I love the HD6 series from Sennheiser. I love them so much that I now have 3 pair of them (HD6xx, HD58x, HD600) as well as their predecessor, the HD540. Among the 3 amps I have, 2 are dedicated to the Senns – a tube amp and a solid state one. With 2 good DACs (iFi iDAC2 and Modi Multibit), my Sennheiser altar seemed completed.
The only place left to go was a new cable. And that was when I “discovered” Satin Audio. For disclaimers, I do know Eric, Satin’s founder. We’re not exactly super closest friends, but Eric is somewhat well-known among the audio circle in Vietnam. I remember during local meets he had always complained about the expensive pricing of cables, and in 2017 he turned those complaints into a business called Satin Audio with a very Vietnamese-specific aim: to provide customized audio cables at competitive price points. Yes, I do love my Sennheisers, but to think I’d pay thousands of dollars is just absurd.
Design and long-term usage
Thanks to a busy family life and a lot of business travels, it took nearly 2 years for me to finally become a Satin Audio customer. Oh I do seem to be the first customer to ever order a “Chimera for Headphones”, which was delivered before last Christmas.
How does it look? In contrast to the other Satin cable that I own (Chimera for in-ears – which look totally premium), the Chimera for Headphones does seem more practical. Instead of the “high-end-looking” engraved parts, mine came with a big black 6.3mm termination plug and 2 Sennheiser speaker-connectors, again in black plastic. I think to many the connectors wouldn’t do the cable justice in terms of look, but they are sturdy and after months of use have not shown any problems at all. It’s a less consistent design than the other Satin cables, but it’s also more interesting. After all, very few cable crafters would go for the contrasting look between plastic connectors and silvery braided cables.
The Chimera doesn’t weight a lot and doesn’t cause any discomfort during use. Despite the fact that I move quite a lot instead of sitting still listening to the music I like (well at least I have to move the mouse to select songs), the cable caused absolutely no microphonic noise. It does, however, cause distraction. On a table full of black, ugly electronic devices – like my Burson amp or my HP laptop, the Satin cable would be the most shiny, most beautiful thing at any given time. I can’t help but pick it up, admiring Satin’s work, then realize I just missed a few minutes of Opeth or Pink Floyd...
Improvement in Sound
Sound improvement from cable has always been a touchy subject. As an engineer, I can’t help notice the debate around it. But as a software engineer, I’d trust my own experiences. So I ask my wife to help me do a blind test with the HD6xx. She would change between the stock cable and the Satin Chimera, and I will have to tell which is which.
The difference, understandably, was not night and day. On Spotify, which I find to be the absolute worst streaming service in terms of quality among all the ones I've used, there was no difference between the stock cable and the Satin. I didn’t keep the score after the 4rd switch, because basically every time my answer was a wild guess. On Tidal, I nailed the test right 9/10 of the time. The only one where I got wrong was in Oasis’ “Cigarettes and Alcohol”. Understandably, because Oasis’ best records all suffered from the Loudness War.
But on those tracks where I got it right (Moonlight Shadow, Go Your Own Way, Time etc.), the difference was immediately recognizable. By removing a bit of the mid-bass bump and adding sub-bass, the Chimera resulted in a “tightened”, more satisfying low-ends. The change was even more noticeable in power ballads/Dad Rock anthems which thumping drums like “Nothing Can Stop Us Now” or “You Give Love a Bad Name”. Among all the 3 HD6 series that I have, the improvement perhaps would be most welcome on the HD58x, which strayed the furthest from the HD580/HD6 “traditional” sound with its more abundant bass sound. There seems to be no abrupt changes to the Sennheiser “house sound” mid-ranges – the HD6xx remains intimate as ever… So no complaint from me.
Moving up, high-mids and trebles are less grainy. There are more clarity to appreciate in the high-ends, especially with Acoustic Rock songs. The improvement here is in-line with the improvement in the low-ends: the Satin Chimera offers no characteristic changes, instead just refines the sound that I’d come to love a long time ago. By refining both the bass and the trebles, the Satin Chimera helps open up the soundstage, resulting in a more satisfying experience for Classical and Classic Rock music.
That’s not to say the changes are always welcome. By combining the iDac 2, the Burson Fun with Sparko op-amps and the Chimera, I made my HD600 too “sterile”: it was just too dry, even leaning on becoming artificial sounding. And, once again, all the improvements were not night and day: more trivial changes like changing pads or changing tubes will be easier to notice.
For the HD6 Fans
So, in what situation would I recommend the Satin Chimera? The answer is easy: when you have all the other parts in your audiophile rig figured out. With the iDac2 and the Mimby, I have 2 greatly different DAC to cover all bases – the iDAC2 for critical listening and the Mimby to enjoy life. With the Little Dot I+, I found the perfect match for my low-impedance Grados and Audio-Technicas. With the Little Dot mk4 and the Burson Fun, I can drive practically all kind of power-hungry headphones. All my amps support opamp rolling or tube rolling. Hell, I even has a Weiduka splitter to “reduce jitter”.
The only piece left in the combo is the cable. With the Satin Chimera, I could finalized my perfect Sennheiser rig: it doesn’t cost ridiculous (in comparison to the headphones/amps/DACs I have), it looks nice, and to my findings, it improves the sound in the way that I liked. Crazy, I know: just last month one of my audiophile “friends” recommends me to try a well-known cables 2 times the price of my HD6xx. It sounded just like the Satin Chimera…

It has been 3 years since I had my first pair of “custom” tips done at Itsfit, and I’m still not sure whether their name is grammatically correct. Regardless, the intention is clear: for a company focused on custom IEMs, custom tips and reselling, nothing conveys more meaning than that word ‘fit’ in the name.

But for the IEMs I’m reviewing, a perfect fit will not be the focus. Itsfit R3 will be the first universal in-ears coming from the brand: 100 units of Universal-fit will go to the market in the coming months. The company will also offers custom versions at a $130 markup, but hey, where’s the fun in owning headphones/earphones you can’t share?

