Rhapsodio Supreme V3 Review: The Emperor

Established in 2014, Rhapsodio (RSD) is an experienced earphone/cable brand based in Taiwan and Hong Kong. If you haven't heard of this brand, it's great that now you have. Rhapsodio is considered one of those brands that you may not known before, though once you listen to their products, it's hard to escape from them.


They're a veteran brand that utilizes unprecedented tech and sound to deliver truly unique products, making it hard to find a replacement if you fall in love with a particular product of theirs. Rhapsodio has presented several flagship IEMs in the past - such as Infinity and Zombie MK8. Their newer flagships like Bomber MK2 and Supreme V2 have also gained lots of good impressions from those who have tried or own a pair.


Rhapsodio now presents a new summit-fi IEM that surpasses all of their flagships, called the Supreme V3. This one is a heftily priced product listed as $6399 which questions how good they sound, and how they compare to other summit-fi IEMs. It's time for us to find out.





Packaging: Bamboo and Steel

I must say, the packaging is quite simple - just like Oriolus Traillii did. Supreme V3 comes in a small bamboo box that is padded with cushions inside. This bamboo box serves both as a packaging and as a storage case, which is quite efficient in usage. Rhapsodio states that they are using bamboo packaging to offer a premium experience while being environmentally sustainable. Inside the bamboo packaging sits a hand-etched metal case.


The metal case is quite heavy so it better serves as a storage case than being portable. there isn't any padding inside the metal case which may be a concern - yet Rhapsodio includes a thickly-padded earpiece sleeve that would safely protect the IEMs from scratches or rattling while stored in the case. Other than mentioned, the included accessories are a 4.4mm RSD cable, 3 pairs of E-Pro Graphene silicone tips, a pair of Dekoni foam tips, a cleaning cloth, and a cleaning tool.




Earpieces: The Gold Luxury

The beauty of these earpieces is no joke. Supreme V3 uses a brass chamber with a fully 24k gold-plated surface. Brass is a broadly used material for wind instruments to deliver rich, deep nuance with sharp details. The surface is mirror-finished that finishes its gorgeous looks. It uses the standard 0.78mm 2pin connection but with proprietary sockets that ensure better reliability and connectivity than standard connectors.

Supreme V3 is perhaps unusual with its driver setup too. It's common to see several dozens of BA and EST drivers to be involved within this price range, yet that isn't the case here. Supreme V3 uses a single driver. Yes, just one. But not any kind of driver, however. Supreme V3 uses Rhapsodio's proprietary 12mm Ultramag 5G Magnetostatic (MST) driver.





What is a Magnetostatic?

For those who aren't aware of what an MST driver is, simply put it's a hybrid driver where a dynamic driver is coaxially fused with a super tweeter diaphragm along with multiple magnets to better control the driver movements. Magnetostatic is a new form of driver created by EarBridge, South Korea.


The advantage over EST is that MST does not require high voltage or an external converter. As an MST driver houses both a full-range driver and a tweeter, it doesn't necessarily require an additional driver like EST does. The sound characteristics differ between these too of course. Some of you may be familiar with MST drivers being used on more budget IEMs such as Shuoer Tape or Noble M3. Yet, we're talking about a completely different quality of components and performance here - it's like comparing between Sennheiser IE900 and a KZ 1DD. Supreme V3 uses two aluminum diaphragms and the number of magnets remains a secret.


Even still, it's more than reasonable to feel skeptical that Supreme V3 only uses a single driver as such an expensively priced IEM. I had the same doubts which were soon resolved once I heard them. We'll be talking about the sound in the upcoming sections shortly.





Stock Custom Cable: The Copper Wizard

For the stock cable, Supreme V3 comes with one of their flagship custom cable, the Copper Wizard MK2 in a 2-braid format. Copper Wizard MK2 uses 6N Single Crystal Copper with TPU shielding, finished with black nylon fabric. Value-wise, this would be about $800 as the standalone Coppe Wizard MK2 is 4-braided and retails at $1600.


The Copper Wizard Series is one of the most renowned line-ups of Rhapsodio and is also the series that popularized the cable industry to incorporate fabric shielding into their cables. The cable is light and pliable enough to use without difficulty or microphonics. All components including the chin slider are made with metal with carbon covers which gives a clean, premium look. The plug termination comes as 4.4mm TRRS but would be possible to change the termination upon request.





Sound Impressions: Lows

Supreme V3 has a rich W-shaped sound signature with a gentle boost to the vocals. Supreme V3 makes itself apparent by embodying a powerful dynamic driver. However, the bass has an extremely refined, lush texture that is definitely something different from what a general dynamic driver is able to deliver. Although I'm a dynamic driver lover, Supreme V3 certifies itself to be the next-level IEM by setting higher standards against a single dynamic driver.


The strike and decay are sharp and accurate, knowing exactly when the bass reverbs should step in and out. The headroom for the bass feels grand and has excellent extension and depth. Although the bass presence is quite significant, the quantity isn't particularly "strong", having just the right portion to be compared with a v-shaped. We could say that Supreme V3 decided to take the vastness of a basshead sound signature without making the bass sound bombastic or boomy. Low-ends are strictly under control to create a clean, resolution-focused environment.



What I take most importantly from Supreme V3's bass is that bass dynamics feel completely continuous. In contrast, the bass dynamics reproduced by multi-BA drivers sound choppy and stiff, not hosting the sense of bass flowing along the music. A dynamic driver certainly does better in this field, yet still doesn't stand a chance against the Supreme V3. The bass of Supreme V3 feels like biting into a well-cooked, juicy T-bone steak that melts in the mouth but also gives great chewing. The elastic yet dead-tight low-end bounces would continuously please my ears.





Sound Impressions: Mids

Perhaps the vocals would be the suspect that would make most people fall in love with Supreme V3. Let's talk about what is so impressive about it. First, the vocals have a super rich and sweet tone while keeping a neutral tonal balance. This amount of richness would easily cause the vocals to sound colored, unnatural, or out of focus... yet Supreme V3 doesn't.


The second is that vocals have a perfect mixture of analyticity and musicality. Even high-end models commonly don't quite get the exact sweet spot between analyticity and musicality - as they're not easy at all. The reason could also be that personal preference kicks in. Although the vocals are sharp in focus, Supreme V3 makes sure to cease the sharpness right before it actually gets sharp to the ears, along with that the textures are extremely refined. The end result is surreal, meticulous vocal details that coexist with creamy and emo nuance.


Midrange takes a closer step to the ears with great 3D imaging. Vocals scale large and vast while staying up close. There is abundant airiness present throughout the midrange, offering an open-field, endless soundstage for the vocals to do their singing. Vocals keep a consistent tone and intensity with no sibilance or audible dips.





Sound Impressions: Highs, etc.

The treble performance of Supreme V3 easily surpasses many flagship IEMs with multiple EST tweeters. High notes are clear and airy but not overly bright in tone. The airiness and crispness found in the vocals are naturally carried toward the highs, presenting an exhilarating shine to the trebles with no strong fatigues.


Supreme V3 is quick-witted in handling complicated instrument inflows. The treble strikes are prominent, solid, and responsive. Its ability to finely separate each strand of treble texture is truly incredible. More importantly, such technicality is brought out in an incredibly harmonic way, resulting in harmonic yet analytical trebles to the finest. As mentioned previously here and there, the soundstage is large and vast. It doesn't feel bloated, exaggerated, or loosened but feels more like Supreme V3 being in a different weight class from many flagship IEMs.




How is it different from Supreme V2?

I'm confident to say that the Supreme V3 is a full upgrade from the Supreme V2. The resolution, sound scale, bass extension, treble extension, soundstage, sound depth, density, soundstage, color tone, and so on. The two biggest differences would be the resolution and the scale of sound. Supreme V3 kept everything good about Supreme V2 while going through the transformation, so those who enjoyed Supreme V2 will love the Supreme V3. On the next page, we will be putting Supreme V3 to the test with some serious flagship contestants.





Compared to Oriolus Traillii (Review link)

Nowadays having the nickname called "The Bird", the Traillii is Oriolus's summit-fi flagship IEM. It's also the most expensive item reviewed by us so far until Supreme V3 comes up as an opponent, being slightly higher in pricing. Let's see how these god-level IEMs perform and compare with each other. Both Traillii and Supreme V3 have an all-rounder sound signature with top-notch performance. They are similar in the sense that they have a grand headroom that draws out immense depth imagery and vastness. However, the tonal balance or the overall nuance of the sound differs between them. Traillii is warmer, darker, and has a more solemn tone. Supreme V3 is brighter, more energetic, and has a more refreshing tone.


These two also differ in presenting the sound texture. Traillii carefully garnishes the texture grains on top of a smooth sound whereas Supreme V3 is clarity-based and daringly yet skillfully exposes the texture with no fatigue. Traillii and Supreme V3 both have wonderful coherency and analyticity yet Supreme V3 delivers a more solid, tight punch for the bass. Supreme V3 also takes another win in technical performance such as resolution and clarity, overall providing a better environment to tune into the tiny musical details. But then again, Traillii ensures itself to go neck to neck with its uniquely musical sound profile, so the matter comes down to personally choosing between musicality or analyticity.


Traillii is like a Rolce Royce that pursues a gentle, classic style of sound profile. Or a master craftsman who doesn't fall behind the trend and produces stylish classics even during the modern days. Supreme V3 is like a Ferrari, giving a feeling that it would be uncontrollable like a strong, wild horse, yet unexpectedly, it behaves extremely delicate and controlled. The passionate-fueled nuance, crispy bite of details, and finely-tuned timbre work out just beautifully.




Compared to Campfire Audio Trifecta (Review link)

Trifecta is Campfire Audio's new summit-fi flagship which is also the most expensive IEM they have presented so far. Both Trifecta and Supreme V3 resemble each other in that they have that powerful and large sound profile, yet they differ a lot as we dig into the details. First thing, the texture. Although Trifecta differs from conventional single-DD characteristics, Trifecta's texture still feels very loyal to a dynamic driver's feeling.


Meanwhile, Supreme V3 is definitely different. Something different. It's hard to describe so well since it's a newer form of driver, yet while it does have significant characteristics of a dynamic driver, the texture feels a lot more fluid-like. A silky fluid that points out all the fine texture details yet continuously flows down the spectrum. The continuous flow, consistency, and texture fineness are incomparable. Both the vocals and trebles are more natural, realistic, refined, and clear on Supreme V3. The differences are plenty enough that Supreme V3 is a complete tune-up from the Trifecta. Lastly, the headroom is also larger and more spatial on Supreme V3.



Before you make the judgment on who won this comparison, here's a kind reminder that Supreme V3 is the flagship of flagships, even for the pricing. Trifecta ($3375) is nearly half the price of Supreme V3 ($6399). Despite their differences in performance, Trifecta is fighting extremely well considering such a price gap. It's also important that personal preferences could make you disagree Supreme V3 is necessarily better than Trifecta. Alongside, Supreme V3 gave up a good portion of its usability and went for sound quality by sporting a giant full-brass shell. Outdoor usage is far more convenient with the Trifecta, not only because it's light and compact but also because it doesn't scratch easily as Supreme V3 does.


Trifecta is a wonderful flagship IEM that easily surpasses many flagship IEMs, let alone its charms being so unique that it's capable of trapping you to have it as your #1 IEM even matched with higher-priced ones. It's just that there are still flagships beyond flagships. All proper flagships do their basics, so the decision would be more about what you like than what is "objectively better".




Verdicts: The Flagship of Flagships

Supreme V3 is a state-of-the-art IEM that has set the highest benchmark in technical ability and overall performance. It opened the endless possibilities achievable through a single driver and an MST driver. I feel this is the time for brands to receive a wake-up call to dig into developing MST drivers, not only flagship models but also affordable ones. This elegant powerhouse impacts you with a great shock of musical enjoyment and heavenly sways of silky trebles are blissful to listen to. If you would like to hold an IEM with possibly one of the highest performances brought with great harmonic, natural manner, Supreme V3 will be the luxury IEM that will please both your eyes and ears.

MMR Balmung Review: Takeover

Founded by the head of Jomo Audio, MMR (Metal Magic Research) is a Singaporean IEM brand that has been presenting unprecedentedly unique products along with their new cable brand, Eletech. MMR’s first two releases, Homunculus and Thummim, were just enough to gain a significant amount of interest throughout multiple countries. I was also able to have extensive listening sessions for these two special IEMs, I could tell their sounds were as gorgeous as much as their form factor. Of course, we cannot forget to mention Gae Bolg - the youngest of the line-up that well represents MMR's house sound signature for a lower price.


While MMR announced an extremely limited edition of Thummim just recently, Thummim is officially discontinued and Balmung has now appeared as the successor to take over the throne. FYI, both Gae Bolg and Balmung first made their appearance to the MMR family as CIEM-only products when the brand just got launched - which soon disappeared to be revamped into their UIEM forms. It was a necessary change since using resin for the housing material would somewhat go against the brand name. Since being reinvented into its official form, Balmung shows significant differences from Thummim in many ways. Today, let us go through the highlights of its sound signature and detailed comparisons against its predecessor and other flagship IEMs.







Earpieces - The Form Factors

Although Balmung uses the same form factor used for Gae Bolg, I'd say Balmung is one of the most beautiful IEMs I have encountered. Balmung uses mirror-polished faceplates with articulated cut-outs and navy backplates with teardrop-shaped, CNC-machined aluminum shells. The faceplate cut-outs reveal its phantasmal concept including the sword shape in the middle, representing the mythological sword called "Balmung". The blue-silver combination gives Balmung a very luxurious look without overdoing it.


The other side of the earpiece also has a similar but simpler patterning, allowing the faceplates to gain their demanded shine but not leaving the inner side too plain. Nozzles are long enough to compensate for their rather large earpieces and the overall fit is quite comfortable. It is still a large size for those with smaller ears, though most users would not have a problem fitting these into the ears as the ergonomics are further advanced from Homunculus or Thummim. The cable sockets are terminated with non-recessed CIEM 0.78mm 2pin.

Earpieces - The Specs and Balmung Structures

Balmung has a full-BA setup using 4 vented lows, 2 vented mids, 4 mid-highs, and 4 tweeters. Consisting of 12BA drivers in total, MMR has also incorporated proprietary inner chassis and technologies. As mentioned, the transducers used for lows and mids are vented instead of compressing the sound through the transducer's bore. This allows Balmung to create a wider, fuller, and more natural sound for the lower end. Several manufacturers have also been applying to their recent TOTL IEMs (64Audio, Unique Melody, FIR Audio, etc), however, MMR's BA ventilation setup is quite interesting as they've applied it to lows and mids - while the mentioned brands vented their super tweeters only.


These 12 drivers are infused all in one using the Balmung Acoustic Chamber™ which refers to the proprietary inner chamber specially designed for Balmung, and a 4-way passive EFD (Electro Frequency Division) for efficiently dividing the sonic bands. The concept of the inner chamber shows similarity with Campfire Audio’s Solid-Body™ structure, but MMR's execution was done more daringly. Balmung uses a wider and longer inner chamber which even has spiral-like waveguides to create its signature sound as well as to correct the phasing differences between the drivers. Such a way of correcting the phase is superior to the traditional tubing method (applying different lengths of tubes to each driver) as the sound is significantly more organic and fuller. For the final touch, Balmung uses an asymmetrical TriBore Waveguide within the inner chamber, allowing these sound reproductions to stay cleanly divided until they reach the tip of the earphone nozzle.

Cable

Balmung is the first of the MMR family to come with a dedicated custom-grade cable. Named the Balmung Cable, it is made of 26AWG UPOCC Silver-Plated Copper wires with a 4-braid structure. Cable termination is available in 2.5mm, 3.5mm, and 4.4mm with Y-split and plugs also designed to match Balmung's design concept. These parts are also made of polished metals and engraved with MMR logos. One thing to note is that the Balmung Cable is terminated with non-recessed 0.78mm 2pin sockets, which offer a seamless cable connection with Balmung but are not compatible with IEMs that use recessed 2pin termination. Any other non-recessed 2pin IEMs are fully compatible, of course.








Sound impressions - Lows

With confidence, Balmung has one of the very best bass performances among all full-BA IEMs ever created. The full-bodied bass punches are well tamed and packed with richness, delivering firm slams without causing bombastic vibes. Lows scale grand and spatial thanks to the vented drivers. However, what's impressive is that Balmung is an expert in controlling the reverbs for the right amount, letting natural fade-outs happen but preventing muddiness from kicking in. This results in a warm yet pure and clean low-end atmosphere to take place. The general impression of Balmung's bass presentation is clearly different from traditional tube-based tuning, and in a positive way. The Balmung Acoustic Chamber™ naturally allows the bass to further unleash its potential while still staying under the "boundaries" that MMR has specifically designed. The vented low-end drivers would have certainly gotten the bass to get all loosened up if it wasn't for the Balmung Acoustic Chamber™, so I could feel this inner chamber system plays a critical role here.


The bass extension may also as a concern for many - but rest assured. As who was formerly an avid basshead user (now I'm more of an all-rounder), the compliment at the beginning of the paragraph has been made also for this reason. Although I've been up for dynamic drivers when it comes to bass, Balmung's lows extend very deep and clean which does not show shortcomings against dynamic drivers. Ultra lows show a nice presence with thick colors.

Sound impressions - Mids


Let's now talk about mids - or the vocals. Mids are slightly pulled towards the front and show good moistness to the texture, not being too dry or damp. Balmung upholds the good crisp that BA drivers typically possess but with noticeably smoother and better refined. It's a fine example of what high-resolution is, as you get to tune into the details without overwhelming your ears. Though yet, the strongest charm of Balmung is found in its timbre. The sweet creaminess makes the nuance of the vocals somewhat dreamlike or "magical" as the name of the brand suggests. This isn't done in a way that makes the vocals sound colored, as it has more to do with the chassis tuning and driver setup.


Personally, this sweet and creamy tone is my favorite element from this IEM since it enriches the music while respecting the originality - just like what a pinch of salt and pepper does to a nicely cooked steak. Vocals have a neutral-bright temperature that aligns with the IEM's smooth nature but could still throw upper-mid airiness. Balmung also forms vivid depth and spatiality to the vocals. Unless you desire a fidelity type of sound that has flatter imaging, Balmung's immersive tuning will come pleasant to the ears. Mids are sibilant-free and flow without any disharmony in tone.






Sound impressions - Highs, etc.

Since Balmung desires a soothing sound signature, trebles are tamed in terms of intensity but unleash the details required for a flagship IEM. I found it interesting that the trebles are very fine and tamed in a way that EST drivers would typically behave. Highs show accurate, tightly-controlled splashes that are fine in texture. It's an elegant style of treble because it doesn't get rough or aggressive in presence yet still manages to keep a distinctive presence in the music. It's likely not an ideal choice for those looking for highly-boosted treble machines, yet Balmung's treble just creates a highly homogenous, harmonic sound that allows all details to shine evenly throughout the spectrum. There sure are W-shaped sounds (or a sound that highlights all frequencies) that creates an intense treble presence, but the difference is that such IEMs are prone to sounding over-exaggerated while Balmung remains thoroughly neutral and realistic. The brightness isn't particularly bright nor dark as it tips towards neutral-dim.


When it comes to the soundstage, Balmung creates one of the largest headrooms I've experienced from an IEM. It is similar to the way how Thummim does (further details will be discussed below in the comparison) but with more vastness. The height of the headroom doesn't reach tall as Thummim's but a minor difference. Needless to say, separation is spot-on with high accuracy and harmony. The sound details are separated in a smoother way than Thummim. Alongside, Balmung gives velvety tingles more than the crisp bites as Thummim does.







Compared to Gae Bolg


Balmung and Gae Bolg are quite similar in overall tuning. But of course, although Gae Bolg is a fine performer for its competitors, there is a bold gap in performance if we match it up against Balmung. Balmung brings out significantly more details in texture and depth. It's interesting how Gae Bolg's fine imaging suddenly sounds dry and one-dimensional once you switch back from Balmung. I've found the largest difference to be found in the vocals. Mid-range immersion and liveliness are incomparably better on Balmung. The characteristics of lows and highs are also very similar too but with noticeable gaps in detail retrieval, of course. In all, if Gae Bolg is what offers a good example of what MMR's house signature is, Balmung shows how far MMR's house signature could expand in performance. If Gae Bolg's sound signature suited you well and would like to extend such sound signature to a summit-fi level, Balmung would probably be the best option available.






Compared to Thummim

The most anticipated comparison for Balmung would be Thummim - the discontinued flagship IEM of MMR. Thummim adopts 9 drivers which consist of 1 Foster DD, 4BAs, and 3EST drivers. At first glance, Thummim is overall more vibrant in sound signature and vivid in tonality. Lows have that signature dynamic driver damping. The bass quantity and mass are similar (or roughly the same) to Balmung yet it feels a lot heavier weight and stronger in slam.


Thimmim's mids highlight more intensity and dynamics, making the vocals sound crisper and tighter. However, Thummim is less refined in texture or has a thicker grain. Balmung's vocals, on the other hand, spread more evenly and generally sound calmer. the surface also feels smoother and finer in grain. Alongside, Balmung desires a slightly more reference-like sound with a more neutral timbre while Thummim has a thin coat of coloring to its tone. Thummim's overall sound signature shows masculinity while Balmung is just about neutral. Hence Thummim would vary more in likes and dislikes than Balmung.

Verdicts

While it may be overlooked by pre-existing brands, MMR is immensely loved by many once you get to listen to them. Although I was lured to the two debut models simply due to their unprecedented looks, it wasn't long for their IEMs to get me fascinated by both - Thummim and Homunculus. Of course, the most impressive one was the Thummim, hence I had to grab one eventually. As an avid fan of the Thummim, it was sad to hear its discontinuation news yet Balmung was born to replenish its disappearance or to even surpass.


Balmung isn't born only to replace Thummim - but to also introduce noticeably better ergonomics and more reference-based tuning. As you explore more and more IEMs, you eventually realize that things all come down to quality components and tuning skills more than what and how many drivers were used. It still surprises me that a full-BA setup could produce such grand staging and dynamic bass response. If you seek an endgame IEM that produces one of the largest soundstages possible, or a more organic and comfier version of Thummim, I would confidently recommend this one.

Eletech Illiad Review: The Dignified

Regardless of how many times, it always excites me to come across a brand-new brand, especially if it's a major one. Eletech is an innovative new cable manufacturer based in Singapore backed up with well-known masterminds in the audiophile industry. Eric is one of the co-founders of Eletech who previously worked extensively for Effect Audio. Eletech started off their journey only a few years ago along with their new IEM brand, Metal Magic Research (MMR), these talented professionals have already managed to secure a big presence within this competitive market.


Eletech offers a wide range of price options and each equipped with its own unique characteristics - Fortitude, Prudence, Socrates, Plato, and Illiad. Illiad is the flagship model that Eletech claims to be an incredibly soulful cable that targets apex performance. With that said, let us now find out if the Illiad lives up to our tricky expectations along with some comparisons with other flagship cables.

Packaging

The Illiad packaging comes in with a clean-cut design with an ancient Greek theme that lives up to its naming concept. Unboxing the lid reveals a brushed, golden metal emblem carved with logos of Illiad and Eletech. Right on the lower side sits a premium leather case that encloses the cable itself. The case feels great and smooth in the hand that shouts all about quality. The Illiad logo is applied to the metal carving of the zipper tab as well as on the lid of the case. The inner portion of the case is finished with smooth materials that prevent both the IEM and the cable from gaining scratches.

Aesthetics/Details

If we are talking about a top-tier product, not only the sound should be stellar but also the appearance. The looks on Illiad are simply gorgeous. The complicated yet organized, fine braidings carry subtle glitters which are clearly displayed thanks to Eletech's FlexiMax™ Insulation. Last but not least, the iconic connectors and splitters that are solely customized for Illiad. It is still hard to fully bring out its beauty through my lens, though I can say with confidence that the aesthetics simply ooze pure elegance.


For the wire components, Illiad uses the "triple stellar materials", the latest trend going on in the cable industry. The meaty but not chunky 24AWG wires are comprised of Flawless Monocrystal Silver, Palladium Plated Silver, and Gold-Silver Alloys. The core of each wire is installed with Kevlar Resilient strands that ensure better durability and flexibility, thus Eletech's unique Type-4 Litz Geometry that applies the end-touch to Eletech's intended acoustic tuning. Not to forget mentioning that the Litz structure and individually enameled strands also prevent possible oxidation or browning effects to the wires.

General Sound Characteristics

Being aware that Illiad is a tribrid cable might make you assume it to be sounding rather vibrant. However, in fact, Illiad thoroughly respects the overall balance that enables the IEM to keep its original charms. Once securing the naturality, Illiad then makes a major touch-up to the IEM, resulting in boldly noticeable and pleasable improvements that are unique to Illiad. What I particularly appreciated from the get-go is its separation. As listening to tracks that I've been tuning into for a while, small bits and particles of details would gently bloom here and there. These fine details are cleanly and clearly positioned within the IEM's imaging, perhaps resulting in one of the nicest separations I have experienced from an IEM cable.

Continuing...

Illiad's smooth yet crisp upper ends feel as if Mellianus (a premium full-BA IEM from Oriolus) has been reborn as a cable. Highs deliver clean and smiling strikes that feel organic and natural, pronouncing the treble instruments just as they should be. Mids follow a similar path but with more meat and density involved. The tone is refreshing and very tasteful, though it does not get unnatural whatsoever. As said, Illiad highly respects the overall balance - but at the same time, the tone gets undeniably rich, which I would call the change as a "natural boost" of the tone. Mids also gain a mild boost in brightness and airiness, making the vocals sound more virtuous.


The staging nicely expands in both width and height but not overdoing. The background gets calmer and cleaner without particularly tipping towards bright nor dark in its background theme. Lows stay mostly consistent with what the IEM originally had (in terms of texture and quantity) but with better weightiness and density. Bass strikes drop down deeper and heavier that allows low-extension to be presented more vividly.

Deeper into the rabbit hole

While the separation got me impressed at the very beginning, the next charming element found from Illiad is its texture. It produces extraordinary elaborated and fine grains that are smooth as silk. It retains both the crispness and luster to the texture, hitting that sweet spot between the analyticity and musicality. I'm quite pleased to see the surface getting smooth as if it's polished all while better exposing the texture grains. Although I once thought that achieving both the smoothness and graininess were contradictory, Illiad surely broke that bias I had.


Zooming out and commenting Illiad in a nutshell, the overall sound gets shinier but also deeper as well. The improvements are brought onto both ends, giving a complete upgrade throughout the range except that it does not deteriorate the IEM's intended sound. Not to forget mentioning that the scaling of the sound expands which makes the sound feel more dynamic but done very gently. Illiad nails it when it comes to adding luxurious afterglow and delicate touch-ups without making them feel to be "colored" whatsoever.

Matching choices and expectations - 1/2

While cables have their own characteristics and nature, the end result all comes down to the synastry with the particular IEM. Certain IEMs or cables are very dependent while some are very omnivorous. In that sense, Illiad tips over to the side of being quite omnivorous. Normally I would have much to say about how a certain cable generally works out with certain driver combos - but not much for this time. Why? Because Illiad showed very stable and consistent results throughout various combos I have tested. That being said, let us cover what and what not to expect while making your matchings with Illiad.

