The Composer is the new flagship from Austrian Audio. The very young company, which was founded in 2017 with a core team of former AKG employees, manufactures microphones and headphones. In the headphone sector, these have so far mostly been from the lower price segment up to a maximum of €399. This makes me all the more excited about the Composer, which has an RRP of €2500.





Long before the Composer saw the light of day, relevant forums were already reporting on a new "super headphone" from the well-known and much "appreciated" headphone guru Nomax from Austria, who has been following the development from the very beginning and, according to him, has also participated in it by testing and evaluating various pre-production models. I myself am one of those who value his opinion, because he doesn't mince his words and speaks his mind openly. His descriptions of many previous headphones largely correspond to how I heard and experienced a model in the end. So you can rely on his descriptions for the most part, at least that's how it is for me. Of course, everyone has their own personal reference in terms of tonality, but if you know it, you can get a very good idea of the headphones for which the description is written.

I would like to take this opportunity to thank Thomas Halbgewachs from headphone.shop, who did everything in his power to get a review model to me as quickly as possible.

On Friday, 24th November 2023 the time had come. When the letter carrier rang, I felt like it was Christmas. So there it was, the "Composer". After months of puzzling over the supposed "super headphones", the time had come. I eagerly opened the large, flat box and unpacked the black wooden storage case. The material and appearance of this wooden case is similar to that of a Sennheiser HD820, only flatter, as the headphones are folded flat with the ear cups.

I think that in this price range, a wooden box is the most appropriate way to give this expensive item a high-quality look. I think it's just part and parcel of a product like this and I like this way of storing expensive headphones best with high-end products such as the Stax SR-009 or Abyss 1266 TC, which also come with a wooden box. That annoys me, for example, with my Utopia 2022 that you can only store it in a small case and then have to remove the cable every time because otherwise the headphones won't fit in it. Austrian Audio has solved this better. And the highlight: Yes, you can leave the cable on and still close the wooden box, that's how I like it!

The workmanship of the Composer is absolutely top class. There is absolutely nothing to complain about, right down to the smallest detail, and the product looks so high-quality and robust. You can tell from the Composer that Austrian Audio develops products for the professional sector, where headphones are not handled with kid gloves and have to survive the occasional fall. I have the feeling that the Composer has been built to last forever.

The scope of delivery includes instructions with a warranty card and three different connection cables. A short 4.4mm cable and two longer cables with 4-pin XLR and 6.35mm jack. So everything is included to operate the Composer with all conceivable sources. The cables are all very light and microphonic effects does not occure. Most of them are covered with a textile sleeve. Except from the position of the splitter to the headphone sockets. This is exactly the area where microphonic effects occur the most and the rubber sheathing prevents this completely. The plugs on the headphone side are also an innovation that has never been seen before. Double banana plugs are used here and connected in the middle of the shell. This should provide better strain relief.







The ear pads made of artificial leather with memory foam are connected to the ear cups via magnets and can be fitted in seconds. This is similar to the Abyss 1266 TC. A big advantage in my opinion. Audeze still sticks the pads on with double-sided adhesive tape, just like Ultrasone does. That doesn't have to be the case. The pads as well as the entire headphones are very comfortable. The headband is very soft and barely noticeable and the contact pressure is just right. This makes the Composer more comfortable than a Utopia 2022. Only the Susvara is even more comfortable thanks to the softer textile pads. The artificial leather on the Composer makes my ears a little warm after long periods of listening. This could perhaps be a problem in summer. However, Austrian Audio has already announced Alcantara pads that are due to be released in 2024. I think they will solve this problem. The headband can be adjusted in several stages and the next highlight of this model: even the ear cups can be rotated within 4 positions to offer the best possible comfort depending on the shape of the head. Incidentally, I set the headband to the lowest position so that the Composer fits me perfectly. I would say that my head size is around the standard. For very small head sizes, you may need to tweak the swivel mechanism of the shells to position the headband further forward or back on the skull.

To determine the sound quality, I use two of my chains for the Composer. One is the stationary chain consisting of the Topping D90SE DAC and Niimbus US4 and the other is my mobile DAP, the iBasso DX320 MAX Ti. I also test this via line out on the Niimbus US4 in comparison to the Topping D90SE. All tests are carried out with balanced cabling via 4.4mm or 4-pin XLR. I don't use the 6.35mm cable at all.




The Composer is really ultralight to drive. The Utopia 2022 is actually already a very easy headphone to drive, but with the Composer I'm about 2-3 volume levels lower with the US4 and MAX Ti than with the Utopia 2022. Most IEMs are even easier to drive, but not much is missing here. The low gain of the MAX Ti is usually sufficient. For recordings with higher dynamic range, Gain 2 is sometimes used, but more power is not necessary. I would say that any DAP in the world can easily drive the Composer.

I was excited when I pressed "Play" for the first time. The Composer is by no means a pair of headphones that "flashes" you from the very first minute. But I think that's a very good attribute. Because headphones that overemphasize something and are initially perceived as exciting turn out to be not so good in the long-term test. The first thing I noticed was this somewhat metallic shimmer in the treble and the slightly over-inflated bass range. However, after an overnight break-in phase, this problem disappeared as if by magic. However, it is also possible that the memory foam in the pads reacts to body heat and the seal changes, resulting in a different sound experience. You should wear the pads for a few minutes and start the comparison test after the "warm-up phase". I didn't do this at the beginning and always switched between the headphones without the pads reaching operating temperature.

Tonally, the Composer is a bright, neutral headphone with a perfect frequency response that doesn't give the impression of overemphasizing or masking anything in any area. At no point during the test did I feel the urge to pull out an EQ. How would I compare the tonality to other headphones or what sounds similar? In fact, the first thing that comes to mind is an LCD-5, which performs similarly to the Composer with corrected frequency response. However, the timbre planar magnetic vs. dynamic is still somewhat different. The Composer also has many parallels to the electrostats. On the one hand, there is this incredible wealth of detail and the airiness in the presentation that is always associated with electrostats. I can well imagine that in a blind test of the Composer, you might initially mistake it for an electrostat. In the IEM range, I can only think of a FIBAE 7U for this tuning. However, the Composer largely has the tuning of the 7U paired with the more powerful impact that only a DD can achieve in the bass with IEMs. The Composer reproduces the DAC's signal 1:1 and I can imagine that a source that is too bright could be a bit "too much" here, such as an iBasso DX90. The DX320 MAX Ti is a dream with the Composer, as the ingenious, slightly warmer timbres of the iBasso really come into their own here. From my last DAPs, I can well imagine that an iBasso DX320, Shanling M8 and FiiO M17 are also very good playing partners for the Composer, as they are not too brightly timbred.

So neutral = boring and sober? It's not that simple. What's boring is the fact that it doesn't "flash" right from the start, like a 1266 TC in the bass range or a Multiverse Mentor in the mids, for example. A Susvara doesn't "flash" you immediately either. The Utopia 2022 with its Dynamic Impact does. If you listen to the Composer for a longer period of time, you come to the conclusion that it combines all the good attributes of the other headphones in one, but without one of the attributes playing a key role and you being immediately taken with it.

Let's start with the bass range. The Composer is ultra-linear, right down to the deepest bass. I've never heard a dynamic speaker that can reproduce so much level in the low bass and with such cleanliness! You usually only hear that with planar magnetic headphones. It can also kick and how! When the recording calls for it, such as with Haken's Atlas Stone, it fires off like a cannon. Clear, fast and precise. A Utopia 2022 has a little more noticeable impact in the mid-bass, as it doesn't have quite the same volume in the low bass as the Composer. I can't really say which of the two basses is faster, because the brighter tuning of the Composer makes it seem a little faster. On the Niimbus, the bass range gains a little more impact, whereas on the mobile chain with the DX320 MAX Ti it is a little more spacious. However, these are largely the characteristics of the DACs used, because when I use the ROHM DACs on the Niimbus the difference is already smaller. Minimally more cleanliness and control over the entire frequency range with the Niimbus then remain. The Composer is already in top form with a DAP. This is not at all the case with other headphones such as the Susvara. With a DAP such as the DX320 MAX Ti, the Susvara loses a lot of dynamics, pressure and volume. Only on the Niimbus US4 does it reach top form. The Susvara's bass runs as straight as a candle and always has enough foundation, kick and audibility on a Niimbus. In terms of quality, I see it slightly ahead of the Composer, but the Composer is ahead in terms of quantity. It has to be, because its brighter timbre would make it sound too sharp with the same quantity of bass as the Susvara. I am of the opinion that a planar magnetic, if it is of really good quality, always has advantages in the bass range over a dynamic in terms of distortion. However, there are no corresponding measurements for the Composer here. However, we are talking about very small differences here and the Composer definitely plays in the league of the very best in the bass range.

The soundstage has already been a controversial topic in recent weeks, and I can't say that the first testers described it as small and lacking depth. This is one of the better stage representations in the over-ear headphone segment. The imaging is wider than average and the depth is also present. Since the mids have a little more fullness and the voices move slightly into the foreground, you might have the feeling that there is a lack of depth. But this is there. Above all, I like the very holographic tuning, just like a Multiverse Mentor. Everything takes place around your head and you feel like you're right in the middle of it. You can concentrate on individual sound events at any time and locate them precisely. Jazz and classical music with large orchestras is a real treat and you also have the feeling that it is presented on a large scale and that each of the instruments always has enough air to breathe and the room is not presented in a compressed way. The stage of the Composer is wider than that of the Utopia 2022, which is slightly better in terms of depth, but sounds much narrower in terms of width. The Susvara has the largest sound stage of all the headphones. Voices are more relaxed and seem more distant. It sounds smoother and not as energetic as a Utopia 2022 or Composer. The Composer has the most energetic presentation with a real forward drive. It is not a headphone for relaxed listening in the evening after a hard day's work. It demands the listener's attention at all times. If you want to let it rip with modern recordings such as rock, metal, pop and EDM, then go for the Composer! I would like to see the distortion diagram of the Composer, because I think it even beats the Utopia 2022 in terms of cleanliness. It's always difficult to test this attribute, because headphones are all tuned differently and "brighter" headphones are always perceived as "faster", even though they may not be technically better than their warmer-tuned counterparts.

The treble really tickles everything out of a recording that is there. It is an acoustic magnifying glass that leaves nothing undiscovered. Playing right on the edge so that it doesn't come across as hissy or too intrusive. It still remains gentle. The disadvantage of this resolution is, of course, that less good recordings are not colored nicely. A double-edged sword. For someone who only owns audiophile recordings and only listens to jazz or classical music, this is not too bad. Personally, I also listen to a lot of metal and the Utopia 2022 is a good alternative to the Composer, as it also reproduces poorly recorded material quite well.

With the Composer, Austrian Audio has achieved a great success and for the price of 2500€ you get a really well-made headphone with a great sound quality for which you don't have to invest another budget in expensive amplifiers. Technically, it is on a par with the Utopia 2022 and for half the price! Even if the Susvara sounds a little better overall in my opinion, you have to put the price in perspective. The Susvara together with the Niimbus is already 12,000€ (without DAC!). For the Composer, a cheaper DAP will do and then for 3000-3500€ you get a sound that is 90% as good as the Susvara + Niimbus combo. By the way, my personal copy of the Composer is already on its way to me from my trusted dealer, Heiko Boss (Audition6)! I see this energetic, fast and ultra-precise performance as a welcome change from my other headphones.

The FIBAE 7 Unlimited is the top model from Custom Art, which is based in Poland. Custom Art was founded in 2012 by Piotr Granicki and now has 12 years of experience in the field of IEMs. The first top model was the Harmony 8 in 2014, which was continuously improved to become the Harmony 8.2. At some point, the generation of FIBAE models was introduced, culminating in the FIBAE 7 Unlimited. The name is derived from "Flat Impendance Balanced Armature Earphone" and was the first system in the world to ensure that an IEM always maintains the same frequency response on DAPs and source devices with different output impedance. This eliminates the problem of always experiencing a slightly different sound with different DAPs, as these usually have a slightly different output impedance. The usual range is between 0.1 Ohm and 2 Ohm.




The FIBAE 7U is available as a Universal and Custom IEM. I am testing the Universal here. As the name suggests, the FIBAE 7U is equipped with 7 BA drivers. Two for the bass range, one for the lower mids, two for the upper mids and two top-firing tweeters. You can tell from the size of the IEM that there are no 12 or more drivers on board, which has a positive effect on the weight and, above all, the comfort. The part is so light and comfortable that you forget you're wearing an IEM after a short time. The workmanship is fantastic and the design contributes to a high-quality overall impression. Other designs are also available on request.

The scope of delivery includes a hardshell case from EVA which was specially designed for Custom Art. And finally a case is included that also fulfills the practical part. Because in addition to an IEM, I also want to store my other accessories such as cables and eartips together. Other manufacturers usually provide small round storage boxes made of metal or leather, which offer very little space and you always have to stuff the IEMs with cables into them. Custom Art has solved this better with this case!




In addition to a cleaning brush, silicone eartips in 3 different sizes, a pair of double flange eartips and a warranty card, a high-quality copper cable from Null Audio, namely the Arete model, is also included. You can choose between different connection variants for the cable. I received the 4.4mm Pentaconn version.

With the 7U, Custom Art has taken the feedback from customers and reviewers about the first FIBAE 7 (without Unlimited) to heart and further improved its tuning. The result is more sub bass, a slight reduction in the mids and improved treble through the use of an improved crossover with a specially 3D-printed waveguide. The aim of this model is a neutral tuning that tries to find a good balance between neutrality without sacrificing musicality and fun. And I can say that it has definitely succeeded!

For the test I also use my iBasso DX320 MAX Ti, which I only have to run in low gain with the FIBAE 7U, as the Custom Art IEM with its 12 ohms and 122dB sensitivity is very easy to drive.



With a price of 1500€, the FIBAE 7U is certainly not a cheap IEM, but its sound and technology are similar to those of the U12t and Cadenza 12, making it a lot cheaper than the competition!

The tonality is similar to the U12t when using the M15 module. The U12t has slightly more bass and sounds a little warmer. The Cadenza 12 sounds a little punchier at the bottom thanks to the DD drivers, but doesn't have the same quality as the other two. Overall, the FIBAE 7U is a bright IEM that never sounds too sharp in the treble for me. Of course, the eartips and the cable also play a role here. The SpiralDots fit the FIBAE 7U like a glove in terms of sound and deliver a frequency response that is absolutely coherent. The copper cable supplied also fits the Custom Art very well. I cannot recommend a pure silver cable for this IEM. I briefly tested my Lavricables Grand Line IEM and then went back to the copper cable. It is not necessary to get more out of the soundstage or the resolution with the 7U. It's already great as it is!

