I could not avoid the DK3001, whether I wanted to or not. The goddamn thing came at me from all angles, like a swarm of Kamikaze fighter planes. I had to tell Nic I could not review it for him, since I’m already reviewing it for Joker. The tears he wept betrayed the reassuring utterances that he understood and would not hate me for long.

Oh, the pressures of being Pinky… how they weigh on a soul.

I consider the DK3001 a tremendous achievement. Seldom do I stumble upon a piece of gear I can love and loathe in more or less equal measure. These IEMs sound so good to my ears, all while actively trying to destroy them with razor-sharp edges. Finding a comfortable fit is like trying to seat a Shuriken in your ears; an agreeable orientation is one elusive bitch.

Without any of my usual hyperbole, understand that I’ve experienced pain. Real pain. That hardly ever happens. With all the IEMs I’ve tried, a little discomfort is usually the worst that might befall me, while fiddling with fit. But DUNU has made a nasty tool for torment here.

The number one rule of IEM design, as established by the Pinky Doctrine of 1766, states, “There must exist in the structural form of the monitor no sharp edges.”

DUNU broke the golden rule. The faceplate of the DK3001 is raised in relief by a steep slope, ending in a razor cut-off. Now, I know they imagined that was a safe place to put such a thing. It’s the faceplate, after all. Why would that touch any part of a person’s flesh?

Well, in Asia, I bet they never see this problem. But for larger Western ears, the IEM can fit deep enough into the canal the faceplate can rest at an angle DUNU did not foresee, and come in contact with a part of your ear. After about forty minutes, I’m in so much pain I can’t have ANYTHING in my ear for quite a while.



It took me a lot of trial and error, but I have found a trick that seems to work fairly well for me. First, I knew some satisfaction by using the biggest SpinFits included with the DK3001. But I also needed to add spacers, so the tips sat high on the nozzle of the IEM. While this did keep the shell far enough out of my ear to avoid touching that ridge, the sound was too hollow for my tastes. Clearly the seal was not the best, and there was leakage. But none of my other tips came close to giving me a painless experience, so I grudgingly accepted it.

However, weeks later, after ****ing around with them more, I gleaned some new insight. I had shaped the memory wire wrong. I know how to shape memory wire to make all IEMs fit their best. All, it seems, except the DK3001.

You see, most shells need to go in at a slight angle, because your ear canal is at an angle, and it fits in naturally that way. So I shape the memory wire at that angle in relation to the shell. That is wrong for the DK3001. You want this shell to go in PERFECTLY straight. The nozzle is at a strong enough angle to throw the sound down your ear in the right direction. But you want to keep that sharp ridge centered, and away from the edges of your ear.

I reshaped the memory wire to be flat with the shell, so the shell would go in flat with my ear. And vualá! I can even use my Large JVC Spiral Dots now, with no spacers!

This does not mean perfect comfort, though. There are enough problems with this design that true comfort is never going to be possible.

Another thing that’s crappy is the cable. But it’s not really crappy. Just a bit. That memory wire I talked an awful lot about is the longest you’ll ever find. It’s absurdly overdone. A good-size memory wire only needs to be half that, at the very most. The rubber sheath is heavy, and springy, and there is this foolish rubber cable-wrap permanently attached to the plug. For all that, still, it’s a decently comfortable cable, with little-to-no microphonics, that somehow avoids interfering with whatever clothes I decide to wear. Indeed I’d call this cable quite serviceable. Oh! And there’s a balanced version included! That’s a nice treat.



The DUNU DK3001 is a 4-way hybrid IEM, utilizing three Balanced Armatures for mids and treble, and a bad-ass 13mm Dynamic Driver for bass. It’s warm and smooth, with absolutely stellar air. I don’t mind telling you, I was nervous to test a DUNU, as I’d always read now bright their treble is. But the DK3001 is utterly natural, without a fatiguing note to its name.

That treble is masterfully peaked and raised over the other frequencies. Not to accentuate detail, and thus sharpness, but for air and light. The tuning is such that all this extra treble is smooth and natural, simply countering all that warmth from the lower frequencies. It’s needed to accomplish the remarkable balanced the DK3001 showcases.

