EarSonics ONYX

EarSonics Store – Purchase ONYX

A Little Technical Stuff:

Specs

• Sensitivity: 122 dB / mW
• Frequency response: 10 Hz -20 kHz
• DCR: 16,5 ohms
• Driver: 4 drivers(DD/BA) 1X dynamic bass, 2X balanced medium, 1X balanced treble with 3-way HQ impedance corrector

-MRSP: Universal fit 590 euros(inside EU incl. VAT)/490 euros(Outside EU no VAT)

EarSonics is a French company that came into existence in 2005. The company originator is Franck Lopez, a bass player. The SM 64 was one of the first upper-tier monitors that lured me into this audio rabbit hole. Between Westone UM3X and EarSonics SM 64, I cycled through a few models of IEMs between these two companies as I discovered the hobby many moons ago.

Please look at my Head-Fi profile to see all of the IEMs I have owned from EarSonics as they are too numerous to list.

I wish for simpler times in this hobby again where spending $350-$500 was elite class. Unfortunately, some of the IEMs I owned are pushing the limits of $7000. I remember purchasing JH Audio Layla and sweating as I hit the “complete purchase” button. Now the Layla pricing is refreshing.

The return to value and quality with an IEM like ONYX is refreshing.

Companies such as EarSonics spend money developing new technology, whether in build quality or sound technology, which is good for the hobby.



Unfortunately, as the ChiFi market grows, many companies that have been on the edge of R&D like EarSonics feel the pinch.

ChiFi puts a lovely façade on their product and sells it cheaper because they didn’t need to spend money on R&D, as other companies have already done. Not to mention the labor costs are very low relative to other countries.

The last EarSonics review I penned was for the Grace Platinum, their TOTL release. I like the Grace Platinum a lot, and you can read that review here; Grace Platinum.

I will also reference the EarSonics Stark during this review, and that review is here EarSonics Stark.

I was aware that the ONYX was in development for quite a while. However, like the other reviewers, I was not informed of any details, specs, or otherwise.

Similarly, I have been part of a blind review when Custom Art invited 10 of the “best reviewers” worldwide to participate. I know all of the reviewers during that blind review were surprised when they revealed the specs. This review has the same results; the specs and price points are the biggest surprises.

EarSonics involved a more representative cross-section of consumers in this blind review, not just the regular reviewers or fans of the brand.

I feel this type of review is a good idea. It eliminates bias toward the specs and pricing tier.

Once I saw the ONYX, its build and design were familiar and reminiscent of the EarSonics build over the last couple of years.

I was hoping for a sound signature between the Stark and the Grace, and ONYX delivered on that hope.

The Stark was a bass showcase release; it is evident that bass is its focus. At the same time, the ONYX has stellar bass quality with more forward upper mids and inoffensive treble. The Grace was more detailed than ONYX, but Grace Platinum can have an upper mid focus which can be more fatiguing for longer listens.

A Little Marketing Hype from their site, grammar aside:



GENESIS

The Onyx concept is born in the confinement context.

The team of enthusiasts engineers in charge of its development wondered what could be the best earphone that would meet the current requirement of audiophile public.

What started out as a concept turned into a real project.

The ONYX was born.

PROJECT

This team of passionated, the heart of the ONYX project, designed it based on the knowledge and know-how used in the Earsonics laboratories.

After several months of work, the first plans for the ONYX were here and with them the beginnings of an exceptional earphone.

To develop the ONYX, using the best materials was the leitmotif of the team.

A HEART AFFAIR.

When developing it, the engineering team used the best.

Thus, the ONYX is based, among other things, on the latest generation of 3D acrylic core used for the ONYX Platinum, Earsonics flagship.

A QUESTION OF ANGLE

The specific inclination of the ONYX body and cannula is the result of many years of research guaranteeing a comfortable fit and better insulation.



2 PINS CONNECTION

The use of "2 pins" is still today the safest and most efficient method to connect your in-ear headphones to their cable.

MANUFACTURING

Entirely handcrafted in our laboratories, the ONYX is designed to offer the highest level of quality at an unbeatable price in its range of high fidelity headphones.

This result underlines the commitment of the engineers on this project to satisfy the most demanding audiophiles.

SOUND

Through an approach aimed by a new sound bias, the ONYX is a 100% exclusive earphone with the dynamism, precision and balance primary characteristics.

DYNAMISM

At all sound volume ranges, you benefit from the entire sound spectrum thanks to the ONYX's ability to transcribe the dynamics. Its extension in the bass and the depth of the sound field also contribute to this dynamic presentation of the ONYX.

PRECISION

Rigorous care has been taken in the sound filtering of the ONYX. Its electronic circuit resulting from professional sound processing technologies, executes the information with precision and optimal control of the phase before feeding the transducers which deliver the sound.

BALANCE

Thanks to a skilful proportioning in the sound processing, the ONYX maintains a perfect balance and a faithful transcription of the timbres at all listening volumes.

AN EASY-TO-DRIVE MODEL.

This is the conclusion given by our engineers: its sensitivity-impedance couple allows the ONYX to work with all audio peripherals (sedentary DAC, DAP, walkmans, mobiles, etc.).

SOUND SIGNATURE.

The ONYX proved to be able to maintain balance and sonic rigor at high listening levels during our various tests. Triggering emotions, its signature designed in collaboration with Earsonics ensures a unique rendering.

WHAT’S IN THE BOX:

Included:

• ONYX with is 4C-HR cable
• 1 Cleaning Tool.
• 2 pairs of Comply tips of different sizes.
• 2 pairs of silicon mono flange tips of various sizes.
• 2 pairs of silicon bi-flange tips of different sizes.
• 1 carrying case made from EarSonics.
• 1 User manual.

Unboxing and Accessories:



The ONYX arrives in a black box; ONYX colored, to be more precise, with the ES name and initials in the lower right corner. Once you flip open the lid, you see the monitors and the standard EarSonics zippered carry case. There is also a cardboard sleeve apparent in the box.

EarSonics carry cases are the best portable carry solution for my usage. I have used them for years to transport my IEMs when traveling for work or even just for storage, so simple yet convenient.



Once you open the zippered case, the ONYX greets you. Already cabled with a 2-pin non-balanced HR 4C Silver cable and a business-style card with the individual's name that handcrafted the IEM. A balanced cable would be a nice inclusion. However, I understand entirely that this would increase the price. Offering a bundle discount to include both cables might be a suggestion.



Inside the cardboard sleeve are the cleaning tool and the various eartips. I find it challenging to start criticizing EarSonics for the quality of the cable because I complained for years about them using the Plastics One cable. I am glad they have upgraded the offering, but it feels like a cheaply made upgrade.

Also, the ear tip offering is scant. Certainly could be more included.



I have learned through trial and error that I cannot ever achieve a solid seal with EarSonics stock tips and always reach for the Final E style tips. They always provide me with excellent seal and sound quality for EarSonics. The limited options of included ear tips are no big deal to me, but it might be to someone that doesn’t have a selection of tips at home.

Build Quality and Fit:

ONYX feels like the build could withstand a military attack, solid. That said, with the solid form comes additional weight. As a result, it is a heavy IEM.

The ONYX is well-built like the last 3 to 4 releases for EarSonics, with a metal outer shell. However, as I said, the excellent build and what feels to be a durable IEM has a downside; its weight might annoy you. The weight isn’t a deal-breaker, but I find myself fiddling with these while in my ear.



Size-wise, if you have small ears, there could be some fit issues. However, I have large earholes, and the ONYX does not give me any problems, except for weight. The shape of the monitor seems to work well.

The sound signature is so addictive that the slight trade-off of an occasional in-ear adjustment is worth it.

Review Setup:

I paired the ONYX with the Astell & Kern SP2Kt on Hybrid mode. If interested in the SP2Kt, I did a drive-by(mini-review) of the SP2Kt here Sp2000t.

Cable-wise, I listened using the stock 3.5mm cable and the EA EVO with a 4.4mm balanced plug. When using the EVO cable, the dynamics of the sound are improved. One of the most notable improvements is that the already stellar staging is even more defined. In addition, the ONYX sounds more dynamically charged on all fronts than with the stock cable. I am not reviewing the EVO cable; I only wanted to mention it.



My sample music consisted of 320kb, FLAC, 24bit, and streaming Tidal and Amazon Music HD.

For eartips, I found that the Final E tips gave me the best sound quality.

Moving on to the sound section….

It would be bold and capable if I were to characterize ONYX in a few words. The ONYX is a little bit of a marriage between the Grace Platinum and the Stark. The resolution and air separate it from the Stark, and the bass quantity separates it from the Grace Platinum.

ONYX is meaty, robust, and capable of providing enjoyment when listening to all genres of music.

Staging and imaging strike above similarly priced IEMs. It is not a super-wide stage, but it is wider than a square, with the depth providing a better impression than its width. It is not holographic, but the depth is apparent. I wouldn’t expect a holographic listen at this price point. However, it is certainly not the most intimate and closed-in IEM I have heard. The accuracy in its staging is also very impressive given the price. Realism without an exaggerated stage is how I would summarize.



ONYX is bass bold, like the Stark, but different. The bass quality is better in the ONYX, and the overall signature has much more air. ONYX’s tuning allows for plenty of bass quantity while respecting the rest of the signature; this results from excellent sound engineering.

The bass has a snappier decay, so the notes don’t linger as long as they do with the Stark. Less decay allows for more resolution and enables you to distinguish the layers in the bass frequencies.

Mid-bass is clean, precise, and does not interfere with the mid-range. Although I am trying to draw on my memory bank to recall a better-sounding mid-bass, the ONYX has to be one of the best. The control relative to other bass-focused IEMs is spectacular.

The Empire Ears fabled Legend X is an IEM that comes to mind when listening to the ONYX. The ONYX and X share some bass characteristics. Slamming DD bass is on the menu for both. Both the X and the ONYX have an immersive feel. However, I may say the ONYX has less bloom and slightly more definition in its bass and a better presence in the upper mid and lower treble frequency. ONYX has an overall airier feel when listening.



When you know that the owner of EarSonics, Franck, is a bassist himself, it connects the dots as to the focus toward quality and quantity bass in ONYX. Very well done!

The mid-range provides an excellent portrayal of vocals. That was one area that immediately stood out to me when I was critical and pleasure listening. The lower mids showcase male vocals, and the upper mids female. Next to the bass, vocals are the star of the show.

I do hear some lift in the upper mids, but nowhere near the level of Grace Platinum; it is more of a gradual rise. I read criticism of some of today's more upper mid-focused IEMs as too forward or too sharp and fatiguing. However, while there is presence in that range, I do not find it offensive, but rather assisting in balancing what could be a bassy signature. Likewise, the mids create a balanced listen.

Details are present, but nothing fatiguing. However, suppose you are into micro details. In that case, you may wish to look in another direction because that is not the strong suit of the ONYX.

To characterize the treble, one would have to say it is smooth with average extension. There is no harshness, no sharp tones, and good extension relative to the coherency of the signature. Again, you will not hear much twinkling to the fringe, but to repeat, it adds balance to the full signature.

The treble does roll-off, but it is my preferred signature. There is less sparkle than Grace Platinum more than Stark or Legend X. If bright treble is your thing, there is probably not enough treble presence for you. It is essential when pleasure listening to take in the entire ambiance and not focus on one frequency.

The treble is satisfying in my pleasure listening sessions and is undoubtedly a part of forming one excellent coherent package.

You might want to own this IEM if:

+ You want excellent bass, both in quality and quantity

+ You prefer a smooth, balanced, non-offensive treble

+ You prefer a sound that is bold and capable

+ You like a coherent stage with an incredible portrayal of vocals

In Closing

It is undoubtedly an honor and a pleasure to be part of the review group. The ONYX is one fantastic listen. In this closing, I am fighting not to overuse the phrase strike above its price point, but that is what the ONYX does.

The price inclusive of VAT for purchase within EU is 590 euros and without VAT 490 euros outside EU. I know it can be confusing to see prices quoted in some reviews, but this is the discrepancy in pricing.

There are a few comparisons to other IEMs sprinkled throughout the review. However, everything compared to ONYX costs quite a bit more. Knowing I am comparing ONYX to much higher-priced IEMs should speak for itself.



The bass is near the top of the list of the IEMs, both in quality and quantity. Of course, I am biased towards DD bass, but in the ONYX, the execution of DD bass is top-notch.

ONYX staging is accurate, and the Onyx strikes above its price point in this area. Using the Snarky Puppy Live From Richmond, a concert I attended, as my validation tool.

The treble is smooth, it is not the most sparkly treble, but the treble does blend very well with the full signature. However, this IEM probably won’t please you if you are a treble head.

One concern you can encounter with hybrid (multi-driver type) designs can be coherency. I can assure you there are no coherency issues with the ONYX.

I found this IEM to work well with all genres of music. For example, the speed and decay of the bass work well with jazz, and the quantity sometimes makes bass lighter genres such as classic rock sound spectacular.

The build quality is impeccable. Sturdy and durable but can be heavy in the ear. Whether the added weight gives you concern will be personal.

In closing, the ONYX is a homerun. Its sound and price captivate. When I listen for pleasure, my two current go-to’s are the Empire Ears EVO and the ONYX.

EarSonics Grace Platinum

EarSonics Store – Direct link to purchase

A Little Technical Stuff:

Specs

• Sensitivity: 119 dB / mW
• Frequency response: 10 Hz -20 kHz
• DCR: 26.6 ohms
• Driver: 20 drivers with 3-way HQ filter with impedance corrector
• Weight: 336 g
• Furnished Cables: HR 8C cable(symmetrical) 4.4mm & HR 4C cable (silver
• Adapter: 6.35 jack adapter
• Packaging: Brushed platinum color carry case 18.6cm x 5cm x 14.5cm

-MRSP: Universal fit 1899 euros

EarSonics, a French company that came into existence in 2005. It was started by Franck Lopez, who himself is a musician, a bass player. I wrote a comprehensive review of the original Grace HD, the OG Grace. I am providing the link because it contains company history and more fluffy info Earsonics Grace HD. After spending a few days with the Grace Platinum, the differences in sound between the OG and this new release are evident. This review can be combined with the first Grace review. I plan to highlight the differences between the original and 2.0 so please refer to the first review as well. I will also include excerpts from the original review to highlight differences.

A Little Marketing Hype from their site:

Grace Platinum represents the best of Earsonics. It is the culmination of our range, designed and assembled in our laboratories by hand in France.

Based on the extraordinary electronics of the Grace HR, the Grace platinum goes one step further in transcribing sound and details.

It dress has also been completely revised with the addition of high-quality components.

The Grace Platinum's 20 drivers allow it to deliver high acoustic performance over a wide bandwidth ranging from 10Hz to 20 KHz.

It 3-way impedance corrected HQ filter is capable of reproducing extremely faithful sound rich in details

20 balanced armature drivers, including 4 specific to vents, specially designed for Earsonics.

A zinc and magnesium alloy shell covered with an exclusive platinum foil.

Acrylic Heart ® technology offering sound rigor and phase control.

TrueWave ® technology allowing optimum work on phase control and a top quality "magnitude"curve.




WHAT’S IN THE BOX:

Included:

• The GRACE Platinum
• HR 8C cable (symmetrical) 4.4mm
• HR 4C cable (silver)
• 2 pairs of memory foam tips of different sizes
• 2 pairs of mono flange silicone tips of different sizes
• 2 pairs of bi-flange silicone tips of different sizes
• 1 cleaning tool
• 2 disinfectant wipes
• 35 jack adapter
• Carry case
• Manual

Unboxing and Accessories:

The box was adorned with a Platinum colored sleeve surrounding a black box with the ES initials in the lower right corner. Once you flip open the lid, there is a thank you note, in French, from Franck Lopez the CEO. Above the note are two circular windows which showcase the Grace Platinum monitors.

Laid out in a foam tray beneath the Thank you note are the accessories. The packaging has been almost identical since the EM10. All of the inclusions are listed above, but I would like to point out that there are two cables included, one balanced, the other not. I had mentioned in previous reviews a wish would be for EarSonics to include upgraded cables and VOILA! A win for the non-cable rollers out there.








Build Quality and Fit:

I am not going to belabor this. The Grace Platinum is built like a tank. It is a heavy IEM. The IEM is made with a zinc and magnesium alloy shell covered with an exclusive platinum foil. Along with the added weight the Grace also gives you the feeling that they are indestructible. Like the last 2-3 releases for EarSonics, the Grace is well-built, with a metal outer shell. I like the direction and applaud them for building them as if they could stand the test of time.





Size-wise, if you have small ears there could potentially be some fit issues. I have large earholes and the Grace does not give me any issues. That said, their weight does cause me to occasionally push them back into my ear as they seem to work their way out of a deep insertion.

I can only imagine that building these by hand is a labor of love from the EarSonics team. They feature an acrylic heart shrouded by this metal facade. Each monitor has vented shells and utilizes True Wave ® technology which allows for phase control and a top-quality Magnitude curve.

Review Setup:

The review was written utilizing the Astell & Kern SP2Kt, which I did a drive-by of here Sp2000t. I listened using the stock cables, primarily the 4.4mm balanced cable My sample music consisted of 320kb, FLAC, 24bit as well as streaming Tidal and Amazon Music HD.

For eartips, I found that the Final E tips and the Spinfit CP360 gave me the best sound quality. The only comment I want to make about tips is if your Final tips are older and have some use, be prepared to fish them out of your ears upon removal of the IEM. The CP360 stayed in place. Tips do make a substantial difference in the case of the Grace Platinum. I have found it is not only about bore diameter it also depends on the composition of the tip. Experiment to find the sq you want.



Moving on to the sound section….

For the sound portion of the review, I will show the previous review portions in normal font and write any new, additional thoughts I had beneath in blue.

If I were to characterize Grace in a couple of words, it would be balance and tone. The Grace is most certainly a departure from the bass bold, animated, house signature of EarSonics past.

I feel the overall signature is still relatively balanced but I am hearing some more forward tuning particularly in the mid-range and the upper mids more specifically.

The bass of the Grace is satisfying in all of its technical glory. You will not find a ton of quantity in the bass but what you will find is adept and offers a clean, non-muddy bass. The sub-bass is not the fullest, but as the bass frequencies head north, there is a pervasiveness to the bass. To my ears, it sounds stronger in the midbass. There is not much in the way of any coloration to the bass, it is natural, but what minimal color is there creates a bit more engaging personality in the Grace. It does not extend incredibly far south, but it is designed to be a quality vs. quantity type of listen.

This still holds and knowing Franck, the CEO of EarSonics, is a bassist it makes sense. I love the quality of the Grace Platinum’s bass, BA or not.



This is not DD bass. I feel that the DD driver bass adds a bit more snap and fun, for the most part, but what Grace brings to the table is technical, clarity in the bass transitions, and allows the listener to decipher the differences between the bass ranges easily. Do not expect a tooth-rattling rumble because that isn’t what the Grace is designed to do, partly due to the nature of the BA and partly due to tuning. It is a quick bass without any lingering notes, so the decay is perfect.

Check! Natural and realistic bass appears to be the standard now with EarSonics in their TOTL Audiophile offerings.

Any more bottom floor to the bass would more than likely create a blanket of bass that interfered with its technical ability to perform as bass aficionados would expect. Balance is alive and well in the Grace, and the bass clarity has a melodic tone. It is captivating and fun to listen to.

It is a natural-sounding bass with realistic tonality. There is some heft to the bass and think EarSonics walked on the edge without sticking their toe across the line. Again, I feel if there was any more quantity to the bass it could have had a negative effect on the total signature.

The mids are perfectly balanced with the upper bass region and create a seamless transition. The mids do not steal the show. None of the frequencies take the spotlight, it is shared, as it should be in a balanced signature IEM. In all genres of music, the Grace excelled. Female vocals are correctly placed in the presentation and stage. My preference was female vocals during listening sessions, quite an experience.

Mid-range is one area I need to reflect on from my OG Grace experience because I feel this is the area of the most change in the 2.0 Grace.

Listening to Cecile McLorin Salvant, Thunderclouds, her breaths at the mic are so sensual and seductive. Female vocals are front and center but so natural sounding. I like a little forwardness in female vocals as long they don’t hit the eardrums as sharp.

To my ears, the mids have received a touch of a tuning revisit in the upper mid-section. Grace Platinum has more air than the original. Increased detail and air are very much welcomed. OG Grace had more air and a sense of space relative to the EM10(custom) which shared its DNA, and EarSonics upped the game again with the Platinum. This difference in the upper mids is because of new filtering and increased. Because of these enhancements there is more sparkle and transparency when comparing it to the original Grace.

The timbre of instruments is mesmerizing there is an ambiance to everything Grace offers. There is transparency and air between the notes, which is one of the most significant tuning differences when compared to the EM10. The EM 10 sounds a bit more in the head, and closed, whereas the Grace has a more open and airy sound. I feel the air not only adds to the stage width and depth but also the emotion behind the music. The upper mids in the Grace have a beautiful tone, and if fullness exists, it is in this frequency.

I would only change that it is more of a forwardness in the upper-mids as opposed to a fullness.

The stage is wide and deep with extension to the furthest ends. I am not a Dave Matthews fan, but his music is very involved with lots of instruments and sounds coming at you from all directions. I like to test an IEM’s ability to provide ample air and stage using Dave Matthews music, and I am happy to say that the Grace reproduced the tunes wonderfully.

The stage is spot on and it is a rather wide rectangle stretching out on the fringe. There is not as much width in staging but there is some. The staging is spot on and accurate. Critically listening to a Snarky Puppy show that I attended I can tell you the instrument placement is accurate. Great job with the stage and tuning of Platinum’s mid-range.

The treble is smooth and never offensive and finalizes the balancing act that is the Grace. I am not a fan of bright or trebly sounding IEM’s, and the smoothness of the Grace suits me perfectly well in this regard. I think this aids in the versatility of being able to adapt to all genres of music.

The treble does sparkle but it is rather smooth, but not smeared. It is distinct and cymbals have a natural shimmer and decay. Lady Gaga’s voice takes you to the edge in the Tony Bennett duet, “I’ve got you under my skin”. What I noticed is that there is a definition to instruments that are sharing the range with her voice but the treble clarity allows for total distinction between her vocals and instruments.

The treble is nimble and features clarity and sparkle without ever being fatiguing. The treble blends so well with the entire balance of the signature. It indeed is nice to hear such nice amounts of definition while maintaining the velvety serenity of the tone. It is a different type of listen, without any of the signature outshining the other. The treble rounds out and completes the package.

The addition to the above statement is that the mids are more forward so they garner a bit more of the attention than they did in the original Grace.

Overall, the sound is balanced and defined with transparency, clarity. Details and layering are particularly noticeable in the quality of bass and mids.

Jazz, Rock, EDM, Vocal, Acoustic, everything I threw at it, never changed its delivery, all with a smooth tone and emotion to the music.

The Platinum is even more emotive than the original Grace.

You might want to own this IEM if:

+ You want a perfect tone and organic timbre to instruments

+ You prefer a smooth, balanced, non-offensive signature

+ You prefer a sound that is full of emotion and excels at long listening sessions

+ You are sensitive to treble peaks and sibilance as this is super smooth

+ You like a coherent stage with sexy female vocals



In Closing

It is difficult to review an IEM a second time, especially when your feelings go into the review are that the changes are going to be strictly cosmetic. At least that is what I thought I was going to encounter. Grace Platinum is an all BA IEM that deserves attention and a listen. There has been additional mojo applied to the filtering and tuning and it is evident when compared to the original Grace HD.

I have lost count as to the number of EarSonics I have owned. Subjectively, the brand just matures with each release. I liked the old-school EarSonics and love the new generation.

The bass is perfect for a BA IEM and shows off its prowess with its natural tone and transparency. Franck should be proud because, rooted deep in his musical abilities is a bass lover at heart, and it shows in Platinum just as it did in the Grace HD.

Overall, the tonality and realism of instruments are the strongest abilities that the Platinum holds. Whether it is the bass, mids, or treble it is very evident that a musician had a part in the tuning. Emotive listening sessions are what you are in store for you. Each time I write a review I am listening to the gear I am reviewing, and I continued to be impressed with Platinum as I am writing.

At 1899 euros, roughly $2100, Platinum is still expensive but relative to TOTL prices exceeding $6000 in some cases, the Grace Platinum appears to be very fairly priced.

Grace Platinum is a TOTL offering that is fully BA and holds its and bests most of the other 10 driver configurations I have heard.

Also, the build quality is solid and built for the long haul, but with their durability comes added weight and size. The pack-ins and unboxing experience are average but the addition of two cables is welcomed, especially since EarSonics ditched the Plastics1 mentality.

All of my thoughts regarding the Platinum are mine and subjective. If you are afforded the opportunity, give the Grace Platinum a listen. I hope this is one IEM that won’t fly under the radar and receives the attention it deserves.

Denon AH-D9200

D9200

A Little Technical Stuff:

Specs



MRSP: Circumaural (over-ear) $1599.00 I purchased mine through a vendor on Amazon and at the time of writing they were sold-out. The D9200 is also sold-out on the Denon website.

I posted this on Audio Rabbit Hole a few days ago and wanted to share it on Head-Fi

I did not plan to complete a review on the Denon AH-D9200. I have other items that I must review, and time is a premium, so these were a purchase for solely my enjoyment. After owning the D9200 for a month, I decided I would write about these beautiful headphones to bring them to the fore-front and possibly make them a consideration for your next purchase, thus the Denon AH-D9200 review.

Generally, I try to keep at least one upper-tier headphone in my stable. Since I am focused on this hobby’s portable aspect, it takes time to research to find the best synergy in HP and portable source pairings. A hp that I can drive to maximum enjoyment with mobile gear. Keep in mind my portable equipment is of the higher-powered variety, but none the less, portable.

The D9200 is growing on me every day and gets better and better with each listening session. Indeed, it is an HP flying under the radar. For $1600, it is worth trying before spending more on higher-priced offerings. I cannot see myself letting these go anytime soon.

A couple of my most recent high-end headphones have included the Focal Stellia and the ZMF Verite Closed. Both of these HP’s, considered to best in the class of the closed-back variety. Both hold their own and perform wonderfully. Meanwhile, the Denon AH-D9200 is rarely included in the talks with the gear mentioned above. Sadly, it appears to be more of a niche purchase and undiscovered. Many folks are missing out on one of the most refined and untarnished tunings I have encountered.

I wish I still owned the Stellia along with the upgraded Arctic Cables silver cable, not because the D9200 is lacking, but because I would like to compare the two. It would require me to look at notes to compare, so it wouldn’t be fair to comment with any depth without currently owning the Stellia. I no longer hold the Verite Closed either, but while the Verite Closed was no slouch, it didn’t offer the Stellia dynamics with the same Arctic silver cable during my A/B sessions.

My initial thoughts were posted here Denon D9200 Initial Thoughts

A Little Marketing Hype word by word from their site:





Top-shelf headphones, hand-crafted by audio experts

Denon made their name in home theater and A/V receivers, but they’ve been crushing it with headphones the last few years. I auditioned their new flagship AH-D9200 headphones, and right out of the box you can tell how seriously this company takes personal audio. These premium over-ears are meticulously assembled by hand at the company’s Shirakawa facility in Japan — notice the striking bamboo earcups, strong aluminum frame, and plush leather earpads.

Denon has customized their famous “FreeEdge” headphone drivers, specifically to perform their best within the bamboo earcups. The AH-D9200 have the most spacious presentation I’ve heard from a pair of Denon headphones. They deliver a resolving sound with deep, controlled sub-bass.

Beautifully sculpted and finished earcups

Take a look at the images above that show the Denon crew at work. Each bamboo wood earcup is sculpted and sanded, then coated with a lacquer finish. Just holding them in my hands, I could sense the level of care and close attention to detail involved here.

And the housings don’t just look and feel deluxe. Rather, they also serve a musical purpose. Bamboo helps give the sound a clean, organic feel. It is a natural sound-dampening material that helps keep external noise from leaking in — and your music from escaping out.



The link below is a video showcasing the meticulous process to produce the cups for one pair of Denon D9200:

Producing the D9200

WHAT’S IN THE BOX:

Over-ear headphones

10′ Audio cable (dual 3.5mm plugs on one end and 1/4″ plug on other end)

58″ Audio cable (dual 3.5mm plugs on one end and single 3.5mm plug on other end)

3.5mm-to-1/4″ Plug adapter

Cleaning Cloth

Owner’s Manual

Handcrafted brochure

Unboxing and Accessories:

The unboxing is just a standard fanfare. I am not going to pontificate about the experience; I will let the photos do the talking.



The packaging that cradles the headphone is designed to serve as the storage box for your D9200. There is no other included storage or travel case. I purchased an additional travel case from Amazon to use as my home storage and travel case(see photo below). An included storage case would have been a good inclusion at the $1599 price tag. Both the Stellia and the Verite Closed included a storage/carrying case outside of the elegant packaging. Even if this was a price-saving measure, it just feels like Denon should have included a case.



The headphones include two interchangeable, fabric-covered high-grade audio cables. A 10′ cable with a 1/4″ plug for home audio. A 4.5′ cable with a 3.5mm plug for your smartphone or DAP. Included is a 3.5mm-to-1/4″ plug adapter. Both cables use OFC (oxygen-free copper) and silver for pure signal transfer.

I don’t mind the stock cables, but I wish they were a touch more ergonomic. I have a Cuprum Series Arctic Cable coming soon, so I am excited to try that cable pairing. Arctic Cables that I have used in the past have been outstanding. I will post some photos of the cable when it arrives and write some additional thoughts regarding the sonic changes that the cable provides.




Build Quality and Fit:

Denon D9200 has a lightweight yet sturdy build quality due to the die-cast aluminum frame and the Japanese Bamboo cups. The earpads are sheepskin leather and have a soft, supple feel. Some folks may find the pads uncomfortable with extended listening due to the oddly shaped ear hole cutout. I have zero comfort issues but can understand how larger cups may work better for some. The sheepskin earpad and quilted headband padding do have a quality feel. The handmade Japanese bamboo cups are unique, and the build quality is simple elegance and well thought out. They are lightweight and comfortable but do not fold for more compact storage or carry. The D9200 weighs in at a little over 13 ounces (375 grams).

I have always had a soft spot for the Denon wooden cups, but this Japanese Bamboo is “simply” elegant, as previously stated.

Denon utilizes a 50mm free-edge diaphragm. The drivers themselves are constructed with nanofiber material, supposedly for better detail retrieval and less distortion. The internals include a resin baffle system said to be surrounded by a soft material that reduces vibration.

D9200 has a 24 ohm impedance and 105dB/mW sensitivity with a frequency response of 5Hz to 56kHz.

Review Set-up:

This review is written utilizing full portable set-ups: the Hiby R8 and the Astell&Kerm SP2000. I also used the Samsung Note 20 Ultra, but it isn’t part of the review findings. I listened to a playlist of DSD and FLAC files and streaming Tidal, Qobuz, and Amazon Music HD.




Moving on to the sound section….

The D9200 provides a balanced, detailed signature. If I were to sum these up in a few words, it would be exquisite tuning. The Denon D9200 is firing on all cylinders. I have so much respect for the amount of care and mastery that went into the tuning and timbre. These bring me through the entire gamut of emotions, from head bobbing to contemplation. Emotive! Please put on The Rippington’s Gran Via and feel it.

The bass is quality, with enough quantity to not color the music, and the quantity is only present when a track showcases it. The bass is fast, taut, and never bloomy. It is polite and detailed as it displays the bass frequencies and digs deep but isn’t going to rattle your skull.



In listening to Dream Theater, Metropolis-Part1: The Miracle and the Sleeper, the D9200 had absolutely zero issues keeping up with the track’s speed. The bass drums had a natural tone and timbre. The bass line was clear and detailed, with layers of bass unfolding in your ears. I love to listen to Dream Theater; although their perfection bores me after an extended time, it is great to test a driver’s speed.

On Rush, Spirit of Radio, the bass dug down deep and rendered Geddy’s bass line with perfection. Clear and present.

Some feel there is a brightness to the D9200, and I can understand that, but it is more balanced, with the “brightness” revealing details as opposed to anything close to offensive. The Denon is a headphone that focuses on resolution and its natural timbre. The frequency curve of the D9200 shows the extension in the treble, but there is just enough extension to allow for air to surround the notes. The tuning of the D9200 is remarkable, considering it takes the listener to the edge, provides air around notes, treble extension, and detail but never has any harshness.



The overall signature brings you front and center to your tunes. The mids reveal a wonderful forwardness without being in your face. The mids are actually slightly retracted, but it is the authority with which the mids portray the frequency, which creates forwardness. If you are looking for a massive “V” shape, this is not the headphone for you. The mids help to blend the synergy within the signature. The mids are layered and have textured resolution. Fortunately, the upper mids have no harshness or give way to any sibilance if a musical track is prone to it.

The stage is wide, and there is a dimension to the sound—excellent stereo separation, especially for a closed-back design. The Stellia had a fantastic open sound for a closed-back design, but the D9200 is certainly no slouch.

Yes, I’ve Seen All Good People displays the depth of the stage and holography touch. One of the things that stood out in the Stellia, with the Silver Cable upgrade, was that it had an incredible dynamism level, and the staging was exact. There are some parallels between Stellia and D9200, but to my ears, the D9200 may have more control but not the same level of precision.

You might want to own this Headphone if:

+ You want incredible balance, natural tone and timbre

+ You prefer a transparent, detailed signature that can dig deep into the bass realms

+ You want some the of the most refined tuning available in a closed-back design

+ You want TOTL technical abilities at a more reasonable price

+ You appreciate craftsmanship and one-of-kind type of attention to detail in the design



In Closing

There is no earth-shattering, game-changing technology inside. I know I put the marketing hype above, but honestly, Denon’s marketing phrase should be “Refined Elegance.” Those two words apply to the build, design, and craftsmanship, and sound signature.

I am an IEM fan but do enjoy a TOTL set of headphones. The Denon has delivered a high-priced (not comparatively so) pair of headphones that strike above their high price tag. From the one-of-a-kind, handcrafted cups to the luxurious leather, the listener has a simple yet painstakingly designed set of headphones. I feel I have been redundant with my wording choice, but there is care and refinement throughout the D9200.

The sound quality is impeccable in its tuning and the naturalness of the timbre. The sound is balanced, non-offensive, and refined.

At under 2K, it is difficult to go wrong with the Denon D9200. The admission price is $1599 compared to the Verite Closed at $2499 and the Focal Stellia at $2990. You could purchase these and not feel that you are “just settling” for a lower-priced option.

I am steeping high praise on the Denon AH-D9200. The distinction is well-deserved, and I hope this review assists Denon in receiving the attention they deserve for the D9200.

Empire Ears ODIN

ODIN

MusicTeck


A Little Technical Stuff:

Specs
1 – Sub-Bass
1 – Bass
2 – Low Mid
2 - Mid
1 – Mid High
2 - High
2 - Ultra High
108 db SPL @ 1kHz
5Hz – 100Khz Frequency Response
3 Ohms @ 1kHz Impedance

-MRSP: Universal fit $3399.00

Empire Ears, an American company based out of Norcross, Georgia. These guys have a longstanding reputation for their cutting edge technology and sound quality. Owned by Founder and CTO, Dean Vang, and the front-face of the organization, VP Jack Vang, Empire Ears is well-known throughout the audiophile ranks as a significant IEM developer in the IEM industry.

I am featuring the long-awaited TOTL release from Empire Ears, The ODIN. I want to thank Dean and Jack for allowing me to have one of the first units in the wild for review. Humble thanks!

Empire Ears ODIN is a TOTL Tribrid IEM. Empire Ears being no stranger to Audio Rabbit Hole as I have reviewed two of their previous TOTL releases, Zeus XR and Legend X.

The Zeus XR set the standard in transparency and resolution, and the Legend X as their audiophile bass focused offering. Both are technical marvels and are at the Master level in their class.


When Jack asked if I would like to write a review for the new TOTL release, the ODIN, I was excited to hear it and, of course, agreed.

The Vang’s released a couple of TOTL IEM’s the prior year, the Valkyrie and Wraith. I took a break from Empire Ears, and while Jack and I have always had passing conversations, I took a pass on these two offerings, skipped a year. I believe it is good to do that sometime, walk away from a brand that I have reviewed a couple of times so that I am not only reviewing those brands and thus showing favor.

I am selective in the amount of product I take on to review. It is a lot of effort if done correctly. I have had much encouragement to go the YouTube route, and I just don’t have the desire. To be very honest, I used to turn down so many products that many companies have stopped asking, first world problem I know. I am not sure how long my desire to write reviews will last. Audio Rabbit Hole has provided me my own; no holds barred, review at my pace site. When a hobby interferes with “real “ life, then it becomes a problem.

The ODIN has been discussed for a long time and has been on the workbench longer. It comes at a time when the exorbitant prices have become King. I am fortunate to be able to position my self to hear, own, and sell many of the latest offerings. However, the majority of consumers aren’t as fortunate. It requires lifestyle changes, saving up, and selling items to make the latest and greatest purchase. I genuinely feel bad for the individuals that don’t have an opportunity to even try this out before purchasing. A blind purchase of $3399 is a massive leap of faith in a brand. It is a leap that not many take. It is the Audio Rabbit Hole, and we all succumb to it but at different levels.

What can you expect for your price of admission? We will check out the ODIN and let you know what your ticket buys you. I introduced the ODIN here ODIN Introduction and posted my “reviewer’s notes” here ODIN Initial Thoughts



Let’s take a more in-depth look at this TOTL offering from Empire Ears. I will say this is the best all-around Empire Ears IEM that I have heard. It is only my third, but as previously stated, this is the third TOTL from the boys from Norcross.

A little food for thought. I would encourage consumers to spend their fist full of cash on the companies that are spending the finances and time on developing and utilizing new tech. Many companies, shamelessly “borrow” tech and wrap it in a pretty facade and sell it. There is no R&D; there is a limited investment. It is like paint by numbers, not creating your art on a blank canvas. If you are an art lover, do you purchase the color by numbers painting, or do you buy the Bob Ross original? God rest his soul.

A Little Marketing Hype word by word from their site:

THE END GAME

The universe needs icons. Those extraordinary few that stand clear of the rest. For these individuals who inspire greatness, only the purest formulation of Empire Ears will do. An icon like no other. A IEM that stands alone - so superlative as to be named after the god of wisdom, poetry, death, divination and magic. Odin has arrived. Its beauty leaves no room for doubt. Its power cannot be reasoned with.

Unquestionably, Odin sits at the pinnacle of the Empire Ears bloodline as our most legendary flagship in-ear monitor ever.