The bass range is as good as it can be with BA drivers. There's enough sub bass, the kickbass punches you in the ear nice and dry and crisp and the audibility is really fascinating. A U12t can't quite keep up with that and neither can the Cadenza 12. It also trumps both in terms of speed. I have to get out my Multiverse Mentor, which shows everyone where the hammer hangs in terms of BA bass. The texture and feel of the bass then goes to the Multiverse Mentor, which also uses a BCD to help.

I also really like the mid-range. Voices and acoustic instruments are emphasized with a minimal presence and you almost think the vocals and instruments are playing right in front of you, they are so vividly presented.

The fact that this minimal boost in the mid-range is not distracting at all ensures the wide and deep imaging of the stage. Alongside the bass, this is another highlight of the FIBAE 7U. In terms of instrument separation, it beats the U12t and Cadenza 12 and is only beaten by the Multiverse Mentor, which for me has the most holographic stage imaging in the IEM sector.

The treble has endless resolution. Here it plays along with the really big IEMs. In addition, the treble never tends to be sibilant if you use the right eartips. The high airiness is also a feature that needs to be emphasized.

Overall, I like how this entire tuning seems coherent and in flow with each other. Perhaps the use of fewer drivers in contrast to the U12t and Cadenza 12 also contributes to this overall presentation. According to the motto "Less is more!".

My own collection of IEMs also consists primarily of IEMs with umpteen drivers. I have always lost sight of one attribute and that is comfort. Now that I have an S15 and now also a FIBAE 7U as a comparison to the IEMs with 12 drivers, this significantly better comfort is of course immediately noticeable. And if you really listen all day with IEMs, this is something you should always keep in mind. For me, however, I usually don't listen with IEMs when I'm out and about, but rather enjoy 1-2 albums at a time at home. The transparent fit of the IEMs doesn't play the biggest role here.

For 1500€, Custom Art has launched an outstanding neutral IEM that doesn't have to hide from higher-priced models. I like its sound even better than a U12t or Cadenza 12 and it is therefore my new reference in the field of neutral IEMs. I can warmly recommend the FIBAE 7U to audiophiles who are looking for an acoustic magnifying glass that teases everything out of a recording without neglecting musicality and fun. In the current price structure of IEMs and in view of its technical capabilities, I can even call it a bargain!

Double post review.
Review is now on the official Letshuoer S15 thread here:
https://www.head-fi.org/showcase/letshuoer-s15.26854/reviews#review-32292

The Cadenza 12 is the flagship product from Letshuoer. It is the first part of a series called Halo for very special products. With many years of experience in acoustic engineering and lots of patents pending, the result is a high-end IEM consisting of 12 drivers with a 6-way crossover. A 10mm dynamic Kevlar dome driver as well as BA drivers provide here in interaction for the bass range. Also an unusual combination, which I did not know otherwise. The other frequency ranges are covered exclusively by BA drivers. The BA drivers are based on proven Sonion and Knowles. We are dealing with a 12 driver IEM just like the 64 Audio U12t, but without a DD for the bass range, which I have always wished for the U12t. Therefore, I was also very curious how the Cadenza 12 with its large 10mm Dynamiker fires the bass range and otherwise differs from the U12t.




The drivers are intricately hand-selected, so there's no risk of timbre differences when the drivers interact. In addition, each driver is given its own acoustic hole and cut by hand to the exact length. The electronic 6-way crossover and these measures prevent any timing problems.

The storage box for the IEM and accessories as well as the IEM itself are really good for the price range around 2100€. All kinds of things are offered here. First of all, there is the IEM itself, which is housed in a titanium case that is polished to a high gloss. Really very chic. The disadvantage is of course that fingerprints quickly become visible. But fortunately, a cleaning cloth is included. The case is very ergonomically shaped and was chosen based on many iterations and thousands of ear shapes. The Cadenza 12 is not a small IEM. It is quite a size, however, like many other IEMs, I have no comfort issues with it and it sits very comfortably with me and I achieve a good seal with all the ear tips I know. Included are 3 different types of eartips in 3 different sizes. This reminds me a bit of the Shanling M900 which also has this labeling of tips labeled "vocal", "bass" or "balanced". Since I own a lot of tips I have decided quite quickly for the Azla Clear, which produce a super seal and for me the most balanced sound.




A high-end IEM also includes a great cable and that is also included, namely a 204-wire hybrid cable made of copper and silver with the purity 6N! It is soft and flexible and looks great. The best thing about this cable is that it can be operated with the three included adapters 2.5mm, 3.5mm and 4.4mm to all kinds of sources. This is actually how I wish all IEM products worked. Letshuoer and Shanling show how it's done! A fancy leather case and a metal picture are also included. The logo of Letshuoer is a bulldog. And on the picture you can see a violin playing person with a bulldog head. A funny idea in my opinion. So I have to emphasize again the workmanship of the IEM as well as this presentation box are just fantastic!

For the sound test I use my iBasso DX320 MAX Ti with which I drive the Cadenza 12 per 4.4mm balanced. As with almost all IEMs, gain level 1 is easily sufficient for loud to very loud levels.



Next to the U12t, the Cadenza 12 is for me the most neutral IEM I know. Like the U12t, it is a bright tonality, but with a slight boost in the lower mids, it feels a bit more warmth like the U12t. The presence region is a bit lowered for it and the treble is a bit more boosted.

The most noticeable feature is the bass range. The intensity and punch of the Cadenza 12 is simply fantastic. So is the quality and speed, which puts a U4s in the shade, which also has a DD for the bass range. The U12t can't compete with the Cadenza 12 in terms of bass texture, but they are on par in quality and the U12t is even a bit faster due to its BA bass. The last time I was so excited by a dynamic bass range was with the Volür. Just as intense and crisp is the Cadenza with its large 10mm DD and the BA modules to work. For metal, EDM, pop, rock and all modern genres, the Cadenza 12 makes a great figure and disappoints with its presentation in the bass certainly no one.

The soundstage is above average and quite comparable with the U12t. Especially the depth is very good. Everything is coherent and the instrument separation is neither washed out nor accurate and is on a good level. I also find the positioning of the vocals successful, as they appear a bit smoother and more distant than on the U12t. The latter separates even more precisely.

When I compare the U12t to the Cadenza 12 they are both neutral playing IEMs, but then where is the difference? I mentioned at the beginning that the Cadenza 12 feels about more warmth than the U12t and thus delivers a more musical and rounded sound overall. The U12t sounds more technical and really teases every little detail out of the recording with razor sharp imaging. It requires higher attention from the listener than is the case with the Cadenza 12, which plays smoother. So the U12t is more like the acoustic magnifying glass and the Cadenza 12 the IEM for more relaxed listening.

The highs on the Cadenza 12 are a bit boosted and yet there is no hint of the treble playing up too sharp or the sibilants being annoying. Resolution-wise, I don't really miss anything here either. The resolution is higher than on the U4s and about the same as on the Volür. I have to use my Multiverse Mentor to hear individual sound events even more cleanly and in more detail.

I must confess that a Cadenza 12 was never on my radar before. That there is next to the U12t another neutral 12 driver IEM, which strikes in the same notch and brings a DD for the bass range was not known to me. The company Letshuoer should have in my opinion but in any case on every TOTL IEM list. Because the Cadenza 12 is a truly fantastic IEM with a very coherent and neutral sound and a superb bass range. If you are looking for a neutral TOTL IEM with very good technical characteristics and a neutral/warm tonality for you the Cadenza 12 could be the one. I find the price of about 2100€ also appropriate for the presentation and the technology of the IEM when I look at the competition. Personally, I am already curious which IEM comes next from Letshuoer on the market in the Halo series!

In this review I'll be highlighting the Multiverse Mentor model from Unique Melody. For many the best IEM from Unique Melody ever and in some circles it is even considered the best IEM worldwide. So we are not dealing with just any TOTL IEM, but with the crême de la crême of IEM development. And my expectations were just as high for this model from Unique Melody. Recently I could already write a review about the MEST MK3 and I found this model very successful. I especially liked the bone conduction driver, which is responsible for a "gripping" sound in the truest sense of the word. Normally, in recent months, I tend to use more dynamic drivers for the bass range. But since the Multiverse Mentor just still contains the BCD, I really wanted to give it a try. And one of my favorite IEMs, the 64 Audio U12t is also always compared to the Multiverse Mentor, as both are a BA based 12 driver IEM. However, the 64 Audio does not have a BCD. Its BA bass is already outstanding for this technology, although it can't offer the punch of the dynamic drivers, which I sorely missed in the end.



The Multiverse Mentor is more or less the successor of the Mentor V3+ and was developed over several years by Unique Melody engineers. The name Multiverse stands for a group of unknown universes that were created after the big bang. With the name Multiverse Unique Melody aims at the fact that the Multiverse Mentor is just the emergence of a whole new development that breaks all traditional technologies and tunings.

The 12 BA drivers are composed of 4 BA drivers for bass, 2 for midrange, 2 for high-midrange and 4 for treble. The biggest innovation is the bone conduction driver, for which Unique Melody has a patent. These drivers are significantly larger than those of most competitors and no other manufacturer uses this bandwidth of 20Hz to 20KHz! This high bandwidth not only makes the bass range more noticeable, but the overall sound is stronger and more focused, all in all you can feel it more. How good I will illuminate later.





The Multiverse Mentor is available in different designs. Mine is the variant in "Blue Purple" and the IEM just looks damn good! The workmanship is absolutely top class. The shell is made of carbon fiber, which is enclosed by a ceramic frame. The faceplate gets its design by using banksias. These are mostly in Australia growing beautiful colorful plants. Each faceplate has its own unique design because it is a natural product. The shell is light and ergonomically shaped, so the comfort is very good. The insulation is also above average. Probably because of the slightly larger diameter of the Nozzle.

To a top IEM also belongs a top cable. And here a specially designed cable was created in collaboration with PW Audio. It is a 4.4mm 4 core copper cable with the diameter 26 AWG, which is silver coated. The workmanship and design are also here at the very highest level and absolutely fit the design of the IEM.

The scope of delivery also includes a high-quality leather case, an oval leather clip for the cable, two different silicone eartips in three different sizes, a cleaning brush, several replaceable filters and a warranty card. The silicone eartips are Xelastec as well as Unique Melody's own tips. By the way, the warranty for the Multiverse Mentor is 2 years from the manufacturer. Most other manufacturers grant only 1 year.



For the sound test I used the Multiverse Mentor with my iBasso DX320 MAX Ti. For this purpose, the gain level 1 is more than sufficient, because the Multiverse Mentor can be driven very easily with its 22 ohms and 114dB sensitivity.

Excited, I plugged it into my DAP and after that came nothing short of absolute amazement and zipping through all my reference recordings. Rarely have I been so flashed by an IEM from the first minute as I was by the Multiverse Mentor. As eartips, by the way, the enclosed Xelastecs fit like a glove and sound for me the roundest of all eartips. The Azla Clear also work very well and bring the mids a little more forward with slightly higher low bass, but the Xelastec of the overall performance are my favorites!

In terms of frequency response, we are dealing with a minimally warm IEM and a special W shape tuning. Here the bass range is somewhat raised. The lower mids as well. With the upper mids and the presence range we have a lowering, which is compensated by increasing the super high frequency range again. All in all, at first glance, not a neutral tuning. I could hardly imagine from the frequency diagram how the Multiverse Mentor sounds, let alone that it sounds so awesome!

Here only one thing comes to mind: Coherence above all! Such a fantastic tuning with which all types of music I have tested (classical, jazz, pop, rock, EDM, metal) sound very good. And the whole thing at the highest technical level, no, the very highest level! The expansive stage, which is more than lushly drawn in all its dimensions, is immediately noticeable. The separation and localization of individual sound events is really holographic. I can concentrate on individual elements right, left and listen to them while in the next moment I devote my attention to another instrument. So far, I've found the Raven to be the benchmark among IEMs in terms of sizing a stage. The Multiverse Mentor draws just as wide, but more holographically than the Raven. The Raven goes a bit further in depth for that. But these two IEMs are absolutely top in this discipline in my opinion.

I listen to a lot of metal and I was mostly curious about the bass range. BA Bass in combination with BCD. Does this work and can it eradicate the weakness that the U12t always carries with it? Yes and this shows that Unique Melody's BCD is simply one of the best implementations of the IEM market if not the very best! However, I haven't heard all the BCD implementations myself, so I won't make a final judgment here. The bass range goes down really deep and creates a rumble, because I have heard so with no BA driver. I am really excited and then up to the midbass, where you can literally feel the bass attacks. In no way is the bass too strong. The exact dose was administered here, which also allows undisturbed audibility in the bass. If you now take a Raven or Radon6 for comparison, they have a bit more rumble in the low bass area. But this difference is by no means as big as for example between a U12t and Raven/Radon6. What I can also hear directly is the speed of the Multiverse Mentor, where it trumps a Raven and Radon6. In terms of bass detail, I can't identify a clear winner here among the three.

Now to the mids and trebles. Voice reproduction and acoustic instruments sound absolutely natural and these areas are harmonized together with the bass to such a perfect match that you just dive into a tapestry of sound and want to listen on and on. When I listen to my reference recordings, I also look for negative points. But I can't find any with the Multiverse Mentor with the best will in the world. This tuning is just extremely brilliant and musical at the same time. In addition, this grip and the authority with which instruments and voices are reproduced. The BCD does a great job here. More bass here or treble and mids there would probably destroy the overall structure. It's perfect just the way it is!

I'm just glad I finally decided to try the Multiverse Mentor. Sure it is a very expensive IEM for 4500 USD. But what you get here for a performance is really unique. A Raven and Radon6 and a Blanc are about the same price. They are all really great IEMs. If you are looking for a musically captivating IEM at the very highest technical level with a superb BCD implementation, you may have found your endgame IEM in the Multiverse Mentor. In my opinion this is an all-rounder and can serve every genre. A true masterpiece from Unique Melody!

The ME900 is the IEM top model from Shanling. Available at a price of 899€, the ME900 consists of a hybrid system with a total of 8 drivers, which is housed in a titanium cabinet. The use of such materials in this price range is quite remarkable.