Vocals possess a rich, warm fullness. But also more transparency than I expected, mingling with that treble air for a very open, clean presentation. DK3001 is not about high resolution, or aggressive details. I’m sure people will feel they lack in these areas. But sweet lord it makes up for it with the degree of naturalness… the rightness, of tone. Within the first hour of listening, straight out of the box, I was teary-eyed. I didn’t know what has happening… what part of the signature I was reacting to. I just knew I loved what I heard. Desperately loved it.



Much of that love is earned by the low-end. If you want to impress Pinky, there’s no quicker way than with killer bass. It might not be enough to sustain my enthusiasm—I do require more than that—but it’s an EXCELLENTplace to start. DUNU’s bass is breathtaking. It extends so bloody far, with monstrous impact and rumble. And yet it’s really not overshadowing anything. Nor does it seep much into the mids. That airiness is here also, giving the lows such breath and spaciousness. DK3001’s bass has a depth and maturity that sounds more like full-size open-back headphones. It’s so realistic, with a very organic decay.

Soundstage is better than average. I won’t say it’s enormous, but you certainly feel a great since of space, like listening in a large, acoustically warm hall. Height is good, but depth is difficult to determine. The reason for this is the layering and separation isn’t great. Nor is resolution very high. so instruments are a little hazy and undefined. Imaging is decent, but again, the sharpness of the elements could be better.

Comparing DUNU to the Campfire Audio Dorado ($999), and I hear much less air. The treble might sparkle more with Dorado, but there’s much less of it, making the whole presentation warmer. Light is also less, as is clarity. Dorado’s highs have a thick, sweet character I’ve come to associate with their TAEC design. It’s fun, and has its own beauty, but the DK3001 sounds airier, and more natural.

Dorado’s mids are its weakest asset. They are seriously warm, and lack clarity. A real sense of veil covers them. DK3001 is just as rich and full, but has more air and transparency. And certainly more clarity. On both IEMs the vocals come through strong, but DUNU simply gives you a cleaner render.



Bass is Dorado’s forte. It’s titanic. Until I got my hands on the DK3001, this was the best bass I’d heard. But now, I can hear how it lacks some of that air and realism that DUNU offers. Dorado’s bass is larger, and perhaps that’s its only fault here. It’s too big. DUNU holds it back just enough as to let it shine all the more. It balances everything so well that the whole signature sounds its best. Dorado doesn’t quite have that balance.

The DK3001 and Dorado share a lot in common. Soundstage width is about the same. DUNU owning greater height, and maybe a touch more depth. Imaging is more or less the same. Resolution isn’t great on either. Separation is good, but again, that resolution makes the elements a little hazy.

The greatest difference between these two, apart from the price, is ergonomics. Dorado is the most comfortable IEM I’ve ever tried, and DK3001 is the least.

Taking this over to the Noble Audio Sage ($599), and I immediately miss the dynamic driver bass of DUNU and Dorado… even though Sage has nearly the same quantity as DK3001. Now, Sage does some interesting crap with its low-frequency Balanced Armature. It has one of the most natural-sounding bass I’ve heard from a Balanced Armature, being full and deep, with slightly slower decay. But still, it’s no dynamic.

Sage’s treble is decent, but I feel it’s rolled off too early. DK3001 gives you better extension, greater air and light. Yet they share a lot in high-end tonality. Both IEMs have very clean, natural-sounding treble. Sage is not without air. In fact, it does quite well in that department. Better than Dorado. But DK3001 does beat them, handily.

Sage has very warm, smooth vocals, like DUNU. But they fall more on the side of Dorado, with a veiled, low-detail quality. DK3001 is clearer, possessing more air and transparency. They are both rich and weighty, producing lifelike timbre.

Soundstage is very much alike on all axes. As is imaging, separation and layering. These three IEMs are mediocre in resolution, and I couldn’t name a winner or loser. They’re each “meh” in this category.

Again, Sage is quite comfortable, especially with a good cable. Whereas DUNU is anything but.