Matching choices and expectations - 2/2

Let us cover briefly review Illiad's overall vibe as a recap. Major improvements and charms are tilted towards richer/finer texture, higher resolution throughout the spectrum, clearer upper-ends, luxurious reverbs, and so on. It'd like to stress that Illiad does not make significant alteration quantity-wise. The nuance and the sound quality is what Illiad focuses on, hence intending to boost a certain sound range is not so desirable (such as more or less bass quantity, etc). Illiad sure does aid the upper-ends quite significantly - but not to the point of altering the IEM's original tonal balance. Therefore, it is both safe and likable to assume that Illiad targets improving the "overall experience" and the sound quality itself, rather than focusing on a certain category or tuning the quantity.

Sound impressions - Paired with FAudio Project Y

If I have to come up with one more "Illiad-like" IEM other than Oriolus Mellianus, the first to come up to the mind would be FAudio Project Y (PY). This flagship tribrid IEM is known for having such a virtuous and clean sound signature - just as Illiad does. The first impression I'm getting with the PY-Illiad combo is that the depth, thickness of the colors, and headroom show significant improvements. PY's inherent vastness and airiness are stepped up in clarity but now the IEM does a better job bringing out the low-end presence and seriousness. It is like ying-yang; the whiteness was abundant from the sound, now the black, dark force is backed up. This leads Project Y to show larger contrast in brightness and leads into a more engaging listening experience.


The improvements brought upon mids are quite impressive in many ways. Vocals get fuller in body but not in the sense of making them thicker but more like bringing a heavier weight to them. I found this pleasing as the feminine charms of the mids sound more "fit" in body while not getting sulky or dull. Since that, the vocals sound fuller - yet not necessarily thicker. I could tell that the PY's clarity stepped up once again as the vocals' tongue clicking now sound up-close and even more realistic.

Sound impressions - Paired with HYLA Nerva X

This time we match Illiad to HYLA's LE flagship model, the Nerva X. This one is a 10BA IEM featuring pure silver housings, renowned for its beautifully grand staging and low-ends. What I like from this combo is that Illiad deepens the harmonics (or the end-taste) of NX's reverbs without clouding up the atmosphere. Mids especially gain a greater effect in terms of this as well as making the vocals sound larger and livelier. As mentioned previously, Illiad smoothens out the surface while unveiling stronger details, giving Nerva X moisturized upper-ends and vitality. Treble notes are a bit more analytic and crispier but still within the boundary to call it smooth.


Continuing on with the impressions, Nerva X's natural and silvery reverbs are now clearer and cleaner. It is a type of airiness that feels to be achieved by widening the reverb area itself, rather than boosting the brightness. Making the sound clear and airy without applying many touches to the original brightness - I personally take that as a remarkably charming point from Illiad. This characteristic was also desirable for Nerva X since you don't want to lose any of its stately, grand lower body. This is a type of combo I would call that elegance met elegance. Both in looks and the sound.

Sound impressions - Paired with Dita Audio Dream XLS

Lastly, it is time for us to check out the results with Dita Audio's flagship 1DD model, the Dream XLS. For the past years of cable-rolling, I've been collecting a common impression where single DD IEMs not working along so well with hybrid/tribrid cables. Either the tone or the headroom often felt off and single-material cables used to work better in many cases. As apparent as Illiad did great with its tonality and tonal balance, pairing with Dream XLS creates a sound that is more than enough to lure our ears.


First off, a major revamp happens throughout the spectrum in clarity and analyticity. Compared to the default XLS-Oslo cable, the quantity and nuance of the bass stay similar yet much higher in precision. The bass lines are also thicker in color, making the thumps sound clearer yet deeper. Mids are where I personally find 1DD IEMs to be picky when being applied with hybrid or tribrid cables, though Illiad gets things done beautifully here.


The natural imaging (where you could feel the natural flow going on within the "sound box" - or the chassis) is preserved while seamlessly making the vocals sound three-dimensionally. This is done just enough to make the layerings pop out better and which are nowhere near being overdone. Highs strike feel more elastic that it better brings out the dampiness. Needless to say at this point, the treble strands are picked out with higher fineness. I'd like to mention that the distancing between instruments is done more manifestly that breathes in airiness. As a 1DD enthusiast, I appreciate how Illiad brings out the potentials retained inside Dream XLS's summit diaphragm.

Compared to Rhapsodio Silver Wizard MK2

For comparisons, let us bring out Rhapsodio Silver Wizard MK2. Being the successor of the original Silver Wizard, this thick pure-silver wire is another stunning cable that is worth matching against the Illiad. As apparent as it is from the aesthetics, Silver Wizard MK2 has a weightier, darker, and thicker sound signature than Illiad. The background gets significantly darker and blacker while the tone itself shines sparkly clear. Illiad achieves a similar effect in terms of "cleanliness of the background", though except that Illiad doesn't particularly make the background get darker. Illiad has a white, shiny sound that focuses on fatigue-free openness which differs from Silver Wizard MK2's blackish nature.


The imaging is mildly fuller and thicker, as well as presenting the reverbs more vividly and with great depth. Silver Wizard MK2 pulls the overall weight slightly downwards that aids the IEM to have a more serious, grand nuance. While the soundstage and imaging scale relatively larger on Silver Wizard MK2, the difference is nothing major as Illiad already achieves top-notch imaging. I'd say it is a difference between Illiad, a type that focuses on maximizing the natural (or in-born) charms of the IEM, and the opposite - Silver Wizard MK2 that adds more of his own "thing" to the sound. For speed and analyzing bits of small details, the Illiad takes the lead. If adding seriousness and bolding up the deep, grand groove of the music, then perhaps Silver Wizard MK2 would be an appropriate choice.

Compared to Satin Audio Zeus

Compared to Illiad, Zeus puts a bit more highlight on the sub-bass. The low-end emphasis isn't as strong as the Silver Wizard 2. It's reasonable enough to say the overall sound signature of Zeus seems to be sitting in the middle of Illiad and Silver Wizard 2. Zeus shows mildly thicker, huskier, and groovier nuance than Illiad. Reading up to this point may assume you to think that Zeus holds a higher ground in this comparison but not so easily. While Zeus sure is an attractive choice for those desiring a neural-masculine sound, Illiad strikes a counterattack with superior upper range and its neutral-feminine sound. The creamy fine details and layerings brought by Illiad make it just as captivating as Zeus.


Another noticeable difference is the color scheme of their background. Zeus has a dark and pitch-black background while Illiad has a soft white background that gives more clearance, in contrast. I like how Zeus gives me an impression of a well-made sedan with a calm and smooth driveability. For a depiction of Illiad, it feels like a fine, sparkly silk curtain that gently sways through the open window breeze. Both definitely deserve the flagship title for their charms and they sit on the very same tier.

Verdicts

Despite my shorter experience with the rest of Electech products, it already came clear and loud that Illiad is meant to serve as an epitome of Eletech's tuning philosophy among the entire line-up. Illiad is a product that shows how further in performance and closer in ideality these artisans could reach, making it a marvelous cable that well earns the flagship title. I would go far as saying that the Illiad is a must-try item for those who are into serious cable upgrades or willing to beef up your IEM extensively. As apparent as it was from the impressions, this one is going to be one of the best choices that allow you to feel what is to add aural elegance and mesmerizing finesse into an IEM.

AZLA Crystal Review: Kinda Xelastec but everything easier

It is no surprise to most audiophiles by now that eartips matter big time when talking about earphones. Even for those who weren't particularly passionate about sound quality and audio gears, simply swapping to an aftermarket eartip for whatever reason would be a good enough opportunity to realize the sound difference.

I previously did a review for AZLA Xelastec, eartips made of TPE which certainly impressed us in many ways. While Xelastec seemed to be just perfect, it still had its own drawbacks. Living up to the demands, as well as providing an alternative solution, AZLA once again released their latest eartip series - Sedna Earfit Crystal. Today's review will be aimed at the Apple AirPods Pro variation. Now - let's see what is different, why is different, and how is it different from Xelastec and the Apple stock eartips.

Foam, TPE, and but now once again... LSR.

Though if we vaguely categorize them, types of eartips could be divided into three groups; silicone, foam, a hybrid of both, and lastly - TPE (AZLA Xelastec). As introduced before, AZLA is a Korean IEM/eartip manufacturer that has been producing a variety of products including AZLA IEMs (Horizon, Orta, Zwei, etc.) and the Sedna Earfit series. Xelastec still holds the "flagship" of all AZLA eartip products, though Sedna Earfit Crystal, the latest variation of its series, comes neck and neck with Xelastec.

p.s. As a side note, be aware that there are parts that overlap with our previous Xelastec review. Feel free to jump to your needed topic, though I suggest going through all as such topics are likely backed up with comparisons, if necessary.

Why were foam tips popular in the first place?

Before talking about the other features of Xelastec, let us first consider why so many people have been using foam tips. Foam tips are contractible that allows users to insert them into the ears and let the foam expand accordingly to their shapes. Since that, foam tips make it much easier for users to achieve higher isolation and better comfort. Just as the name says – it is a foam version of an eartip that is “customizable” to every user since its cushion-like texture.


Drawbacks of foams

Now, there are some side effects once using foam tips. First, foam tips deteriorate fast. They would soon begin to diminish in contractibility and isolation. They are fragile, so they will start to show splits and cracks after some usage or eventually break down. Lastly, and above all, the foam itself serves as an extra layer of a damper to the earphone nozzle. This causes the sound to be duller, warmer, looser, and increased in bass quantity. Of course, it would be unfair to necessarily call such changes to be bad (since some may actually prefer their IEMs to gain those effects), though they are undoubtedly signs of degraded sound quality caused by the foam.

So we have Xelastec. Why not just that?

Now might be a good time to ask: why another variation of eartip materials other than TPE (Xelastec)? Well, that is because Xelastec has some clear drawbacks behind its unprecedented clarity and fixation power. First, Xelastec is a serious dust collector. It's good in collecting dust just as a piece of tape, so you get the idea. Although they provide immense fixation power and security to the fit, the dust problem appears to be inevitable due to its sticky texture. A quick rinse with tap water would do the work but it's still a hassle. The second drawback of Xelastec (or TPE) is the deformation. Xelastec's thermoplasticity allowed the shape to transform according to the outer surface (which would be your ear canals). However, if the eartips stay squished or pressed against another object for too long, the shape would stay deformed even without the thermoplasticity kicking into action.





TPE deformation

Don't get me wrong though, they are still fully functional like they've never been deformed before. Though it's still unpleasant to have a squashed pair of eartips to be installed to your earphones. Another scenario could be that the nozzle of the earphone is noticeably wider than Xelastec's. Having the Xelastec installed on a wide nozzle could enlarge the stem, causing the eartips to slip out easier on thinner nozzles. As described on Xelastec review, both scenarios could be solved by following through the 'hot water' trick described by AZLA - but the size of the eartip would mildly increase (really, really mildly). At the end of the day, you just have to keep them carefully stored to prevent them from collecting dust and

The Pitch - Sedna Earfit Crystal and LSR

Let us first define the difference between Sedna Earfit Crystal (Crystal in short) and Xelastec in terms of material. Crystal is made of medical-grade Liquid Silicone Rubber (LSR) and Xelastec is made of Thermoplastic Elastomer (TPE). Both are made of elastomers - but TPE is capable of reprocessing its default shape or form while LSR cannot.



Crystal vs. Xelastec

So does that mean Crystal won't have the grippiness and that "auto-fitting" experience as Xelastec had? That is not the case, ironically. Crystal is almost as grippy as Xelastec but not to the point of calling it sticky. The texture on Crystal feels a lot smoother than Xelastec and collects noticeably less dust. The fixation power also comes close to Xelastec. Most importantly, the shape does not collect ongoing deformation while being as compliable as Xelastec. It's quite surprising to see how comfortable these are without thermoplasticity.

Keep in mind that these impressions (at least for comfort and fit) are currently relevant for the AirPods Pro version as I'm yet to experience the normal IEM version of Crystal. But so far, I'm positive that the normal IEM version would be just as comfortable and compliable. Speaking of isolation, Xelastec seems to be a slightly better job due to its unprecedented grippiness.

Crystal for Apple AirPods Pro

Sedna Earfit Crystal is available in three variations - normal version (meant for general IEMs), TWS version, and AirPods Pro version. As AZLA did with Xelastec, they've made another eartip dedicated for the AirPods Pro. The stem is now shorter to make them perfectly fit into the Airpods Pro case without a problem. Airpods Pro also requires an additional eartip mounting adapter (since the original eartips are simply made in one unified chunk), so AZLA made one - but with superior construction and material. The mounting adapters are urethane-coated for stronger noise isolation and minimizing bass loss.

The Fit / Isolation

While ordinary silicone eartips have a rather smooth surface, Crystal is quite clingy in its texture as mentioned. The grippiness is similar to the latest SpinFit silicone but less wobbly. The eartips would snug right into the ears, unlike Xelastec which required a minor effort. The firmness of the fit is simply top-notch as the earpieces don't seem to shake one bit while I shake my head or do workouts. Inside the stem have deep grooves that secure Crystal to keep them intact with the earpieces.

The stock eartips from Airpods Pro were rather flimsy and gives an ambiguous firmness, although they did a mediocre job in keeping the earpieces intact. As Xelastec did, Crystal shows a significant difference when it comes to fitting as I could sense the eartips grasping onto my ear canals. Needless to say, firm fit means effectively filling up the ear canal, and effectively filling up the ear canal means effective isolation. These do provide better isolation than the wobbly stock eartips and bring up the ANC performance as well.

Sound comparisons - Crystal vs. Stock AirPods Pro eartips

I've always mentioned “Sonic Linearity” when dealing with AZLA products since this is one of their core design factor - to keep the sonic path straight as possible. Well, this was indeed applied to Xelastec before and on Crystal too. Crystal brings evident and pleasant improvements to the sound. It's a clear improvement rather than a 'change' as Crystal keeps the style of the sound as original as possible.


Alongside, the sound transmission feels to be faster and expeditious; I said feel because this effect may be limited to aural perception rather than technically speaking. Bass gets tighter and punchier, all while having loose reverbs or boominess neatly organized. Along with that, the bass grooves get thicker both in color and thickness. The results? A cleaner, tighter bass response that does not degrade the bass quantity but instead brings them out even deeper. Simply speaking, it removes unwanted elements that hold back the bass performance and adds up the necessities to make the bass sound even better. The bass slams are cleaner and stronger, overall making the bass response to gain changes that are nothing but ideal. Both Crystal and Xelastec overall show similar contrasts when matched against the stock Apple eartips, though there are still clear differences once we make the comparison between these two elastomer eartips.

Sound comparisons - Crystal vs. Xelastec

Let us put these two elastomer eartips up to the comparison. Xelastec draws a more v-shaped sound signature, bringing crisper, airier, and brighter sound. The bass quantity is pretty much the same on both eartips but with a bit of a cooler tone on Xelastec while a warmer tone is present on Crystal. The bass grooves are mildly clearer and cleaner on Xelastec. But then again, the vocal density, moistness, and fullness of the body are greater on Crystal. This is pretty much a tie and would come down to personal preference - Xelastec for analyticity and Crystal for originality or musicality.

Verdicts

AZLA came up with another sleek output that enriches the user experience in every way. From an audiophile perspective, Crystal is charismatic in the sense that it pursues sonic linearity same as Xelastec yet with different sonic characteristics. From an average, EDC user's perspective, Crystal's grippy yet sleeker texture guarantees a firm, stable fit without causing possibly excessive grip (such as eartips falling into the ears when pulling out) or collecting a bunch of dust. Not to forget mention that Crystal is more resistant to shape distortion, overall allowing to use the earphones more light-heartedly. If you are looking for an alternative eartip for your AirPods Pro, I would suggest that Crystal and Xelastec would be hands down the best two choices you could possibly make. If you prefer a smoother sound with easier usability, Crystal will be the very answer.

Nostalgia Audio Olorin Review: Naturally silver

Needless to say, there are small and large portable audio brands coming out every now and then. Most of them are lead by one dedicated team - but what happens when if a brand is created by multiple renowned pre-existing brands? Well, that is the case of Nostalgia Audio - 'the Avengers' brand co-founded by multiple professional brands and personnel around the globe.

Having the spirit of the brand itself is based in Hong Kong, Nostalgia Audio products are actively designed and shepherded by brands from Japan, Poland, and so on. Nostalgia Audio first introduced their first IEM, Benbulbin, as well as two premium custom cables - Olorin and Gandalf. We shall feature more articles and reviews about them, so keep your eyes on this brand and stay tuned for future releases. For today, let us check out one of their premium cable, the Olorin.

Packaging

Olorin comes in with a nice clean box. The outer silvery box is lightly engraved with cable drawings with a black Nostalgia Audio logo placed at the front. As sliding out the inner box reveals a black package that includes the nicely presented Olorin and its accessories. Other than the cable itself, Olorin comes with a soft pouch, a leather cable tie, a set of modular plugs (3.5mm TRS, 2.5mm TRRS, 4.4mm TRRS), and a warranty card. Apparent as it is, the lower plug is interchangeable which will be elaborated as we proceed with the review. The included brown pouch has a soft, fluffy texture that goes along well with its name (Nostalgia) - whether it was intended or not. The cable tie is quite good in terms of quality and does not feel flimsy or fragile.

Aesthetics/Details

Olorin is directed in Hong Kong and handcrafted in Japan. It uses a coaxial design, comprised of 6N OCC Pure Silver wires with Silver-Plated PCUHD 4N Copper shielding, and then finished with a PVC insulation. This leads Olorin to have a good thickness for a 2-braided cable. The thickness is nothing close to being chunky, of course. Nostalgia Audio also states that Olorin uses Audio Note 6% silver solders with rhodium-plated connectors.

The strain-relief finishes on both ends are applied accordingly and appropriately. The Y-split component and the IEM connectors are also made of metal that go along well with the overall looks. The wires are quite soft and pliable, not allowing much microphonics to occur while wearing them. I would have liked to see a chin slider to be installed but not a big deal. It is also understandable since it is difficult to make a functional chin slider as Olorin does not have braidings on the upper rest of the cable.

Superb Switching Plug

Speaking of connectors, Olorin is also applied with the latest trend going on in the cable market - interchangeable plugs. Nostalgia Audio includes three variations of connector choices as default (2.5mm, 3.5mm, and 4.4mm) that allow immense usability. Olorin's interchangeable Superb Plug uses a screw design that holds sturdy onto the plug. Perhaps this is the most promising looking in terms of durability. The plug has some weight and size but does not particularly affect the comfort while using it. Although Olorin supplies the three most common end terminations by default (what to ask more for a default accessory?), there are several more terminations that are actually compatible with Olorin - such as Type-C, balanced 3.5mm TRRS, or even XLR. The mentioned terminations and the rest have to be purchased from elsewhere, but anyhow, it is a big plus for Olorin to be using a connector that provides the largest plug variation as of now.

The Pitch

First off, Olorin is an all-rounder that does not shift drastically to power-up a particular element of the sound. The first improvement I could catch is that the sound feels tighter and faster in speed all while not killing the reverbs. This leads the bass strikes to feel more chewy and elastic in texture. Now, the bass. What comes up to your thoughts if thinking of a pure silver cable? If you have experienced a good amount of custom cables, perhaps one of the thoughts that came up to your mind would be the decline of bass quantity. Well, that is not the case in Olorin at all, however.

General Sound Characteristics

Olorin does not take lightly in bringing out the low-end details by any means, oozing out a deep, thick, and dark bass presence. Interestingly enough, Olorin actually performs better even compared to some pure copper cables. Low-ends tend to get heavier and thicker (darker) in color, which also maintains great cleanliness as the reverbs are not getting bloated. Although the quantity of the bass itself does not make a significant increase, the low-end presence is strengthened noticeably as the density and darkness of the lows are vividly highlighted. That is a good way of gaining bass power without "pumping up" the quantity. Despite all that, Olorin respects its pure-silver nature, keeping the bass controlled and well leveled in its flow.

Deeper into the sound

Based on my past experiences on coaxial cables, and pure-silver cables, such types of cables generally tend to strongly add richness to the sound where the sound could get overwhelmingly vivid. Olorin, however, takes things a lot calmly and organically. The tonal balance is on the natural side as well as the three bands keeping steady balance. Mids are full-bodied and only garnished with this coaxial richness that enriches the sound only to a gentle extent. Vocals are not only escalated in richness but also in fullness and the "pushing force" of the sound. Hence IEMs with dips in vocals tend to work beautifully well with Olorin.

While I have mentioned that lows gain both clarity and body size, I have also highlighted that Olorin is very balanced in its sound signature. Upper ends are just as strongly and positively affected as the low ends did, getting the treble presence stronger with a fuller body. Olorin does make the mids-highs get clearer but does not in a telling manner - which is pleasant in terms of maintaining the original settings of the sound stage. Trebles get a lot richer, splendid in terms of texture. They also feel to be backed up with stronger pressure that leads treble splashes and instruments to sound even livelier. Olorin does a wonderful job revealing the threadings from the treble's texture that neither feels dry or soggy. Trebles show humidity that is just about neutral, hitting the sweet spot between smoothness and unreservedness.

Matching impressions - Paired with Campfire Audio Ara

Let us begin these matching impressions starting from a popular full-BA IEM - Campfire Audio Ara. The first difference I could detect happens from the lows. Lows gain a generous amount of meat and body that keeps its presentation neat and clean. The depth of the bass becomes noticeably deeper and better-established, providing more of a grand basis for Ara's bass to be placed in. Alongside, the depth and color of the bass get deeper and thicker that adds weight to the drumming slam. It would be rather common for pure-silver wires to deliver a relatively whiter, brighter background, yet Olorin forms a blacker and calmer background. These effects, overall, lead Ara to bring out noticeably more heaviness and fullness that builds up from the bottom to the top. Also, it was reasonable to find out that the ultra-low presence has also been improved with a clearer extension. The headroom also increases both vertically and horizontally, but the added-up reinforcement on the lows makes the horizontal staging especially show bolder improvements.


Upper ends also experience pleasable differences. While the overall sound signature and tonality stay very similar to the original setting, the layering becomes finer and with extra luster on the texture. Ara's dazzling sibilance area (or the upper mids) was the part that I was questioning how Olorin would sort out. Interestingly enough, Olorin barely affects the sibilance. It does not cause any extra sibilance or spike to the upper mids that could amplify fatigue. Instead, the crispy bites that Ara shows in mids and highs are now increased in density, leading this sibilance section to sound more soothing and pleasantly tickling the ears. This does not kill off the airiness or coolness of the upper ends but only makes the upper ends become more natural and balanced in their tones. For the Ara users - I would surely suggest trying out this combo as lows gain major revamp as described as well as the upper ends sounding even elastic and tastier.

Matching impressions - Paired with Final Audio A8000

So far I cannot come up with a better cable combo than Olorin for this pure-beryllium IEM, A8000. The earliest element that I appreciate from this pairing is that the staging size and separation show immense improvement. The instrumental as well as the layering becomes better orientated and analyzed. Olorin leads A8000 to pronounce each note in a clearer and bolder manner. Staging-wise, I would like to highlight that A8000's stock cable sure manages to provide a generous amount of size and depth - but it is just that Olorin enables to take another step beyond that. A natural, gentle one.


Let me make a simple portrayal here. If describing the impression from the original pairing (the stock cable), it would be "a large imaging packed into a slightly smaller staging area". Objectively, that is definitely not a small staging as A8000 sounds wide enough as it is. The point is that the pairing with the stock cable leaves a bit of a margin that A8000's staging could be extended even further. Using Olorin would equip A8000 with a stage size that is equivalently large as its imaging size, allowing A8000 to brings out its "unused potential", which brings a noticeable step up to its performance. The overall presentation and sound characteristics stay just as beautiful it used to be - but now added with a meatier, lush touch-up throughout the ranges. The treble splashes and bits of details are also more easy-going in terms of spacing, breathing in extra airiness on the upper ends. Definitely a pleasurable way of highlighting the analyticity to a single driver IEM's inborn accuracy in imaging.

Matching impressions - Paired with Astrotec Phoenix

Let us start off the matching impressions with Astrotec Phoenix. First, the lows. Once paired with Olorin, Phoenix's lows sound more oily-rich, making the bass feel more elastic and punchy without particularly boosting the bass amount. This is particularly pleasant as I could further immerse myself in feeling the dynamics brought by the large diaphragm from Phoenix. Thoroughly presenting the natural reverbs all while keeping the low-end atmosphere clean and agile.


As I mentioned previously from my Astrotec Phoenix review, the stock cable is not quite enough to bring out the full potentials of Phoenix. Putting aside that the stock cable only comes as a 3.5mm unbalanced termination, Phoenix paired with its stock cable draws a w-shaped sound signature but with a slightly lesser emphasis on the mids. Though once Olorin kicks into the pairing, mids gently elevate in presence and power to even out with the other bands. Hence the transition from the upper lows to the mids is more even and seamless than what it used to do. Alongside, Phoenix shows improvement in density, saturation, and depth while presenting the vocals.


Highs also show benefits. Your attention may be focused on lows and mids as you dig into the difference brought by Olorin - but benefits on the highs started to gradually pop out as I enjoy this matching. Olorin's full-bodied nature aids trebles by adding thickness and meat to the EST tweeter's "thin and fine" characteristics. This way, trebles feel to go along more cohesively with Phoenix's thick and grand low-ends. The treble details are not killed off as it slightly gains in its body but instead showing improved fineness and agileness. Just as Olorin did with lows and mids, highs also mildly gain driving force and power to the sound, overall making Phoenix sound lively and energized.

Compared to Han Sound Audio Kimera

The difference I first detect is that the center of gravity is set on the lower side for Olorin while it is higher or elevated on Kimera. Hence the thickness, largeness, and "oozing darkness" from the bass are noticeably, but not immensely, more plentiful on Olorin. The bass grooves are thicker but all while presented just as clean and neat as Kimera. But of course, Kimera's depth, extension, and clarity of the low-ends do not come short at all as this is simply a matter of quantity. Kimera hits back Olorin with its strong point which is its tasteful timbre. The tone is very natural with a seamless enhancement that only makes the texture gain richness. Mids are sweeter and cooler with highs that gain a finer layering that gently leads them to sound a bit more EST driver-ish in texture. Both are great all-rounders that are equal in technicality, performance, and richness - it is only the matter of slightly stressing more on either the low-ends (Olorin) or the upper-ends (Kimera).

Compared to Rhapsodio Hybrid 2

Both are very similar in overall characteristics and sound signature. However, Olorin once again proves its thorough bass quality done with pure-silver by matching up (or even exceeding in some cases) this pure-copper cable in the bass. The sub-bass quantity and color density are a bit more abundant on Hybrid 2 yet the cleanliness and constant linearity are superior on Olorin. Hybrid 2 keeps the upper lows and the lower mids closely intact that makes the transition smooth and continuous. On the other hand, Olorin floats the mids slightly higher from the upper lows, creating an airy space that causes the vocals to sound more elevated and makes a clearer division between the two bands. Of course, this is a mild difference that still keeps the low-mid transition very natural and seamless. On Olorin, mids also carry breeziness that stays mildly apparent throughout the range. This effect also gently adds transparency to the upper ends. Both are great performers and well-leveled in balance, though overall Olorin takes a bit of a lead in this match.

Verdicts

Natural tone, double the richness, and a cleaner, airier atmosphere. While many think pure silver cables are good mostly in the upper-ends, a truly well-made pure silver cable would produce quality bass. Olorin gives me the confidence to say that this is one of the finest examples that prove pure silver cables are also capable of producing lush bass presence and extension. In fact, its bass response is impressive even without giving it the 'pure silver handicap'. Not to forget mentioning that Olorin sounds highly natural as we consider coaxial cable often tend to sound exaggerated in some cases.