The driver selection is made up of 2 dynamic drivers and 8 BA drivers. The two 6mm dynamic drivers are responsible for the precise reproduction of the bass range. They are made of crystal-coated polymer biomembranes. Each of the dynamic drivers contains a pair of N52 neodymium magnets, which achieve a particularly high magnetic flux density. This is to produce a very powerful and dynamic bass range. Two dynamic drivers for the bass range - haven't we had that before? Exactly with the 64 Audio Volür. However, two 9mm drivers are arranged in a special isobaric configuration and only one of the two drivers produces the sound at a time. With Shanling, both drivers sound simultaneously for the bass range. The midrange, treble as well as the ultra-high range are each covered by two BA drivers.

The ME900 offers a total of two switches that allow individual sound tuning. If both switches are in the "Off" position, the standard balanced sound mode is active. The first switch controls the bass range, which can be boosted by the "On" position. The second switch is the so-called "Vocal focused mode", which emphasizes voices and details even more. More on how this all sounds in comparison later.



When I opened the package for the first time I was surprised to get such a presentation in the 900€ class. The storage box consists of 2 floors. Above with the IEM and the cable itself and below by a pull-out drawer, which contains a noble leather case, plug adapters, a brush and a number of different eartips. The thing that smiled right at me was this titanium milled astrein finished faceplate with a custom interwoven design depicting traditional Chinese mountains and rivers. This design is a real eye-catcher! With a titanium case, you certainly don't have to worry about the stability of the IEM. The included cable is also not just any ribbon, but a very high quality 8 core Furukawa copper cable in coaxial construction is used here. These are double-layered conductors with independent shielding, which are covered with a special protective layer. The cable is very flexible, lightweight and looks great. So does the Y-splitter, which is made of metal and includes a Shanling logo. Another highlight are the included adapters. The cable can be used unbalanced with 3.5mm or 6.35mm as well as balanced with 2.5mm or 4.4mm. Many manufacturers set IEM on the side of 2 pin. Shanling went with MMCX, which I think is a bit of a shame because all my after market cables are 2 pin. There are a total of 12 pairs of eartips included. 4 different types (Vocal eartips, Sound Stage eartips, Bass eartips, Balanced eartips) in 3 different sizes. Since I now own so many of my own eartips I have not even tried the enclosed.




The ME900 is already the third generation of IEMs from Shanling and in each generation the ideal ergonomic shape has been further improved. And the result is something to be proud of. This is one of the most comfortable IEMs I know!

To test the sound quality, I again use my iBasso DX320 MAX Ti. The ME900 connects to the iBasso via a 4.4mm adapter. Like almost every IEM, the Shanling can be driven very easily and so the gain level 1 is always enough to get loud to very loud levels in the control range 9 to 12 o'clock.



With the eartips I decided here quite quickly for the SpiralDots, which are on the one hand very comfortable and achieve a bombproof seal with the ME900 and on the other hand sound very balanced. First, I'd like to highlight the basic neutral setting.

Tonally, the Shanling IEM flagship plays with a V shape tuning, with the bass range only minimally boosted. On the right side of the frequency diagram, upper mids and highs are boosted even more. The whole thing leads to an overall slightly bright tuning. The special Shanling House sound, which I still know quite well from the DAP M8 has the M900 also in his genes. There is this slight focus on the full mids, which conjures a high naturalness especially in voices.

The bass range has a lot of steam, but the midbass range is more pronounced than the subbass. Bass attacks come to the fore with a really nice punch. In the subbass, the ME900 doesn't have the level that a Radon6 or Volür offer. The audibility suffers somewhat, although the bass range is presented cleanly and quickly. I wish a U12t had the punch that the ME900 delivers. Personally, I prefer the bass control in the "On" position. It's just more fun for more modern genres, and the ME900 sounds too "well-behaved" for me in the neutral position.

The stage is wider than average in its expression, and so is the depth level. The ME900 doesn't play as airy as a Raven or Radon6, but it can easily keep up with a U4s here, even surpassing it slightly in instrument separation and detail.

The mids are really great Shanling like succeeded. Vocals play not so direct but also not too relaxed. Just the way I like it and with beautiful timbres. But then the "vocal switch" is too direct for me personally. I like it best in the neutral position.

I mentioned at the beginning that the treble is boosted. Fortunately, only as much as I can just tolerate. This tuning, chosen by Shanling does not cause annoying highs with any of my tested recordings even at very high levels. Resolution is very good for this price range and, as I said, surpasses a U4s. Volür and Blanc show the ME900 its limits. Here, individual facets are then not as good to hear out as with the other two. But they are also a multiple more expensive than the ME900!

With the ME900, Shanling has a really good IEM to offer in the price range under 1000€, which can also keep up with higher-priced models or even trumps them. Through the individual setting via controller, it can also be adapted to your own needs. I can recommend the ME900 to anyone who is looking for a musical tuning and likes the shanling house sound. Bassheads or people who are looking for very neutral tunings are not at the right address here.

The latest model with the name Volür from 64 Audio is the successor to the popular Nio. With a price of 2749€, it is above the Trio and below the U18s/t. That's a lot more expensive than the Nio, but the Volür brings some technical innovations that currently ensure a unique selling point at 64 Audio. More on the technical highlights later.



The scope of delivery includes 64 Audio typical a leather case, a 3.5mm black premium cable, stickers, three different sets of ear tips (foam, silicone, SpinFit CP155) and 4 different Apex modules (MX, M12, M15, M20). The M15 module is mounted by default. The M12 module is only supplied for a short time and must then be purchased separately. A brush as well as a retaining clip are also still in the package. The design of the Volür knocks my socks off. When I learned that the new one was purple, I first thought, an IEM for women? No, I'm not kidding, but purple is not one of my favorite colors, but the way this faceplate is designed with the glittering purple and shimmering blue and green colors is a real eye-catcher. My wife even said, "Wow, this looks great!". The faceplate is made from a New Zealand paua shell. The whole shell of the IEM is made of metal and absolutely good processed. The IEM is also super comfortable to wear due to its small size. As with almost all 64 Audio IEMs, the SpiralDots fit the Volür perfectly in terms of sound and comfort. Personally, I prefer the SpiralDots++ because of the even better comfort. However, the included SpinFit CP155 do their job just as well. Due to the slightly different texture, some will even prefer them, depending on the shape of the ear canal. In terms of sound, all three don't do much. On the other hand, I can't recommend foam in terms of sound. It inflates the sound and sounds too hollow and unbalanced to me, too little airiness.




What are the technical features? The Volür is a hybrid IEM with a total of 10 drivers. Two dynamic drivers and 8 BA drivers. But now please hold on! Yes, you heard right, 2 dynamic drivers, which are responsible for the bass range and here two 9mm drivers, which are arranged in a so-called True Isobaric configuration. Both drivers are acoustically connected by a coupling chamber. One driver is completely sealed. Only one driver generates the sound pressure. This system is unique to the Volür and is said to result in better damping, lower distortion and twice the power handling. Such an arrangement of two dynamic driver for the bass exists, for example, in the Astell & Kern AURA, but here only two 8mm drivers are used.

The second innovation concerns the tia waveguide technology. I mentioned earlier that 8 BA drivers are used. Of these, 6 midrange drivers, 1 high-midrange driver and one tia driver. In all top models of 64 Audio tia drivers are used, which are designed for optimum highs performance. Tia Waveguide optimizes efficiency and also provides better tuning control. For this purpose, special diffusion windows are used on the front as well as on the sides. This additional component is fitted into the driver's housing.

In addition to the two new technological highlights, which were introduced for the first time at 64 Audio, the familiar technologies such as apex and LID, which I will not go into further here, are also used.



64 Audio's advertising promises that the Volür is a new benchmark in acoustic reproduction, with rich bass (while giving room to the rest of the spectrum) and treble that catapults it near some of the highest-resolution audio products in the world. Does the advertising promise too much? I'm about to get to the bottom of that. As always, I'm using my terrific iBasso DX320 MAX Ti for the test, one of the best DAPs you can buy right now. My comparative tests were basically carried out at gain level 1, which for me even higher volumes out of the Volür without problems, because it can be driven very easily. The supplied cable is unfortunately only unbalanced and for the full development of the possibilities of the Volür I switched directly to a pure silver cable from Lavricables, namely the current top model Grand Silver IEM. Compared to the delivery cable, it gets even more resolution out of the Volür, so it plays cleaner and more detailed with more transparency especially in the bass range. A fantastic combo!

By the first short hearing impressions, which one could read on the day of the release, I hoped not to get a bass cannon that sounds in addition still shrill. And I can say that is the Volür not at all. But bass it can and how! Tonally it plays on the minimal bright side. A Raven, for example, sounds a bit brighter and livelier in the treble. The Volür does not have this boost in the treble range.

Now we come to the most pronounced area of the Volür and that is the bass. I have never experienced such an expansive bass in the IEM range, especially in the low bass range, which goes to work with such a bass texture and a speed and now it comes - without it inflates into other areas! Madness! The Volür's bass makes not only bassheads happy, but also those who don't want to miss out on the other ranges. And that includes fabulous, warm mids and a treble range that plays in the absolute top league of IEMs. Now, as you know, I own two of the best IEMs for bass, the Radon6 and the Raven. These two are already insanely good for EDM. But I think the Volür tops them both in that it is capable of reproducing trance music a la Paul Van Dyk with such massive punch and control, even at ear-splitting volumes, with a priority on more low bass. And neither mids nor highs suffer. I really have to repeat that I have never heard an IEM do that. Raven and Radon6 (more so) present the bass range more detached from the rest of the action, in the Volür it is integrated around the action. Here I have the feeling that a fat subwoofer is at work, even more than the Raven. 64 Audio does not use a bone conduction driver, nor are there any openings to the outside as with the Kinetic Bass technology of the Radon6 and yet I feel the almost infinitely deep bass, just awesome! With non-synthetically generated bass, such as that of a bass drum, Radon6 and Raven have the nose slightly ahead again, everything seems a bit more detailed and audible. You just can't have both. Pronounced low bass does not allow higher frequencies in the bass to show through as well. Fortunately, this ends at a certain bass frequency and the mids can breathe freely.

With the apex modules you can either gradually lower or raise the bass range. I find the standard mounted M15 modules fit best. M12 is also still okay with a little more treble with minimally decreasing bass. Mx is too thin for me and takes away too much bass. And M20 is too much bass for me.

The mids are anything but thin, but are reproduced with proper contour and especially the rendering of voices is very expressive but never superficial, but always with enough distance to the listener. This is not an intrusive sounding IEM. But neither is it as laidback as a Fourte Blanc, for example, which has a dip in the mids and illuminates the action from further away. That brings us to the stage. This is very holographic and sufficiently pronounced on all sides about the same level as the U4s, but with much better separation. The Blanc delivers an even better depth gradation and seems minimally wider. The Radon6 is also a bit more pronounced on all sides and has an airiness like no other IEM. The Raven has the largest stage and is currently the end of the line in the IEM range in this discipline.

What about the details between the top model Blanc from 64 Audio and the Volür? Well, despite the "fatter" tuning compared to the Blanc, I miss absolutely nothing in terms of details with the Volür. The tia waveguide technology is not only a promise, but also works and that by all means very well. Here, for example, a U4s can not keep up at all. Well, this one doesn't even have a tia driver. Technically, I would see the Volür absolutely on par with the Blanc. For me, the latter represents a tuning as I personally imagine it. A slightly smooth midrange with strong bass and gentle treble in addition high resolution. It doesn't get any better than that at the moment. I would now consider the Volür as my second favorite tuning from 64 Audio. An even stronger bass range and in addition technically one that the Blanc with a dynamic driver cannot offer. So it's a tie between the Blanc and the Volür. The former is even better tuned (for me) and the latter has the better bass range.

Due to the technical innovations, especially the absolutely fantastic bass range, I see the extra price compared to the Nio quite justified. In my opinion, anyone who only listens to EDM cannot get around the Volür. This is currently the best IEM for EDM, period. I listen to some EDM and mostly Metal. Also some New Wave. For all these genres, the Volür is made like. But for those who prefer more neutral tunings or a very expansive stage presentation, the Volür might not be the right choice. In conclusion, I can say that the Volür is not a bass cannon that fires unchecked in all areas. It has a strongly pronounced bass range, which is nevertheless always controlled to work even at very high volumes, absolutely distortion-free.

The SE-1 from the company Sineaptic is a very unusual headphone, so I really wanted to test it. It is the world's first wireless headphones with ribbon drivers. Ribbon there was what? Exactly RAAL-requisite SR1a/b is also a ribbon headphone. And as you know, to drive them you need special amplifiers that can deliver extremely high currents. This amplifier unit is of course also on board with the SE-1 and you need nothing else to operate, except a sound source with Bluetooth chip or a source with 3.5mm connector, because the SE-1 can also be operated with cable connection without Bluetooth.



When the delivery arrived I first wondered about the huge box. However, the size has its purpose. The SE-1 is transported in a special AirGuard packaging unit, which acts like a protective buffer and shields the headphones from external pressure. This ensures that it also arrives at the customer in pristine condition.

The scope of delivery includes a carrying bag, a 3.5 mm connection cable, and a USB-C charging cable. The build quality is impeccable for the price of 199 USD. It looks very sturdy due to its size and weight of about 400 grams. The design is modern and appealing. The velour ear pads look high-quality processed and are pleasantly soft as well as offer enough space for the ears. A spring clip and two cushion pads for the head make it easy to adjust and sit loosely on the head. The contact pressure is not very high, so that it does not slide down directly, but sits a bit too loose for headbanging.




Wireless headphones have two main tasks for me. One is watching movies on my LG OLED EVO TV and holding conference calls during my time in the home office. And of course, the SE-1 also has a built-in microphone. For testing with music I use my great iBasso DX320 MAX Ti and connect the SE-1 once via 3.5mm cable with the DAP as well as via Bluetooth. For the transmission via Bluetooth AAC is used. I had no problems with any of my devices to connect to the SE-1 and the connection was all the time in the radius of 10m absolutely stable.

The manufacturer promises in advertising that the SE-1 can keep up with models up to 1500 USD and provides absolute precision, clarity and authenticity in the reproduction. The promise, of course, I wanted to get to the bottom and since I also own a RAAL-requisite SR-1b I can compare the sound of both Ribbons.



From the first moment it is clear that this is a headphone that provides a wealth of detail and is really agile to the point as you are used to from the Ribbon drivers. Even in the lower range, it surprises with a punch that you did not expect at first, because a RAAL-requisite is not exactly known for its strong bass range, but attaches importance to other attributes. By the way, the SE-1 has an open design and leaks the sound to the outside. Also, you get everything from its environment. For this, it also provides a very airy sound representation, but not quite like the SR-1b, which is then simply constructed even more open.