Design: No 2 Look the Same


When custom IEMs makers move onto UIEMs, they always retain the high-end feeling of the design. The R3 is no exception: from the outside, there’s no telling if it’s custom or universal. It’s the same shiny acrylic finish that you may have seen before.

I’m not sure if there are more color options (there should be), but the choice of dark blue works perfect for me. The reason is simple: it is dark enough to keeps the phones from screaming “hey look at me” or looking too outlandishly complicated – one of the things I disliked about Itsfit’s previous product. This design is simple, and thus classy in its own way. You need to look closely to appreciate the R3’s beauty.

And if you look closely, you’ll realize how the R3 stands out in its own way: below the acrylic finish is a piece of actual wood. Unless you tell them, nobody would realize this. The first time I held the R3 in my hands, I had to wonder: what kind of weird acrylic handwork created this strange texture. Turn out, the texture didn’t come from the plastic at all. No 2 pieces of work will share the same textures, so no 2 pairs of R3 will look 100% identical.

Fit: As Perfect as Universal Can Be

Despite being UIEMs, there are a lot of contour on the R3’s housing, again reminiscent of Itsfit’s other products. According to the company’s website, the molds would be “perfectly hugging your ears curves”. While it’s not a perfect hug, I have to agree both sides rest effortlessly on my ears. Close examination showed that the shape of the R3 is quite different to Simphonio Xcited 2, which I could wear for 2 hours top before my ears hurt. With the R3, the sky is the limit (though we might have heard of that dude who lost his hearing after wearing IEMs to sleep).

Thanks to the choice of acrylic (and wood), R3 weighs as much as a feather. That, in combination with the contour on its housing, results in the single most comfortable IEMs experience that I’ve ever had. I’m not sure if this could be the case with all IEMs coming from CIEMs-makers, but I certainly hope this would be the industry norm going forwards.

As I have mentioned before, Itsfit does offer a custom version for R3. I’m just not a fan of it.

Accessories, and That Box...

Here’s perhaps the R3’s most glaring weakness: their choice of packaging. All the accessories are fit into a quite nice looking black carton box. It would have been better IF the R3 shipped with this box only, because on the outside Itfits include a paper-based cover with a grey-ish blue-background image on it.. I’m not a fan of this cover. It’s more suited for a box of candy.

On the inside, Itsfit includes a hard case, 2 pouches, 4 pair of extra tips and a cleaning tool. This is the first time I’m buying a pair of IEMs that come with this very useful tool, as at times I will take a look at my other IEMs and yuckkk, that sticky stuff in there...


Of course there’s a detachable cable, made by Itsfit themselves. Like a large portion of custom-made cables on the market, it’s silver-plated copper, meaning it can handle itself well enough. For the purpose of this review, I’ll be using my Satin Audio Chimera cable, which came with 0.78mm 2-pin standard connector as well.

Sound: My First In-ear Reference

Itsfit’s naming choice isn’t hard to understand. R is for “reference”... And I utterly detest the reference sound.

You can imagine the face I make when I first heard the R3 driven by my trusty iDac2. Total. Utterly. Completely. Flat. There are no earth-shattering rhythms in the bass. There are no sweetening in the mids. Heck, these mid-ranges aren’t recessed enough to create the illusion of V-shaped sound. The trebles are, well, just there. It doesn’t try to goes on and on and on the way my Momentum lovingly does, nor does it contains the energy of my Grados.


The R3 reminds me of Beyerdynamic DT880, Ultimate Ears Reference Masters and the AKG K701. I can very well remember, when I heard the these for the first time in 2010, the only thing I could think of was “I would never buy any reference headphones”. Sorry to the friends who were kind enough to lend them to me, and to all those who love the reference sound – it is never my cup of bubble tea.

And yet a few years back, I learned an important lesson: references headphones can sound not-reference-like at all. I’d take the AKG 701 on a tube-buffered amp over the AKG K712 (which is warm & accessible) any day. I was melted by the HD800 driven by my Little Dot mk4.

The same thing goes for Itsfit R3. Totally disliking the sound I got from the R3+iDac2 combo, I added a Little Dot I+ in between. The I+ is an excellent hybrid amp; it was the first piece of equipment that I wrote a review for (4 years ago). Now the R3 sounds... lush. The EI Yugoslavia 6hm5 tubes added a sweetening layer throughout the frequencies ranges. A little amount of bass is added to create the base for a relaxing experience. The mids become slightly thicker and more textured. The highs sparkle a bit more, extends a bit more.

Of course, this doesn’t turn the R3 into a different set of IEMs. But it does turn these reference in-ears into something that I, as a lovers of Grado, Audio Technica and Sennheiser, can enjoy throughout the weekends.


Next up is my friend’s JDS Labs C5D. Unlike the famed O2+ODAC combo, the C5D comes with a more accessible sound (reminds me of CMoyBB, R.I.P). More importantly, the C5D is the only entry-level amp whose bass boost I consider “natural” and acceptable. And bass was what the R3 could deliver: with the C5D’s bass boost on, it’s more than enough to party with Collapse under the Empire, MARINA and Boney M. Sure this is not Sony-level or Fostex-level bass, but I was quite surprise to find that the “lifeless” IEMs I heard on the iDAC2 could turn into something with this much bass.

Of course, that’s not to say the Itsfit R3 is without faults. For one, I would have preferred the bass to extend deeper – the R3 can’t escape this “trademark” weakness of BA drivers. The soundstage is wide but could never give a true impression of depth, again, this is what all BA IEMs suffer from.