PURSUING EXTRAORDINARY

“ODIN is designed to make the most of every moment each listener spends in its company, promising instants of sheer listening euphoria. While conventional IEMs focus on simply reproducing sound, ODIN authoritatively delivers the exacting emotion of every nuance recorded through its extraordinary 5Hz-100kHz frequency response range. These inspirational, dreamlike moments are made possible by the utilization of the three best IEM driver technologies currently available, the most advanced crossover system in the industry, the most potent components we could possibly get our hands on and the masterful tuning by our founder, my father and CTO, Dean Vang.

ODIN is the personification of Empire’s DNA at its most extreme - in design, performance and breadth of capabilities. ODIN rediscovers the true meaning of engagement between listener and IEM.”

Jack Vang
VP of Empire Ears



A TRINITY IN UNITY

ODIN is the most powerful and exclusive IEM in Empire’s history. Boasting three of the industry’s most advanced driver technologies, ODIN is truly a standout tribrid flagship IEM with an uncompromising performance ethos focused on delivering the purest connection between listener and IEM.

Dual W9+ Subwoofers - Sub Bass, Bass

Our signature W9+ dynamic driver brought serious performance to the IEM world by combining the breakthrough of an enclosed woofer in a tuned bass-reflex system. Elevating the W9 design formula to its highest level, the W9+ boasts a larger internal coil diameter, more linear excursion envelope along with a more capable suspension to handle peak-to-peak excursion while mitigating distortion. W9+ extinguishes any limits the previous design had and delivers unparalleled bass on all fronts.

Five Precision Balanced Armature Drivers - Low Mid, Low Mid, Mid, Mid, Mid High

ODIN comes equipped with 5 proprietary balanced armature drivers to deliver the signature midrange that the world has come to know and love from Empire Ears.

Four Electrostatic Drivers - High, High, Ultra High, Ultra High

ODIN masterfully manipulates quadruple electrostatic drivers in unison with our proprietary EIVEC technology to effortlessly reproduce a remarkable 5Hz-iookHz frequency range. The ultralight moving membrane within Odin’s electrostatic drivers give the most accurate transient response, resulting in unparalleled clarity, separation and detail.

synX: Legendary Crossover Network

Genetically dissimilar from the rest of the IEM world, our synX crossover network truly stands out with countless bespoke methods and technologies protecting it as a unique masterpiece. A marriage of 3 different driver technologies become symphonized by a unique, proprietary 7-way synX crossover network designed to maximize performance from each and every driver.

EIVEC: Mastering the Electrostatics

The lightning-quick electrostatic drivers accommodates ODIN’s wide frequency range while remaining balanced and compact. A single bespoke transformer unites the quadruple electrostats via our proprietary EIVEC technology to all of the other components while eliminating any signs of phase incoherence and distortion.

ARC: Resonance Mitigation Technology

ARC (Anti-Resonance Compound) is a proprietary conformal coating that virtually eliminates unwanted vibrations and resonance from within IEMs. ARC effectively increases the mass of the components it’s applied to: every driver, crossover, and sound tube. This gives the internals more solidity while serving as a dampener to absorb the unwanted resonance instead of reflecting them out of phase. With A.R.C. clarity is increased substantially, bass is deeper, and the IEM becomes more efficient.





WHAT’S IN THE BOX:

I usually write this portion out. I figured this review; I might as well show you. Empire Ears were doing a limited release that they titled the Founder’s Edition and then the standard retail version. My unit is a hybrid of the two. The significant difference between the two different sets is, the Empire Ears Team autographs the packaging, Dean’s signature is on the IEM shell, and there is a numbered plaque, showing you what serial number you have. Thus the Founder’s Edition. There is no difference in the case, IEM, or cable, only the items I highlighted. Below see the photos.



Unboxing and Accessories:

One word, Premium. Empire Ears always has a premium feel with the packaging and pack-ins. There are times I feel like I don’t need stickers, wiping cloths, and the regalia. This time I felt good with it, it is a money’s worth thing, I guess. It is a lovely package. Premium.

The ODIN, being Universal fit only at this time, does include a compliment of Final E tips. A logo-emblazoned wiping cloth. A metal, pill type, round canister with the Empire wings, the word ODIN and Empire is adorning the lid of the canister. Two stickers, one that has the 2-E’s and another with the wings and Empire, are written on it. Usage pamphlet and a card with Dean Vang’s photo and a quote letting you know the effort he put into his Labor of Love.



Since this is a Universal model, it includes a package of Final Audio “E” type tips. A Custom design would not need the eartips.

The other items in the package include the IEM themselves, with their Bifrost faceplate and the Stormbreaker cable. I will touch on the IEM in the section below, but I would like to touch on the Stormbreaker cable a little bit.

The stock cable, named Stormbreaker, is a Top Tier cable, valued at $1299 for the cable alone. For the
The first time, Empire Ears collaborated with bespoke cable manufacturer PWAudio and PENTACONN of Japan to manufacture the cable for the Odin. It is a handcrafted cable comprised of a proprietary USA-sourced OCC Copper Litz configured in a quad conductor, dual gauge design wrapped in an elegant black carbon jacket.

Stormbreaker is standard equipped with a CNC silver Valknut y-split featuring a .78 2-pin
connector with a 2.5mm balanced termination. 2.5 to 3.5mm & 4.4mm Empire adapters are
available. The cable is a Dual Wire UPOCC Litz Copper, with a 26AWG/24AWG Dual Gauge Quad Connector.

I love the black carbon jacket and the look of the cable. It feels durable, and those familiar with the PW Audio 1960 cable will feel right at home.

The Stormbreaker is a much better stock cable than the Ares II that was stock with the Legend X. Worthy of a TOTL package such as ODIN.

Build Quality and Fit:



My Universal ODIN came in emblazoned with a black shell and the new Bifröst faceplate. Bifröst is an ultra-exclusive, one-of-a-kind faceplate designed to optically simulate the mythical rainbow bridge between Midgard and Asgard, the realm of the gods. The Bifröst features nine individual polymer layers in three proprietary lamination steps, and each lamination is unique in its ability to filter and reflect specific wavelengths of light. This results in a faceplate that will produce breathtaking color transitions as the viewing angle changes --literally shifting before your very eye.

The Bifröst is masterfully handcrafted in the USA by an award-winning chemist that currently
holds two patents in polymer science for high solids coating chemistry.

That is more than you ever wanted to know about a faceplate. I do want to say this design is FIRE! I have seen multiple ODIN’s and each looks unique. It is truly a showpiece and one of the most stunning stock, non-custom designs I have seen.



The shells are large, and I could see where they could be annoying in small ears. I had no problems, as the fit is better in my ears than the Legend X. YMMV and probably will. The nozzles are short, and I have issues with the stock Final E tips staying in place on the nozzle, I find myself digging them out of my ears after they are a little slick from wax, Ewww.

The ODIN is not immune to driver flex. The crinkling sound you hear when you are inserting the ODIN is driver flex. While this won’t damage your IEM, it is present.



Empire Ears, this is the third review I have written on Empire Ears product, and the third time I have mentioned, put a lip on the nozzle. Many consumers enjoy custom tips on Universals, and this is not going to happen with your nozzle design. After I spend some seasoning time, I enjoy tip rolling, and there are vast options, just not that I can use with your IEM’s. It is limiting, it is a $3399 IEM, and I don’t want to be limited.

The build quality is superb. There are no blemishes, and the faceplate and shell seams are smooth and seamless, except, of course, for the color change.

Review Set-up:



I want to touch on some seasoning and review set-up methodology.

Whether you believe in seasoning(burn-in) or not is your prerogative. That said, if a manufacturer recommends it, what is the problem with following the recommendation? One would think for $3399, you would want to achieve the best results.

For the most part, the days of manufacturers providing a cheap Plastics1 cable are a memory. I always ask the developer, what cables and tips they utilized to tune the IEM, and I listen with those items, at least through my seasoning time frame.

In the case of ODIN, the IEM is tuned with the included Final E tips and the Stormbreaker cable. I listen to this and write my review based on stock.

Aside from the tuning aspect, not everyone that purchases an IEM is going to have the same ear tips or the same cables as I do. However, if you are buying an ODIN, you will have Final E tips and a Stormbreaker. Therefore, it truly doesn’t make much sense to use other eartips or cables when seasoning or writing a review without hearing the pack-ins. I want to be able to clearly state what you can expect to hear with the price of admission.

The review is written utilizing multiple sources. Astell & Kern SP2000, Lotoo Paw Gold Touch, QA361, Samsung S20 Ultra, and Samsung Note 20 Ultra with an iBasso DC01 DAC.

Moving on to the sound section….

I have been rather vocal about quick listen to impressions, so I waited to write my full review but posted initial impressions or reviewer’s notes. My initial reviewer notes and out of the box impressions generally morph in the case of Dynamic Drivers and Estats. I will show you some of my initial impressions and where we are today after close to 100 hours.

+ Nailed balance and coherency, not lacking sub-bass

+ Not sub-bass that tickles your inner ear, not molar rattling, quantity and quality are balanced and top-notch, not lacking, no bass cannon, all bass frequencies distinguishable

+ Very wide stage, deep stage, above average, not largest, some holographic properties on good quality recordings, accurate stage for so much air

+ Not forgiving of low-quality tracks, no cover-up

+ Present mids, pleasant forwardness, details in mids, natural tonality (X like)

+ Easily driven, no hiss on SP2000, more volume sound swells

+ Coherency has to be discussed with a Tribrid and can improve with seasoning, ODIN has excellent synergy, so I am expecting more with time.

+ Non-offensive treble, not harsh, clarity not sharp, nuances

+ Goosebumps with Southern Avenue, female vocals

+ The Rippingtons Lost Highway, rumble bass deep, impactful, déjà vu to X



That was then, and this is now;

The ODIN is a balanced listen. The balance is across the board, meaning as the drivers settle down, there is not any frequency that shows coloration. If I were to share what frequency has more of an attention grab, I would say the mids. Zeus lovers will love the clarity and resolution that you hear throughout the entire range. Legend X lovers will love the deep rumble that is present; if it exists in your track, you are enjoying. The overall signature is founded on its layering, air, and transparency. As we delve into the frequencies, it is essential to understand that this IEM has Empire Ears triplet DNA. Wraith(based on reading), Zeus, and Legend X. The ODIN is not a smooth, warm listen such as an EarSonics EM10. It is an attention grab. While it grabs your attention, it isn’t fatiguing or sterile or clinical. Those traits lean towards a dry and uninteresting listen. I know that I have also encountered IEM’s, which gave the brain detail overload. The ODIN has balance, so the nuances and detail are just an essential part of the landscape.

Dean Vang did an excellent job tuning the ODIN. He walked a fine line between natural and analytical. This IEM falls to the side of natural and delivers its tone in a dynamic and precise manner.

The ODIN is not necessarily a genre-specific IEM. One reason for this is the fact that ODIN can dig into a track and extract all frequencies. From Infected Mushroom to Hiromi, all music is realistically rendered.

Does the ODIN need power, no? Does the ODIN scale with proper gear and power, oh yes. I found the power assisted the stage, and brought out the best in those monster w9+’es for bass delivery.

The stage is wide and deep and showcases some holographic floating of notes. As time has passed, the stage has opened up to reveal even more potential than out of the box. The stage is one of the biggest I have heard, which places it above average when compared to other TOTL offerings. There were swirling notes at times when listening to Pink Floyd Animals, nothin like flying Pigs on the wing.

Tears in Heaven, Unplugged shows a Clapton guitar plucking front and center with his vocals about two rows back and his background vocalists placed to the rear of Eric. That is the precision you can expect to have that level of pinpoint accuracy. On that specific song, his vocals are a tad recessed, and some male vocals appear as such, not all-male vocal tracks, only on some recordings.

With the copious amounts of air and transparency, the space around instruments and the notes they play is very apparent. The air lends itself to the precision and visualization of the placement of the musicians on the stage.

I am moving to the treble of the ODIN. I want to preface this by saying I have not had great experiences in the past with estats. They were either incoherent or sharp and honky. I remember one estat IEM where the treble appeared on its island as if it belonged in its own shell, is not the case with the ODIN.

I will touch on coherency later, but the treble has a synergy that lends itself to the overall balance. The treble is delivered by four Electrostatic Drivers - high, high, ultra-high, ultra-high. It extends to the fringe with a clear sparkle. The treble was superb from any source. Regarding harshness or sibilance, the ODIN will reveal the song as it is. If the quality of the file is poor and biased toward harsh, the ODIN will not correct that, nor should it. On the Dire Straits song Sultans of Swing, the cymbals can sometimes be offensive and not have natural decay or tonality. Odin delivers the most natural tone and decay to those cymbals I have encountered.

Bass is potentially the frequency that most folks were awaiting impressions. After the Legend X came out with its thunderous W9 drivers, consumers were hoping for an IEM with that bass quantity but the transparency and clarity of the Zeus. While I don’t consider myself a basshead, I loved the heavy bass of the Legend X. It did tame down with a lot of seasoning and became more balanced, but its quality was superb while the quantity may have remained too much for some. Not to be redundant, but it is vital with the description of all of these frequencies to repeat, season your drivers.

The bass is delivered by dual W9+ Subwoofers, which represent the Sub Bass and all other Bass regions. The dual W9+ probably conjures a vision of Legend X V.2, but the amount of control and restraint that these have been tuned with is impressive. These drivers can rumble, and do when that sub-bass frequency appears in the track. The bass of ODIN will not color any of your tracks. If it is in the song, it is in your ears, with snap in the mid to upper bass and a guttural rumble in the sub. None of this bleeds into the mids, and the quality takes the Legend X and kicks it up a notch.



Control in the bass is the name of ODIN’s bass. I do not listen to enough classical, but for those of you that do, you are in for a real treat. All of your bass and percussion instruments are represented. Infected Mushroom Nothing to Say will give you a bass quantity representation that will make you smile when listening to EDM. Enough on quantity, I think everyone knows with dual W9+ drivers there will be more than enough presence.

The quality of the bass is difficult to match. The air I discussed previously is not just relegated to the treble and mids. The quality of the bass will deliver the goods without lacking in air, layering, and transparency. Details abound in the bass regions, fantastic tuning. This speed becomes very apparent with an almost perfect decay, to my tastes. Power, details and snap, sums up the bass.

On to the last frequency;

Out of the gate, I encountered some upper mid and lower treble lift and forwardness. I can’t recall the track, but it wasn’t fun. I can be easily offended by upper mids that are too forward. During my critical listening phase, this got my attention, and I stayed focus on this. Fortunately, I never encountered that again. It is one of the faults of not allowing proper seasoning time and posting quick impressions.

Mids are the final part of this signature. They are also urgently crucial in the overall coherency. The mids are delivered by, 5 BA drivers in a two low mid, two mid, and one mid-high configuration. The mids, while presented forward with the one track, pre-seasoning. I feel the mids, on the whole, have a slightly recessed feel. I think this is to provide balance throughout, with W9+’es on one end and Estats on the other. Knowing there is a lift in the upper mid-range and with the lower mids providing the fullness, filling in spaces, if the centric mids were too forward, it could create a sound overload(jumbling), and the potential loss of transparency. There is not mid recession equal to a V-shaped IEM, but there is a slight pullback.



All of the above mid talk here kind of comes off as unfavorable, but on the contrary, there is enough detail and layering that it exposes all areas of the mid-range due to how detailed the sound is. I review, and I focus on critical listening. I found listening to ODIN, I enjoyed taking a break from being critical just to enjoy music, and the mids were a significant part of the reason. If you enjoy the Zeus, the mids of ODIN will not let you down. It is the mids that provide enjoyment to a release such as CSN&Y, Déjà vu. The mids as a complete range are well thought out. With ODIN, it is clear that there are lower mids, center, and upper mids. I am blown away by the detail throughout.

The ODIN sticks the landing with regards to coherency. To be a tribrid, three different driver types, and have the synergy and the ability to sync at this level is a testament to the time and tech inside the shell. ODIN features a 7-way crossover system that Empire Ears claims are unique to their brand. They call it their synx crossover network, and it is designed to maximize every driver. One of the largest culprits of incoherency, the Estat highs, utilizes a single transformer to unite the quad electrostatic drivers. Empire Ears calls this tech, EIVEC.

I want to mention a couple of albums that don’t generally appear as reviewer’s playlist tracks as a rule. If you have not heard the entire release of Little Feat, Waiting For Columbus, it is my favorite Live album. ODIN creates and experience with this album, and will showcase the staging and air that can be in a live release.

Southern Avenue and their Freshman release Southern Avenue, showcase the raw power of the female vocals. With their rockin’, bluesy, R&B feel, I had the hair on my arms rise when I gave the ODIN power, a come to Jesus moment.

Ear Tips



I have kept this review stock, meaning no tip rolling, no cable rolling. I would like to add to the sound section of this review that I still have not cable rolled, so sorry I can’t help you with that, but I have begun tip rolling. There are so many variables when ear tip rolling. You could write 1/3 of the review on nuances in the sound with all of the variations.

I have become quite accustomed to the narrow bore, stock, Final E tips. I already know that the sound quality kicks butt with them. One of the more popular brands of ear tips available today is the Azla Sedna line. They have a myriad of different sizes and styles available.

For the sake of writing too much, I generally use L tips, with some of the Sedna tips I use ML. I want to mention that the Sedna tips are an acceptable option for ODIN. The ODIN has five sound tubes, and if you look at the narrow bore Final E tips, you can see that the sound will be constricted, and the ear tip forces the sound to narrow and exit through a narrow bore. The Sedna tips are all wide bore tips, and therefore there is a clear path between sound tubes and exit hole. Again, the Final E tips were the tip used when the ODIN was tuned.

I have tried the Sedna Earfit Xelastic, the OG Sedna, and the Sedna Earfit Light Short. With the Xeleastic tips, I have to step down a size to the ML, but the others I can use the large.

Listening to the wonderfully produced pop artist Dua Lipa and Don’t Start Now, to compare the tips, I wanted to offer up some thoughts. The OG Sedna appears to create a larger bass experience, featuring more rumble and impact.

The Earfit Lights have a touch less bass impact and rumble.

The Xelastic tips delivered the most bass. The mids and treble for all of the tips were, for the most part, did not display change.

I could see myself swapping between the different tips depending on whether I was having a specific genre-specific marathon for the day. All of the Sedna tips stayed in place on the nozzle. I did not find myself in a fishing expedition to retrieve a tip from my ear.

Pairings

I have found that the ODIN pairs well with any of the sources that I tested the ODIN. Knowing that the signature is detailed and transparent with an upper mid-lift, it would probably be best for the listener to avoid a brighter source. For a tribrid IEM, it is easy to drive at 3 Ohms, although my preference is to generally use the 2.5mm balanced output of most of my sources, which is usually going to provide plenty of power for most IEM’s.

The ODIN scales so well with the power. The A&K SP2000 was one of my favorite pairings and the ability to showcase the stage at its widest and provide a smoother signature. The A&K delivers such a quality tone and timbre that I haven’t found any odd pairings. No Hiss, black background, holographic

The QA361 delivers a high level, almost desktop quality sound. It also provided an incredible stage but wasn’t my favorite because, with the ODIN, it erred on the side of bright. ODIN with its non-colored sound and the QA361 would be a fine choice if it was your reference DAP, and you did not have others. No hiss, black background, holographic



Finally, I listened with the Lotoo Paw Gold Touch. Between the LPGT and the SP2K, you could almost flip a coin, one having a more natural delivery and the LPGT being more reference. Same broad stage, the bass was a bit more punchy than the SP2K. I think this would come down to preference, and you can’t go wrong with either. No hiss, black background, holographic.

Comparisons

Legend X

ODIN has Legend X DNA. Keep in mind, my X was well-seasoned, and my review was one year after I received it, much to Jack’s chagrin, and I found it to become more balanced. The stage of the ODIN is wider and more holographic. Where the upper mids of the ODIN are more forward, the X is more pulled back and smooth. The bass of ODIN does share some characteristics. While the X bass is always apparent, the ODIN rumbles when called upon, without the coloration. The bass is more detailed in the ODIN, showcasing its layering and texture. The overall signature of the ODIN is more balanced and detailed. The X has an extension in the treble on edge. ODIN is more reference while the X is more colored. Either of these IEMs is technically the best at their respective talents. If you owned both, you would have all of your musical moods covered.

Vision Ears Erlkonig

I don’t want to make this comparison, mainly because it is difficult, because we are talking about two King’s of the Hill. I know people are waiting for it, so here it is. I won’t pick a favorite; draw your conclusions. I will say I am leaving for 10-day support for work, and both will be going with me. I also want to say that I would think that Empire Ears would respect the Erlkonig, and if VE has heard ODIN, there would be mutual respect.

Erlkonig has 13 BA drivers, four for bass, four for midrange, four for treble, and a ‘super’ tweeter. It appears with each Erlkonig built; there is a temporary driver shortage. It has a 5-way crossover and a 105dB sensitivity with a 16ohm impedance. Erlkonig is somewhere near 1K more in price, and has been discontinued.

Erlkonig has safe tuning, and there is no sleight of hand tricks to their tuning. It is a straight-up BA. There are four adjustable tuning settings, and I always have used the #2 setting. All of my comments are going to use that setting, or I will be here another day’s worth of writing and comparing each setting. Erlkonig has control throughout its entire range, the bass is detailed and rich, while the ODIN has better snap and layering, with more air separating the bass frequencies. The Erlkonig sucks you into the music with its seamless and natural ease. The ODIN sucks you in waiting for the next bit of detail or nuance to be heard.

The Erlkonig has one of the most pleasant midranges I have encountered. I do give Vision Ears credit; they know midrange. The ODIN midrange has the upper range lift, but it is balanced across the signature.

Erlkonig has more color to its signature, but delivers the details and in a different fashion and isn’t lacking. Both are technical giants. I would expect a high level of coherence with a straight BA set-up, but it is 13 drivers. ODIN isn’t far off in its driver count and utilizes more crossovers. Its synergy is impressive.

I do know if I was only able to have one which one it would be, but fortunately, I am not there yet.

I posted a photo of Erlkonig and ODIN in the same image on Head-Fi, and one reader said that it is a car purchase in that photo. I chuckled and then thought there is truth in that statement, but I ain't never seen a Brink’s truck following a hearse, or as one of my favorite YouTube reviewers says, “Who wants to be the wealthiest guy in the Graveyard?

You might want to own this IEM if:

+ You want Incredible balance with proper seasoning

+ You prefer a transparent, detailed signature that rumbles when called upon

+ You want some the of the most refined tuning and coherency available

+ You want TOTL technical abilities

In Closing

Folks, this is the most extended review I have ever written. I am sorry for that; my methodology is generally between 3 and 4K words; this one is closer to 6K.

I don’t cable roll, so if you are looking for that, it isn’t going to happen. I use cables for the comfort of ergonomics. Not saying I don’t get the benefits of specific pairings, but it isn’t my thing.

I skipped a year with Empire Ears and was really excited to review their newest TOTL.

ODIN is a technical marvel, with its tribrid design, and it never skips a beat in its coherency.

There is an immense amount of transparency, layering, and detail throughout the entire spectrum. The sub-bass is rumbly and yet still has a snap in the mid-bass. The treble has a natural decay hearing cymbals crashing with the highest level of realism I have encountered.

The Bifröst faceplate is on FIRE; it is the most striking looking stock design I have owned. The autographs from Dean and Jack make for a personalized experience.

The Stormbreaker cable is a $1299 stock offering, and while the total package weighs in at a seriously heavy $3399, it is nice to see you are receiving expensive upgrades for your money.

This is my favorite Empire Ears IEM, and that is saying a lot considering the Legend X held that distinction since release.

Earsonics Stark Review



EarSonics Stark



EarSonics Store – Direct link to purchase

EarSonics – Homepage

A Little Technical Stuff:

Specs

• Sensitivity: 125 dB/mW
• Frequency response: 10 Hz -20 kHz
• DCR: 18,5 ohms
• Drivers: 1 DDynamic, 4 BA drivers with 3-way crossover.

-MRSP: Universal fit € 1390.00/$1500 USD at the time of review

EarSonics, a French company that came to existence in 2005, was started by Franck Lopez, who himself is a musician, a bass player. To followers of my reviews, you have read the history of EarSonics a couple of times. I have had so much exposure to EarSonics products throughout this spiral down the Audio Rabbit Hole. I give EarSonics credit or blame for my hobby and addiction. The SM64 was the first EarSonics product I heard, and the rest is history. This is a review of the Earsonics Stark, a hybrid configuration.

There has always been an EarSonics house sound, and yet that house sound has evolved, maybe matured, with the two releases before the hybrid family. The EM10(CIEM) and the Grace (Universal, shared DNA with EM10) were the first deviations from the traditional EarSonics house sound. I enjoyed the original house sound, but as EarSonics has matured, my listening has shifted as well. The smooth character of the newer house sound is comforting and sophisticated.

Stark is a foray into totally unchartered territory for EarSonics, being one of two new hybrid offerings. The Blade is 1 DD Low, 1 BA Mid, and 1 BA High, and the Stark is 1 DD Low, 2 BA Mid, and 2 BA Highs. Both offer a 3-way crossover.

I have always been a fancier of Dynamic Drivers, be that a single driver or hybrid setup. I love the tonal qualities of the bass that they are capable of delivering. One of my all-time technical faves is hybrid, the Empire Ears Legend X. Knowing I have followed EarSonics through the years, I was enthusiastic to hear their take on a hybrid arrangement. I will say that the Stark has maintained the EarSonics familiar house sound to my ears, and continues to provide a smooth tonality.



A Little Marketing Hype: All marketing hype is straight from company sites

HYBRID

The standard of the new Hybrid range, the STARK, benefits from efficient and mature hybrid technology.

Its goal is to deliver a refined, warm, detailed sound, based on the new hybrid process.

Whether through its ergonomics or its accessories (new high-resolution 4C silver cable), everything has been thought of to satisfy the most demanding audiophile customers.

THE HEART

The STARK is composed of an electronic architecture with five drivers, including a novelty at Earsonics: a dynamic driver of 8 minutes with large event.

Always based on a 3-way filtering which made the fame and the success of our products, The heart of the stark consists of:

A new DD driver with large event for the low register, 2 BA transducers for the medium, as well as 2 BA transducers for the treble.

The technical choice being to keep the use of balanced armature transducers for the acute and medium channels, thus promoting performance and level of detail while remaining musical and natural.

The 3 rd lane for the bass has been reserved for the new dynamic driver, bringing warmth, power, as well as greater ventilation that will delight lovers of Circum helmets.

Our crossover impedance corrector coupled with EVS and FUSION technologies made in EarSonics, are responsible for playing the whole with rigor, musicality and respect for the phase.

SPINE

The STARK electronics are maintained in an acrylic structure specially developed for the latter in order to optimize the placement of the transducers.

Why is it so important?

As for the human body, the role of this acrylic column and primordial in the functioning of STARK.

Made in our 3D machines with the acrylic material that EarSonics masters to perfection, it allows an optimized positioning of the different drivers as well as a perfect phasing. The acoustic characteristics of the material on the sound texture allow to push the final rendering to the highest level of quality.

It also includes an acoustic chamber allowing mechanical tuning and filtering of the dynamic driver, thus avoiding the use of electronic components which impairs performance.

Insert cross section drawing

METAL DRESS

The heart of the STARK protected by its metal envelope gives it elegance and extreme solidity.

Its carefully anodized zinc and magnesium alloy have been specifically chosen for its resistance to oxidation and impact.

Designed and designed by our R&D department, everything that makes it up has been carefully chosen and considered.

Thanks to its elegant silhouette and careful ergonomics, the STARK will be perfectly forgotten in the palm of your ears



WHAT’S IN THE BOX:

Included

• STARK with 4C HI-RES cable
• 4 Comply tips (various sizes)
• 8 silicon tips (various sizes)
• Cleaning tool
• Carrying box
• User manual

Unboxing and Accessories:



The box has been standard EarSonics fare quite a while now. I will include photos for you visual folks and the simplicity of the description.

I like the layout and feel of the presentation, and now that they are including the new 4C HI-RES cable, they have made a long-standing wish of mine come true, get rid of the Plastics 1 cable that they used for so many years. The stock cable is a 4-core wire braided into an ergonomic cable terminated to a 3.5mm plug. I like the 3.5mm plug as it finishes at 90 degrees. You will find no ear-hooks, only the soft, pliable cable going around the back of your ear. The cable is comfortable, and I found it to not annoy you with sound from brushing on your clothing. This cable was one of the cables included with the Grace HR. Kudos to EarSonics for including it with the Stark.



Feel free to check out my Grace review for more details of the unboxing or look at the photos in this review. https://audiorabbithole.com/earsonics-grace/




Build Quality and Fit:

I gave the Stark a thorough examination and decided I was wasting my time looking for flaws. These things have a build like a freakin’ tank.



The external shell is handsome, with the EarSonics logo jumping off of the faceplate. It is two-color, silver faceplate, and gunmetal on the body of the shell(the part with the nozzle). The faceplate is not a super sexy design, but handsome in more of a buff gym-rat with an excessive amount of testosterone. I like the look, but it is utilitarian compared to some of the ornamental acrylic designs that are popular with customs. The shell is vented to aide the DD.

Stark has very short nozzles, which allows for a more shallow insertion. I would have preferred a little more extended nozzle, and particularly a nozzle with a lip to assist in holding the tips on the IEM. Even though the shell is substantial, it somehow sports the ergonomic design to make it comfortable in my ears. The size of the shell creates sound isolation, especially when you find the correct ear tips.



Tips are always critical with Universal IEM’s, but ear tips on some IEM’s have a more significant impact on the sound quality. I have tired Sedna Light Short, Spinfit CP100, Spiral Dots, Spiral Dot ++, Symbio, and Final E tips. I have been rotating through these to see, which provides me with the maximum comfort and sound quality. It has been difficult to decide because each appears to have their compromises. If you asked me last week, I would tell you to choose the Final E, and today while writing, I am using the CP100 and am in a state of aural bliss. I am going to encourage you to try, try again. That said, the Stark work for me, but I am not sure that the fit is for everyone.

Stark is anodized zinc and magnesium alloy on the outside, which they claim they used to reduce oxidation and impact. It would be too soon to say if EarSonics succeeded in reducing oxidation, but I do not doubt the reduction of impact claim. The shell is the most substantial feeling IEM I have ever held. On the inside, the familiar acrylic kind of like a spine of sorts. This acrylic spine is designed in their 3D machines and helps to optimize the placement of the transducers, which allows for perfect phasing(FUSION Technology). It also includes the acoustic chamber, which allows for mechanical tuning and filtering of the dynamic driver, thus avoiding the use of electronic components, which impairs performance.

Review Setup:

The review setup utilized multiple sources, QP2R, QA361, Kann Cube, and Fiio M15.

I swapped multiple aftermarket cables, including the PW Audio 1960, Pw Audio No.10, and the stock 3.5mm cable. My favorite cable pairings, both for comfort and sound quality are the Pw Audio No.10 and the stock cable. The stock cable being a great pairing should be good news to the consumer, knowing that the purchase of an aftermarket cable is not necessary to achieve comfort and excellent sound quality.

My sample music consisted of 320kb, FLAC, 24bit, as well as streaming Qobuz, Amazon Music HD, and local files.



Moving on to the sound section….

I am not looking forward to writing this section. The main reason is, I have to write about a controversial and polarizing topic, burn-in. I am not here to debate or attempt to change your perspective on burn-in, only to say what I have encountered in my time with this IEM, as well as two others that come to mind.

As previously stated above, I was very excited to hear what the EarSonics twist on a hybrid configuration might sound like. On first listen, I was so disappointed and underwhelmed. The bass smeared across the entire range; the mids were so far back in the mix, and treble that peeked through was edgy.

One point that needs to make is that the Stark begs for power. You can drive it by phone and will sound just okay. For the signature to open up, two things are necessary, proper seasoning time and power.

After 50 hours, and I have more than 100 hours on them, some magic began to happen. One of the most notable transformations is, there is much more balance. Unlike the smeared, incoherent sound I heard out of the box, the sound gradually improved over the 50 hours of seasoning. It is a real lesson as to why short listen impressions are doing a disservice to consumers and companies.

While there is more balance, there still is a solid, full bass lift. Rumble and a slower decay remain. Listening to the song The Unforgiven by Metallica, the rich bass creates an impact to a usually rather flat sounding bass.



Another addition to the signature, post seasoning, is the bass now has a bit more punch, reminiscent of DD bass. The decay is still there, but the punch and snap add more balance in the bass spectrum. The DD adds a new dimension to the EarSonics portfolio. It adds a new dimension to the already famous Earsonics house sound and provides them with an avenue for more R&D.

The sub-bass grumbles and provides heft, but after seasoning, the bass doesn’t shield the mids or treble. I have already mentioned that the Stark loves some power, bass will open up, and the balance will ensue. Underpowered, things become more restricted, dense, and display less air. I utilize high output DAP’s, but the Stark could shine from a desktop setup. Listen to some music with a stand-up bass in the band, and the vibration will tickle your ears.

Vocals are clear but slightly pushed back in the mix with some musical selections. Male vocals sound full and natural. Listening to Paul Simon Diamonds on the Soles of Her Shoes, you can hear a great representation of Stark’s capabilities. The sound is balanced, and the bass stays in its lane. Vocals appear a couple of rows behind the mix, and the treble percussion sparkles on the fringe. What the heck, put on the entire Graceland release and prosper.

The overall stage is a large rectangle being a touch more wide than deep, but with the proper tracks, the depth is very apparent. The stage when listening to Jazz is very accurate. I am listening to one of my favorite Jazz pianists, and it is very evident that her piano takes the stage front and center, while the percussion and cymbals tickle the far edges. Feeling the keys and their strike is a unique experience.

The mids at times sound a couple of rows back from the stage, but at other times the staging can take front and center. The mids are detailed but destined to take a backseat to the delicious bass and sparkle that the treble provides; that is just how this IEM is voiced. The mids allow the mix to showcase the details and transparency and help to give the musicality of the Stark. I have found myself bobbing my head in unison with more music than I have in a long time. Daft Punk, Giorgio by Moroder, almost gave me head-bobbing whiplash. The blending demonstrates that coherency rules here.

I have found, depending on the track, that the treble of the Stark can take you right to the edge with a sharp bite. There is a glistening on the fringe, a sparkle. With poorly mastered tracks, the bite is a bit more pronounced. That said, with well-produced tracks, the treble is seamlessly blending and intertwining with the rest of the mix. Beautifully layered throughout the experience and in tandem with the mids to create transparency and layering.

These are audiophile IEM’s without a doubt. The Stark can be classified as audiophile fun. The Stark makes you enjoy listening to your music, copious amounts of thunderous bass on Daft Punk’s Lose Yourself to Dance, and the detailed of the strings in the mids and the handclaps coming at you from the left and right, creates a fun, musical exploit. With the digitized vocal swirling around my head encouraging me to “come on, come on, come on,” incredible.



Pairings

Stark can be driven relatively easily with moderate volume but shines when you bump up the volume and feed it POWER. Yes, this is one of those IEM’s that you find yourself toe-tapping and head-bobbing the more volume you use.

Questyle QP2R is just one reference player and pairs incredibly well, especially from the 2.5mm balanced output. The stage is wide and extends well. The QP2R can reveal itself in a full, rich, organic tone, and with the Stark, which also share similar characteristics, the sound is decadent.

The Fiio M15 is a player that has slightly warmish overtones. I love a little warmth, and the M15 pairs exceptionally well with Stark. When listening to Ghost-Note Swagism, the stage and details abound without harshness. The M15 has the power that Stark craves. Warmth on warmth, what can be said? The mids seem a bit more represented with the M15 that the QP2R with a little more detail retrieval.

Comparisons

The only logical comparison that I own/owned is the Legend X. I will write my thoughts on the Legend X based on my notes and my memory.

Legend X

Compared to the Empire Ears Legend X. The Legend X is a bit more expensive ($2300) than the Stark at $1500. The Legend X is the most technically adept IEM I have experienced. The parallels between the Stark and X are uncanny. The Legend X was another IEM that certainly improves with a serious amount of seasoning to show its best.

The bass shares some similarities, and this is a comparison of two audiophile bass IEMs. I think it has become apparent that more drivers do not equate to better quality sound. The Legend X is Empire Ears TOTL, and the Stark is EarSonics TOTL hybrid.

Treble of the X is more mature and less dependent on quality source files to show. In other words, the X is more forgiving of poor source material that the Stark. The Stark treble can, at times, be a touch harsher than the X.

The stage of both is wide, but Stark is going up one of the best stages there is. The mids of both IEM’s are not the showcase range. The Stark and Legend X are detailed, but the Legend X has the edge in detail retrieval.

I do want to say the bass in the Stark narrows the gap in comparing the two IEM’s. Just pulling the bass entirely out of the mix, both are First Class in the sub-bass and throughout the range. I must stress, the Stark is an incredible listen, but I have just compared it to one of the Top Tier in all of the industry, and it has does an excellent job of holding its own.

You might want to own this IEM if:

+ The goal is that you want a fun, musical IEM that will have you revisiting your catalog of tunes

+ EDM and dance music are your preferred genres of music, although it excels at jazz and rock as well

+ You prefer a sound that is full of emotion

+ It is important to feel your music as well as hear it; rumble

+ You enjoy a coherent stage with layers of sound expertly intertwined

In Closing

This review was a long time in the making. Many life events, sickness, pandemics, but finally, it is complete. I want to reiterate that the Stark is such a fun engaging listen, and I haven’t seen an incredible amount of press written. It is one of those IEM’s that is a shame not to experience.

Seasoning is supercritical but with time you will be rewarded. I have tip rolled time and time again. During the writing of this review, I used the Spinfit CP100 and found great comfort and rockin’ sound.

The build quality is exceptional, and I feel the Stark could survive many accidental drops and come out unscathed. The accessories are complete, and now with the inclusion of a quality cable, it shows that EarSonics has listened to their customer base.

Incredible bass, transparency, and detail throughout the mids and upper ranges are above average. The stage is a large rectangle, and the stereo separation shows its width.

When listening to the Stark, I can’t help but think that this a significant stepping stone to greater things from EarSonics. I have always enjoyed their house sound, and now with DD and hybrid technology in their arsenal, I feel the future is quite bright for them.

Empire Ears Legend X



Legend X

Empire Ears Legend X Universal – Universal Legend X
Empire Ears Legend X CIEM – Custom Legend X

A Little Technical Stuff:

Specs

· 7 Proprietary Drivers, Hybrid Design

· 2 W9 Subwoofers, 2 Mid, 1 Mid-High, 1 High, 1 Super High

· 10-Way synX Crossover System

· A.R.C. Resonance Mitigation Technology

· Impedance: 14 ohms @ 1kHz

· Frequency Response: 5 Hz - 40kHz

· Sensitivity: 102dB @ 1kHz, 1mW

· 26AWG UPOCC Litz Copper Cable, Handcrafted by Effect Audio

-MRSP: Universal/Custom-fit $2299.00




Empire Ears an American Company based out of Norcross, Ga. Norcross is not one of those cities that comes to mind when you think of audiophile juggernaut, such as Empire Ears. The population of Norcross can’t be more than 20K inhabitants, but I guess it is close enough to Atlanta, Ga. if you want to travel to the big city excitement, but far enough to not be in the hustle and bustle. Jack & Dean Vang and Team call Norcross home, at least Empire Ears the company does. The list of artists and churches that have drunk the Empire Ears Kool-Aid are too numerous to list here. Empire Ears is super progressive with their development but very methodical with their releases. As a matter of fact, they have recently announced a couple of new offerings a year after the X, one being TOTL.