Tonally, it plays on the brighter side with a slightly raised midbass range. The low bass does not protrude quite far down. Explosions in movies are nevertheless reproduced brute enough. It's not a orthodynamic, which is known for making a lot of pressure in the bass range down to the lowest registers. However, there is a lot of precision in the bass here.

The soundstage reproduction is rather intimate and not very expansive. But it is extremely precise. Sound sources in music and movies can be located effortlessly and even the smallest details, such as actors' breaths, can be heard. That's exceptionally good in this price range, and it's one of the strengths of a ribbon driver.

The midrange reproduction is very neutral, neither too close nor too far back, and seems very natural due to the high resolution.

As I already said, the highs are on a really high level in terms of resolution. It is also not withdrawn, but kept neutral. The SE-1 is not a whitewash and therefore also mercilessly reveals recording errors. Depending on the recording, sibilants can be a bit annoying. At my listening levels, however, this was not really a problem.

If you use the SE-1 via cable, the headphones really need a lot of power. I ran my DX320 MAX Ti at gain 3 at 12 o'clock for this purpose. The built-in amp module in wireless mode delivers enough volume for me, so that I can also listen a little louder. However, really loud levels at concert volume are not possible with it. When no music is playing, a very low noise can be heard in the background. When the music starts playing, it is no longer audible.

The headphones are charged for about 3 hours via USB-C and then run for 10-12 hours. Buttons can be used to control calls, adjust the volume, and navigate between tracks. Standard functions that every wireless headphone offers today.

I tested the SE-1 for a day in the home office and have to say that the built-in microphone delivers good to very good voice quality and cuts a very good figure compared to my wired headset with microphone boom.

In summary, I can say that the SE-1 is a really exceptional wireless headphone that delivers a crystal clear sound quality due to its built-in ribbon drivers, which you will probably not find in this price range. I will use them in the future for watching movies and in the home office for conference calls.

Hifiman's Ananda is one of the company's most popular models. The latest iteration, the Ananda Nano offers concentrated technology at a small price. For the first time, stealth magnets and a nanometer diaphragm are used for the price of 699€! Visually, the Ananda Nano resembles the HE-1000 series with its oval shape and silver color scheme.



The scope of delivery includes a soft case and a cable with a length of 3m with 3.5mm jack and a 6.35mm adapter. Too bad that no shorter cable for portable operation as well as balanced plug is included.

The workmanship is absolutely top. I still remember the first series of the HE-1000, where Hifiman still had to fight with processing problems in the finish. These problems have been put to rest in recent years. Absolutely valuable and fantastic finish! In addition, the Ananda Nano appears very robust. The use of the new Hifiman headband and the very soft large oval ear pads make for a very comfortable wear. This is one of the most comfortable headphones I have ever had on my head.




For the test, I run the Ananda Nano balanced to my large stationary system consisting of Topping D90SE and Niimbus US4, and portable to the terrific iBasso DX320 MAX Ti. The balanced cabling lifts the Ananda Nano up a league. The whole sound image gains in fullness and contour.



The Ananda Nano has an impedance of only 14 ohms, but due to the sensitivity of 94dB, it's not quite as easy to drive as one would expect. On the DX320 MAX TI, I use gain 3 and the 9 to 12 o'clock position. The Ananda Nano scales with the power it is given. On the Niimbus US4, the bass hits come in even harder and more controlled. However, these are not worlds apart between the DX320 MAX Ti and Niimbus US4. You have to compare very carefully to find the small but existing differences.

Does switching to the Nano Diaphragm really bring such a big sound boost? I can answer this question with a resounding yes. I already ended the comparison with a Sundara or HE-400SE after a short time. The Anando Nano is in a completely different class, and the two Hifiman entry-level models cannot compete in any discipline. Therefore, I used my Hifiman Susvara as a comparison.

The clear advantage of the Ananda Nano over the Susvara is that it can be driven portably very well. While the Susvara also works on the DX320 MAX Ti, it scales so much on the Niimbus US4 that you can hear it directly without effort and then there is no turning back. Tonally, the Ananda Nano plays on the brighter side with a high-energy presentation. The Susvara, on the other hand, plays more dignified and restrained. Of all 3 models Sundara, HE-400SE and Ananda Nano, the Ananda Nano offers the most natural reproduction. Here I have to pull out the Susvara to find that it plays even more earthy and has the absolute most natural sound of all my headphones. However, it's amazing how well the Ananda Nano holds its own, and for the price!

Resolution-wise, the Nano Diaphragm delivers an impeccable performance, and it also really pushes the Ananda Nano up a notch when it comes to speed. Detailed, fast transients are the result, which leads to the fact that even power metal is reproduced effortlessly and controlled.

The bass range reaches deep and offers a springy detached as well as tight punch. Quantity is about on par with the Susvara. The Ananda Nano has to admit defeat in quality, but it clearly outplays the smaller Hifiman models.

The openness and stage imaging really surprised me. It sounds so open, transparent and lively that you feel as if you were right in the middle of live concert recordings. The stage is very wide and deep with instrument separation that acts razor sharp. One of the strongest features of the Ananda Nano.

Voices and instruments are reproduced very naturally and the entire midrange is neither too full, which can sometimes be a problem when the bass range presses in here, nor too thin.

The trebles are energetic and absolutely finely resolved. Although it seems tangy, you have to listen very loud for this to become a problem. And I mean really loud! With my usual listening volume and a bit above, I get an ingeniously playing transparent sound that never drifts into sibilance.

With the Ananda Nano Hifiman is in my opinion unrivaled in the range up to 699€. I have yet to hear a pair of headphones in this price range that can hold a candle to the Ananda Nano. The gradual integration of technologies from Hifiman Susvara into the lower price ranges has really paid off and I can recommend everyone to listen to the Ananda Nano. I am now really curious what is still possible in the next higher price range, which is currently filled by the Arya Organic and the gap to the Hifiman Susvara will certainly become even smaller.

The MEST MK3 from Unique Melody is, as the name suggests, the third iteration of the MEST model. Step by step, better technologies were integrated and, according to Unique Melody, the tonality was improved more and more. Unfortunately, I myself have not heard the first and second iteration and can therefore only describe the sound of the latest model, without drawing a comparison to the older iterations. Price-wise, it also went up step by step. The MK3 costs around 2000 USD. That seems like a lot at first. But if you look at the competitors who also use bone conduction and EST drivers for the treble, they are very often even more expensive.

Let's just start with the technology. First, there's the use of UM's proprietary Bone Conduction technology, for which UM has spent nearly a decade in research and development. This is supposed to deliver an incomparable sound quality. In total, we are dealing with four different coordinated driver technologies. The Bone Conduction driver, 1 dynamic driver for the bass range, 4 BA drivers for the mid and treble range and 4 EST drivers for the super high frequency range. The piezoelectric Bone Conduction driver consists of 27 ceramic coatings with a silver-palladium alloy and creates the effect that you can virtually feel the sound and this across the entire frequency spectrum, not just the bass range. This is said to make for a very immersive sound. Through very rigorous quality testing compared to common bone conduction drivers with 14 ceramic coatings, the sound intensity could be further improved. How does such a driver actually do that? The sound is transported directly to the inner ear through contact with the skull, without going through the nozzle. So in the end, you're dealing with an interplay of classic air transmissions with additional vibration transmissions, which makes the sound more intense and noticeable. And this also works, as I will demonstrate in more detail later!



The packaging is appropriate for the price segment. When you open the storage box, you first see a plastic card with serial number, production date and warranty information. The Inears themselves are stored in a very nice green leather case wrapped in a cloth bag. Included are clear silicone tips in three different sizes and two types. One of them with holes. I can already say that this last type of silicone tips offers tremendous openness in sound, but completely kills the bass and is unusable for me. As far as I know, the regular silicone pads are the Azla Crystal and they work quite well for me, though I have other favorites. More on that later.





As befits such a high-priced model, there was no skimping on the connection cable. It is a 4 core OCC copper cable with 26AWG from PWAudio, which is held in the colors of the Inears (blue or red), very robust and provided with a fabric jacket. The cable is quite thick, but unfortunately also very stiff and can not be wrapped so easily. I would have liked a softer cable here.

The Inears themselves are absolutely fantastically crafted. The model I tested is the cobalt blue variant. There is another one in melon red. This golden border paired with the glittering cobalt blue is really a feast for the eyes. My models from 64 Audio seem rather boring in design, so colorful and bright is the MEST MK3. And the whole thing weighs little and is very comfortable to wear!

As always, I also use here for testing my terrific iBasso DX320 MAX Ti, probably the best DAP at present at all. With its 14 ohms, the MEST MK3 is not at all demanding in terms of power and is in low gain at 10-11 o'clock effortlessly whipped forward by the MAX.



Let's first look at the general tonality and tuning. In contrast to my U4s, the MEST MK3 is tuned much more dignified and neutral. Here, neither the treble nor the bass are emphasized, but all three areas bass, mids and treble are tuned very neutrally. This makes for a leaner sound than the U4s. It is more comparable to a Spirit Pulse IEM and its red sound module (+3dB bass) or a Focal Utopia 2022, but the latter offers the slightly stronger bass and silkier treble. The MEST MK3 is a true resolution monster. Now there's one of two of the most defining characteristics. The MEST MK3 offers detail in abundance. At first I thought it sounded a bit bright and might seem too peaky. But whenever you think now it must hiss in the treble it does not. I think that's thanks to the four EST drivers, which illuminate the treble range massively just like an SR009 does, and yet don't come across as too peaky. This is one of the best treble ranges I have heard in an IEM, just great!

The next outstanding feature of the MEST MK3 is its expansive soundstage. Rarely have I heard such a wide and deep stage and all with great razor sharp imaging. The part can really be called a magnifying glass for resolution and stage.

The bass range is personally minimally too slim for me. With the right tips, such as the SpiralDots++, I was able to tease out the necessary punch for me. Even if the bass range is not the strongest, the MEST MK3 creates it through the bone conduction to feel the bass and thereby increase the intensity. This is fun and is first different as you know it, for example, from a U4s. The simply pushes more air mass through the nozzle, but this noticeable, more tangible that creates the MEST MK3 even better. The whole so that I would have liked then but even more, so that in the end it would have just grabbed me even more.

The midrange is neither characterized by nasal discoloration nor does it seem too thickened or stocky. A U4s plays fuller, but not nearly as audible. The MEST MK3 goes more in the direction of the Torino Pulse IEM, but without triggering its goosebumps in voices. Both IEMs are more of the neutral variety, but by no means boring. Where the Pulse IEM scores with the more beautiful timbres in the mids, the MEST MK3 offers the even more intense feeling over the entire frequency range with the help of its bone conduction driver.

Is the MEST MK3 really worth the price? Well, that's a question that ultimately everyone has to decide for themselves. If you attach great importance to resolution and stage presentation, the MEST MK3 could be the IEM par excellence up to 2000 USD. For me personally, who mostly listens to metal and rock, the resolution is not the most important feature. An expansive stage, however, I also like very much and I personally has the Bone Conduction so hooked that I now absolutely want to test more models with this technology.

Spirit Torino is a high-end headphone manufacturer from Turin in Italy. The company is very well known for its top-of-the-line Valkyria headphones, which are considered by some audiophiles to be perhaps the best headphones in the world. Technologies, such as the arrangement of the driver in the form of a revolver course with a massive arrangement of 13 neodymium magnets with a strength of 2x13.8KG make it a uniqueness in the field of high-end headphones. Spirit Torino has been exclusively making headphones until now. Now their very first IEM is coming to the market, the Twin Pulse IEM Beryllium. From the technical data you can already hear that technologies are also used here, which have never been used in any IEM!

The patented Twin Pulse Isobaric System for headphones is also used in the IEM to maximize acceleration and control of drive movements here as well. The IEM is entirely CNC machined from aluminum and provides maximum comfort and sound attenuation through complex management of pressure flows. Resonances are treated by damping with Dynamt Tm and transient response is improved by a so-called Pad VSP system. Twin Pulse represents a reproduction linearity calibrated on isophonic Fletcher-Munson curves (with the same sensitivity as the human ear) and can therefore be used as a reference instrument to check the timbre reliability of a recording. The whole Twin Pulse unit consists of a total of 2 identical 10mm dynamic drivers coated with beryllium as well as powerful neodymium magnets. Both drivers operate synchronously over the entire frequency spectrum to eliminate phase interference. As with other IEMs with tens of drivers, no crossover is necessary here, so that overlaps in the sound are excluded.



Like Spirit Torino headphones, the IEM is tuned like a musical instrument and is as natural as can be. This is not just some advertising slogan, but is based on the fact that classical and jazz musicians collaborated on the development to compare the real sound with that from a binaural recording. The real sound is recorded with the help of a binaural system and then reproduced with the headphones or IEM and then switched between binaural/real again and again. This listening committee, consisting of Spirit employees and musicians, carries out regular direct comparisons. So you don't just rely on pure measurements here.





The scope of delivery has surprised me directly positive. Two cables are included, one balanced with 4.4mm connector and one unbalanced with 3.5mm jack and large 6.35mm jack adapter. On the IEM side, a 2-pin connector is used, as with many manufacturers. The cables are not some cheap accessory, but high-quality OCC silver-coated cables with 392 cores. Along with the cable, a nice leather case is included for storage, as well as a cloth pouch. When designer Andrea Ricci started to develop an IEM he had to deal with many problems. The biggest thing you know is the seal. Many different ear tips change the sound significantly. On the one hand, this can be good because you can adjust the sound to your personal needs, but on the other hand, it can also falsify it greatly. After extensive testing with different ear tips, he found that he could produce the reference sound best with memory foam, since maximum isolation can be achieved by filling the ear canal. Since the geometry of the ear canal is different for each person, the IEM Twin Pulse Beryllium is delivered with different ear tips (memory foam, silicone as well as silicone double flange) in different sizes (S+M+L). In addition, there are three interchangeable filters that offer a different variation in the bass range and thus also a different isolation to cover areas such as listening in the train, on stage or at home in quieter environments. Gray stands for reference, red for an increase of +3dB in the bass and black for a decrease of -3dB in the bass. Here everyone must experiment with the different ear tips and filters and adapt to a reference sound. For example, you could take a reference recording and listen to it through headphones that are considered very neutral and then compare it with the IEM. It's a snap to change the filters, as they just screw on. I can recommend the YouTube video from Spirit Torino for the sound setup of the IEM to everyone:



Which combination sounds best to me for my scope of listening in my own listening room, more on that later.