As I recall other pure silver cables with quality bass, Rhapsodio Silver Wizard and Han Sound Audio Agni II come up to mind. However, coaxially designed cables are just mysteriously yet distinctively different in nuance and characteristics. In that sense, Olorin is one unique cable that seamlessly adds vitality and richness to the music like no other. If you are looking for a full-bodied, splendid-sounding cable with interchangeable plugs, look no further.

Satin Audio Zeus Review: Gentle, bold finesse

As one of the fastest-growing cable brands from Vietnam, Satin Audio has been putting out numbers of quality cables for reasonable prices. We have the classical Monster series (now replaced with Monster II series), the affordable Titan series, and the Olympus series - the premium or flagship level of the family. Athena is Satin's premium palladium-coated cable which also made the start of the Olympus series. It was not until recently that Satin Audio announced the second model of the Olympus series as well as their first flagship, Zeus. There are not many doubts about its quality since their stably fine outputs all this time, yet it still caught my eyes big time to find if they were thoroughly capable of reaching the 'top-tier' level in both tuning and performance. Let us now take a look at Zeus and see how Zeus performs and compares.

Packaging

The packaging of Zeus parallels with the one from Athena - clean and artistic box design but not overdone. The front of the box shows the plaster cast of Zeus' face that we are all familiar with. The rear includes the overlook of Zeus, showing the introduction as well as its specs. Inside the box is simple but comes with all the necessities. Other than the cable itself, the package includes a premium sheepskin leather case, a silk pouch, a leather cable strap, a warranty card, and some Satin Audio stickers for you to stick them elsewhere you want.




Aesthetics / Details

Zeus uses 24awg wires with a tribrid formulation in material, incorporating Gold-plated Silver, Silver-Gold alloy, and Palladium-plated Silver. For the record, Zeus is the first to be using a tribrid setup as well as the second to be using Palladium after Athena among the Satin family. Combining three or more materials has been a recent trend for flagship cables, such as Effect Audio Code 51, PlusSound Tri-Silver, Han Sound Torfa, and more. But of course, 'the more the better performance' logic does not necessarily either on cable materials or driver counts on IEMs. It all comes down to the tuning and making full usage out of all those materials which we will find out from the sound impression sections soon to follow. Before moving on, let us cover the rest of its structural details and specs.


Zeus is applied with Satin Audio's signature SP-OCC technology, new extraction technology ables them to achieve one of the highest purity, exceeding 6N or even reaching close to 7N. It also uses the latest Satin Special Structures II, which is an advancement made from their prior structure. A Kevlar Damping core is installed in the middle of each wire that increases durability and signal transmission. Silver Gold alloy wires and Palladium Plated Silver wires are alternatively wrapped around the core. Then these bundles are once again shielded with Gold Plated Silver wires. Lastly, the transparent outer jacket named SA Insulation II protects the wires from oxidation and to keep its flexibility. The inner and outer wires have different dimensions that Satin Audio refers to as a Geōmetria Multi-sized Structure. This is to achieve the specific sound characteristics and tuning Satin Audio intended to make.






Premium & Custom Satin connectors

Satin Audio uses its exclusive connectors for 2Pin and MMCX terminations. It is not just about using a unique barrel design, but they also use conductors or pins made of TeCu/PEEK and TeCu/Teflon. Satin Audio introduces their TeCu (Tellurium Copper) connectors to show superior conductivity by ranges between 45-93% while most other connectors would reach around 45%. For the plugs, Satin made a special advancement for their flagship cable by using Palladium-plated Ultimate Copper which obtains high conductivity, durability, and sound quality. Satin's Ultimate Copper plugs are unique as they obtain strength and durability that is good enough as Brass, while normal copper does not. These plugs are available in 2.5mm or 3.5mm. For 4.4mm, Satin uses Pentaconn OFC plugs which is certainly one of the very best plugs out there.


At the time being, Satin newly announced their updated design for the metal components as shown above (unlike the Zeus parts I am featuring in this review). The specs stay the same - it is just the design that has been revamped to look even better with those gold polygons wrapping the barrels. As great as the new components look, they are exclusive to Zeus and other Olympus series products. For the braids, Zeus comes in as 4 braids by default but could also be upgraded to 6 or 8 braids.




General sound characteristics

Now, it is the time to get to the most important - the sound. Zeus brings in a significant amount of liveliness and pushing force throughout the range, making every note to sound powerful. While lows gain depth as well as deepened in color, it does not bloat or pumps up the bass quantity one bit. Instead, Zeus widely spreads out the layer, giving a delicate vastness to the low-end atmosphere. Since that, the bass would advance in both the clarity and dynamics. All three bands would get tastier in tone, though the true appreciative element I consider to be is that this "tastiness" is toned elegant and full of richness.


This is why I would differentiate from those that simply sound "sweet", as Zeus applies a type of sweetness that does not feel cheapy or cute. Instead, Zeus sounds highly mature that involves a bit of an antiqueness. How ironic is that I would bring up the term "antique" while the cable itself is named Zeus with an archaic theme! However, such an impression is, of course, no imagination but an evident characteristic from Zeus. To elaborate further, this "antiqueness" I am referring to has to do with the texture. It is somewhat like an image from those classic films - texture exposed the fine grains, which does not depreciate the presentation but instead adds a nostalgic and antique mood. However, I would not call such an analogy to be perfect because Zeus is crushingly clearer and finer in resolution than usual stock cables or lower-grade custom cables.




Deeper into the sound

Another wow-factor that I would guess other to Perhaps one of the most natural-sounding hybrid cables out there. Trebles get clearer, airier along with the tonality getting tastier while staying all neutral. Along with a cleaner decay, the splashes would spread wider and further, strengthening the afterglow. This leads treble atmosphere to gain a more breathable and cheerful mood. Thanks to all that, the upper end now sound much more engaging and realistic without getting fatiguing or harsh as they never get any hotter.

Below are two comparisons where Zeus is put to the test paired with a single dynamic driver IEM and a hybrid/multi-driver IEM. Note that these are rough tendencies and generalizations based on the driver settings which may still vary depending on each IEM.




Single dynamic drivers (in general)

Once paired Zeus to 1DD IEMs, the IEMs usually benefit by gaining upper-end openness with clearer treble strikes, thicker (both in color and density) mids, and deeper, darker, and more prominent lows. The staging usually does not gain direct changes as it does with hybrids (which is good since the natural single-driver-headroom is retained), yet the extra depth from the lows and the trebles getting opened-up visibly makes the sound livelier and engaging.


Hybrid / Multi-drivers (in general)

The role of EST drivers gets stronger and bolder all while keeping strict originality and balance. Others would flow similarly as if it did with single dynamics. Despite the number of crossovers going on in multi-driver IEMs, the careful modification and precise improvements that Zeus carries do not discolor or degrade the original tone an IEM has. Very interesting that the bass would stick out with higher clarity without booming up the quantity or breaking the original sound signature of the IEM.




Sound impressions - Paired with Unique Melody Maven

Maven already sounds clear and clean as it is, yet Zeus makes the impossible by bringing an increase in purity and resolution once again. The overall clarity is increased - all the way from lows to highs. Since their EST drivers, let us first talk about the trebles. The electrostatic drivers in Maven truly shine as we pair it up with Zeus. Now, the airiness sounds much more vivid and lively that it could produce stronger and wider-spreading splashes. The same applies to the mids as well. It opens up with clarity with further detailed texture expression, though what is more impressive is that the depth and density do not degrade, if not upgraded instead. The surface is smooth and fine despite the blatant texture reveals, hence the sound does not get dry or harsh at all. Alongside, the sound expression from all three bands would scale larger and wider which leads to an increase of both the side-stage and height.




Sound impressions - Paired with Rhapsodio Eden (*Officially modded with RSD GSW wires)

Time to put my all-time favorite 1DD IEM, Rhapsodio Eden. Note that my Eden is an upgraded version where the inner connectors are replaced with Rhapsodio's Gold-Silver Wizard wires, making the sound fuller and more dynamic than the originals. The expansive, flat, and organic charms from Eden further advances as we match it with Zeus. The sound has become thicker both in color and density. Mids are where such changes would get most apparent to the point where the stock Pandora Drawf cable would sound watered-down compared to what Zeus offers. The fine texture details are now fuller and impactful, making the overall sound a lot more "tuned-in". The staging size itself remains similar or slightly wider in this case, though the overall dynamics and depth are the ones that made the major changes. Eden's unique softly-dry texture allows maximum texture details without getting any harsh or lacking moisture - and Zeus fully respects its original nature. The way how Zeus brings in all the positive effects while keeping the tonality and the IEM's original characteristics have amazed me big time.




Compared to other Flagship cables

-Rhapsodio Silver Copper Wizard-

While the textures are just as refined, SCW (Silver Copper Wizard) gives a larger bite to the sound, making the sound feel more 'manly'. Lows leave slightly more reverbs that adds subtle vastness to the atmosphere. It has a slightly darker background with a serious atmosphere. The body is also slightly thicker and fuller in SCW. In contrast, Zeus makes the lows just as visible, bold, and nearly deep as SCW without applying more bass quantity or reverbs, taking advantage of neutrality - or keeping the sound original as possible. While I have said SCW is thicker in body, the difference is rather marginal and Zeus still is thoroughly full and rich in body. In fact, the body is more 'fit' and able to keep the sound more agile and cleaner.


Both cables do a fine job adding natural finesse to the vocals as well as making the vocals stand out and packed with density. For the highs, Zeus shows a bit quicker and airier nature while SCW delivers slightly more weight and stability. The size of the sound stage is similar but SCW takes a slight lead for the low-end and Zeus for the high-end. Both cables are very well made and go neck and neck. Of course, Zeus sure holds its advantage is portability since the slimmer wires!



-Han Sound Audio Torfa-

Both do a great job maintaining a clean, pitch-black background but they slightly differ in their sound signature. Torfa brings out a punchier bass with a gently empowered low-end body and color. It also adds more meat to the lower-mid body, giving a more surround, darkish feeling to the vocals. While Torfa shows excellent resolution, Zeus takes a step forward in its analyticity and creates a more reference-like signature. It makes less alteration with the quantity but does more with others - such as the texture details, airiness, color, and so on. The bass quantity from Zeus is mildly lesser than Torfa as Zeus tends to stick with the IEM's intended bass quantity. However, as mentioned before, Zeus does outstandingly well in highlighting ultra-low extensions without noticeably increasing the quantity. This leads the lows to stand out clearer and bolder yet still very leveled and original in their presentation.


Torfa takes the lead in terms of depth and fullness while Zeus does the same with its mid-high extension and lush openness. Both cables utilize a variety of different materials and shieldings, but one thing in common is that they show compatibility that is outstandingly stable. Custom cables often result in mismatches as pairing with a player or an IEM, yet these two cables bring out a consistent and omnivorous sound signature.




Verdicts

Zeus is a bold yet remarkable output made from Satin Audio. Flagship cables tend to show vivid changes to your sound, though this could also lead the cable to be trickier to pair with an IEM. In that sense, Zeus pervades into the IEM's sound outstandingly natural manner. Its unique and pleasable effects - improved depth, clearer texture, and wider extension - are brought consistently and apparently. In fact, I would put Zeus to be one of the top fives that maintains a beautiful harmony with a variety of IEMs with different sound signatures, all while bringing evident improvements to the sound.


As I conclude this review, Effect Audio Code 51 comes up to my mind due to the same material combination with Zeus. It would be worth mentioning that Zeus made itself more competitive by marking a more reasonable price along with its higher versatility with different IEMs. Zeus is sure not a budget cable that is easily accessible to everyone. However, if you are looking for a serious cable to step up the sound of your flagship IEM, or a cable that is sleek, light, and portable-friendly, Zeus would be one of the very best and safe choices you could make.

AZLA Xelastec (for Airpods Pro) Review: Maximization

Eartips are such a tiny accessory that does not seem to matter much while it is actually the most crucial part of your earphone. Having a good fit directs the user to properly and fully experience the sound from the earphone. Each person has ears that are different in shape, size, and angle. That leads to a possibility that what you hear may differ from what others hear, often in a negative way.


Thus, even if you do not particularly feel discomfort from your current eartips, it is still possible for your fitting to be far off, making an earphone sound horrible than how it truly sounds. The situation could also work the opposite way - you may be receiving a good sound through your current eartips, yet the fit may be uncomfortable or even painful. Since both of these elements (sound and comfort) must be achieved for a better experience, a number of brands have been coming up with numerous types of eartips so far.




Silicone, Foam, and now... TPE.

Though if we vaguely categorize them, types of eartips could be divided into three groups; silicone, foam, and a hybrid of both. However, an extra group of eartip has been added into the category by AZLA. Now we have a specially formulated TPE made into an eartip, under the name of "Xelastec". AZLA is a Korean IEM/eartip manufacturer that has been producing a variety of products including AZLA IEMs (Horizon, Orta, Zwei, etc.) and the Sedna Earfit series. Let us now go through the highlights of Xelastec and how it differs and compares to other types of eartips.




The Pitch

Xelastec is one unique eartip. Why? Because instead of ordinary silicone, Xelastec uses Thermoplastic elastomers (TPE) as its material which is a mixture of polymers. TPE has both characteristics of plastic and rubber, hence it is also referred to as Thermoplastic rubbers. Now you may ask what are the differences between using TPE instead of ordinary silicone. The coolest and the greatest feature of Xelastec is that it automatically modifies its shape to match your ear canals. It is similar to the way how foam tips work - but instead done with silicone (sort of).




The Linearity

Another major element other than the material itself has to do with something called 'sonic linearity'. AZLA has been emphasizing their importance of consistent linearity in their products - to form the straightest sound path for higher sonic accuracy. This particular philosophy has been applied throughout their IEM and eartip products. It is quite interesting as this runs completely counter to what SpinFit desires - to bend the sound path according to the angle of the nozzle. That being said, how does Xelastec compare to Spinfit? And how does Xelastec compare to Comply foam tips? It is now time for us to put all those to the test.




But why were foam tips popular in the first place?

Before talking about the other features of Xelastec, let us first go through the reason why so many people have been using foam tips. Foam tips are contractible that allows users to insert them into the ears and let the foam expand accordingly to their shapes. Since that, foam tips make it much easier for users to achieve higher isolation and better comfort. Just as the name says - it is a foam version of an eartip that is "customizable" to every user thanks to its cushion-like texture.




Drawbacks of the foams

Now, there are some side effects once using foam tips. First, foam tips deteriorate fast. They would soon begin to diminish in contractibility and isolation. They are fragile, so they will start to show splits and cracks after some usage or eventually break down. Lastly, and above all, the foam itself serves as an extra layer of a damper to the earphone nozzle. This causes the sound to be duller, warmer, looser and increased in bass quantity. Of course, it would be unfair to necessarily call such changes to be bad (since some may actually prefer their IEMs to gain those effects), though they are undoubtedly signs of degraded sound quality caused by the foam.




Back to the topic... why TPE?

Now to return all the way to the main subject, there are clear likes and dislikes when it comes to using foam tips or not. The isolation and comfort that they provide are desirable, yet all those multiple side effects are what often keeps people away from using foams - including myself.


However, the story changes in the case of Xelastec. Xelastec is a mixture of plastic and rubber that has both thermoplastic and elastomeric properties - means that it is just as durable as high-quality silicone that also consists of thermoplasticity and stronger flexibility. Unlike foam or ordinary silicone, Xelastec reacts to the warmth of the ears and soon begins to become softer. Then the shape gently deforms and tightly seals the ear canal. Just for reference, the eartips do not deform in shape while it is not worn. They also quickly return to their normal shape once removed from the ears.




Tada. Xelastec, but for Apple Airpods Pro.

Since the growth in usage of TWS earphones, Apple Airpods Pro is one of the most popular and advanced TWS products available in the market - hence AZLA made a specialized version of Xelastec eartips optimized for Airpods Pro and its case. The stem is now shorter to make them perfectly fit into the Airpods Pro case without a problem. Airpods Pro also requires an additional eartip holder (since the original eartips are simply made in one unified chunk), so AZLA has also included precisely made eartip holders that are better formulated than from other brands.




The Fit / Isolation

While ordinary silicone eartips have a rather smooth surface, Xelastec is very clingy in its texture. Yes, the newest SpinFit eartips do provide a stronger grip than their former products or other silicone tips, though not even close to what Xelastec provides. Therefore it may require just a slightly more effort inserting into the ears as the insertion feels a bit stiffer, but nothing close to being bothered. These would perhaps be the eartips that would least likely fall outside the ears since their firm grip. The core (where it would be installed into the nozzle) is also cut with deep grooves for secure installation.


After all, Xelastec provides the firmest grip beyond any other eartips I have tried - not just for Airpods Pro but for earphones in general. The stock eartips from Airpods Pro were rather flimsy and gives an ambiguous firmness, although they did a mediocre job in keeping the earpieces intact. Xelastec shows a considerable difference when it comes to fitting as I could sense the eartips grasping onto my ear canals. Xelastec causes less vibration and shaking during exercises or outdoor activities. Needless to say, firm fit means effectively filling up the ear canal, and effectively filling up the ear canal means effective isolation. These do provide better isolation than the wobbly stock eartips and bring up the ANC performance as well.




Sound comparison - Xelastec vs. Stock Airpods Pro tips

This "Sonic Linearity" that AZLA desired and applied to Xelastec brings evident changes to the sound. The sound transmission feels to be faster and expeditious; I said feel because this effect may be limited to the aural perception rather than technically speaking. Bass gets tighter and punchier, all while having loose reverbs or boominess neatly organized. Along with that, the sound ray (or the "edge" of the bass) gets thicker both in color and thickness. The results? A cleaner, tighter bass response that does not degrade the bass quantity but instead brings them out even deeper and wider. Simply speaking, it removes unwanted elements that hold back the bass performance and adds up the necessities to make the bass sound even better. The bass slams are cleaner and stronger, overall making the bass response to gain changes that are nothing but ideal.




More on the sound of Xelastec

Xelastec brings a positive change for the upper ends as well. Mids gain a mild boost in size with improved clarity and openness. Xelastec naturally highlights the mids that causes the vocals to stand out better without diverging from the original presentation. Highs are crispier and tighter, bringing out more air and shininess while not altering the original balance of the three bands (low/mid/high). The sound stage is wider along with securing higher altitude, therefore lows sound deeper while mid/highs reach higher. Compared to the stock eartips, the Airpods Pro now delivers finer texture details while not breaking the tone or the overall balance.




Precautions

While the material used for Xelastec is special, it also requires some precautions and treatments too, however. First, you should not clean the eartips with alcohol swabs or soap. This would degrade or disable Xelastec's elasticity and thermoplasticity. As recommended by AZLA, Xelastec eartips must only be rinsed with cool or room-temperature tap water in case of cleaning them. Alongside, due to the nature of its texture, it is better to let the moisture dry out than wiping off with cloths or tissues. Otherwise, the fibers or dust from the wiping material will likely stick again to the eartips.


Second, Xelastec should not stay deformed in the same shape for very long periods. I mean very long, at least for weeks. Rest assured, they would almost never stay deformed even if you wear them for long periods of time (under the assumption that you would not wear them longer than 100 hours or so...). However, if you shove them into a small case and let them stay squished for days and weeks, it is possible to get them deformed as shown above. They are still usable, though the eartips are no longer in a nice rounded shape as it should be. You may continue using it if the fitting is just fine. If the eartips are too far deformed and need a "reset" to their shape, follow the steps below.


1. Prepare a cup of hot or boiling water.
2. Flip the umbrella portion of the eartips inside out (otherwise deformation may get worse)
3. Drop the Xelastec eartips into the water. Let it stay for one minute.
4. Drain out the hot water and cool it off by pouring it in with cold water. Let it stay for 30 seconds.




Will the hot water do the trick?

Cutting to the point, yes it does. It is still possible for the recovery to fail if the deformation was severe, yet it will work in most cases. But with some side-effects though. The photo above presents a pair of Xelastec eartips - the left one is the one after the "hot-water recovery" and the right one is the original. The first noticeable difference is its shape. The umbrella portion under the core has now become slightly wider. The size change is not dramatic to consider size S to be bumped up to MS, though it did get larger. I was not able to particularly find significant changes in my fitting, but keep this in mind before you attempt the recovery procedure. It is possible to utilize this trick to enlarge your Xelastec eartips in case need a bigger size, though I still would not recommend doing that. The second difference is the color. The restored version is now less transparent along with a mild discoloration. Other than those two, the restored version is still working fine with all its original features still intact. Of course, the best scenario is not to cause permanent deformation to your Xelastec eartips.




Verdicts

Xelastec is a remarkable product that started a new genre or category in the eartip market. Having the sonic characteristics based on the Sedna Earfit series, AZLA has now topped them with this grippy, auto-fitting nature to make things even better. Xelastec is a strong eartip choice for all earphone users but even more for those who use TWS or wireless earphones. In the case of AirPods Pro, I would go far as calling Xelastec to be a must-buy as they bring multiple changes that are desirable in every aspect; improved sound clarity, automatically secured fitting, stronger installation, and reinforced ANC. Yeah, I am of course aware that eartips are strongly up to personal preference, but I would rather make an exemption for AirPods Pro: I doubt that any other eartips would do better than what Xelastec does.

AZLA Xelastec Review: Brand-new solution

Eartips are such a tiny accessory that does not seem to matter much while it is actually the most crucial part of your earphone. Having a good fit directs the user to properly and fully experience the sound from the earphone. Each person has different shapes, sizes, and angles for their ears. That leads to a possibility that what you hear may differ from what others hear, often in a negative way.


Thus, even if you do not particularly feel discomfort from your current eartips, it is still possible for your fitting to be far off, making an earphone sound horrible than how it truly sounds. The situation could also work the opposite way - you may be receiving a good sound through your current eartips, yet the fit may be uncomfortable or even painful. Since both of these elements (sound and comfort) must be achieved for a better experience, a number of brands have been coming up with numerous types of eartips so far.




Silicone, Foam, and now... TPE.

Though if we vaguely categorize them, types of eartips could be divided into three groups; silicone, foam, and a hybrid of both. However, an extra group of eartip has been added into the category by AZLA. Now we have a specially formulated TPU made into an eartip, under the name of "Xelastec". AZLA is a Korean IEM/eartip manufacturer that has been producing a variety of products including AZLA IEMs (Horizon, Orta, Zwei, etc.) and the Sedna Earfit series. Let us now go through the highlights of Xelastec and how it differs and compares to other types of eartips.




The Pitch

Xelastec is one unique eartip. It is silicone but not much similar to the ordinary silicone tips we use. Instead, XELASTEC uses Thermoplastic elastomers (TPE) as its material which is a mixture of polymers. TPE has both characteristics of plastic and rubber, hence it is also referred to as Thermoplastic rubbers. Now you may ask what are the differences between using TPE instead of ordinary silicone. The coolest and the greatest feature of XELASTEC is that it automatically modifies its shape to match your ear canals. It is similar to the way how foam tips work - but instead done with silicone (sort of).




But why were foam tips popular in the first place?

Before talking about the other features of Xelastec, let us first go through the reason why so many people have been using foam tips. Foam tips are contractible that allows users to insert them into the ears and let the foam expand accordingly to their shapes. Since that, foam tips make it much easier for users to achieve higher isolation and better comfort. Just as the name says - it is a foam version of an eartip that is "customizable" to every user because of its cushion-like texture.


Now, there are some side effects once using foam tips. First, foam tips deteriorate fast. They would soon begin to diminish in contractibility and isolation. They are fragile, so they will start to show splits and cracks after some usage or eventually break down. Lastly, and above all, the foam itself serves as an extra layer of a damper to the earphone nozzle. This causes the sound to be duller, warmer, looser and increased in bass quantity. Of course, it would be unfair to necessarily call such changes to be bad (since some may actually prefer their IEMs to gain those effects), though they are undoubtedly signs of degraded sound quality caused by the foam.




Xelastec and its Thermoplsticity

Now to return all the way to the main subject, there are clear likes and dislikes when it comes to using foam tips or not. The isolation and comfort that they provide are desirable, yet all those multiple side effects are what keeps many of us away from using foams - including myself.


However, the story changes in the case of Xelastec. Xelastec is a mixture of plastic and rubber that has both thermoplastic and elastomeric properties - means that it is just as durable as high-quality silicone that also consists of thermoplasticity and stronger flexibility. Unlike foam or ordinary silicone, Xelastec reacts to the warmth of the ears and soon begins to become softer. Then the shape gently deforms and tightly seals the ear canal. Just for reference, the eartips do not deform in shape while it is not worn. They also quickly return to their normal shape once removed from the ears.




Super Firm Fit & Isolation

While ordinary silicone eartips have a rather smooth surface, Xelastec is very clingy in its texture. Yes, the newest SpinFit eartips do provide a stronger grip than their former products or other silicone tips, though not even close to what Xelastec provides. Therefore it may require just a slightly more effort inserting into the ears as the insertion feels a bit stiffer, but nothing close to being bothered. These would perhaps be the eartips that would least likely fall outside the ears since their firm grip. The inner core is also cut with deep grooves for a secure installation to the nozzles.




Precautions

While the material used for Xelastec is special, it also requires some precautions and treatments too, however. First, you should not clean the eartips with alcohol swabs or soap. This would degrade or disable Xelastec's elasticity and thermoplasticity. As recommended by AZLA, Xelastec eartips must only be rinsed with cool or room-temperature tap water in case of cleaning them. Alongside, due to the nature of its texture, it is better to let the moisture dry out than wiping off with cloths or tissues. Otherwise, the fibers or dust from the wiping material will likely stick again to the eartips.


Second, Xelastec should not stay deformed in the same shape for very long periods. I mean very long, at least for weeks. Rest assured, they would almost never stay deformed even if you wear them for long periods or time (under the assumption that you would not wear them longer than 100 hours or so...). However, if you shove them into a small case and let them stay squished for days and weeks, it is possible to get them deformed as shown above. They are still usable, though the eartips are no longer in a nice rounded shape as it should be. You may continue using it if the fitting is just fine. If the eartips are too far deformed and need a "reset" to their shape, follow the steps below.


1. Prepare a cup of hot or boiling water.

2. Flip the umbrella portion of the eartips inside out (otherwise deformation may get worse)

3. Drop the Xelastec eartips into the water. Let it stay for one minute.

4. Drain out the hot water and cool it off by pouring it in with cold water. Let it stay for 30 seconds.




Will the hot water do the trick?

Cutting to the point, yes it does. It is still possible for the recovery to fail if the deformation was severe, yet it will work in most cases. But with some side-effects though. The photo above presents a pair of Xelastec eartips - the left one is the one after the "hot-water recovery" and the right one is the original. The first noticeable difference is its shape. The umbrella portion under the core has now become slightly wider. The size change is not dramatic to consider size S to be bumped up to MS, though it did get larger. I was not able to particularly find significant changes in my fitting, but keep this in mind before you attempt the recovery procedure.


It is possible to utilize this trick to enlarge your Xelastec eartips in case need a bigger size, though I still would not recommend doing that. The second difference is the color. The restored version is now less transparent along with a mild discoloration. Other than those two, the restored version is still working fine with all its original features still intact. Of course, the best scenario is not to cause permanent deformation to your Xelastec eartips.

The Linearity

Another major element other than the material itself has to do with something called 'sonic linearity'. AZLA has been emphasizing their importance of consistent linearity in their products - to form the straightest sound path for higher sonic accuracy. This particular philosophy has been applied throughout their IEM and eartip products. It is quite interesting as this runs completely counter to what SpinFit desires - to bend the sound path according to the angle of the nozzle. That being said, how does Xelastec compare to Spinfit? And how does Xelastec compare to Comply foam tips? It is now time for us to put all those to the test.