Recently I came into possession of an in-ear monitor that shares DK3001’s driver configuration. Just like DUNU, it’s a 4-way, with three BA’s for the mids and highs, and a single dynamic for the lows. This earphone accomplishes all those things I love about DK3001, but also gives you world-class resolution and transparency, along with industry-leading soundstage, on all axes. And that would be the 64Audio tia Fourté. At over seven times the price, I don’t feel right about doing an in-depth comparison with DUNU. Suffice to say, it’s better at everything. That’s not a cop-out. It’s genuinely better at everything. With the exception of bass. I actually prefer the quantity of bass, particularly mid-bass, DUNU offers. Gives the music a warmer tone, which I love. Still, I thought it was interesting to see two IEMs share so much in common, and yet sit so vastly far apart in price and performance. How do they do it?!

I don’t imagine you’ll find a source that ***** with the DK3001 too much. Well-balanced tuning usually makes a monitor highly compatible with a wide variety of devices. Still, with all that treble, however smooth it may be, you could see some trouble if the source has too much upper-range energy. So be aware of that.



theBit’s Opus#2 is ever so slightly warm, with god-tier resolving power, and superb dynamics. Highs and lows are meaty and attack strong. Mids are the most natural and realistic I’ve ever heard. The DK3001 finds its soulmate here, in a DAP which exemplifies its own best virtues, and pushes it as far as it can go in those areas it struggles with, like detail-retrieval.

The Opus#1 is my favorite mid-tier DAP. It’s not as warm as #2, nor as full, but there’s more energy. Like a younger brother. Its treble, especially, owns some extra bite. But it’s not enough to turn the DK3001 from its awesomesauce ways. In fact, the Opus’ dynamic-neutral presentation gives DUNU a favorable tilt towards resolution.





Cayin i5 is not as solid a pairing for DK3001. Because this DAP renders very warm and smooth, it does nothing to aid in this IEM’s struggle with details and resolution. What Cayin does best is brute-force musicality, with super power in the bass department. The DK3001 really comes alive. It’s not the clearest or most accurate sound, but it’s a lot of fun.

If you’re on some dastardly-low budget and still want an i5-like powerhouse sound, Shanling’s M2s will gladly fulfill your needs. You lose a little refinement. A little depth. But tuning is spot on. The M2s is a tiny little player which excels at big and warm.



Well there it is. The DUNU DK3001. My ears may hate having them in, but they love what is heard when they are. Is this the masochist’s IEM? Or maybe a devious stratagem to train the populous to become masochists? But to what end? Is there a new wave of Punishment Porn on the horizon? How will this impact the economy?

I’ll need to ponder this further, and reexamine my own private appetites… see if I can’t stretch my personal boundaries.

Peace out.

-~::Pinky_Powers::~-

~::This review was first published on The Headphone List. Now I share it with my Head-Fi fellows::~

::Disclaimer::
plusSound provided the X6 free of charge for the purpose of this review, for good or ill.

The X6 T-Metal sells for $674.99 (standard 4ft length)
www.plusSoundAudio.com

_______________________________________________________________________________________

This cable first came to me as an IEM cable. There was a lot I liked about it, some things I didn’t, but overall I simply found it strange. Which is not a bad thing! Ergonomics really hurt it, and this crazy high-end wire saw little use because of that. You can see my original review here.

A few months went by and I was asking around the custom cable-makers for an upgrade cable for my Audeze LCD-2 v2 Fazor. plusSound jumped at the opportunity, but with a bizarre twist. Christian of plusSound suggested I send back that X6 T-Metal, knowing I probably didn’t use it much, based on my review. He explained how they’d lay their fat voodoo upon it, transforming the X6 into something new.

Pinky’s interest was piqued. Indeed I told Christian, for a full-size headphone, cable ergonomics is far less important than it is for IEMs. I said, “Go wild.” And they did. I could hardly wait to see the bold and terrible fruit of their dread ambition.

Behold! The Monstrosity!



It’s ****ing gorgeous, ain’t it? Absolutely dazzling! The IEM cable was only 3ft long. I needed at least 6ft to work properly with my desktop setup. So plusSound made a 3ft extension to go along. Talk about accommodating! Jesus! They took off the 2-pin IEM connectors, and the 2.5mm TRRS plug, and added Audeze-compatible mini XLRs and a full-size 4-pin XLR for the balanced output on my Audio-GD NFB-28. No Frankenstein demon here. This is the height of craftsmanship and ingenuity; a proud, handsome work to bring out the full charms of the LCD-2.