But at its heart, the R3 is truly a quality reference IEMs. And it’s a sonic chameleon. Suddenly in the mood for... trebles boost? My Burson Play with Sparko op-amps throughly equipped could help with that: I can get Grado-like treble energy, while the mid-ranges and low-ranges remain quite “reference”. Or thicker mid-ranges to remind myself of the ATH-AD2000? The answer is R3, driven by a Schiit Modi Multibit + Little Dot mk4 with 6hm5 tubes. Or slightly V-shaped? Just plug Burson Play with all 5 V6 Vivid op-amps.

The craziest thing about it is, despite the audible changes coming from different amp/DAC combination, Itsfit’s flagship retains pretty much all of the strengths that you would come to expect from a reference model. The low-ranges is still articulate and extremely accurate: it is never overpowering or sticky at all. The mid-ranges would never get forwards enough to make you feel like you’re in the small room. On bass boost or tube amps, the trebles will always retain its crispiness and details – on the other hands, its energy will not leave you with a dizzy head. Soundstage will stay wide, instrument will stay clear-cut as well.

Conclusion


Retailing for $300, the R3 is one of the few mid-priced IEMs I know of that can offer truly reference sound. Whether it’s your cup of tea, the R3 still more or less gives you the chance to experience the records in the way producers/sound engineers do. For me personally, the R3’s main draw lie in its ability to change with the amp/DAC I pair it with: be it tube amps or sterile-sounding solid state, R2R or delta sigma, Itsfit’s flagship will combine all of its classic “reference” strengths with the amp/DAC’s own color signature to create truly enjoyable experiences. Yes, Itsfit brings you the reference sound and perhaps any sound you’d want.

AYA always hold an important place in my heart: before the YK-1, Vietnamese earphones scene were strictly limited to cheap V-vshaped IEMs. It was the YK-1 and its brother YK-S that proved to me, and many other Vietnamese listeners, that our compatriots can punch into the mid-ranged tier, producing quality offerings that rival those of China and Japan.

Yet for all their achievements, the next 2 years would be a long and winding road for AYA. After demand for the YK-S saturated, their next products could never get the same reception that the YK-1 and YK-S did. Their website/Facebook page went silent, and I thought they were gone for good.

Earphones? Jewelery? Why not both?


Thankfully, the company didn’t give up. After more than 6 months of radio silence, they popped up on the map again and announced a collaboration with “Le Tri Jeweler”. Whatever questions that announcement may raise, the AYA Silver SA-01 is the answer: these are actual pieces of jewelries, handmade by Vietnamese artisans.

It is not an overstatement to call these “actual jewelries”: per AYA’s info sleeve, the Silver SA-01 is made from 92.5% silver and 7.5% metal alloy from an US company called PMR. These earphones weren’t made from acrylic or opaque plastic, but from the same metal people have used to make necklaces and Olympic medals for the last couple of years. They are products of silversmiths working side-by-side with sound engineers.


The end result is uniquely stunning. From afar AYA Silver looks like 2 giant chunks of shiny metal, because, well, they are. There are next to no decoration on the housings, which would be boring with any other choice of materials. But on this pair, the plain-ness is intended. No decorations = no distractions, so we can just focus on how bright and shiny the Silver is.

A closer looks uncover more details. Unlike acrylic IEMs which are molded from single pieces of plastic, the SA-01’s housing actually consists of 2 parts, an upper plate and a “bowl” that are held together by a tiny screw at the back. The 2 parts fit together with machine-like precision, so I can imagine AYA’s silversmiths put a lot of work into it. To add into the premium-feeling, AYA supplied the phones with a hand-made cable that looks really nice (and expensive) too.

For me, no words – or even photos – can do the Silver SA-01 justice. Imagine what a IEM-shaped piece of silver might look like, and AYA’s newest is just that. Every day I’m still stunned by how great it looks. What other IEMs would look like 2 giant chunks of shiny silver in your ears?


Build Quality: Weighty yet somehow still comfortable

Upon holding the SA-01 in my hands for the first time, I could imagine why no other companies have ever thought of using silver alloy as housing. At 16g, it is heavier than any other earphones that I’ve ever had. Yet wearing these same IEMs puts a smile on my face: it feels like any other IEMs, including AYA’s featherly YK-S. It doesn’t hurt even after a few hours of Visio drawing and Spotify’s Deep Focus playlist.

I asked my wife to try it and she told me the same. AYA seemingly found a way to distribute the weight evenly so that the monitors don’t cause discomfort nor fall out of our ears during use. Included is 4 pairs of Spinfit, a company renowned for increased comfort. I had used this brand of tips before, and I found them to be easier on my ears than the typical "stock" tips.


The closer I look, the more I appreciate AYA’s efforts in building these earphones. I imagined the housing should be thin to lose weight (and save costs), yet after a week of storage inside my backpack's pouches, the phones didn't get crumpled at all. Regardless, I have now put the Silver inside AYA’s included hardcase. My friend found out the hard way that the cable pins can get broken and stuck inside the housing.

Speaking of that worst case scenario, the choice of non-unibody design on AYA's Silver would be very useful. The maker of my friend's IEMs, an extremely expensive one, flatly refused to provide repair services to out-of-warranty IEMs, instead just offer a 10% purchase on the next purchase. That is understandable (“repair” means they have to destroy the housing and do their whole work from scratch), but from the buyer’s perspective that is hugely disappointing. Thankfully, with the Silver’s “assembled” build, I imagine the housing can be taken apart simply by unscrewing the 2 parts, and any repairs can be done without breaking the phones.

Spinfit and Silver-plated Copper


There are a number of factors that could impact the sound. First of all, source equipment. While the Silver (47 ohms, 110db/mW) can get loud from an iPhone, it will scale with your source equipment. Most of the time I find myself switching between the natural, musical EarStudio ES100 and the neutral Hiby R3. There was improvements with a (borrowed) K380 and a (borrowed, too) Hugo 2, but I quickly find myself going back to the cheaper ones.