The workmanship of the IEM is excellent for this price range around 1000€. Absolutely top notch down to the smallest detail. Despite the round shape, it sits quite comfortably in the ear, as it is also very light.





I have tested the Twin Pulse IEM Beryllium once stationary on my chain consisting of Topping D90SE and the strong Niimbus US4 as well as mobile on the terrific iBasso DX320 MAX Ti. The Pulse IEM is a bit more power hungry than my U4s and has to be set about two volume levels higher on the MAX than the U4s. In low gain, I still barely get above 11 o'clock to reach my usual listening volume.



When I first put them on, it was immediately clear to me that the Twin Pulse IEM Beryllium sounded different from my other IEMs. On the one hand, there is this airy, almost transparent openness, which I know only from open headphones. Secondly, the timbre, everything sounds so natural and real. That jazz and classical musicians with spirit engineers were at work here I can sign so, because you can also hear that. For my personal feeling I prefer the red filter (+3dB bass boost) in combination with SpiralDots. What also works well is the neutral filter in combination with Memory Foam tips. However, I like silicone better because I don't have to adjust around so much to insert them into the ear and wait until the foam has filled up. For my intended use at home, the isolation is also perfectly sufficient. Here, however, everyone must find the most suitable tips for him to achieve maximum comfort and sound.

The tonality is absolutely neutral and free of coloration. Neither a too bright nor dark timbre can be detected here. It is exactly in the middle with a minimal tendency towards brightness. When I put on my 64 Audio U4s in comparison, I first notice that something is missing in the mids and the recording contains a slight haze, which the Pulse IEM resolves directly. Now one can compare both IEMs also badly with each other, because the U4s is far from neutral and by its raised bass and treble to the goal of making the listener fun. In contrast, the Pulse IEM, trimmed to an absolutely neutral presentation without whitewashing. Of course, this leads to the fact that not so well recorded material also sounds bad. But if I put some of my references against it, then I sometimes can't get out of the amazement. Heaven on Bryan Adams / Unplugged sounds so transparent that I could put down the IEM and Bryan would just keep playing. Truly pure goosebumps. A voice reproduction that puts the U4s to shame. I can hardly get enough of Omaha by the Counting Crows or Hotel California by the Eagles, it sounds that good. Moving on to classical (Violin Concerto by Rebekka Hartmann / Out Of The Shadow) and I have to say tonally it hits the mark for me. But that is easier said than done, because for that I would have to have been present at the recording. So of course it remains only my subjective impression.

Now you might think that a neutral reproduction is dead boring. It's not! The Pulse IEM not only brings acoustic instruments and vocals within reach, but also with a musicality that you want to listen on and on.

The bass range is more subtly tuned than a U4s or Fourte Blanc. The motto here is quality over quantity! In terms of control and speed, there is nothing to complain about. The Isobaric system does its job perfectly. Even the fastest metal productions are no problem for the Pulse IEM. In the midbass range you also get enough punch, at least with the red filter. However, I wouldn't call metal music the number one genre for the Pulse IEM. If you're looking for a big visceral impact here, you'll have to reach for other IEMs, like a Legend X, U4s or Fourte Blanc. With classical music and jazz, it plays out its true strengths and this undoubtedly includes the impulsive pace paired with absolutely brilliant mids and resolution at the very highest level.

I haven't said very much about the stage so far. It is neither expansive nor too dense, but simply coherent in itself. I would compare it somewhat with the Focal Utopia 2022. Average width with very good depth staging and slick positioning as well as separation.

In the realm of IEMs, the Pulse IEM is not only an asset in the 1000€ class, but it also makes music differently than the competitors in the field and that gives it a unique selling point. For audiophiles who like to listen to jazz or classical music, I can highly recommend the Pulse IEM as an IEM that really teases everything out of a recording and reproduces it without coloration. In conclusion, it can be said that Spirit Torino has hit the jackpot with its first IEM.

The Hifiman Svanar Wireless is nothing less than Hifiman's quest for the ultimate True Wireless Stereo Inear (TWS). The name Svanar, based on the Hifiman IEM Flagship, already suggests that this is an absolute top inear. Whether this is the case will be examined in the following review.



The technical highlight of the Svanar Wireless is clearly the use of R2R DACs. I am not aware of any other TWS that implements an R2R DAC. To be more precise, there are two DACs, one per channel. The specially created Himalaya DAC technology from Hifiman is used here. In addition, there is a special amplifier section, which provides up to 63mW@32Ohm at 1% THD. Already from 54mW the distortions go down to 0.52% and at 45mW they are only at a groundbreaking 0.005%!



Driver-technically, a 9.2mm large dynamic driver is used here as in the Svanar IEM, but according to Hifiman was slightly adapted to the needs of the Svanar Wireless. I can already say that no TWS I have used so far comes close to the Hifiman in terms of sound! Of course, not only the sound aspects are important in a TWS, but also the connectivity and the quality of the microphones used. Listening to music undisturbed on the go on a plane or train without being affected by ambient noise is also possible with the Svanar Wireless, because Hifiman has also implemented active noise cancelling (ANS) here, which works very effectively. In total, there are three different sound profiles. High Fidelity for the best possible sound quality, ANC for noise cancelling, and Transparency for a mode that allows you to perceive the outside world as much as possible. Pressure-sensitive controls on the outside of the Inears allow you to switch between sound profiles by "holding down (3sec)" the left Inear. Of course, you can also control other actions via these elements, such as pause, play, forward, backward, accept/reject calls and much more.




The Svanar Wireless can be connected via Bluetooth. The 5.2 standard is supported, but it is also downward compatible and can thus also be used with older devices. LDAC codec is used by default to achieve the best possible quality. However, others are also supported.

The package includes a case to store and charge the Inears, a USB-C charger, and a number of different silicone and foam tips. When I first saw the Svanar Wireless, I thought they looked big and would be heavy. However, that's not the case at all. It is relatively light, yet sturdily built and very resistant to scratches. The futuristic design looks "special" according to the price range and gives the whole thing a high-quality impression, which is also contributed by the high-quality casket. Despite the size, it is relatively comfortable to wear and fits well.

I tested the Svanar Wireless mostly with high-quality music recordings on my iBasso DX320. In addition, I used it for a few days in my home office everyday life to conduct telcos and to play music on my smartphone. I also watched a movie or two on my LG OLED C2 TV. As you can see, you have a lot more possibilities with a Wireless Inear than with normal IEMs. Whether it reaches sonically also to top IEMs I will still illuminate. Music I have consistently tested in high fidelity mode, where the Svanar Wireless lasts about 3 hours until it must be on the charging station. With the Transparency mode, twice as many hours should be achievable. I tested how good the ANC mode is with a running drill in the background and after turning it on, I could sit back and listen to the music without disturbing the outside world. So the ANC from Hifiman is effective. Of course, with ANC, the sound quality is somewhat compromised, but in high fidelity mode, you could never reasonably listen to music on an airplane or on a train. With ANC, on the other hand, you could.

Tonally, it is tuned a bit differently than the usual high-end headphones from Hifiman. Here we have to do with an overall rather brighter tuning with somewhat boosted bass with a focus on the midbass range. My Susvara, for example, is tuned rather smoother and warmer. Here it is especially important to choose the right tips, because otherwise the sound drifts very much into the bright and now and then seems a bit too sharp. For me, the interaction with SpiralDots sounds best and provides the right dosage of bass and treble. In addition, I can also recommend the Complies. It is important to achieve a proper seal, otherwise the treble will be too hot as for example with the Final tips. Also, the bass suffers when leakage is present. The SpiralDots offer me a very well tuned Inear, energetic and with enough bass foundation.

Technically, the Svanar Wireless play at such a high level as no other known TWS to me. It is very detailed and plays absolutely clean, even at very high volumes.

The most outstanding feature sonically is the soundstage, which manages to be very wide and very holographic. Compared to my U4s, the stage seems wider and deeper. The 64, on the other hand, wins in instrument separation.

The bass goes down low and has a slight boost in the midbass area, which leads to a more fun tuning and EDM, rock and metal are no problem for the Svanar Wireless. The bass also surprises me in terms of quality, with very good headroom and enough punch. When I need more, I reach for the U4s, which packs a bit more punch tonally down low.

The mids do not seem crowded, but very relaxed with some distance to the listener. I like voices extraordinarily well.

The highs are, as I said, slightly raised and really bring every little detail to light. Compared to my U4s, I don't miss anything. A much more expensive Fourte Blanc offers a bit more detail and seems even more sovereign over the entire frequency range. But when I consider what Hifiman delivers here with 499 USD, it is already remarkable for a TWS. Until now, I have not seriously considered a TWS to listen to music on an audiophile level. That is now changing with the Svanar Wireless.

The test with music from my DX320 has mastered the Svanar Wireless with flying colors and shows that it has a lot of sound and does not have to hide from IEMs in the range of 1000 USD.

Let's now move on to the next area of application in my home office. Of course, the Svanar Wireless has built-in microphones, since it also provides ANC functionality through them. My Google Pixel 7 Pro achieves a good voice quality with telcos. With the Svanar Wireless, telco calls succeed with an even better quality, which speaks for the TWS. Voice intelligibility and reproduction are on a very high level. My usual TWS in the home office cannot keep up at all. I have to get out a large Sennheiser headset with USB cable to top that. But I'm not very portable in the office with it either. I have also watched one or the other movie (e.g. Extraction) in the evening with my LG OLED C2 and the Svanar Wireless and that was fun. The voice reproduction is also very clean here. Sound effects are given proper pressure. At one point or another I would have liked more, but that is already complaining at a high level.

All in all, Hifiman has succeeded with the Svanar Wireless a TWS, which has now ushered in a new league. I am sure that this relatively new market will still bring forth many new innovations and developments and will eventually replace the classic IEMs. If you are looking for the best for your home office and want to listen to audiophile music on the side, I can highly recommend this $499 Hifiman Svanar Wireless!

The HE-400se is the entry-level model with planar magnetic driver from Hifiman. Back in 2012, I had an HE-400, which was an incredibly good headphone for the price at the time. At some point came the HE-400i, an improved version of the HE-400, and then the HE-400s. And now the HE-400se. Which even uses Hifiman's stealth magnets. These were first introduced with the top of the line Hifiman Susvara and then gradually used in other less expensive models. The HE-400se is even cheaper than the HE-400 was more than 10 years ago. I can already reveal that for 149€ we get here an insanely good headphone from Hifiman measured by the price.

In addition to the headphones, the packaging also contains a short connection cable of about 1.4m with a 3.5mm connection and an adapter to 6.35mm. Due to the cable length, it is more suitable for portable use. The HE-400se has also been designed for this, as it is relatively efficient and can be powered by any DAP without any problems, although a bit more power is required as for the Sundara. On the headphone side, as with other Hifiman headphones, 3.5mm jacks are used. Since I have here also still for my Hifiman Susvara various cables I could operate the HE-400se also balanced and compare with the unbalanced wiring.



A storage box or cloth bag are not included here. However, the foam can be used as a simple headphone stand. However, more would hardly be expected for the price. I would have perhaps wished for an even more flexible and softer cable, as it is somewhat unwieldy. For stationary use, a longer cable would also be better. But that is already complaining on a high level. I have enough cables here at home.

At first glance, the design is reminiscent of the HE-6se, but the HE-400se uses more plastic here and the ear cups don't look quite as high quality. However, I find this headband to be better than the Sundara's as it is simply more comfortable and softer. The hybrid ear cushions used are also nice and soft and comfortable to wear and provide enough room for the ears. The contact pressure is a bit higher, but still keeps within limits that it does not press too much and still has the headphones a stable hold, even if you do some headbanging. Weight-wise, there is not much difference between a Sundara and HE-400se. Feels about the same weight. Hifiman simply manages to make the headphones comfortable to wear across all price limits. Other manufacturers should also take up this cause.



I tested the HE-400se portable on my iBasso DX320 MAX Ti as well as on my stationary chain consisting of Topping D90SE and Niimbus US4. I operated it balanced. Compared to the delivery cable in unbalanced operation, it sounds balanced somewhat more dynamic and lively. On the MAX Ti with a larger stage compared to the even more dynamic playing on the Niimbus US4. So even such a cheap headphone scales with the sources!

The DX320 MAX Ti has a lot of power, so I heard the HE-400se at most on gain 2. Is the HE-400se a Sundara (2020 Stealth version) killer? The answer is no, but first things first. First, the Sundara costs just under three times the price of the HE-400se. But it is certainly not 3x better! You can already hear the technical advantage in terms of resolution. Here the Sundara is the better headphone. However, you can't easily compare them, because the HE-400se sounds tonally quite a bit different. It has the smoother, warmer sound. The Sundara is clearly a brightly timbred headphone. The HE-400se, on the other hand, is very smooth in the mids and highs. It is the more euphoric headphone of the two, and more fun to listen to.



Tonally, it is the complete opposite to the usual rather brighter Hifiman headphones. The frequency range is largely the same as the Harman curve, but without any high-pitched bass, instead very neutrally straightened out and descending from 30Hz. In addition, there is a peak around 10Khz, which makes the HE-400se sound a bit more lively. The HE-400se is not absolutely top in any discipline, but it has no fundamental weakness anywhere either. It is very solidly tuned across the entire frequency spectrum.

I tried the HE-400se in all sorts of genres and found nothing it couldn't reproduce well. In the bass range, it always has enough punch and depth to reproduce modern pop, rock and metal recordings with enough pressure.

In the mids, it is joined by a reproduction of voices and instruments that is free of coloration at all times. Except for the last bit of audibility, which it feathers compared to higher-priced headphones, I can't find anything else negative. Due to the brighter tuning of the Sundara, transients seem a tad faster with this one. However, the bass of the HE-400se is by no means lame or too bloated, but always under control.

The treble range is buttery smooth and at no time even slightly too sharp. There are no increases in individual ranges, but only a peak around 10Khz. This adds a touch of airiness to the HE-400se. In the area of micro details the Sundara has some advantages, nevertheless the heights are by no means bad with the HE-400se.

I was definitely positively surprised by the stage imaging. Such an expansive stage with good instrument separation is for this price range lonely top! In my opinion, the Sundara is no better here. This is also a domain that Hifiman headphones simply have on it and have never disappointed me.

Hifiman now has something to offer in every price segment and in some cases also represents the benchmark for others in the individual areas. This entry level range really blew me away. I would not have thought that you get such sound quality for 149€ today. Sure, my Hifiman Susvara is another dimension in sound quality, but 149€ is out of proportion to 6900€. The jump is never, ever that big. I highly recommend the HE-400se for anyone looking to make an entry into the world of high end headphones and prefer the warmer, fuller sound over the brighter, more analytical sound.