So how does it sound?

Well, first let me explain why I even wanted a new cable. I had built a really nice one from Toxic Cable’s DiY store. I used Frank’s Silver Poison conductor, which is silver plus around 1% gold. This made the LCD-2 rather dry and lean-sounding. Practically analytical in presentation. A lot of that I feel is the conductor size, being rather small at 26AWG. Not ideal for full-size headphones known for big bass. As a result, I often EQ’ed these headphones, raising the low-end by no small amount. Even then, I could sense (maybe just in my mind) a lack of body.

So I sought the opposite. I wanted a cable that would give the LCD-2 more weight and warmth than they’ve ever had. Based on what the X6 did to my IEMs, I had a feeling this would serve my needs perfectly.

plusSound’s T-Metal is an update on their old Tri-Metal. T-Metal contains six strands within each conductor. Three are Gold-Plated Copper Litz, and three are Silver Plus Gold Litz. And of course, the X6 is a build using six of those clever wires.

Right away I could hear a crap-ton more energy and heft from these Planar drivers. Also, a lot more bass! EQ is in permanent disuse. Gone is the dryness and analytical feel. The LCD-2 is wet again, practically dripping with virility. The sound is bigger and fuller.

Treble is nice and extended, with lovely twinkle, but it’s softer and less harsh. With the Silver Poison, it could get a little grating. Raising the bass helped mask that. Now, the X6 does all that for me. There remains solid air and light up top, along with that precise treble definition.

The vocals have becoming artfully lush, without sacrificing clarity and transparency. There is a tangible weight to the notes, and wondrous vibrancy. Mids are richer and more liquid than they were with the Silver Poison.

I remember when I reviewed the X6 for IEMs, the soundstage became taller by a significant leap. It’s difficult to say if that’s happening here, because these huge-ass Planar Drivers always sound so tall. It’s part of that characteristic “wall of sound” effect. What I can say is everything has become bigger, and more “alive”. The LCD-2 sounds barely contained, like’s it’s trying to break free of its leash and jump all over you.

The Silver Poison was a drastic change from the stock cable, or the balanced OCC copper I built before it. The X6 T-Metal is like a brilliant mix of the two, with added lushness, WAY more dynamics, and a flat-out bigger, more impressive sound.

And the ergonomics? **** me if I don’t love it. The weight and flexibility is just perfect for a headphone like the Audeze LCD-2.2f. There’s no real microphonics, and the X6 feels very nice draped over me. The X6 T-Metal is a king-hell awesome pairing for Audeze, and has caused me to love these headphones anew.

-~::Pinky_Powers::~-

~::I first published this review on The Headphone List. Now share it with my Head-Fi fellows::~

:: Disclaimer ::
Meze provided the 99 Neo free of charge in exchange for my honest review, for good or ill.

The Meze 99 Neo sells for $249
www.MezeAudio.com
_________________________________

I received an alert from Joker: Meze had offered The Headphone List a review unit of their newest spawn, the Neo. Did any of us care to tackle it? Quick on the draw, I was. The 99 Classics is currently my preferred portable over-ear. In fact, I wrote such a thorough, flattering review, Meze felt certain I had been part of the original tour. No Meze, I was merely doing what I do, celebrating exceptional equipment. The 99 Classics’ signature resonates perfectly with my tastes, and is one of my favorite things to listen to, at any price range. I simply adore it.

So I was eager to get my hands on their Neo variant. I expected… well, I don’t know what I expected. On paper, it seemed like Neo was nothing more than a plastic-cupped version of the 99C. But I don’t know of any headphone company which does that. When a manufacturer releases a new unit, and gives it a new name, they almost always retune the thing, if for no other reason than to appeal to a new segment. The broader the range of flavor on offer, the broader the potential customer base.

I just didn’t know what the Neo would be. It could go either way.

Everything about the Neo proclaims its new flavor. It isn’t Rocky Road to the 99C’s Neapolitan. Nothing so extreme. Rather, it’s Double Fudge Brownie to 99C’s old-school chocolate. Richer, chewier, and more adolescent.