Almost a year ago, I had the privilege of purchasing the Legend X Universal, acknowledging the high price of admission, I went Universal, for resell purposes. Without the opportunity to demo the Legend X, it could have been a high priced experiment gone wrong, fortunately that was not the case. I have demonstrated great restraint in not writing this review for a year. I knew the X was unique on first listen, but also knowing that it was a hybrid, utilizing DD’s, I knew it would season and improve with age, and my assumptions were correct. It is a pity many consumers only have an opportunity to experience a short audition. The X is not a short audition IEM. In fact, if I had written my review a year ago, it would be a different review with a different outcome.

I wrote a review on the Zeus XR and heralded its extreme clarity, transparency, and layering. It is unmatched in that type of signature. Jack uses the following excerpt from my review on their home page, “You will have a hard time finding an IEM that does everything as well as the Zeus XR. Truly difficult to find better.” The Zeus XR is a marvel and best in class if you are seeking transparency. Still, I enjoy a fuller, warmer signature and I remember Jack communicating with me saying they were releasing a couple of IEM’s that would be more towards my preferred signature. One of those products was the Legend X.

The Legend X is at the technical pinnacle of my collection, past or present. The IEM checks 95% of my boxes. Nothing is perfect, but to my ears, it raises the bar and sets the new hybrid benchmark. That said, I have heard many TOTL IEM’s and not one of them sucks. It all comes down to your personal preference in signature. The bass may be a bit too much for some, and to others, such as myself, it is a beautiful bassy indulgence. I can only stress enough, my X’s were adequately seasoned. Once the DD’s settle in and your brain aligns, I think you will find this to be one of the most technically proficient IEM’s to date.

A Little Marketing Hype from their site:

At long last, the Legend has returned to the throne to push the limits of in-ear monitor performance to its highest point ever. Experience a world-class prestige IEM and a new era of uncompromising design and performance. From its arsenal of 7 proprietary drivers (including twin sequential W9 subwoofers) to its industry leading, state-of-the-art 10-way synX crossover network, the Legend X is the culmination of everything extraordinary we do at Empire.

Designer's Notes

“While neutral in tone and a balanced signature throughout, an addictive treble energizes the music, while simultaneously remaining smooth. But our greatest challenge yet was incorporating the low-reaching, impactful bass of the W9 subwoofers, with technical performance rivaling any in-ear monitor on the market; a challenge we can proudly proclaim we have overcome. Offering top-tier levels of transparency and separation, as well as one of the widest sound stages in the industry, our flagship has earned its position at the top of the lineup: a Legend is reborn.”

Every aspect of the Legend X was conceived, designed, and crafted to faithfully reproduce what the artist had intended. With the expertise of producers and mix engineers, including 7x GRAMMY Award winner, Jeremiah Adkins, we were able to understand firsthand what they require from in-ear monitors.

synX Crossover Technology

synX is a supercharged crossover design that designates more individual audio bands per driver than any other crossover technology currently in existence. By creating an ultra-wide, multi-channel highway our engineers can manipulate specific parts of the frequency range in order to precision craft the target response and eliminate any signs of phase incoherence between the drivers. Alternatively, mix engineers and audiophiles will have full control of the drivers when equalizing through a mixing console or digital audio player. synX is the industry’s most advanced IEM crossover technology with each model featuring its own uniquely designed synX network.

Hybrid Technology

The Empire X series model features a combination of both proprietary balanced armature speakers and dynamic range W9 subwoofers in order to deliver maximum clarity while achieving a powerful low end response. Each model is further tuned with a specially designed synX crossover network to achieve studio monitor levels of audio reproduction effortlessly and faithfully. After nearly 2 years of relentless R&D Empire is proud to announce the Weapon IX (W9), a proprietary 9mm rare-earth magnet subwoofer with the ability to deliver extreme output, accurate dynamics and sublime sound quality all at the same time. The keys to these performance capabilities lie at the very core of its design, where the woofer is enclosed in a tuned bass-reflex system with a front-firing sound port and rear-firing vent for maximum efficiency. Conventional dynamic drivers and passive radiators (a speaker without the magnet and coil) often suffer in low octave frequencies and are heavily dependent on internal shell enclosures for volume, limiting form factor and vastly reducing efficiency with limited extension. The W9 is superior in its custom port tuned design, reaching frequencies even lower than its target response while mitigating distortion as the woofer isn’t required to move as far near resonance frequency.

Every W9 subwoofer is hand assembled to our exacting quality standards in our Norcross, Georgia laboratory.

WHAT’S IN THE BOX:

· In Ear Monitor

· Empire Aegis Case

· Empire Cleaning Cloth

· Empire Cleaning Tool

· A cloth logo bag for the Aegis case

· A smaller cloth logo bag to carry IEM’s

· Various size Final Audio “E” type tips

· Pamphlet

Unboxing and Accessories:



One thing you can count on from Empire Ears is that when you receive your product, opening it is like Christmas morning when you were a child. EE believes in providing not only what you need, but many things you don’t. Their packaging, as well as the included pack-ins, exude class. I am a sucker for all black and EE appears to feel the same. The Aegis case is an excellent, protective, hard stock case. Not only does it protect, but it can be personalized with an engraved nameplate. A wonderful touch! I do not opt for an engraved nameplate because if I ever sell, I am sure the buyer would rather have Legend X on the plate than my personalization.



Since this is a Universal model, it includes a package of Final Audio “E” type tips. Obviously, a Custom design would not need the eartips.

The Legend X includes an Effect Audio Ares II cable. I actually purchased an Ares II before receiving the X, so I can attest to the fact that it is a quality cable to include as stock. You can request the termination of your choice, 3.5m, 2.5mm, and so on. It is a top-quality 2-pin cable, and to include it as stock makes you realize what a premium package you are actually receiving with the Legend X.



To be honest, I am okay with few pack-ins or many. For the consumer that like goodies Empire Ears will always satisfy.

I will include photos of the unboxing as opposed to describing, in detail, the inclusions.

Build Quality and Fit:



My Universal came in all Black emblazoned with the Gold Wing logos on the left and right. The build is smooth, flawless, and ergonomic. The shells are large, and I could see where they could be annoying in small ears. I had no problems once I selected the proper eartips. They are comfortable, but to my ears the EarSonics Grace is a more comfortable universal fit. The X is also very lightweight, so it’s beefy frame only fills your ear in volume but not in weight. The X is available in Custom as well, so fit should not be a reason to experience the X. I went on a tip rolling expedition upon initially receiving the X, and waffled between the JVC Spiral Dots and the included Final Audio e tips. For seal and sound quality, I landed on the wide bore Spiral Dots, and a year later, I haven’t found any other tips that deliver the experience I achieve with the Spiral Dots.



One criticism of the build is the short nozzle and the fact that Empire Ears does not provide a lip on the end of the nozzle to help hold an ear tip in place. This also renders my Custom Art custom tips impractical because they won’t stay in place on the nozzle.



Review Setup:

The review was written utilizing multiple sources. I listened using multiple aftermarket cables to include the Ares II 4-wire and the Ares II 8-wire Bespoke cable, as I found both paired really well. My sample music consisted of 320kb, FLAC, 16 and 24bit, as well as streaming Tidal Masters, Qobuz.

Moving on to the sound section….

The sound section is the part of this review that makes me so glad I did not rush right out and review the Legend X. If you notice, there is a pattern to the early reviews. The initial, out of the gate reviews, discuss how the bass is overpowering. While the bass may set a new standard for audiophiles, proving that you can have molar rattling sub-bass and clarity and detail in one complete package. Legend X is the most comprehensive tuning I have heard in an IEM. The reviews that have come out after the initial wave all seem to point to the fact that the X is not the same IEM after plenty of seasoning. I am part of the second group after a year into my journey with Legend X.

Commonplace among the bassier IEMs is a V-shaped signature. Developers use the treble lift to dilute overwhelming bass. The Legend X is not a V-shaped signature, it has a unique tuning, actually more balanced than a quick listen can reveal. The mids do take a little step to the rear, maybe you could say it is more U shaped than anything. However, it is an impactful listen. While the experience you get from EDM or Hip-Hop is sublime, if you listen to acoustic Eric Clapton, Tears in Heaven, you can actually hear/feel the vibration of his acoustic guitar strings. This is the first IEM to offer me that sensation, all of the while, providing me the detail and clarity throughout the upper registers of the frequencies.

The soundstage will instantly impress you with its L/R separation and width. The X may not be a holographic experience with notes floating around your head, but there is pin-point preciseness that makes is super easy to locate the percussion in Latin infused music, the percussion attacks your brain from all points in the stage. Logical thought would tell you that copious amounts of bass would muddy the preciseness of the signature, but it delivers its precision surgically. The stage lends itself to showcase the ability of X’s imaging. Stellar imaging, spaciousness, and accuracy, what’s not to love.

The sub-bass of the Legend X takes almost every IEM to task, it is guttural. You can feel the rumblings, and the sensation is awe-inspiring. It reaches down with spectacular depth. Amid the quantity is a level of quality in all of its technical glory. The Legend X demonstrates what a bass showcase IEM should be. Jack and Dean have pulled off an incredible feat.

The mids of the X warrant attention but are not often recognized because the bass is so delicious. They have an organic feel and a smooth overtone. They are strategically placed in the mix, creating an artistic blend and cohesion with their older sibling, the bass. The mids provide warmth but are natural and neutral when compared to the bass. The mids may be slightly pulled back, all the while allowing details to shine with clarity. Vocals are displayed exceptionally with a natural tone and energy, but a warmth that blends with the signature, not standing alone. All instruments are displayed with weight and heft and richness. Notes have air, which is provided by the upper mids. The upper mids have a hint of shine and sparkle which allows female vocals to have a sexy rendering.

The level of symbiosis between the bass and mids is five-star, considering this is a hybrid. I have heard many hybrid arrays, and they can come off as incoherent or unblended. The overall cohesion in the Legend X proves that the time spent in R&D paid off.

The treble carries on the tradition of blending into the mix. The treble extends and has a hint of sparkle, but never would offend the listener. There is about the right amount of energy, never sharp or offensive. The overall treble could be described as a bit laid back, but man does it blend oh so well. I really think Empire Ears wish was to play it safe with the treble, because it goes to the edge, at times, but allows the showcase to be the sub-bass and mids. The amount of air around notes was a pleasant surprise for a bass focused IEM. Again, I am not sure how Jack and Dean made this signature encompass everything. They have, and it deserves the accolades I am giving it. Clean, full, and guttural sums up the signature. Super technical and a tuning wonder.

Pairings



I have found that the Legend X pairs well with any of the sources that I drove the Legend X with. Knowing that the signature is rich, it would probably be best for the listener to avoid a warmer source. For a hybrid IEM, it is relatively easy to drive, although my preference is to generally use the 2.5mm balanced output of most of my sources, which is usually going to provide plenty of power for most IEM’s. The QP2R was one of my favorite pairings and the ability to showcase the bass of the X was fully demonstrated.

The QA361 and the Kann Cube also provided an excellent listening experience allowing for the stage and details to shine through.

The three sources mentioned could all be considered some of the best performers in the business at their perspective price point s and level of performance. I can only assume that you would achieve the same level of performance from the likes of a Cayin n6ii or iBasso DX200.

Comparisons

EarSonics Grace

The Grace is aptly named as it delivers its signature with maturity and grace. The bass of the Legend X is deeper and more pronounced, especially in the sub-bass region. The X is a hybrid, containing DD and BA drivers and the Grace is strictly BA, so considering that the Grace has a very technical bass with beautiful layering and transparency. The Grace has punch and speed with rapid decay overall, but the Grace lacks the snap that the Legend X has in the midbass and doesn’t extend as low as the X.

To my ears, the Legend X really isn’t warmer than the Grace; it just adds more rumble. The Grace holds it’s own really well against the Legend X.

FIBAE 6

The F6 is strictly BA, so consider that. Honestly, the bass of the F6 holds its own reasonably well compared to the DD bass of the X.

Overall the F6 is a smoother listen. The X has a much better treble extension, and while neither IEM is offensive in it’s treble, the amount of sparkle in the Legend X allows the spectrum to extend further. In the mids, the X can reach into a song and extract more detail from the music. Both are very full in the mid-range, but technically the X showcases more detail, and the F6 smooths out the sound. I prefer DD bass, but the bass level and tone that Piotr and team can achieve with this BA offering is undoubtedly impressive. The X is more layered and has quicker transients while the F6 is more warm, smooth, and organic.

You might want to own this IEM if:

+ You want Incredible bass which balances out with proper seasoning

+ You prefer a full, indulgent signature that rumbles

+ You are sensitive to treble peaks and sibilance, as this is super smooth

+ You like a coherent, pinpoint accurate stage

+ You want TOTL technical abilities



In Closing

The Empire Ears Legend X is not perfect. It is not a single listen IEM, or designed for a quick listen. The Legend X has sub-bass, it is a basshead audiophile listen. The critical component to fully appreciating the Legend X is giving it seasoning time. This allows your brain to become accustomed to the signature as well as the DD bass time to balance out. There are only a couple of IEM’s I own/owned that I feel benefit from seasoning time and the Legend X is one of those.

As stated many times in this review, the X is super synergistic for a hybrid IEM. The accuracy of the stage is noteworthy, as well.

I have only had the opportunity to hear two Empire Ears offerings, but both have been Top Tier. I would enjoy hearing the tunings of some of their lower price offerings; who knows maybe I will make that happen.

To wrap this review up, I can only say that the Empire Ears Legend X is one of the most technically proficient hybrid IEM’s I have heard and decadent sub-bass to be felt as well as heard.

Sendy Audio Aiva



Aiva
MusicTeck Aiva – MusicTeck Direct link to purchase
Amazon Purchase – Amazon Aiva

A Little Technical Stuff:

Specs

• Driver Type: Planar Magnetic
• Driver Size: 97*76mm
• Frequency Response：20-40Khz
• Sensitivity: 96db
• Impedance: 32Ω
• Weight: 420g

MRSP: $599.00



Sendy Audio? I had zero knowledge that Sendy Audio existed. I get so focused on the IEM side of the hobby that I sometimes forget that wonderful over the ear options abound as well. When I do think of headphones, it is generally one of the well-known brand names throughout the audiophile crowd, not the boutique offerings.

Andrew, from MusicTeck, shot me an email and asked if I had any interest in reviewing an over-ear Planar headphone by a Chinese company name Sendy Audio. I respect Andrew and MusicTeck and haven’t written a full-sized headphone review in quite a while, so I obliged.

I sit here in the wee hours of the morning, as the sun kisses the wall in front of me, and listening to a FLAC version of Pink Floyd, Dark Side of the Moon, with the Sendy Audio Aiva as my crown and felt inspired to write. Okay, sorry for the dramatic overture, but the song, Time, adds to my melancholy. I know you have heard the song, by Pink Floyd Time, maybe a million times, but just focus on the lyrics and their meaning. *SIGH*

Searching the web for Sendy Audio yields little, they are as elusive as Sasquatch. There are a couple of YouTube videos showing you the painstaking process that goes into producing each pair of Aiva’s, some reviews, and a whole lot of forum chatter about the sound quality and how they perform well above their $600 listing price.

The Aiva has a unique sound; it is different than many of the Planar Magnetic headphones I have had the pleasure to hear. The sound signature may not be for everyone, but to my ears, I only have a couple of improvement items on my wishlist for the Aiva, that could move the Aiva closer to sonic perfection.

Those of you that follow my reviews know I am not a fan of the garish or gaudy. IEM’s or headphones that attract attention are not my style. One example would be Meze Audio 99 Classics; I prefer the Meze Neo just because the Classics are so ornate, with their wooden cups and gold accents. While I would never wear the Aiva outside, except sitting on my porch, they are indeed a sight to behold. They are beautiful, and once you give them a critical eye, you begin to see more depth of detail in the “little things” and how well they are crafted.

The Aiva is part of the Sendy Audio Black Beauty series. I am not sure what other series they have because company information is lacking online.

Overall, Aiva is a fantastic package that deserves a more in-depth look.



A little marketing hype from their website:

Aiva is equipped with a 97*76mm ultra-nano composite planar magnetic diaphragm unit as its transducer. Combined with the superior sound characteristics of the zebra wood housing, the overall direction of its sound signature is one that is very comprehensive, exhibiting natural coherence across the frequencies with airiness, detailed with distinct layers of clarity and transparency.

SENDYAUDIO founded in 2015 and is made up of the elite teams who worked in the audio industry earliest in China. Black Beauty Series is 2019 new positioning products of SENDYAUDIO, and it took three years of hard research and development. We adhere to the use of traditional craftsmanship, coupled with the selection of high-quality natural solid wood as the material for the housing. The whole production process consumes a lot of manpower and time, which include material selection, CNC machining, engraving, grinding, polishing as well as repeated oiling and drying. The finish texture of each individual piece is unique.

WHAT’S IN THE BOX:

• Aiva Headphone
• Headphone Hard Leather Carry Case
• Headphone Balanced Cable with 4.4mm Plug
• 4.4mm Female to 3.5mm (SE) Male Pigtail Adaptor

Unboxing and Accessories:



I am including photos that highlight the unboxing. The unboxing is rather uneventful, as the Aiva arrives in a brown box with the Sendy Audio logo in the upper left-hand corner, a sketch of the Aiva, and beneath the sketch, the cursive word Aiva, some Chinese scripted text, and 97*76MM. Beneath all other writing is their home site, www.sendyaudio.com, which when you attempt to access the homepage, takes you to nowhere.



The back of the box has text which says Sendy Audio Aiva, Black beauty series, the name of the technology company and their address, and again the homepage address. In the center of the back of the box, there is a large sticker which explains the same thing I highlighted earlier in the marketing hype section above.

Upon removing the top of the box, you are greeted by a hard, leather case with the SendyAudio logo adorning it. The case itself is just the beginning of the company, demonstrating the level of detail involved in Sendy’s total Aiva package. The leather case has four small feet on one end so that it can be stood up vertically, allowing it to take up less space on a table or shelf. The case is felt lined and has a recess in the bottom center, to let space for the earcups to sit flush to be stowed. It is difficult not to notice that the shape of the case truly evokes thoughts of the back side of the human body, yep, butt cheeks. I must admit that my juvenile, immature humorous side, snickered upon beholding the rump case, but a luxury rump case it is.



The accessories arrive in a burlap style bag that shows the text, SendyAudio, and their company logo. Inside is where you find the headphone balanced cable terminated in a 4.4mm configuration. Also, you find the 4.4mm Female to 3.5mm (SE) Male Pigtail Adaptor. I find it an odd choice to terminate in a 4.4mm plug, but maybe I find it strange, only because I do not have a Sony DAP.



The cables are a wonderful braided 6N Oxygen-Free-Copper. The cable reminds me of braided IEM cables. It is the first time I have encountered a Headphone cable that was hand braided, it is truly awe-inspiring. On the MusicTeck site, there are other cable configurations with all of the various outputs. The cable prices are $240, and the Pigtail is $75. If needed, there is also a SendyAudio Headphone stand for $75.




I also want to touch on the detail put into the plugs and cinch. The plugs all have a matching fish scale pattern. It matches the look of the grillwork adorning the outside of the cups. The neck cinch is fabricated out of wood, as well as is the splitter and has Sendy Audio branded into the wood. In my opening, I mentioned it is the little detail that matters, and this is another example.

Build Quality and Fit:

The fit of the Aiva is very comfortable to my head and ears, especially given their size and weight. They adjust to fit over the largest of heads. The design is one of those suspension types of designs with a leather headband that sits on top of the head. The weight at 400 grams, is heavy, but the weight is evenly distributed, and I have used them for a couple of hours on end without any issues with comfort. The cups do swivel from side to side if you need a little control over your adjustment to sit on your ears comfortably. The cups are large enough for my ears so that I do not have any issues with my ears touching the drivers. The pads, in the cups, are a unique design. First, they have an angle that is full at the bottom of the cup and taper up as you approach the top of the ear hole. I think this allows for a more natural following of the shape of the ear. The pads are leather on the outside edge, which covers the majority of the cup. The part of the earpad that sits against your head is similar to a microfiber type of material and the inner ring, closest to the driver, returns to leather. Plush, thick, and comfortable are the best descriptors I can provide. I love the cup and pad design.



Beauty is defined as a combination of qualities, such as shape, color, or form, that pleases the aesthetic senses, especially the sight. The definition truly sums up the Aiva. Each Aiva is handcrafted, and the labor of love is undeniable. From the Zebrawood cups to the metal and leather, all materials are top notch. I examined my Aiva for flaws, and I could find zero defects. From the metal grilling on each ear cup to the fact that the rivets that attach the earcups to the arms have the Sendy logo, the attention to detail is one of a kind and impeccable. A picture is worth a thousand words, so I allow the photos to speak for themselves. I recommend you take the time to watch the YouTube video that demonstrates how they hand make the ear cups; it is super impressive.

Review Setup:



The review was written utilizing four different sources, QP2R, QLS QA361, iBasso DX120, and a Samsung S10+. I used only the stock cable. My sample music consisted of 320kb, FLAC, 24bit, as well as streaming Tidal Masters, and Qobuz HI-Fi.

Moving on to the sound section….

Earlier I mentioned that the Aiva has a unique sound, and indeed it does. If you follow my reviews, you know that I spend much time researching DAPs and pairings with IEMs, but I also attempt to find DAP’s that can drive full-sized headphones with authority. The DAPs I am using for this review are all capable of driving the Aiva with such authority.

I generally have a strong preference for a warm and smooth character to my gear. The AIva should not be characterized as warm or smooth overall. Where Aiva does excel is at its sparkly, crisp, treble extension and its warm, non-linear bass frequency. The Aiva is not neutral in its sound signature; it is an engaging listen and a top-notch purchase for $600. My brief description may have conjured a visual of a V shape signature, and you would be partially correct, but there is a slight goosing in the lower register of treble which would not graph, on paper, as a traditional V shape.



The soundstage is narrow for an open-back design. The stage is not congested or veiled; only, it is not as wide as you might expect from an open-back headphone. The height of the stage is average, and the depth is barely audible for a headphone in this class. Thanks to an incredibly sparkly treble and its airiness, the stage seems to work well for the Aiva and avoids any congestion in the sound. It is possible I am being too picky on the soundstage. Overall the stage is adequate, it isn’t veiled or congested, but it isn’t the widest either.

The lift in the basses presence is welcoming to my ears. The bass elevation has a calming effect of balancing out the brighter top-end. The bass doesn’t necessarily always rumble; it is after all, planar magnetic bass which has a level of texture and layering that strives for realism. It is a case of quality over quantity, but there is enough quantity that genres like EDM are displayed aggressively, which lends to its character and the authenticity of the music.

The bass frequencies provide the warmth and fullness in the signature of the Aiva. The nimbleness of the bass creates a sound that is natural sounding with all genres of music.

I need a slight interlude here to discuss why I feel there is a uniqueness in the tuning of specific frequencies, mids dip and treble travels north from the lower treble registers, the Aiva seems to pull together to create a euphoric, cohesive experience.



The Aiva has a celestial, dreamy beauty to their sound. I understand, to describe the Aiva as dreamy, sounds very contradictory for a headphone that is undoubtedly on the brighter side of things. That is the uniqueness referred to throughout the interview.

The Jazz genre or a Jazz Fusion artist such as Snarky Puppy, is an example of a music genre that showcases the abilities of the AIva.

The mids of the Aiva are a touch pulled back but with enough lift to vocals so that they sound natural and effortless. While vocals are portrayed effortlessly, they could be a bit smoother in timbre. I prefer the sound of the mids with instrumental music, especially involving percussion and crunchy guitar. The shining star of the signature is the bass and treble with the mids being along for the ride. The mids are not bad, but they take a back seat.

The treble is light, airy, and full of energy and sparkle. The air surrounding notes provides the transparency and clarity that are a hallmark in the Aiva. The copious amounts of detail and clarity are, indeed, very impressive. There is never any harshness or sibilance and cymbals crash with sharpness and realism that is not abrasive. The energy and dynamics take you to the edge but never become offensive, just detailed and clean.

The sound is so lively and quick that it does create an atmosphere of energy and fun. The Aiva is one headphone that has shown me that I can learn to love a brighter sound.

Pairings



I have attempted to drive the Aiva with my Samsung S10+, but it requires full volume and is still lacking in its ability to push the Aiva to showcase its finer details. If the S10+ were the only source I had, I would be happy with it because I would not realize it wasn’t complete. However, once I tried my DAPs with more power, I realized I could do better. The S10+ drives them to listenable levels, but the Aiva responds to better amps and sources favorably.

The QA3461 has the power to drive the Aiva to hearing damage levels at 50-60%. This pairing is my favorite as the reference quality that pushes the Aiva without coloring the music in any way. The stage is at its widest, and the signature is pure and unfettered. The power of the QA3461 makes the Aiva soar to an entirely new level.

The QP2R would be my 2nd choice for a pairing, but I cannot try the pairing at its best as I don’t have a 2.5mm balanced cable for the Aiva. On SE output it required quite a large volume to accomplish what the QA3461 could achieve at 50%. The QP2R is a reference quality DAP, but it shows its prowess in 2.5mm output. I am confident if I were able to use the 2.5mm output, the pairing would be sublime the organic tone of the QP2R.

Know that if you give the Aiva power, you will be rewarded, in a big way.

You might want to own this Headphone if:

+ You want a crystal clear, transparent, dynamic signature

+ You are looking for a Planar Headphone that performs above its price point

+ You want a Headphone that is as beautiful aesthetically as it sounds

+ You want best in class looks and sound in a headphone that soars beyond the $600 price tag



In Closing

Sendy Audio was a brand that I was not familiar with before this review. I also wasn’t sure what to expect from this unknown Planar Magnetic headphone. Without a doubt, I can now say I am familiar with Sendy Audio and am looking forward to their next offering.

I prefer warmer, smoother signatures, but the Aiva made me a believer that a brighter signature can be a spectacular experience.

The Aiva is a beautiful design and has an unparalleled attention to detail. Superior build quality, and the Zebrawood is gorgeous.

When driven with a higher output source, the Aiva soars to levels beyond what most $600 offerings are capable.

I am stoked to see what the future holds for Sendy Audio, and definitely can recommend the Aiva for consumers looking for a beautiful, well-built headphone with a crystal clear sound signature.

EarSonics Purple



Purple

EarSonics Purple – Direct link to purchase

EarSonics – Homepage



A Little Technical Stuff:

Specs

• Sensitivity: 127 dB/mW
• Frequency response: 10 Hz – 20 kHz
• DCR: 25 to 45 ohms (depending on the switch position)
• Driver: 5 balanced armature drivers, HQ 3-way tunable crossover
• 3-Switch setting manual

MRSP: Universal fit € 1190.00

As the world turns, landing upon my workbench was an unexpected treasure. My love for Franck Lopez’s work and his beloved company, EarSonics, started years ago. It began with the SM64, which to this day I have regretted selling because it started me down this audio rabbit hole.

My second purchase from EarSonics was the Velvet. Ah, the Velvet. I first purchased the Black version and then after a couple of redos on their housings they developed a Clear or Crystal shell. I liked the Black version so much I was compelled to purchase the Clear version. It was a new acrylic as opposed to the acrylic used in the Black version. I always found the design fresh and sexy. It is the niftiest design; it has a little screwdriver which was used to tune the sound to your liking, adding color and changing its signature. Remembering the Velvet, I will now say it was not the most technical IEM, but man was it musical and fun. I was a real fan of the Velvet. There has since been a Velvet 2 released, and I have never heard it so I cannot expound on it.

Enter the Purple. Unlike the 3-driver Velvet, the Purple has 5-drivers, but like its younger brother, it has a tuning system. It is hard not to draw the design parallels between the two IEMs, the Velvet and the Purple.



I asked one of my contacts at EarSonics about the origin of the name Purple since the IEM is a Smoky Gray color and not Purple at all. The logical side of my mind was trying to fabricate some wild purple haze induced dream state that led Franck to the name, Purple. The answer I received was that it had been in Franck’s mind for some time to develop a follow up to the Velvet and that will be named Purple, a continuation of the word Velvet. I would think Velvet is a unique fabric and Purple Velvet kind of made sense the more I pondered it. The conversation ended with, “It is rather a personal choice of Franck’s.” So, there you have it, no hookah smoking Caterpillars’ or wild purple haze dreams, just a continuation of Velvet in the color Purple.

The Purple is a progression in the Velvet line, but the Purple ups the ante in every way conceivable, enough so that the tuning system is one of the few similarities remaining between the Velvet and the Purple.

Purple is part of the Signature Series from EarSonics, a series in which its younger brother/sister Velvet is akin, these two Universal offerings comprise the Signature Series. The Purple is the second EarSonics IEM to incorporate their new technology coined TRUEWAVE, the first being the EM64, which I would love to hear as well. TRUEWAVE as they explain it allows for excellent work on the control of the phase and a magnitude-coherence curve for an ever more realistic and musical listening. Whatever mojo it is, it works! Let us delve a little deeper into the latest EarSonics offering.

A little marketing hype from their website:



PHILOSOPHY


Power, balance, respect for timbres and maximum sound output.

The Purple delivers full sound in all parts of the spectrum with a sense of presence and a fearsome first sound for a new audiophile listening experience.

The sound is balanced, natural and musical, with the ingredients that make EarSonics so popular with sound lovers.

A serious organic and hot, a medium worked and a control of aggression in the high medium.

The highs, meanwhile, are textured and fine, with a presentation rich in harmonics and a sensation of air and incomparable clarity.

An acute typology inherited from our universal "flagship": Grace.

Its electronics based on a new driver architecture, including 2 mediums integrating a vent system, will make you discover a new horizon in terms of sound listening.



DESIGN


The Purple uses the EarSonics EVS® shell incorporating the FUSION® process inaugurated on the ES5. The latter allows the integration of new drivers exclusive medium vents, for more realism in sound reproduction.

The cannula, meanwhile, incorporates the process TRUEWAVE®, the latest technology from EarSonics inaugurated with the arrival of the EM64. This configuration allows an optimum work on the control of the phase and a magnitude-coherence curve for an ever more realistic and musical listening.



HIS

Power, balance, respect for timbres and maximum sound output.

The Purple delivers full sound in all parts of the spectrum with a sense of presence and a fearsome first sound for a new audiophile listening experience.

The sound is balanced, natural and musical, with the ingredients that make EarSonics so popular with sound lovers.

A serious organic and hot, a medium worked and a control of aggression in the high medium.

The highs, meanwhile, are textured and fine, with a presentation rich in harmonics and a sensation of air and incomparable clarity.

An acute typology inherited from our universal "flagship": Grace.

Its electronics based on a new driver architecture, including 2 mediums integrating a vent system, will make you discover a new horizon in terms of sound listening.



MODULAR


The Purple is entering our Signature range with its modularity system. Its 3 sound adjustments allow a listening experience always more adjusted to your music and your choice of readers.



WHAT’S IN THE BOX:

• PURPLE with its detachable cable
• 2 pairs of foam tips of different sizes
• 4 pairs of silicone tips of different sizes
• 1 cleaning tool
• Hard carrying case
• Instructions for use

Unboxing and Accessories:









I have written a few EarSonics reviews, so I could almost copy my unboxing and accessories from any of those reviews, in fact, I think I might and tweak the nuances, if any, specific to this model.

The outer sleeve covering the box is Purple, yes finally something Purple about the Purple. A very plain, but albeit purposeful sleeve covers the box. The jacket has Purple monitors written in the upper right side and the EarSonics ‘ES” logo and the word EarSonics written in the lower left corner. The back of the sleeve has the specifications printed as well as graphics of the drivers listing, 1X Low, 2X Mid, 2X High.







Upon removing the jacket, you are presented a black box with the ES initials in the lower right corner. Once you flip open the lid, there is a thank you note, in French, from Franck Lopez the CEO. Above the note are two circular windows which showcase the monitors.

Laid out in a foam tray beneath the Thank You note are the accessories. The packaging is efficient, purposeful and rather dull, but I like it. All of the inclusions are listed above, and I would consider the EarSonics retail packaging and accessories to be average with other TOTL offerings. I will include a photo below to show you can expect to receive. There is a card included that let me know that Carine Cot handcrafted my Purple. They include a Platics1 cable, in light gray, with memory wire. Keep in mind that EarSonics uses a reverse polarity in their design. Included in this package was a little screwdriver to adjust the tuning and a diagram to explain how to do just that. There are plenty of tips with three silicone pairs and two foam pairs in various sizes. A cleaning tool and the usual EarSonics carry case, which even though I have quite a few, I still think they are my favorite cases.



Build Quality and Fit:

I gave the Purple a worthy inspection and noticed that is ABS shelled IEM appears to be a two-piece design held together by a screw. The Purple that I have was well put together, but the seams of the two-pieces can be felt with your finger. The seam does not present me with an uncomfortable fit, but I guess it could if the seam hits a sensitive spot in your ear. The IEM is lightweight and sat comfortably in my ear for lengthy listening sessions. The nozzles and their TRUEWAVE design are color coded. The right side has a Red cannula part, and the Left side has Black. You will see more clearly and have a better understanding of the photos shown.

The monitors sit relatively low and close inside your ear. EarSonics called this technology EVS; it was introduced on the ES5 IEM. The nozzle is long, but it is on an upward angle which I think is best suited for a double flange type of tip so that you can achieve a deeper fit.



I went to my goodie bag of eartips and decided on my old reliable Final Audio E tips, but later found some Spinfit double flange tips which I like a lot, I have no idea where I got them. Upon trying the Spinfit, and in tandem with the design of the Purple I was able to obtain a good seal. I have never been able to find a good seal with an EarSonics stock tip, but you may have no problem.





Design-wise, there is not much that is going to catch your eye on the Purple if you are the type of a person that likes flashy or colorful designs. They are a translucent, smoky shell on the front side and clear on the backside that sits inside your ear. If you like to see the technology inside look at the back and you can see the drivers. I, only on a rare occasion, like a flashy design on my IEM’s, but only when I am bored with the Black designs I generally choose when given the option. To me, the Purple is appealing and looks professional and esoteric in its design. The ergonomics are certainly one of the best attributes of the design, even the smallest of ears should not have an issue with the fit, no small feat since there are five BA’s internally.

Review Setup:

The review was written utilizing multiple sources, QP2R, iBasso DX120, QLS QA361. I listened to only the stock cables. I found the EarSonics EM10 did not change significantly with an aftermarket cable, so I followed suit with the Purple. My sample music consisted of 320kb, FLAC, 24bit as well as streaming Tidal Masters, and Qobuz HI-Fi.



Moving on to the sound section….

I have gone full circle with the Purple. There are three sound modes or settings with the Purple. Tight Mode, Standard Mode, and Warm Mode. What I mean by going full circle is I started on Tight Mode, progressed to Standard and ended up on Warm Mode and back again finally parking the setting on Standard.

The tuning “screw” can be a little confusing, but if you follow the diagram and hold the Purple as exactly shown, you will have no problem. The “left” setting on the tuning screw will provide you with the Tight Mode.

The Tight Mode is what I envisioned EarSonics thinking when creating the Purple as it is their reference setting. This setting is crystal clear and provides exceptional transparency. I was captivated by its level stage and depth. It is more reference sound than I generally enjoy in my signatures as I prefer a bit more warmth and sub bass. The bass is somewhat distant in the mix, but it is most apparently in the mix. It is more of an apparent midbass as opposed to a sub-bass thump. The midbass is crisp and clean, as is the sum of the entir signature. I think the bass balances very well to showcase the overall synergy. The signature is classified as a little north of neutral. It is technical, refined and precise. There is a snap in the notes, and there is very little lingering in the marginal decay. The treble extension is just superb in Tight Mode and provides quite a bit of distance between each note. When listening to jazz or acoustic music in Tight Mode the air and holographic properties emerge. Tight Mode is an audiophile mode, but it is not my preferred signature.



Standard Mode is the middle setting on the tuning screw. After my first time turning the screw from the Tight setting to the Standard setting, I was feeling more comfortable with the signature. There appears to be an enhanced amount of sub-bass but assuredly more mid-bass and a taming of the top end sparkle. I hesitantly say taming because Tight Mode is not offensive or strident, it was very technical. I feel that the Standard Mode does what it is designed to do, sit firmly between the technical and the warm. The incremental increase in the bass frequencies, mainly the mid-bass appears to help to lessen the effect of the upper end of the treble. My ears had a difficult time deciding whether it was an actual lessening in the treble or if the lift in bass created that illusion. In the Standard Mode, you are hearing a more natural sound with extra fullness in the tone of the instruments and not giving up clarity or the transparency that is the trademark of the Purple.

Warm Mode is right up my alley. I fell in love with it out of the box. The bass rumbles from the depths of its sub-bass and has a more forward presence. The mid-bass is present but is not as aggressive as the sub. I would not say that the mids morph into anything different than they are in the other two modes. The mids still maintain their clarity and technical prowess. If anything, the further north in the frequency we go the more pulled back the sound is. That is not a criticism of the treble in Warm Mode it just retracts in its bite and crispness. The stage is more confined without the airiness of the Tight Mode, but it is not claustrophobic either, just a little less dynamic.

As you go around the tuning dial to the right, the overall signature changes to have an increased bass presence and a more tamed treble, in a nutshell. Impressive is the Tight Mode, an impressive stage with holographic properties, broad and detailed with layers of transparency and clarity. The Warm Mode was the mode I spent the most time with because of its closeness to my most preferred signature and tone, with a kicking sub-bass sound. Where I ended my journey, is the Standard Mode. The Standard Mode provides me with the best of both worlds. Most of the width of the Tight Mode, and detailed in its mids, with clarity and extension in the treble. Its lift in the mid-bass creates a fuller sound that I felt is a fantastic compromise.

It is a bonus to have the tuning options at the turn of a screw, without changing filters or fumbling with tiny pieces to alter and morph the signature.

To list the genres of music that the Purple excels in exhibiting would require me to define the distinct differences in the different tunings, again. As you begin to visualize your favorite music, I am also sure you can imagine which adjustment may be best for that genre. EDM in warm, Jazz in Standard and Acoustic in Tight and so on. You may decide to settle on the Standard Mode and hear your favorite tunes such as Fleetwood Mac, The Chain, in all of its detail and definition as all of the songs nuances are unveiled. You can dissect all parts of the song, clearly and with confidence.