Next up: tips. Through a partnership, AYA include a total of 4 Spinfit pairs with the Silver: 1 Yellow and 3 Red pairs. I don’t know the exact name of the model, but I have been a frequent users of the Red ones. The comfort is top notch, and it does make some change to the sound on my other IEMs, namely brighter trebles and leaner bass (less mid-bass bumps).


Lastly: cables. AYA has always intended their products to change with different cables, and I find it to be the case here. With the stock cable (silver-plated), the sound is slightly v-shaped with recessed mid-ranges. With the YK-S’s stock black cable, a noticeable amount of bass is added.

For this review, I will be using the AYA Silver with the Hiby R3 and Satin Audio’s Chimera cable. This is the same cable included with Soranik SP3 LTD, and is the “best” one that I have at the moment. The cable does bring some improvement to the stock sound (more details, tamer trebles, smoother transition from bass to mids), but the sound signature remains the same.

SQ: A pleasant V-shaped experience

So, what is this AYA signature sound? To me, it’s a collection of the safest choices: V-shaped, with sparkling trebles, smooth mid-ranges and punchy, impactful bass. Perhaps AYA already knew in advance that everyone will gets their breath taken away by just looking at the Silver – the company now needs to make sure the sound will please all of their admirers.

Why would I call such a sound “safe choices for everyone”? First of all, the V-shaped signature means the Silver emits a rather wide and deep soundstage, so no one would complain about being put too close to the (imagined) singer. Despite Vocals not being front and center in this presentation, the smooth mid-ranges manages to put a smile on my face when Karen Carpenters or Emmylou Harris start to sing. For male-fronted Metal and Rock, I would like the AYA’s mid-ranges to have more edge, a bit raspier, but 1, it’s still enjoyable, and 2, this slightly smooth out presentation is really good for everything else, from Pop to Country to EDM.

Up next, there are enough details in the trebles so that one can explore the “hidden” instruments in the background, or to “feel” the plucking of strings. On the one hand, it’s energetic enough so that Pantera and Metallica doesn’t get boring (despite the above-mentioned smooth mid-ends). On the other hand, energy and extension is kept in place, decay feels natural – I figure no one would complain about the V5 being harsh. Transition is smooth, so no sibilance even at passage where you are absolutely sure that it would happen. It has good air too, resulting in the most pleasant V-shaped listening experiences that I’ve ever had on IEMs.

Regarding the low-ranges, the overabundance of mid-bass that is typical with other BA IEMs is not to be found on these. The lows carry a good punch and enough body, and they never bleed into the mids. This means balance: MARINA stills gets me toe-tapping, and complex drum passages on Opeth’s Still Life doesn’t give me headaches. On Pantera’s Cowboy from Hell, I’ve found the drums to sync up quite nicely with the cymbals – the same thing can’t be said about the majority of IEMs that I have tried.


Instrumental separation is clear, imaging feels accurate. So all in all, there’s nothing to complain: it is upbeat and it is relaxing depending on the music you’re playing. Unfortunately, good all-arounder makes compromises: Metallica would do better with more treble energy, and creamier mids would do wonder for Carpenters... But perhaps that’s the price to be paid for this pleasant listening experience. After all, no one has managed to put Grado trebles, Audio Technica mid-ranges and Sennheiser soundstage into the same package.

Conclusion

Almost a year of working under the radar has helped AYA reach a new height. The company has produced a bona-fide work of arts by turning IEMs into uniquely stunning ornaments. It has turned a novelty idea into something that is pleasant to use daily and pleasant to listen to.

If you want a loveable, relaxing sound to enjoy on a peaceful Saturday morning – and if you think IEMs should be made not just by sound engineers, but also by silversmiths – the AYA Silver might be what you’re looking for.

Disclaimer: The SP3 unit reviewed here is on loan from Satin Audio. I do not receive any incentives from Satin Audio or Soranik for this review and will provide my honest thought on the product.

As a Vietnamese national, my feelings towards Vietnamese earphones have been mixed. On the one hand, I want to give them my utter, blindly patriotic love. On the other hand, in all honesty, Vietnamese earphones used to be a huge disappointment.

2 years ago, a milestone product helped to change that impression of mine: Nightingale YK-S, the very first earphones to prove that Vietnamese makers are capable of great sound. Now, 2 years later, its engineer (Soranik) has a new flagship universal product: the SP3.

Design & Build Quality


While our track records in the SQ department have not always been stellar, you can always count on Vietnamese earphones to be beautiful. The Soranik SP3 used to be an unfortunate exception with its plainly black housing, but thankfully that has now been fixed: while the housing is still semi-transparent plastic, the outer layer on the “LTD” version has been coated with another layer of glittery blue/red resin. This seemingly small change results in a much more exciting and premium look for the phones, and I’m sure many will appreciate the fact that their left earphone look different from the right one.

It should be noted that the SP3 continues to be sold in its original housing; this blue & red color scheme is only available on the “Soranik x Satin SP3 LTD” version. As can be seen from the name, it is a collaboration between Soranik and Satin Audio, a new Vietnamese company which focuses on handmade cables. For that very reason, Soranik x Satin SP3 comes with a nice silvery cable called “Chimera”. The cable itself comes with thick, shiny input jack/splitter and carefully braided threads: at the very least, I’m sure that it does elevate the SP3 to another level of premium-ness.


Similar to all previous Soranik products, the SP3 uses 2-pin 0.78mm connector, allowing users to exchange cables with earphones from Noble, Fitear, Shozy, to name a few. Attachment and detachment can be done easily without applying too much force, and during daily use there’s no worry of the cable falling out. A small, tiny thing to praise Soranik and Satin on, but I do wish I could give the same praise to other earphones/cables brands.

Sound Quality

Based on my experiences with the YK-S and the SP111 (which I briefly tried at a local meet), it seems Soranik has a preference towards brighter sound signature. The SP3 continues that tradition in an even more unforgiving way.