You can see this even in the carry case. Meze didn’t have to redesign the case. Why would they? But they did it anyway, as a statement: Neo is not Classic. The case is neither better nor worse than the old one. It’s just different. Both are beautifully crafted and a great way to carry these phones about.

The cable has been redesigned. Though, I think that is for the whole 99 line, not just Neo. The lower-portion of the cable is still covered in a nice cloth, but now, after the Y-split, the cord is sheathed in rubber. I think this is meant to reduce microphonic vibrations. Whatever the reason, the cable was well-made before, and it’s well-made now.

Just as the 99 Classics before it, the Neo is highly comfortable. The clamp force holds them secure, and the pads keep things soft and easy. I have no trouble wearing them for long hours at a time. Due to the plastic cups, Neo is a touch lighter, and will prove even friendlier for those long listening sessions.

Neo is using new pads. When the 99 Classics first released, they had small pads, which garnered more complaints across the web than anything else… by far. So Meze released new pads to go on their next batch. I have those larger pads, they came with my 99C. Yet Neo’s pads are bigger still. They’re wider, and deeper.

Certainly, these new pads play a role in what I hear. How much of a role, is hard to say, so we shall take on this challenge now.


Let’s not mince words here. The Meze 99 Neo is warm and profoundly bassy. Folk complain about the Classics’ low-end being too exaggerated. Well, crap just got real. The bass dominates everything else about these headphones. Fortunately, the lows are possessed of lovely tonality. There is a textured, chasmal feel about them. It’s huge, it’s thick, and it colors every goddamn thing.

Things like the vocals. I would never have called the mids on the 99C “lush”. But they’ve crossed that line with Neo. They aren’t as clear and vibrant anymore. They are thick, extremely smooth, and mighty warm. Yet there is still more than enough detail and articulation to paint a lifelike image. If you’re a fan of the HD650, you may fall in love with Neo’s vocals. They are a deep, soothing bowl of oatmeal on a cold day.


After some proper burn-in, the highs have finally come out to play. I no longer believe they’re rolled off, which was my first impression. Indeed, Neo has some lovely sparkle up top, with delightful extension. It’s not quite on the same level as the 99C, but close. I cannot express how paramount this is for Pinky’s enjoyment of these cans. Not because I’m a Treblehead, but rather that indomitable bass threatens to choke the whole presentation, and the treble brings a much-needed balance. It lets in the sun and the air, clearing out some of the stuffiness.

Blessedly, Neo is just as capable in the soundstage as the 99C, being one of the widest and deepest closed-back headphones on the market. Ok, it might have taken a little hit, but not much. These things create a grand sense of space. Instruments are well defined and positioned with good accuracy. Resolution is above average, but not jaw-dropping. What impresses me is how much air and layering there is, given the heavy-handed sub frequencies.

Even though most of this review has been a comparison to the 99 Classics, let’s take a paragraph to condense the differences.

The Meze 99 Classics are clearer. Greater detail comes through. The treble glistens more, giving superior air to the stage. Things don’t sound so excessively thick, as the bass is not trouncing over everything else. Instead of lush, the vocals are transparent and realistic. The soundstage is a hair bigger, though both are excellent.

I have marked a few physical differences, which might account for some of the disparity, beyond the wood/plastic of it all.


The earpads are deeper, and wider on the Neo. And as I mentioned earlier, I already have the improved 99C pads.


While my 99C does not have a damper glued to the front of the driver, it does have thicker material in the pads themselves, which should have much the same effect.

What does it all mean? *** if I know. Meze changed so much it’s hard to track. The bottom line is these two headphones don’t sound the same.

AudioQuest’s NightOwls are nearly three times as much as Neo. But since I don’t have many closed-back headphones, and I’ve really been crushing on these lately, why not do a comparison?

The NOs are cleaner. More liquid. That low-distortion AQ advertises is indeed audible. It’s weird how little grain or blemishes come through. The bass goes into the deepest registers, and can just hold it there, without pounding or booming. Its sub-bass doesn’t sound like drivers generate it, but rather like it simply exists. It’s the most natural low-end I’ve heard outside of the LCD-2. And it’s not too exaggerated, either. More like the 99C instead of Neo.