Pairings

The Purple is driven easily with moderate volume. I love the definition and detail of the Purple, and I found myself bumping up the volume to scrutinize my music and become immersed in the clarity which allows you to discover a cymbal crash possibly not noticed in previous sessions.

The QP2R pairs exceptionally well and adds some fullness by providing the enhancements in the Tight Mode. It will add some heft and weight to a light and airy signature. In 2.5mm balanced output the definition is sublime. I wholeheartedly recommend this pairing and the organic tone portrayed, with either the Tight Mode or Standard Mode.

The QLS QA361 is a fantastic DAP, which is reference quality and neutral in its signature. The pairing almost came off too analytical in Tight Mode and lacked a little of the dynamic feel that makes the music tap your foot. For critical listening, it does not get much better, but for fun, it was not my first choice to pair with the Purple in Tight Mode. In Warm Mode, the QA361 is a match made in heaven. The detail retrieval is kicked up a notch in the Warm Mode.

The DX120 is an exciting blend of budget and fun. If you are looking for a DAP that will not create a big hurt on your wallet and provide you with a focus on quality music listening, the DX120 will be the DAP to pair with the Purple. There is a positive energy level with the Purple, especially in the Warm Mode. There was a slightly uncomfortable edge in the Tight Mode’s treble, but it was tamed in Standard and almost perfect in Warm Mode.

The source pairings are going to be dependent on the tuning setting you have selected on the Purple. I can imagine that the Shanling M3S is a perfect pairing with the Purple in Warm Mode, whereas you may want a DAP with a more full, organic sound when selecting the Tight Mode.



You might want to own this IEM if:

+ You want a crystal clear, transparent, dynamic signature, in Tight Mode

+ You crave the ability to tweak your sound to your liking and mood

+ You want an IEM that disappears when you place it in your ear

+ You would like to drive this from your cellular handset as it drives easily

+ You like a vast stage with a holographic character, that can be tweaked to more closed but never claustrophobic



In Closing

Not sure what to expect, the Purple struck me out of nowhere. It is not the warmer signature that I generally prefer, but it can be warm when selecting the Warm Mode on the tuning dial. The Purple has oodles of transparency and detail in its Tight Mode. Similar to the children’s story Goldilocks and the Three Bears, after trying the other two settings, I finally settled on the Standard Mode, and it is just right. I am not going to rehash all of the tunings again in the closing remarks, only wish to say that it is lovely to have options, a tale of three IEM’s if you will.

The Purple has 5 BA drivers and surprisingly the shell almost disappears in your ear. While there is a discernable seam it did not present me with any comfort issues. The build quality is good, and the accessories that EarSonics includes are the typical EarSonics fare. I think that as the IEM market continues to become crowded, more and more inclusions, such as a broader collection of tips, upgraded cables are going to be the norm. Worldwide, EarSonics has a considerable fanbase that are accustomed to their pack-ins but to reach a new crowd; they may need to rethink their accessories. I do love the included zipper case, and I use them with other IEM’s in my collection when on the road.

A neutral DAP may be the best pairing unless you know you will use the Tight Mode the majority of the time, in which case a more full, organic signature will be the best bet. Be selective because the last thing you want is a source that will interfere with the immense transparency and detail.

The Purple adopted the TRUEWAVE system first introduced in the EM64. TRUEWAVE works on the control of the phase and a magnitude-coherence curve for an ever more realistic and musical listening, or so the marketing says. The cannula is color-coded and unique in design to the Purple.

Designed as a follow up to the successful Velvet IEM, the Purple improves on the Velvet in every way possible to bring you the future of EarSonics. It is difficult not to like an IEM that has so much to offer. It is a sound chameleon with diverse enough distinctions between its variety of tunings, certainly anyone can find the IEM that most appeals to them. I love the direction that EarSonics is taking in the Purple.

Sennheiser Momentum True Wireless



Momentum True Wireless (MTW)

Sennheiser MTW- Sennheiser Direct link

Amazon Purchase

A Little Technical Stuff:

• Dimensions 78.6 x 45 x 35 mm (charging case)
• Microphone MEMS
• Bluetooth Version Bluetooth 5.0 compliant, class 1
• Supported Profiles A2DP, AVRCP, HSP, HFP
• THD, total harmonic distortion <0,08% (1kHz / 94dB)
• Ear coupling Ear Canal
• Weight 69.8 g (earbuds and charging case), 13.2 g (both earbuds), 56.6 g (charging case)
• Charging time Approx. 1.5 hrs
• Microphone sensitivity 94 dB SPL at 1 kHz
• Operating temperature 0 to +40°C
• Power supply 5 V, 650 mA: USB charging via USB-C socket at charging case
• Battery Specification Built-in Lithium rechargeable battery
• Frequency range 5 Hz to 21 kHz (earbuds)
• 100 Hz to 10 kHz (microphone)
• Sensitivity 107 dB SPL (1 kHz / 1 mW)
• Speaker type Dynamic
• Operating relative humidity 10 to 80%, non-condensing
• Battery time Up to 4 hrs (A2DP) with rechargeable batteries of the earbuds, Up to 12 hrs with rechargeable battery of the charging case
• Water Protection Code IPX4, splash resistant (earbuds)
• Type of Codec SBC, aptX™, aptX™ Low Latency, AAC

-MRSP: Universal fit/BT Wireless USD 299



The Sennheiser Momentum True Wireless, henceforth dubbed MTW, hit my doorstep around a month ago. I have dabbled in the wireless arena with V-Moda and the Forza Metallo and the Crossfade 2 Wireless and the Senn Momentum 2 Wireless. The Metallo is a neckband type earphone, and the Crossfade 2 and Momentum 2 Wireless are over-ear headphones. It is my first foray into a True Wireless solution. I have read about a few True Wireless offerings in the market, and many other options give the listener the same features as the MTW, but an array of different results in connectivity and battery life. The one recurring theme with the MTW was that it had the best sound quality available in the True Wireless market when listening to your music. I wasted zero time in going straight to the top of the True Wireless royalty. Thus, I am reviewing the Sennheiser Momentum True Wireless.

I have owned quite a few Sennheiser products over the years. I enjoy their products from the stylistic design to the sound quality they offer. Sennheiser has been able to cross between the audiophile market and general consumer market successfully. I have recommended the Momentum 2 Wireless headphones to many people looking for a full over-ear wireless solution. The M2W was my go-to wireless headphone for quite a while. Since the MTW and the M2W have the name Momentum in common, I was interested to know if there were any other parallels.

One other point is that these are currently the TOTL in the True Wireless realm at USD 300. I know that many of my readers are just starting down the rabbit hole and have tried neckband wireless monitors or AirPods and that at the $300 asking price these constitute a significant investment. In the end, you have to decide what direction you want to go with your gear. In my time with the MTW, they have endured many dog walks and much time at the gym. I found them to be a superb on the go option. One difference between you and I may be the fact that most of my listening is in short sessions. My career does not allow me to listen at a desk, nor do I have a long commute that doesn’t involve me driving my car, in which I can’t use earphones while operating a motor vehicle. The reason I point this out is that I always have the luxury of a charger nearby. The MTW would quickly become my standard hit the road gear, along with my keys, eyeglasses, and wallet, if my lifestyle were more commute oriented. Unfortunately, I didn’t have any vacation or air travel planned during my time with the MTW, but I can undoubtedly say these would be a must-have travel companion. On the go, top tier wireless sound quality, what’s not to like.

A Little Marketing Hype:

MOMENTUM True Wireless

A new dimension in wearable sound
Uncompromised sound performance, state-of-the-art technology, and refined design all come together in Sennheiser’s True Wireless premium earbuds.

Discover a new way of listening

Make the music you love sound even better, whenever you want, wherever you are. These attractive earbuds, with Sennheiser’s audiophile driver technology, guarantee superior stereo sound performance at all times. Thanks to advanced Qualcomm apt-X Low Latency compatibility, you can experience media with perfectly lip-synced audio, whilst 2-mic noise cancellation beamforming technology and Transparent Hearing allows you to always be aware of your surroundings, with or without your music playing.

Experience long lasting comfort

Comfortably carry your music with you all day. These lightweight, splash resistant ear adapter come in 4 different ear tip sizes, ergonomically designed for the perfect fit. Just connect them and use the intuitive touch interface to control your music, answer phone calls or access your voice assistant with a single tap or swipe.

Appreciate timeless elegance

Enjoy excellent craftsmanship. Attention to detail and a strong sense of aesthetic make these small, shiny, lightweight earbuds one part listening instrument, one-part ready-to-wear accessory. With premium black housing, polished metallic spin ring and gold-plated charging pins, function meets fashion in iconic design. A handy and compact charging case allows you to extend 4 hours of battery life to 12, so you can enjoy all day use, for years to come.

Personalize your experience

Listen to your music the way you want with Sennheiser Smart Control, the next generation companion app. This free dedicated app for iOS and Android provides an effortless way to control, personalize, update and configure your headphone, headset or soundbar.




WHAT’S IN THE BOX:

• MOMENTUM True Wireless earbuds
• Silicone ear adapter sets (in size (XS/S/M/L)
• Charging case
• USB-C charging cable 20 cm
• Manuals (Safety Guide & Quick Guide)

Unboxing and Accessories:




The MTW comes in a small box with only a top and a bottom. No fancy sleeves, no 21-gun salute. The box top has the Sennheiser name and logo in black font, with the logo in the upper left corner and the brand name in the upper right corner. Immediately below that is the word Momentum (in silver), and the words True Wireless below that in a light blue. There is a photo of the charging case and the earbuds below the wording. At the bottom of the front, there are four icons, representing music and calls, touch control, voice assistant access, and battery life and charging case. On the right side of the box, top shows the Sennheiser original label and QPR, to verify they are genuine, as well as the words Bluetooth, AAC, Qualcomm apt X, and Qualcomm apt-X low latency. The left side of the box top shows you where you can download the Sennheiser Smart Control App. The bottom box shows the four previous icons, plus displays that they are Bluetooth 5.0 compliant.





Upon removing the box top, you are staring at the charging case and both the L and R earbuds cradled in a foam cutout. There is also a tiny information sheet that explains you need to plug in the USB-C cable to wake up and charge the earbuds. Under the foam cutout is a white box which includes all of the accessories and paperwork that comes as a pack-in with your purchase. I will include some photos of what you receive as a pack-in since my description of the box top was exhausting.



Build and Design:



The design is top notch, as I have grown to expect from Sennheiser. There is nothing flashy about the design itself, but if you are familiar with Sennheiser, I would say it falls in line with the brand in general. The shells of the monitors are all black plastic with a silver faceplate emblazoned with the Sennheiser logo.

With regards to the build quality, the earbuds are plastic, and while they do not feel fragile nor does the plastic feel low-grade, I was cautious with the $300 earbud. In my mind, you cannot be sure how many drops the plastic shell could withstand. I am super careful with all of my stuff, but as we all know accidents do happen.



The stem(nozzle) of the earbud is very short and has a tiny catch lip for the ear tips to stay in place. I was fortunate that the large stock ear tips fit me perfectly, so I didn’t try any of my usual go-to tips. The fact that the tips seem proprietary is an issue that Sennheiser should overcome. I have many ear tips in my collection and some that I swear by when using my IEM’s. I would have liked to use my go-to tips, but I could imagine that the shallow nozzle would be a challenge. It does appear that Comply tips would work as they can grip a nozzle, but I wouldn't say I like using foam ear tips, not to mention that the overall signature of the MTW is warm and foam tips exacerbate the warmth and can detract from some of the treble extension.

It is nice to have only the earbud in your ear and nothing more around your neck, thus True Wireless. After using a neckband type of wireless headset, I was pleased with the design of the MTW. They are super lightweight and just a quick insertion in your ear and a little twist, locks them in place reasonably well. Again, your ear shape and finding the correct seal will have everything to do with the level of comfort that you achieve and how well they stay put once inserted.



Sennheiser has added sweat and water resistance, IPX 4, to protect the buds from your workout sessions at the gym or any water you may come in contact. They are not waterproof; they are merely resistant, but I found that they stood up to the test at workouts at the gym. I would say swimming and showering, no, but for the gym they are excellent.

The charging case also has a beautiful design, and I like the aesthetics of the cloth covering on the case, reminiscent of some cellphone cases I have used in the past. I think it is a fresh design. The case is not substantial, in size, when sitting on a desk or tabletop, but I felt its bulk when it is in my shorts or pant pockets. It would be fine in a backpack or a jacket pocket, but it was a bit too much in my pant pockets. Size has to be a consideration since you will need and want to carry the charging case with you. There is a small LED light on the rear of the charging case that indicates the level of charge in the case, green for over 50 percent, yellow for less than 50 percent and red for empty. It is a nice touch to let you know where you stand with your charge at a glance of the case.



The MTW has a quoted battery life of 12 hours (including case charges), and as previously stated I am never that far from a charging cable. I ran them out of charge one time, and it appeared to be around 3:30-3:45 hours of use, but I always find myself almost maxing out the volume when listening to the MTW, so I am confident that has an impact on how much battery life I received. You can use your charging case to give you two extra charges so I would assume you would have 10-11 hours of total charge at your disposal.



One design key is the fact the there is no on/off switch on the earbuds and waking them up is achieved by removing them from the charging case, then they are ready to function. Powering down is accomplished by cradling them in the charger. I am not sure there is a need for a formal on/off switch, but it could be an added feature on future models. Once you remove one, or both, from your ear, the music stops automatically, but I always immediately trickle charged them in the case, upon removal from my ear, because I was never quite sure if pulling them out of my ears and setting them on a table would slowly discharge them.

Connection

The MTW utilizes Bluetooth 5.0, which works for me fortunately since every handset I have is Bluetooth 5.0 compliant. I had zero issues pairing and connecting with any of the handsets I own. The connections were quick and stable. I also found that using the Sennheiser Smart Control app helped with the pairing and as well you could verify the remaining battery in the app. The app also updates the firmware of the MTW. I received a firmware update during my review time and am now on 1.25.0; I like the changes it brought. More on the app later.

I found the wireless range to be exceptional. I could leave my phone charging on my desk in the office and walk anywhere around my apartment without a cutout or hitch. I cannot complain about this at all, as in the past with my wireless gear would start to fade from my office to the kitchen, and how inconvenient that is when you need to refresh your adult beverage. These easily allowed for 30 feet, which was the Bluetooth 4.2 standard, and then some.

The call quality is outstanding. On my calls I never once had the person on the receiving end ask if I was using a headset. The sound of the calls is full and not tinny or robotic sounding in the least. The microphones did an excellent job of cutting noise, including wind. I don’t recall ever using them in a strong wind, which can challenge even the most adept wireless mics, but in breezy conditions, no problem.

The MTW supports apt-X, and if I am not mistaken, they are the first to support low-latency apt-X as well. Low-latency reduces delay and improves the end-to-end speed of the audio transmission, resulting in high quality, synchronized user experience. This enhancement is incredibly useful for watching movies and sporting events without lag or synchronization issues in the audio. Bear in mind, that the apt-X and apt-X low-latency are codecs found in Android not iPhone and you iPhone users will have to utilize AAC or SBC.

Controls

One area I am just lukewarm with on the MTW is the touch controls. It took me quite a while to master the controls as I felt they are really sensitive to the touch. Sometimes I thought I was doing the right thing and would end up pausing the music or performing some other unwanted function. The good news is, with time, I became proficient in controlling the MTW.

The MTW operates as the Left side Master and the Right-side Slave. The left side will perform most of the controls for your music. One tap on the Left side will play and or pause. Two taps move forward to the next track, and three taps move backward in the tracks.

Touching the Left and the Right together for 5 seconds will enter pairing mode although I found it easier to use the Smart Control App for pairing.

The Right side controls your phone calls. The Right side will also allow you to access Siri or Google if you want to access your Digital Assistant. If a call is incoming one tap will answer, and if you're going to end the call, one tap will do that as well. If you would like to reject an incoming call, two taps will complete that task.

Volume control is another area that I had a difficult time mastering out of the box. Again, with time, I had zero issues. The Left earbud lowers the volume with a long press, and the Right earbud raises the volume with a long press. I would have to make a conscious effort to think about what function I wished to perform. One tap, two taps, long press, Left side, and Right side can be difficult for someone that struggles with walking and chewing gum at the same time.

There are a few voice prompts that you may hear such as when you hold the Left and Right for 5 seconds to enter pairing mode, you will listen to a soft female voice state “Pairing,” and when you remove your buds and put them in your ear you will hear “Power On-Connected.”

Sennheiser Smart Control App



I chose to pair the MTW through the Smart Control App. I also utilized it for the firmware update and to check battery status. Before the 1.25.0 firmware update, you could see the battery remaining for the Left and Right buds independently. After the update, it only shows one battery remaining notification. The new display makes more sense to me; I was never sure why it would show both sides independently because you are going to charge both when they need a charge.







If you are a person that likes to EQ their music, EQ’ing is completed through the app. There are not any presets to choose, and there is no ten channel EQ. Instead, Sennheiser decided to have a “dot” that you can touch and slide anywhere you would like to adjust the sound. I preferred the flat sound, in the dead center of the EQ.




From the app, you can also control the Transparency Mode which allows you to hear ambient sounds without interfering with the sound quality that you are enjoying. I found the feature to work very well, but it is not a feature I needed for my daily usage. The isolation for me is very good so I could understand that the practical use of the Transparency Mode in many commuter situations and I am confident the majority of folks will leave it on.

Review Setup:

My review was written utilizing the Samsung S10 +, streaming Tidal Hi-Fi and Masters as well as Qobuz Hi-Rez.

Moving on to the sound section….

I have to preface the sound section by saying that this is a really good sound for a wireless earbud. Those of you that follow my reviews know that I review many mid-tier and TOTL IEM wired offerings. I am not comparing the MTW to any level of wired IEM’s at the $300 price point or otherwise; I am strictly reviewing these on their sound merit. One other point as mentioned above is that I am listening to these with a flat EQ. That would enable me to evaluate these without any lift in treble or drop in the bass.

To my ears, it is pretty amazing that the MTW has a similar house wireless sound, as I recall, from my extended time with the Momentum 2 Wireless. The smoothness of the Senn mids and bass is ever present in the MTW. It is Deja vu for me, and I feel right at home with the Sennheiser MTW and its sound. I have, for the most part, always loved the silky tone of the Sennheiser offerings, I have tried, wired or wireless.

The bass is solid and deep with a proper seal. Powering the bass are 7mm drivers which are tuned to assist in creating isolation from the outside. The bass isn’t the most transparent and detailed that I have heard, but it is awe-inspiring for a wireless earbud. The depth is impressive, and to my ears, the bass and lower mids create a full rich and deep signature. It is not bloomy and muffled but does not have transient bass layers; it is more the type of bass that is warm, inviting and mood setting and provides a thump to the bass frequencies. Impressive for a wireless earbud and very reminiscent in the bass of the full sized M2W headphones from Sennheiser.

The mids are smooth and flowing and again are set on flat EQ. With the EQ you could easily create a “U” shape, or you could push the mids front and center. The lower mids support the bass frequencies to round out the fullness of the signature. On some of the vocal tracks, I found the vocals to be a bit far back for my taste, but again you may be able to adjust this to your liking. The upper register of the mids has clarity and detail but in that creamy Sennheiser way of reproducing mid-range. Many times, I have found that on graphs the Senns will have a dip in the upper mids, and while I hear a slight pullback, it is what creates that smooth, silky Sennheiser mid-range tone. I am not bothered by anything I hear in the bass or the mids, but of course YMMV.

The treble has an average extension. There is never a time that I have felt that the treble was harsh or abusive. The lower treble shows detail, but the upper treble is what creates the hint of liveliness. I will say that in my brief exposure to wireless headsets I have been impressed at both ends of the spectrum with the MTW. If the treble had just a touch more sparkle in the mid to upper ranges, it would probably allow for more details to shine through and thus minimizing the overall bassy feel that can be apparent. All in all the treble has enough air to almost create balance in the MTW. I think it is important to note that warm, bassier signatures generate a level of isolation that works so well for a daily commute or for environments that you are more than likely going to use a True Wireless earbud.

The soundstage is average and rectangular with there being more width than depth. In some of my music, I was impressed with the level of stereo separation.



You might want to own this IEM if:

+ You want a true wireless solution

+ You prefer a smooth, balanced, non-offensive signature

+ Top tier sound amongst other wireless options

+ You crave a comfortable fit and the best on the go sound available

+ Price is not a consideration

In Closing

The $300 price tag can be a bit imposing. One must put this into perspective. I have a feeling in the true wireless realm the consumer could buy and return many items before finding the proper blend of features and sound quality. I went straight to the top of the food chain in True Wireless with the MTW.

It is a sound quality that is reminiscent of the Sennheiser Momentum 2 Wireless full-sized headphones I owned and adored for many years. Impressive indeed! The call quality is reliable as is the connectivity to the Bluetooth 5.0.

The Smart Control app assists in pairing the earbuds as well as allowing you to turn off/on the Transparency mode. Transparency Mode works incredibly well and will enable you to enjoy your tunes and still hear the ambient noises of your world.

For my use, the battery was sufficient, but you will need to asses your daily use and your individual needs. I am always close to a charging cable.

With apt-X Low latency, I observed zero issues with synchronization. iPhone users will need to use AAC and SBC. It is enjoyable not to be plagued with lag and synchronization issues. Watch your events and not be reminded of the Godzilla movies in days gone by, where lips and words don’t sync.

I do wish the controls were more straightforward and designed more for folks, such as myself, who would rather tap and not think about how many taps or which side I am tapping.

Without hesitation, these are at the top of a very short list of True Wireless gear in which I have an interest. Personally, If it required me to save my money a bit longer, for top-tier sound quality I would make that sacrifice for the Sennheiser Momentum True Wireless.

iBasso DX120



DX120

Manufacturer Website: iBasso DX120 Home; Amazon DX120

A Little Technical Stuff:

Specifications:

· Output Voltage： Frequency Response： THD+N：

· DNR： S/N： Crosstalk：

· Output Voltage： Frequency Response： THD+N：

· DNR： S/N： Crosstalk： Output Impedance:

· Output Voltage： Frequency Response： THD+N： DNR： S/N：

· 3.6Vrms 10Hz-45kHz+/-1dB 0.00028%，-111dB (without load) 0.00032%，-110dB（32Ω@2.4Vrms） -117dB 117dB -116dB

· 1.8Vrms 10Hz-45kHz+/-1dB 0.00042%，-107dB (without load) 0.00056%，-105dB（32Ω@1.2Vrms） -115dB 115dB -115dB 0.24ohm

· 1.8Vrms 10Hz-45kHz+/-1dB 0.00042%，-107dB (without load) -115dB 115dB

· 3.5mm Line Out:

· 3.5mm Single Ended:

· 2.5mm Balanced:

Average Play Time: 16 hours. (The play time varies with different resolutions and headphone/IEM loads.)



iBasso DX120

-MRSP: $300

iBasso has been a company with a longstanding reputation among the audiophile crowd. Their DX200, with the ability to swap out amp sets, really made a splash and had become a reference player for many reviewers.

The mindset in the development of the DX120 was different. This player, on the lower end of DAP pricing, was designed to do one thing and one thing only, deliver high-quality music to the listener. I really appreciate and can support a company that spends its research and development time on quality sound versus throwing every feature, including the kitchen sink, at the consumer. I am going to put this out there from the beginning, this little DAP is incredibly good at its objective, delivering a high-quality sound to whatever headphones or IEM’s you are using. I have no sensitive IEM’s in my collection so I cannot test whether there is a hiss, with everything I own there is no hiss.



My review is seriously delinquent, and I apologize to iBasso and my readers, but life does indeed happen. Hopefully, it is worth the wait.



I have been privileged enough to review DAP’s at all levels and my current reference DAP is the Questyle QP2R, but it is a DAP I don’t carry in my pocket, or when walking my dog or going to the gym. There are a couple of reasons for that, one being that the QP2R is largish and more substantial in hand than any of the others I have in my collection. Secondly, it is expensive, and I don’t want to run the risk of damaging it. As I said, it is my reference DAP, and I use it for critical listening, so sitting at home is perfectly fine when employing the QP2R.

On the flipside, the iBasso DX120 is one of the DAP’s I wouldn’t leave home without. It has an excellent level of sound, compact and sexy build, and power to drive any of my hybrids, especially in the 2.5mm balanced port make it a welcome traveling companion.

A Little Marketing Hype:



Unboxing and Accessories:






The iBasso DX120 is enclosed in simple packaging. When viewing the packaging and pack-ins one must consider that this has been priced aggressively and everything included aptly fits the price tag. Frankly, I couldn’t ask for anything more than what is enclosed.

The box comes wrapped in a silver-gray sleeve. The sleeve is emblazoned with the iBasso logo and the text iBasso Audio, In Pursuit of Perfection. One edge of the outer packaging has the company website address and the other shows DX120, High-Performance Digital Audio Player and beneath a sticker that shows Blue, the color of the unit I was sent. On the back of the sleeve are some basic specs in multi-languages, as well as a sticker that shows DX120 and the S/N.

Upon removing the sleeve, you are greeted by a rectangular shaped box, blue in my instance, with a box top that closes with a magnetic closure. Inside is nestled the DX120, enclosed in a throwaway bag, for protection, and nestled in a foam cutout with the words DX120, High-Performance Digital Audio Player tattooed prominently on the cutout.

Lifting the cutout exposes a black box which included all of the pack-ins. All of the included accessories are listed below, so there really isn’t much need to take a deep dive into those. I do want to mention a couple of critical points about the inclusions, the first being that while it is thoughtful to include a border case for minimal protection, it created more frustration than its minimal protection was worth, as far as I was concerned. First, there is no back protection for the DX120, and while with the case on it does keep the back from sitting flush on a table, it offers no further protection. I can deal with this, but the one thing I can’t deal with is the fact that the cutout, around the 2.5mm balanced output, did not allow for the cable to connect firmly and seat completely. This would require me to remove the case to use my balanced cable, thus negating even the minimum protection offered by the case. My summation is, any protection is better than none at all, but I think an included case designed to protect from scratching, maybe silicone, would be a better option. I know silicone is a lint magnet, in the pocket, and usually, they lose their shape, but it is only my suggestion.

Included is:

· USB C (braided)cable for charging and data transfer

· Warranty Card/HDtracks Promo

· A border type silicon semi-protective case

· Tempered glass screen protector

· Coaxial cable converter

· A burn-in cable

· DX120

Design and Build:



This is my first review of an iBasso product. After reviewing quite a few DAP’s I will say that the size, design and build materials and quality are all First Class.

The DX120 is 63mm X 113mm X 15mm with a 3.2” screen and comes in at a lightweight 165g. The aluminum chassis not only contributes to the sexiness of the feel in your hand but also, it’s weight. The unit itself is not a plain rectangle with sharp edges and lines, it is designed with sleek lines and a “wave design” on the sides of the unit. The wave design and bevels give the DX120 an engineered look as opposed to something fabricated, absent of thought or consideration as to the aesthetics. There are two colors available, Sky Blue and Earth Brown, my unit is the Sky Blue.

The screen is of decent quality, and while being a touchscreen, it also has suitable colors and contrast for outside viewing. The back side of the DX120 is flat and has a glass covering. Already affixed to the DX120 is a tempered glass back protector.

On the left side of the unit is nothing, no controls, nothing. It has the “wave” design and nothing more.

On the bottom of the iBasso there is a 3.5mm Line Out and a 3.5mm Headphone Out and to the right of those outputs is a 2.5mm Balanced output. In my opinion, the bottom of the unit is the only thing questionable in its design. With the three outputs being linearly placed, both the Line Out and the Single End output are adorned with a gold ring. The same gold ring, with a black text identifier too difficult to see for my old eyes, not to mention it is written in black on a blue colored chassis. With time, you learn that the LO is on the left and the PO is on the right. Until you learn, you will plug into the wrong input, I guarantee it. The 2.5mm output is just a port without a “ring,” only with text showing balanced.



The controls are on the right-hand side of the unit. Some of the controls are handled through the touch screen and the UI, while some of the controls are physical buttons. The control buttons all adorn the wave design along the right side of the DX120.



The single top button on the right is the power on/off button. The button also controls the screen on and screen off as well. A slight push will turn on/off the screen while holding the button down will power on/off the unit.

Next, the button line-up is the volume up/down buttons. These buttons are the largest of the buttons. The volume control is broken into 100 volume steps. I really like this level of control as you can always find the proper listening level and in other DAP’s firmware which has fewer steps there are times, you would be more satisfied with a half step in-between the full click.

Last but not least of the hard controls are the playback control buttons. There are three buttons in this array, one of which advances to the next track, in order of the playback control buttons this would be the top playback control button. If the button is held, it will fast forward through your music track. The middle button of the trio is the play button which also serves as a screen lock, when depressed and held. The bottom of the playback control buttons would take you to a previous track or rewinds the track when held.

Finally, the top of the unit. The top has a USB-C port and two memory slots and a coax port. The USB-C allows you to charge the device and also provides the functionality for the USB-DAC. The DX120 has a built-in quick charge as well.



I really like the fact that there are dual memory cards. I have mine loaded with 2-256GB cards. This allows for an extensive music catalog. I have been eyeing the 400gb cards as they have started to come down in price. It would be cool to be able to have 800GB of music at my beck and call. You can add music in a couple of methods, the one I use most is to use as an adapter for my micro SD card, insert it in my pc and drag and drop my music in the music folder. You can select inside the Mango OS to use the memory slots as a card reader and install tunes in that fashion.

One thing I would like to mention now, in case I have a senior moment later and forget, is the fact that you can charge the unit and play music simultaneously. I have other unit’s that cannot play and charge at the same time. Nice feature!

Battery life is stated to be 16 hours. Obviously, individual use plays a big part in how long your battery lasts. I was receiving anywhere from 12-14 hours on a charge, I feel this is more than adequate. Keep in mind, I am not using mine in a daily commute and subsequent day at work and a commute home again. My cellular devices use USB-C, so if I did continually use the device, I would have a charger nearby anyway. A full charged DX120 should easily get you through your day and then some.

The internals are aptly designed to provide you with a high-quality music listening experience. The DAC is an AK4495, it is a single DAC design as opposed to dual DAC’s that many DAP’s utilize today. It is capable of playing all of the Hi-Res music formats, including DSD natively at 128X. While the AK4495 is rated to be able to obtain a THD+N of -105dB, it appears it is an engineering feat actually to achieve the THD level. The engineers at iBasso were able to reach -111dB which I am told is spectacular.

A differential operational amplifier is used on each channel with a fully balanced output design which lowers the distortion and crosstalk. The output power of the balanced output is up to 400mW with a 32ohm load, plenty of ability to drive every monitor or headphone I have in my collection.

UI:

The Mango OS is built on Linux architecture. To me, there is an “Androidy” feel to it, but it is Mango. No Android means there is no ability to download Android apps from a Play Store or sideload Android apps. Of course, there really is no reason to do so anyway since this is a no-frills player, without Wi-Fi and Bluetooth, thus no reason for Tidal or Spotify. Utilizing Mango vs. Android also equates to faster boot-up and load times and no additional software except what is needed for controls, adjustments, and playback. For the most part, the response is snappy, and the touch controls in Mango are lag free and fluid.



The UI functions by swiping the screen L to R or R to L depending on what you wish to control. A swipe L to R will take you to My Music, and a swipe from R to L will bring you to Settings. There is also a “center” screen which would be aptly named the Music Playback screen.

I will include some pictures to give you the feel of the OS, but unlike so many DAP reviews I won’t bore you with a view of each available screen, it just makes the reviews too freaking long. I will, however, talk about some of the more exciting features available in the OS.

I have always loved A&K and theBIt and used them for the bar to reach regarding their user interface, but now I will gladly lump the Mango OS into that same polished, usable category.



One of the features that warrants discussion is the sound modes. These come already configured for the listener, and there are 5 options to choose from, Reference, Traditional, Original, Classical and Natural. There is not a vast difference between the options, in my opinion, and the decision of which will be your favorite is purely subjective, and I have chosen Reference and Traditional as the two options I use the most, with Reference being my primary go-to.

Directly above the sound modes are the Digital Filters. As with the Sound Modes, the Digital Filters are mostly minor tweaks. The Filters are designed to enhance the level of attack and decay on your music. The Filters are Sharp roll off, Slow roll off, Short delay sharp roll-off, Short delay slow roll off and Super slow roll off. These are designed to allow the listener a higher level of personalization and find the sound signature that agrees most with their tastes.



Of course, the DX120 also comes with pre-loaded EQ settings to align with the Genre of music you are listening too as well as a custom setting to make your own adjustments. The pre-loaded options are Classical, Pop, Dance, Rock and Bass. I am not a massive user of EQ, but it is there for those that do use EQ.

On the Playback screen there is a “quick settings” menu that can be accessed giving you controls for Gapless(on/off), Gain(low/high), Digital Filter, Sound Mode and whether you are using your DAP as a Reader, a DAC or are plugged in wishing to Charge only.

One other noteworthy option on the Playback screen is available when you touch the Album Art. You will be presented with an opportunity to add to a playlist, delete the track or display more information about the track ie. Duration, Sample Rate, Bit Rate, File #, Title, Album, Artist and the Path or location of the track on the player.



The entire OS is well thought out and user-friendly. Since this is a DAP focused on the quality of sound and music playing only, it has a vast array of customizations to allow the consumer to enjoy their music. Hats off to iBasso for simplicity and usability.

Moving on to the sound:

The iBasso DX120 is a mighty, pocket-sized wonder. The signature is dynamic, full and unobtrusive in its coloration of the music, it delivers the music as intended. It is not clinical or dry in its sound, particularly in the 2.5mm balanced output, it does not add a layer of color.



I must say that I am impressed with the overall signature. This is one reason I like the recent trend of DAP’s dedicated to sound as opposed to including every feature imaginable. Additional features add to the cost of the device and the DX120 is a device that delivers in its sound signature well above the price of admission.

I have found that some of my hybrid IEM’s shine when played through the balanced output, it is not as if in the SE output they don’t sound fantastic, because they do, it is that the additional power brings out the best of my music tracks. The balanced output just seems more dynamic and alive, where SE the DX120 can come off a little dry, by comparison to the balanced output. It is not a criticism, it is just a preference of mine, I prefer the dynamic, lively signature.

The architecture of this signature is rendered with a dark background, none of MY IEM’s display hiss or any unwanted sound artifacts, it is a dark sound floor.



Overall, the signature comes alive with any genre of music, there is a delicate precision without being clinical. The stage is wide and extends well on the fringes of the spectrums. The treble extends well and does not sound shrill as if it rolls off, it is solid and defined at the edge of the frequency. There is a crispness in the upper range which exhibits the details from cymbal crashes with an average decay. I really enjoy the mids in the balanced mode of the DX120, they are a bit forward, but not obtrusive. The details are portrayed thoughtfully, but detailed. The lower mids accentuate the punchiness in the music, and the bass and sub-bass are full-bodied and robust. The amount of layering showcases your music without any blurring or smearing into any other frequency. The decay is natural across all frequencies, unveiling the sharp, crisp, punchy and dynamic signature. The DX120 is not a thin sounding DAP, it is energetic and full, but without excessive bloat.



I tested a variety of file types and concluded that if you feed the DX120 high bitrate files, you will undoubtedly be rewarded. The tone of the DX120 paired perfectly with the Empire Ears Legend X, and on 2.5mm output, it unleashed the fury that is known as the Legend X, and it’s excellent DD bass.

In summary, the treble extends well and is a bit edgy but never offends. It is detailed and stretches the listeners focus to the fringes of the spectrum and assists with conveying the emotion and is never fatiguing. The mids are smooth and accurate, and the lower mids have a wonderful punchiness, especially when utilizing the balanced output. It bears the bass parts without muddiness or smearing, the bass notes are clear and present. Sub-bass is solid and present and the mid-bass punchy. With every IEM I have to test, the noise floor was black, but I have read that with sensitive IEM’s there can be some hiss, I apologize I cannot verify this.

You might want to own this DAP if:

+ You utilize the 2.5mm balanced output

+ You prefer a smooth, balanced, non-offensive, dynamic signature

+ You prefer a sound that is full of emotion and excels at long listening sessions

+ You need the power to drive higher impedance IEM’s or headphones(balanced)

+ You want to carry two micro-SD cards with your entire music collection

In Closing:

It is essential to compare apples to apples when comparing DAP’s. This is a sound first and focused player. It is not for you if you need features like streaming and WI-FI.

There is undoubtedly adequate storage with the addition of two micro-SD slots, a welcome addition.

The DX120 plays all of the popular file formats and truly excels with high bitrate files.

I must include the subjective part of this review and say that while I have more expensive DAPs in my collection, the DX120 receives more play time than any of the others. The sound is top notch.

I could go on and on in the conclusion/summary, but I will say in closing that the DX120 has an excellent form factor, build quality, simple UI, and TOTL sound quality. I see no reason that it shouldn’t be on your short list to buy!

Hats off to iBasso for a quality product at a quality price

EarSonics Grace



Grace

EarSonics Store – Direct link to purchase

EarSonics – Homepage

A Little Technical Stuff:

Specs

· Sensitivity: 119 dB / mW

· Frequency response: 10 Hz -20 kHz

· DCR: 26.6 ohms

· Driver: 10 transducers with 3-channel HQ filter with impedance corrector


-MRSP: Universal fit € 2000.00

EarSonics, a company that came to existence in 2005. It was started by Franck Lopez, who himself is a musician, a bass player. This entire EarSonics thing came about because of love, a love for music and a passion for quality sound. You have to appreciate the story, of a man not happy with the quality of ear monitors available at the time, so he seeks to create a better mousetrap. Franck did just that, and since the humble beginnings of EarSonics, they have released several different models to include the SM64, Velvet, S-EM6 and S-EM9, some of their most popular IEM’s to date. Not only their most popular, but some of THE most popular amongst the “in the know” crowd. There has always been a distinct EarSonics house sound, one that has an established and loyal fan base. Anyone that follows this hobby knows that a lot has transpired in this industry since 2005. Innovators such Franck, are always busy developing cutting edge technology in an attempt to stay ahead of an evolving market. The companies two latest TOTL offerings, the EM10, and the Grace have taken a different path from the characteristic house sound that made EarSonics so famous and I for one, like the progression. I also have a lot of respect for someone willing to deviate from their norm. It is a gamble to take a departure from the tried and true.