After I have already made very good experiences with this cable in my last review (https://www.head-fi.org/showcase/lavricables-grand-silver-iem-baltic-grey.26512/reviews#review-30893) of the Grand Line IEM, I had to try it out for my Hifiman Susvara.



The Grand Line is the top cable from Lavricables. Again briefly to the cable structure. It is a 4 core pure silver cable with 6N purity, which is 99.9999% silver. The 6 stands for the number of digits. The conductor cross section is AWG 20.

For my review I use the Grand Line in the version "baltic grey" with 3.5mm connector on the headphone side and 4 Pin XLR on the amplifier side. As a 4 pin XLR connector is used here a very high quality version of Aeco instead of a usual Neutrik connector. The cable costs in the tested variant about 650 € and includes the burn in service of 150 hours. This saves you the time to burn it in yourself.



The workmanship is fantastic as I already reported in my last review. The feel, look of the cable, connectors used all contribute to the very high quality overall look. It is very soft and does not cause any twisting or microphonics effects.

In addition to the actual cable, I had an adapter made from 4 pin XLR to 4.4mm Pentaconn from the identical cable so that I could also use the Susvara portable with my iBasso DX320 MAX Ti as well as FiiO M17. Because these DAPs can! Although my stationary setup consisting of Topping D90SE and Niimbus US4 is of course not to be topped by the DAPs. Still, it's amazing what's possible these days with the more potent DAPs and the hard to drive headphones. The distance to the stationary amps is getting smaller and smaller.



For the Susvara, in addition to the delivery cable, I also own a Forza Noir HPC MK2 and an Invictus Palladium/Gold/Silver cable in the 8 Core version. Very quickly I moved away from Hifiman's own cable to After market cable, since the Hifiman cable is on the one hand very uncomfortable (I call it spaghetti rubber cable) and on the other hand it does not exhaust the sonic capabilities of the Susvara by far. It makes the Susvara sound too romantic, with too little attack and an overall too soft presentation with little bass.



All three aftermarket cables clearly beat the Hifiman cable!

The Forza Noir HPC MK2 puts a decent bump in the bass and eliminates the too-soft attacks of the Hifiman cable. It sounds much more lively and virtually comes to life.

The Invictus Palladium cable is mostly silver as well as gold and palladium. It was the first cable with a high silver content that gave me enough power even in the bass on the Susvara. So far, pure silver cables for the Susvara have disappointed me. My new findings with the Grand Line IEM have moved me to try this also for the Susvara and I was not disappointed, as you will read in the course of the review. The Invictus cable clearly improves on the Forza in terms of stage presentation. The stage is larger and the instrument separation is even sharper. Overall, the resolution increases. Above all, the coherence of the tonality is once again a class above that of the Forza. The Invictus simply sounds more natural, without having to forgo the bass impact. Quantitatively, both are on par, but you can feel the midbass more strongly in the Forza, since it sounds smoother and warmer overall. However, the Invictus costs almost twice as much as the Forza cable.

So how does the Grand Line fit in with my existing cables? Well, for one thing, there's that naturalness in tonality that neither the Hifiman cable nor the Forza offers. It sounds so round, as one would expect for this price range.

In terms of bass, it plays in the same league as the Invictus. With rock & metal, however, I hear an even more powerful bass impact. No one who has ever been with me and heard the Susvara on the Niimbus US4 has ended up saying the headphones had too little bass. That's exactly the amount of bass that a fantastic tuning needs to have in order to come across as neither anemic nor too emphatically exaggerated. Madness, as with the Grand Line IEM that drives my IEMs downrum properly does the same with the Susvara! Impact, audibility all present.

The stage imaging is in terms of size clearly above the Hifiman and Forza cable on par with the Invictus cable. In terms of instrument separation, it's even a bit better. I think it is due to a slightly higher resolution compared to the Invictus cable, which makes individual sound elements even easier to locate.

Mids as natural as can be. I have never heard the Susvara as well as with the Grand Line. The voice reproduction, acoustic instruments everything seems so real and authentic. The last veil is lifted, that too smoothe of the Hifiman delivery cable has completely disappeared. I still don't know what Hifiman was thinking with this cable. It does not harmonize at all with the Susvara in my opinion.

In conclusion, I can say that I am once again thrilled with what Lavricables has conjured up with the Grand Line. Is it really the purity 6N that leads to this result or what is the reason that many pure silver cables sound too thin? I don't really care either. After all, I now know a manufacturer who simply has it in him to design outstanding pure silver cables. Certainly, the cable is not exactly cheap for about 650€. With the Forza you get for half a very good cable that does a lot right. But if you want to go all the way to the top, you simply have to dig deeper into your pocket. By the way, there is an 8 core version of the Grand Line for the Susvara. I do not even want to know what this still tickles out of the Susvara in terms of sound quality

The M17 is the flagship DAP from FiiO. But the M17 is not just any DAP, it is a true power monster! Legendary 2x 3W@32Ohm of the currently strongest DAP on the market drive any headphones, no matter how hard they are to drive. Whether this is really so I will try at the end of the review with my Susvara and Abyss 1266 TC.


It is delivered in two packages, one for the DAP including accessories and one for the docking station. The M17 comes pre-assembled with a screen protector. A replacement screen protector is included. Also a power supply for using the „Extended Over Ear mode“ and a USB-C cable. To protect the player, you can use the brown leather case, which is a perfect fit and has a clasp to prevent the DAP from sliding out. The back is equipped with metal air inlets through which the fan can do its work effortlessly in docking mode. The notches of the control buttons on the leather case are about 1mm apart, so you have to press with enough pressure to activate the desired function. With the included rubber pads, this distance is shortened and you have to exert much less pressure.

After opening, the brute size of the DAP initially blew me away a bit. I already know this from the iBasso DX320 Max Ti, but the M17 is still a bit longer and about as wide and thick as the iBasso. In terms of weight, both take nothing, about 600 grams. The workmanship of the CNC-milled aluminum housing is as the price tag suggests absolute top class. I also like the feel very much. Especially the large very handy volume control. Very good that FiiO has thought of a "Hold" switch that locks the buttons. Because if I put such a large DAP in my pocket, then inevitably sometimes accidentally pressed buttons. I would have liked to have this switch for my DX320 MAX Ti. The exterior lighting in the form of arrows in different colors also pleases me visually very well. Depending on the state (on, charging), these are permanently on or flashing. The color signals the bit rate of the played track. In terms of connections, everything is really on board here. Headphones and IEMs can be connected via 3.5mm, 2.5mm, 4.4mm and even 6.35mm. Dust protection sleeves are available for less needed connections like the 6.35mm output. The unbalanced 3.5mm connector as well as the 4.4mm balanced connector can function as headphone output as well as lineout. And of course, a "real" lineout is installed here, which does not pass through the amplifier section, but outputs the completely pure sound of the DAC. In addition to USB-C for charging/PC connection and a digital coax output, the M17 also has a 12V input for power supply operation where you can use the “Extended Over Ear mode“ and then up to 2x 3W@32Ohm with 27.7 Vp-P peak output voltage instead of 19.7 Vp-P are available. Since this also produces a lot of waste heat, the M17 can be operated on the docking station, which has an integrated fan that can be switched on with 2 speeds.



On the technical side, two ESS9038 DACs for digital-to-analog conversion and two THX AAA-788+ amplifiers work together to deliver the concentrated power in watts to the outputs. Of course, this requires a large battery, so FiiO gives the M17 a brute 9200mAh battery. Using USB-C and the QC 3.0/4.0 + PD 2.0/3.0 fast charging protocols, the battery charges in about 4.5 hours and then runs for an average of 9 hours. It can also be charged via the included 12V power adapter. The 5.99-inch display delivers a very bright and fantastic image.

In terms of software, FiiO uses Android 10. The whole thing can be operated very smoothly via a Snapdragon 660 with 4 GB of RAM. Internally, 64 GB of RAM are available, which can be expanded via a micro SD card. I would have liked a bit more internal storage here. FiiO's music player is very sophisticated and offers all necessary functionalities including EQ. Even a PEQ can be used, although it can only be added experimentally for now, since it is still in development. Other Android apps like the Neutron Player can of course also be installed and used.

A total of 5 gain levels are available. You can effortlessly fine tune very easy to drive IEMs (low gain) up to a Susvara in the last mode (Extended Over Ear Mode) via 12V power supply.

I tested the M17 with my two IEMs U4s as well as Foure Blanc from 64 Audio. In addition a Focal Utopia 2022 and of course the two hard to drive bolides, the Hifiman Susvara and Abyss 1266 TC. I tested the Lineout on my Niimbus US4 and compared it with the Topping D90SE, which, as you know, uses the same DAC from ESS.



The M17 sounds simply fantastic. It is totally balanced and here everything fits from bass to treble. This is another device where you don't have to crystallize individual components in the sound, but the whole thing is so coherent that you don't have to worry during playback whether the bass is very pronounced and detailed and the resolution is only average. No, every link in the chain fits together perfectly.

The power with which my IEMs and headphones are driven, you can just hear. Total control down to the lowest registers and really loud, if you like it, without losing control. The first time I used the M17 with the Utopia 2022, the planned minutes turned into 2 hours of listening.

Tonally, we have to do here with a neutral tuning that covers up absolutely nothing in the mids and treble and makes real steam in the lower range. Here, the M17 plays together with the DX320 MAX Ti in a league of its own. One, M17 with more focus on the low bass, the other MAX with more focus on detail from sub to midbass. Switching back and forth I can't decide who the winner is. It's different as so often, but not better or worse. The Impact in bass with the Utopia 2022 and Fourte Blanc is really amazing with rock and metal.



The ESS DACs are always said to have a very bright presentation. That is not the case here at all. The M17 sounds very clean and illuminates the treble range very widely, but at no time sounds harsh or obtrusive. To test this, I like to use my U4s, which can sometimes sound a bit sibilant with sources that are too bright. But this is not the case here. Absolutely brilliant treble reproduction and resolution.

Since the M17 plays sonically in places far above many other DAPs I compared it only with the DX320 MAX Ti. Both play as I have described very neutral and balanced. The differences are due to the DAC used and you can hear that most in the midrange. Neither discolors, each plays for itself an interpretation that leaves nothing to be desired. The MAX with a bit more fullness in the mids, the M17 a bit more stripped down and detached. The instrument separation succeeds both fulminant with the larger stage representation on the part of the MAX.

Excited I connected the lineout of the M17 with my Niimbus and then compared against the Topping D90SE and here both are tonally very close. The development of DAPs is currently so far advanced that these are now absolutely recommendable as source for stationary amps. Provided that they also have a "real" lineout like the M17 or MAX.

Even more exciting was my test in docking mode with connected power supply and “Extended Over Ear Mode“. Incredibly, I can enjoy my Hifiman Susvara and Abyss 1266 TC from now on on the terrace where a power outlet is available in a quality that seemed almost impossible before. No DAP that I know of can drive these two headphones as well as the M17. The distance to my stationary amp, the Niimbus US4 is of course still there in direct comparison, but nowhere near as great as before.

In conclusion, I can say that the M17 is a true powerhouse at the highest technical level. For those who not only own IEMs and easily driven headphones and would like to drive everything with only one device, which you can operate portable and stationary (for full power), I can recommend the M17.

The FT3 is the first open Over-Ear headphone from FiiO. The brand is known for all kinds of high-end products in the field of "portable audio", such as the M17 DAP or the FD7 IEM. When I read the first announcements of the technical details and design of the headphones, I was directly excited about the end result. The FT3 wants to mix in the class around 300 € properly and whether it creates it, that I want to illuminate in the following.

The headphones including accessories are delivered in a sturdy cardboard box in which a brown leatherette storage box is located with all accessories including FT3. The headphones themselves are not made of plastic, but of aluminum. With a weight of just under 400 grams, it is not too heavy. The workmanship in this price range is absolutely top! From the appearance, it reminds me somewhat of a cross between hifi and gaming headphones by the very futuristic design of the shells. Faux leather and aluminum are finished to a final product, which creates a very solid and durable impression. It is delivered with pre-assembled textile pads. In the box there is also a set of leatherette pads for a slightly different sound tuning, which can be changed very easily. More on that later. The highlight is the delivery cable. It is somewhat reminiscent of the cable from my Sennheiser HD820 in appearance. It is a Furukawa Monocrystalline copper cable in the length of 3m with AWG 23 cross section. One cable and still all connection possibilities? Exactly! There are 4 different adapters in the scope of supply (3.5mm, 4.4mm, 6.35mm, 4 Pin XLR), which can be changed very simply by plugging and/or turning and thus the cable is everywhere applicable. Incredibly, I have not seen that before with any other manufacturer. I like it very much. Desirable would still be a second shorter cable for mobile operation. But that is already complaining at a high level.




What about the other technical details? Why was I so excited about these headphones? Well, it uses huge (60mm) dynamic drivers with a beryllium coating. Big driver = Big sound? Yes, you can say that. But the big drivers are also said to have less control. Compare that to the Focal Utopia, which uses only 40mm drivers and is known to portray transients with impact like no other. The main component of the driver is diamond-like carbon, which is very robust and lightweight. They chose this material to better control the movement of the large driver and for less distortion, which I think they did very well. At 350 ohms, the driver has a very high impedance, but is still relatively easy to drive due to the high sensitivity of 105dB. Bear-strong N52 neodymium magnets are also installed here to achieve a very high dynamic range. The drivers are angled to achieve better spatial imaging.



A pair of headphones with good technical details is only half the battle if they don't wear properly. The FT3 is exceptionally comfortable to wear. No even more, one of the most comfortable headphones I know of. A very comfortable contact pressure (neither too much nor too little) and an automatically adjusting headband similar to what you would find on a Stax SR-007. All this with a 3-axis swivel design to achieve the perfect seal. At first I thought the pads might be a bit small, but my average sized ears fit in easily and have plenty of room. With very large ears it might be a little tight.



How does it sound now? I tested it on my stationary chain consisting of Topping D90SE/DX320 MAX Ti on Niimbus US4 and portable on my iBasso DX320 MAX Ti. There in gain stage 2 with a control range between 10 and 12 o'clock, which is quite sufficient for my listening volume. It can therefore be operated without any problems on mobile DAPs. The drivers with the high impedance scale with the amplifier. Compared to the DX320 MAX Ti, the FT3 sounds a bit more dynamic with more impact on the Niimbus US4.