Think of the SP3’s high-ranges as rough diamonds. It reminds me of my first SR325is. It’s bright, it is sharp it doesn't extend for too long. For me, this highly energetic high-ranges representation is perfect for well-produced Metal records, like Metallica, Pantera, later Paradise Lost. A little bit more "sparkling" would be more helpful for softer music, but again, it's just like what the SR325is used to be. As with Grados, some might find the SP3 to be too energetic – and too clear cut, but I love it the way it is. It’s a matter of taste.

Mid-range presentation is a highlight. Though a bit recessed due to how prominent the low-ranges and high-ranges are, mid-ranges on the SP3 are actually full-bodied with great texture. Instead of going for an overtly smooth signature, SP3’s midranges are well-nuanced and detailed; timbre (as in Frank Sinatra or cello solo albums) is almost life-like. Unfortunately, Soranik does place some emphasis in the high-mids, so once again sibilance-prone records will be a problem.


An increase in bass quantity results is the most drastic change from the initial version to the SP3 LTD. As with other BA IEMs, mid-bass is very prominent and sub-bass hits are impactful enough for the money (1 more bass driver would certainly help, though). Even with hard-hitting EDM or Hip-hop, the low ranges would never gets out of control, and the songs would not become a bloated mess. All that being said, the over-abundance of mid-bass may make it a bit harder to appreciate the layering in complex Progressive Metal tracks.

Lastly, the SP3 LTD has one of the most natural soundstage I’ve ever heard from V-shaped IEMs. It is still spacious sounding, it extends wide and deep, but not the unnaturally wide and deep kind that spread Jazz bands into a big hall. Despite the minor complaint about mid-bass layering, the imaging is accurate and coherent.

Pairing

The SP3 would be unforgiving towards smartphones and laptops. Switching from my HP DV15 to the Hiby R3 immediately clears up the muffled bass and put the energetic trebles in its place. Similar improvement can be heard upon switching from the R3 to the iDAC2. The SP3 clearly requires an amp/DAC, not as much for power, but for quality.

Versus Its Brothers

The most interesting comparison would be that of the SP3 LTD to its stock version. The original SP3 was bright neutral with even more energetic mids and arguably anemic bass. When Satin Audio got involved, they did not only supply the new outer cables but also re-cabled the drivers. The result is a much more accessible V-shaped signature, which was described in this review.

The YK-S was also retailing at the same price as SP3 LTD (around $250), but they are definitely geared towards different audience: YK-S was best for laid-back, mellow music while SP3 LTD is perhaps best for upbeat Rock and Pop.

Conclusion


As Soranik’s newest commercial offering, the SP3 LTD embodies what Soranik has always prided themselves on: technical superiority. Unapologetically bright and requiring a good source, it wasn’t designed to please everyone. But if its V-shaped, energetic sound signature is what you’re after, I think you’d be hard-pressed to find a competitor in the same price range.

Disclaimer: The Bang is a sample unit sent from Burson in exchange for my honest opinion while the Play is from Burson’s review tour.

2018 was an interesting year for Burson. From a manufacturer of what can be described as “boutique” (and expensive) audio equipment, in a few months they managed to unleashe 5 (yeah, five) affordable products: Play, Fun, Bang, Playmate and Swing. While they all shares many similarities, the Bang perhaps stands out the most: it were made for speakers, and it has no controls.

Design: Just Tiny


Despite being a power amp for speakers, the Bang shares the exact same chassis as its brothers: the same size as a DVD-RW drive of old. The design language can be said to be “industrially minimalistic”, as with the others, there’s nothing on the black matte body except for a few lines that keep it from being too boring.

In terms of looks, the Bang is the exact opposite of my other power amps. Whether it’s Denon or Marantz or Panasonic, you can always count on my amps to have at least 10 pots/buttons/switches for bass/treble, input, balance etc. The Bang has nothing but a small LED to indicate whether it’s on or off. Yeah, no volume knob either.

While this strange design will definitely deter some people (more on that later), the tiny footprint is definitely a huge plus. We have 3-4 power amps in the house, and as each weighting up to 20kg (~45 pounds), carrying them around poses serious risks of injury. To make it worse, every year we’d have to take them to the shop to do some clean-up.


The Bang’s weight? Around 2 kg (4.5 lbs), meaning it won’t be a problem even for 5th graders. The power brick is quite large too, but even then it’s still much more transportable than any speaker amps I’ve ever seen, including those for bookshelves. And because it’s so small, it helps a lot in de-cluttering my listening corner.

Usability: You need a pre-amp

Without any control on the front plate, the Bang isn’t designed to work directly with a “pure” DAC – you need a preamp in between. This applies to CD players, NAS, DAP and any devices that output constant 2V signal.

Thankfully you can easily find a great DAC that has amp built-in: Chord Hugo, Grace Design M9xx, Audioquest Dragonfly, LH Labs Geek Out... DAPs like the Hiby R3 or Pioneer XDR-100R also make for perfect pairing. Lastly, if you already have a great DAC that cannot output variable volumes, accessible buffers/amps like FX-Audio Tube-01 or JDS's Objective 2 are all you need.


But Burson's intention can't be mistaken here: I would like to think they designed the Bang specifically as an add-on device for the other products in the same Desktop line: the Play (DAC + head-amp/pre-amp outputs), the Playmate (same as the Play) and the Swing (DAC + preamp). All of Burson’s Desktop Series share the same chassis, and they look great when stacked.

Most importantly, the Play (V5i version and up), the Playmate and the Swing all come with a remote control. To quote a fellow head-fier, this makes the Burson DAC/pre-amps pair with the DAC like "yin and yang". Having spent so many years not being able to control the volume or mute the music from a far, I just have to give Burson a huge plus on this one.