I credit EarSonics for having a significant impact on the IEM market as we know it today. I also credit Franck and EarSonics for being a contributor in sending me spiraling down the audio rabbit hole. I will never forget purchasing the SM64 second hand, after already owning a couple of Westone offerings, the UM3X and W4R, it was the beginning of my slippery slope. While the Westone’s were incredible, it was the EarSonics SM64 that captivated me. Along the way, I would dip my toe in the EarSonics waters, with the Velvet, for example, to see what they were up to. Each EarSonics offering, known for a full bass, house signature. The custom, 10-driver EM10 was the first to plot a different course than the usual house signature, but it was only available as a custom offering so it wouldn’t have mass appeal like a universal offering would. I enjoy the EM10, and it’s smooth operator capabilities, but it was a paradigm for EarSonics in a non-traditional house signature.

I noticed that EarSonics had a new TOTL 10-driver universal model, the Grace. With the EM10 also being a 10-driver model, it was a fair conclusion that the Grace would be the universal peer to the custom EM10. I asked directly what, if any, were the differences versus the EM10 and the Grace. The response I received was that the Grace shared the same DNA as the EM10 but with some slight tuning differences. I am not sure if this was EarSonics being humble, but to my ears, I think there is maybe more than minor tuning differences. The shared DNA is the 10-drivers, smooth overall signature and a listener-friendly tone, but I feel that is where the similarities stop, and while they may be brothers, the differences abound.

A Little Marketing Hype:

Place to excellence!

When the technique fades to give way to emotion; a single word to characterize that ...

GRACE .

Born of the spirit of its designer and the hands of our goldsmiths, Grace brings together the essential ingredients to make it an exceptional in-ear.

An intense black dress in which lodge 20 hearts beating in concert, capable of delivering the most intense and harmonious sound that you have been allowed to listen.

Advanced electronics combining exclusive materials and high technology, driven by drivers specifically developed for EarSonicss through a set of specifications rigorous.

A lacquered acrylic envelope, manufactured using 3D technology and assembled entirely by hand in our laboratories.

Extreme comfort provided by a silhouette studied and developed over several years, to forget the presence in the hollow of the ear.

The most advanced pair of universal earphones ever developed by EarSonicss, for an audiophile experience out of the ordinary.

WHAT’S IN THE BOX:

Included

· GRACE and its detachable cable

· Delivered in luxury box ES.

· 2 pairs of Comply tips of different sizes

· 2 pairs of silicone tips of different sizes

· 1 cleaning tool

· Carrying case

· Adapter jack 3.5

· User manual

Unboxing and Accessories:



The box was adorned with a black sleeve with Grace monitors autographed in a copper or maybe a dark gold color in the lower right-hand corner and ES in the lower left corner. Upon removing the jacket, the consumer is presented with a black box with the ES initials in the lower right corner. Once you flip open the lid, there is a thank you note, in French, from Franck Lopez the CEO. Above the note are two circular windows which showcase the monitors and their dark gold cursive inscription of Grace adorning each monitor.



Laid out in a foam tray beneath the Thank you note are the accessories. The packaging is purposeful and reminiscent of the EM10 packaging, minus the eartips since the EM10 were a custom design. All of the inclusions are listed above, and I would consider the EarSonics retail packaging and accessories to be average with other TOTL offerings. I will include a photo below to show you can expect to receive. There is a card included that lets me know that Jean pierre Pinaud handcrafted my Grace’s. They include a Platics1 cable with memory wire. Keep in mind EarSonicss uses a reverse polarity in their design. For the price of the IEM, I wish they would include a more upgraded stock cable, but that is only a wish.



Build Quality and Fit:

I gave the Grace monitors an OCD level inspection and found the build quality to be top notch. They are relatively small considering there are 10 BA drivers inside. EarSonics are never flashy and very simplistic in their design efforts, which I actually like. The shells are shaped in a teardrop shape, and for a universal they have a slight custom fit feel to them, regarding their comfort. The shells are black with the name Grace emblazoned in a dark gold on each monitor. I have had zero comfort issues and would not hesitate to recommend them as their shape should not really give many folks any comfort issues. The short, angled nozzles have three bores. The nozzles are very short and do not have a lip to assist in grasping the eartip. I tried some of my go-to eartips, the JVC Spiral Dot Tips and I could not keep them on the nozzle. However, the Final Audio E tips held tight. I found the Final Audio gave me the best sound and comfort, so I am glad that they stay put on the nozzle. Going down in size to a smaller eartip, compared to my usual eartip, gave me a stronger bass presence.




Review Setup:

The review was written utilizing multiple sources, , Essential phone w/HD adapter, QP2R, iBasso DX120. I listened using multiple aftermarket cables, to include the Ares II 4-wire and the Ares II 8-wire Bespoke cable as I found both paired really well. Honestly, I took the Plastics1 cable off immediately and never looked back. Maybe I should have given it a chance because I found it to pair quite nicely with the EM10. My sample music consisted of 320kb, FLAC, 24bit as well as streaming Tidal Masters, Spotify, and Deezer.

Moving on to the sound section….

If I were to characterize the Grace in a couple of words, it would be balance and tone. The Grace is most certainly a departure from the bass bold, animated, house signature of EarSonics past. It is evident that the EM10 began this shift in house sound, and the Grace is picking up where it left off, but with a twist.

The bass of the Grace is satisfying in all of its technical glory. You will not find a ton of quantity in the bass but what you will find is adept and offers a clean, non-muddy bass. The sub bass is not the fullest, but as the bass frequencies head north, there is a pervasiveness to the bass. To my ears, it sounds stronger in the midbass and even fuller yet in the upper bass region. There is not much in the way of any coloration to the bass, it is natural, but what minimal color is there creates a bit more engaging personality in the Grace. It does not extend incredibly far south, but it is designed to be a quality vs. quantity type of listen.

This is clearly not DD bass. I feel that the DD driver bass adds a bit more snap and fun, for the most part, but what the Grace brings to the table a technical, clarity in the bass transitions and allows the listener to decipher the differences between the bass ranges easily. Do not expect a tooth-rattling rumble because that isn’t what the Grace is designed to do, partly due to the nature of the BA and partly due to tuning. It is a quick bass without any lingering notes, so the decay is perfect.



If I were to singularize the overall bass feel I would say there is space between the transitions and a transparent tone. If I was a bass player, as Franck Lopez is, it is the bass character I would want to be associated with. Any more bottom floor to the bass it would more than likely create a blanket of bass that interfered with its technical ability to perform as bass aficionados would expect. I put on a Blue’s based playlist and found the bass to accompany the guitar riffs perfectly, it was like peas and carrots. Balance is alive and well in the Grace, and the bass clarity has a melodic tone. It is captivating and fun to listen to.

The mids are perfectly balanced with the upper bass region and create a seamless transition. The mids do not steal the show. Actually, none of the frequencies take the spotlight, it is shared, as it should be in a balanced signature IEM. In all genres of music, the Grace excelled. I love listening to vocals with the Grace, especially female vocals. Norah Jones melted my heart. Female vocals are correctly placed in the presentation and stage. The tone of Norah’s voice is moving and sultry. Frank Sinatra crooned, It was a Very Good Year, and I felt he was in the room with me, the strength of his voice coupled with the plucking of the strings gave me gooseflesh. My preference was female vocals during listening sessions, quite an experience.

The timbre of instruments is mesmerizing, there is an ambiance to everything Grace offers. There is transparency and air between the notes, which is one of the most significant tuning differences when compared to the EM10. The EM 10 sounds a bit more in head, and closed, where the Grace has a more open and airy sound. I feel the air not only adds to the stage width and depth but also to the emotion behind the music. The upper mids in the Grace have a beautiful tone, and if fullness exists, it is in this frequency. If you notice, fullness is not a descriptor I have used much in the review. While the total signature is not thin, by any stretch, it is not the richest or warmest I have heard. When listening to a FLAC version of Dave Matthews Crash, it sounds so complete and as I would expect the artist wanted it to be heard. The stage is wide and deep with extension to the furthest ends. I am not a Dave Matthews fan, but his music is very involved with lots of instruments and sounds coming at you from all directions. I like to test an IEM’s ability to provide ample air and stage using Dave Matthews music, and I am happy to say that the Grace reproduced the tunes wonderfully.

I think the second biggest differentiation between the EM10 and it’s universal counterpart is the ability to extend well and offer a twinkle in the edge of the treble region. The treble is smooth and never offensive and finalizes the balancing act that is the Grace. I am not a fan of bright or trebly sounding IEM’s, and the smoothness of the Grace suits me perfectly well in this regard. I think this aids in the versatility of being able to adapt to all genres of music.

The treble is nimble and features a clarity and sparkle without ever being fatiguing. The treble blends so well with the entire balance of the signature. It indeed is nice to hear such nice amounts of definition while maintaining the velvety serenity of the tone. It is a different type of listen, without any of the signature outshining the other. The treble rounds out and completes the package.

Jazz, Rock, EDM, Vocal, Acoustic, everything I threw at it, never changed its delivery, all with a smooth tone and emotion to the music.



Pairings

The Grace is fairly easily driven with moderate volume, but really shines when you bump up the volume. Yes, this is one of those IEM’s that you find yourself goosing up the volume level from time to time while listening.

The QP2R is my reference player and pairs incredibly well, especially from the 2.5mm balanced output. The added stage and sparkle of the QP2R assist in widening the extension. The full, rich, organic tone of the QP2R does not add coloration but adds the fullness that might be otherwise lacking. The overall signature is organic and natural, meanwhile with smooth overtones. This pairing excels with Rock and Grunge genres, with female vocal music thrown in for good measure. Separation is broad, and staging is coherent.

The iBasso DX120 utilizing the 2.5mm balanced output is also a sublime pairing. You could not go wrong with pairing the DX120 with the Grace. I actually preferred the pairing of the DX120 and the Grace more than I did the QP2R. The DX120 seems to give the proper lift in the areas most needed by the Grace. The tone maintains it’s pure form and really allows the bass transparency and layering to shine. Also, I found the power at 50% was more than powerful enough. As with the QP2R, the separation and staging are excellent.

Comparisons

EM10

I touched on a few of the primary differences between the EM10 and the Grace, but I will expound on that and say that the tone of the EM10 and Grace is where the DNA is shared. Both IEM’s share a beautiful smooth tone that is conducive to long listens.

I feel that because of the upper bass tuning of the EM10 it gives the signature a more closed sound. I am hesitant to say congested delivery because that conjures a negative perception, but it doesn’t have the air that the Grace has. That air also presents the listener with a more spacious sound, more of a transparent effect. It is genuinely effortless to place the instruments on the stage. Grace also has a deeper stage as well as width, almost creates a holographic feel to vocals.

The Grace sound is not thin, but when comparing to the EM10, it comes off as leaner, because of the air surrounding notes. The bass layering and transparency, as well as quality, is more to my liking on the Grace.

Legend X

Compared to the Empire Ears Legend X. The Legend X is a bit more expensive ($2300) than the Grace. The X has more technical proficiency in its tuning as it showcases more detail than Grace and as well, the treble extends further than Grace. The X is a hybrid, containing DD and BA drivers and the Grace is strictly BA, so considering that, the Grace has a very technical bass with beautiful layering and transparency. The Grace has punch and speed with rapid decay overall, but the Grace lacks the snap that the Legend X has in the midbass and doesn’t extend as low as the X.

To my ears, the Legend X really isn’t warmer than the Grace it just adds a bit more rumble. Contrary to belief, I don’t find the Legend X incredibly bassy. The Grace holds it’s own really well against the Legend X. That is not to say that one is my favorite over the other, as the Grace has received a lot of recent head time, and I can see it continuing to do so in the future.

You might want to own this IEM if:

+ You want a perfect tone and organic timbre to instruments

+ You prefer a smooth, balanced, non-offensive signature

+ You prefer a sound that is full of emotion and excels at long listening sessions

+ You sensitive to treble peaks and sibilance as this is super smooth

+ You like a coherent stage with sexy female vocals

In Closing

Sometimes the wrap-up is the most challenging part of a review, and this one is no exception. I love Grace, it is a TOTL offering from EarSonics, and they hold a special place in my portable audiophile life. From my days of listening to the SM64 and the Velvets to hearing the shift in house sound to the EM10 and now the Grace. I have no problem saying the Grace is my favorite EarSonics IEM I have heard.

The bass is perfect for a BA IEM and shows off its prowess with its natural tone and transparency. Franck should be proud because, rooted deep in his own musical abilities is a bass lover at heart, and it shows in Grace. It is evident that the tone, clarity and resolving bass are all really a labor of love. The overall sound is exciting yet smooth, which allows the listener not to be offended by any harshness, for long sessions. I love the organics of the Grace and feel it should be commended for a signature that focuses on its timbre.

The cable is definitely one area that can be improved upon. I have enjoyed the Ares II 4-wire terminated with 2.5mm balanced and the Ares II Bespoke 8-wire.

The smoothness prevails in its tone and what it renders to the listener is done with Grace. I really can’t think of a better name for this IEM.

Custom Art FIBAE Massdrop Exclusive



Edit: The Custom Art Massdrop Exclusive did a limited run on Massdrop, and that run is complete. The Massdrop Exclusive is to be released on the Custom Art page as the FIBAE 6. It will be all of the same goodness that was the Massdrop Exclusive only the consumer will now have the ability to order it directly from Custom Art. The signature of the F6 checks so many of my boxes, it is really great to see the availability not limited to Massdrop only. Enjoy!

ME

Custom Art FIBAE ME – Direct link to purchase

Custom Art – Custom Art Website

A Little Technical Stuff:

Specs

· 6 balanced-armature drivers: 2 super-low, 1 low, 1 mid-high, 2 super-high

· Efficiency: 113dB at 1kHz at 0.1V

· Impedance: 6.6 ohm at 1kHz (+/- 0.7 ohm 10Hz–20kHz)

· Frequency response: 10Hz–18,000Hz (+/- 20dB into IEC 60318-4 coupler)

· Acrylic body

Custom Art FIBAE Massdrop Exclusive

-MRSP: Universal/Custom fit USD 819.99

Piotr and the team at Custom Art have done it again, and this time it was in collaboration with Massdrop as a Massdrop Exclusive. This exclusive is the next iteration in the FIBAE line.

I have firsthand experience with a couple of previous FIBAE offerings, FIBAE 2 & FIBAE 3. It is entertaining to have been able to hear each in the line, each with their distinctive characteristics and personality if you will. The F2, with it’s fun, engaging musical signature and the F3 with its clarity and detail showcased. I love both and found myself using each depending on my mood du jour. I would vacillate between the two, and one day I would boldly declare “this one is my favorite” only to make the same declaration the next day about the other, I guess I am a fickle lover. It is a testament to how good they both sound and how they shine at their own respective game.



One day, on a whim I wrote a quick note to Piotr and said, “Sir, I would be in heaven with this FIBAE line if there was an IEM with the FIBAE clarity but with the addition of some serious bass.” At this point that was probably three Massdrop’s ago, so my quote may not have been exact, but Piotr’s response was “You just need to wait a little longer.” Low and behold, the news broke of the FIBAE ME. Throughout the review you will see me use ME when talking about the Massdrop Exclusive, it is not some egotistical, self-centered reference to me so let’s not confuse me with ME.

You can only purchase the ME through Massdrop, you won’t find these on the Custom Art website. You need to stay tuned to Massdrop to find out when the next drop will be.

I received the ME some time ago, and shall we say “life happens” so this review has been a long time coming. It does not take away from the fact that these are indeed my favorite signature compared to the two other FIBAE’s I have in my possession. F2= two drivers, F3= three drivers, and ME=six drivers, but of course it has to be named the Massdrop Exclusive since it is a collaboration; thus it is not coined the F6. It is not the number of drivers that make this my favorite, it is the sound signature that checks so many boxes for me. I apologize for keeping my reader’s waiting for this review as well as Piotr.

A Little Marketing Hype:

The CustomArt FIBAE is a high-end six-driver IEM with the world’s first Flat Impedance design (patent pending). The result of months of hard work and countless hours of testing, its frequency response is strictly based on that of its predecessor, the Ei.xx, with improvements to accommodate feedback from the Massdrop community. Each ear features two sub-low drivers, a single low driver, a proprietary mid-high driver, and two high-frequency drivers, which work together to deliver a fun, powerful sound. It’s thick bodied, and bass focused, with deep-reaching sub-lows, a balanced midrange, and smooth and detailed highs. The Flat Impedance Balanced Armature Earphone (or FIBAE) technology helps provide a consistent sound signature independent of the connected source, and thanks to the more versatile tuning, this IEM is well suited for a wide variety of music genres. Each pair bears the CustomArt logo on the left piece and the Massdrop logo on the right. The logos can be removed at checkout if desired.

WHAT’S IN THE BOX:

Included

· Peli 1010 case

· Wax pick tool

· Drying pellet

· Manufacturer’s 1-year warranty card

· With custom IEMs only: 30-day free refit

· With universal IEMs only: 1 pair of dual-flange silicone tips and three pairs of single-flange silicone ear tips (S, M, L)

Unboxing and Accessories:

All Custom Art offerings include just the basics in their packaging and their accessories. I do love the fact that CA includes Pelican cases as they are just excellent for storage and protection. As you can see from the list of inclusions above, the focus is on putting the expense on the sound and not the frills.

I am not going to write just to hit a word count or to fill up space on a review. The unboxing and accessories are what they are. It is cool to have stickers, pins, wiping cloths, banners, etc… but none of that is necessary to enjoy the music from the IEM’s, so in my mind the focus should be about the music, and if it keeps the cost down, even a little, to me it is worthwhile trade-off. I will include a photo from the Massdrop site detailing the package.




Build Quality and Fit:

The F2 I tried was a universal fit and was one of Custom Art’s demo units. The design was so/so, in my opinion, and I wasn’t sure that the quality was on par with some of the other companies IEM’s I had tried. I later decided, the build quality was exceptional it was the color combo that didn’t agree with me, but then again that is subjective. My next foray into Custom Art was the F3, and all concerns about the quality of their craft quickly faded as my custom F3 was impeccable in style and build quality. Gorgeous.

When I knew I was interested in the ME, I contacted Piotr with a couple of design ideas and asked his opinion, after all, he is the expert. One idea was to represent my favorite NFL team, New Orleans Saints, or the avatar I was using at that time on one of my favorite sites, the crisscross Van Halen guitar design. Piotr kind of dismissed my ideas at that time and I never gave it another thought. Occasionally, I would reach out to Piotr, but he was incredibly busy from the success of the Massdrop and his response to me each time was he was going to do a unique design, but nothing more, but that he hadn’t worked on it yet. In my head I was thinking, please don’t let it be Rainbows and Unicorns or something to that effect. While that would be a unique design, it also would be a little too special for me. *wink*

One day, out of the blue, Piotr sent me a message and said my order was on the way. I inquired if he had taken any photos he could send me and he declined. Of course, this aroused my curiosity. I was already planning my response when asked if I liked my Rainbows and Unicorns design. My package arrived, and to my surprise and by Piotr’s admission, he and his design team had completed their most ambitious design yet, my New Orleans Saints design. The design is unique, and the build quality was what I had grown to expect after the F3. It is indeed a one of a kind, and I was delighted that Piotr and his team had spent the extra effort for this personalized design. He did an internet search and found photos of the Saints helmet and the rest is history. Fantastic and innovative. Thanks again!

The ME fit was perfect, and there was no need for a refit or any alteration. I can wear them without any discomfort for long listening sessions, and I obtain a custom seal.

They are 2-pin connector design, and I have dabbled with pairing aftermarket cables and found the connection to be stable and snug.



Review Setup:

The review was written utilizing multiple sources, Opus #2, Essential phone, QP2R, iBasso DX120 and so on. I listened using the stock Plastics1 cable and its 3.5mm connection but quickly switched to various aftermarket cables as I have found all of the FIBAE models shine when paired with quality aftermarket cables. I don’t necessarily succumb to the hype regarding cables, that cost as much as the IEM’s themselves, but FIBAE was one of the few IEM’s that I do hear step up improvements in sound that make the upgrade worthy. I have limits I am willing to spend on cables and have found the $150 Effect Audio Ares II to be a fantastic pairing as well as the $300 8-wire Ares II. Both cables are well built, have good ergonomics and are relatively moderately priced.

The design I have is custom, so no eartips are needed. My sample music consisted of 320kb, FLAC as well as streaming Tidal Masters, Spotify, and Deezer.



Moving on to the sound section….

The ME is the type of sound signature that is confident in its sound. There is overall masculinity that is exuded in its delivery that showcases its meaty signature and organic tone. To my ears, it is undeniable this IEM is born of FIBAE DNA. To know what FIBAE DNA sounds like, you obviously would have to follow the FIBAE line. By providing flat impedance and phase through changing the Balanced Armature driver character from inductive to resistive CA has claimed to solve the dependence on the output impedance of sound source for correct earphone output. FIBAE delivers the same experience on most sources, but if you pair it with a TOTL DAP, you will be rewarded. There is warmth, more warmth than any of its predecessors, but the FIBAE clarity is still alive and kickin’. At the time of writing, I was experiencing audio bliss listening to Van Halen remastered Collection in all of its 24-bit, 192.0 kHz splendor. Van Halen is not a group that you generally marvel in their bass, it is more about Master Eddie and his guitar virtuosity. When employing the ME/VH duo, the bass emerges and creates it’s own space in which it performs. It is not an overly detailed bass, but its tonality is superb, just as is Eddie Van Halen’s guitar tone. Overall, the treble frequencies are smooth, with no rough edges while there is clarity in the upper midrange. The FIBAE 3 has more clarity and extension, but the ME does an excellent job considering the copious amounts of bass in its arsenal. I recommend that the listener eases themselves into their comfy listening chair and plans to settle in for the long haul and allow your brain to become engulfed in its tone and the ME experience. Vocals imbue a full, luxuriant tone. As you listen, you may be reminding yourself that you are listening to a BA driver and not a DD IEM.

The overall sound signature is one that is rich and sultry, full of energy and a perfect musicality that the listener can feel the emotion of the music as well as hear it. I was listening to Radiohead Creep, and it sounds so dynamic and organic with the ME. Nothing in the signature screams harsh, it is smooth and warm but never bloated. I find myself wandering off into dreamland when listening to the ME, but the bass will keep you awake. These are not a neutral, clinical or an analytical listen, undoubtedly the ME is characterized as warm and full.

ME’s presentation is solid, but I have heard presentations and stages in other TOTL IEM’s that immediately caught me as more coherent and holographic. The stage has the FIBAE DNA, and in that, it has sufficient width, but the sound is not the most holographic I have heard. The stage is well placed, but I prefer a touch more space between the instruments.

When listening to rock music, there is a grit associated with guitar chords and thump from the bass drums. The organic sound is perfect for the rock music genre. My 90’s Grunge collection is a perfect example of a style to enjoy with the ME. The detail of the Dita Dream or other high detail IEM’s is not present, but the ME is not about that. It is a rock music lover’s wet dream. The tone and musicality exude a certain sexiness during brief listens or during extended listening sessions. It is all about a smooth, warm vibe.



The ME has some super-rich BA bass. The sub bass is apparent, but the star of the of the show is the mid-bass. The sub bass is not the bone-rattling type, but it is undoubtedly ever present while listening, especially in heavy bass tracks. I have heard more detailed and layered bass, but throughout all of the bass frequencies, the ME holds it’s own, again the tone is terrific. The mid-bass is indeed, all of that and a bag of chips. The song Would, by Alice in Chains, is one I use to test the adequacy of bass, and the ME flew by the test and asked if that was all I had. It is very capable for a BA configuration.

I have grown accustomed to DD bass, and while this is not a DD, it does a decent job of emulating the texture of a DD. It lacks the punchiness or slam that comes with a DD, but that can be forgiven because the fluidity is so provocative.

It is evident that the Custom Art, Massdrop Exclusive was an extensive collaboration and a labor of love from the CA team. I was spending a little time enjoying the Black album by Metallica while writing and Enter Sandman kicked in with a severe head bobbing riff. The signature sucks me in as if I was front and center to the stage. I have quite a few DD hybrid IEM’s in my stable, but when I am in a rocking, head banging mood I reach for the ME.

The mids are a cornucopia of richness. The details do not force the listener to become so involved, in listening, that the goodness with which the ME excels, is overlooked. Male vocals are deep and full-bodied and female vocals take on a certain husky sexiness, which favors female vocalists such as Norah Jones. I found that the mids somewhat push the vocals to the front of the stage, it is not that they appear out of place or glaring but compared to other warm IEM’s that I own, the vocals are slightly forward, not an easy feat for a full sounding IEM.

The mids round out the harmonious signature with a timbre that sounds natural. I find myself not giving the mids their due, because the bass is so gloriously prevalent. However, when I listen to the synergy between the bass and mids, it is then I become enthralled in the totality of the music. What you can expect from the mids is a smooth, moderately detailed scale. It is in the mid frequencies that the ME’s addictive musicality is spawned. The mids do rock music some serious justice, whether it be classic rock or grunge, have fun let the crunch and grit of the guitars impress you.

If in fact the middle child is oft ignored, the treble of the ME is the middle child. I would not say the mids are a weak link, but I would illustrate the characterization as the treble being the middle child and the bass and mids are the dominant siblings. The siblings that never allow the treble to ride shotgun on the family car trips. The treble’s role is to create the air and extension and let the details of the music be heard. Acknowledging the role that the treble plays, I would say that the ME is more than confident and at home with it’s positioning in the family’s hierarchy.

Without shrillness or offensive edges, the lower treble range has enough of a bump to create adequate air, while the high treble frequencies add the extension. The treble does not offer the same level of extension as the F3, but enough to provide a twinkle on its spectral end. If the treble were more pronounced, it would possibly create an imbalance, distracting you from the overall smoothness of the ME.

The whole listening enjoyment comes after time spent with the ME. As is the case with warm or bassy monitors it can be a touch overwhelming upon initial listen. Another IEM that comes to mind is the Campfire Audio Atlas. At first, with the Atlas, it was necessary to climb over a wall of bass to get to the other ranges, but with time that impression quickly faded. You could make a similar argument about the ME, except it is not a wall of bass, it’ s the inclusionary warmth that you need to listen “through” and become accustomed to.

The experience is well-rounded but certainly south of neutral. The reward is musicality and tone that creates a listening experience that wraps you in a blanket of engulfing music.



Pairings

The ME is easily driven with moderate volume. The sound signature is the type that you find yourself inching up the volume levels the more you listen, only because it has such musical qualities. All of my sources drove them perfectly fine from a power standpoint, the majority of my sources have a more neutral to slightly warmish profile.

The QP2R is my reference player and pairs incredibly well, as the tone matches well with the tone of the IEM. The end product is a rich, organic sound. The QP2R did not overemphasize the warmth of the IEM and provided an incredible synergy, with an excellent stage and enough air to assist the upper mids and treble to provide detail.

The iBasso DX120 utilizing the 2.5mm balanced output is a sublime pairing. A reasonably balanced, reasonably priced DAP that makes a beautiful pairing with the ME. The balanced output provides that extra oomph or power during the moments you want to inch the volume higher. The transients were complete, and nothing is lacking in the pairing that impedes the details. The DX120 has a black background and a dynamic sound. The DX120 delivers a coherent, defined stage and the balanced output appears to add a touch of air between notes.

The Essential phone with the dongle was able to drive the ME and provide the listener sufficient volume adequately.



Comparisons

The closest comparison I have is the Empire Ears Legend X. There is 3X the price difference between the ME and X. I have yet to write a formal review of the X, but I will share a couple of comments. The X is without a doubt the most technically proficient between the two IEM’s. The X is a hybrid, containing DD and BA drivers and the ME is strictly BA, so consider that. Honestly, the bass of the ME holds its own reasonably well compared to the DD bass of the X.

Overall the ME is a smoother listen. The X has a much better treble extension, and while neither IEM is offensive in it’s treble, the amount of sparkle in the Legend X allows the spectrum to extend further. In the mids, the X can reach into a song and extract more detail from the music. Both are very full in the mid-range but technically the X showcases more detail, and the ME smooths out the sound. I prefer DD bass, but the bass level and tone that Piotr and team can achieve with this BA offering is undoubtedly impressive. The X is more layered and has quicker transients while the ME is more warm, smooth and organic.

If you are one of those people that factor in cost when making a decision, the question begs is the X worth spending 3X the money, both are capable of being your daily driver.

You might want to own this IEM if:

+ You want a great bang for the buck, wallet-friendly TOTL performance

+ You prefer a smooth, full, rich sound signature

+ You prefer a sound that is musical in character and excels at long listening sessions

+ You are seeking a fantastic build quality and progressive design options

+ You sensitive to treble peaks and sibilance as this is super smooth

In Closing

I have been honored to hear most of the FIBA line. The ME has been my favorite signature out of the FIBAE lineage. The FIBAE is not necessarily about “one-upping” one another, it is about offering multiple signatures and price points to the consumer. While the driver count has increased, each in the line has it’s technical merits in which it excels. It is as if, Piotr gradually pushes up the driver count, not out of necessity, but as if he is always experimenting to find more technicality and an array of signatures or styles, if you will, to suit every consumer’s tastes.

The bass is very good for a BA IEM and holds its own relatively well compared to some the DD configurations I own. Honestly, it is just excellent in general, not important if it’s a BA or DD it provides the smooth musicality that one craves when wanting to listen and enjoy their favorite music. The signature does an excellent job of portraying rock music and its gritty sound. I also enjoy EDM with the ME but do prefer the DD for that genre.

The build quality is first class, the design is super personalized, and I appreciate that Piotr did the research when I mentioned my favorite NFL team and worked his craft and designed this one of a kind IEM. The fit is flawless and without discomfort.

If I had one wish it would be for CA to consider including a higher quality stock cable instead of the Plastics1 cables, they are so meh. I understand that Piotr’s philosophy is to try to keep down the costs associated with the final product, but it is something he may want to consider in future releases.

The ME is only available through Massdrop, and only you can decide if that’s a good thing or bad. The ME is a TOTL competitor with a fair Massdrop price, it is actually priced for the masses. With all of the many options available today, in the IEM market, it would be a shame for this IEM not to receive the exposure it deserves.

EarSonics Birdy HD

Birdy HD

Manufacturer Website: EarSonics



A Little Technical Stuff:

· Model : BIRDY HD

· Color : Black

· Dimensions : 3,5 cm (1,37 ″) [D] x 1,2 cm (0,47 ″) [H] / Weight : 12 g

· Bluetooth version: Bluetooth Certified 4.2

· Include: APTX HD audio codec

· Bluetooth profile: HFP, A2DP, AVRCP, PBAP and SPP / IAP1/IAP2 iOS devices

· Necklace: adjustable size

· Qualcomm chipset 24 bits / 48 kHz

· Audiophile DAC 16 bit CD quality

· Audiophile amplifier: 130mW par Channel sous 32Ω / Low 0.009% THD+N

· Integrated Microphone (Android/iOS compatible)

· Volume control key (+/-) and playing key (play/pause)

· EQ mode function: Présence+3D / 3D / OFF

· Micro-USB (for charging)

· 2 pin earphone connectors

· Battery 3,8V

· 12 to 16 hours (music streaming) / 3,5 days (hold mode).

Birdy HD

-MRSP: 249,00 Euros/Currently $290 USD

EarSonics has done it again! BIRDY is a 100% EarSonics creation. Entirely designed and manufactured in their lab in Montpellier, It proudly carries the label “made in France”. Anyone that spends anytime on any audiophile sites has certainly heard of EarSonics. Their IEM’s are some of the finest in the industry. I have had the pleasure to own the SM64, Velvet and the EM10 IEM’s from EarSonics. When asked to review their newest product I was certainly excited to do so. The latest product came out of left field and is a departure from the usual EarSonics fare. The product is not an IEM, the Birdy HD is a portable Bluetooth receiver with a built-in amp and Hi-Fi DAC. It is the first time I have reviewed a product such as this and as such was not quite sure what to expect. I did know that since it was an EarSonics product that it would certainly exude quality and innovation. The Birdy HD is an incredible product that delivers almost wired sound but with wireless freedom.

A Little Marketing Hype:

PHILOSOPHY

BIRDY made the seemingly impossible possible: high sound quality coupled with wireless freedom.

BIRDY has been designed to enjoy music on-the-go and still retransmitting faithfully EarSonics high-quality sound through Bluetooth.

BIRDY is equipped with the original aptX HD audio codec that offers a near-CD quality sound to our in-ears range. Bluetooth technology can now be fully enjoyed with aptX HD.

EXCEPTIONAL SOUND

BIRDY features a built-in amp and a Hi-Fi DAC capable of reproducing high-definition sound faithful to the original audio file.

The audio engine has been tuned and optimized to offer full audio compatibility with our in-ears range, thanks to a digital processing and the addition of 2 predefined EQ mode, including one in 3D.

Wherever you go, you’ll only need to bring your smartphone or music device with you.

Hands-free calls

iOS & Android compatible, BIRDY supports voice calls and features a built-in microphone so that you can answer incoming calls without having to handle your phone.



Unboxing and Accessories:

Simple would best describe the packaging and accessories. The Birdy HD arrives in a small square black box. Adorning the box is the ES logo and the words “Bluetooth High Definition Amp Module” Birdy HD.

Upon removing the top of the box you will find a foam cutout with Birdy HD cradled in its nest, okay I know that was lame, Birdy in its nest. Underneath the foam cutout you will find a simple card with instructions for use and a USB to micro-USB charging cable.

Included in the purchase is:

· Birdy HD module

· Power supply cable (USB to micro-USB)

· Instructions for use

For a product of this nature there really isn’t anything else that you could include or anything more that you need.



Design and Build:

The design is rather unique and forward thinking. It is like a small medallion that you wear as a necklace. The dimensions are 3,5 cm (1,37 ″) [D] x 1,2 cm (0,47 ″) [H] / Weight : 12 g.



The build is a mix of solid plastic and aluminum. It has a professional feel without feeling like a cheap plastic toy, it exudes quality. The front and sides of the Birdy are a flat matte black aluminum with the front emblazoned with the ES logo. The back side is slightly rounded and has a shiny piano black finish. On top of the Birdy is where the L & R cables attach. The cables themselves have a premium feel and are cloth wrapped. On the connector end of the cables are 2-pin connectors allowing you to use any 2-pin IEM.



On one side of the Birdy is the power on/off button (#1) which also allows to stop and start your music when playing, or answer a call from your cellphone. A long press of this button also puts it in pairing mode. Also, button #1 can be pressed together with other button sequences to engage a 3D mode + the Presence EQ.


On the other side of the Birdy HD is button #2 and button #3. Button #2 will increase the volume and with a long press will switch to the next track and button #3 will decrease the volume and a long press will go to the previous track.



I will attempt to explain some of the button sequences available without confusing you, or myself for that matter.

Buttons #1 + #2 = 3D Mode + Presence EQ

Buttons #1 + #3 = Standard Mode

Buttons #2 + #3 together will enter you into 3D Spatialization mode.

On the bottom of the module is the micro-USB connection for charging and a microphone.

That is really all there is to it, very simple design but the inclusion of predefined EQ settings and 3D mode is very cool, if you like to use effects with your music. It is nice to have the option.

The 2-pin connectors have a sleeve that is labeled L & R to assist in connecting the correct IEM. The only slight issue I have had is the sleeve slides up exposing the 2-pin connector, but this is really only a minor issue.



Connectivity:

I paired the Birdy HD with a number of DAP’s and a couple of cellphones I have. Both the Essential phone and the LG V30 are apt-x HD and sounded exceptional. It paired easily and was found quickly on each device.

It is important to remember that the majority of the time the Birdy will be around your neck and your device will be in your pocket. I attempted a few times to leave my device in one room and invariably lost connection when entering the next room. The connection is more solid when the device is in your pocket and you are mobile, its intended use.

You could wear the Birdy hanging on your chest or behind your head. I choose to wear it as a necklace in the front. I have used the Birdy HD for my daily walks and while at the gym. I choose to put the Birdy inside my shirt which controls the Birdy and keeps it from flopping around. I found it to be the method that worked best for me, YMMV.

I have had to re-pair the device when the connection was not solid. For the most part, I have had a reasonably stable connection with very little cutting out or interference. If I am moving my phone from one pocket to another there may be a slight interruption, certainly not a deal breaker. The connection has been solid for the most part, with the occasional Bluetooth hiccoughs.

When in a call the person on the other end said I sound clear and with no outside noise. Switching from a phone call to music is easy and flawless. It is certainly noteworthy that I wear the Birdy inside my shirt and the call quality is still superb. While overall the connection has been okay it could be improved upon. It would not stop me from purchasing the Birdy because I have learned how to use it. The connection is really the only improvement area I can find, because the sound quality is so good and the fact that I am not dealing with cables is so convenient I am able to overlook a less than perfect connection.



Moving on to the sound:

Whether it has been home systems or portable systems, I have always been of the mindset that nothing beats a wired connection for quality of sound. I have had a couple of Bluetooth speakers and other various devices that could stream Bluetooth but I always return to a cable. I have heard a full Sonos system, and yes it sounds good, but no where near the level that my home systems, of days gone by, could sound.

When the Birdy HD is paired with an apt-x HD compatible device the sound is truly remarkable for a wireless connection. The sound is full, not thin and hollow, and allows for more than adequate extension throughout the frequencies. I am picking up all of the details in my music and hearing the sub bass rumble and full treble extension.



The music is heard without any additional coloration, unless of course you want to utilize the built-in EQ or 3D mode. The true reproduction and clarity are so defining in the Birdy signature.

The built-in DAC can deliver the sound quality but can the amp drive DD IEM’s or hybrids? In a word, yes, to hearing damaging levels. While the Birdy HD is specially tuned to use with EarSonics IEM’s, I connected the Custom Art Massdrop Edition and the Empire Ears Legend X. The verdict, power with plenty to spare when listening to the hybrid Legend X and too much power when listening to ME BA IEM. A nice problem to have.

The Birdy HD has mostly been paired with the custom EarSonics EM10 and I must say the pairing is sublime. The EM10 and built-in components of the Birdy appear to be a match made in heaven. It has made me really appreciate the EM10 all over again.

Frankly, the sound quality from the Birdy HD is better than most of the wireless headphones I have heard.



In Closing:

I am fortunate to have the opportunity to review the Birdy HD. Like all EarSonics products, it is obvious of the amount of love and attention to detail, particularly sound quality, that has been worked into the Birdy HD.

The controls are innovative and easy to use and work seamlessly. The weight of the module is perfect as it hangs around your neck. I like the fact that it has 2-pin connectors and that the cloth wrapped cable is ergonomic and exudes quality.

The connection is okay. It is the only area of improvement I can see. Once connected and the music starts you quickly forget anything but your tunes. The sound quality is just that good.

I enjoy not having cables coming out of my shorts when I am exercising or doing my morning walk, it is very liberating. It is also nice to not snag your cables on cabinet handles when you are making yourself a drink. With Birdy there is no need to buy additional equipment, just use your existing IEM's. Check it out and remember a little Birdy told you.