When I first put it on, I thought to myself does it really cost "only" 300€? A very dynamic sound with a precise stage, rich bass and very balanced sound offered me. The tonality is really absolutely successful and is strongly oriented to the Harman curve with slightly raised bass and treble range. It sounds comparable to a DCA Stealth, without of course reaching its technical sophistication in its entirety. That would also be very surprising, we compare here 300€ with 4800€. But 16x better is the Stealth certainly not as it is reflected in the price. In the 300€ class, I can't think of any headphones that come close to the FT3 in terms of sound. Neither a Hifiman Sundara nor a HD660S play tonally as correct as the FT3 does. Even some headphones in the higher price ranges, such as an HD820, could take a leaf out of the tonal presentation. They are nowhere near as successful as the FT3 and have to be laboriously readjusted via EQ.

The large drivers produce a very full sound image typical for Harman with a strong bass range that focuses more on the sub bass than the midbass range. The listener is offered a detailed, full, but nevertheless also impulsive bass range, which one would not expect at first due to the driver size. Obviously, FiiO has the driver very well under control with its selected materials. Just like a DCA Stealth, it goes a bit softer in the midbass area. The punch is there too, but it sounds smoother and doesn't hit as hard as it does with a Focal Utopia or Hifiman Sundara, for example. The latter, however, also focuses more on the midbass range and leaves the low bass somewhat feathery. This is not the case with the FT3. If you like the Harman tuning, you will love the FT3's bass range.

Big driver=Big sound gets my fullest approval in the area of stage imaging. Here I get an above-average stage imaging with very precise instrument separation. The Hifiman Sundara clearly has to admit defeat here. In terms of airiness, I also have nothing to complain about with the FT3. Everything sounds very open, also it isolates to the outside as good as not at all, which is not surprising with its very open construction.

The FT3 neither plays "too much in your face" nor too withdrawn in the mids. Nasal coloration of voices, as found in some headphones in this price range, is not found in the FT3. To hear voices even more real and authentic, I have to go for a 1300€ IEM like the U4s, which tops that.

The highs are typically Harman somewhat raised and offer enough brilliance. At very high volumes it can get a bit sibilant depending on the recording, but at my listening levels of 70db to 90dB everything is still in the green. The resolution is a bit higher than the Hifiman Sundara. The clarity is really very good and you don't miss anything in the first moment. You then have to switch to a much more expensive model to realize that the finest nuances come out a bit better there.

I mostly performed my test with the textile pads, since I like the tonal tuning best here. When switching to the synthetic leather pads, the sound image seems slimmer, since the bass range decreases in level. The treble range is more sharply outlined and thus allows details to be discerned even more easily. However, I personally don't want to do without this "big sound" and therefore prefer the textile pads.

Since these large drivers provide me with an unexpectedly clean and fast sound, I also wanted to test the technical qualities by using my EQ and boosting the bass range by +6dB with a basshelf. No problem for the drivers, which still do not show any distortion even at higher volumes. I like the basshelf of +6dB in combination with the synthetic leather pads. With textile pads it is already too much of a good thing for me even as a "bass lover"! But I already like it so much in the delivery state that I don't have to bother with EQ here.

Overall, FiiO has succeeded with the first open Over-Eear headphones immediately a success, which has in this price range in the future a proper word to say, if you look at the competing products. And I think that's a good thing. After all, competition inspires, as we know, and that leads to even better products in the future.

The Grand Line IEM is the top cable from Lavricables for IEMs. This is a 4 core pure silver cable with 6N purity, which corresponds to 99.9999% silver. The 6 stands for the number of digits. The cable has a conductor cross-section of AWG 20, which is quite remarkable for such a cable. My Invictus pure silver cable is much thinner. The 64 Audio Premium silver cable that comes with the Fourte Blanc is more comparable and only slightly thinner. Lavricables also offers three other series. All pure silver cables, but with 5N purity. The conductor cross section is also smaller than AWG 20.





For my review I use the Grand Line IEM in the version "baltic grey" with 2 pin connector as well as 4,4mm Pentaconn. The cable costs about 450€ in the tested version and includes the burn in service of 150 hours. This saves you the time of burning it in yourself.

The workmanship is simply great for a cable in such a price range! Since it comes loosely to the 64 audio 4.4mm silver cable, which alone costs more than double! The connectors are of very high quality and contribute their part for the high-quality overall picture. What I always find very important about such IEM cables is that they don't wrap around wildly and create any microphony effects. And that's exactly how it should be here! The cable is very soft and flexible and doesn't seem like a stiff wire, which is unfortunately the case with my Invictus pure silver cable.



I tested the cable on my two IEMs from 64 Audio, the U4s as well as the Fourte Blanc. As DAP serves the new iBasso DX320 MAX TI, which is for me currently the very best DAP to drive my two 64 IEMs to top form. The Blanc I have so far always connected to the very high quality 64 Audio Premium silver cable 4.4mm. The U4s on the stock cable with 3.5mm or with a 4.4mm pure silver cable from Invictus. However, the latter clearly plays better than the stock cable, especially in terms of airiness and resolution.



I was very excited when I first tested the combination of Grand Line and U4s. And here it was clear from the very first moment, the U4s can do even better! And how! Previous properties that I know from all pure silver cables known to me are higher resolution and airiness paired with a slightly thinner presentation. For example, the Invictus cable on the U4s lifts the final haze that the stock cable produces, significantly increases resolution, and it sounds cleaner. The Grand Line, on the other hand, imposes even clearer speech in the bass range and sounds more defined with more contour and fullness. Despite the fact that it has more quantity in the bottom end, it doesn't sound at all mustier than the Invictus cable. The instrument separation is still razor sharp and the resolution takes it up a notch. But best of all, it doesn't sound like the usual pure silver cable, which usually sounds a bit thinner, artificially tangier in the highs. It is tonal and naturalness more comparable to a copper cable, which but the other attributes, such as resolution, stage and airiness to the extreme! For me, there is no turning back with the U4s. Where the Invictus cable improves the U4s compared to the stock cable in several areas, the U4s with the Grand Line plays in another league. I have never heard the U4s sound so natural and yet technically improved in all aspects. During my review of individual tracks, I kept simply listening to the end of an album, so captivated am I by the sound.

If the Grand Line produces such an improvement in the U4s, how does it sound on the 64 Audio top-of-the-line Fourte Blanc? The Blanc, one of the best IEMs in the world already comes with a very high quality cable. Again, this is a pure silver cable. From the information at 64 Audio, I can not quite determine what purity of the is and what conductor cross-section. I would say it is slightly thinner than the Grand Line, AWG 22 approximately? When switching to the Grand Line, the improved bass range is immediately noticeable. The character of the Grand Line is reflected here, it sounds fuller than other pure silver cables and it has again felt more resolution and sounds more natural to me even if the difference is smaller than the U4s. Instrument separation and stage are on par.

In conclusion, I'm really excited about this Grand Line IEM cable. It is certainly not a cheap cable, but it lifts each of my 64 audio IEMs of the sound quality forward. I have also rarely held such a well-made cable in my hand. I can highly recommend it! After I have now heard the first time a silver cable, which also gives itself in the bass range no nakedness I am now all the more curious how a Grand Line probably sounds on my Susvara, Utopia 2022 or Abyss 1266 TC. Because so far silver cable was because of the known characteristics rather a taboo subject for my Susvara.

The DX320 MAX Ti is the new flagship from iBasso, which is limited to 888 units worldwide. Just like its little brother, the DX320, no DAC chip from AKM or ESS is used here, but from ROHM (BD34301EKV). While two of these ROHM DACs are used in the DX320, there are four in the MAX! This drives in the so-called Ultimate Mode (you can choose between the Quad and Dual operation of the DACs), the already good measured values on the tip! How the MAX sounds with it in comparison to the little brother DX320, more about that later.

After opening the storage box, I look at a very massive player made of titanium, which is also so high quality and noble finish that it could come from a boutique. You really have a statement product in your hands. I wouldn't call the MAX really "mobile", because it weighs about twice as much as its little brother. Since I use my DAPs anyway only in the apartment and in the garden, this is not a problem for me. In terms of dimensions, it is even slightly shorter than the DX320, but almost twice as thick. You have to do without the use of amp modules with the Max. A balanced connection with 4.4mm and an unbalanced connection with 3.5mm are installed here. Both connectors can function as headphone outputs, as well as "real" lineout. I tested the latter for connection to my Niimbus US4, more on that later.

The scope of delivery includes a USB-C cable, a 12V charger, a coaxial cable, a burn-in cable, display protection foils, a warranty card, and a very high-quality leather case with metal applications on the back. A manual is unfortunately not included, also I could not find one on the Internet on the iBasso homepage.



The MAX has just like the DX320 a strictly separated analog and digital section, both powered by separate batteries. The analog side can be charged using the 12V mains charger. The digital side is charged via USB-C. The MAX supports the Quick Charge 3.0 and Power Delivery 2.0 charging methods. You can charge both (analog+digital) at the same time. The player is recharged in about 2.5 hours. The advantage over the DX320 is that you can only charge the most necessary part to conserve battery power. With the DX320, both batteries were always charged at the same time. Another advantage of the MAX is that you can easily replace the battery by loosening two screws on the back. Changing the battery on the DX320 is more difficult. The MAX has a lot of power, 9V@300Ohm or 6V@32Ohm in balanced mode. Even my Suvara and Abyss 1266 TC it drives effortlessly to higher volumes. In Ultimate Mode and Gain 1 I could easily reach the 12 hour mark. The DX320 does not manage that.





A total of 128 GB of storage space is available internally. Of course, you can expand this as much as you want via a micro SD slot. The display of the MAX is a bit smaller than that of the DX320. Both are outstanding in terms of quality.

Like the DX320, Android 11 is on board. The whole thing is powered by a Qualcomm Snapdragon 660 with 6GB of RAM, which ensures a fast-acting UI.

The world's first among DAPs, besides the use of a whopping 4x ROHM DACs in Ultimate Mode, is the volume control. This is where DAPs normally use digital volume control, but it has the problem of bitrate clipping. Analog potentiometers do not have this problem, but there is very slight channel imbalance in the lower control range. The MAX has none of these problems, because for the first time in a DAP so-called stepped attenuators are built in. By using high-precision resistors, the difference between the channels can be limited to +/- 0.1 dB. A total of 24 steps is possible. The behavior of such a setup means that turning the knob first cuts off the sound, creates a channel imbalance, or distorts until the next step is "locked in". The unit is not broken, it is quite "normal" for it to behave this way. My then Violectric V281 with relay controlled volume control exhibited the same behavior if you turned the knob too slowly. You just have to get used to it. More comfortable is certainly the digital control, but metrologically the attenuators are superior and with this DAP iBasso did not want to compromise. With the help of 4 gain stages and 24 steps per gain stage, the control range is sufficient even for very efficient IEMs. By the way, my two 64 Audio IEMs, the U4s and Fourte Blanc are dead silent in operation on the MAX! Via software update, it would certainly not be a problem to implement a slider for the digital volume control afterwards. So you could set the potentiometer to level 24 (MAX) and control the volume purely by software. But sonically it becomes worse in any case!




For the sonic evaluation, I used my Focal Utopia 2022 as well as my two IEMs from 64 Audio mentioned earlier. I also ran the MAX via lineout on the Niimbus US4. All in Ultimate Mode with the use of all four ROHM DACs!

The MAX sounds, in words, "spectacular" and "absolutely round". It invites you to listen to music for hours and virtually captivates the listener. I could hardly get enough of listening during the first few days and kept listening until late at night to hear the next track and the one after that. A tonality that I have never heard before in any other DAP. Here we no longer talk about individual disciplines such as bass, mids and treble, but a representation is offered that is so coherent in itself that simply everything fits together perfectly. With the little brother DX320, I focused more on individual aspects that were emphasized by the various amp modules such as the strong punch of the Amp11Mk2s or the enchanting mids of the Amp14. The Max has everything at once and then some!

Tonally, we're not talking about a warm DAP, such as a Shanling M8, or an overly bright presentation that tends toward sibilants. It is all in all neutral tuned with technical finesse at the very highest level, but without sounding purely analytical, but very musical.

I would describe the combination MAX with the Utopia 2022 as an absolute dream combination. Directly noticeable is the very wide and broad room illumination. What the little brother DX320 already represents on a very high level is even a step higher with the MAX. Instruments are even more clearly separated from each other, the stage seems wider and deeper. My Topping D90SE + Niimbus US4 combo has to admit defeat! That is already an announcement. But wait, there was something else! The MAX will be plugged to the Niimbus later! The U4s, which already plays very wide in terms of soundstage here, is a good step up.



Resolution is another feature compared to the DX320. The Max sounds even cleaner, can crystallize individual sound elements even better from the recording. An acoustic magnifying glass, without the slightest hint of too peaky or unstable highs. And I also use the "Sharp Roll-Off" filter instead of the "Slow Roll-Off". It's hard to believe what details my Fourte Blanc can tickle out of the recording.

The midrange gives me goosebumps. Vocals and acoustic instruments as real and natural as possible to reproduce. That was iBasso's goal, and I think they achieved it. The Fourte Blanc goes in the mids even more "pithy" to the point and thus seems even a touch more natural than with the DX320.

You simply have to have heard such an audible bass with an Utopia 2022. I as a small "basshead" set great store by the bass range and the MAX disappoints me here in no way. Punch to the bone when it is on the recording and in addition it goes down to the lowest registers. When the drums kick in during "Prosthetic" from "Haken" and it really "hammers" then I know that the DAP is doing everything right. And how! The control, even in the most complex metal passages is striking and leaves the little brother DX320 behind. The Fourte Blanc and the U4s benefit just as much from the better bass range.

I was excited to test the MAX as a source for my Niimbus US4. There I already liked the DX320, which also has a "real" lineout with direct connection to the DAC without going through the amp circuit. The MAX leaves my Topping D90SE quasi in the "rain". It's in a different league. I have never experienced my Susvara as good as with the chain consisting of MAX + Niimbus US4. Gigantic room illumination, incredible bass precision and a coherence to kneel down. Brilliant! I think my D90SE must now take over the part as a backup.

With the DX320 MAX Ti, iBasso has really hit the jackpot. A musical wonder weapon for on the road, which I have not yet heard in this quality. Madness! The price of 3499€ is of course not exactly a bargain but for me it is worth every penny. To be fair, it must also be said that it is not exactly a lightweight with its approx. 600 grams and is certainly not as well suited for on the road as its little brother the DX320. However, this format also works for the jacket pocket if you absolutely want to take it with you. If you have no problem with the size, weight and not so comfortable volume control, then the MAX is a very clear buy recommendation from me. However, if you're looking for something more portable, you should just stick with the DX320. It already offers 90% of the sound of the MAX for less than half the price.