Those lows don’t bleed, either. While the vocals have a lush flavor, they are brilliantly detailed and clear. You get superior separation and layering than either Meze can manage. A level of refinement is conveyed by the NightOwl which elevates it beyond lesser options. Sweet Jesus, these are an elegant set of transducers.

Even after something like 60-70 hours of burn-in, NO’s treble is not as shimmery as Neo. It takes a little time to adjust to the darker tone. Once you do, the highs show themselves to be well-extended, soft as silk, and without any unnatural peaks. They remind me of the 64Audio U12 in this aspect. You have to sacrifice a little bit of brightness for the magic. If you can accept that, you get to enjoy a special treasure.

Soundstage is grander on all levels. Imaging and resolution don’t get much better than this. As one might infer from the price, NightOwl is on another level.

One of the best comparisons to make is the Sennheiser/Massdrop HD6XX (Special edition of the HD650). Neo has more bass, by a not-insignificant gap, yet the tuning has the same warm/lush quality. In spite of one being open-back, and the other closed, they feel cut from the same cloth. The lows on the HD650 are tighter, with superior texture. Meze goes deeper, though, with real sub-bass. Neo’s treble possesses more bite, whereas HD6XX is an easy, laid-back listen. The mids are alike in so many ways, with detail, prominence, and clarity awfully close. I may have to give it to Neo for soundstage, whereas imaging and separation are of a higher quality on the Senn.

Due to the open nature of the HD6XX, and its balance, you get a sense Sennheiser is a friend who loves you. Neo, on the other hand, is constantly kicking you in the stomach with bass, and flicking your nipples with treble. Only you will know which excites you more. I judge not.

Because of the Neo’s propensity for bass and warmth, I recommend a player that is as neutral as possible, or at least one that does well in the treble and has strong, clear mids.


My Opus#2 makes a great pairing with Neo. On its own, the Opus#2 is just slightly on the warm side. But it has outstanding dynamics and treble presence. There is tremendous body to the notes, and WAY more driving power than you’d ever need for the new Mezes. It’s also the widest sounding DAP I’ve heard, so Neo gets to stretch out to its fullest. You won’t easily find a smoother, more natural renderer than Opus#2, which gives Neo all the ingredients to become its best self. It’s very hard not to fall for these headphones when plugged into this music player.

Cayin’s i5 is a rather warm, thick DAP, with extreme bass presence. While it’s not a disaster for Neo, it does take it even further in the direction I’m trying to avoid. Nonetheless, I found myself digging this pairing. There’s something about rich, powerful musicality that defies prejudice. Is it my favorite signature? No. But I can’t deny it has its charms. And an ample supply, at that.


The Opus#1 is my choice for best mid-fi audio player. With Neo, it brings in more air, giving a better sense of space and separation. The highs are nice and glistening, the mids are more vivid, and there’s solid kick down low. The Opus#1 is amazingly neutral, without ever being cold or analytical. It’s the best version of neutral, where everything shines, due to exquisite dynamism. I’ve said it before, this DAP brings out the best in every headphone, no matter the profile, and Neo is no exception. Opus does an admirable job balancing this bottom-heavy gorilla.

The new Cayin N3 is currently in my possession for testing. It’s only seen around twenty hours of burn-in. So much might change as the days roll by. Right now, however, it gives Neo a thin, weak sound. Warm, but not much going on at either end of the spectrum. It’s quite lifeless right now, with a tiny, boxed-in stage. Let us hope the N3 will open up with time.


Even my pathetic Galaxy S6 gave Neo a FAR better spring in its step. Together they sound… okay. Get well-loud. Plenty of energy. But, this is not a great smartphone for audio quality. I suggest you choose a different one, or better yet, a nice DAP.

So that’s the Meze 99 Neo. Pinky is fond of these headphones. They are a terribly fun listen. Too much bass! For sure! Give me the 99C any day of the week. Yet Neo is decidedly sweet nonetheless, and knows how to delight a fellow. There’s no way around it, Neo’s got the goods. Coming from Meze, I’d expect nothing less.

-~::Pinky_Powers::~-