Sound impressions: Xelastec with NXEars Opera

This is one of my favorite matches with Xelastec. NXEars Opera is quite an eartip-sensitive IEM with a full, speaker-like sound that makes perfect synergy with Xelastec. In this combo, the overall theme of the change (or improvement) has to do with cleanliness. Lows are now tighter, denser, and faster. Sub-bass reverbs are now gently reduced which makes the low-end atmosphere a lot clearer. The bass still preserves the same large body but now does a significantly better job trimming down the possibly unwanted boomings. The dynamics are just as strong and further reveals the texture of the bass.


Mids are also cleaner and airier. It also takes a subtle step forward without altering much of the originally intended sound. Vocals bloom with slightly lesser reverbs, yet with good thickness and tighter density. Mids are also where Xelastec's linearity could be vividly experienced, creating an impression of vocals taking a straight trip towards the ear canal without curving. This also merits the headroom as the sound stage is formed in a very natural and reference-like manner. Highs also gain a slight boost in presence with stronger clarity and vividness. This is also due to the calming of the lower-end quantity, overall being beneficial as Opera could surely use the extra treble presence to make the sound even better.




What IEM does it work well with?

The outcome of the sound varies by different IEMs, though there still is a common ground in how the synergy generally works. First of all, clarity. Possible clouding from the sound unveils, allowing the texture to be presented more blatantly. The overall sound would become airier, more straight-forwarded, and airier. Perhaps those three elements could be combined into the term "blatant". This is fairly similar to what Acoustune AET08 does but in a more vast and blatant way.


The sound also gets tighter and harder in density, giving an impression of the sound travel feeling faster and snappier in reaction speed. However, due to this nature. There are sure cases where Xelastec does not work well depending on different IEMs. Those that are already flat, bright, or slim may result in the thinning of the body. If an IEM is already light in density or bass, there is also a chance of sounding way too light or lacking dynamics. In most cases, Xelastec tends to be especially effective for IEMs with heavy bass. Even if the bass is not heavy, if the IEM consists of warm, damp, or subdued tonality, Xelastec will likely work out nice.




Verdicts

Xelastec is a remarkable product that started a new genre or category in the eartip market. Having the sonic characteristics based on the Sedna Earfit series, AZLA has now topped them with this ultra-grippy, auto-fitting nature to make things even better. Also cannot forget to mention that this could be a nice alternative to foam tips. Xelastec does not degrade the clarity or mumble the sound while consisting of a decent degree of "adaptability" in its form factor. Of course, that is why hybrid eartips were born, yet Xelastec is a lot more comfortable along with its unprecedented gripping force. Xelastec is a very unique, must-have eartip that is worth acquiring if you are an audiophile that knows the importance of tip-rolling.

MMR Gae Bolg Review: A Rational Piercer

If anybody asks what was the hottest new brand in 2020, I would say pick Metal Magic Research (MMR). Founded by the head of Jomo Audio, MMR is a Singaporean IEM brand that has been presenting unprecedentedly unique products along with their new cable brand, Eletech. MMR's first two releases, Homunculus and Thummim, were just enough to gain a significant amount of interest throughout multiple countries. I was also able to have a quick audition for these two special IEMs, I could tell their sounds being as gorgeous as much as their form factor.


One thing to note, however, is that MMR is a brand that mainly focuses on high-end premium products. Homunculus and Thummim are each priced at $1699 and $4499, which are no easy pricing for many audiophiles to invest in. However, now we have quite good news. MMR announced a new model just recently that is meant to lower the price barrier for us to experience the "metal magic" these IEMs ooze out - presenting MMR Gae Bolg. Gae Bolg is by far the most affordable option available from MMR with a price tag of $1199. Okay, $1199 sure may not sound so affordable, but such a price is no longer a surprise in the IEM market. Alongside, what really matters is how would this new IEM sound and see if this one has a justifiable performance for its price. It is now time for us to take a deeper look into Gae Bolg.




Packaging

Just as their previous IEMs were done, the packaging of Gae Bolg has creative and mysterious artworks that make the unboxing experience enjoyable. The box is wider and thinner compared to the previous products with a black-red color them going on throughout the unboxing. Lining up with the theme of its naming, An artwork of the Gae Bolg spear is presented at the center of the outer lid. Other than the earpieces, the packaging includes a stock cable, 3 pairs of Acoustune AET07 eartips (S/M/L), a portable case, a cleaning tool, a carabiner, and a metal emblem card with a cut-out of the Gae Bolg logo. The carrying case has a red theme with a similar form factor to the one included in Homunculus. Although I do not have the case in my hands, they are made out of genuine cowhide and has a great build quality based on my experience with MMR's other leather cases.

Earpieces - The Form Factors

Gae Bolg's design is simply stunning. The looks on them would already explain for themselves. With a rounded teardrop shape, the earpieces use a fully-machined CNC aluminum. The faceplates have a deep red color with complicated yet beautiful Viking patterns. The inner side behind the red Viking cut-outs has a matte black finish, making Gae Bolg's faceplate design stand out even stronger. Thus, the visible metal grains from the red faceplate completes its gorgeous form factor.


The other side of the earpiece also has a similar but simpler patterning, preventing this inner side from appearing too plain. The nozzles are long enough to compensate for their rather large earpieces and the overall fit is quite comfortable. It is still a large size for those with smaller ears, though most users would not have a problem fitting these into the ears as the ergonomics are further advanced from Homunculus or Thummim.




Earpieces - The Specs and Gae Bolg Structures

Gae Bolg consists of 5 Balanced Armature drivers and involved with dedicated internal structures. First, Gae Bolg incorporates vented BA drivers as a number of other manufacturers have been doing - but on the lows, instead. Very interesting to find this because manufacturers usually apply ventings on the BA drivers that take charge of the upper-ends. Anyhow, Gae Bolg's driver setup is comprised of 2 vented lows, 1 mids, 1 vented mid-highs, and 1 tweeter. These drivers are infused all in one using a 4-Way passive EFD (Electro Frequency Division), efficiently handling the division of the sonic bands. Each driver is coupled with specific filters correspondingly to created the needed sound signature.


On top of that, MMR loaded Gae Bolg with a dedicated chamber named GBAC (GaeBolg's exclusive Acoustics Chamber) that finalizes the acoustic formation for these drivers. This is also similar to Campfire Audio's Solid-Body structure, but the execution from MMR was done more daringly. Gae Bolg uses a wider and longer chamber where it even has spiral-like waveguides within its inner structure. GBAC serves to correct the phasing differences between the BA drivers, yet done in a more natural manner Such phase-correcting method creates a sound that is significantly more organic than some old IEMs where the phases were corrected simply by cutting tubes in different lengths. Last but not least, Gae Bolg uses a TriBore Waveguide at the section of the inner chamber, allowing these multiple sound production to stay cleanly divided until they reach the tip of the nozzle.




Cable

Now, there is one exclusive option for Gae Bolg and it is that you could choose the cable option. The $1199 deal is called a Light packaging that includes a standard 2pin-3.5mm cable. Once you add $200 (therefore $1399) with your purchase, you could upgrade to a Complete packaging that includes Eletech Prudence SPC cable with a choice of cable termination (2.5mm/3.5mm/4.4mm). For your interest, Eletech Prudence is a premium cable that is also included with Homunculus. The regular stock cable from Gae Bolg is nothing unfamiliar to us - a light, smooth 4-braided cable with a black sleeving. While Eletech Prudence is recommended to bring out the full potential of Gae Bolg, the regular cable still does a very fine job of setting up a place for Gae Bolg to make its dance.




Sound impression - Lows

MMR created Gae Bolg as a full-BA IEM, though that never means Gae Bolg should have weak bass. Lows produce thick, masculine growlings with prominent texture details. The sound rays are meaty and thick in color, thoroughly filling up the lower ground of the headroom with vibrant yet controlled bass presence. The bass quantity weighs similar as slightly v-shaped (v instead of V) but with a low-end presence that is bold as any other bass-heavy IEMs. Clarifying the overall sound signature from the getgo, Gae Bolg shows a slightly w-shaped sound signature. Now continuing with the bass, the strikes are smooth in the exterior yet hard and dense in the interior. Such type of strikes allows a smooth listening experience while preserving the firmness and tightness of the bass.


Density-wise, Gae Bolg shows quite a meaty and tightened bass production - though what is interesting is that the low-end atmosphere does not get stuffy or feel to be getting "chocking" the upper-end. This is one of Gae Bolg's characteristics where it forms a vast and mildly openly bass. Such bass involves high density that unfolds evenly throughout the bass region, preventing the bass region from sounding like one large lump. Speaking of the bass region, I would like to point out another interesting element from Gae Bolg's low-end. First, the lows are well pulled down to the lower side of the staging that brings stability and weight. Second, while the lows are well lowered and calmed, both ends of the bass regions (L/R) continues to extend fuller and higher, forming a mild blooming. I found this to be a good way to keep the cleanliness of the bass while adding fullness.


Ultra lows are impressive for a full-BA setup. It possesses a deep, dark, and profound ambiance that makes stable dives. It also shows quite a bold presence in the music. The bass overall shows a gently warm temperature, yet its stuffiness-free atmosphere serves a bit as a refresher. To sum up, this high-quality bass forms a vast and large headroom while preventing them from losing density or tightness. This differs from those that have heavy and large bass but with tons of reverbs going on. If comparing a loose bass to a situation of forcing a thick chunk of bass into a wider region, Gae Bolg's low-end feels to be large to its nature that is accompanied with a good thickness. So lows are fully backing up the upper-end without easily bleeding into the lower mids. I would call that an "organized smoothness".





Sound impression - Mids

If I have to summarize how Gae Bolg sounds in the mids, I would state it as a "vigorous refinement". The tonality is much natural with an extremely steady presentation. Vocals flow with even emphases throughout the mid-range including the sibilance area. Perhaps Gae Bolg is one of the finest stability among IEMs I have tried until now. Technically, this was possible thanks to MMR's new GBAC chamber, a central system that corrects the phasing. Perceivably, it comes to be possible due to a particular characteristic of Gae Bolg's headroom - to have the center region of the bass lowered/leveled while each end of the bass region begins blooming. Perceivably, mids sit right on top and at the center of this bass region. As result, mid-layers are cleanly yet naturally sorted from the lows, forming a beautiful harmony between the two bands.


If you have experienced MMR/Eletech products, you may have noticed that these products pay attention to delivering fine grains or textures. There is no exception for Gae Bolg either. Gae Bolg most definitely does not have that water-soaked dullness nor dry and crumbly texture. It hits a sweet spot of containing moderate moisture to the sound while being quite blatant in revealing the textures with good crispness. On top of that, mids show highly stabled phasing and emphases, heading towards a reference-like sound signature that has plenty of musicality. Vocals are only mildly thicker from neutral, which is still very neutral. Instead, it adds body and fullness to the vocals. Plus, mids also show an appropriate amount of 3D spetialness, which makes vocals sound even lively.


Both male and female vocals work just as nice with Gae Bolg. Since this IEM shows rather consistent yet noticeable changes depending on different eartips, it has a good nature that is easy to play around with tip-rolling. Just like the lows did, mids also show a mild openness to its atmosphere - but now topped with a mild airiness. Sibilances are barely present throughout many tracks and genres - though if they do, they get nowhere near feeling piercing or fatiguing. They rather behave calmly and with a small volume, ending up to be adding extra crispiness to the music.





Sound impression - Highs, etc.

Highs show a clear and distinct tone along with the crispy bites. With a mildly lesser quantity, highs stand in the same position (or only half of a step behind) as mids. However, their presence within the music is just as strong as lows or mids. The treble strikes are refreshing, airy, and super clean. It has a cooling tone to it which serves as a refresher to compensate for the warmness from the low-mids. These appropriately contrasted temperatures serve Gae Bolg to bring out a wider color spectrum from the music, as well as making the music sound more drastic. The texture, as I have been mentioning all along with this review, busts out the most here in the trebles. It is high in density, even finer in texture particles, and presents nothing but cleanliness. It is a manifest type of treble that does not allow any dull, ambiguous environment to be formed.


These trebles are accurate and backed up with power. Paying attention to these clear treble notes brings pleasure to me on their own. Also, while I have mentioned these trebles to have a manifest attitude, that does not mean they exclude the natural treble reverbs. Removing them would degrade the liveliness, so the reverbs are surely preserved with good clarity. The treble tone is much neutral, yet its unique texture exposure and fineness makes them sound addictive to a wonder. Gae Bolg has a treble that is very much fatigue-free which is also capable of showing blatantly clear resolution. For Gae Bolg, highs are not decorative elements that are simply there to serve the lower-ends - but to perform strongly on their own to create an equal amount of charms. As mentioned a bit from the lows, the sound stage and headroom are large, full, and grand. What is special about Gae Bolg's headroom is not just about the size. It is because this largeness is executed in a very gentle way that never exaggerates the music. The separation is also on-point, showing great accuracy while staying harmonious.





Comparisons - Against Campfire Audio Andromeda 2020 (5BA)

This is an interesting comparison since both Gae Bolg and Andromeda 2020 use 5 Balanced Armatures as well as built-in waveguides for creating an accurate, harmonious sound. While they are similar in terms of sound signature since both draw a w-shaped sound, though they are in fact quite different as we dig into the details. First off, the overall sound is more closely presented on the Andromeda. Such "closeness" of the sound could be altered depending on different eartips, though under the circumstance of using the same eartip, Andromeda 2020 is noticeably more up-close and personal.


Though when it comes to the headroom size, Gae Bolg definitely takes the lead. Plus, Gae Bolg is also capable of approaching close to the ears - it is just that it forms a longer and deeper width. Unless you are a user that specifically prefers a moderately-sized headroom that focuses more on presenting a close, exquisite sound, Gae Bolg surely takes the lead in headroom as it is more grand and fuller. The Andromeda 2020 may be coming relatively short in headroom, it has its own unique charm which is the beautifully articulated upper ends. These upper ends that Campfire Audio has crafted were the major reason why Andromeda was so popular, which are now even better in Andromeda 2020.


Another key difference is the bass. Andromeda 2020 also brings out more of a typical (which is not inherently had) BA characteristic where the bass is solid as a rock. The bass reverbs are only mildly lesser and feels to have a faster speed, hence the faster strike and decay. Gae Bolg takes a more organic and neutral approach in the bass texture, still showing thorough agileness but smoother and creamier than Andromeda 2020. Lastly, and which is the most noticeable difference, the background. Andromeda 2020 has a brighter background that has a cheerful nature whereas Gae Bolg has a darker background, showing a dim and quiet nature. Because of this, Andromeda 2020 matches better for lively or exciting tracks while Gae Bolg shows superiority in tracks that benefit elegance, calmness, or seriousness.




Comparisons - Against Moondrop Solis (2EST+4BA)

While I was not expecting to be so, these two are interestingly similar. But of course, they still have distinguishable differences. The basis of their sound signatures is heading in the same direction - to be highly musical and balanced at the same time, showing a bold w-shaped sound. Also, the difference in their physical sizes impacts their style of presenting the sound stage. Although not by a huge margin, Gae Bolg fills the music a bit wider (sideways) while Solis does a bit better job pulling out the vertical largeness (or the ups and downs). Alongside, Solis tends to present the music in a mildly more compact headroom with further thickened density. Gae Bolg, on the other hand, places wider spacing between the sounds, letting the "emptiness" to play its role in the music.


To talk about textures, Gae Bolg brings out refined textures with much smoothness. Although Solis' texture reaches nearly as refined as Gae Bolg's, the texture from Solis feels to have this thin, sleek layer of coating on top of the sound. This allows the texture to feel just as smooth (or even smoother) while revealing texture details as good as Gae Bolg. Overall, both IEMs show an equal level of performance of charms which all comes down to personal preferences. After the comparison between these two, I am impressed by both sides - Gae Bolg for its treble performance that matches up high as Solis, and Solis for its headroom that stretches nearly as large as Gae Bolg's.




Verdicts

Gae Bolg is an easier gateway for users to experience the captivating sound that MMR products provide. The aesthetics first catch your eyes as you encounter it, then the sound catches your attention. The price tag may have gone through a diet, Gae Bolg still follows the exact same "MMR DNA" that was apparent from its big brothers; Homunculus and Thummim. If you ask the specifics of what that MMR DNA consists of, I would point out elegance and fineness. Despite my quick encounter with the upper two models, these two elements were strongly apparent from their sound, which I was once again able to hear through Gae Bolg. Most importantly, at a lower price. For those looking for a virtuous-sounding flagship IEM, or those who were impressed by MMR but was facing a higher price barrier, Gae Bolg would likely be a guaranteed performer that is more than good to pull the trigger.

Dunu SA6 Review: Something serious

For those who have been putting their interest in the portable audio hobby, Dunu should likely be one of those brands that you would have heard by now. We did a number of reviews for Dunu IEMs by now and so far their outputs have been thoroughly impressive to me and many others. Dunu has been presenting a variety of IEMs with different styles and tuning, though they had one thing in common - a dynamic driver. They always tended to equip their IEMs with dynamic drivers; by pairing it up with Balanced Armature drivers, installing just a single well-made driver, or even bundling up multiple dynamic drivers at once.


Okay, there was a short instance where Dunu made a non-dynamic driver CIEM before. However, I would not count that since the brand itself was not fully established back then. So as I go through multiple Dunu products, I used to think every now and then about how Dunu would execute a pure-BA IEM. Right around when I started to assume that Dunu opposes full-BA setups, guess what - Dunu has finally announced their full-BA IEM, the Studio series. Two models marked the beginning of this new Dunu line-up which are SA3 and SA6. Let us first put SA6 to the test and see how it performs and sounds.

Packaging

Stepping up, the new SA series sure has a lot of differences compared to their previous outputs. One of the differences could already be found upon its arrival at your doorstep - the packaging box is now visibly smaller and compact. The size of the box is similar to the ones from Campfire Audio. Still, the beautifully designed exterior rather gives a minimalistic vibe instead of feeling cheapy. Besides, the box may have gotten smaller but SA6 is still included with a variety of quality accessories. Other than the earpiece, the package includes a premium stock cable, 3 sets of modular plugs (2.5mm, 3.5mm, 4.4mm), a leather zipper case, 4 pairs of wide-bore eartips, 4 pairs of narrow-bore eartips, 3 pairs of short-sized eartips, an AV adapter, a cleaning tool, and some paperwork.




Earpieces

First off, let us talk about the drivers. SA6 houses 6 Balanced Armatures per side and which comprises both Knowles and Sonion drivers. 2 AcuPass Vented Sonion woofers take charge of the lows, 2 custom Knowles drivers for the mids, and 2 custom Knowles tweeter for the highs. On a personal note, I much enjoy Sonion drivers as they tend to produce a superior bass response. SA6 is also topped with a switch for changing tuning modes. While keeping the switch turned off would play the default sound, turning the switch up would enable SA6's Atmospheric Immersion sound signature.


Dunu also chose resin (German Nice-Fit UV resin) as the housing material for the Studio series. The faceplates are made of high-grade stabilized real wood that draws out different patterns and colors for every earpiece. It is also interesting that the cable sockets are terminated as recessed 0.78mm standard 2pin while Dunu has been using MMCX for their products. Their earlier resin IEM also uses 2pin, so perhaps this was something we were expecting to see. The shell has a transparent dark blue color with the nozzles divided into three bores. The diameter of the nozzles is between T400-T500, making it compatible with most other aftermarket eartips (Spiral Dots, Xelastec, etc.) The shell is compact and ergonomically shaped, providing a flawless, secure, and comfortable fit.




Cable

SA6's stock cable is made of 8-core high-purity Monocrystalline Silver-Plated copper wires. The sleeves are made of pure white and brown to give it a two-tone look. For the termination, it uses standard 2pin connectors and Dunu's Quick-Switch Modular Plug System as we would all be familiar with by now. One interesting change is that the tips of the modular plugs are rhodium plated instead of their usual modular plugs that use gold. The cable is very soft and quite light considering it being an 8-core cable. Microphonics are not an issue here as the cable is not springy or stiff in its nature.




Sound Impressions - Lows

First, let us talk about the bass. SA6 presents a mellow and lush bass that is ultimately very well leveled. This brings the impression that lows are linear while they are technically not (since they're lively and plentiful). The bass quantity sits around being slightly v-shaped; not bombastic or thundering, nor flat or flattish. Sure not enough or bassheads, but more than better for delivering thick and masculine grooves. The bass makes a consistent, thick flow throughout the low-range. The dynamics and bass impacts are thorough yet done in a neat, graceful manner which allows the lows to achieve harmony with the music - so that the overall sound feels unified as a whole. The bass texture tips towards the smooth, creamy style but without the possibly unwanted elements when we say "smooth". This is also what I believe to be one of the bold merits that SA6 has. Despite its smooth nature, the textures cleanly reveal the fine grains while consisting of speed and tightness.


Lows do not feel bloated or mushy either. SA6's bass shows meaty and thick density that gives the solid low-end establishment a full and large enough body. However, the density and hardness are not cranked up to the point where they would start to make the texture feel rigid or stiff. Every bass notes are delivered with weight, seriousness, and darkness, making calmness (or matureness) to be a key characteristic of SA6's bass. The ultra-low extension may come as a concern for some, but Dunu is known for putting effort into their bass. SA6's bass performance is far better than saying "decent for a full-BA IEM"; it actually stacks up with a solid dynamic driver. But feeling snappier and quicker in its response. Anywho, does its full-BA nature shows any shortcoming in terms of performance? I would say no. Not really at all.

Sound impressions - Mids

Producing good mids is not an easy task for full-BA IEMs, though SA6 sure made it seem far easier. The moist and rich cleanness first catches the attention. The tone is on point without any metallic presence or visible change in tone. Vocals are just slightly meatier than neutral, gives a fuller and bigger body while not getting so bulky in thickness. Though SA6 retains the pleasant rigidness and tightness that we often seek from full-BA setups. Along with the thorough depth, mids show a glimpse of warmness that makes the vocals stay organic and more easy-going. Upper mids gain a slight boost in airiness but still within the warm (or neutral) state and do not get strong to be considered cool or cold. This does not mean that the vocal atmosphere is stuffy though, as good transparency and breeziness are present throughout the mids.


The brightness is mildly darker than neutral. This is just enough to make the overall tone calmer while not diminishing the airiness. Just as the lows did, vocals are highly stabled in its flow throughout the mid-range. Sibilance does not occur whatsoever, nor the metallic warps that are often considered versatile for full-BA setups. The emphasis and positional presentation are extremely consistent and accurate, making SA6's tuning worth calling a home-run.



The Atmospheric Immersion Tuning

The overall sound ray (yet especially lows and mids) would get mildly thicker and larger. The tonal balance and overall characteristics are impressively stable, bringing extra wideness and fullness to SA6 while barely affecting any other element from the original tuning. The tones are deeper both in colors and depth, providing a gentle boost to the bass thumps. This is perhaps one of the most seamlessly tuned switches I have encountered. The Atmospheric Immersion Tuning does an outstanding job adding an adequate amount of grande characteristics to the sound.





Sound impressions - Highs, etc.

Let us stop here a moment and think about EST drivers - they are being loved since its utterly powerful treble performance, of course, but I believe the next most powerful merits of EST drivers are due to its fine texture (or layers). You might be wondering why am I talking about EST drivers while SA6 does not include any - and that is because SA6 achieves a similar fineness and smooth splashiness that an EST driver would produce. Quite entertaining as such similar fineness is present while retaining the tightness and "fast retrieval impression" a usual BA tweeter would have. Therefore, trebles feel more engaging and better backed up with thickness than an EST driver would normally have. I would say this would be one good example that proves BA tweeters are not always unequaled to EST drivers.


Trebles make a clean and virtuous splash where the endpoint is well presented with fine strands of its textures. The temperature is just about right to give a cool, breezy, and opened up impression while not getting cold or icy. The brightness is toned appropriately to sound refreshing, thus relieving any warmness happening from the lower-end. Highs are located similarly to mids but not overpowering whatsoever. SA6 is skilled when it comes to delivering good treble power and finesse without getting hot in intensity. The soundstage is well presented with characteristics that explain the reason for its lineup name - Studio. SA6 draws a private and quiet background with a reference-style headroom. The dynamics are gently emphasized to bring out the intended musicality and fullness for the music while keeping an unexaggerated, neutral stage size. As described in the treble impressions, the separation is stellar that could even attempt to compete against EST drivers.

Comparisons

-Moondrop S8-

Both are very similar in terms of overall sound signature and style. S8 highly desires a reference tuning, showing a mild w-shaped sound signature with its charms blooming at the mid-highs. But of course, there are still a handful of differences. Vocals from S8 sound more slender and slimmer while SA6's are a bit fuller and more expansive. Alongside, vocals from SA6 sounds livelier with more air going on. S8 sure sounds airy too, but the airiness from SA6 feels more "active" and displays the upper-end openness more vividly. The bass would be the largest difference between these two IEMs. SA6's lows throw a visibly stronger blow, as well as revealing a deeper and thicker bass presence.


Tonality-wise, both are once again similar. Yet with just a mildly stronger coloration on S8. Both the quantity and type of coloration do not harm the naturalness of the tone - but instead make female vocals sound softer and shinier (this is a type of tone that would make much benefit especially for J-Pop). In general, S8 strictly sticks to the flat, 'Harman-Kardon' reference style while SA6 is executed in a more musical and richer manner. On a personal note, while the gap may not be so drastic, I would take SA6's side for choosing the winner.



-Dunu DK-3001 Pro-

Seems like SA6 outdid one of Dunu's most iconic product. Each driver is better aligned with each other to provide a coherent, harmonious phasing. Perhaps we could have given a bit of an excuse for DK-3001 Pro when it comes to a matter of phasing (since it is a hybrid setup). However, SA6 does such a greater job infusing those multiple drivers into a singular sound that overrides all other excuses. Vocals are finer and more neutral in tone. The reverbs (bass punches, treble splashes, vocals, etc.) form a spontaneous ringing that makes the flow of the overall sound to feel "how it is supposed to be".




Verdicts

Putting all the concerns I had with Dunu's attempt on full-BA setups, SA6 is a fabulous, elaborate IEM. It performs very well for its asking price and it would not be an exaggeration that SA6 could stack up against sub-flagship or flagship IEMs around $1k. SA6 should be pleasable for a majority of audiophiles as it manages to produce thorough dynamics, musicality, and fullness all while setting its base to the clean, highly-balanced reference tuning. Alongside, the Atmospheric Immersion Tuning lets users make a gentle adjustment that shows near perfection in maintaining SA6's original reference setup. For those who seek clean, clear, and detailed sounding IEM that is topped with fatigue-free smoothness and dynamics, this big brother IEM from Dunu's new, fresh lineup would be a splendid choice.

NXEars Basso Review: The way to excitement

Numbers of new brands are flooding in but we know as a fact that most of them are from China. Not to mean that is a bad thing, of course, but I have been willing to see some new faces from other countries as well - which is why I would like to introduce a new IEM brand from elsewhere called NXEars. Founded in California, USA, NXEars is created by a former Knowles engineer as well as the NuForce founder. Even if your curiosity sensitivity got dull after encountering multiple new brands, NXEars is especially worth the attention as the products show one-of-a-kind characteristics when it comes to the sound. Their first wave of products includes 3 IEMs with different price ranges - Opera, Basso, and Sonata. In this review, we will be dealing with their premium mid-range model, Basso. Let us now take a closer look at its sound signature along with some comparisons.