The DX320 is the flagship DAP from Ibasso. Unlike the usual top DAPs, no chip from AKM or ESS is installed here, but two chips from ROHM (BD34301EKV) provide for the digital-analog conversion. This chip has extremely good measuring values like e.g. a dynamic range of 130dBA! Ibasso itself presents this new DAC as „the pinnacle of audio ICs". More about how it sounds later.

When I opened the extremely elegant packing a massive player from CNC milled aluminum offered itself to me! When I hold my Shanling M8 next to it, it seems almost tiny against the DX320. My model is black. It is also available in dark blue. As with almost all Ibasso DAPs you can change the amp module. Included is the Amp11Mk2s, which offers all the important connections, like 4.4mm, 3.5mm and 2.5mm. Later on, I will discuss the differences to the Amp12, which I also tested with the Ibasso.

The package also includes a USB-C cable, a coaxial cable, a burn-in cable, screen protectors, a manual, a warranty card and a leather case.





The screen of the DX320 is fantastic! Rich colors, great contrast and very large! This is a 6.5-inch IPS panel with a resolution of 2340x1080. It hardly gets any better than that.

The system is Android version 11, powered by a Qualcomm Snapdragon 660 with 6GB of RAM, and you can feel it. Smooth transitions and a very fast UI are the result. That's how it has to be! My Shanling M8 cannot come close to keeping up here with the display and performance

Besides the pure Android mode, which also allows installing any apps, you can also switch to the Mango OS from Ibasso. This is a very slimmed-down system that only contains the Mango Player and nothing else. However, I prefer the Android mode, since the Mango Player has a few more functionalities, such as a parametric equalizer. I do not notice any difference in battery consumption or sound quality between the two modes.

Internally, there is a total of 128GB of storage space available. That should be more than enough for many. If you need even more, you can insert a micro SD card with up to 2 TB of storage.

The DX320 supports the Quick Charge 3.0 and Power Delivery 2.0 fast charging methods. The DAP is charged in about 2.5 hours with such a charger. You already have 80% capacity after 1.5 hours. The highlight of the DX320 is that it uses a total of two batteries! One each for the analog range (2000mAh) and one for the digital (4000mAh). Through this separation, measured values are driven to an optimum. In the Balanced mode 125dB Dynamic range are reached and a THD+N of -110dB as well as a Crosstalk of -120dB! The included Amp11MK2s delivers a lot of power (1.2W@32Ohm) and can also drive power-hungry headphones. The Amp12 is even a bit more powerful (8.3V instead of 7.1V!) and offers even better readings (126dB Dynamic range, 113dB THD+N, 126dB Crosstalk). It also has a "real" linout output coming directly from the DAC without going through the amp section. A rarity with today's DAPs.





For the sonic evaluation, I used 64 Audio's Fourte Blanc and U4s IEMs, as well as the Focal Utopia 2022, all with use of the Amp11Mk2s because I like it best overall. I'll get to the differences between the Amp11 and Amp12 at the end.

Tonally, the DX320 plays up neither warm nor bright, but absolutely neutral. I would say the ROHM DAC plays somewhere in the middle between ESS (rather bright) and AKM (minimally warm). Until now I could not do anything with the name ROHM. But the DX320 plays really well! Technically, we are dealing with a DAP of the very highest class. Resolution and separation are world class!

There is no emphasis in the bass or treble here. In a direct comparison with a Shanling M8, you notice that it is more warmly tuned, but does not offer the resolution of the DX320 and has a more focused presentation. As a result, everything seems wider on the DX320. On the Shanling M8, the mids are a bit more recessed and come across with more depth and the bass is more detached from the rest of the action. On the DX320, everything from the bass to the mids forms a single unit. However, both DAPs seem natural and homogeneous. There are recordings where I prefer one and some where I find the other better. But the tuning of the DX320 is safer, as the M8 sometimes seems too warm. The rather brightly tuned U4s harmonizes with an M8 like a glove, the Blanc and Utopia 2022 I like a tad better with the DX320.

From the Blanc to the Utopia, the low gain is absolutely sufficient. The DX320 has so much power that is more than sufficient for these. Even a 1266 TC and Susvara can be driven on high gain with sufficient volume, although not with the quality of a very potent stationary amp in the style of a Niimbus US4. With the IEMs, the DX320 remains absolutely silent without noise in the background.

The bass goes down deep and offers enough punch. This is really fun with the Utopia 2022! Here, the dynamic refinements of the Utopia come into their own. Tight, rich and with a proper body come the bass attacks. In addition, never overlapping into other areas.

The mids sound natural, detailed, very clean and always with enough texture. It's no different in the highs, where we're dealing with reference level. The result is a rich resolution and the finest nuances. In direct comparison, an M8 seems more polished and doesn't reveal details as effortlessly as the DX320 does. I'd have to get out my Niimbus US4 to take it up a notch here.

The DX320's sound signature is more like that of a reference than that of the M8. My stationary combo of Topping D90SE and Niimbus US4 sounds quite similar to the DX320, while the M8 is a bit out of character with its warmer timbre.

How does the Amp12 sound? This one, in my opinion, loses some of the technical qualities for a warmer tuning with minimally more bass pressure. I like this module a little better with the U4s. For everything else, I think the Amp11MK2s tuning is better. I also tested the Amp12 via "real" lineout on my Niimbus US4 and I have to say that doesn't have to hide from a stationary DAC. The Shanling M8 with its lineout that also passes through the amp section, on the other hand, sounds more uncontrolled and not with the sophistication of a DX320.

Overall, I'm thrilled with the DX320. From the fabulous display and buttery smooth operation to the sound quality. If you're looking for a reference DAP with neutral tuning, the DX320 will put that to rest once and for all.




Update 23th April 2023 – Amp14:

Now that I've had a chance to test the Amp14 in detail, I'd like to describe the differences between it and the Amp11Mk2s and Amp12.

The Amp14 uses the improved 6th generation KORG triode vacuum tube. This is not a "true" tube, but it does produce the same characteristic harmonics found only in a triode tube. I will now describe how this captivating, unique tube sound sounds.

In addition to a 4.4mm connection for headphones and IEMs, the Amp14 also has a 4.4mm lineout output, which just like the Amp12 is a "true" lineout that skips the amp section and provides only the pure signal from the ROHM DAC. And just as enchanting as the Amp12, the Amp14 sounds on my Niimbus US4 headphone amplifier. Here I can't make out any appreciable sonic difference between the two lineouts. So if you want to run the DX320 via lineout to your amp, you can easily go for Amp12 or Amp14, there is no difference here in this mode.

What is noticeable is that the Amp14 "sucks" the analog battery faster. Where I had before with Amp11Mk2s in low gain after empty digital battery still about 80% full analog battery it is now 60% or less. Still more than enough! The digital battery, which also supplies the CPU, is drained much faster.

When I run my Susvara in high gain it shows that all 3 amps can run it sufficiently, but the Amp12 is able to deliver the highest power.

Who now expects a very warm tube sound from the Amp14 will perhaps be disappointed. The Amp12 plays quite a bit warmer than the Amp14, and the latter minimally warmer than the Amp11Mk2s. The Amp11Mk2s is the amp that pushes the attributes of "speed" and "resolution" on the ROHM DAC to the extreme, i.e. tickles everything out of it.

The Amp12 plays with more punch, much warmer mids and slightly recessed highs. This combo may be suitable for very bright headphones or IEMs, but the Amp12 is not an all-rounder like the Amp11MK2s! The Amp14, on the other hand, is just as much of an all-rounder and sounds great with all my headphones and IEMs! With the Utopia 2022 downright magical! This additional tube character over the frequency response gives voices and especially acoustic instruments more naturalness.

The bass range seems tight and always has enough punch. Here it plays on par with the Amp11MK2s. Only the Amp12 has more bass. The treble on the Amp14 is just as expansive and resolving as the Amp11MK2s, but achieves this with a smoother presentation. Now for the Amp14's very best attribute, soundstage. Where the Amp11MK2s already conjures a very large stage thanks to the ROHM DAC, the Amp14 makes it seem even deeper and more holographic! I have yet to experience the Utopia 2022 and my two 64 Audio IEMS U4s as well as Blanc with this level of depth. This is definitely a characteristic of the KORG tubes, because directly via lineout on the Niimbus US4 I do not have this depth. There it settles on Amp11Mk2s level.

In summary, I can say that I will now prefer to use the Amp14 in my DX320.

The U4s is a newcomer to 64 Audio with 4 drivers that wants to have its say in the class of IEMs around 1000 USD. This much is already revealed, that it also has features that were previously reserved for the higher-priced models.

The U4s' scope of delivery corresponds to that of the higher-end models, such as the U12t. In addition to a round leather case, it includes a silver-plated 3.5mm connection cable as well as a few sets of silicone (from SpinFit, among others) and foam tips. A balanced cable would be another cherry on top in this price range.



The build quality is, as always with 64 Audio, 1A. The blue metallic painted shells with the dark meteor design of the front panels look insanely good. Fortunately, the paint is also not sensitive and the surfaces are nice and smooth.





The U4s uses 4 drivers. A dynamic for the bass range, 2 BA drivers for the mids and a tia driver for the treble. Yes understood correctly! A dynamic driver for the bass! How much I have always wanted this for the U12t. And this dynamic driver is one of the highlights of the U4s, but more on that later.

The second highlight is the award-winning tia driver, which is used here for the treble range and was previously reserved for the more expensive models. Tia (Tubeless In-Ear Audio) is a patented IEM design method that aims to reduce unwanted resonance and distortion for a transparent and lifelike sound signature.

The U4s, like some other models, comes with Apex modules that allow for fatigue-free listening. Apex (Air Pressure Exchange) is a patented ventilation system that dissipates air pressure in a sealed ear canal, allowing you to listen comfortably for longer. This ventilation reduces listener fatigue and provides a much more realistic sound image. Each module produces a slightly different frequency response, especially in the bass. The higher the number, the more bass pressure. So the M20 module delivers the most bass, MX the least. For the very first time, an M12 module is included, which is delivered exclusively with the U4s and is located somewhere between MX and M15 in the bass range.

I used the U4s balanced with my Shanling M8 DAP. For this I used a pure silver cable from Invictus with 4.4mm Pentaconn connector. This brings a minimally better audibility than the delivery cable in unbalanced operation. By the way, due to the Linear Impedance Design (LID) the U4s does not change its frequency response and keeps it at the different output impedances of today's DAPs. Depending on the model, these vary between 2 ohms and less and no longer play such a large role in driving the U4s.



For the 64 Audio models with the longer Nozzles like the U12t or also the U4s, I basically use the JVC Spiraldots in combination with a rubber ring to create a small distance, because the Nozzles are just very long. These rubber rings are also used on PC keyboards as dampers for the keys. I basically don't use foam tips at all anymore, because they give me too closed a sound pattern. I can highly recommend the SpiralDots for the U4s, but also the included SpinFits, both of which hardly differ in sound. In terms of comfort, I find SpiralDots better, but only in combination with the rubber ring, otherwise they are a bit too flat for the U4s.

But let's finally get to the most important thing: How does it actually sound? My listening impressions were mostly made with the Apex M15 module. I tested all modules and found the M20 module to be a bit "too much" in the bass. MX sounded way too thin to me. M12 offers even better audibility, with just enough bass compared to M15. However, I feel the latter is the happy medium and the module of choice.

As I mentioned at the beginning, the bass range is the highlight of this IEM for me! It goes down really nice and deep. There is a slight emphasis in the midbass area. In terms of quantity, the U4s also satisfies bassheads and reproduces modern genres like EDM, rock, pop and metal effortlessly. I'm amazed at the bass quality paired with a great "rumble" 64 Audio puts on stage here in this price range. You have to get a Blanc out that can top that a bit. This physicality in the bass is something I've always wanted for the U12t. Not only does the bass offer this physicality, but it is also tonally very homogeneous and never blows out into other areas (unless you use the M20 module!) and always remains controlled and fast.

Tonally, we are dealing with an IEM that plays on the brighter side, but without coming across as sibilant in the upper range. It plays very dynamically and lively with resolution, where you don't miss anything at first. Only in direct comparison with a U12t or Blanc do you notice that the latter resolve the sound even finer.

In the midrange, the U4s plays more restrained than, for example, a Blanc or U12t. Voices sound further away. Instruments do not seem as corporeal as with the Blanc. This type of character makes the U4s feel fresher, more dynamic, sometimes faster than the U12t. For fast and aggressive metal I find the U4s like made or if you like it more relaxed and not directly "in your face". Since I listen to a lot of metal I have caught me during the review again and again to hear instead of 1 track of an album 3 or even 4 tracks in a row, because he simply makes a very good figure in this genre and can go down here brachial to the point, if it requires the recording. But also acts very fast and takes aggression out of the mids.

64 Audio has shown a very good hand in tuning the treble, which is probably also due to the tia driver. The highs seem very fresh and resolving and are minimally boosted a bit, which contributes to the brighter overall tuning. With the M15 module, I feel they resolve well without being annoying in the slightest. If you start the whole thing with M12 or even MX module, it can be a bit "too much" for some. Here, the bass is then properly "bounce" and the treble comes fully to the fore.

The soundstage of the U4s is exemplary. The very open presentation fans out a wide stage with very good depth imaging. Due to the slightly lower midrange, everything seems a bit deeper than on the U12t. Only in terms of instrument separation does the U12t, like the Blanc, show the limits of the U4s.

All in all, we have here again a "winner" from the house of 64 Audio, which makes the price range around 1000 USD all honors. Just consider the technologies used in this model, which have been developed by 64 Audio in recent years and are used in the much more expensive models. Tia, Apex, LID, and even the four-way crossover, which reduces distortion in the lower frequency range through the use of a proprietary electronic low-pass filter.

Overall, it's amazing how close this U4s comes to a U12t and even beats it in parts. I find the bass of the dynamic driver superior to that of the BA driver in the U12t. The U4s stalks a Trio quite closely, only acting a bit fuller and more natural in the midrange as well as offering more resolution, otherwise they are almost on par. Personally, I like the somewhat restrained midrange as a counterpart to my Blanc. This reminds me of my 1266 Abyss TC, which is also known for being one of the best metal headphones of all time. And this has, as is well known, also a slightly recessed midrange, in order to be able to reproduce more aggressive music a little more relaxed.

From me, the U4s gets a clear recommendation!