Campfire Audio Atlas

Atlas
Campfire Audio Atlas – Direct link to purchase



A Little Technical Stuff:

· 5Hz–20 kHz Frequency Response

· 105 dB SPL/mW Sensitivity

· 19 Ohms @ 1kHz Impedance

· Less than 1% Total Harmonic Distortion

· Single Full-Range 10mm Dynamic Driver

· Plasma enhanced Chemical Vapor Depostion (C.V.D.) Amorphous Diamond Like Carbon (A.D.L.C.) Diaphragm.

· Beryllium / Copper MMCX Connections

· Stainless Steel Body

Campfire Audio Atlas


-MRSP: Universal fit $1299 USD

I want to thank Ken Ball, the brain trust and owner of Campfire Audio and ALO audio for providing me with the Atlas for review.

Ken is known in the industry for developing and producing top quality cables, amps, and state of the art IEM’s. The Andromeda IEM is considered by many to be the benchmark for one of the best all-around IEM’s in the industry. I love the Andromeda and miss not having it in my collection now. The company is based in Portland, Oregon and produced proudly in the USA.

I need to put this out there right from the start. The Atlas is one of the most engaging and enjoyable IEM’s I have had the pleasure to hear. Its sound is addictive and immerses the listener with an exciting, and eventful experience. I have other reviews on the horizon and I find it difficult to listen to the other offerings as the Atlas just checks so many of my boxes. That is not to say it is the most technically proficient in my stable, because it isn’t. What the Atlas does is what it is designed to do, deliver the goods and baptize you in a gratifying emanation of sound. That said, these are not a first listen IEM. On first listen, I was shocked at the level of the bass. It was as if there was a bass wall I felt I needed to climb over to be able to hear any of the other frequencies, but fortunately, they improved quickly. I am beginning to become annoyed with the number of people, experienced reviewers included, that say the Atlas are overly bassy and spikey in the treble. Everyone is certainly welcome to their opinion but some of these folks should know better than make blanket statements about sound quality on short listens only. I mention this because as a reader you should be very skeptical of anyone that says they listened to a loaner or a friend’s Atlas and the sound was not good. The first thought or question is how much time was spent with the Atlas.



I will touch on the sound quality later in the review but it is important to know that not everyone that is buying the Atlas, or any of the TOTL IEM’s available, is an audiophile. I think there is a certain amount of pressure on “audiophile” reviewers to gauge an IEM on its technical prowess but the enjoyment of the music is what hooked me on this hobby, to begin with. I attempt to bridge the gap in my review for folks that want to enjoy their music without being critical when they listen. In other words, it is okay to just enjoy music. It is human nature to want better and more, but it is also very important to understand there will always be better and more. If you find something that enthralls you stick with it awhile and enjoy.

A Little Marketing Hype:

Stainless Steel Body

Our new stainless-steel earphone bodies are drop forged and then CNC machined before being hand polished to a mirror finish.

MMCX designed to last

Our custom Beryllium Copper MMCX eliminates the traditional shortcomings of the connection and harnesses all of its benefits. Beryllium Copper provides a robust mating mechanism; one that is typically made from soft brass. This selection of a harder material extends the life of the component and the earphone.

Individually Crafted

Close attention to detail is critical to delivering you the superior musical experience from our earphones. We test and pair each individual earphone, Left and Right, to establish its conformity to our firmly established tuning and performance criteria. The result is a pair of earphones truly made for each other.

Gigantic and Fantastic Sound.

A truly massive sound. We’ve expanded our ADLC driver to a mighty 10mm and enclosed it in Stainless Steel – Atlas is a full range powerhouse. The result is a terrific sounding earphone with a dynamic signature that will convert even the most jaded listener to an Atlas fan.

New Stainless-Steel Body

Our new stainless-steel earphone bodies are drop forged and then CNC machined before being hand polished to a mirror finish. The weight of our stainless-steel earphones in your hand feels good. The durability of stainless steel gives you peace of mind in daily use, knowing these are going to last.

New A.D.L.C. Diaphragm Dynamic Driver

Expanding on the commercial and critical success of Vega, we returned to an A.D.L.C. diaphragm design for Atlas and super sized it to a new 10mm driver; up from 8.5mm utilized in Vega.

For a quick background, A.D.L.C. (Amorphous Diamond-Like Carbon) is the hybrid of diamond and graphite carbon. It is a non-crystalline diamond. It is a material that has low density and high rigidity, important factors when considering diaphragm materials. In designing a dynamic driver, the diaphragm material used should be as rigid as possible to provide a wider range of frequency responses and lower distortion. Additionally, the density of the diaphragm material should also be as low as possible in order to increase fidelity.

The 10mm A.D.L.C. diaphragm driver at the heart of Atlas achieves these goals; superior fidelity, excellent frequency response, and low distortion.

3D Modeled Awesomeness

Tuning a high fidelity earphone is both an art and a science. To make something really special many critical factors need to intersect perfectly. This is why we choose to design and iterate with 3D modeled parts and take those parts into our final builds. It gives us an unprecedented level of control to capture the sound we’re trying to achieve. We think you’ll appreciate this refinement when you hear them yourself.

New Pure Silver Cable

We’ve created an all-new pure silver cable for Atlas that allows you to get the very best sound possible from your earphone, right out of the box. The pure silver conductors provide additional resolution and refinement to an already exceptional sound. This cable is also wound with a twist that reduces tangling and microphonics improving your daily experience with Atlas.

WHAT’S IN THE BOX:

· Campfire Audio Black Leather Earphone Case

· Campfire Audio Pure Silver Litz Cable – Pure Silver Conductors with Beryllium Copper MMCX and 3.5mm Stereo Plug

· Final Audio Tips (xs/s/m/l/xl) – Campfire Audio Marshmallow Tips (s/m/l) – Silicon Earphone Tips (s/m/l) –

· Campfire Audio Lapel Pin

· Cleaning Tool


Unboxing and Accessories:

I have always thought there was something very hip and retro in the packaging of the CA IEM’s. The Atlas carries on the same tradition. The box is simple, very simple. However, it is very cool.

The accessories are more than adequate. A semi-hard, zippered carry case embossed with “Campfire Audio”, ample ear tips in a variety of different styles, materials, and sizes, including my favorite silicone tips, Final Audio. The standard cleaning tool and a lapel pin with the CA logo are also included.

Ear tip wise, if I am using included tips my selection would be the Final Audio. I also find the JVC Spiral Dots to do an adequate job of delivering, but they are not included. Another worthy mention is that my preference of all tips is a custom sleeve that is produced by another CA company, Custom Art in Poland.

If I am sticking with stock tips, I thoroughly enjoy the Final Audio as I felt they seal well and accentuate the tones and frequencies as they were meant to be heard.

The cable is awesome. It was created for the Atlas and is a Pure Silver Litz Cable with Pure Silver Conductors with Beryllium Copper MMCX and 3.5mm Stereo Plug. I love the ergonomics of this cable and it is so comfortable to wear. In fact, this is my favorite cable that I have used from ALO or Campfire Audio. It is very pliable and it is designed to be worn straight down as opposed to around or behind the ear. Many IEM companies are starting to outsource their pack-in cables, which I love, but this one is certainly one of the better all around designed and sounding cables I have heard. There truly should be no upgrade itch to scratch with this offering.



Build and Quality and Fit:



The Atlas is truly unique in its design and appearance. It is a steampunk look that is highly polished stainless steel. The nozzle end opening strikes you as it belongs on the end of a steam pipe or as a circular vent grate on a wall in a boiler room setting. The shape of the Atlas is like a pistol I had in my youth that shot a ping pong ball, it is a squatty pistol-shaped housing, think Buck Rogers. Now that I have described something to you that sounds atrocious and you would never consider putting it in your ear, it really is attractive and it is just my lack of writing skills that make it sound ugly. It is highly polished stainless steel with the CA logo engraved on each side of the housing. I love the look but you will have to decide if it is attractive or not, as beauty is in the eye of the beholder.

The build, as mentioned is Stainless Steel, and such these things are built like a tank. The heft and sturdiness are impressive. The Atlas are the type of IEM you can feel confident in taking with you wherever you go and not worry that your $1300 investment will become scratched or crack as you may with an acrylic shell. Not only do they have an industrial appearance they have an industrial, durable feel about them.

I have never been a huge fan of MMCX connectors, as a matter of fact I love 2-pin connectors, but the Atlas connectors are very snug and there is a certain solidity in how the connection feels. Perhaps that is where the Beryllium Copper MMCX comes into play. Only time will tell if the connector will continue to fit snug, but for now it is the best MMCX connector I have sampled. The down side for me is all of my after-market cables are 2-pin so I am not able to test other cables with the Atlas, but as I mentioned previously the sound and ergonomics of the stock cable are fantastic.

As mentioned, a couple of times the is cable is fantastic. It is terminated with a 3.5mm right angled plug. The cable is supple and complies with the user and is not frustrating due to being unruly. I experienced absolutely zero microphonics and I do use the Atlas for my dog walks. The cable is lightweight but not frail, it is perfectly and comfortably weighted. I think it sounds great, is aesthetically beautiful and has perfect ergonomics and remains tangle free.



I wear the Atlas with the cable down but if you prefer you could wrap the cable around ear. The weight of the Atlas might be a challenge for some. The stock Final Audio tips hold them in place fairly well, but during a 3-mile dog walk I may have to adjust them a couple times as they can have a sensation that they are sliding out of your ears. It is not really an annoyance as I am accustomed to universal IEM’s but these are heavy and I have felt the sensation with the Atlas more than other IEM’s.

The driver is a single 10mm A.D.L.C. dynamic driver. It truly is impressive how these single DD can be tuned to deliver the quality of sound that the Atlas does. I will further touch on the sound later, but the 10mm driver can deliver a tooth rattling experience.

Overall, I have no complaints with the comfort of the IEM. I would not use it for serious exercise due to its weight and that whole coming out of the ear sensation, but for moderate exercise, walking and other low impact activities you should be fine. As I mentioned previously, I have some custom silicone sleeves that solve any issue with the fitment of the Atlas. Don’t think custom tips are a necessary purchase but not only have they increased the fit but they really showcase the sound capabilities of the Atlas. I have heard whispers that Campfire Audio is going to begin to produce custom sleeves, but I personally haven’t verified that info. You certainly can inquire on the Campfire website, if that sort of thing interests you.

Suction and driver flex have been reported by some users. I have had suction “cutout” a couple of times that appeared to cut the sound of one the monitors but the sound reappeared fairly quickly. A shallow insertion and Marshmallow tips can alleviate the sensation, as well as custom tips, but it is not really an issue for me as the driver flex does not damage the IEM.

Review Setup:



This review was written utilizing multiple sources, Opus #2, LG V30, QP2R. I listened using the stock cable and its 3.5mm connection. I mostly utilized the Final Audio and JVC Spiral Dot ear tips for review purposes, but I also used my custom tips. My sample music consisted of 320kb and FLAC as well as streaming Tidal Masters, Spotify, and Deezer.

Moving on to the sound section….

As I gushed over the sound of the Atlas in my intro, I know you are thinking there must be some faults with the sound of the Atlas or else this guy is just a serious fanboy. Actually, it will depend on the type of sound signature you are searching for. The Atlas is super addictive and engaging. When I write any review, I listen to whatever equipment I am reviewing, as I write. During the writing of the Atlas review, I revisited for about the 1000th time, the Beatles White Album in all of it’s lossless glory. Paul’s bass rumbles with a sub bass delight that gives me goose bumps. Meanwhile, the other bass frequencies are so resolving and have so much texture it is a special listening session. To be able to clearly distinguish all of the frequencies and their layers clearly, and not just in the sub bass realms, across the spectrum is a music lover’s dream.

With time and DD burn-in, the sound becomes decidedly more balanced and more defined and precise. Everything sounds grandiose and full with the Atlas. I would not refer to it as a coloration but more of a refinement to the initial listening’s. The sound is never harsh and delivers an organic feel that can extend far in the treble and rumble the filling out of your back molars. With many bass tilted IEM’s the bass can bleed or mask some of the other frequencies, with the Atlas this is not the case.

The power requirements are fairly normal for a DD driver. That said, they are not as easy to drive as many BA driver IEM’s but comparable to any DD that are average to drive. The more power you give them the more they respond. My LG v30 can drive them to ear damaging levels so beware, but you will find yourself inching up the volume controls because they sound so damn good.

Presentation



The presentation of the Atlas is a mixed bag of goodness. The soundstage is not the biggest I have heard. It has average width, unless the music itself has incredible separation, such as the Beatles, I mentioned earlier. The stage, when listening to the Beatles is very wide and has an incredible depth. The song Revolution 9 can make a sober man feel as if he has visited the caterpillar and partaken in a few swats off of the hookah while sitting on the mushroom as it deliver a holographic presence. When the music is produced with an incredible stage presentation, the Atlas unveiles it as such. When the music has an average stage it presents it as well. I have heard larger rectangles of stage and on an average, I would place the Atlas in the middle of the pack. There is plenty of air between instruments and notes to distinguish each note and nothing is muddy or congested.

The placement of instruments however is spot on and with your eyes closed you can patently visualize where the sound is coming from on the stage. The tone and timbre of the instruments is good and accurate. The Atals is not an IEM you need to listen to critically to enjoy, in fact, just freaking enjoy, don’t be critical. I must say that there is a real complexity to the presentation and overall delivery and everything is very coherent and enveloping.

I feel it is important to mention that the sound is not colored in the basic sense, that it changes what has been produced. What the Atlas does is reach into the song and extracts the frequencies and creates an audible fiesta. When listening to a group such as REO Speedwagon, which generally is produced balanced, the bass resolution is easily discernible. I listen to that group because the tone of Gary Richrath’s guitar is incredible, so underrated. When listening to Hi-Infidelity by REO, the bass line is clear and evident, and of course the mid-range is front and center. Many times, when listening to REO the music is lacking in the bass and sub bass regions.

Bass

Oh MY! The sub bass is simply some of the best I have heard. The sub bass can dig deep to sub-woofer home system levels. The incredible thing is there is never any distortion. The more volume I give, the more the bass rattles, but maintains it clarity and definition. Time heals all wounds with anything that may be ailing the bass in the Atlas, give it time. The sub bass, can be bone rattling, but is quite layered and textured. The sub bass is not snappy and punchy, it is more like that of a sub-woofer on a home system with a deep resonant tone.

The higher range frequencies of the bass are punchier than the sub bass so the mix and blending of all of the bass levels is quite impressive and makes for an outstanding bass experience. I think the transitions between the layers of bass stands out in higher quality recordings. There is no bleeding into the mid-range so the sound, while full, remains clear and never obscured.

The Great Wall of Bass that is ever present upon first listen is slowly torn down so please do yourself a favor and give these a little time for your head to take in the goodness that is the Atlas bass.

I could continue to extol the virtues of the Atlas bass, but in a snap shot, it digs down deep, has incredible rumble in the sub bass layers and presents levels of well-articulated organic bass as we move north in the bass range. If you are an EDM fan this would be the IEM for you, without a doubt. As mentioned previously, the sound is not colored but if there is bass in a song the Atlas is able to reach down into the music and bring the bass to enjoyable and well defined audible levels.

While the description may sound as a bass head dream, the ability to stretch and extend throughout the register is what sets this IEM apart. It may not be a balanced IEM, but it creates balance when given the opportunity. The bass could easily bleed into the midrange or overpower the entire signature but thankfully the tuning by Ken and his team is masterful and it doesn’t happen. Check out YYz by Rush if you want to hear a sublime track, made for the Atlas. The more you listen the more balanced it becomes.



Mids

As you listen to the Atlas you realize that the mids have an impact on the balanced signature that the Atlas delivers. I think that the mids deliver an experience that perfectly aligns with the signature on the whole. The mids are not the focal point, it is really the bass that is the focal point. The mids don’t attack hard, they have more of a laid-back style which makes the stage appear a couple of rows back from the stage. The mids are smooth and non-abrasive. There is a wee bit of heft to the mids, just enough to round out the fullness of the sound. These are not analytical IEM’s, nor do they have the resolution of other TOTL IEM’s I own/owned. However, they weren’t designed to be the king of resolution or detail. Do not think that the details are lacking though because the details are ever present. While the resolution and detail are not the intended focus, the sound that the Atlas delivers has a lot of complexity.

The signature is not muddy or does not throw another frequency over the details, the details are ever present and gloriously delivered, and are a perfect blend with the rest of the signature. The tone of the mids is fairly accurate and on the smooth side while the timbre is above average and fairly natural. The bass may guide the signature to appear larger than life, and the treble may extend well and slightly sparkle, and I find it difficult to say the mid-range is a weak link because the mids do what they are tuned to do to complete and round out the entire package. That said, the mids are not the focal point.

Both male and female vocals excel because of the tuning of the mids. Vocals are perfectly placed and not too recessed or in your face, just rich and delivered to you in a natural, splendid package. The placement of the vocals follows in line with the perfect placement of the instruments, no gripe here.

Guitars, in rock tunes, are crunchy and full, with tons of expression. Give a listen to Van Halen Fair Warning and hear Eddie’s guitar tonality as it was meant to be heard. Engaging and addictive, that is the Atlas.



Treble

The treble actually portrays how multifaceted the Atlas is. The positives of the treble far outweigh the negatives.

The treble has a sparkle, a twinkle in the top end. It is not a sharp, harsh or unnatural. Cymbals have the proper “chhhh” sound with a natural decay. The twinkle in the top end displays the ability of the Atlas to extend and show the complexities of whatever genre you may be enjoying.

Had the treble not been tuned with this sparkle, I would guarantee the sound would have been too bloated. While the bass will receive the trophy to the vast majority of consumers, I feel the treble should receive the trophy for the best in show with the Atlas. Clearly, the bass is superb, but the treble is what controls the signature flow of the Atlas. The transitions between the treble frequencies are obvious and there is plenty of space(air) between notes. Again, the air is created by the treble extension. The treble has me forgetting that this unit is a single dynamic driver IEM. The treble sparkles with the equivalency of many balanced armature models.

Speed and muted aggression with a dash of Campfire Audio Andromeda thrown in has been the description of the Atlas. The threads are drawing comparisons to the other Campfire Audio models, the Vega for bass and the Andromeda, overall. Many feel the bass is close to as strong as the Vega and some feel it is much more refined than the Vega. Some think the Atlas treble is a notch below the Andromeda and others only acknowledge similarities in the treble. I owned the Andromeda, but I have never heard the Vega, so the only thing I can compare is the Andromeda. Ask my preference, and I will say hands down the Atlas, because its overall signature checks every box I have. The Andromeda has a little harshness in its treble, especially when the seal is not perfect. The stage of the Andromeda is larger than the Atlas and its bass is very good, but not to the level of the Atlas. The tale of two different IEM’s, more different than similar to my ears. The Andromeda is one of the best all-arounders I have heard, but my foot taps more with the Atlas.

Pairings

The Atlas can be driven with moderate power, but when given more power they really show their true colors. This is a DD IEM and as a rule they appreciate and respond to power. The Atlas is no exception and will they scale exceptionally well with higher end gear.

All of my sources drove them perfectly fine from a power standpoint, the majority of my sources have a more neutral to slightly warmish profile.

The Opus#2 paired incredibly well, however, when I wanted to push the Atlas it was the QP2R that would deliver the sound quality that I most preferred. One of my favorite pairings was the Shanling M3s because it appeared to accentuate the sound where it needed.

The Opus#2 delivered a clean organic sound. The stage was wide and accurate and the tone provided an excellent pairing. The treble extended well and of course reproduced the music without providing any additional peaks to the music.

The QP2R broadened the stage a slight bit more than the Opus#2. The sound was only a hair richer and fuller than that of the Opus#2, which surprised me a little, knowing that the QP2R is so full sounding. The differences between the two DAP’s were slim and your preference will come into play here.

The Shanling M3s delivered an excellent pairing. While to my ears, the M3s has a bit thinner sound and a little more extension in the treble than the two previous DAP’s mentioned, I really enjoyed the pairing. I will say if you find yourself sensitive to the bump in the Atlas treble, the Shanling might exacerbate that treble and make it sharp. Since I don’t find anything harsh with the Atlas treble, the Shanling was a fine pairing. The M3s might be the perfect pairing for someone that felt the Atlas was a touch too full for their liking, because the M3s slightly thins that fullness. If you are looking for a bit more treble it might just be your perfect pairing.

Volume levels were fine with any of the pairings as they all could drive the Atlas perfectly well.



Comparisons

I have two other models of IEM’s in my possession that are supposed to be bass kings. This is the first one of the blessed trinity I have reviewed and since I have yet to do the formal reviews of the other IEM’s I do not want to offer spoilers. I do not have anything else that even remotely compares to the Atlas, so doing any real comparisons provides me a challenge. Suffice it to say that to me the Atlas is super special.

In Closing

I need to keep this real, because that is what you have grown to expect from my reviews. If you are looking for a TOTL option or an upgrade that will not be bested by a newer model in the next six months, the Atlas is truly the IEM for you.

If you are a music lover and wish to be engaged and receive one of the most pleasurable listening experiences possible from your music, the Atlas is the one for you.

I am fortunate to have the opportunity to hear a lot of IEM’s and for those of you that follow my reviews know that I enjoy my gear for audiophile excellence but I also try to connect with folks that are trying to get into this hobby.

Terms like “end game” are thrown around and in my vocabulary “end game” doesn’t exist because I keep falling down the rabbit hole. However, after the outlay of cash for the Atlas you can begin to save for a long time for your next investment, because the enjoyment level is a 10+ with the Atlas.

The Atlas does not provide the most resolution or best in class detail retrieval, but it doesn’t have to. It is one of the kings at what it does. While writing, I was listening to a master of David Bowie Low and I will say that as many times as I have heard this recording the Atlas had me bobbing my head and hearing sounds I don’t recall hearing, after 41 years since its release. God, I am old.

The build quality is first class, the design is chic and hip, with the steampunk look. It can be worn around the ear, but it is designed to be worn down and I find the fit and weight to be fine, but I do see how someone may think they are heavy in the ear. The weight may pull the Atlas out of your ear with wearing time, but as recommended, a custom ear tip solved any woes.

The stock cable is my favorite that I have used from Alo, and there is no need for more investment as the sound quality is spot on.

Unfortunately, designers and developers generally don’t seem to get the complete package right. You either need to buy something to enhance sound or ergonmoics as you chase the “best there is”. Suffice it to say, with the Atlas, you buy it, plug it in, and play it. DONE!

I apologize if this appears as an ad or a fanboy rant, but if you notice I didn’t review or gush about my experience with the Andromeda. Now that I have reviewed the Atlas, I may review the Andromeda for a Campfire comparison but, we will see.

Questyle QP2R



QP2R

Manufacturer Website: Questyle QP2R

A Little Technical Stuff:

· Patented fully discrete/full-balanced/Current Mode AMP

· Pure Class A BIAS control system

· Audio Formats Supported - WAV, FLAC, WMA, MP3, OGG, AAC, ALAC,
AIFF, DFF, DSF，APE(Normal/High/Fast)

· Sample Rate - PCM 32kHz - 384kHz (16/24/32Bit)
DSD Native: DSD64(1Bit 2.8MHz), DSD128(1Bit 5.6MHz), DSD256(1Bit 11.2MHz)

· DAC - AKM AK4490 DAC chip

· Outputs - Headphone out(3.5mm)/Optical out(3.5mm)/Balanced out(2.5mm)

· Output Level - Unbalanced 1.8 Vrms / Balanced 3.6 Vrms

· Output Power - Unbalanced RL=32Ω，Pout=38mW; RL=300Ω, Pout=9mW

Balanced RL=32Ω，Pout=70mW; RL=300Ω, Pout=38mW

· Frequency Response - ±0.1dB (20Hz-20kHz) S/N 100dB @ 1kHz, Unbalanced /102dB @ 1kHz, Balanced THD+N 0.0006% @ 1kHz, Unbalanced / 0.0005% @ 1kHz, Balanced

· Output Impedance - 0.1Ω

· Charging & Data Transfer - TYPE-C, 5V 2A (PC & MAC)

· PC OS Requirements - Windows XP & Windows 7 / 8 /10 (32/64bit) /Mac OS X 10.7 or later

· Memory - Internal: 64GB; External: Micro SD card (Max. 2TB) x 1

· Battery - 3,100mAh 3.7V Li-Polymer battery, 10 hours of battery life

· Display - IPS 2.4" (Sharp LCM)

· Operating System - Linux

· Body Material - CNC machining aluminum, available in Gold/Space Gray

· Dimension - 65[W] x 134[H] x 14.5[D] (mm)

Questyle QP2R

-MRSP: $1299

Questyle, based in China, is known for their high-quality audio equipment. Their QP1R made quite a splash and is considered a benchmark DAP. The QP2R is their second iteration, although the first one is still widely available and revered. Questyle has also released the HB2 Hi-Fi Hub System as an addition to the high-res QP2R portable player, I cannot tell you how the dock functions in tandem with the QP2R because I was not offered one for review. It acts as a dock for the QP2R and can charge the DAP. It appears to come with a remote control that allows playback and menu navigation.



Never hearing the original, but reading all of its accolades, certainly had me anticipating this review and the opportunity to give some serious critical listening time to this offering. I will say that the QP2R has not disappointed and has knocked my current reference player, the Opus#2 by theBit, off of that pedestal.

The QP2R is officially my reference player moving forward until it is otherwise dethroned.



A Little Marketing Hype:

High-Res Portable DAP

A New Chapter in High-res Source

People's view on high-end audio has changed in the past few years. It seems a bit out-of-date just to sit in front of those heavy and complicated traditional audio systems in a fixed room. While what's going on outdoors is really amazing. Fashionistas are now enjoying the high-end and lossless music by taking along a top-tier portable player and a pair of decent headphones. QP2R, a well-designed and fine-crafted high-end portable player with excellent performance, is from Questyle.

The more complicated the world is, the more concise we are.

QP2R basically maintains the style of QP1R, the iF Industrial Design Award winner: the impressive design of tucked waist on the surface with a twin steering wheel, the helm style volume control inspired by a fine watch, and the patented design of hollowed-out protective crown against inadvertent volume change or accidental damage to headphone plugs. The perfect aluminum finishing, the unbroken lines flowing with a smooth-faced structure, and the curvilinear machined Gorilla Glass panels, all of which are telling that Questyle has strict requirements on manufacturing.

It keeps challenging the conventional concept by combining outstanding audio performance with unchanged size, doubled driving power with un-increased power consumption, fine craft with reasonable price, which is seemingly contradictory but solved perfectly by Questyle.

Meanwhile, Questyle sticks to their mission of taking audio performance and listening experience as their core values and achieving perfection in design and operation. In short, QP2R has preserved and inherited the typical and professional genes of Questyle which are becoming perfect over time.

Like the Engine to A Car

Global PCT Patented "Current Mode Amplification" Technology

Global PCT patented No.: PCT/CN2014/075775



As the "engine" of an audio system, Current Mode Amplifier, featuring a fully discrete and topological structure, achieves ultra-high sound performance close to recording scene that makes the audience truly moved. Meanwhile, based on the Current Mode Amplification technology, users can get much better listening experience from QP2R than other devices when matching with their own headphones or speakers which even though may not be the original matched ones.

Current Mode Amplifier can achieve excellent specs. For example, the THD+N can easily reach the ultra-low level to 0.0002%—0.0005% which is tens or hundreds of times lower than the ordinary professional devices, challenging the physical limits of audio testing and bringing perfect listening experience.

Like A Supercar in "RACE" Mode

BIAS Control System

With the high bias setting, just like a supercar is set to "RACE" mode, QP2R immediately attains stronger power and quicker responses, fully improving the mid and the low-frequency sensitivity. There is a bias indicator on the side of QP2R and it tells the standard bias indicated by the orange light, and the high bias by a red light. It ensures that QP2R operates only in the state of pure Class A when driving different loads, especially heavy loads, and provides a constant flow of strong power for the amplifier.



Unboxing and Accessories:

Questyle went for a simple, understated packaging. The QP2R comes in a black box with a white sleeve on the outside of the box. The sleeve has the words emblazoned “Questyle Audio Engineering” on the front and some simple device specifications on the back.

The black box opens in the landscape position and has a magnet that holds the box flap closed. Open the black box and you will see, on the left-hand side, the data/charging cable, the 5mm optical Toslink adapter and the paperwork. On the right-hand side, you will see the QP2R nestled in a foam cutout with a piece of foam lying on top of the player. Nothing over the top or pretentious for such a quality device.

Included is:

· USB C cable for charging and data transfer

· Warranty Card

· Instruction Manual

· 5mm Optical Adaptor (a handy thing to include)

· Tiny cloth carry bag

· QP2R


As appears to be the trend with the DAP’s I have recently reviewed the QP2R does not include a case, it is one of my biggest annoyances. For a TOTL device such as the QP2R, I feel it should be the price of admission. I am one of those consumers that likes to keep his equipment pristine and refuse to set a naked device on a table without protection. I also noticed one a couple of occasions mine has grown feet and attempted to walk off of the desk a couple of times. I saw it sliding and caught it and narrowly escaped catastrophe, YOU HAVE BEEN WARNED. There are aftermarket cases available and the one I decided on was from Miter, it has a kickstand and does an okay job. If I didn’t pay so darn much for the case I would probably look at some other options, but that is only personal preference and I have read that others love the case. The device is slippery like a bar of soap and with such a fine-looking piece of kit it would be a shame to damage it, any protection is better than none. In my packaging, there was also no screen protection. Seems like an oversight to not include a screen protector, but it is what it is.

There really isn’t much more to say about the accessories or unboxing. The photos can tell the story much better than I can.



Design and Build:

If you are familiar with the QP1R you will be very familiar with the QP2R, the design and build have not really changed much. The chassis is made from CNC machining aluminum and is available in Gold/Space Gray. Either color option to me is quite striking in its appearance. The front and back are adorned with glass, I read somewhere to be Gorilla Glass, the same product they use on many cellphones today.

There is a lot of heft in its design. In your hand, it has weight and feels substantial. Is it heavy, yes? I would have expected it to be heavy, based on its design elegance and visual appeal. I think the weight is what you would expect and I would have been really disappointed if it were lightweight. This device does not look “cheap” and it shouldn’t feel “cheap” either.


The volume knob is located in the upper right corner, on top of the device. It is a big, textured control knob which looks as if it is a precise machine. The volume control is protected against accidental turning by guards on the left and right of the knob. The guards do not impede the ability to adjust volume as it is easily accessible from the front or back, please refer to pictures to know exactly what I am talking about. The volume can be controlled in 60 or 120 steps, and the ability to choose 60 or 120 is in the settings menu. I love the feel of the volume control but it is easy to go + or – 1 when trying to select your volume. Not a major deal as an increment of one is not going to damage your hearing with an accidental + 1.

Also, on top of the device are the headphone ports. There is a 3.5mm SE and 2.5mm balanced output ports that are both recessed into chassis. The 3.5mm output serves double duty as the optical port.



On the left side of the player are the music control hard buttons, play/pause, skip a track. On the right side of the player are the power on/off button and a light which displays which bias mode you are in, standard or high. The indicator light would be orange in standard mode or red in high bias mode.



On the bottom of the device, is the charging/data transfer port(USB-C), one micro SD card slot. The QP2R has an internal storage of 64 GB. I am not certain of the maximum size of micro SD card the QP2R will tolerate as the largest cards I have are 256GB capacity, but the specs say 2TB is the maximum card size. A second slot would be wanted by some consumers and I think the elimination of a slot was due to the new amplification. I had zero issues with the 256GB card I used, it read quickly and without error.

The QP2R has a design reminiscent of Apple devices of years past. It has a navigation wheel instead of a touchscreen or manual buttons for control, I will delve into this more later in the review. On the four diagonal corners surrounding the navigation wheel are touch controls. Starting upper left is a home key of sorts, that during the playback screen will take you to a menu for Favorites, Add To, Loop and Delete, thus providing you those options for the track you are listening to. If you are on a playlist menu screen, the options of the Home key are Add To and Delete. I am not going to go into great detail about the menus but I wanted to let you know that the options change depending on what menu or sub-menu you are presently on. The right touch button is the Return button and if you hold it down it will take you all of the way back to a menu that offers you what song is currently playing, a Category selection, Playlists, Browse Files and settings. The two remaining lower touch buttons are for back and forward, which can be locked in the settings screen to avoid accidental touch.

The QP2R showcases an IPS 2.4″ (Sharp LCM) color screen. It is functional and provides adequate vibrancy and readability. It is not the best screen I have seen on any device and it does not have touchscreen capabilities. Of course, if the screen was touchscreen and of a super vibrancy the cost of the device would be greater, so it is a tradeoff. It is perfectly fine for my needs but the inclusion of a touchscreen would be nice for future models.

I mentioned earlier I would touch on the control wheel later and now is later. I need to preface this by saying that the QP2R is supposed to include a friction overlay in the packaging for the scroll wheel. My unit did not include that in the packaging. It is a rubber circle with adhesive on one side to stick onto the scroll wheel keep your finger from slipping on the metal wheel when you are turning it. If you do not receive one in the package, for whatever reason, I would certainly request one from Questyle. The naked wheel is slippery and has provided me with a bit of frustration during control. The scroll wheel also selects by pushing the center of the wheel to enter. I so pine for my rubber friction overlay. I feel the addition of a touchscreen, and a button control system would also be a positive upgrade, lose the wheel. The player oozes quality and workmanship and the wheel hints at a distant memory from Apple. Maybe I am being picky considering this is the finest DAP, sound quality wise, that I have heard, but sound and total experience can sometimes be two different things.

The specifications state that you will get 10 hours out of the 3,100mAh 3.7V Li-Polymer battery. I must assume that is based on using the low gain. I think 10 hours seems like an ambitious number. It would be difficult for me to gauge this as I always use either M or H gain. I also find I like the screen brightness bumped up. The battery charges through the USB-C port on the bottom of the device. It is not a quick charging device and I often let it charge overnight because when fully discharged it would take roughly 4 hours to fully charge.

UI:



I have long touted the UI of the A&K players and theBit as being the most refined that I have used. Both of those companies have created a rather simple, bug-free experience. I will add Questyle and its Linux iteration into that mix. The QP2R is very simple in its layout and I will not discuss all of the menus and options but instead will highlight some options and settings that are noteworthy. As mentioned above, they are an entire bevy of features which have settings on top of settings.

One setting that sometimes takes a lot of hoops to jump through is a delete option. With the QP2R deleting is simple. Deleting from the micro SD, deleting from playlists and favorites, it's all there and simple. When selecting the 2.5mm balanced port there are no additional steps, just plug-n-play. I think that the flow of the menus is logical and only requires a small learning curve. I generally use the browse folders option as opposed to selecting by genre, artist or album, I find this is the best for me. I have not found the ability to complete a search within the folders. If you want a specific track you will have to access it through one of the categories or browsing and know where to find it.

The gain control is a setting that I switch between Medium and High settings. I do not have any sensitive IEM’s to drive and many of mine are Dynamic Drivers which like the power. I find myself on High gain 90% of the time. If you listen to DSD files the QP2R allows you to set an adjustable gain from 0 - +6 dB. When utilizing the 3.5mm SE output the power is about average but when utilizing the 2.5mm balanced output it had more than enough power to drive everything I threw at it. For the Custom Art ME, I found my listening level to be about 50% and for my Atlas or Legend X around 60%.

One last setting in the UI that will truly enhance your listening is the bias control. A bias control allows the listener to choose standard or high bias settings, depending on the loads being driven. I found High gain, High bias to be my preferred setting. With the high bias setting, the QP2R immediately attains stronger power and quicker responses, fully improving the mid and the low-frequency sensitivity. It ensures that QP2R operates only in the state of pure Class A when driving different loads, especially heavy loads, and provides a constant flow of strong power for the amplifier.

The QP2R can also be used as a USB DAC if you have the need for that when listening from a laptop etc. There is also a 10-Band EQ, while I never use EQ I know many users like to tweak their music.

Moving on to the sound:



The QP2R delivers sound that is pure mastery. I have really enjoyed the QP2R and while the Opus#2 has been a loyal mate I feel that I have certainly moved on with the QP2R. It is now the benchmark player that the others need to beat.

The sound is wholly organic and voluminous. It is large as if you are in a concert hall. Very much a reference sound as opposed to being overly rich but it so super resolving and true to the music. Flawless in its delivery, I find it very difficult to find fault. As previously stated, I do not have any sensitive IEM’s. There have been discussions that with sensitive IEM’s that there is hiss. I cannot confirm this, I am only passing on what I have read. To me, the noise floor is silent, black and hiss free. The sound quality to my ears sounds like a much higher priced desktop unit, which for me is great because I love to be portable and hate to be tethered.



I have not found any genre of music that does not come alive with the QP2R, EDM is presented with all of its quick bass driven beats. It is effortless in its delivery, and Jazz is as involved as the artist intended. The QP2R delivers the bass frequencies with impact and energy without any over inflation of the tones. I am trying to put into words my overall impressions of this DAP but it is difficult without gushing and fawning over it. As a reviewer, I probably shouldn’t do that but as a human, a consumer and a music lover I find it very difficult not to gush. It is the best I have heard.

Keep in mind that the QP2R does a great job at playing quality when quality is there. I have found it is not the most forgiving player out there. Give it quality and let it work its magic.



How does this DAP stack up to some of the other DAPs in my possession?

The only DAP I will give a comparison against is the Opus#2.

Feature wise the Opus#2 delivers more goods. To be able to utilize Wi-Fi and sideload apps certainly will provide more value to some. The QP2R is a feature light device all of the way around. Power wise, one of my biggest complaints with the Opus#2 is the high levels of volume I had to throw at some of my headphones. Opus#2 or QP2R, either will more than satisfy your audiophile desires. I may have gushed at the QP2R but I can tell you I also gush at the Opus#2. If my review has made it appear that the winner was a runaway, this is not the case. When I listened to the QP2R I could hear a difference in the quality vs. the Opus#2. The Opus#2 delivers a touch warmer sound overall. While it is not a warm player like some of the A&K players I have heard, it slightly tilts warm. The QP2R is not warm but full and comes at you in organic, natural volumes. It truly would come down to a preference. I would say that the 2.5mm balanced output of the QP2R bests the Opus#2 as it delivers the power needed to make your gear shine.

I have recently found myself attracted to the less feature-focused players, such as the Opus#1S and QP2R. I love the attention to be on the sound.



In Closing:

The QP2R has delivered on the goods. While some may like more features, I find the quality of the sound to make me forget the lack of features. It's handling of DSD and the number of file formats played, today appear to be the price of admission. The ability to tweak settings to find one that works best for you is great. I enjoy the High gain, High bias.

I wish that a protective case would have been included and I hope in future models that they employ a touch screen or a button-driven control system. I am not a fan of the wheel, but it is important to remember that I did not receive the friction wheel cover that should have been included in the package.

Excellent amount of driving power in the 2.5mm balanced output.