Speaking of volume, the Bang is loud. I had thought that it would only have the power to drive my Panasonic bookshelves, but that didn’t turn out to be the case: using Burson’s Play as the source, I was basically operating from 1 to 10 – the max volume level of the Play is 99. Similarly, I never went past 25 on my Dragonfly, or 6 o’ clock on my Little Dot mk4 + Modi Multibit.

This reminds me a lot of Burson’s seemingly discontinued Cable Pro+ products: install the cable and amps that normally need to be set to 9 would be loud enough at 3. The dynamics is different with the Bang (you control the volume from the pre-amp, not the amp), but the it does contain the same Impedance Matching technology first found on the Cable Pro+. Also, no matter what (small) volume I set it at, this Impedance Matching technology made sure I'd never experienced channel imbalance.

I did accidentally start playing when the Play was set at 45 (around 2VRMS, per this thread’s measurement), and to my surprise, my ears are still working. It wasn’t a pleasant experience, but it didn’t cause any pains or panic attack. Once again, I think it has something to do with the Impedance Matching technology.

Sound: Transparent and Details


For me personally, headphones and speakers have served somewhat opposite roles, where headphones are more analytical and speakers are mainly for “enjoyable” experiences in my free time. It should be noted that in my country (Vietnam), a lot – if not the majority – of home audio equipment are vintage or well-used imports from Japan, US or Europe. Both my Denon PMA-780D and Marantz PM-50 seems to be older than me. They barely ever try to be realistic, with the Marantz slowing all the songs down and the Denon V-shape-izes everything it touches.

In this context, it’s easy to explain why the Burson Bang was a pleasant addition: it brings the speakers much closer to their “root” sound. Using the Bang to drive my KG4 resulted in a more nuanced and detailed Vocal experiences, especially on more acoustic tracks. This was the first time that I can hear singers taking their breath on my speakers; changes in pitch can be discerned easily and long notes no longer feel slightly autotune-y as before.

Trebles seem to roll off at the right moment, smooth enough for piano and biting enough for guitar solos. The bass is more articulate than doesn’t artificially inflate any sub-frequencies. If other amps are made for excesses, the Bang seems to be made with balance in mind. As such, transition always feel clean and there was never a moment where the lower frequencies intrude upon mid-ranges or trebles over-stay their welcome. If anything, the speakers did move closer to my HD6xx in terms of realism, which were very welcome for Classical, Rock and Pop music.


Because the Bang pretty much leaves the sound signature to the speakers and to a lesser extent the DAC feeding it, synergy (or lack thereof) was never a problem on any speakers in the house: Klipsch KG4, Klipsch KG3.5, JBL XE-05 and a pair of Tannoy towers. This would be a very important advantage, as I did have to shell out extra $$$ for the Marantz after finding out that Denon + KG4 sounds horrible while Denon + KG3.5 is perfectly fine. Though the Bang isn’t perfect for all use cases (I did find myself wanting more mid-bass for EDM), its coherence makes it the most versatile amp I’ve ever used.

On the other hand, there were times where the Bang produce a soundsig that is too “clinical” for my liking, for example when it’s paired with iFi’s iDAC2, using Burson’s Fun with V6 classic op-amps as preamp and volume control. On the other hands, the Bang is a good combination with Aune S16 or Schiit Modi Multibit and Burson’s own Play (V6 Vivid and V5 op-amps installed in the dual slots). The Bang has its own dual, DIP8 op-amp slot as well, but while I found swapping op-amp to be more effective here than on the Burson Fun, in the end it’s not as noticeable as on the Play's I/V and LPF slots. My sweet spot was the MUSES 8920, which is a bit less “dry” than the stock NME. The more expensive Burson V6 Classic did smooth out the sound a bit more, but I did not feel that the upgrade was necessary.

Additional tuning can be achieved via tube buffers or other types of pre-amps as well. Here the Bang once again outshines my Denon and Marantz - “transparent + colored” should easily trump “colored + colored”.

Conclusion


The Bang has its drawbacks and its strengths, but overall Burson seems to have a very specific purpose in mind: make a product for computer-based head-fiers to “expand” their listening experience into loudspeakers as well. The Bang doesn’t even have a volume pot, and it only comes with a 2 RCA-ports, no more. Its only advantage is a tiny footprint and a transparent, musical sound.

And that is why it shines. If you are reading this - a review on head-fi.org, you most likely own a quality DAC/amp or a great DAP. Add the Bang and a pair of Klipsch, boom, your game now include hi-fi speakers as well.

The Dragonfly doesn’t need any introduction. Everybody was talking about it, every publication was giving it some kind of award or another. Which is, unfortunately, part of the reason I chose to stay away from the Dragonfly: How can something be that good? No, I was so sure that this was just another overhyped product.

Keeping that thought to myself, I’d managed to stay away from the Dragonfly for 6 years straight. Then a big change happened to my life: the company starts sending me onto long business trips more and more often. The most recent one lasted for 3 months, and for those 90 days of being away from home, the “laptop onboard + great earphones” just became more and more unbearable.

Then I thought to myself: oh what the heck, let’s get the one that started it all.

SQ: It is that great


3 months later and I’ve now got both the one that started it all (Dragonfly 2012) and the newest one (Dragonfly 1.5). So, while this review is technically for the Dragonfly Black 1.5, it is actually for both.

Let’s start with the 1.0. I bought it well used at only $40, shipped and PP fee included. For this price it wouldn’t expect it to be a great DAC – the only great DAC that I could ever buy for < $100 was the ODAC, and pretty much no other DAC has ever convinced me otherwise.

Needless to say, the 1.0 did. The sound actually reminds me of a rougher version of the ODAC + O2 combo: overall it’s a neutral sound with no particular bias towards any frequency range. The improvement over the onboard sound was immediately noticeable. Most significant perhaps were the more “pronounced” and better controlled bass notes, resulting in what can be perceived as “more rhythmic” even though the low ranges bleeding are reduced/eliminated. This was especially important to my Notes Audio AT10 (also known as Simphonio Xcited 2), as in quiet environment the IEMs almost always suffered from bloated bass notes until the Dragonfly came to the rescue.