Packaging

Basso comes in a white box with a clean, simplistic design. Basic information and specs about the products are described on the rear and the sides. Once unboxed it reveals the earphone and related accessories. Other than the earpieces, it comes with a stock 3.5mm cable, a leather storage case, 4 pairs of silicone eartips, 2 pairs of foam tips, a metal bag clip, a shirt clip, a cleaning tool, and some paperwork. The included shirt clip has a typical form factor which is quite tricky to install it on the cable due to its small lips. The case is durable, light, and large enough to store extra accessories or another set of earphones.




Earpieces - The techs (1/2)

Basso utilizes 3-way 4 Knowles balanced armature drivers per side that are applied with NXEars' unique tuning methods. The core technology of NXEars IEMs is Aperiodic Ground Loading (AGL) which a patent-pending structure that restores the balance of natural pressure that occurs in the ear canal. You would be familiar with ear pressures that build up as you insert the IEM into the ears. Although building a higher ear pressure usually makes the sound more dynamic and intense, it is not so desirable in forming a natural tone and, most importantly, your health. Since that, companies started to look for solutions to relieve ear pressure without killing the dynamics and isolation an in-ear provides, though not many are out there, yet. A good example would be the APEX technology that 64 Audio uses. In that sense, NXEars' AGL technology is very welcoming news as we are served with another good option for hearing protection.


Another feature from Basso is their 'Linear Phase Crossover' where it corrects the irregular phasing that occurs from multi-driver setups. This happens mainly happens due to two reasons - different bandwidth and driver position. Bass travels slower while the treble travels faster. Plus, multiple BA drivers that are all placed in different positions are tied together, causing extra differences in tube length. These features lead to different arrival times to the nozzle, causing sound cancellation and phase irregularity. Therefore, appropriately setting up the crossover and distancing the drivers according to their travel time would solve such issues. JH Audio's FreqPhase technology is another excellent example.




Earpieces - The techs (2/2) / Design

However, I would like to highlight that both techs (AGL and Linear Phase Crossover) applied for NXEars IEMs are fundamentally different from others that were mentioned. The concept varies, though they all sure have the same goal. Thanks to these two technologies, Opera retains dynamics and isolation while eliminating the ear pressure, thus having a more natural timbre throughout the range. Applying both these technologies makes a chain reaction and form a unique headroom that expands wide and spatial, as NXEars describes that the sound would feel like an "over-the-ear headphones". That sure is one of the key topics that I would be dealing with at the impressions section and more analysis of the sound will follow at the later part of the review.


The earpieces are 3D-built with mildly transparent, dark navy bio-resin cavity. The faceplate is topped with real copper plates that in fact influences the sound by serving as a "foundation" for the bass to have solid grooves or bass lines. The red "n." logo that represents NXEars is placed at the center of the faceplate. Fitting is very comfortable and hassle-free, having no edges that would potentially bother me nor does the ear pressure builds up once inserted to the ears. The earpieces are detachable and terminated to standard MMCX connection.


The nozzle length is about T400, making it compatible with most aftermarket eartips out there. Speaking of eartips, Basso is highly sensitive to eartip pairings and I would strongly suggest trying to match Basso with eartips that have narrow bores (Acoustune AET08, etc). Using eartips with wider bores (Spiral Dots, Sedna Earfits, etc.) would cause Basso to lose tightness and rigidity, making the sound rather mushy. However, in particular, I would also refrain from using FAD E-Types as I found them to be intensifying the sibilance quite easily, despite the great depth that they provide. The stock grey eartips work out just fine, though I suggest trying others and would advise doing enough tip-rolling before you conclude your impressions.




Cable

Basso comes with a silver-plated OFC stock cable. The 8-braided wires are well-braided without any loosen part along with being soft, light, and non-microphonic. The end termination is done with a TRS 3.5mm plug. There are blue and red rings at the tip of the MMCX connectors, making it easier to recognize the L/R earpieces. An option is available for Basso to pay an extra charge to upgrade to a Mono-crystal 6N copper cable, yet I actually found the original silver-plated one to be working out better with Basso.

Sound impression - Nature of the sound

A lot of elements from Basso resembles its upper flagship model, Opera, but with some noticeable difference. Please be aware that the following sound impressions may show a fair amount of similarity with the ones from the Opera review, therefore I will be quoting sentences/paragraphs used for Opera as well as make comparisons as I proceed with this review. If you are yet to read the NXEars Opera review, I suggest doing so before you proceed further.


Along with that, I must mention that Basso is very dependent eartips it is "extremely" crucial to set it up with the right eartips and installation depth. After pairing it with a variety of eartips, it appears that Basso works well with those casual narrow silicone tips (yet excluding FAD E-Type such as Acoustune AET08 or basically the stock tips. For the depth, the eartips should not be installed too close to the nozzles and needs to be installed more to the edge which causes a deeper insertion. Achieving a long-enough nozzle length and deep insertion would create the proper sound from Basso - if not the bass would feel rather light with the upper ends getting hotter and spikey.



Sound impression - Staging

This time, the order of my impressions will be a little different as the sound philosophy is different from our casual earphones. Let us first consider how a casual earphone would rather sound like - it would be whispering close to your ears, creating a headroom where you are the one in the center of the field. It is basically having you to be the cast of the music. Though in the case of Basso, its headroom would form a decently-sized, mild concave curvature right behind you - looking like a shape of ")", where a standing half-sphere would be containing you - by having you fully covered in all directions except the front which is opened.


While mids feel to be fairly close to you, lows and highs would reach out frontward and forward, as if creating a floor and roof for the headroom. Comprehensively, the impression would be closer to having you to be the audience of the music - creating a snug, relaxed environment that embraces you. The size of Basso's unique headroom is relatively smaller than from Opera, but at the same time, Basso's presentation would likely sound more familiar or less drastic, since it possesses more elements of a normal sound stage. The same goes for the snugness - lesser effect, but also more familiar.




Sound impression - Lows / Mids (1/2)

Lows dive quick and deep, thoroughly filling the lower ends of the headroom packed with density. Basso shows a bold ultra-low presence with much thickness, giving a full and sturdy body to the bass. While ultra lows are well-caught with vividness, it delivers subtle and thick vibrations that do not cloud up the atmosphere. While achieving the tightness, the bass strikes are mildly polished to have smooth edges and surfaces, making it feel organic to the touch. Throughout the range, lows show consistent, highly stable, and large bass grooves that stay refined at the bottom end, building a steady establishment for the sound.


Compared to Opera, Basso produces a bit more sub-bass quantity with denser bass grooves, plus being slightly more energetic when delivering the slams. At the end of the day, Basso's bass would scale large and immersive as a basshead IEM would while the actual bass quantity is closer to a slightly v-shaped IEM, where the bass is roughly 30% more emphasized from flat. Although keep in mind that Basso still has that stiff bass-thick, depth-thick environment (you know what it is if you have heard a basshead IEM before), so it would not be an empty-clear environment on the lower end but a serious, weighty one.


While mids would feel recessed at first, shortly you will notice that the way how its recession is made is different - feeling to be the position that is only pushed back rather than becoming weaker in presence. Normally when a muffled feeling is present on the mids, there are high chances for the bass to eat the vocals and killing off the details. Interestingly enough, that is not the case here. For Basso, it is more due to its "standing half sphere" (that I previously mentioned as a metaphor), therefore the vocals are not really shadowed as lows do not flood into the vocals but to mildly create a speaker-like environment.




Sound impression - Mids (2/2) / Highs

Mids are a mixture of mellow and crispness. Taking a mild step-forward, Upper mids would show a quick shine up in emphasis and brightness. However, this does not particularly cause the sound to be fatiguing as the transition is not too intense or drastic. It gives more of a small poke rather than a piercing, leaving it manageable - though for those who are sibilance/treble-sensitive may still find this bothering. This is the main reason why I have stated the importance of eartip selection and its depth - the sibilance difference will be day and night depending on what eartips and how deep you install them into the nozzles. Compared to Opera, Basso possesses less of this "unique tuning effect" (NXEar's unique headroom I have been quoting) and sounds slightly less spatial and immersive. Yet again, this also results in Basso to form a headroom that sounds closer to our usual IEMs along with vocals being placed more frontward.


Highs are snappy and very crisp where it delivers a vividly crunchy bite. As highs beautifully articulate fine strings of details with delightful strikes that hit right to the core of the music, they stand slightly forwarded than the mids but not by a big margin. The tone is pure and transparent with a mildly cool tone, carrying a fair amount of air. Unlike Basso's upper mids where around the sibilance area could rather risky with the hotness, trebles would not get fatiguing or hot by no means. The treble instruments and details would boldly and clearly make their presence without breaking the harmony, yet their intensity is well controlled and stabled. Thanks to that, Basso's slight edginess on the upper mids are quickly cooled down once entered the treble area, making its sound as a whole to still be easily enjoyable.


To once again compare with Opera for the trebles, Basso shows its advantage in terms of clarity, closeness, and quantity, yet Opera possesses more details as well as carefully and calmly articulated than Basso does. However, this is only the case once spoken subjectively - the gap is not too big after all. Basso's trebles provide a lot more dynamics and liveliness, and most importantly, the fun. The strikes are done clear and refreshingly, hitting the head dense and fast. Opera shows distinctive superiority in spatial impression and massiveness but Basso would put up with a good and strong defense with its energetic nature and higher-transparency. Separation is on point and would precisely locate each instrument in the right position.




Comparisons

-Oriveti OH500- *review coming soon

The bass from OH500 focuses on giving a smooth and mildly fluffy texture while Basso goes for a different direction, which is to have the bass rock-solid and snappy. But of course, Basso's still have enough meat and body to the lows - it is just that they are tighter and lesser in reverbs. The situation goes on similarly once we move onto the mids. The following applies throughout their sound, but especially on mids, OH500 has moist textures with round edges that give a comfy, cozy environment. However, this does not get the details dull or degraded. Basso is overall drier when it comes to moistness but tuned in with better accuracy in phasing. It is also more revealing and blatant in texture details, therefore more dependent on sources and eartips. Obvious enough, Basso is tensed up with more of a BA-ish texture and atmosphere going on that leads to faster and agile reaction speed while OH500 sets its base characteristics on the dynamic driver, being relatively relaxed and easy-going.



-Dunu DK-3001 Pro-

DK-3001 Pro is flatter in the spatial aspect as well as a bit in its dynamics. Mids are relatively closer to the ears with a brighter atmosphere going on. The tone is relatively more delicate as it stays neutral in 'moistness' - making the sound feel neither dry nor damp. It also takes the lead in terms of stability by keeping the upper mids more leveled and better controlling the sibilances while Basso shows a mild peak on the upper mids. However, Basso immediately makes a comeback with its superiority by showing thicker vividness, depth, and density in vocals. Lows on Basso also scale a bit larger with more dynamics and depth. The tone is damper and darker, having extra depth and forcefulness in creating its atmosphere. The general advantage of DK-3001 Pro is its reference-like nature that has adequate dynamics, clean and neat presentation, and a gently airy, residue-free background. Though this could also be comprehended that the dynamics or the impact might marginally come short to your taste - or just too gentle. In contrast, Basso thoroughly pours in dynamics and liveliness to the music, however without overdoing or getting excessive in its intensity.




Verdicts

Let us say Opera is a well-tamed big dog - then Basso is more of a high-spirited, sanguine underboss that could match against its superior, Opera, depending on different fields. While being the middle child of the product family makes itself vulnerable as it is, Basso overcame such bias well and easily. Basso pursues NXEar's unique staging style but does not go as far as Opera did, making it more casual and suitable for wider coverage on personal tastes. Plus, it embraces a livelier, fun-based tuning that would go along better with modern music. On a personal note as I conclude this review, I have been finding that Basso's overall sound signature quite resembles Empire Ears Legend X. There sure would be no surprises for Legend X to be holding the higher ground when it comes to comparing absolute performance, but considering Basso's affordable price, quality, and highly attractive characteristics, I would say Basso already made a market for itself, even just by that. If you want to enjoy your music 'NXEar's style' with more fun and orthodoxy, Basso is the very way to go!

NXEars Opera Review: In-ear 'headphones'

Numbers of new brands are flooding in but we know as a fact that most of them are from China. Not to mean that is a bad thing, of course, but I have been willing to see some new faces from other countries as well - which is why I would like to introduce a new IEM brand from elsewhere called NXEars. Founded in California, USA, NXEars is created by a former Knowles engineer as well as the NuForce founder. Even if your curiosity sensitivity got dull after encountering multiple new brands, NXEars is especially worth the attention as the products show one-of-a-kind characteristics when it comes to the sound. Their first wave of products includes 3 IEMs with different price ranges - Opera, Basso, and Sonata. In this review, we will be dealing with their flagship model, Opera. Let us now take a closer look at its sound signature along with some comparisons.




Packaging

Opera comes in a white box with a clean, simplistic design. Basic information and specs about the products are described on the rear and the sides. Once unboxed it reveals the earphone and related accessories. Other than the earpieces, it comes with a stock 3.5mm cable, a leather storage case, 4 pairs of silicone eartips, 2 pairs of foam tips, a metal bag clip, a shirt clip, a cleaning tool, and some paperwork. The included shirt clip has a typical form factor which is quite tricky to install it on the cable due to its small lips. The case is durable, light, and large enough to store extra accessories or another set of earphones.




Earpieces - The techs (1/2)

Opera utilizes 3-way 8 Knowles balanced armature drivers per side that are applied with NXEars' unique tuning methods. The core technology of NXEars IEMs is Aperiodic Ground Loading (AGL) which a patent-pending structure that restores the balance of natural pressure that occurs in the ear canal. You would be familiar with ear pressures that build up as you insert the IEM into the ears. Although building a higher ear pressure usually makes the sound more dynamic and intense, it is not so desirable in forming a natural tone and, most importantly, your health. Since that, companies started to look for solutions to relieve ear pressure without killing the dynamics and isolation an in-ear provides, though not many are out there, yet. A good example would be the APEX technology that 64 Audio uses. In that sense, NXEars' AGL technology is very welcoming news as we are served with another good option for hearing protection.


Another feature from Opera is their 'Linear Phase Crossover' where it corrects the irregular phasing that occurs from multi-driver setups. This happens mainly happens due to two reasons - different bandwidth and driver position. Bass travels slower while the treble travels faster. Plus, multiple BA drivers that are all placed in different positions are tied together, causing extra differences in tube length. These features lead to different arrival times to the nozzle, causing sound cancellation and phase irregularity. Therefore, appropriately setting up the crossover and distancing the drivers according to their travel time would solve such issues. JH Audio's FreqPhase technology is another excellent example.




Earpieces - The techs (2/2) / Design

However, I would like to highlight that both techs (AGL and Linear Phase Crossover) applied for NXEars IEMs are fundamentally different from others that were mentioned. The concept varies, though they all sure have the same goal. Thanks to these two technologies, Opera retains dynamics and isolation while eliminating the ear pressure, thus having a more natural timbre throughout the range. Applying both these technologies makes a chain reaction and form a unique headroom that expands wide and spatial, as NXEars describes that the sound would feel like an "over-the-ear headphones". That sure is one of the key topics that I would be dealing with at the impressions section and more analysis of the sound will follow at the later part of the review.


The earpieces are 3D-built with mildly transparent, dark navy bio-resin cavity. The faceplate is topped with their Stardust Blue design where every earpiece varies in its pattern. The blue "n." logo that represents NXEars is placed at the upper part of the faceplate. I would have liked to see the logo to be brighter or more reflective it is not easily visible unless I reflect it towards the light. Fitting is very comfortable and hassle-free, having no edges that would potentially bother me nor does the ear pressure builds up once inserted to the ears. The earpieces are detachable and terminated to standard MMCX connection.


The nozzle length is about T400, making it compatible with most aftermarket eartips out there. Speaking of eartips, I would strongly suggest trying to match Opera with AZLA Xelastec tips. If so, the sound would become more expansive, airier, and open-field than the others. Opera is very eartip-sensitive and would advise doing enough tip-rolling before you conclude your impressions.




Cable

Opera comes with a Mono-crystal 6N copper stock cable. The 8-braided wires are well-braided without any loosen part along with being soft, light, and non-microphonic. The end termination is done with a TRS 3.5mm plug. There are blue and red rings at the tip of the MMCX connectors, making it easier to recognize the L/R earpieces. There are shrink tubed earguides that secures the cable to stay around over the ears. Besides, while this is more of a personal wish than a disadvantage, it would have been even better for them to be incorporating interchangeable plugs (such as Dita, Dunu, etc.) or include conversion connectors for wider usability. Overall, a solid and well-built cable that is included here.




Sound impression - Staging

This time, the order of the impressions will be a little different as the sound philosophy is different from our casual earphones. Let us first consider how a casual earphone would rather sound like - it would be whispering close to your ears, creating a headroom where you are the one in the center of the field. It is basically having you to be the cast of the music. Though in the case of Opera, its headroom would form a large, concave curvature right behind you - looking like a shape of ")", where a standing half-sphere would be containing you - by having you fully covered in all directions except the front which is opened. While mids feel to be fairly close to you, lows and highs would reach out frontward and forward, as if creating a floor and roof for the headroom. Comprehensively, the impression would be closer to having you to be the audience of the music - creating a snug, relaxed environment that embraces you.


It is both interesting and surprising to explore the type of sound Opera has, as this resembles the impression you would normally get from a closed-back headphone. This staging would be spread out vast, large, and three-dimensionally. Its unique soundstage easily gives impressions where the staging would extend beyond the earphones, and if I just add a pinch of an exaggeration, it also gave impressions where it feels to be extending beyond the head. It is uncertain if I should really call it an exaggeration since it actually does feel to be extending as such. Be aware that this does not mean the sound is off focus or having the imaging warped, as both of them are well kept.




Sound impression - Lows

Being thick in both color and size, lows are full of seriousness. Bass rumbles would approach from behind, sweeping with realistic vibrations that give tingles to the ears. However, what that might be unexpected from this stage is that the sub-bass is not particularly strong in quantity and slams. Opera keeps a bass response that is just adequately emphasized from a flat signature. The bass response is up to speed though - it is just that these slams are done softly and flowingly.


Hence the bass reproduction is up to par, but if you are looking for a rigid and snappy bass, its impact could feel too soft and gentle for your taste. Although the dense kernel is clearly present, so you would still feel that in-focus bass strikes that deliver the impact. Besides, it would be too early to underestimate the bass performance as they show vast coverage in terms of area. Lows would dive deep and have the density stacked up from the rock bottom, covering the back of the head, and then spreading out sideways. Since that, even with a gentle quantity, lows are able to show a highly dominating role in the music. Having ultra lows and upper lows are similar in quantity, the bass flows very steadily and evenly throughout the range.




Sound impression - Mids, Tone

While mids would feel recessed, shortly you will notice that the way how its recession is made is different - feeling to be the position that is only pushed back rather than becoming weaker in presence. Normally when a muffled feeling is present on the mids, there are high chances for the bass to eat the vocals and killing off the details. Interestingly enough, that is not the case here. For Opera, it is more due to its "standing half sphere" (that I previously mentioned as a metaphor), therefore the vocals are not really shadowed as lows do not flood into the vocals. This particular recession appears to be purposely done to trigger a speaker-like effect.


Another characteristic of mids is its tone. Opera possesses a mildly muffled or a fabric-like tone to its nature. While I usually dislike IEMs with recessed or muffled mids, Opera's vocals attract me quite much as they give a similar feeling to, again, a large speaker - both in presentation and texture. It is eerily attractive as mids are vivid and kept with delicacy while I thought its presentation would turn all hazy and overwhelmed. Speaking of textures, mids tend to break down the strands of sounds into relatively thicker pieces, bringing an analog vibe where soft and refined grains are present throughout the sound. The grains do not get dry or edgy to the feel but remain smooth and finely polished. While this may come across unorthodox, yet in the ears, it sounds musical and harmonic without breaking the accuracy.


Lower mids are kept relatively warm and thick. However, its considerably nimble and airy nature prevents itself from vocals getting sluggish. Upper mids would get slimmer and gain shininess and transparency, making equally ideal for male and female vocals. Overall, mids show an organic tone that brings a mild, cheerful echo that is nowhere near to getting shouty. Sibilance is not present but nicely finished, adding finesse to the upper mids.




Sound impression - Highs, etc.

Compared to mids, highs would break down the sound further into smaller pieces, showing more analyticity and separation. It is dimmed in brightness (although still brighter than lows and mids) and relatively lesser in quantity, so it would not give much upper-end freshness. However, the treble details are not left out. Big and small details are not shadowed by lows or mids whatsoever and make their presence stand out clear-enough on a black background. Treble splashes peacefully spread out with good analyticity, managing to disassemble all the fine strands and textures from them.


What I have also noticed is that the upper ends in general (mids and highs) are relatively positioned lower than many IEMs in a similar tier. This leads to a difference where mids and highs are inherently positioned up high in the sky for those casual IEMs while Opera feels as if mids and highs would extend upwards from a lower position. The extended height from Opera is still relatively lower but achieves more low-end coverage and stability. Separation is up to quality with that involves nice spatial effects.




Comparisons

-Moondrop S8-

These two are quite a lot different in their characteristics and natures. S8 is all about neatness and neutrality, keeping the quantities considerably flat throughout the range. The overall sound is snappier, brighter, and white-toned in its background. Each note is clearer in shows a faster transition that leaves minimum residues or reverbs. In contrast, Opera shows more dynamics and a fuller, thicker body with more reverbs (but not muddy). It is also thicker in color, adding depth and boldness to the tone. This leads Opera to present a more serious, wider, and in-focus atmosphere while S8 takes advantage in terms of cleanness, speed, and openness. Texture-wise, Opera is on the softer and smoother side as S8 is harder and crunchier. Although Opera does not get to the point of being 'dull', it sure is on the softer side. I would say it is closer to the fabricky impression from an over-ear headphone, feeling more organic and moister. However, if the bright and crisp tingles are what you are looking for, perhaps S8 would be a better alternative. If for the smooth and wide headroom with gentle crisps are enough for you, Opera would likely make a superior choice.



-Astrotec Phoenix-

Only to a mild extent, Phoenix's mids are positioned closer while mids from Opera are more expansive. Both are on a similar range in temperature, though there still is a difference. In the case of Phoenix, while staying tender, the overall atmosphere feels more relaxed, soothing. The vocals are relatively less fuller than Opera but they carry more air and clarity that gives the upper-end breeziness. The atmosphere from Opera is nearly as smooth as Phoenix, yet the core is rock-solid which makes faster and snappier impacts. Since that, Phoenix shows better flow and grooves as Opera shows superiority in terms of analyticity. The brightness from Phoenix is right on neutral while Opera is a bit dimmer. Lows are closer and stronger on Phoenix as Opera's lows show a more subdued, subtle approach. For the highs, Opera's are moister, dimmer, and thicker, both in color and density. Phoenix keeps the highs thinner yet finer as well as showing more finesse.



-NXEars Basso-

Although I prefer to compare to an item that is similar in price and performance level, Opera takes a different approach to sound than our usual IEMs, we will also compare it with Opera's little brother, Basso. Looking at the big picture, Basso is more densely-packed and closer while Opera expands wider and fuller. The bass quantity is a bit higher on Basso with tighter, punchier strikes. Opera approaches with a calmer, smoother punch that brings in more reverbs and largeness. In the case of mids, Opera shows a fuller and thicker body while Basso is relatively slimmer that scales just about being neutral. Basso's mids are edgier since it results in a bit of sibilance as it passes the upper mids. This acts as to spice up the mids, but at the same time, causes more turbulence to the vocals as well as getting vulnerable for those who are sibilance-sensitive. Meanwhile, Opera is more leveled and tranquil, not causing any spikes or sibilance that could possibly make the listener fatiguing. Alongside this, the tone is more organic and neutral that makes the presentation to be less colored.




Verdicts

For those who have already listened to these, I am sure most would agree that NXEars gave Opera its name for a valid reason since a little opera would be going on in your ears as you hit the play button. Although there are IEMs that focus on digging into small and detailed bits of expressions, Opera takes an opposite approach where it draws a large picture, looking at the overall mood, and putting them together into one piece. NXEar's imaging and staging concept are charmingly different and unique from most IEMs I have heard until now, making it worthwhile to call it an eye-opening experience. If you would like to take a full taste on NXEar's take on an in-ear headphone and its unique staging concept, Opera would be a flagship choice where you never knew before you needed one, but now you do!

Campfire Audio Solaris 2020 Review: Gently ripen

The popular brand from the portable audio industry, Campfire Audio, has come up with a new stream of products - Ara, Andromeda 2020, and Solaris 2020. The original Solaris used to be CA's most expensive product as well and gained a great amount of interest throughout the community. Now they have released Solaris 2020, a refined/retuned version of the original one where many elements have been adjusted, inside and outside. Let us now cut to the chase and see how this new version performs along with making comparisons.




Packaging

Campfire Audio finally went through some revamp with their packaging and I am happy about it. There are lots that do not pay much attention (or not at all), which is very reasonable. But I believe better packaging and boxing do matter when talking about premium IEMs. The size of the new packaging still goes for a reasonably small box but roughly twice the bigger than the old ones. Once you remove the CA sticker on the rear of the box, the outer packaging would unfold and reveal the inner box which includes all the belongings. I very much enjoy this new packaging as they are beautifully designed inside out and gives a feeling as if you are unboxing a present. This phase of lineups has a flower theme to it as it is apparent to the box design.


Other than the earpieces, it includes 1 set of 3.5mm stock cable, 1 leather case, 3 pairs of earpiece pouch, 5 pairs of Final Audio eartips, 3 pairs of CA eartips, 3 pairs of CA foam tips, 1 CA Lapel pin, and a cleaning tool. CA used to provide only 1 pair of earpiece pouch before, but it seems like they have realized the demand for it and started to throw in an extra 2 pairs – which I appreciate a lot. The lather case is also newly designed to have the same color as the earpiece. The size also got appropriately larger with a wider opening, now making it more convenient when storing the IEMs with thicker cables. It is also worth mentioning that the case material has now changed to sustainably harvested cork which is economically friendly and even durable than leather. The size increase also happened to the earpiece pouches as well, making it easier and smoother to store the earpieces.




Earpieces - Design

For those who have used or experienced the original Solaris, you could have been challenged or overwhelmed to get the proper fit, especially if you have small ears. Although I personally did not struggle much to get them in my ears, they sure were bulky. Due to that reason, CA brought a 20% reduction in size, including the thickness while maintaining the overall shape and design that Solaris used to have. The edges got slightly rounder than the original, but still keeping the same looks and vibes.


While its particular design may make them look to still appear big, the difference gets very apparent and sensible as you actually wear them. The earpieces are now surprisingly small and would snug right in the ears without any sense of bulkiness, unlike the original Solaris where the fit rather felt as if the earpieces were dangling from the ears. The cavity is fully coated with a sleek black color with much finer texture whereas the original Solaris has been applied with a glittery gold faceplate which was vulnerable to getting chipped off. Now, the faceplates have been changed to a glossy yet not-cheapy looking finish, making us much easier to keep them in a clean state.




Earpieces - Specs

Let us now cover the internals of this urbane-style IEM. Solaris 2020 is comprised of a 3BA+1DD configuration per side. All applied with CA's classic chamber tuning, T.A.E.C, two custom-made BA drivers are for the highs with 1 rear-sided BA driver placed the mids. The included 10mm A.D.L.C dynamic driver is the same one used for Atlas, taking charge of lows and mids. Yet for Solaris 2020, the dynamic driver is topped with the Polarity Tuned Chamber, plus the custom-tuning in order to make harmony with the BA drivers.