The UI is, for the most part, refined and Questyle does support the player with updates. I have had two updates to firmware in three months.

Build quality screams TOTL, with its aluminum chassis and Gorilla glass front and back. It has great weight and heft in the hand, it feels substantial.

Well, the Opus#2 has been bumped from its lofty perch in my collection. It really was close between the two but the sound quality of the QP2R was ahead at the finish line by a nose. Nothing is perfect but the QP2R is the best sounding DAP I have heard, thus it is now my reference player.

IMR Acoustics R1

IMR-R1 – Direct link to information

Purchase B-Stock - B-Stock purchase if available



A Little Technical Stuff:

· 13mm driver featuring Neodymium motors with beryllium diaphragm + Ceramic driver

· IMR Open and close porting system

· 5 Audio filters

· 2 Pin detachable cable

· Impedance: 32 Ohm

· Sensitivity: 108 +/- 3DB

· Frequency response: 14 - 40000Hz

· 24ct Gold plated 3.5mm Jack

· 1.4M length OFC cable

· Hard Case

· 6.5mm Adapter

· Huge selection of ear tips for the perfect fit



FILTER SOUNDS:

· Black - Maximum attack with powerful impactful bass, rich mids, and controlled highs

· Pink - Slightly decreased bass from the black filter with the same mids and highs

· Copper - Maximum bass, lush mids, and slightly recessed highs

· Orange - Balanced bass and mids with rolled off highs

· Blue - Beautifully balanced across the range, natural and airy sound with perfect mid and sub-bass.




IMR Acoustics IMR-R1

-MRSP: Universal fit £500.00 GBP/$663 USD at the time of the review

Sometimes available in B Stock – (currently £299.00 GBP - $397 USD)

I want to thank Bob James, proprietor of IMR Acoustics for providing me with the IMR-R1 for review.

Bob has been known in the industry for quite some time due to past affiliation with Trinity Audio. Bob’s company, IMR Acoustics, is a UK based company. The IMR-R1 is his current companies first go-round with an IEM and I will say they have made quite a royal splash, UK-Royal, get it? The IMR R1 has price positioned itself in the middle of the IEM tiers unless you are able to purchase a B-Stock which is quite a terrific bargain. However, while they may have priced themselves in the middle tier their sound quality can marginally compete with some upper tier offerings. I find the IMR-R1 has a great sound to price ratio.

I am not generally the person that has a lot of patience for “tweaking” sound, I guess I am more of a plug and play person. The IMR-R1 has taught me that experimenting with various filters and open/closed port combos were fun and worth the experimentation. In the end, I was able to find my sweet spot with an open port and the pink filter, but I also will say I enjoyed the default black filter almost equally as well.

The IMR-R1 is not without faults, as I will touch on later, but sound quality and the ability to engage the listener is not one of those faults.

A one sentence summary would be, the first offering from IMR Acoustics is a worthy listen.


A Little Marketing Hype:

The R1 is unlike any other universal in-ear monitor available on the market today.

Experience sound like never before with beautifully textured bass and lush midrange and highs that are present but not harsh.

Tuned to perfection using IMR's custom 13mm Ceramic hybrid driver unit. With its specialist hi-res ceramic driver combined with a beryllium 13mm dynamic driver with powerful neodymium motors for a huge soundstage and precise instrument placement and with an FR from 14-40000Hz to cover the whole audible range of audio.

Unlike other manufacturers using ceramics in this market that require high power to drive their units ours only needs 32 Ohm!

However, the R1's abilities do not stop there! The R1 also incorporates a switchable open and close port on the rear of the in-ear monitor to allow you to change the staging and shut off the outside world when required. In addition, the R1 is supplied with 5 audio filters to allow you to tweak the tuning to your individual style. These audio filters allow you to alter bass levels, treble levels and increase midrange as required.

The First Switchable Open and Close Port

The IMR R1 uses a unique switchable open and close port on the rear of the in-ear monitor, allowing you to change the staging and acoustic levels and shut off the outside world whenever you choose. This innovation is easily recognizable in quiet environments and is exclusive to the R1.

Fully Customize Your Experience

The IMR in-ear monitors are supplied with 5 acoustic audio filters allowing you to tune your IEM’s to your individual taste. These audio filters enable you to alter bass levels, treble levels and increase midrange to suit your personal preferences.

3 YEAR WARRANTY

5 ACOUSTIC AUDIO FILTERS

SWITCHABLE OPEN AND CLOSE BACK

WHAT’S IN THE BOX:

· 3.5mm to 6.3mm adaptor

· A semi-hard shell, zippered carry case,

· 3.5mm cable

· Eartips out the wazoo

· IMR-R1 monitors

· Filters and more filters

· Shirt clip



Unboxing and Accessories:

The accessories are plentiful. There are no cutesy items like wiping cloths or bags but the accessories that are included are exactly what is needed. A semi-hard, zippered carry case, ample ear tips in a variety of different styles and sizes and the sound filters. Originally a 2.5 balanced cable was included with the 3.5mm cable but the 2.5mm cable had issues and the decision was made to only include the 3.5mm cable. After the 2.5mm balanced cable was redone and issue free, I asked Bob if I could receive one and was promptly sent one. I have a 2.5mm and a 3.5mm SE cable, both being stock. I cannot think of anything else I would want as an accessory to further enhance my experience for that matter.

The explanation of the filters and what they attempt to achieve is listed above. The IEM’s are threaded as are the filters, so one must only unscrew whatever filter you are currently using and screw in one you would like to switch to. Very simple! Each and every filter is distinguished by a different color. The only issue is the fact it is difficult to decipher which is the orange and which is the copper, copper is the darker orange one, maybe green or some other color not so close, might have been a better choice.

I tried all of the filters and finally settled on the pink filters. I will say that “settled” may not be the correct choice of wording because out of my three favorite all seemed to be the “right one” at various times. I found the black(default), copper and pink to be my favorites. Keep in mind this is only my preference and YMMV and probably will.

Eartip wise, I decided on the JVC Spiral Dot L tips. They provided me with the best overall experience. I received a great seal and bass response and well as comfort with the JVC tips, and overall the best sound.

Now for the elephant in the room, the cable. Frankly, the cable sucks. It is rubber coated, uncomfortable, unruly, springy cable with a weird connector, to add to that, the cable doesn’t always want to stay behind the ears. The connector is a 2-pin so what could be so wrong? The pins insert into the IEM at an angle making it almost impossible to find one of your existing cables that will work. I hate the cable ergonomics and how it connects.

The cable should not enough deter anyone from buying the R1, as a matter of fact, I have worse cables in my collection, the Dita Truth, a $500 cable, has worse ergonomics. The sound of the cable is adequate, but the fact that it has a mind of its own is disturbing. The cable ergonomics do improve a little over time. In one of the online forums there are many folks mentioning that they have found aftermarket cables that provide comfort and fit inside at the angle and that they have fallen completely in love with the R1 with an after-market cable.




Build and Quality and Fit:

The IMR-R1 is quite an industrial, almost military looking IEM with metal screws and a brutish metal open/closed port dial. The R1 is neither large or small, the housings have a certain heft with its aluminum shell. The dial on the face of the housing is the main focal point as it is large and industrial with a notched edge. The bright chrome dial is designed to twist to give you either an open or a closed IEM depending on your environment. The nozzle itself is medium in length but extends further due to the fact that the filter threads into the nozzle end. The design is almost three pieces with the dial being one and both sides of the housing being two and three. The housing itself is a gunmetal color but with the huge dial being bright chrome it gives the illusion everything is chrome. On the side of the housing closest to your head, the monitors are labeled identifying the L and R and an IMR logo is emblazoned on the outside of the housing. The dial had some imperfections in the metal, I am usually very critical of imperfections but these have such an industrial design I wasn’t bothered.

The build quality is solid in its metal housing. I am sure they are not indestructible but they certainly have a feeling that they will be your companion for the ages. The only thing I question may be the threading where you insert the filters. Inserting and removing with time can cause the threads to become stripped and cross-threaded. These are only ramblings and possibly unfounded worries. Also, after initially playing around with filters you will more than likely settle on a filter that satisfies you and not swap them often. Also, remember the IMR-R1 has a three-year warranty.

A little more on the open/closed port dial. While it is a nice option, I found there to not be a staggering difference in sound quality between the open or closed position. Possibly, there is a bit more air in the open position but to me, it is not a huge night and day difference. It is subtle more than drastic. Also, the difference in isolation from outside noises is minimal.

Overall, I have zero-real complaints with the comfort of the IEM. They are about in the middle of the pack as far as comfort is concerned. I have had torture devices and some IEM’s I barely knew were in my ears and these are somewhere in between, if it weren’t for the cable, ugh! The nozzle has a slight upward tilt which happens to work well for my ears.

The IMR-R1 is a hybrid driver design utilizing a dual driver design. One being a beryllium13mm driver and the other a ceramic driver said to be a hi-res ceramic driver. I had no problem driving the IMR-R1 with any of the sources I have in my collection with the impedance being 32 ohms.

While I am not disturbed by driver flex I know many folks are and I want to tell you that driver flex is present and can be quite strong, especially upon insertion.



Review Setup:

This review was written utilizing multiple sources, Opus #2, LG V30, QP2R and Opus#1S. I listened using both a 3.5mm SE and 2.5mm balanced connection. I mostly utilized the pink filters and JVC Spiral Dot ear tips. My sample music consisted of 320kb and FLAC as well as streaming Tidal Masters, Spotify, and Deezer.

Moving on to the sound section….

The IMR-R1 is one of those IEM’s that comes out of the box and just smacks you into reality from the start, and it is a Godsmack. The default filter is the black filter and the R1 immediately begins to impress you with its prowess. It is a rich, snappy, bassy, with a up front and center aggressive sound. The R1 commands your attention and I admit it did get my attention. The IMR-R1 is not a smooth, Cohiba and Cognac type of IEM, not a warm, inviting s’mores around the campfire listen.

Presentation

To effectively articulate the presentation and overall sound signature I would begin with aggressive, fast, furious, snappy, gritty and unapologetic. There is a tremendous amount of energy and snap in the signature. As I have stated I am using the pink filters which I felt had the most impact on bringing out the positive attributes and taming the most negative attributes. The R1 does not do much to try to tame music files that are prone to sibilance or harshness and to me it’s sharp aggressive delivery of the highs is one of the few negatives I can mention. The positives are without a doubt are the incredible bass that envelopes the listener and makes for a toe-tapping, head bobbing experience. An example of some of the music that will showcase the speed and presentation of the R1 would be EDM or specifically the likes of Infected Mushroom. That genre of music has a lot going on within the music and the R1 also seems to deliver at a frantic pace so they match quite well. While my description may conjure a manic display the R1 performs with the same level of intensity across the spectrum, so it delivers quite a balance. If you want immersion, play YYZ from Rush and take in all of the fast and furious bliss that the R1 is capable of. The R1 is an incredibly capable IEM.

The soundstage is very large and very well defined. Geometrically, It would be a large cube as it presents itself in more of a 3d fashion than a square. I think the fact the clarity of this IEM is superb lends itself to the encompassing feel that there is so much air around the notes. It certainly has one of the largest stages I have encountered. Worth mentioning is the fact that to my ears the entire delivery is so in your face. When listening you can forget feeling you are two or three rows back from the stage, with the R1 you are exactly at the stage. I feel even with the pink filter everything is in your face, and some of the filters make this effect more pronounced.

I would classify the tonality and timbre to be average. The R1 has showcased other qualities in which it excels but the tone and timbre have a slight metallic sound, and those characteristics are placed mid-way through the list of specific qualities pertaining to the R1, with instruments sound ing realistic but their timbre being off. I am highlighting what I hear, but I do not wish to sound as if there are any glaring defects that would be considered deal breaking. I think the fact the treble extends so darn well really overshadows any artificial tones. The delivery is not spastic or out of control, in fact, I find it very controlled it is simply the tuning of the R1 and I feel Bob is presenting us the music exactly as he intended to.

Each frequency range is clear, defined and well presented. Nothing bleeds or interferes with the providing you with clear definition. While there is a strong, snappy bass presence there is no real feeling of warmth or smoothness. Some adjectives that would not describe the R1 are lush, smooth, warm.

Bass

The bass is the driving force of the R1 and clearly, it is my favorite part of the signature. It is a thunderous yet fast, snappy bass. The sub-bass kicks with a jaw-rattling force, especially with the copper filters. The Red Hot Chili Peppers, By The Way, is a delightful listen to get a feel for the intensity of the bass. What the heck, anything by the Red Hot Chili Peppers and Flea is awesome with the R1. The bass in the R1 is proud of its weight and it flaunts its girth without any loose or flabby notes. It is crisp and defined, to say the least. I am a huge fan of Dynamic Driver bass and the R1 certainly carries on that DD tradition. All of the bass frequencies are clearly represented and accounted for. Definition and resolution of the bass notes are what you can expect while having a serious impact that the listener can feel as well as hear. I feel the pink filter may decrease the sub-bass somewhat. There is a sharp decay and you won’t find any lingering notes. The bass of the Dita Dream is still at the top of the heap of the DD’s I have heard, based at the time I received the R1, but this would certainly be a close second and first in terms of impact with the Dunu DK-3001 also thrown somewhere in the mix.

Mids

Depending on the filter used, the mids can be very front and center. I think the pink filter is a little less aggressive than some of the others. The pink filters may produce a slight dip in the lower mid-range. There is no decline in the amount of clarity or details in the mid-range and as previously mentioned the separation is huge. Possibly, because the pink filter appears to slightly lessen the sub-bass it creates the illusion of increased clarity and detail. There is nothing analytical or fatiguing about the mid-range of the R1 in that it is not the most micro-detailed but the clarity is phenomenal. There are adequate details revealed but you won’t have fatigue over long listening sessions due to an overabundance of detail. To me, some of what you can achieve from the mid-range is going to be based on the music you throw at it. Meaning, the R1 has a capable mid-range and if the music is complex and detailed then that is what you will hear.

Treble

This is the part of the signature I wrestle with the most. The treble extends well and has a very aggressive shimmer. The treble certainly aids in producing the awesome soundstage and delivery of details but yet there is something metallic to me in the tone. It is not really a natural timbre and I think that is part of the perception of the in your face highs. They say perception is reality and to me, that is the reality, I enjoy the overall IEM immensely but I cannot effectively articulate my feelings towards the treble without sounding negative. Nothing is truly offensive here nor would I say that the treble is troubling but it is the weakest link to the entire signature. I am hesitant to say the R1 is a bright IEM because I found balance with the pink filter. The copper filter appeared to lessen the treble a bit more but I enjoyed the extension and width the pink filters provided me. As I said before if you have music that is sibilant the R1 will do nothing to smooth out the rough edges. You can expect details and clarity and I am being critical, because I love how the treble creates a balance and harmony throughout the entire range. Some of the sources, such as the Opus #1S, with its smoother tone and rich full sound, helped cure what I feel ailed the R1. Listening to Dire Straits Sultans of Swing, the cymbal hits can be a touch overbearing.

Pairings



The R1 doesn’t need a great deal of power to drive but with some extra power, it will certainly excel. It is an IEM that realizes the sweet spot between well powered and underpowered, meaning that I found its aggressive nature to be fatiguing with too much power, just overbearing. I want to say that I have tried to become more volume conscious lately as I am trying to preserve my old ears and hearing. I have found that while it is really enjoyable to bump up the volume on occasion it probably isn’t the best for the hearing. I know it is not an earthshattering bulletin that loud noise damages hearing but it is becoming my reality.

All of my sources drove them perfectly fine and while most of my sources have a more neutral to slightly warmish profile, except maybe the Shanling M3S, I found it is indeed the neutral to warmish signature that works best for my needs. I would say that tone and organic sound might be what you should seek in a DAP to find your ultimate pairing.

My least favorite pairing of the sources I utilized to write the review would be the LGV30. I did not feel it provided the tone and body that the aided in smoothing out the rough spots with the R1.

My favorites were the Opus#2, Opus#1S, and the QP2R. The Opus#2 has a slight edge because of the warmth in its signature. The Opus#2 is very organic and has been my reference DAP for quite some time now. As I will mention in another review, it has been replaced as my reference by the QP2R but I still found the Opus#2 to be a slightly better pairing with the R1. The stage remains immense and the slight warmth, in all of the right places seemed to mesh so well with the R1.



The Opus#1S has such a full, rich sound with a very cozy tone that it was really a match made in heaven for the R1. It lacks a little resolution that the Opus#2 offers but the pairings tonality is truly hard to beat. For the $600 difference between the Opus#2 and the Opus#1S, with the 1S being the less expensive, I do not think you can go wrong with this pairing. For $400 for the Opus#1S and a B-Stock R1 for around the same price, it is quite a formidable combination.



To you QP2R owners or anyone considering the QP2R you will not be disappointed, but I found that the amount of power the balanced output delivers, you can easily listen at lower volumes. The sound is not quite as warm, as the slightly warm tilted Opus#2. That said, to me a touch of warmth is better with the IMR-R1 so I give the nod to the Opus#2 with this pairing. The QP2R does, however, provide a big, full concert hall sound.

Comparisons

Yikes, comparisons are super tough with the IMR-R1. Firstly, you have so many tuning options between the open/closed port and the array of filters. Secondly, they are at a price point new that I don’t have anything to compare and B-Stock it is one of the best IEM deals around and again I have almost nothing in this B-Stock price range.

I will provide a comparison between the DUNU DK-3001, which is a DD hybrid, and $500 and the FIBAE 2 at $560.

DUNU DK-3001 vs. IMR R1



This is an interesting head to head. I love most everything about the DUNU-DK3001 except for the medieval dungeon torture device style fit that the DUNU employs.

The sound of the DUNU is smoother in its delivery and no way near as in your face as the R1. Soundstage wise the R1 is certainly the king but the DK-3001 is no slouch, I find the R1 stage to be one of the best I have heard. I would like to say, in general, I really enjoyed the signature of the DUNU, I had no sound issues. I equally enjoy the R1 and I do feel it is a better IEM by a nose. Partly, because you have more tuning options and partly because it has a superb overall clarity. My critical points are more when I dissect the frequencies as opposed to what it brings to the table as one cohesive IEM.

The bass in both is incredible, with the R1 being a touch more present and snappy. They both deliver nice bass layering and clarity, Dunu is smoother and the R1 is crisper. The overall tone may be more natural with the DK-3001 and I prefer its tuning and tonality to the R1. I generally like a smoother tuning than an aggressive one. The R1 is extraordinary in its clarity and how it digs into the song and extracts the detail. Neither IEM are detail monsters and they confidently leave the analytical sound to others on the market. Treble is abrupt in the R1 and smooth in the DK-3001. I think by now you get the idea. Personally, you can’t go wrong with either, for me, I give the nod to the R1.

R1 VS. FIBAE2



The soundstage is displayed differently between the two IEM’s, both are incredibly wide but the R1 has a more 3D geometry. The F2 is a fun, musical IEM with a warmish signature. The warmth of the F2 is so welcomed. The R1 is more detailed and direct with a higher level of clarity than the F2. The F2 adds a richer, lower mid-range with the R1 having more resolution and clarity in its mids. This showdown would more depend on the mood of the listener. As previously stated, I like smooth and warm. However, once you plug in the R1 and hear the bass snap and the how the sound all comes together you quickly become a believer.

Two different moods, but with the tuning options I would find myself grabbing the R1 more than the F2, even though the fit is better with the F2 and its warm tuning to make it a tough choice I would give a slight edge to the R1.

Sorry, there are not more comparisons I just could think of any fair comparisons that I have in my possession.

In Closing

IMR Acoustics is a new kid on the block, the owner is not. Bob has been the topic of drama from the Trinity days, but I can only speak from my own experience and it has been stellar. This is not an attempt to sway anyone’s thinking, it is merely my experience. Responsive responses, great service, quality first product, again overall stellar.

The ability to tune the sound to your liking is pretty incredible with the open/closed port dial and the tuning filters. Without a doubt, you can find something that strikes your fancy.

The build is an industrial inspiration and heavy duty but not uncomfortable in contrast to how it looks. I think they are built for the long haul and heavy duty.

The sound caught me by surprise. It kicks some serious butt! I know the overtone of this review appeared negative referencing bright and aggressive but everything comes together so darn well. The frequencies all blend and the sounds have an incredible synergy. There is oodles of clarity and resolution.

Bass is incredible, snappy, with little decay and it is always present. The bass never interferes with the other frequencies.

The cable really is not good. If I was asked to make one improvement, the cable is hands down the weakest part of this product. The sound quality of the cable is fine but the unwieldy ergonomics and the fact it doesn’t like to stay behind your ear makes it a challenge to like.

If you want validation for your purchase or a recommendation, consider this both. It is a terrific addition to the collection or if it is your only IEM, you can feel confident you have made the right choice. Enjoy!

The Opus #1S



Opus #1S

Purchase Here: Musicteck

Manufacturer Website: the bit Audio Opus

Also for sale here: Amazon

A Little Technical Stuff:

• 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

Opus #1S

-MRSP: $399/ No case is included, but they can be purchased for $40

The Opus#1S is the second generation of their successful and budget-conscious Opus#1. I never had the pleasure to hear the Opus#1. I jumped straight to their TOTL Opus#2 which became my state of the art reference DAP. I read so many positive comments about the Opus#1 that when the opportunity was presented to me to review the Opus#1S, I seized the opportunity. Upon opening the packaging and beholding the player I was immediately struck by the rich burgundy color, it exuded quality. I have recently reviewed DAP’s that focused on clarity and transparency and based on the Opus#1 comments I was sort of expecting a neutralish, balanced sound, instead, on first listen I was presented with a lush, rich and full sound. The richness does not detract from the details, but the overall aura is rich and full.

For the most part, the overall experience with the Opus#1S has been positive. If someone already owns the Opus#1 should they pay the upgraded price for a 1S? I can’t answer that question, but I will lay out a brief overview that hopefully helps you make that decision.

A Little Marketing Hype:

Audio Specification

• DAC: CS43198 x 2EA
• SNR (Balanced): 125dB @ 1KHz
• SNR (Unbalanced): 123dB @ 1KHz
• Crosstalk (Balanced): 142dB @ 1KHz
• Crosstalk (Unbalanced): 140dB @ 1KHz
• THD+N (Balanced): 0.0005% @ 1KHz
• THD+N (Unbalanced): 0.0007% @ 1KHz
• Output Level: 3.4 Vrms (Balanced, Condition no Load)
• Output Level: 3.1 Vrms (Unbalanced, Condition no Load)

General Specifications

Model: Opus#1s

Display: 4″ TFT Touch Display (480*800), IPS Panel

CPU & Memory: ARM Cortex-A9 1.4GHz, Quad-Core Memory (RAM): DDR3 1GB

Button: Power, Play/Pause, FF, REW Vol+ / Vol-

Supported Audio Formats: WAV, FLAC, ALAC, AIFF, WMA, DSD, MP3, OGG, APE(Normal, High, Fast)

EQ & Effect: 10 Band, NORMAL/USER1/2/3/4/5

Charge & Data Transfer: USB Micro-B input (for charging & data transfer (PC & MAC))
Connection Mode: MTP (Media Device)

Outputs: Phone (3.5mm) / Optical Out (3.5mm)
Balanced Out (2.5mm, 4-pole support)

Battery: 4,000mAh/3.7V Li-Polymer

Battery Life (Play) Time & Charge Time: Play: Approximately 11 hours (44.1KHz 16bit, Vol.70, 32ohm, LCD off),
Charge: 4 hours

Memory: Built-in 32GB
External MicroSD (Max 256GB) x2 Supports SDXC exFAT, NTFS

Clock source/Jitter: 50ps (Typ)

OS: Android

Supported OS: Windows 7,8,10 (32/64bit), MAC OS x 10.9 or higher

Dimensions: 72mm (W) * 112mm (H) * 18mm (D)

Weight: 190g

• Enhanced ABS, Solid Body and Tempered Glass
• Available in 2 colors Lapis Blue and Palatinate Purple
• Powerful and Refined Sound Building Algorithm with Cirrus Logic CS43198 x 2EA 24-bit Pure Real Dual DAC
• Huge Memory Expandability to ensure the best Sound Quality
• High-Res Audio Player requires a huge storage space in order to store and play not compressed studio files. Opus#1 equipped with a 32GB internal memory which can be additionally extended up to 544GB by adding two 256GB MicroSD cards to its slots.
• Support Internal Memory 32GB + External Micro SD Card Memory 256GB x 2EA

Unboxing and Accessories:

In this area, a picture is worth a thousand words so I will include photos to show you what is included with the 1S.



The sleeve on the outside of the box is gray with the name Opus#1S on the top and audio-opus on the bottom. The back side includes a full spec sheet, which is fairly thorough for the outside of a box. Under the sleeve is a brick red box.



Inside the brick red box is a foam cutout which holds the Opus#1S user information, screen protectors and a USB cable. As usual, with many of the DAP’s recently there is no protection. I seem to mention in all of my reviews that a case is such a nice touch to offer. I believe even a cheap case to at least protect the unit, while you decide on the right case for you, would be an incredibly welcome addition.




The case I have is real leather and made by Dignis. It fits snugly and provides access to the USB port on the bottom and markings on the sides so you can see and feel the forward and back buttons or adjust the volume. The case was fabricated perfectly to showcase the design and lines of the DAP. For me, a case is a must have and this case is really nice, at $40 is a bit expensive, but worth it.



Design and Build:

As mentioned above, the Opus#1S is a very classy looking device. Upon reading, it is my understanding that the dimensions are equal to the 1st generation Opus#1. Which would mean if you had the Opus#1 you would be able to use the case you already have on that device. If it is important to be stylistic then you may want to accessorize with a matching color because the original was released in a gunmetal or a gold color. The Opus #1S comes in blue or purple ABS plastic. As previously mentioned the unit I have is in purple, not in the same shade of purple as Barney, that big stupid kid’s show dinosaur, or even the NFL team Vikings for that matter, it is a deep wine color that looks very rich and classy.



The dimensions are 72mm (W), 112mm (H), 18mm (D) and weighs in at 190g, matching the Opus#1. There is 32GB of internal memory. External memory allows for two MicroSD (Max 256GB) formatted in exFAT, NTFS. Having two MicroSD slots is nice as I have two 256gb cards I use, which gives me my entire collection and space to add more music. It has a pretty good battery life and is rated at 11hours of play time and of course, YMMV, but I found the battery to be more than adequate.



The Opus#1S has a 3.5 mm / Optical Out (3.5mm) and Balanced Out 2.5mm, 4-pole support. This unit has some very impressive output power through its balanced port at 3.4 Vrms and SE 3.1 Vrms. Included is also an upgraded Cirrus Logic dual DAC, CS43198 while the Opus#1 had a CS4398. The specs have been upgraded on the 1S when compared to the Opus#1. The sound has a black background and I did not detect any hissing.



The screen of the 1S appears to have had a slight upgrade to the original. It has a TFT touch screen which is the same, however, this is an IPS panel and I can tell you the colors have great depth and a rich visual appeal.



The left side of the device has the volume up and down controls and at the bottom of the device is the space for the dual MicroSD cards. The bottom of the Opus#1S has a USB-C slot to be used for charging as well as data transfer. The top of the unit has a 3.5mm headphone jack and a 2.5mm balanced output as well as the power on and off switch. The right side of the DAP has back/forward buttons and also the play/pause button.



The Opus#1S is a music player in the raw sense and doesn’t have a lot of additional features that other DAP’s have, such as Bluetooth and WIFI.



UI:

Having the Opus#2 I was already very familiar with the UI. One of the differences between the 1S and the Opus#1 is, it is not necessary to select balanced as an option, just plug a headphone into the balanced output and it is activated. If you have any of the other of the Opus lines you will be very familiar with the UI of the Opus#1S. I will include some photos so you can get the idea of how it visually appears. I will say that A&K and Opus have the most polished UI’s I have encountered.



Moving on to the sound:

A two-word description of the signature of the Opus#1S would be rich and full. It has a black background that is clean across the spectrum, but yet it is so full, so dynamic in its presentation. The soundstage is wide and there is plenty of separation between instruments. To my ears, the stereo separation is actually quite impressive.

Most times I prefer any warmth or color to be added by my IEM’s or headphones, not by my source, but in the case of the Opus#1S, it is deliciously toned, a tone that engages the listener. The signature reveals details, particularly true with higher bitrate FLAC files, but it is never fatiguing because it is not an analytical sound that bombards you with detail, it is a sexy, powerful sound. The bass response has a wonderful impact as the DAP reveals its masculinity. The bass never bleeds into the other frequencies so there is no muddiness that occurs frequently with warmer signature devices.

Generally speaking, a rich, robust signature, such as this would better lend itself to brighter or thinner sounding IEM’s or headphones, but magically the Opus#1S seems to do well with all signatures and I enjoyed it with all of the IEM’s and headphones that I plugged into the DAP.

How does this DAP stack up to some of the other DAPs in my possession?



In comparison to the M2s ($199), I would say that the overall tone is a little similar in that it is a warmer signature, but that is where the similarities end. The Opus#1S has a wider soundstage and is not congested where the M2s is narrower and claustrophobic, by comparison. The power output of the 1S is impressive compared to the M2s. Overall, the 1S gets the nod. Maybe it is not a fair comparison, but I did find the pairing of the M2s was pretty sublime with the EarSonics EM10, and I still feel that way.

The LGV30 ($800 but easily found for $500), when forced into aux mode, has a clearer, more transparent signature, with less warmth. To have the same level of power you have with the 1S it is necessary to force the V30 into aux or high impedance mode. The stage is equal with the 1S having a greater separation of instruments.

Differences between the Opus #1S and Shanling M3s are obvious. The #1S is more of a warmish tone, with a rich, full texture. The M3s is more transparent and has a touch more clarity. Not to say the Opus#1s is not clear, because the details are certainly evident. The stage is wide in both and I would consider both winners in this area. The treble extends further in the M3s and has an overall brighter signature. Both are powerful units and I would actually call it a draw. When deciding between these two DAP’s the choice is transparency and clarity over tone. If you are looking for a less colored signature the M3s would be the choice but I prefer the signature of the Opus, mind you, that is my preference, but either player is a fine choice.



As far as the pairing of IEM’s and headphones I found zero that paired poorly with the Opus#1S.

My favorite pairings I currently have would be with IE800s and the Custom Art FIBAE 3. The DD of the IE800s has become one of my favorite signatures and the Opus#1S blends so well. The DD bass of the IE800S delivers the goods, and the overall warmth of the of the Opus does not overload the bass levels or cause any congestion. The FIBAE 3 is a clarity monster and the synergy between the two is awesome. The F3 treble tuning aids the extension that the Opus#1S delivers. There are times where two pieces of gear really assist one another in delivering a perfect sound and pairing, the F3 and 1S are one of those relationships, awesome synergy.



I sampled the Opus#1S with the Sennheiser HD 6XX and the Meze Neo and both were easily driven and portrayed the sound as it was meant to be portrayed. I was pleased, but not surprised that the Opus#1S was able to drive the HD6XX with ease and showcased its tried and tested signature flawlessly.



In Closing:

I became infatuated with thebit and Opus when I purchased the Opus#2. It has become my reference DAP for my listening and reviews. The Opus#1S is more of a budget-minded DAP without the features that many DAP’s have, even at equal price points. It is a music playing machine with just enough features to support the DAP in doing what it was designed to do, play quality sounding tunes and make it user-friendly.

The build is plastic, but it does not feel cheaply made as it is high-quality ABS. The design is classy and I love the purple color, it is a rich and deep as the sound that it produces.

The UI is without gremlins and is, from my experience, on par with the A&K UI which is one of the best.

The DAP has a rich, full and smooth delivery with lots of power, especially from the balanced output and was able to drive the HD6XX on the SE output.

Having never heard the original Opus#1, I obviously can’t compare, but based solely on my experience with the Opus#1S I can totally recommend it. If you are not in the need of WIFI or Bluetooth and want a powerful, great sounding DAP, this is the one.

CUSTOM ART FIBAE 3

FIBAE 3

FIBAE 3 – Direct link to information

F 3 Design Acrylic - Design your acrylic version here

F 3 Design Silicon - Design your silicon version here

A Little Technical Stuff:

• Single proprietary Sub-Low, Single proprietary Full-Range, Single High
• 110dB @1kHz @0.1V
  
• 7.3 Ohm @1kHz (+-0.9 Ohm 10Hz-20kHz)
  
• 10Hz-21000Hz (+-20dB into IEC 60318-4 coupler)
  
• Silicone or Hollow Acrylic body

Custom Art FIBAE 3
-MRSP: Custom fit $525 EUR/$647 USD at the time of the review



I want to thank Piotr, proprietor of Custom Art for providing me with the FIBAE 3 for review.

My first exposure to Piotr and Custom Art was in August of 2017 when we had a discussion about allowing me to demo the FIBAE 2 for review. Actually, it was regarding the Harmony 8.2 but when asked which of his offerings he was proud of but that wasn’t receiving the exposure he felt it deserved he directed me to FIBAE 2. I had the pleasure to demo and review the FIBAE2 and I really enjoyed the fun, musical signature and was in awe of the stereo separation and soundstage. Thus, I had to ask what is on the horizon for Custom Art(CA) and at that time Piotr mentioned the FIBAE 3(F3). He wrote a description of the F3’s signature and my initial thought was, after hearing the fun engaging sound of the F2, I am not sure that this was the type of signature I would enjoy. At this moment, I don’t remember the word bright being an adjective used in his description, pardon my senior moment, but the description made me feel that it was going to be a bright signature. I have always enjoyed a warmer signature but I was told that the F3 has copious amounts of clarity with some sweet sub bass thrown into the mix so I was certainly up for that challenge.

A Little Marketing Hype:

FIBAE 3 is a triple-driver mid-level IEM utilizing the world’s first Flat Impedance design (patent pending). Featuring single proprietary sub-low, single proprietary full-range and single tweeter drivers, it delivers unparalleled end-to-end frequency extension.

FIBAE TECHNOLOGY

Flat Impedance Balanced Armature Earphone (FIBAE™) technology is world’s first, revolutionary, In-Ear Monitor design providing flat impedance and phase. By changing Balanced Armature driver character from inductive to resistive we solved one of the oldest problem in the industry – dependence on output impedance of sound source for correct earphone output. With FIBAE™ technology your earphones will always perform best from any DAP. Single and multi-driver configurations available.

FIBAE 3’s tuning is a result of a carte blanche approach. Researched and newly developed drivers deliver reference sound without sacrificing punchy lows as well as improved presence of highest frequencies without adding harshness or sibilance. FIBAE 3 shares highly musical and engaging character of its bigger brother – Harmony 8.2. Consequently, this triple-driver IEM offers smooth, balanced midrange and high coherency that Custom Art is known for.

FIBAE 3 emerges as a new paradigm with only three Balanced Armature drivers that provide class-leading extension across the frequency range.

I will add my take on the marketing hype in that the FIBAE technology is not a gimmick. The overall signature did not change with each source I used. Certainly there were quality differences heard from DAP to DAP but the signature remained relatively untouched. For example, If the DAC used could deliver a more spacious sound it would render differences in spaciousness etc.. but not the sound siganture.



WHAT’S IN THE BOX:

• Custom FIBAE 3
• Carton box
  
• Peli 1010 case
  
• Zipper case
  
• Wax pick tool
  
• Drying pellet
  
• Warranty card

Unboxing and Accessories:

When beginning this section of the review I was thinking that the Custom Art accessories are rather meager, and by many a company standard they may be, but considering I have customs there aren’t included eartips included and the rest of the pack-ins would be fluff. For example, wiping cloths, cloth bags and so on. None of that is included with the CA F3. The Custom Art includes the necessities and on top of that they include a seriously quality product for a fair price. I will take a quality CIEM over the branded fluff any day. I love Pelican cases and am happy that they include a portable zippered case, simple pleasures satisfy me. As far the unboxing everything comes in a rather non-descript black box. I am not sure I can drone on and on about the black box, so I won’t. Sorry nothing more to see here, move along. That said, as the CA brand moves forward it would be a nice gesture to add more pack-ins or marketing collateral to round out the complete package. The cable is the standard fare, black copper Plastic’s One cable with memory wire ear guides. After my experience with aftermarket cables and how well the FIBAE 2 performed with a cable upgrade, I quickly switched the F3 to the Ares II and haven’t turned back since.



Build and Quality and Fit:

The F2 that I have are universal and in my review of those I was a little hard on Piotr. I thought the build quality had a bit of a cheaper look and feel, I am not sure why I felt that way and I noted maybe it was the color choices. Also, compared to my Zeus and EM10 it just didn’t appear to be the same level of quality. Anyway, I take back my criticism of Custom Art and build quality, the CIEM F3 build quality and design is superb. I left the design up to Piotr, kind of like a chef’s choice, and felt that what he returned was a tasteful, yet cool design. Piotr chose the acrylic shell as he feels the FIBAE performs better with the acrylic as opposed to the silicon shell. The build quality itself was without blemishes, no bubbles or no seams, all in all a great job!

The fit was perfect and didn’t require any time for me to grow accustomed to it in my ear. The seal was snug and there is no pain involved with wearing them. They isolate me perfectly from offending world noise on my daily walks, I have no gripes with the build, quality or fit.



Review Setup:

My review was written utilizing multiple sources, Opus #1S and LG V30 and Shanling M3S and Opus #2. These are custom IEM’s so there is no worry as to which ear tip to choose. I listened using both a 3.5mm SE and 2.5mm balanced connection. My sample music consisted of 320kb and FLAC as well as streaming Tidal Masters and Spotify.



Moving on to the sound section….

I feel I need to say this right off the bat, the F3 doesn’t do a hell of a lot wrong, it portrays the music as it was meant to be heard. I am attempting to compare it to another IEM I have heard and honestly, I can’t. I put on some jazz and just get lost. The tonal quality and signature just proudly strut their stuff. Crystal clarity and rich fulfilling sub bass. This CIEM was built for it’s clarity and transparency and airiness and in that objective the F3 reign supreme, however play a track with sub bass notes and the sound fills in with a joyous rumble. The sound is more reference tuned than anything else, and the mid and treble range uphold the reference moniker proudly.