On the other end of the spectrum, there are a lot of energy in the trebles (more on that later). There are no traces of sibilance nor hissing, but there are moments where I wished the high-ranges were more delicates. Regardless, if you are looking for an entry-level product that helps you pick out “things that weren’t there before”, this is the one DAC/amp you’re looking for. Moonlight Shadows, November Rain, High Hopes were my favourite tracks to re-discover on the Xcited 2 upon buying the Dragonfly.

As for the mid-ranges I have no complaints and no particular praises for the Dragonfly. It certainly does its jobs well, adding no harshness and no “tinny-sound”-ness to my favorite Pop records. Details are of the right amount, with better gears (Grado RS2e, Simphonio Dragon 2+) you can hear more “feelings” to

0.5 added: Same package, more greatness

Yes, the original Dragonfly deserves all of its praise. I could barely ask anything more out of this tiny DAC, especially when I bought it specifically for my more mobile, more transportable headphones like Simphonio Xcited 2, Simphonio Dragon 2+ and Master & Dynamic MH40. You know, the stuffs in-between the audiophile world and the “no I just need it to output sound” world.

And yet Prime Day came with all its glory. Before I realized it, I already indulged myself with another Audioquest: the Dragonfly Black 1.5.

As it turned out, Audioquest can stuff even more greatness into the same form factor.


What’s changed? As good as the Dragonfly 1.0 is – especially at the price I paid, it still has its drawbacks. The most noticeable of all is the overall “hardness” – coming from the Aune S16, and before that, the O2 and the M9xx, I’d love to hear a more “natural”, more “subtle” high ends. There’s a certain robotic feeling to the highs. It might the right amount of energy for my favorite Metal tracks, but I’m now 29yo and thus don’t need all that anger: there and then the trebles will feel a bit out of place. It doesn’t ruin the songs, and overall the SQ is still great, but once I realized it's there, I started to think of my ODAC more and more.

Thankfully the newest Black ironed that out. Once the aggressiveness is tamed, it is much easier to focus on other parts of the frequency ranges and enjoy them. The mids benefit the most. Removing the “robotic” traces in the higher ranges result in much smoother Vocals, saxophone and cello performance, allowing my Grado RS2e to shine through as the ultimate Norah Jones headphones. The bass remains as articulate and as impactful, though at times (on both units), some notes roll off faster than I’d like.

Though it is not a night and day upgrade, I do feel that this refinement helps to improve the overall musical landscape greatly: the 1.5 offers a more composed, more cohesive experiences across the ranges.
It is also because of this that the Dragonfly 1.5 turns into a much better source equipment than the 1.0. Part of the reason I bought the Dragonfly were to feed it into the Burson Fun, yet unfortunately all Dragonfly drawbacks became Dragonfly 1.0 + Burson Fun drawbacks.


The next improvement: with the Dragonfly, maybe you wouldn’t need your own Burson Fun. On the Dragonfly 1.0, most of the times I have my IEMs at around 30-40. On the 1.5, basically I only need 0-10 (on a scale of 100 steps). The 1.0 can comfortably drive my HD58x, but the 1.5 does that with extreme ease: ~20 would be way more than enough. Hell, even the HD6xx poses no challenge.

Even the Back isn’t perfect

There's only so much you can ask for from a USB-pen-sized DAC/amp. With cans like HD6xx and Q701, the 1.5’s own shortcomings became quite evident. Volume isn’t a concern here, but comparing the Black 1.5 to my bigger, more expensive amp/DACs (Burson Play or Aune S16 + Burson Fun) is just like comparing onboard sound to the Black itself: the high ranges feel more grainy and the low ranges not as tight. The Play handles complex passges on the HD6xx with ease, which is something the Dragonly, with all of its efforts, cannot. It's also easier to pick out microdetails on the Play than on the HD6xx. Lastly, those more expensive DAC/amps have better soundstage (bigger, more depth, more width) and better layering of instruments.

Even with low-impedance cans, soundstage and imaging isn’t the Dragonflies’ strongest suits. Instruments feel very much as if they were placed to the left and to the right, so it isn’t quite immersive as my desktop DAC/amps.


The final deduction points have nothing to do with music. First, I’m a bit disappointed that there’s no USB extension cable included. While the 1.5 is not as heavy as the 1.0, added weight from the headphones’ plug (especially Grado’s) leaves me worried for my laptop’s USB sockets. Next, as you’ve seen from the photos, the Dragonfly 1.0’s exterior finishes will wear out with use. Even my new Dragonfly 1.5 already has scratches on it. I’m starting to feel that this is unavoidable, these tiny DACs are meant to be taken out of my backpack in the morning, stay on my work desk till 6pm and stay in my backpack for the rest of the day.

King of the pen-DACs

It certainly helps that all Dragonflies are so small and extremely easy to use (plug and play, no drivers needed). The 1.5 even supports OTG output for iOS and Android devices. The only task left is to convince people to overcome the inconvenience of plugging in something that their laptop already has.


For years, I could never be bothered to overcome that minor inconvenience. For me, “real audio” had never come in a thumb-sized package. And yet, the criminally low price of $100, the Dragonfly 1.5 achieves what I previously thought was impossible: putting the same “naturally neutral and detailed” sound into the compact USB-pen factor. The Dragonfly 1.0, while audibly behind its brother in terms of subtlety, still offer greatly improved sound quality and thus should be the ideal first step into the “real audio” world.

So, no overhyping here. The praises are well deserved.

When Burson announced the Fun amp, part of me was surprised, part of me was not. Burson have already got themselves a very good entry-level DAC/amp in the form of the Play, released just a few months before the Fun.

But I do believe that, if you look closely on Burson, they’ve always been more about amp than DAC. They built their name on amps, and in some cases I believe Burson will release an amp first, then a DAC-integrated version of it.