The shape and size of the nozzles stay the same - however, due to the smaller cavity, there is a good amount of chance that you would be able to achieve deeper insertion as you wear. It must have been challenging to get the 20% smaller earpieces packed with not only the drivers but also the chambers and other components, though it still happened. Will the size reduction negatively affect the sound? Stay yourself tuned as we soon move on to the sound impressions.




Cable

Previously, the beloved Litz cable was updated to Smoky Litz, and now it is time for the Super Litz to go through the same. Solaris 2020 comes with Super Smoky Litz which is made based on the one from the original Solaris but now even better. The sleeves now have a grey color while the original transparent sleeves were versatile to oxidation and discoloration. I can also feel that the cable got softer and more pliable. CA has also removed the metal rod from the earguides and installed the memory tubes only, making the earguides to snug right around the ears.


I am very glad that they have made this change as the original Super Litz was a tad stiff, along with the metal rods inside the earguides made things worse. Super Smoky Litz is made of thick silver-plated copper Litz wires, braided to have 4 cores. The cable is terminated as MMCX-3.5mm, just as usual. It would have been better to see some extra functionalities or accessories regarding the cable termination as an IEM in this level of price would have no small amount of needs for balanced outputs. I wonder if CA will have plans for applying changeable plugs later on. Perhaps the future will tell.




Sound impression - Lows

Lows feel to be gently pressurized to the bottom of the headroom where the bass not only adds stability as the bass is getting driven but also prevents the reverbs from bouncing upwards and leaking into the lower mids. The bass is toned to have a serious, dark, and classy mood where I find it to be one of the most charming basses I have heard. The surface of the bass is polished smooth but able to catch small bits of details, hence growls from the bass are prominent but do not get grainy or dry.


Alongside, lows would dive gently but with superb clarity and depth that makes Solaris 2020 possible to pick up the ultra-low details very vividly without any need to overpower the quantity. Since that, while this IEM oozes with deep, dark bass presence, the bass production itself is kept very well leveled and balanced throughout the range. What I also appreciate from the lows is its field-like bass area that scales wide. It gently and carefully spreads out sideways, posing an elegancy that feels profound yet not burdensome. Yet still, Solaris 2020 does not put behind acquiring the density as the vast bass expansion does not thin out the density one bit. Lows are packed with deep, meaty particles and texture, keeping its stout stance all along.




Sound impression - Mids

With no dips or unnatural turbulences being made, mids take a small step forward with a stable transition from the lows. The vocal tone is moist, deep in color, and organic but not plain. Mids are smooth yet revealing just as Solaris 2020 did with its bass, yet in mids, the analytical level goes much higher and exposing the texture details in a more explicit manner. One of the key highlights from the mids is its fabric-like texture. This does not recess the vocals but instead greatly helps to form a nice virtual presentation where the sound feels to be coming out from a heavy build speaker. I personally find this quite interesting for a hybrid IEM as the dynamic driver and the balanced armatures sound so unified and seamlessly connected in order to create this certain texture.


The temperature is neutral warm on the lower mids and gets cooler and fresher as we move upwards. Hence mids and upper mids persist a mild coolness and airiness that opens up the atmosphere. It also brings out more crisps and bites to the sound that goes further on making clear distinctions, but at the same time not breaking the harmony. The sibilance area on the upper mids is well handled by replacing possible spikes with a touch of spice. This "spice" actually holds a major role as it serves as a refrigerant to freshen up the lower-end atmosphere which is rather deep and warm. The sound rays on mids show a well-padded thickness that is just mildly thickened from neutral. Thanks to that, vocals sound full-bodied and bold enough to continue Solaris 2020's robust sound signature while satisfying both male and female vocals.




Sound impression - Highs, etc.

Highs take a small step back than the mids and similar in the distance as the lows. Yet they firmly hold onto the clarity that makes them just as clear as the vocals if not clearer. Treble strikes are very crisp and agile where they show instant strike and decay, barely leaving reverbs except the airiness that they carry. Of course, the natural splashes are not omitted but only highlighted to the point where it would not stuff up the upper atmosphere. With a highly refined, smoothened texture, trebles present to a silk-like fineness that is smooth but capable of highlighting all the small bits of sparkles and treble layers. The timbre is on point with naturality which leaves a rich aftertaste, making every bite of trebles sweet and tasty.


Following the legacy achieved from the original, Solaris 2020 presents one large and wide staging. The depth is super dense and thick in color with moist and full upwards extension, forming a 3D headroom while not breaking the imaging accuracy. As some Campfire IEMs did back then, there are some white noises present due to its impedance but the black background compensates in order to achieve the quietness. Also, the white noise will not be too sensible unless the track is paused. As we head to the end of the impressions, I would like to quickly talk through the eartip recommendation. After some tip-rolling, I have found that JVC Spiral Dots++ worked out the best for me than others (stock Final E-Type, other Spiral Dots, etc.) The tone and texture just sound perfectly right once I use these, so I would recommend giving those a try if you own or planning to grab Solaris 2020.




Comparisons

-Campfire Audio Solaris OG (Original)-

The first IEM to put up to the comparison of course needs to be the original Solaris, which I would refer here as Solaris OG. The first general difference I have spotted between them is the imaging/staging style. It may feel to be a subtle change but once you dive deeper into their sounds, the changes turn out to be quite big. Solaris OG creates a headroom that is more "up in the air" with slightly wider expansion. This greatly helped the sound to feel rich and headphone-like, yet at the same time, it also caused where the sound may feel a bit light-weight (especially the bass) or not enough of "touching the ground" type of stableness. Solaris 2020 now has all that by putting up the sound closer that gives better immersion. The bass response has improved as well by achieving more depth, punchiness, and intact feeling to the ground.


Another difference I have spotted is to do with the tone. Solaris OG had mildly hyped upper ends and having the extra finesse as a topping while Solaris 2020 sticks to the basics by keeping a natural, unexaggerated tone that is equipped with elegance to its nature. Although the upper ends got comfier to listen, that doesn't mean the charms have been degraded - as, in fact, highs are as equal or got even more attractive depending on your taste, since the more natural toning. However, at the end of the day, I would put both IEMs on the same level and put it as a tie since both IEMs share the same trunk with just the different branches. Some will enjoy the original while the others (and those who disliked OG for the reasons mentioned above) will enjoy the new version. All based on preferences, which are done by gives and takes.




-Astrotec Phoenix-

I would also like to compare Solaris 2020 with Astrotec's flagship IEM, the Phoenix. Note that I have accompanied Phoenix with the Aune B1 amplifier since it requires high power by nature. The way how low-end texture and the punchiness are presented is quite similar between these two as those elastic, weighty bounciness from the diaphragm takes a huge roll in the bass. The audible bass extension is equally nice, appropriately mining out that deep and dark force oozing out from all the way down. However, the ultra lows from Phoenix are tighter and even less bloated with reverbs, therefore making a clearer presence. On the other hand, ultra lows show slightly better visibility as they pose more quantity and vibrancy. Upper lows are rather similar in quantity.


Relatively speaking, the texture from Solaris 2020 is more revealing with slightly thicker grains. Of course, the fineness and resolution are not falling behind one bit - in fact, it is equally if not mildly better than Phoenix as Solaris 2020 shows once stellar resolution. While that, Phoenix comes with a counterattack by forming a smoother surface with finer grains. Solaris 2020 takes a reasonable lead once we move on to the trebles. While the extension from both IEMs is on a similar league, Solaris 2020 shows more energy that makes them stand out clearer than Phoenix does. The treble strikes are also more elastic, hence it leaving with a tastier note.




Verdicts

Solaris 2020 is a fine example of a brand paying close attention to what the consumers want. Campfire Audio has gone through necessary changes inside out, making the usability a lot lesser in hassle. A retouch to the sound has also been done for those who wanted a different perspective from the original Solaris, all while not abandoning the charms the original Solaris had. Solaris 2020 definitely has a noticeable advantage fitting-wise, yet the retouch to the sound has been done very respectfully, as the competition between the new and the original is more of a yin and yang type of situation - both the original Solaris and the Solaris 2020 having an equal level of charms and performances, hence the personal taste would be the one that would decide which one would be better suitable for you.


For the original Solaris owners - rest assured. If you had to drink a bitter cup for not being able to fit the original Solaris properly into your ears, then it is definitely recommendable to try again with the Solaris 2020, as now the chances for you to achieve the right fit are much higher. When it comes to the sound, Solaris 2020 is not meant to kill off the original but to give a complete "Solaris experience" by providing both perspectives from the same base. If weighing a bit more on the lower-ends with a further neutral tone is what you want, listening to Solaris 2020 must be included in your to-do list.

Campfire Audio Ara Review: Succeed to the throne

The popular brand from the portable audio industry, Campfire Audio, has come up with a new stream of products - Ara, Andromeda 2020, and Solaris 2020. The Andromeda was not only the flagship model from their full-BA lineup but also CA's most popular product of all times, keeping its flagship title for a long period of time while other their other lineups were featured with the new successors - such as Atlas or Solaris. A rumor has been lingering upon us that CA is engineering a 7BA IEM since several years ago which turned out to be true as their announcement of a special limited edition named Andromeda Gold. Finally, after a year or so, CA announced the official, new flagship from their full-BA lineup, the Ara. Let us now take a look and see how this performs, sounds, and compares to its competitors.

Packaging

Campfire Audio finally went through some revamp with their packaging and I am happy about it. There are lots that do not pay much attention (or not at all), which is very reasonable. But I believe better packaging and boxing do matter when talking about premium IEMs. The size of the new packaging still goes for a reasonably small box but roughly twice the bigger than the old ones. Once you remove the CA sticker on the rear of the box, the outer packaging would unfold and reveal the inner box which includes all the belongings. I very much enjoy this new packaging as they are beautifully designed inside out and gives a feeling as if you are unboxing a present. This phase of lineups has a flower theme to it as it is apparent to the box design.


Other than the earpieces, it includes 1 set of 3.5mm stock cable, 1 leather case, 3 pairs of earpiece pouch, 5 pairs of Final Audio eartips, 3 pairs of CA eartips, 3 pairs of CA foam tips, 1 CA Lapel pin, and a cleaning tool. CA used to provide only 1 pair of earpiece pouch before, but it seems like they have realized the demand for it and started to throw in an extra 2 pairs – which I appreciate a lot. The lather case is also newly designed to have the same color as the earpiece. The size also got appropriately larger with a wider opening, now making it more convenient when storing the IEMs with thicker cables. It is also worth mentioning that the case material has now changed to sustainably harvested cork which is economically friendly and even durable than leather. The size increase also happened to the earpiece pouches as well, making it easier and smoother to store the earpieces.

Earpieces

Ara houses 7 balanced armature drivers per side, comprised of four lows, one mids, and two highs that are topped with +T.A.E.C. chambers that are once again advanced from their original chamber structure. Not only Ara but all three new products went through changes where they no longer use any crossovers or passive electronic components for the internals - which CA refers to as the Solid-Body chamber design. Each driver is controlled and tuned based on acoustic housings installed with the driver in order to produce a more natural, accurate sound.


Campfire Audio also applied Ara with a housing material that they have not used before which is titanium. With the same design and form factors as IO or Polaris II, Ara's cavity uses a CNC machined, grade 2 titanium with the surfaces kept raw. Of course, the edges do not feel sharp at all as they are polished smooth and round. Since the surface is not coated with extra layers, it actually feels smoother and more comfortable to the touch than other Campfire IEMs. Selecting titanium as the material sure made CA's steampunk design to look even cooler.

Cable

The cable went through some changes too. First the shielding. The previous silver-plated Litz cable had a transparent silver color which looked good, yet vulnerable to discoloration and stains. The new version has a smoky grey jacket that solves such problems as well as being even softer. Metal memory wires are gone too and replaced with a simple ear hook design.



I am glad that they have made this change as the metal rods used to make the earguides feel a bit odd. Super Smoky Litz is made of thick silver-plated copper Litz wires, braided to have 4 cores. The cable is terminated as MMCX-3.5mm, just as usual. It would have been better to see some extra functionalities or accessories regarding the cable termination as an IEM in this level of price would have no small amount of needs for balanced outputs. I wonder if CA will have plans for applying changeable plugs later on. Perhaps the future will tell.

Sound impressions - Lows (Spiral dots normal)

Ara sports a W-shaped sound signature. With having a mildly elevated quantity, lows are maintained leveled and flat. But before moving on, I would like to make sure that this does not mean that the term "flat" is not being referred to the bass quantity but the overall intensity throughout the low range. Lows show instant reaction speed with clean, mild splashes happening evenly throughout the low range. It is also thick in density that adds intimacy and stickiness to the dynamics. Despite all that, the bass quantity itself is only emphasized adequately (around 20~25% depending on different tips), having it to be similar to or minutely lesser than slightly v-shaped IEMs.



Since that, now it may come to you as a concern if you wanted a plentiful amount of bass - however, the way how Ara presents the bass is more than enough for making a strong impression as the music goes. While Ara makes a leveled bass flow as I mentioned above, lows are consistently kept bold and clear all the way down to the ultra-lows, managing to easily pull up those deep, energetic bass rumbles. The rock-solid density makes the core of the bass to be distinctively hard which is then surrounded by the tender body. This ables the strikes to be extremely tight and dense without turning stiff since the smooth body and reverbs relieves it. Since that, every note of the beat is driven by this solid core and makes the bass to show strong impressions throughout the music, even with a mild bass quantity. Of course, these rumbles do not bounce up high or get rough in order to keep the linear altitude, though lacking depth or the low-end presence have no means of worrying unless you are a basshead.

Sound impressions - Mids

Mids are forwarded made by a natural build-up from the lows. Other than the lower mids being forwarded mildly lesser, no audible dips are being made as the transition is being done and keeps the phasing perfectly coherent. A mildly husky and sensual tone is one of the strongest charms that are found from Ara. Mids also forms a well-bodied and meaty thickness. However, instead of a warm tone like most IEMs that show meaty vocals, Ara sports a cool, airy tone throughout the range. On top of that, Ara also keeps the vocal surface leveled without forming a big lump that bulges out. Hence Ara's coolish, leveled vocal presentation breaths in gentle freshness and transparency that does not lead to fatigues even after a long listening session.



As we move upwards, vocals gradually gain more air, making them bloom with fluffiness. A metallic glimpse is noticeable as it crosses the sibilance area that serves to add rigidity to the texture. This does not escalate into spikes or warp the timbre but only gives a sleek, crusty bite at the end. Speaking of sibilance, I have noticed that eartips with slimmer bores (such as the stock Final E-Types) could cause the upper mids could get thinner or marginally sibilant once in a while, so in that case, I would recommend using wide bore eartips (Spiral Dots, AET07, etc.) since these tend to not cause any sibilance or thinning out in vocal thickness. The tight density continues on mids as well but relatively smoother than lows (which were rock solid), not leaving a hint of getting loosen or muddy in the presentation.

Sound impressions - Highs, etc.

The crisps are very detailed with excellent layering and texture retrievals which I consider as the biggest highlight from the trebles. Ara's analytical highs produce smooth and fine treble grains that stay apparent as the music goes which is addictively good. While highs are tight and dense like the lows did, here the notes are a lot more bouncy and elastic that makes themselves more adaptable to the flows. This also benefits how the treble strikes sound. Highs show distinctive analyticity but definitely not mechanical or cold-hearted as the impacts are being made lively and soulful.



They are distanced similar to the mids and similar in quantity. However, interestingly enough, fatigues are not a problem as they are amazingly well controlled. CA must have paid no small effort tuning the trebles as they stand out vividly without heating up or getting intense in certain parts. As Ara did with their lows, the intensity on the highs is kept very calm and evenly distributed. Ara sure does not forget on forming a large, but not overdone, headroom. While having the overall sound rush in close to the ears, it maintains an adequate distance from the ears, keeping the sound immersive without the mess. The phasing and positional details are well fetched and respect the natural atmosphere. Each instrument is distinctively separated and organized on their intended place but does not get choppy or too "mechanical".

Comparisons

-Campfire Audio Andromeda (Original)-

Simply speaking, Ara approaches to the music more in-depth and in a wider spectrum. Lows are agile and slimmer that does not fall behind in thickness or dynamics. The reverbs are further controlled which results in the overall bass quantity to slightly decreasing, yet Ara puts thorough enough attention to the body and the thickness and would not get lacking in bass response - however, the quantity may not be fully enough in the case of a basshead user since the bass quantity is about 30% elevated from flat or <10% lesser than Andromeda. The bass response from Ara is still plentiful, which that it now got even accurate, and covers the spectrum wider and clearer, ultimately achieving better performance than Andromeda.



Trebles are opened and further cleared up that the sound achieves higher transparency and airiness. Mids are cleaner and take a clear step forward, enforcing the vocal presence. They are now also more revealing and neutral in thickness meanwhile Andromeda carries a warm, thickened vocals that gently rings with reverbs. The gentle, airy splashes are now vivid and easily audible from Ara, making the transition from Andromeda to Ara to feel as if we cleared up the fog from the atmosphere.





-Campfire Audio Andromeda Gold-

As we compare Ara to Andromeda Gold, we can see that these two IEMs share the same DNA yet with distinctive differences. Lows from Andromeda Gold are more plentiful in quantity with a larger body. On the other hand, Ara's lows maintain a well-bodied, meaty bass, they show a quicker and snappier response. The bass strikes are clearer-cut that retain a denser core in the middle. Since the strike and decay are more firmly and confidently done, the low-end atmosphere is kept cleaner and better organized.



Andro gold's mids sound more soothing and organic while in the case of Ara, mids are clearer, brighter, and crisper. This also means that the peak around the sibilance area is relatively stronger, yet the extent is small from the get-go. Mids are thicker and moister on Andromeda Gold with that classic full and rich Andromeda vibe, while Ara is closer to neutral with less reverbs or bloatedness. The upper ends, in general, are a lot tighter/harder and blatant in exposing the surface textures. Highs are visibly clearer and transparent that poses liveliness. The fine strands of layerings are better separated and analyzed on Ara, along with carrying much more air with that open-field, breathable environment going on. Ara's treble strikes are crispier and protruding but get nowhere near to giving fatigues. The stage size is similar - Andromeda Gold takes a lead in the lower-end fullness while Ara shows its superiority in the upper-end openness.





-Noble Audio Kaiser Katana-

Ara sounds interestingly similar to Noble Katana throughout the range. Both IEMs use a full-BA setup that sets analyticity as their characteristics that, in the end, sound beautifully musical. Both IEMs are quite blatant and revelatory to the finest level, precisely picking up every bit of detail. Yet when it comes to the bass, Ara takes the advantage. Not only Ara produces more bass quantity, but the thickness of the color and its depth is also visibly better than those from Katana - let us say Katana's low-ends are only mildly elevated from flat while the bass quantity from Ara is equivalent to those that are slightly v-shaped. Not "V"-shaped, but "v"-shaped.



However, once we move on to the mids, Katana takes a slight lead here. Both of them are finely tuned to create coherent and well-bodied mids, yet Katana does a better job dismantling the layerings from the vocal as well as evenly and stably expanding the vocals throughout the mid-range. In other words, the vocals sound more wide-spread with lesser turbulence. It is not that Ara is unstable, of course, yet Katana still takes a slight lead when relatively spoken. Other than these, both IEMs are very similar in both characteristics and presentation as mentioned from the beginning - crisp, airy, open-field, and rich.

Verdicts

After numbers of Andromeda variations, the next generation for the full-BA lineup made itself to the shelves. As an immediate superior of Andromeda, Ara is another milestone for Campfire Audio as well as to be new the star of the show. With a further mature performance and presentation, Ara does not simply reuse the sound signature and charms from Andromeda but born to have its own attractions and style. Also, the fact that it did not fully steer away from their house sound signature makes it possible for Ara to be leading in those who appreciated the former flagship. If cleaner, deeper bass along with extra analytic and splendid upper ends are what you are looking for, Ara's sexy sound presentation would already be enough to draw you into choosing them as your next flagship choice.

Astrotec Volans Review - Warm transparency

The trends in Chi-Fi are well known for their fast transitions. New IEMs from completely new brands would make it to the front line in discussions and attention, which are soon replaced with another wave of products and so on. Now it may be brought up to the question of "do Chi-Fi underdogs ever last long enough?" Well yes, and Astrotec is one of the good brands that correspond. For those you may have not known, Astrotec is one of the earliest to be entering the budget earphone market, if not the 1st generation in Chi-Fi.


While their market share may not be so high at overseas, Astrotec has been building up a solid reputation in the mainland market as well as advancing their craftsmanship. As their earbuds begin to gain some decent attention, they also began to approach towards a more premium level with their in-ears by releasing Delphinus 5, then their flagship, the Phoenix, and now their latest model, Volans. Volans is the mid-range IEM that sits in a higher tier than their usual budget models. Let us now take a look at the specifics as well as its sound signature.




Packaging

Volans comes in a breezy, blue-themed box with the specifications written on the sides and the rear. Once the outer blue sleeve is removed there appears the black inner box where all the goods are included. Other than the earpieces, the included accessories are stock 3.5mm cable, a Pelican-style hard case, 3 pairs of Sony Hybrid silicone tips, a pair of foam tips, a pair of earpiece pockets, a cleaning tool, a velcro tie, and some paperwork. The earpiece pockets (or mesh bags) are very similar to the ones from Campfire Audio. These pockets are used for covering the earpieces in order to prevent them from collecting scratches and dings. The dimensions are slightly smaller than the Campfire's but large enough to fit them in without an issue.


The Pelican-style hard case is smaller that makes it even portable while being just as protective. However, there is quite a lot of free space even after storing the earphone as well as lacking with rubber padding on the inner of the lid, causing them to wobble around a bit - though once you store the IEMs while having the earpieces covered with the mesh bags, the IEMs would stay secured in the case. I personally would have liked to see more eartip options to be provided since numerous other IEMs on a cheaper price still provides more eartips than this - but, of course, the stock eartips on Volans must be higher in quality.




Earpieces

Volans houses a large self-built 10.5mm dynamic driver along with a powerful magnet where the magnetic force reaches up to 1 Tesla. The internals is composed of a multi-layer "biological" diaphragm which differs in material from bio-cellulose and Astrotec keeps further details to be confidential. Volans also take major advantage out of its brass chamber which is the first to be applied within Astrotec products as well as a result of spending five years in the research. By combining all these components, 1 Tesla-level magnets, biological diaphragms, and brass chambers, Astrotec introduces that they were able to achieve the transducer to have an extra wide-band sound.


Volans is available in two color options - Galaxy blue and Mint Green. The earpieces are fully made of aluminum, making it light yet durable. They fit comfortably in the ears without any bothering edges or bulges along with having the right angle for the nozzles. Its ergonomically-shaped earpiece design is topped with concave wavy faceplates, making Volans look simple but elegant. The diameter of the nozzle is about T500, making it suitable for most aftermarket eartips (Spiral Dots, AET07, Spinfits, etc). Volans uses standard MMCX termination which makes them detachable.




Cable

The stock cable comes in with SE 3.5mm termination and made of high-purity OFC wires. It is quite interesting that they are copper wires as they appeared to be silver-plated just by their looks. Along with the Y-split, all connectors are covered with metal housings for extra durability along with the strain relief applied under the plug.


The outer sleeves for the wire are actually quite greenish which I, on a personal note, find this less appealing than just being black or transparent. The tone of the sleeve somewhat makes the cable to appear as oxidized - while it really is not, or cannot. The color is closer to a mint color, so perhaps it makes the look universal for the Mint Green variation? Though at the end of the day, the quality of the cable is quite nice and I also must address that I appreciate them using a custom-made MMCX housing with shorter stems (not the socket itself but the part you grab). Not only it makes them look neat, but it also leads to a comfier fit.




Sound impression - Lows

I usually do not stress about burning the drivers, though I gave these more than 100hrs of run-in time because I have noticed a small but gradual change from when I opened the box. As we first look as a whole, Volans presents a mild w-shaped sound signature with a slight more emphasis on mids. Unlike most Astrotec IEMs where the bass was quite vibrant and masculine, Volans takes more of a feminine and delicate approach when it comes to its sound. The bass is highlighted just enough to produce the necessary fullness and quantity. To get more specific, as well as to clarify, the bass quantity is on the ballpark of being mildly emphasized from flat - definitely producing stronger bass and reverbs than flat, but also a bit lesser than those that are "slightly" v-shaped. The bass quantity may not be sufficient for obvious bassheads or those who really want that powerful, bombastic bass, but people who prefer a flatter/calmer response or want the bass to rather take an equivalent role as the vocals do, Volans' bass response would show just the right emphasis. The bass is well established with weightiness, holding down the bass to the lower headroom.


Alongside, while Volans may have a calmer bass, that does not mean the performance is left out. Lows are dive deep with tidy reverbs and thickness. The bass slams are smooth yet do not get mushy and would keep the bass boundaries (or the edges) distinct in a natural way. While keeping the strikes snappy enough, it gets evident that Volans made good use out of those brass chambers as the bass would mildly generate just a touch of warm, clean ringing as the bass decays. Of course, this is subtly highlighted and would decay quickly enough to keep the bass up to the tempo as well as keeping the atmosphere organized. The bass is thick in color which is black-themed, adding depth and quietness to the low-end atmosphere. The surface is smooth and creamy, It is a type of bass that gives gentle and comfortable grooves, serving to enrich the upper ends.




Sound impression - Mids

Mids take a slight step forward from the lows with a shinier, mildly brighter tone - the temperature is now fully neutral which levels with the warm bass. What I appreciate the most, and also which I consider being the biggest merit from Volans, is as the review is titled - the warm transparency. The timbre on mids is waterlike, maintaining the vocals with thorough transparency and neutralness that the vocals do not feel to be filtered with coloration whatsoever. Mids also possess plentiful air, though I prefer to call it "breathable" as the airiness from Volans is quite different from the ones that we often encounter - generally speaking, IEMs with airy vocals show or emphasizes its air as they enter the upper mids, and with a cool tone. Unlike that, Volans keeps its airiness throughout the entire vocal range, and with a warm tone. This is quite unusual but all in a positive way as it enables the listener to enjoy the breeziness fatigue-free.


As a constant breathable environment is going on, the density on mids is evenly distributed throughout the range. Since that, rather than the vocals being presented by forming a big lump at some point, the surface is leveled both in quantity and density as well as achieving a subtle openness. The stability is outstanding with no audible dips, turbulence, or sibilance. Hence the transition towards the upper mids is done with equal intensity, though the upper mids would once again show a shinier, mildly cooler tone. This serves to make the mids lively as well as to draw a line between the part where the lower mids and the upper mids intersect. The vocal thickness is neutral, added with just the minimum amount of meat to give a full enough body.




Sound impression - Highs, etc.

While being lesser in quantity and placed slightly backward from the mids, the characteristic differences between mids and highs keep them well distinguished. Highs get tighter, denser, and crispier, serving to make the music lively and vent the warm low-mid atmosphere with a cooler tone. Their tighter and denser textures allow trebles to make a good presence in the music with even lesser quantity, though it would increase only mildly in order to persist with Volans' smooth-sounding nature. The thickness is rather on the slimmer side but refined and decently layered. Here, highs are meant to be set as a garnish to the music instead of playing a major role, showing subtle splashes along with minimal intensity and vividness.