Presentation

To particularize the presentation, the F3 has a wonderful reference sound. The sound rolls out of the IEM so effortlessly, it does not appear to labor it just opens up and out flows beautiful sound. This IEM is a fine example that clarity doesn’t necessarily mean bright and harsh. The F3 is far from harsh and I have never heard a hint of sibilance. With music such as Al Di Meola’s latest release, Opus, the amount of detail and micro detail captivates the listener. Do not think that the sound is analytical and emotionless with its level of detail because emotion exudes as you hear the fingers hitting the fret board and feeling the slide of the fingers on the strings as the artist changes chords. ENCHANTING! The overall presentation has a vast stage as well as tremendous speed, with a slight decay. I listen to the F3 and the clarity evokes visions of a crystal clear and quiescent bottomless pool, that is still until the sub bass kicks in and it creates ripples in the lucid pool, wonderful, deep bassy ripples. The signature is not warm but it also isn’t hollow or without substance, it is reference and has a fairly true tonality. Going back to when Piotr first gave me his description of the sound of the F3 I would say his description was factual and articulate. My characterization probably has evoked the same initial thoughts in you as I had about the F3. With adjectives such as clarity, detail and crystal it does stir reactions that the F3 is bright, but it is certainly noteworthy that it is NEVER fatiguing, NEVER harsh and NEVER strident. The upper treble range has an expert tuning that maintains control. Vocals seemed placed perfectly with the correct centralization and depth creating an impeccable fusion with the instruments.

Bass

The sub bass is very pleasing. It is a wonderful rumble, not to the teeth rattling bass head levels, not even close. It has layers and is a very detailed sub bass that does allow for rumble that creates the only hint of warmth I can detect in the IEM. The bass is perfectly placed and is a polite rumble that would never think of interrupting the clarity and details by bleeding into even the lower mid-range or the upper bass range for that matter. The control in the mid bass is appreciated and impressive, as I said everything stays in it’s place. I think the song #41 from Dave Matthews Crash release showcases how well defined the bass is. The drum kicks and the bass lines are smooth and flowing while having distinct edging to each instrument, thus being able to easily discern the bass drum from the electric bass. The detail in the bass is very apparent and defined. The song really showcases how technically proficient the F3 is. The decay drops quick and sharp and notes don’t linger in an unrealistic fashion.



Mids

The stage is veritably demonstrated in the mid-range of the F3. The vocals are slightly in front of the drummer but you can envision the perfect placement of how the stage would be set if you were in the crowd watching the show. There is a tinge of warmth in the lower midrange that is revealed in a dip in that range and in the range just above the lower mid-range there seems to be a slight bump. This creates a certain fullness while conserving the detail and clarity that is the hallmark of the F3. Very articulate and linear in the overall tone. I have found the mid-range to be incredible with almost all genres of music but with jazz and artists such as Dire Straits the F3 will excel. Again, song #41 from Dave Matthews(FLAC) is a sublime listening experience. Percussion, saxophone and acoustic guitar all shine. The F3 is quite obviously proud of its technical prowess as displayed in the way it struts its stuff across the mid-range spectrum.

Treble

The treble is where this CIEM separates itself from the pack. The hallmark is in the mid and upper treble ranges. It is a high energy listen without the sharpness reminiscent in many high energy IEM’s. Notes float with liberal amounts of air between them and are infused with details and transparency. This is the range that creates that crystalline pool I alluded to earlier in the review. The speed is brisk and the decay short on the cymbal strikes and there is no linger which creates the edge, the energy if you will. The treble extends well and veil or opacity be damned. The treble is the balance giver, the range that ties this package together and creates the symbiotic relationship between all of the frequencies particularly that wonderful sub bass. While the treble is majorly detailed the end-user can listen for hours without a hint of fatigue. There is no congestion in the F3, copious amounts of air around notes and crystal clear detailed treble round out the sound portion of the review.

Pairings

The F3 does not need a lot of power to drive it properly. None of my sources had an issue driving them and a couple of times I wasn’t aware of my volume and I had it bumped up fairly high and I felt the pain, a word of caution. Remember with the FIBAE technology there are quality differences heard from DAP to DAP but the signature remains relatively untouched. So regarding the pairing portion of this review there is not going to be much to point out. All of my sources drove them easily and provided excellent quality sound. My two favorite sources to pair with the F3 are the Opus #2 and the LG V30. Opus #2 being my reference DAP and the wonderfully excellent quad DAC in the LG V30.


Comparisons

I compared different sources, a multi genre, multi format playlist, while testing IEM’s for their characteristics.



IE800S VS. FIBAE3

Soundstage in both units is very wide and I would venture to say it is almost equal with the F3 being a touch wider. The depth of the IE800S is slightly greater but the F3 has more a more holographic stage at times. The bass of the IE800S is slightly deeper and has equal rumble with better textures in the other bass ranges in the IE800S. The F3 has more transparency and clarity in its mids and upper treble while the IE800S has more richness. The IE800S mids are smoother with zero harshness and the F3 has more clarity and transparency and zero offensive harshness. The IE800S has an overall smooth, full signature while the F3 is known for its clarity, transparency and sub bass. The treble extends well on both IEM’s but what we are talking about is a tale of two very different IEM’s, but the edge in extension and stage goes to the F3. I tested the F3 using the Ares II cable.

F3 VS. FIBAE2

Soundstage has an equal width with the F3 having more depth. The FIBAE2 has a more fun, musical characteristic while the F3 is more clear and transparent. The bass of the F3 goes a little deeper and has more rumble, but the F2 has an overall warmer tone. F3 bass has more layering and texture but the F2 holds its own. Both IEM’s have totally different mids with the F2 adding a richer lower mid-range, and a more musical tone. Both are detailed in their mids with the F3 being more transparent and clear. The F3 has that treble extension at the upper range of the treble while both extend very well there is that certain treble clarity and stage that the F3 owns which sounds more neutral overall.

F3 VS. EM10

The F3 has a wider soundstage with the EM10 sounding more confined and narrow. EM10 is more balanced across the board and reveals itself as smooth throughout the spectrum. F3 has more texture in its bass and rumble in the sub bass. The F3 has more clarity and transparency in its mids and is more aggressive. The treble extends further in the F3 and with more much detail and sparkle. These are definitely two different IEM’s with two different purposes to their tuning. There are times when the mood calls for the EM10.


In Closing

I have heard the two driver FIBAE and now the three driver FIBAE and who knows maybe I will get to hear the Massdrop version with six drivers. Both of the FIBAE options check a lot of boxes, they are different boxes, but they check their own boxes and do it very confidently.

If you decide on the F3 you will most certainly receive clarity and transparency in spades and the sub bass which is so well tuned in all of its rumbly, layered glory.

The accessories are adequate and for me all I really need or want for that matter. Some of you that appreciate a little fluff will not receive it with the F3. Awesome build, expert tuning and one of the best value companies vs. fluff…you choose.

As far as the CIEM itself, Custom Art has delivered a product that exudes sexiness, value and quality tuning. It is reference tuned, for all intents and purposes, and combined with a crystal-clear transparent signature and sub bass rumble I don’t see how the consumer can go wrong. I find it amazing how the treble in all of its clarity never even sticks its toe across the line of harshness. I am more and more amazed with Custom Art as they enhance their lineup of products. The company has some truly outside the box thinking combined with Piotr’s if you dream it, it can be done attitude toward business and you have the recipe for success. The future appears to be quite bright for Custom Art.

Sennheiser IE800S

IE800S
Sennheiser - Direct link to USA

A Little Technical Stuff:

• Impedance - 16 Ω
• Frequency response (Headphones) - 5 to 46,500 Hz
  
• Frequency response - diffuse-field equalized
  
• Max. sound pressure level - 125 dB at 1 Vrms
  
• THD, total harmonic distortion - < 0.06% (1 kHz, 94 dB)
  
• Ear coupling - In-Ear
  
• Weight approx. - 8 g (without cable)
  
• Attenuation - -26 dB
  
• Earpad size S, M, L (Silicone and Comply™)
  
• Transducer principle (headphones) - dynamic, closed

Sennheiser IE800S
-MRSP: Universal fit $999.95 USD



I was contacted by Sennheiser directly and asked if I had any interest in reviewing the IE800S and obviously I did or I wouldn’t be writing this review, thus they supplied me with the IE800S for purposes of the review.

Sennheiser is one of the few companies that is known to mainstream consumers, casual listeners and audiophiles. They sell their products through a wide range of outlets and honestly have something for everyone. Clearly, Sennheiser is one of the top names in the industry and have been on the cutting edge of technology for quite some time. I have had a couple of Sennheiser products along the way myself. Momentum, Momentum 2, the venerable HD650, just to name a few. This would be my first foray into a Senn IEM. Their TOTL offering the IE800, was released sometime around the end of 2012. It was just one of those earphones that I never got around to trying. Honestly, if Senn hadn’t reached out to me I am not sure I would have tried the IE800S. It would have been one of those IEM’s that would pique my curiosity but there are also a lot of wonderful TOTL options available in the market, particularly in 2017, which in my opinion was a wonderful year for IEM’s.

The IE800 has been quite a success story for Sennheiser, there are still current and active threads in the forums for the IE800 as it is still a benchmark that many use for comparison. At quick glance, almost six years after release the IE800 the price has dropped to somewhere in the $500’s on Amazon. It really is pretty amazing the staying power the IE800 has sustained in the ever changing consumer gadget market.



Enter the IE800S! It is refreshed, updated and ready for business. I wish I could give you some comparisons between the IE800 and the IE800S but as I previously stated I have never heard the IE800 so this will be a review based on what I hear and experience with this new iteration, the IE800S. There are plenty of reviews and threads that talk about the IE800 and I encourage you to read those and compare to the IE800S.

A Little Marketing Hype:

Sleek and compact, the IE 800 S is a giant where it really matters: in reproducing music. Featuring a refined version of our proprietary Extra Wide Band (XWB) drivers, it redefines the benchmark for crisp and clear in-ear sound performance. The extraordinary musical capabilities of the IE 800 S are complemented by a perfect fit thanks to Comply™ foam ear tips. A cool and attractive look tops off this handcrafted piece of aural excellence.

An in-ear masterpiece

Incorporating the next evolutionary step after the groundbreaking IE 800 ear-canal headphones, the IE 800 S contains great technology within a very confined space. Fitted with pioneering solutions like the proprietary 7-mm transducers that create an almost unbelievable sound stage and our patented dual-chamber absorber (D2CA) system, the IE 800 S conquers new aural territory for high-end in-ear headphones.

The music unfolds inside your mind

Strikingly rich in detail, the IE 800 S generates a stunningly lifelike sound image. Offering brilliant trebles as well as a precise and improved bass sound, these in-ear headphones create the most beautiful musical landscapes for your mind to wander around in. Explore your music in all its glorious depth.

A brilliantly engineered sound experience

The IE 800 S features our patented dual-chamber absorber (D2CA) system. This innovation overcomes the "masking effect", where low-volume components of a sound are obscured by much louder sounds in a lower frequency range occurring at the same time. Removing the energy from any masking resonances to prevent unwanted peaks, the absorber system makes sure even the finest nuances of sound become audible – enabling a truly high-end listening experience.

Custom-made wearing comfort

Supreme sound can be best enjoyed when it comes with supreme comfort. Thus, with the IE 800 S we introduced ergonomically designed viscoelastic memory foam ear tips from Comply™. They shape themselves to each individual’s ear canal for a custom fit, providing great comfort as well as excellent attenuation of external sound.

Attractively handcrafted in Germany

Engineered and handcrafted in Germany, the IE 800 S looks as immaculate as you would expect: modern, elegant aesthetics with an attractive matt black finish to its premium scratch-resistant ceramic housing. The IE 800 S even shows its style when it’s not in use, with the newly designed premium leather case for easy storage on the move.

With best connections

In the world of high-end sound quality, which is definitely the world of the IE 800 S, details can make a significant difference. The cable connection, for example. So, in addition to the standard cable with a 3.5 mm jack, the IE 800 S comes with a choice of cables with 4.4 mm Pentaconn and 2.5 mm balanced connectors.

WHAT’S IN THE BOX:

• IE 800 S
• Connectivity cables
• 3.5 mm Standard
• 2.5 mm balanced
• 4.4 mm balanced Pentaconn
• Ear tips (pairs)
• 3 x Silicon S, M, L
• 3 x Comply™ S, M, L
• Manual
• Transport leather case
• Micro fiber cloth

Unboxing and Accessories:



The unboxing is pretty straight forward it has a Sennheiser cover box with a picture of the right-side monitor of the IE800S. I would say that they are intentionally showing the right side because it is color coded red at the stress point where it enters the monitor itself. I searched for the IE800 and confirmed my suspicions that the right side was not color coded on the IE800. Inside the cover is a black box adorned with the Sennheiser logo. Those of you that follow my reviews know I don’t get too excited about boxes and unboxing…meh! I have pictures I will include in the review so you can see the box and inside contents. I will say that inside the black box there is a foam padding with cutouts for the IE800S and its accessories.

I included a nice tidy list of pack-ins above but I will elaborate on some of the various items included.





The case is kind of a peculiar case. It is a leather exterior with the Sennheiser logo emblazoned on the bottom front of the cover. It is a bi-fold type of case that once opens on the left side of the inside cover has a metal plate identifying the model of the IEM(IE800S), listing Sennheiser and states Made in Germany. Also, on the metal plate is a unique serial number. On the right side of the inside cover is a kind of “spool” that you use to wrap the cable around and a cutout to insert the IEM. Honestly, it is a strange case, as strange as it sounds for me to try to explain. In my opinion this is one of the least practical cases I have ever tried to maneuver. The end of the detachable cable that holds the monitors is short and has a 2.5mm female connector. That end wraps around the spool fine and the cover of the case closes. When I try to leave the long end of the cable connected to the short end and wrap it all around the spool that is when I realize that patience is not my best quality. Without pulling the cable tighter than I wish to do I could never get a good wrap job and could never close the cover of the case completely. I refuse to allow my patience and dexterity be challenged by an IEM case so I don’t use it as often as I would if it were simple, convenient and didn’t cause unnecessary stress on the cable. Anyone with a bit more mechanical aptitude than I please feel free to let me know the secret code to this Rubik’s cube. This, for me, would be a strike against the IE800S and a strike against my dexterity, a minor one but a strike.



The cable is a fairly unique design but unlike the case it is a positive uniqueness. The cables are detachable, not from the monitor as they are non-removable, but are a detachable cable at the base of where the short cable “Y”s. These are an extension type of cable that connects to ends with a 2.5mm connection. The extension cable not only has the single ended 3.5mm connection but includes 2.5mm and 4.4mm. This is actually a pretty cool cable system. Whereas the Dita Truth uses different connector tips, by screwing them on, to the main cable the IE800S uses this extension cables with different connections. It is really pretty intelligent and an efficient way to provide the consumer with multiple connections, German engineering.



The cable itself is a thin, rubber coated cable. It is flexible and has no memory wire as the design is actually designed to be worn down. The strain reliefs are color coded, Red for R and Black for L. There is also an R or L on the relief but my old eyes clearly can see the color a heck of a lot easier than I can the letter.



I have not been able to locate any information as to the makeup of the wires so I would rather not speculate.

While this system of cabling is cool there is one downside the IE800S cable. When wearing the cable as designed, in the down position, there is a great deal of microphonics in the cable. I have seen online where people are wearing them over ear, but the found the top portion of the cable to be a little short for my big head. The simple solution is to wear the included shirt clip when wearing them during activity. I wear the shirt clip close to where the two sections of the cable connect to help with weight. The cable is very lightweight and comfortable. Another wish would be to have a detachable cable but it doesn’t so why dwell.

The included eartips are 3x Silicon and 3x Comply both in S, M and L. The housing of the monitors is very small and the nozzle is very short. The included eartips are the only ones I used because the eartips have a slight nozzle extension and are notched so that they lock on the nozzle. Fortunately for me the large silicon tip seal perfectly and are very comfortable. The monitor itself has wire mesh on the opening of the nozzle but there is also wire mesh on the extension portion of the eartip itself. I have never removed the eartip since putting them on the IEM for fear that the “lock” might loosen up from removing and installing many times and not maintain it’s snug fit on the IEM. As far as using the Comply tips I can tell you I have never been a fan of them as they tend to increase the bass response and lessen the amount of sparkle in high end. The IE800S has a wonderful smooth treble and I certainly didn’t want to diminish that in any way so the Comply tips have been stored.



Build and Quality:

The IE800S is a premium scratch-resistant ceramic housing that is a matte black. They are really small with two “vents” on the backside. As would be expected there were no blemishes or flaws in the tiny shells. The housings weigh in at 8 grams and are very very light weight when in your ear. I like the look as they are very inconspicuous in the ear. They do not sit flush in the ear they sit straight in the ear with the “vents” sticking out of the ear. I have never tried to sleep in them but I can’t imagine they would be very comfortable for sleeping as they do no sit flush. Based on the size of the housing would be my clue as to why they do not use a cable that can be disconnected from the housing as it would add size to include connector. As with any non-removable cable the end user must be aware not to tug or pull on the cable itself. I find them comfortable for long listening but the isolation could be a touch better.



Review Setup:

My review was written utilizing three sources, Opus #1S and LG V30 and Shanling M3S. Sorry my Opus#2 is out for repair. Opus #2 returned the same day I published the review so I have added brief impressions. Stock tips and stock cables were solely used during the review. I listened using the 3.5mm SE and 2.5mm balanced connections. My sample music consisted of 320kb and FLAC as well as streaming Tidal.



Moving on to the sound section….

Where to begin with this wonderful IEM? I was very excited to give the IE800S some extensive listening time. I have always been rapt with single driver IEM’s compared to high driver count units and am especially a devotee to dynamic drivers as their bass is devine. Having heard some wonderful single DD IEM’s, Dita Dream for example, I truly understand the capabilities inherent in that driver, of course with proper tuning. Most of the IEM’s in my collection are multi driver BA’s.

My initial sound impression of the IE800S is that its intonation is superb if you enjoy a smooth natural tone. The tuning is articulate and meaningful, all in all very coherent with a slightly warm organic presentation. It is a sound signature that I really enjoy, and with time the IE800S has started to ascend my favorites list and is clearly near the top.

Presentation

To elaborate more on the presentation, the IE800S has a wonderful smooth tone with an organic presentation that at times has a warmish cast because of the DD bass. The overall tone has a slight V shape and is relaxed, never fatiguing to my ears. I don’t want you to think that the mids are distant in the mix but they are slightly pulled back. There are couple of incongruities that I wrapped my head around. The sound is not the most airy or transparent and certainly not to the level of an Empire Ears Zeus, which is the transparency king. The IE800S does not excel at layering either. With the average air, transparency and layering one may think that the sound is constrained and congested but one would be wrong, there is no congestion and no veil to the details. This is not an analytical or micro detailed IEM but the details are extant in the signature.

The spaciousness within the soundstage is impressive as it has quite a wide stage. When listening to the 24bit/192khz David Chesky Jazz in the New Harmonic- Primal Scream, the width of the stage is immense. It also gives a surreal depth as well, I did not really experience that same level of holographic display with all of my recordings but I certainly did with Chesky. With some of my recordings there was an intimacy in the depth but always substantial width. It is very easy to discern where the instruments are placed in the stage, when you close your eyes it is very simple to imagine their placement thus the imaging is very good. Both male and female vocals sound very natural and smooth and it is easy to envisage the singer standing at the mic or sitting in the studio recording the music. The isolation is not the best but when music is playing it does a sufficient job of blocking ambient noise.



Bass

Each time I review an IEM with a DD I realize why I love the DD, it is because if the IEM is tuned properly the bass is sublime. Overall, the bass is south of neutral. It is not a bassy type of IEM that annoyingly bleeds into the mid-range but the bass is certainly prevalent. There is plenty of heft in the sub bass as it rumbles deep. The bass is textured and has authority and that authority is also prevalent in the mid bass range as it delivers a punchy presentation. I feel the Dita Dream and it’s single DD had more control in all ranges of the bass and was tighter in delivery, but the IE800S has a natural tone to its bass. The speed of the bass is about average. The natural tone, decay and richness of the bass adds to the smoothness that is the IE800S. With some burn-in time I found the bass to become tamer and slightly more controlled. Out of the box the bass was predominantly displayed. Decadently enjoyable is how I would describe the bass. I would like to mention that it is the type of bass that creates a shroud between the music and outside, everyday commute noise. With their delivery you will find they maintain an excellent level of sound quality in al conditions.

Mids

The mids in the IE800S are slightly retracted. It is a mild V-shape and, in my opinion, the mids infuse so well that it creates a wonderful coherent sound, do not think the mids are lacking as it is only a mild V-shape. As I mentioned above, the sound is not congested and without veil. There is not a lot of air between notes but the wide stage creates an illusion of a more spacious sound. The lower mids are close to neutral with the needle moving a bit north and with some added body. The remainder of the mid-range exude the natural and organic tone that is ubiquitous to the overall sound. Not stale, analytical or micro detailed but there is a certain translucence and resolution that can be enjoyed. I love how the vocals are displayed and feel there is a large amount of realism and fervor in the vocals. Rich and tonally smooth vocals are so alluring. Listen to some Sade and you will feel the sexiness in her tone.

Treble

I have perused the forum threads and found a recurring theme with the original IE800, that the treble could be a bit sharp and peaky to some owners. Meanwhile, the IE800 treble was not as offensive to other listeners. When I first plugged in the IE800S I felt that the treble had a slight peak that did not agree with me on certain musical tracks. Many IE800 end users have stated that the IE800S is somewhat similar but with a more refined sound. After 3 or 4 days of allowing music to play through them at high volume, it appears that the IE800S treble has chilled out, and actually extends well with a wonderful smoothness. Not to mention I have logged many hours of listening time now, not just for the purpose of burn-in but because they are that addictive to listen to. I now find the treble to have a well above average extension and smoothness, the harshness has gone. At the northern end of the treble spectrum there is vitality, a twinkle. The cymbal strikes and ticks in Dave Brubeck’s iconic Take Five can be heard in all of their realistic timbre and resonance.



Pairings

The IE800S do appreciate some power. It was not as if any of my sources had an issue driving them but when given power they transcend into another level. My two favorite sources to pair with the IE800S are the Shanling M3s and the LG V30. *Opus#2 pretty much kicked butt!

LG V30 – wide soundstage, average depth. Pushed the mids slightly more forward with large doses of transparency and clarity. The overall signature was very crisp and a touch more balanced.

Shanling M3s – wide stage, mids were slightly back compared to the V30. Overall clarity is superb. Added air to the notes with great resolution.

Opus#2 - soundstage has plenty of width and depth, you could feel the bass roar, this was the most detailed pairing. The mids are slightly forward but clear and detailed. The Opus#2 is my reference DAP and unfortunately most of the time I have had the IE800S my Opus#2 was not functioning, it was returned to me the day I published the review so I snuck in a little listen and as is always the case it didn’t disappoint. A fantastic pairing!

Opus#1S – I wasn’t sure how this pairing was going to work out. You have a rich and full sounding IEM and a rich and full DAP, logic would tell you it would be too warm. Not so, the pairing yielded very good results. Yes, the sound was full, but the details shimmered through effortlessly. The bass was not as layered as in the Opus#2 but it delivered a satisfying bass tone. Overall the tone was very smooth and rich. The mids were maintained in their mild V shape.

Comparisons

I compared different sources, a multi genre, multi format playlist, while testing IEM’s for their characteristics.

IE800S VS. FIBAE3

Soundstage in both units is very wide and I would venture to say it is almost equal with the F3 being a touch wider. The depth of the IE800S is slightly greater but the F3 has more a more holographic stage at times. The bass of the IE800S is deeper and has more of a rumble and better textures in the other bass ranges. The F3 has more transparency and clarity in its mids while the IE800S has more richness. The IE800S mids are smoother with zero harshness. The IE800S has an overall smooth, full signature while the F3 is known for its clarity, transparency and sub bass. The treble extends well on both IEM’s but what we are talking about is a tale of two very different IEM’s. I tested the F3 using the Ares II cable. I have not completed my FIBAE3 review as of yet so I do not want to give more detail.



IE800S VS. FIBAE2

Soundstage has an equal width with the IE800S having more depth. The FIBAE2 has a more fun, musical characteristic while the IE800S is more tonally accurate. The bass of the IE800S goes a little deeper and has more rumble, but the F2 is no slouch. IE800S bass has more layering and texture due to the DD. Both IEM’s have polite mids with the IE800S adding a richer lower mid-range, and a more natural tone belonging to the IE800S. Both are detailed in their mids with the F2 being brighter. The IE800S has that touch of twinkle at the upper range of the treble while both extend very well there is that certain treble tone to the IE800S which sounds more natural and organic.



IE800S VS. EM10

The IE800S has a wider soundstage with the EM10 sounding more confined and narrow. EM10 is more balanced across the board and reveals itself as smooth throughout the spectrum. IE800S has more texture in its bass and rumble in the sub bass. Both IEM’s have mids that are slightly retracted, neither are an aggressive V but a mild v, with the IE800S having more natural mids with better detail retrieval. Again, the tone of the IE800S is more natural and realistic. The treble extends further in the IE800S and with more detail and sparkle.



IE800S VS. Zeus XR

Both have a wide soundstage and are about equal in depth. In terms of overall sound, the Zeus(XIV) mids are more forward with greater transparency and layering and superb detail that best the IE800S The IE800S has a less harsh tone and more richness in its mids which may appeal to more to some. The Zeus bass appears when called upon and has great layering and transition but the IE800S always has more weight and it has the sub bass the Zeus lacks in comparison. The Zeus is an overall brighter IEM not known for its warmth, but that is not what it excels at. The IE800S treble extends well but the Zeus treble has better extension but at times it shows its brightness where the IE800S has the twinkle in the upper range.

In Closing

With the IE800S at nearly $1000 it may be a bit pricey for some, especially since Sennheiser reaches out to the masses not just the audiophile crowd. The audiophile crowd would certainly not be scared of the price tag knowing that today many of the TOTL offerings are above $2500. I would like to see the masses take the leap of faith and purchase the IE800S as these could easily be end game for most consumers.

The cable needs some work as I like to use my IEM’s on the go and without the shirt clip the cable noise is annoying. Many are using them with the wire over the ears but I found the cable too short for me to use them in this fashion. Although, it is pretty cool that the IEM’s come with 2.5mm, 3.5mm and 4.5mm connector cable to be utilized with a full range of DAP’s. The case design could be better so that it is not necessary to wrap the cable super tight to make it work correctly, thus potentially causing extra stress on the cable.

They are light weight and comfortable and come stock with Comply and proprietary locking silicon tips which I found to provide an adequate seal.

There have been stories circulating that the IE800S has tuned to resemble one of their latest full-sized headphone offerings, that I can’t verify. I do know that they are rich and full with wonderful rumble in the sub bass and an incredibly wonderful natural, organic and smooth tone.

I personally walked away impressed as hell with the Sennheiser IE800S, this is a wonderful single DD.

Shanling M3s

M3s

Purchase Here: MusicTeck (currently a case is included)

Manufacturer Website: Shanling

Also for sale here: Shanling M3S

A Little Technical Stuff:

Shanling M3s

-MRSP: $279; case is included on MusicTeck website

The M3s is the bigger brother to the Shanling M2s. I reviewed the M2s and really enjoyed it’s size, build quality, power and warmish sound. There is a certain excitement to review it’s bigger brother and see if the apple falls far from the family tree or if they share sound similarities. The big brother, the M3s is taller in stature which gives the illusion it is a thinner player, but both units are the same width. The similarities between the two begin to widen at this point. One has a warmer personality and the other is more neutral in it’s personality. Kind of reminds me of the differences between my brothers and myself. I am impressed with both DAP’s from all aspects and will leave it up to your discretion as to which Shanling may suit your purposes and tastes more. Let’s take a look at what you can expect when spending your hard-earned money.

A Little Marketing Hype:

• Fully balanced audio circuit based on dual AK4490EN DAC, followed with dual MUSE8920 and dual AD8397 headphone amps.
• Low output impedance, to assure best compatibility with sensitive multi-driver IEMs - 0.3 ohm on single ended and 0.6 ohm on balanced output
• Support of DSD256 and PCM up to 32/384
• Multifunctional USB C port, allowing M3s to be used both as external DAC with your computer or smartphone, or as USB transport for external DAC. (best matched with our L2 USB cable)
• Bluetooth 4.1 with apt-X support
• Compatible with HiBy Link feature, control everything from your smartphone over Bluetooth
• Comfortable size at 113 x 53 x 14.5 mm, reasonable weight at 135 g
• 3-inch retina screen with 480*800 resolution (300 PPI), newly with Oleophobic coating to reduce finger prints
• Improved battery life with over 13 hours on single charge (balanced output reduces battery life to 8 hours)
• Standby/hibernation/deep sleep mode
• Beautiful construction from two 2.5D glass panels and aluminum frame
• Available in three colors - Black, titanium grey and royal blue
• Supporting format: MP3、WAV、WMA、FLAC、AAC、ALAC、APE、IOS、DSF、DFF、cue、m3u、m3uSampling rate: 44.1kHz--384kHz

Unboxing and Accessories:

As is usual with my reviews I will include a few photos and give a brief description, but you can see for yourself what is included with your purchase from the photos. The sleeve surrounding the box has a photo of the M3s on the front and some of the features listed on the back. The sleeve surrounds a black box which holds the M3s and all of the pack-ins.

Upon opening the box lid, you will see the M3s nestled in a foam cutout and laying on top of a ribbon for easy removal. If you remove the foam cutout insert you will see an enclosure which holds all of the accessories, very similar to the M2s.

The included accessories are a couple of sets of screen protectors, a microSD card reader, a pin to reset the device, USB-C charging cable, warranty, manual and quick start card. As appears to be a trend with Shanling there is no case included with the purchase of the M3s. I truly wish the companies producing DAP’s would include some type of protection, even a silicon case to avoid scratches when placing your player on the table would be nice. The leather case, sold separately, is $15 and is actually pretty nice. It allows easy access to the scroll wheel and all of the ports. Purchasing a case is recommended as the device is super sleek and sexy and slippery to the touch. Glass front, glass back and a slippery frame sounds a lot like a recipe for heartbreak or you can just buy a case and have a bit more insurance.

Design and Build:

As mentioned above, the M3s is a very sleek looking device. Compared to it’s little brother, M2s, it is the same width but taller, which gives an illusion it is slenderer. It is comfortable in your pocket and is extremely lightweight so it doesn’t weigh you down while you go out and about. It weighs in at 137g while the M2s weighs in right at 100g. While the device is taller than the M2s, which is 85.6mm the M3s is 113mm, the actual viewing size of the screen is the same in both units, my assumption is that the M3s needs the additional length to help house the 2.5mm balanced output amongst other things. The DAP that I am reviewing is a cool looking cobalt color that Shanling calls Royal Blue, I really like the color. The M3s can also be purchased in Midnight Black, Titanium Gray, and as a Christmas special they released a Red version.

*Some portions of the review regarding the layout and connectivity of the unit will be taken from the M2s review as they are identical in many regards, my apologies but there is no need to reinvent the wheel.

The aluminum frame has a nice top class feel, albeit slippery. The upper right side of the DAP has the power button. To turn the M3s on, press and hold (long press). The power button is also used to wake up the device, with only a brief press, when the screen turns itself off.


The right side of the unit has the scroll wheel and below the scroll wheel is a button to return you to a previous menu screen. The scroll wheel on the M3s is well built, without any looseness or play. The sensitivity of the scroll wheel is iffy. Sometimes it registers one turn and other times two. In my experience, the scroll wheel is very important in function because the screen of the M3s is not a touchscreen. You depend on the scroll wheel to cycle through and select your options, pushing the scroll wheel “enters” the selection. I would really like to see Shanling migrate to a touchscreen format. Not all users report sensitivity issues with the scroll wheel but I know I found myself backing up or moving forward one more selection after I turned the wheel to what I thought I was selecting.

There have been some reported mechanical issues with the scroll wheel, please see the link below:

https://www.head-fi.org/threads/sha...t-hiby-link-usb-out-fw-1-2-out.859241/page-87

I have not had any mechnical issues with the scroll wheel on either the M2s or the M3s. Shanling has appeared to be very communicative with the potential “issue” that some users are having. While these types of things can be an inconvenience, when a company stands behind their product it is only an inconvenience and it doesn’t diminish all of the good that this DAP brings to the listener. As stated above it may be another reason to support touch screen models in future releases.

The left side of the device has a reset hole a play/pause button as well as a back and forward button used to advance to the next or previous music track. Further down the left size is where you can find the microSD slot. The largest microSD card I tested was a 256gb card and found the device read the card flawlessly and quickly. I need to mention that there is no internal memory so you will have to use a microSD for storage. This doesn’t bother me as I usually keep all of my music on some type of removable storage, but it certainly needs to be mentioned so you can make arrangements for a card that will store your music catalog.

The bottom of the M3s has a USB-C slot to be used for charging as well as data transfer and a 3.5mm headphone jack which also works a line out when selected from the software settings and unlike it’s little brother this has a 2.5mm balanced output.

Connectivity:

The unit has Bluetooth and allows the user to connect headphones and cellphones without any stress. It works flawlessly and with ease in finding and maintaining a Bluetooth connection. I successfully connected to multiple devices and all connected easily, quickly and without issue. All connections were solid and stable and allowed for good distance before crackling.

The cellphone pairing allows the listener to stream their favorite streaming app, from the cellphone, while keeping your wired headphones plugged in to the M3s the same as with the M2s.

The M3s, like the M2s has the HibyLink feature. To utilize HibyLink you will need to download the Hiby app to your cellphone. Once you pair the Hiby app to the to the M3s it gives you control of the M3s using your cellphone. To make this clearer, you can keep DAP in your pocket and use the cellphone as a sort of “remote control” for the DAP. Some the things listed that HibyLink can do are control playback and volume, browse through folders, albums, artists, genres and songs loaded on your Shanling player, add songs into your playlists, edit playlists, use search function to quickly find and view details of played files.
The M3s plays most of your favorite file formats including Native DSD. I put it through its paces listening to a varied selection of musical files and never had a hitch, stutter or lag while playing music, including gapless. For a lengthy rundown of the file formats the M3s plays look up in the technical section near the top of this review. The M3s can also be used as a USB DAC.

I found the M3s has the ability to drive any IEM I threw at it, with a black noise floor for the most part, if there was any hiss you certainly couldn’t hear it with the music playing. I attempted to drive my HD650 as well as my Aeon Flow Open and the M3s could drive them but to no surprise it required some serious volume.

UI:

The UI of the M3s is another area that is similar to the little brother M2s so I am not going to rehash the GUI. For the most part I use folders to select my music. I will say the GUI in the Shanling players provides a good, bug free, consumer experience and if you have used Hiby software in the past you will feel at home. I will include some photos below of the UI so you can get the idea. For those of you that utilize an EQ it does include a 10 band EQ. There are also low and high gain settings and I found low gain to be powerful enough for most of the IEM’s I connected, but many times I left the unit on high for easy switching between IEM’s and headphones. One other aspect to discuss is the low pass filter mode. The options available in this area are sharp, slow, short delay sharp and short delay slow. I found the short delay slow setting to be my preference. To get an idea of how the menus function please look closely at my photos embedded in the review.

Moving on to the sound:

If you asked me to use a couple of words to describe the Shanling M3s, I would say clear and clean, transparent and neutral. Okay that was more than a couple of words but those are the ones that came into my mind as I write this. It is smooth like it’s younger brother but the signature is very different and they go about achieving their positive results and smoothness differently. The M2s has a warm smoothness and the M3s, while clear and clean has a rather smooth treble that is not harsh or fatiguing. I found it a very good pairing with the IE800s and it’s DD bass and smooth treble. I feel the M3s would be a really good pairing for any warm IEM’s or headphones you may have in your collection, unfortunately I don’t really have the warm signatures that I have in the past to test the device with.

Where the M2s and the M3s have the widest gap in their sound similarities is with the stage. The stage with the M3s is very large. It’s notes have air and transparency as well as above average width and height in the stage however it is an average depth. Overall, I think the stage and clarity are the showstoppers here. With so much clarity you can visualize the placement of the instruments on the stage and it certainly is never congested. Male and female vocals do not sound thin they sound rich, full and indeed vibrant. It has a musical quality that is incredibly enjoyable and not dry or stale.

I found that the true character of the IEM or headphone will be allowed to be showcased as opposed to any additional coloration from the DAP, thus defining it as neutral. In essence, if you are listening to a bright IEM and are expecting the M3s to add warmth that more than likely isn’t going to happen. It is rare to find a DAP that has the transparency and clarity of the M3s without presenting itself thin or even hollow sounding.

How does this DAP stack up to some of the others in my possession?

In comparison compare it to the M2s ($199) I would say that the overall tone is of a Shanling house sound. Specifically, the M2s is warmer and more congested in it’s stage when compared to the M3s. The sound of the M3s is more polished and refined overall with better treble extension.

The LGV30 ($800, price I paid) and it’s quad dac, have quite a few similarities to their tone. Both have an increased clarity and a wide stage as well as wonderful extended treble. I would say the two sources are more alike than different in their delivery, with the LG V30 being a touch fuller in body.

Differences between the Opus #1S abound. The #1S is more of a warmish tone, with a rich, full texture. The M3s is more transparent and has a touch more clarity. Not to say the Opus#1s is not clear, because the details are certainly evident.

As far as sublime pairings with the M3s I feel there are many safe bets. My favorite pairings I have in my possesion would be with IE800s and the Custom Art Harmony 8.2. The DD of the IE800s deliver a sublime bass with scads of layering and texture. The overall smooth treble and tone of the Sennheiser pairs so well with the clarity and transparency of the M3s.

The CA Harmony 8.2 is a wonderful warm IEM with delicious amounts of bass that is wonderfully layered with the M3s. The treble of the 8.2 is also smooth and overall the M3s pairing is listenable for extended sessions as it is never fatiguing.

Zeus XR was not a pairing I can recommend. I love the Zeus and I love the M3s but the extended treble of both the Zeus and the M3s kind of overloaded me. While it wasn’t harsh or strident it did cause fatigue after only a short session.

As far as my full-sized headphones are concerned I felt that the HD6XX was a wonderful pairing and while it took quite a bit of volume for my old, tired ears, once I hiked the volume it was a wonderful paring which showcased everything that has been lauded time and time again about the Sennheiser HD650 or HD6XX.

In Closing:

The M3s and M2s are brothers, they have a similar Shanling house sound and both approach the same goal from different angles. The M3s easily pairs with so many different IEM’s and headphones. It is exceptional at delivering clarity and transparency without adding any color. The M3s is more neutral by nature and thus the reason it pairs so easily and effectively. If you are already setup in the 2.5mm ecosystem you will be able to utilize your cables and of course you can utilize a single ended output(3.5mm).

There have been some noted scroll wheel issues, sensitivity as well as mechanical, but Shanling has recognized the mechanical issues and said if you have issues return it to your retailer or to them directly. Personally, I have had no mechanical issues and this wouldn’t dissuade me in the least from purchasing the Shanling, but I feel I need to mention this.

The UI is virtually bug free and I never have to reboot the device to stop any gremlins. It uses USB-C as well as will take at least a 256gb microSD card, I don’t have a 400gb to test.

This is the second Shanling device I have had the pleasure to review. The M3s comes in at under $300 and at that price is quite the sound masterpiece. Shanling is on to something here and I look forward to hearing some of their TOTL offerings.