The staging keeps itself on the average note, or on the compact side, marking up a similar headroom size with other IEMs with a sub-flat sound signature. The side staging is not particularly highlighted too much, only extending to the point where the tightness would not be degraded, but shows quite good dynamics and expression in distancing and depth (or the ups and downs). Putting it simply, the staging feels to be an advancement from a flat IEM where the spatial aspect and depth expression are greatly improved, along with a touch of extra side-stage. Volans works out equally well on male and female vocals - however, regardless of that, vocals that are both dry and thin in their recordings may cause the sound to be lacking in body. Plus, its rather flat and calm sounding nature may not be suitable for those looking for an aggressive, vibrant type of genre or sound signature, so please be advised.


Besides, choosing the right eartips is especially crucial for Volans. Although JVC Spiral Dots are my first go for most DD-powered IEMs, those do not work out so well this time including the stock eartips - the Sony Hybrids. I have found that the Spiral Dots make the sound too soft while Sony Hybrids thins out both the sound and stage size. My best pick for the eartips were Epro Horn-Shaped eartips as, in the case of Volans, they achieved the largest staging as well as not losing any of those density and thickness. My next pick would be Acoustune AET07 as they get considerably close to the Epros and for having more air.




Comparisons

-Tanchjim Oxygen-

These two already show a difference in the way the sound is presented. Oxygen, since the drivers are closely located to its short nozzles, the vocals blasts out widely and openly but with lower concentration and depth. While the staging area itself is similar to Oxygen, vocals from Volans are less spready as well as achieving a more tender, thick-in-color sound. When it comes to the bass, Oxygen's are flatter throughout the range with slightly better transparency and airiness, though lighter in reverbs and depth. The bass from Volans has a similar quantity as Oxygen does, but its brass chamber once again shows its worthiness as the bass sounds thicker in color, deeper, and fuller. Highs are brighter and limber on Oxygen while Volans' are darker and more stately.



-Moondrop Blessing 2-

While many bits of characteristics are different between these two, the overall presentation is interestingly similar. Both IEMs present a rather flat, up-close presentation. Though the biggest difference would have to do with their intensity. The upper ends, especially mids, are more vibrant, closer, and out-going than the ones from Volans, showing stronger penetration. A mild, cool-tone sibilance would slither through as it progresses on the upper mids, but still very manageable. Besides, the benefits are that Blessing 2 carries more transparency and airiness on the top of the headroom. On the other hand, Volans is smoother, warmer, and highly organic in its tone, showing clarity nearly as good as Blessing 2 but in a complete fatigue-free manner. Their difference also has to do with their temperature, presented with a warm tone for Volans and a colder tone for Blessing 2.




Verdicts

While I have been continuing good memories of Astrotec ever since the days when their AX-35, AX-60 came out, the moment when I started to thoroughly appreciate their goods started since their earlier 1DD model, the AM850. Not just because they are built well and sounds well, but also the fact that they design and produce their own drivers. Volans suggests another way of executing a mildly-flat and airy sound, which is to make it warm and thoroughly fatigue-free. Warm, breezy transparency - strong merit I have not encountered many IEMs with such characteristics. I would call Volans to be a need that is finally met for those who were looking into a gentle, airy sounding IEM that, at the same time, hates the shivery coldness. Never underestimate its calm nature as its subtle involvement in the music would slowly drag you into enjoying the mild chamber reverbs and its warm and breezy tone!

IKKO Musikv OH-7 Review: Grandeur

What goes around comes around. Multi-BA and Electrostatic drivers are the hottest trends when it comes to IEMs, but what is getting hot as much as that is are 1DD, single dynamic drivers. Ikko, as a new kid on the block, started off the brand good with their Meteorite OH-1, and I literally mean meteorite because Ikko came in with a huge bang thanks to its sensational performance and build quality for such affordable price. Since then, Ikko speeded up on presenting new products, such as Obsidian OH-10 which is an upgraded version of the previous IEM, a portable DAC, a Bluetooth neckband cable, an attachable smartphone DAC, and so on.


So far these were mostly closer to budget-friendly, smartphone-friendly gadgets (with quality, of course), but what about a product that is done in full force to achieve ultimate quality and performance? Living up to the demands, Ikko recently announced their first-ever flagship IEM, Musickv OH-7. Creating their flagship IEM sure lives up to our demands, but will it also do for our expectations? Let us find out the spec details, sound evaluations, and some comparisons with other flagship 1DD IEMs that are in the same league.

Packaging

OH7 comes in an urban packaging finished with black leather, golden Ikko logo on the left top, and a wood naming plate on the front. The sleeve in the middle includes an image of Musikv OH-7 along with spec and product details on the rear and the sides. Once opened, it reveals the earpieces surrounded in foams with an Ikko shirt badge sitting in the middle. Under that, there sit the accessories. Other than the earpieces, it includes a 3.5mm cable, a 4.4mm cable, a 4.4mm to 2.5mm adapter cable, a soft pouch, a hard case, 6 pairs of silicone tips, 3 pairs of i-Planet foam tips, and some paperwork.


The leather case is large and has a mesh pouch in it, so it is possible to store thicker custom cables or additional accessories. Ikko's i-Planet foam tips, which are also sold separately, have a shorter stem with a wider bore, leading the nozzle to sit close to the ears than casual foam tips. As a result, the sound would become more revealing, gain clearer upper frequencies, and reduced clarity loss/distortion compared to casual foam tips.


I find it quite enjoyable that they are allowing us to choose between three jack variables (2.5mm/3.5mm/4.4mm), but by providing another set of cable. Well, not fully separate since they included a 4.4mm to 2.5mm adapter cable instead of a whole 2.5mm cable, but it is certainly better than having to apply adapters to a single 2.5mm cable as some other brands do. I do wish the additional cable was terminated into 2.5mm instead (as it is my personal preference), but they made an understandable decision since 4.4mm has become the mainstream nowadays. Overall, the accessories included are very plentiful with all the necessities.

Earpieces

Not only Musikv OH-7 is Ikko's first flagship product, but it is also their first product to be using a single dynamic driver. Ikko incorporated Musikv OH-7 with their newly developed 10mm 90Ω carbon diaphragm. Though not just any type of carbon diaphragm but a super-carbon coating technology called Nano Carbon Vacuum Evaporation (NCVE).


Ultimately, NCVE diaphragm would achieve significantly higher carbon density and thinner yet sturdier membrane than CNT (Carbon Nano Tube) or CNF (Cellulose Nano Fiber) diaphragms. Its extremized carbon diaphragm, as Ikko introduces, is sure able to actively make most out of dynamic driver's advantages, which is the thick bass, yet with lightning-fast speed and adaptation, along with a treble performance that would even have a chance to stand against EST drivers.


To complete the tuning, Ikko chose to use a whole red brass for the cavity, which is then topped with marvelous craftings on the faceplate. According to Ikko, these craftings on each and every earpiece are hand-trimmed and hand-polished by jewelers, leading to a period of production where only 2 sets of Musikv OH-7 could be made in a week. Along with that, since the CNC machining cannot perfect the balance when it comes to chamber reverberation, therefore the inner sides are also hand-polished little by little, making it look more like brushing than polishing.


And as a final step, the inner surface of the shell goes through multiple coating processes and so does the outer surface, but with different coating where the surface goes matte. The earpieces are precisely assembled without particularly visible gaps and overall well-polished, though I do lightly see some less-matte spots every here and there. However, these are not visible unless watched up close and lighted up. Preferably, I even like it this way as it finishes its antique look - this is quite exceptional as I easily, and highly, get irritated with scuffs and dings.


The significant highlight from Musikv OH-7 is on its nozzles. Just as Klipsch's X series and Beyerdynamic's Xelento, Ikko went for the oval nozzle - simply because human ear canals are oval. Since that, all the stock silicone tips are shaped to be oval with asymmetrical umbrellas, just as similar to the eartips from Xelento (however not identical). Basically all other aftermarket eartips work fine with these, so no need for such worries. And before moving on, let us also briefly talk about the size and weight of the earpieces. Despite it being made straight out of pure brass, the cavity is quite on the smaller side, so the end result is just a reassuring weight, giving a good premium feeling in the hands but never going heavy as some high-end IEMs do.

Cable

As previously mentioned, Musikv OH-7 comes with 3 cables - a 3.5mm cable, a 4.4mm cable, and a 4.4mm to 2.5mm adapter cable. The MMCX connectors, the Y-split with its slider, and the plug are all colored to match the brass earpieces, completing that cohesive appearance. There also is a red rim applied on the right side of the MMCX sockets, both on the cable and the earpieces, to easily identify which side is which. Having quite a stout thickness, the stock cable is comprised of OCC mixed with silver-plated OCC, shielded with PVC composite that retains flexibility, durability, and resistance against oxidation.


In fact, unlike the way how it looks, the cable is very soft without a hint of springiness. The weight, as many would concern, is nothing exceptional - it does weigh slightly more than those typical thin cables, however the difference no close to a meaningful extent. Microphonics (touch-noises) is not an issue either as the skin or the shielding of this cable does a very fine job on this. I was not able to pick up any microphonics while playing the tracks and only some mild microphonics when worn with the music paused. Ikko introduces that the sound signature of the cable is meant to help Musikv OH-7 retain a smooth, thick signature but with precision.

Sound impression - Lows / Staging

The size of the earpiece may be dainty but definitely not for the sound. Lows, as well as the overall sound, scale large and wide, having the headroom to exceeding far over its cavity. The size of the soundstage would match up with most flagship IEMs in general. Its pitch-black background makes the sound a lot more immersive and concentrated. I especially love how clean and quite the background is even from a 3.5mm TRRS jack.


Its depth expression is fabulous. The bass would drop far down to the point where ultra lows would have a full-bodied vibration. The rumbles are extremely smooth and refined that benefits clarity and consistency to the bass. Though these rumbles and reverbs are fully under-control in terms of positioning and intensity, holding down its strong presence on the lower part of the headroom.


I must mention that lows are not bloated to create such a huge bodied sound but already big in its original state. Hence lows are not watered-down and thoroughly packed in density. The bass strikes are meaty and smooth but not mushy - this was quite interesting for me as the lows with this much meat and deepness would very easily turn into a mush, yet OH7 did not. With a warm tone, this thick and dark coloring continues from the very bottom of the ultra lows to the upper lows where listening to the clean, thick bass grooves becomes one of OH7's charms.

Sound impression - Mids

Mids would proficiently and gradually make a transition from the lows, sitting mildly closer or similar to the lows. Location-wise, mids are positioned higher than the lows - distinctively, but not drastically. This allows these two bands to achieve enough separation to draw clear boundaries without having them feel to be fully detached. Despite that, mids are still sitting on the middle area instead of lingering on the upper side, as lows were primarily positioned on the very lower side. As OH7 did with its lows, mids scale big and full. From here, the warmth will slightly tone down that allows vocals to gain a lush and cool breeze to its breath, boosting the transparency.


I was impressed with analyticity, which was done in a very seamless manner. Mids would create one big boundary of sound, but within that boundary contains numbers of layering where the end result is a coherent stream of vocals that involves characteristics that are highly spatial and lively. OH7 has a highly natural but palatable tone, not only on mids but throughout the spectrum. The thickness on mids is neutral-thick that mildly thins out as the vocals approach the upper mids. Since that, male vocals sound impactful and forceful while female vocals would keep an extra airy, light-footed attitude. In case the sound could have gotten only too soothing, OH7 would sprinkle some edginess as the sibilance area is managed to deliver crispy bites to the upper mids instead of spikes.

Sound impression - Highs / etc.

Always going smooth and warm would be boring, which is why highs would step in and spice up the atmosphere. Within the natural barrier, highs show a metallic, agile tone that brightens up compared to lows and mids. Since highs form a bright and cool sound, OH7's sound gains further dynamics and both-end extension. Treble response feels agile and would deliver a solid punch. Ikko audio introduced OH7 to be able to reenact the treble from an electrostatic-driver, which I was skeptical of the time, yet after spending some time listening to OH7 brought me to an understanding why they have made such statements - OH7's treble does resemble EST drivers to a certain extent - it was to do with its acoustic lines (or the sound ray).


Let me list some major characteristics of the treble from an EST driver. Breezy, airy, great extension/details, and highly refined strands of acoustic lines. Though we also need to keep in mind that not all EST IEMs go for a bright/vibrant sound signature as there are also those that sport a relatively darker/warmer signature (Shozy Pola, IMR R3 Halcyon, etc.) OH7 follows a similar path by achieving a breezy, fluffy atmosphere on the highs, and most importantly, knows how to finely take apart the acoustic lines into thin strands, resembling an impression that would often appear from EST IEMs. Separation is great as well. Without having the sounds flying around all over the place, they show clear distinctions between each other with no overdoing.




Comparisons

-FAudio Major-

For the low-end, OH7 produces bass that is heavier, deeper, and thicker. It is thick not only in thickness but also in color. The body is fuller and the slams are more impactful where the bass strikes the core of the head with more focus. OH7 also takes advantage in terms of density that makes the dynamics gluier. On the other hand, Major's low-ends are a bit slimmer and modest in quantity that produces ultra-low extension that is nearly good as OH7. Major desires a bass that has a more watery tone for the sake of transparency - but not loosen in density at all. The bass quantity from OH7 is plentiful enough to put it on the basshead-level while Major sports lesser quantity, maintaining the three bands highly balanced.


While OH7 outdoes Major in most aspects from the bass, Major takes the lead in many aspects once we shift to the upper ends. Mids from Major are slimmer but moister and finer in texture while OH7 has a fuller body, a higher rate of density, and a mildly crunchier texture. Vocals on Major takes a closer approach to the ears with more airiness and transparency, though not by a large margin. The same goes for the highs - Major pronounces them with more quantity and clarity while OH7 maintains just as good but with lesser quantity. Staging-wise, OH7 draws a huge headroom driven by the well-established low-ends while Major sets a plentiful enough of lows as the base and blooms the upper ends with airiness, creating a large headroom that is more subtle but balanced. Both IEMs show keen competition with their performances but in the end, it all comes down to different tastes and sound signature preferences.




-Dita Audio Twins: Fealty-

OH7 tends to create sounds in a more creamy, smooth manner that heads its charming points to be the meatiness, yet it still does not leave out the crispiness in order to pick up the fine details. OH7 shows its undeniable superiority once dealt with the bass. Lows are significantly deeper, weightier, and most importantly, the ultra-low extension is a lot thicker in color. While Fealty performs nicely on the bass, the bass from OH7 is simply outstanding, making you feel as if you have got back the ultra-low weightiness that was missing from Fealty. However, Fealty makes a come back at it by presenting the mids in a larger scale as well as being fuller in body. Fealty's mids are also a bit finer in texture with similar humidity. It is also placed relatively closer to the ears with more openness.


However, the peaks (or the turbulences) are better handled on OH7, creating a smoother and comfortable environment. Crispiness and airiness are visibly more highlighted on Fealty, making its unique rigidity to become one of the charms. Also, since the airiness, Fealty carries stronger transparency and upper-end intensity that serves to add cool freshness to the atmosphere. OH7 is warmer and calmer when dealing with upper mids and highs, yet the details are not devoured by the bass and would still present a decent amount of freshness and transparency. As expected, the staging is larger and grand on OH7, especially due to the large gap happening from the bass. Looking as a whole, OH7 takes the advantage here. However, if a calm, mildly-flat delicacy is what you are looking for, Fealty could turn out to be a better solution.




-Acoustune HS1695-Ti-

First off, these two show differences in forming their atmospheres. In the case of OH7, it is presented slightly warmer (within the neutral range), darker, and thicker in color. This also guides the dynamics to gain viscosity and depth, making the mood bolder. HS1695, on the other hand, shows a better concentration on clearness and cleanness. The sound is more breathable (or open-air) and transparent, producing the dynamics in a way where it achieves deep and bold enough impressions but not leaving any "residues" as it decays. Ultimately, the aftertaste is kept cleansed all the way. Quantity-wise, OH7 achieves more bass or the low-end fullness while HS1695 shows better transparency and upper-end wideness - however, I would like to state that this does not mean HS1695 falls short in bass performance.


Speaking of bass, let us now compare those as well. While HS1695 shows lesser quantity and reverbs than OH7 (roughly about 25%), HS1695 reaches nearly as deep as OH7 if not both achieving just as deep extension towards the ultra lows. Though the differences are that OH7 goes thoroughly full and rich while HS1695 prioritizes the neatness or the "reference-style". To get specific, a plentiful amount of reverbs and thickness take place from OH7 which are fully under control, giving booming impacts that are stronger and larger. HS1695 is reduced in reverbs but instead gained with faster strike & decay along with higher density, which all of them lead to superior clarity. The situation on the upper ends go similar as they did with the atmosphere - vocals from OH7 are fuller and warmer while the ones from HS1695 are brighter and tighter. Since that, the trebles from HS1695 are of course crisper and pronounced with more quantity and airiness. Though in fact, the penetration and speed from OH7 are almost good as HS1695 - it is just that HS1695's trebles show stronger density and transparency.

Verdicts

They say a quality bass is harder to achieve than to do with the treble when it comes to audio tuning. In a neat manner, OH7 thoroughly brews the sound with its deep, cleanly resonant bass response, followed up with water-like, neutral, and delicate upper ends. Perhaps this could be the reason behind why OH7 makes the instruments sound absolutely beautiful - since OH7 itself generates the sound like a piece of instrument. OH7 sensuously and elegantly draws the music where its sound may come by to you in an easy, placid manner that soon grasps you stronger and stronger as you gradually discover the adroit charms. If deep bass, grand headroom, and emo highs are the types of your taste, this little piece of in-ear instruments will be your must-have.

Final Audio Design A8000 Review: Exquisite balance

Final Audio Design (Final in short) is no stranger when it comes to our portable audio hobby. Under the mother brand S'NEXT from Japan, Final has been making a number of remarkable products, ranging from small accessories such as eartips to full-sized headphones. Within the in-ear range, their Heaven Series and FI-BA-SS series have been one of their classic line-ups that many have and still find it cherishing. In recent days, Final has launched a variety of new line-ups - MAKE series where you could mod the sound signature yourself, E series which are strong performers and priced to be affordable.


However, the earlier two line-ups, MAKE and E series, each had the purpose of being experimental and budget-friendly. So not stopping here, Final soon after announced another two line-ups that would enrich their family which are B and A series. The B series is the ultimate (or the official) version of the MAKE series IEMs and are categorized into three models - B1, B2, and B3. These IEMs are built to be premium and to sound stellar, but what about a flagship?


This is where the A series kicked in with a one and only model, A8000. It is meaningful for Final to be creating their first in-ear flagship, but what is remarkable beyond that is that A8000 is one of the very first IEM to be using a pure beryllium diaphragm, along with Dunu Luna. Enough with the small talk, let us now get into the review, analyze the sound and the performance, and compare and contrast with other flagship IEMs that are in the same league.

Packaging

A8000 comes in a smooth, clean white box with rose gold printings, well representing the oriental beauty of space. Once uncovered, it appears a white cloth, printed with Final logo patterns that wraps the inner packaging, plus a sponge padding for extra protection. Other than the earpieces, it includes a premium stock cable, a carrying case, a full set (5 pairs) of Final E-type eartips with a hard case, a pair of silicone ear hooks, a velcro cable tie, a cable detaching tool, and 8 pairs of spare filters for the nozzles. The carrying case is interestingly made, having it to be made of aluminum-silicone hybrid, allowing the user to easily tuck in the IEM into the case without completely detaching the lid.


Moreover, their E-types eartips are far well known for their quality, plus the ear hooks for being smooth and comfortable. Final released a new accessory as they announce A8000, which is the yellow tool in the picture. This is a cable detacher made for MMCX, where you could safely and quickly detach the earpieces from the cable, simply by pinching it at the joint. Trying to detach MMCX cables gives us a struggle every now and then when the connector has a slippery texture, limited in gripping point, or the connector gripped in particularly strong. This tool is highly useful as it greatly reduces any struggles or damage that might be caused when detached by hands. Having more variety of eartips could have been even better, yet the amount of other useful tools already makes the list of accessories more than enough.

Earpieces - Beryllium

In case you were wondering why such the model name, A8000 is built upon their know-how and technologies used for creating D8000 which is their flagship full-sized headphone. Since that, many parts of the inner components and structures have been inspired by their D8000 headphones. Now to talk about the star of the show - the diaphragm. Along with Dunu Luna, Final A8000 is one of the two first IEMs to use diaphragms that are fully made of beryllium, which Final named this as a "Truly Beryllium diaphragm". As also mentioned in the review for Luna, beryllium is known to have an extremely high stiffness level which eventually leads to a much faster sonic response speed, thus outdoing more than twice than materials such as titanium, aluminum, or magnesium.

Earpieces - The techs

Final's "Truly Beryllium" driver is formed to have a dome shape and the driver as a whole is sized at 10.8mm, which is quite a large one for an in-ear. Between the driver and the driver housing, it sits an elastic dome holder. This dome holder grips the diaphragm in place, preventing any unnecessary resonance while producing sound. The dome holder holds the driver in place, but what about any possible variables caused to the housing while manufacturing? Because of that, Final used what is called Tetra Chamber Topology, basically making an internal structure dedicated to A8000's shape with all 4 chambers optimized to bring out maximum potentials.


Along with that, Final also applied a measuring technology called the PTM Method (Perceptual Transparency Measurement) where it makes analysis and evaluation through mathematical calculations. Led by experts from spatial audio and music recording, incorporating this method ensures the precision for the diaphragm as well as its spatial presentation.

Earpieces - Aesthetics

So those were the technical details for A8000, and now for the outer elements. The housings are fully made of CNC'd stainless steel with mirror polished, giving them a shiny and elegant look. The chassis follows up with the DNA from Final's B series, yet larger and advanced in shaping. Despite the polygonal shape, it is designed to have a very ergonomic fit with the rear side being rounded, so the housing does not poke any part of the ears. Yet the size of the earpiece is marginally on the larger side, so stay noticed if your outer ears are particularly small.


The nozzle length is slightly on the shorter side from neutral, but not to the point where I would be bothered about. Besides, the stem of the E-type eartips is rather long and at the end of the day, I have got just the right depth when inserted. The nozzle is divided into 4 bores which were somewhat unusual (since it uses a single driver!), yet I believe this is to set clearer sound transmission and due to the 4 chambers. The nozzles are then covered with a mesh filter to prevent dust from falling down the nozzles.

Cable

If Final spend that much attention on their earpieces and its accessories, they would of course not leave out with its stock cable. Final collaborated with a famous Japanese cable manufacturer, Junkosha, creating a stock cable made of 4-core high-purity OFC silver coated wires, which these wires are usually used for supercomputers due to its fast transmission speed. The wires are then shielded and insulated with Junflon Fluoropolymer (PFA) by Junkosha, preventing any possible cable oxidation.


The lower side of the cable is double-braided, making it appear as a 2-core cable but more importantly, making the cable more pliable. The cable is terminated with a 3.5mm TRS jack and MMCX connectors, directly produced by Final. It feels soft to the touch without any sparingly feeling to it, so microphonics. The housing for the plug and the MMCX connectors are also mirror-polished, bringing a consistent look with the earpieces. Since the connector housing is slightly shorter in size as well as the slippery material, I would suggest using the included cable detaching tool to prevent any damage.

Sound impressions - Lows

First, looking at the big picture, A8000 draws a vibrant W-shaped sound signature with a bright mood. Lows show great dynamics backed up with its elastic and groovy bass flows. I had no doubt about its bass performance thanks to its pure-beryllium diaphragm, yet A8000 still amazes me. Lows dive deep all the way towards the ultra-low and with quality. The textures are what I especially love from A8000 as the insides are smooth, meaty, and moist while the outsides are crispy and bitey - like a piece of nicely cooked pan-seared salmon. Thanks to that, the bass details are highly revealing but done with grains that are refined and well-polished, then wrapped with crisps around the rims. A8000 makes it distinct and obvious of where the bass and its reverbs end, ultimately leading to better clarity and accuracy.


With speed, lows dive deep while holding in its weightiness. The strike and decay happen in a very clean manner, yet never leaving out on bringing that dark, pressurized power. The strikes are fast along with the reverbs tightly controlled. In fact, reverbs are kept tight but A8000 still allows the bass to ooze out the minimal portion of reverbs, in order to breathe in liveliness and a smooth bass flow, but only within the boundary of keeping the bass tight as its cable braiding. The bass feels well-established, rich, and to be kept with dignity. The ultra-low and low details are clear and blatant but presented with sincere and caution.

Sound impressions - Mids

As we move on the mids, this is where the details could easily be buried by the assertive lows and highs. However, upon a steady buildup from the upper lows, mids come upfront and show a major presence on the music. It is impressing that despite A8000 presenting a strong W-shaped signature, all three bands (lows/mids/highs) would not go all abstruse but kept dreadfully harmonic and overwhelming. Upper lows and lower mids would conjoint inevitably and A8000 takes a beautiful approach on how to keep these two bands connected and distinct at the same time. Without the upper lows smearing into the mids, A8000 transforms only the power from the lows, leading the mids to gain higher depth, concentration, as well as a larger body.


Mids are high in transparency and clarity with advanced texture exposure than it did on the lows. Still keeping the grains smooth but it gets more explicit, giving mids the ability to further open up the vocal details as well as slightly breathing in an airy and husky tone, mainly for the male vocals. Since mids are quite dense and straight-forward to its nature, this airy and husky tone acts as a counteractive and adds fluffiness and fluidity to the vocals. Not too dense where the sound would feel stiff, not too fluffy where the sound would get mushy, but just the right hardness. The thickness of the vocals is just around being neutral, being neither thick nor thin.


Both male and female vocals are nice, yet female vocals tend to make a bit more out of A8000's delicate, refreshing tone. A cool breeze continues throughout the mid-range with much air openness. Sibilance, however, does not particularly happen other than delivering crispy bites on the upper mids. I am aware that I have referred to the term "crispy" numerous times, though that is simply one of the strongest merits this IEM has - these crispy, refreshing bites and strikes leave such strong impact and addictiveness. Since that, it would be hard to consider A8000 to have a completely fatigue-free sound signature, but it would just feel refreshing for those who are used to the breezy, clarity-focused IEMs on the upper tier.

Sound impressions - Highs, etc.

Highs also come up close and penetrate fast with much crispiness and freshness. Getting superficial or out of control is not the case at all, thus the overall sound will not get too hot or overwhelming for a number of reasons; first, the lows and mids are toned down to be warmer, gentler, and soothing - still packed with crispiness, of course. Second, highs do not get loosen or leave much reverbs. Third, highs would make a quick (and detailed) jab and fall back to its background. Basically, highs on the A8000 knows where to stop its emphasis - elevating closer to the verge of fatiguing, which at the end of the day, A8000 would not cross that line where the sound will get uncomfortable. This "risky" approach of trebles are kept stable to a surprising degree.


What I find lovable from its treble is that while its strikes are instant and decay at a split second, it still catches up all the texture details as well as those small and thin reverbs that quietly splashes away towards the void. And yes, I still have to bring up that "crispiness" topic once again - because highs are the ultimate part where A8000's crispiness blooms. This crispy sensation is incomparable to lows and mids, that is how much they get thrilling on the highs! From here, these crispy strikes would snap right next to your ears with much reality and concentration, immensely boosting both musicality and aural pleasure.

Comparisons (1/2)

-Dita Audio Dream XLS (Review link)

It would be a good choice to start off this comparison with one of my very favorite 1DD IEM - the Dream XLS. These two IEMs, the XLS and A8000, takes a similar path in tuning once we look at the large picture, yet their characteristics differ quite a lot as we take a closer look. Dream XLS tends to spatially open up the mids, better highlight the vocal layers and its left/right expansion, whereas A8000 takes the advantage in terms of density, straightness, and penetration where the vocals are released with more liveliness and passion. Since that, the vocal textures show more crunch and firmness to the bite. A8000 overall is a bit more analyticity-based or clarity-based while Dream XLS tilts a bit more to the mellow side.


Now for the bass. A8000's bass is tighter, snappier that it makes the strikes firmer and more in-depth. It also possesses a bit more deepness in color, nicely bringing out the darkness that oozes out from the ultra-lows. Meanwhile, Dream XLS's bass shows more body and fullness, making the bass spread slightly wider throughout the headroom - but at the end of the day, these differences are quite marginal. Having these two compared, Dream XLS leaves me impressed once again as its bass basically achieves the same level of quality and performance against A8000's pure beryllium drivers.


For the upper ends, A8000 gets more up-close with a cooler, shinier, and purer tone. Since that, instruments would sound more passionate, shiny, and refreshing. On the other hand, Dream XLS manages to dismantle the fine treble details into small pieces along with breathing in more air and calmness. Staging-wise, A8000 puts more weight on highlighting the heights (or the ups and downs) This also leads to a difference where A8000 keeps the music more reference-like by preserving the music's original, linear imaging when Dream XLS applies a gentle polish to the imaging details to give more mellowness. As already said, the differences are not night and days, leaving these two masterpieces in the very same league.

Comparisons (2/2)

-Dunu Luna (Review link)

As the first two IEMs to be using pure beryllium drivers, these two were destined to be matched up. While the sound signature of A8000 shows subtle similarity to the way how Dream XLS does, though A8000 pursues further with its transparency/clarity-focused sound signature, making the difference between A8000 and Luna even bigger. Lows from both IEMs dive just as deep and similar in quantity, size, and reverbs but there is a subtle difference on the way how they end their bass - Luna lets the reverbs ring slightly more with the edge of the bass to feel more rounded, giving a stronger splash once it blows a strike. In the case of A8000, the reverbs are less bouncier and calmer, with the edge of the bass being more acute which leaves it on a cleaner, crispier note.


Moving on to the upper frequencies. Luna is slightly fuller in body, warm, and soothing while A8000 is relatively slimmer (neutral-thin), bright, and highly revealing with superior resolution. Mids on A8000 goes full force on clarity and transparency, carrying the vocals with an airy, cool breeze throughout the mids and highs. Mids step in close to the ears with vivid straightness, forming a highly intimate vocal presentation. Since all that, A8000 achieves outstanding detail retrieval and clearness, though it is possible for treble sensitives to find this a bit hot. Meanwhile, in the case of Luna, mids sound softer and bring in more warmth which keeps the vocals bold and clear yet leaving no possibilities for causing any fatigue or sibilance.


The same situation goes on with the highs. A8000 would carry a brighter tense with extra crisps added to the texture. Relative to that, Luna is mildly lesser in treble quantity with darker brightness, making the treble more comfort-based. In short - if a warm, easy-going sound signature with stronger bass slams is your jam, Luna would work out better for you. Though if you are keen to enjoy clarity-focused signatures that carry a transparent, crispy sound, A8000 would be a better choice.

Verdicts

Who said dynamic drivers are inferior to BA and EST drivers due to their structural shortcomings? A8000 blows a solid punch in the face with its Beryllium-powered reaction speed, as its sound and the performance backs up the point that not only dynamic drivers could achieve extreme performance for the lower end but also for the upper ends and on many other fields. Interestingly enough, A8000 reminds me of Final FI-BA-SS but in a more mature way and with a dynamic driver instead.


As we look at the craftsmanship of A8000, Final makes it clear and loud on how much devotion and effort they pour into their products, both the sound and appearance oozing with elegance. I appreciate how they pay attention to all the small details in order to reach perfection - the precision-built earpieces, high-quality stock cable, self-invented eartips as well as the cable detacher, and their in-house assembly process for quality control. Building a pure-beryllium driver was already an achievement as it is. Yet even if we put all gimmicks aside and view the IEM solely as it is, A8000 truly shows Final's high level of expertise and perfection. If you would like to experience the lively crips, deep bass, and the cool breezy upper ends, I would be confident enough to say 8000 times that this could be your very solution.

Anew X-One Review: Hypnotize

Anew is one of those new brands, along with IKKO, that I have encountered without any expectations yet got myself hit hard on the back of my head. In case you would ever ask me why it was due to their quality being too good for the price and for completely new brands. The U1 was the very first IEM released by Anew and that particular IEM got me much impressed - however, not a single background info was able to be found only except a rumor that Anew was created by a former LZ engineer. After some lengthy gap, Anew recently released its second IEM, the X-One (or X1). Let us take a look and see how it performs and compares to its rivals.

Packaging

X-One is packaged in a white box added with technical details on the back. Other than the earpieces, it comes with a stock 3.5mm cable, 3 pairs of white silicone tips, 4 pairs of transparent silicone tips, a Pelican-style hard case, 3 pairs of modules, a module tool, a velcro tie, and some paperwork. The stock tips are soft yet a bit flimsy, leaving a margin for some improvements. However, the hard case is very well made as the casing is very sturdy with soft rubber padding applied in the inside. X-One also features a special module system and will be soon covering it down below.

Earpieces

X-One is tuned with a 4BA+1DD configuration, comprised of a 6mm carbon diaphragm driver, two custom BAs for the mid, and another set of two custom BAs for the high. Its outer cavity is made of aluminum alloy machined with precision, which is then coated with an extra layer of anti-scratch coating on the surface. The earpieces are very well machined and coated to the point where the surface feels spotless and smooth as ceramic. Its over-ear shape design provides a comfortable, hassle-free fit. The nozzles have a good thickness to it that scales to about T500 yet does not negatively affect the fit as their lengths are not particularly long. The cavity also shows a decent weight where the earpieces are not light but definitely not heavy.


The biggest key feature of X-One is its switchable modules. The slightly bulged-out Anew logo on the faceplates is in fact a module that affects the crossover, leading the earpieces to produce different types of sound. There are three types in total - the default red, blue, and black. Anew describes that each module enhances the highs, the lows, and low/mids. Here I purposely used the word "describe" as the outcome was rather different for me and the details will be covered in the latter part of this review.

Cable

A quality stock cable comes with X-One not only to match the looks with the color of the earpiece but to also live up to its sound quality. The cable is made of 4-braided silver-plated pure copper wires with the termination of mmcx-3.5mm. The cable is suitable for outdoor usages as it is light, soft, and microphonics-free.

Sound impression - Lows

*Current and following impressions are based on the default (red) filter

Lows are bold and large but executed in a very clean manner. Ultra lows dive deep and fast, then creating an abundant body. Upper lows are not really bulged out but would maintain a leveled intensity as the ultra lows. Interestingly, the end result is a considerably flat and highly stable bass. However, the bass response is nowhere weak as the bass rumbles are thick and bold along with tight and weighty punches. Of course, those impacts are also done in a calm manner, showing more of a well-tamed, virtuous attitude. The bass would not be flooding in the ears, but it definitely would not be weak in its presence.


I am impressed with its bass extension. The quantity of the bass itself is only slightly elevated from flat, yet its body is bold and the ultra-low extension, ironically, is even superior to many other IEMs with boosted bass. X-One's bass presentation makes it easy to focus solely on the texture and the depth of the bass with barely any stuffiness. Lows are positioned on the rock bottom, showing thorough and wide domination throughout the lower side of the headroom. In terms of quantity, ultra lows show a similar amount as other slightly v-shaped earphones have for their upper lows. Upper lows, on the other hand, has a similar or mildly lesser quantity as ultra lows.

Sound impressions - Mids

Mids are tender with a tone that is straight out sexy. It takes place close to the ears that scale large and full-bodied. In terms of positioning, mids are clearly distinguished from the lows but not disconnected, as the lows are kept leveled and rather flat. Since the upper lows are composed with less bouncing that results in a bit of airy area between the lows and mids, letting the vocals to occupy its own place with no chances of bass leakage. There is a mild coloration present on the vocals, yet it does not come across bothering as it does not mess up the neutrality - once compared to photography, X-One's coloration is like a mild filter or an enhancement applied to a picture where it adds mood to the picture yet not abandoning the white balance.


X-One shows neutral thickness on mids that mildly tips over to the slimmer side, satisfying both male and female vocals. Upper mids around the sibilance area are well handled, restraining only the spikes while keeping the freshness unleashed. The thickness would thin out in the edge as the vocals go through the sibilance area. Keep in mind that tracks that already have evident sibilance within it may amplify their sibilance. Other than that, this slight emphasis adds thrill and freshness to the vocals rather than getting hot or giving off any disturbing impressions. It has a fairly well spectrum in brightness, presenting a mild coolness as default. Lower mids possess a bit more warmth and would get shinier as it goes up towards the treble.

Sound impressions - Treble, etc.

Highs are appealing, fruity, and highly analytic - with an airy, cool tone, highs bring a mildly sweet aftertaste. Thin strands and splashes would be finely separated make themselves and identifiable. Treble snaps deliver clear transparency with coolness, adding taste to the music. It is not a type of treble that vividly pierces into the ears nor it gets hot, so there are low chances for them to ever get fatiguing. Highs are a bit more organic in tone but not soften in rigidity. Since that, metal instruments deliver metallic tingles as it should and would not be overdone. Trebles show an instant response that gives a quick, snappy impression.


The soundstage is quite on the larger side. Headroom would extend wide towards sideways, but X-One especially does a good job expanding the up and down spacing. The listening would become more dynamic and involving for the listener as the music gets deeper in depth. Separation is simply great. All instruments and layerings are clearly distinguished and grouped that musically come together all in one piece. The texture feels tightly-packed and soothing which also knows how to get meticulous once required.

Comparisons

-LZ A6-
A6 carries more quantity and vividness on the upper-end where it sometimes shows some portion of heat. Without crossing the barrier, mids show a colorful and richness-enhanced presentation. For the bass, A6 shows quite a decent bass extension but only mildly emphasized in quantity. Since that, the sound gets very exciting and rich, yet the upper ends would get hot relatively faster as well as the low ends not being plentiful enough for delivering a strong slam.


While X-One and LZ-A6 both take quite a similar path in the overall sound signature, Anew takes the lead here. Lows are better established by achieving more depth, thickness in color, and quantity. The low-ends are larger and punchier, making their presence strong enough to handle bass-heavy genres while keeping the three bands balanced. Mids are also better controlled by keeping its center of gravity relatively lower than A6 which gives better stability to the vocals. The tone is more neutral with more coherency, presenting the voices in an unexaggerated yet still in a rich manner. Lastly, the trebles are calmer and smoother where the airiness and clarity are preserved but just refrained in carrying out the heat.



-Shozy BG-
Since BG shows more of a calm, reference sound signature, the "3D effect" from the staging is not particularly emphasized with lesser reverbs, keeping the mood and the headroom linear and original. Since that, the sound signature is closer to a mildly w-shaped signature where all three bands are just slightly emphasized from being flat. This also leads BG to have the sound more closely located than X-One, therefore giving a more "whispering" feeling to the ears.


X-One shows a stronger W-shaped sound signature with more expansive and grand staging. The reverbs are further matured within the housing, giving a fuller, bigger body to the sound. Throughout the spectrum, the sound gets more dynamic and vivid in colors - bass showing more thickness/body/depth, mids scaling larger, and highs showing more finesse. Speaking of colors, X-One shows slightly more coloring on the trebles but not in a big margin as this is relatively said. Performance-wise, X-One outdoes BG only by a slight degree - their sound signatures and charms are a lot different, so this would be more of a matter to do with preferences. BG for a flat, analyticity-focused signature and X-One for W-shaped, musicality-focused signature.




The modules

By applying the blue module, the sound gains visibly more air throughout the whole spectrum as well as boosted clarity on the upper end. Lows still create a full body with equally thick color, yet the weight brought from the low-end slightly decreases. However, the change is not significant enough to make the bass light. Mids would show higher elevation with much air without getting off-tone or produce spiky sibilance. Highs would also gain more air and purity, delivering extra crisp and flutters. Overall, the sound is brought to a visible yet subtle change that does not get quirky.


While the blue module further expands the space between the sounds, the black module takes the opposite approach which is to mildly condense the sound. This leads the overall sound to gain more density and meat, plus making the mids to level out more evenly with the other two bands - lows and highs. However, all these changes are very subtle to the point where it would not be so easy to identify the difference at once, so the original sound characteristics and signature are still going towards the same direction.

Verdicts

It took a while for Anew to put up with a new product as an Anew fan who has been looking forward to their new works, though the wait sure has been worth as X-One delivered the same sensation I have felt when I first encountered to U1. Keeping the genetics of U1, X-One shows a bold advancement in all aspects - the sound, build, functionality, and accessories. Even when we look at it objectively, its performance and sound quality are powerful enough to threaten other IEMs in the same price range or even higher. If you have been looking for an IEM with a full and rich W-shaped sound, the chances are high that you would fall in love big time with this one from Anew.

AZLA Zwei Review: Private and mellow

Anyone aware of the brand called AZLA? Perhaps you may have heard about the Sedna Earfit eartips. Previously in About Audio, we have covered two AZLA IEMs as a review - Horizon and Orta. Fortunately enough, I have joined one of the Japanese show in the past where AZLA first made their debut to the portable audio market. The visitors' impression turned out to be very positive, thus I have purchased their first model, 01R, and started to keep myself updated with products from AZLA.


This Korean brand that is rather new to the scene has been growing an explosive amount of interest from the Asian market and especially from Japan. AZLA recently announced two new IEMs that will be joining the family, this time with a rather affordable line-up. One is named Zwei which is a mid-low priced IEM, and the other is named Azel - a lowest-priced entry model released from AZLA which we will be covering today. Let us now see how they have done their sounds at a budget level.



Packaging

Zwei includes quite a big set of accessories in a small package. Other than the earpieces, the packaging includes a stock 2.5mm cable, 2.5mm to 3.5mm conversion cable, 6 sets of Sedna Earfit Light eartips, a hard case, a cable tie, and some paperwork. The hard case is big in size and capable of storing extra accessories or another earphone. Note that there exists a 3.5mm packaging version, where the stock cable is terminated with a 3.5mm plug and does not include the 2.5mm to 3.5mm adapter. Zwei is available in two color variations which are Emerald Green and Wine Red.



Earpieces / Cable

The shape of the housing is identical to the one used for Orta with a smoothly polished interior, making it possible to be worn either over-ear or straight-down. AZLA's symbolical tuning method, Infinity Sound Technology, has been applied for a majority of their products including Zwei. This particular technology is AZLA's unique ventilation system where a large venting port is applied to the driver within an enclosed cavity. This is to mimic a certain structure that is often applied for speakers as well as to achieve both isolation and an open-field sound.


For the drivers, Zwei uses 2 Knowles balanced armatures per side (1 full-range, 1 woofer) with an inner chamber called the Acoustic Sound Chamber +. This is to isolate the drivers from housing and prevent unnecessary resonance. Since the beginning, AZLA has been persistent in installing the drivers coaxial and the same goes for Zwei. The earpieces are detachable via MMCX connectors and with the diameter of the nozzles being somewhere between T400~T500, making it compatible with most aftermarket eartips.


The stock 2.5mm cable is made of 4-core high-purity OFC wires with each core consisting of 30 strands. All connectors and Y-split are covered with a metal casing and well built. The included 2.5mm to 3.5mm adapter uses the same wires and components like the 2.5mm cable with strain reliefs installed on both plugs. Microphonics would barely happen as the wires are smooth and light.



Sound impressions: Lows

Zwei draws a smooth, reference sound signature with enhanced bass. Lows produce a thick, superdense sound ray with the quantity of a slightly v-shaped IEM, carrying a large punch to the lows but not to the point of getting rough. The ultra-low extension is remarkable considering its 2BA driver configuration - or I could even omit to consider the driver counts since the bass is already great enough, just as it is. I was not able to find any particular shortcomings in quantity and details.


Its nature is quite interesting for several reasons. First, while the bass quantity is plentiful with gentle splashes of reverbs, Zwei strictly keeps these two elements highly under control, only allowing them to mingle on the lower side of the headroom. Second, the texture. lows do a fine job displaying the bass texture but in no gruff manner. Last is to do with its density. I have experienced that many 1~3BA IEMs, in general, are much possible to create enough bass quantity but often get loosen and struggle to keep a tight density. It is difficult, though not impossible as Zwei is one of them that would keep the bass packed and dense enough. Overall, the low-range flows at a very steady pace without causing drastic turbulence.



Sound impressions: Mids

Like the preceding, its ventilation system and the driver cavity were structured to mimic the internals of a speaker. After all, AZLA's effort towards this particular tuning shines charm as mids thoroughly fill the headroom with a clean, subtle resonance. This gives a good size to the vocals just as other IEMs with full-bodied vocals, yet the vocals from Zwei would interpret a headroom similar to a speaker.


Thus, mids would continue an extensive harmony with the lows but with sharp distinction and would not end up in one big lump. Zwei shows a very organic and natural tone that possesses a dark, vivid color that strengthens its speaker-like characteristics. Though the brightness and air slightly go up once the vocal enters the upper mids, helping the vocals to gain some shine rather than sounding deafened. This upper mids highlight takes place gradually and mildly, so no spikes or sibilances would occur. Instead, I hear a mild metallicity near the sibilance area, though this serves to add crunch to the vocals and would not deteriorate the tonality.



Sound impressions: Highs

With a well-groomed manner, highs show a fast and prominent response. The strikes are clear, natural to its tone, and show high concentration both in moisture and crispiness. It makes its presence a small step back from the mids with lesser quantity, though the brightness here is on the shinier side while low and mids are darker. In other words, the contrast maximizes and would let the treble to preserve its sharpness even with lesser quantity. Since that, the high notes would achieve both the clarity and fatigue-free environment.


The staging is similar to a feeling where a set of decently-sized speakers are placed in a closed room, creating an up-close and personal environment. Unlike its cute and compact cavity, the staging is on the larger side and achieves wide side space and depth. The background is quite clean with a pitch-black theme, helping the bass to expand its size and seriousness. One of the largest reasons why I appreciate AZLA IEMs is that they aim for high imaging accuracy - so each instrument is positioned with the clear phase and focus point, which is also evident from Zwei.



Comparisons

-Campfire Audio IO-
Compared to IO, Zwei has a dimmer coloration, expressing a more neutral and condensed tone. Lows have a slightly fuller body plus a higher density while IO has a softer and fluffy feeling to it.

Zwei's mids are warmer, slightly darker, and keeps the vocals extensively connected with the lows as IO draws a clear line between mids and lows. There is more air on IO throughout the mid-range, yet Zwei also gives off a fair amount of silvery crisp on the upper mids, compensating to its warm signature. In the case of highs, IO keeps its treble presentation on the higher end with a softer breeze while Zwei's treble is positioned relatively lower but with more firmness and density.


-OBravo Cupid-
The nature of these two IEMs is a lot different. Cupid desires a vivid, colorful sound signature tuned for extra excitement while Zwei has a more neutral timbre with a natural and smooth presentation. The bass quantity is not so different in quantity, yet Cupid achieves slightly better ultra-low extension while Zwei is a bit more fuller in the body.

Mids also have more meat on Zwei with a more condensed positioning, being stacked right on top of the lows. In the case of Cupid, the vocal thickness is a bit thinner with much more air and vibrancy going on, plus the stronger coloration but still retains a fair amount of neutrality. Vocals sound sweeter and tastier on Cupid, yet Zwei brings out more thickness and stableness compared to Cupid. The highs and stage sizes are similar, though the difference in staging is that Zwei gives more of a private room feeling while Cupid keeps the roof of the room open.


-AZLA Horizon-
These two IEMs are similar once looking at the big picture but many differences could be found once we pay attention to the small details. Horizon is a bit flatter (about 15%) compared to Zwei, presenting lesser bass quantity and thickness. The ultra-low extension is mildly better on Zwei, but not significantly different.

For the mids, Horizon is linear, retains more air, and highly neutral in both moistness and temperature while Zwei sounds a bit warmer and moist. Horizon shows its superiority in terms of revealing the details and in transparency, yet Zwei has its own advantage by carrying more weight and thickness. The staging style is quite different, perhaps the biggest difference between these two, where Zwei keeps a dark, speaker style room (as said) while Horizon creates a mildly bright and cool, open-field room.



Verdicts

AZLA has been keen on incorporating new, challenging technologies and their results have been turning out to be nothing but success. Zwei is an all-rounder IEM that focuses on a smooth listening environment accompanied by a proper tonal balance. Thus far, this is also the one with the strongest speaker-like sense which has been unique to AZLA products since the beginning. Zwei would be a safe but powerful choice for achieving a sweet, super-smooth sound with an in-private speaker experience.

AZLA Azel Review: Big sounds in small packages

Anyone aware of the brand called AZLA? Perhaps you may have heard about the Sedna Earfit eartips. Previously in About Audio, we have covered two AZLA IEMs as a review - Horizon and Orta. Fortunately enough, I have joined one of the Japanese show in the past where AZLA first made their debut to the portable audio market. The visitors' impression turned out to be very positive, thus I have purchased their first model, 01R, and started to keep myself updated with products from AZLA.


This Korean brand that is rather new to the scene has been growing an explosive amount of interest from the Asian market and especially from Japan. AZLA recently announced two new IEMs that will be joining the family, this time with a rather affordable line-up. One is named Zwei which is a mid-low priced IEM, and the other is named Azel - a lowest-priced entry model released from AZLA which we will be covering today. Let us now see how they have done their sounds at a budget level.



Packaging

Azel comes in a small box yet packed with a fair amount of accessories. Other than the earphones, the package contains 5 pairs of Sedna Earfit Light Short eartips, a portable soft case, a pair of cloth pockets, a velcro tie, and a user manual. The included pockets are made of soft to the touch and would protect the earpieces from collecting scratches or dings. I like how they have included those pouches despite the low retail price. It is also highlightable that AZLA included a full set of Sedna eartips which would cost some money once purchased separately (roughly $20~25), giving extra merits to this $59 IEM. Azel comes in 4 color variations, which are Beluga Black, Forest Green, Oyster Grey, and Dakota Red.



Earpieces

The housing is made CNC'd metal with hairlines engraved on the sides and fine circle patterns on the back, overall showing a high-quality finishing. While Azel uses an in-house built 8mm HD dynamic driver, AZLA also incorporated with a Fibonacci damper structure where the holes are mathematically divided and helps the treble to retain its clarity within its rich bass response.


At the back of the earpiece, there are 16 vent holes which are also equally spaced in a circular form. No other dampers or structures are applied except the above, leading the sound to be resulted by the custom driver, the Fibonacci damper, and the multiple vents on the back. Comfort-wise, the earpieces fit in the ears without a hassle and have no particular edges or shapes that could cause discomfort. The diameter of the nozzles is about T400~T500, making them compatible with a majority of aftermarket eartips.



Cable

The cable is made of 4-core silver-plated OFC wires with enforced Kevlar. Both the Y-split and the 3.5mm plug are using metal housings to give a universal look, plus AZLA claims that they have excluded all outer brushing but instead applied with a double internal brushing process which further increases its durability. However, the cable is not detachable from the earpieces. The cable is soft, light, and well-braided without any loosen parts. Due to the cable not having any pre-formed earguides, the cable could be worn either over-ear or straight-down.



Sound impression: Lows, Staging

First and foremost, Azel produces a large and heavy bass that outdoes its small cavity. In case I have listened without being aware of the size, I may have recognized this one to be an over-ear IEM that fills a fair amount of my ears, to say the least. This full, but with no crammed impressions, bass contains high density and moisture that adds up to its rich texture. Azel also does a fine job pulling out the ultra-low details with plentiful quantity while maintaining a leveled altitude, preventing the bass ringings from getting excessive.


There are numerous budget IEMs that show nice extension towards the ultra-lows, though Azel differs in its quality as the deep bass smoothly and cleanly spreads out, thus forming a mellowed up presentation. The bass quantity is similar to typical v-shaped sound signatures, but just before reaching the basshead level - mildly more quantity than those slightly v-shaped IEMs but at the same time, lesser than strong V-shaped IEMs. Azel's large and firm bass presentation shows absolutely no signs of being superficial.



Sound impression: Mids (1/2)

Other than being imaged as large as the lows, mids keep its prominence by placing themselves right on top of the lows than artificially pulling them forward. One of the strongest merits from Azel, along with its relatively large imaging, could be found from its vocal textures. Azel well exposes the small particles and details from the vocals which are then finished with a creamy, soft surface exterior. I could also use an expression that Azel highlights the grains without having them actually grainy.


On top of that, the mids have a warm tone to it which adds to the smoothness. It may appear that Azel has a rather dark, soupy taste to it, yet that is not the case as a mild shininess feels to be glazed throughout the mid-range. It Azel's sound was a food, it would be something like a freshly baked mint chocolate donut - soft and moist on the inside, sweet and mildly refreshing on the outside. Since that, mids are clearly distinguished apart from the lows meanwhile sharing an extensive, natural connection. Sibilances do not occur whatsoever but instead added up with a slightly husky tone and an extra crisp to the vocals.



Sound impression: Mids (2/2), Highs, etc.

While highs show relatively lesser in quantity, apparently its presence was not affected to that as highs are just as prominent as the other two ranges. Highs stand right behind (if not next to) the lows with detailed tings and crisp splashes, without really getting muffled in transparency or clarity. I would also like to point out that its imaging accuracy is spot-on. It is easy for budget IEMs to rather show less attention in showing the correct locational details for instruments, though Azel sure was not the case as it leads out nice separation and imaging, all while keeping the sound harmonic and coherent.



Comparisons

-Shozy V33-
We have to consider that it has been quite a while since V33 was released, but apparently Azel shows its superiority once we put these two up for comparison. Lows and mids are denser, meatier, and fuller on Azel - not only the thickness but also the image of the sound is visibly bigger. The timbre is more moist and lively timbre on Azel. In pretty much all aspects, Azel is worth to be considered a proper upgrade from V33.



-TFZ T1s-
Again, Azel takes another win once compared with T1s. The overall sound from Azel is more balanced and neutral in tone while T1s is rather colored along with carrying lighter depth and weight. Vocals from T1s would put much more emphasis on the upper-mids, quickly thinning out in thickness, causing a sudden change in brightness and tone as they head towards the top-end. Though, in the case of Azel, the vocals would visibly stay even in thickness throughout the range. Compared to Azel, T1s' lower-end has a smaller and thinner body while Azel produces a significantly bigger body as well as achieving more bass quantity and depth.



-Tanchjim Cora-
Compared to Cora, Azel is slightly bassier, showing higher thickness and body in lows and mids. The slams are more impactful with the overall sound being warmer. Cora, on the other hand, tilts more on the neutral side, but still staying warm, possessing a bit more cool breeze throughout the upper range. Also, throughout the range, Cora delivers mildly more crispness and bite to the sound, but not particularly superior as the slams from Azel are stronger. The staging style differs as Cora creates a leveled and widened sound stage while Azel's staging focuses on the darkness of the color, largeness, and depth.




Verdicts

There is always a big enough market available for entry-level hobbies hence the numerous budget earphones available out there. But even still the budget price, there still are gaps between those budget IEMs that shows different quality and performance, and Azel sure is the one that took the advantage. AZLA gave a twist to this cute looking earphone by featuring rich tonality and a large, weighty sound. Azel is a fine example that represents AZLA's take on a budget IEM and those who are looking to make a good bang for a reasonable amount of bucks shall find this more than pleasing!