For the Play, that circle got somewhat reversed. They release the Play, got rave reviews, then remove the DAC section and improve the amp. The result: Burson Fun, at the same starting price of $300.


Does that justify the purchase, especially when the Play starts at the same price? Let’s find out.

Not Quite Elegant-Looking

Having spent months with the Burson Play, I really don’t have a lot to say about the Fun's design. All 3 of the Burson “PC” product line shares the same chassis, which is the same size as the DVDRW drives of old. As it doesn’t have the volume indicator lights that the Play does, the Fun looks a bit more boring to be honest. It’s more of a black ordinary box than the Play.

With that said, there is nothing to complain about the Play build quality. Everything feels sturdy and well assembled. The matte finish "feels" great, though I guess it'll just stay on my desk for the month to come. The volume knob seems to turn slower than the Play and it does add to the premium feeling of using the amp.


Plug and Play

As with the Play, Burson does include a screwdriver so you can easily open the chassis to roll op-amp. The number of accessories got greatly reduced from the Play's (the Fun doesn't come with any DAC), but I’m sure everyone will still be happy with what Burson included with the Fun: a 6.5-3.5 adapter and a pair of RCA cables. Both seem to be well made, totally in line with what I perceive to be Burson’s design philosophy: their products won’t turn heads, they won’t look stunning, but they will not make your desk feel any less high-end.

Using the Fun is pretty simple. We've got a set of RCA inputs at the back, connect that and you can either listen with your headphones or output the Fun to a power amp (Burson's own "Bang", for example).


What's interesting is that there's a pair of mic input/output, but those are just pass-through (per the Fun thread). At first glance I thought the mic-in should have been on the back, but then I realized it's made this way to connect with the Play's mic out more easily. Because the Play already include amplification for mic-input, the Fun doesn't.

Into the Music
I've got some source equipment for this review: an Audioquest Dragonfly, a Schitt Fulla 2 and a AK Junior DAP. My personal preference is the Dragonfly (at line level) - Fulla was a tiny bit "darker" and less detailed (which was the same experience I had with the Modi) and the AK Junior was too smooth. They do shine better on certain headphones/songs but overall I still prefer the Dragonfly and will use it for the review.

Grado RS2e – REM, Losing My Religion

For such a “soft” Alt Rock track, Losing My Religion remains one of the most intense listening experiences that I’ve ever had. The frustration of falling in love or having a crush on someone... My heart races each times Michael went “that’s me in the corner”.

It’s not always easy to convey these feelings on a Grado. The Dragonfly for example will ruins certain moments because of its harshness. Turn it into a DAC to feed the Fun and you’ve got a perfect rendition of Losing My Religion. Drum beats feel full and pleasant, string instruments open up the atmosphere, guitars notes tear up your heart.

Vocals lines feel extremely to the point on this one for me. Grados are famous for coloring the midrange, but this here is not quite the case. On the Fun + RS2e it feels as if Michael is sitting in front of me, telling me about his frustration of love, letting out a lonely sigh then and there. No sibilant, no smoothed edge, just Michael Stipe losing his religion and me losing mine.

The experience can be described as adding Burson elegance to Grado. The bites are still there for those who needs it (perhaps more so on other track), but the Burson + Grado sound result in a smoother, more eloquent "flow" of emotions on this specific song for me.

Sennheiser HD58X – Susan Boyle, Will the Circle be Unbroken


Elizabeth (voiced by Courtnee Draper) sang only 2 lines from this song in Bioshock: Infinite and my heart was already taken. I like Courtnee Draper’s rendition the best, but this one from Susan Boyle is also a shiner. Hint: great songs can have dozens of great renditions.

First offf, the Vocals. I’ve always had the feeling that Burson use Sennheisers to tune their amp, which was the exact reason why I hold the Play in such high regards when I used it to drive the HD6xx. The Fun driving my new HD58x isn’t an entirely different story: it’s the familiar “colored natural” signature sound from the HD58/HD6 series.

Yet I did find a lot of faults with my HD58x, mainly because I was driving it from my laptop and my iPhone 6s. Thankfully, now I have the Burson Fun to root out all the problems: no more splintered highs and no more bloated bass. When the drums kick in at the middle of Will the Circle be Unbroken, I could feel my HD58x slightly moving on my ears. The bass impact added a new aspect to this Folk-like song that I’d never knew of (from Courtnee Draper’s rendition): a feeling of heavenly epicness. The guitar in the background no longer get broken down into a million tiny pieces.

I didn’t expect it to, but Vocals presentation also changed. It seems that when properly powered, the mid-range has more air, a tad more details and thus more realism to it. Soundstage opened wide but not so much depth, which I think maybe Sennheiser's design (though they had that perfect 3d sound on the HD800). Another improvement is in pacing: the song changes pace 2 times and each time the Fun + HD58x handle it with ease.

Sennheiser HD58X – Pink Floyd, Time

I’ll stand by my opinion that the HD58x has a “colored natural” sound, that is, while it doesn’t stray too much from neutral, it definitely isn’t neutral. Its brother HD650 (and HD6xx?) used to be called “veiled”, and the HD58x does not stray that far from the HD6 heritage.

Which makes Time interesting track to test. The alarm bells at the start of the track is the single most difficult passage for my headphones to render “properly”: it’s the same alarm that we listen every morning, but the way Alan Parsons and Pink Floyd mixes them together gives it an uncanny, weired-out feeling. The “tick tock” sound that follows is what I normally test my headphones for bass “resolution”.

The HD58x handles these 2 tests extremely well, but only with the Fun’s help. Driven un-properly from my laptop, Roger Waters’ bass would be come a quick line of “pffff” and the clock would sound as if it came from an iPhone, shouty and . The Fun, what can I say, corrected all these problems. The clock sound has just the right amount of bite and was so satisfying (can’t believe I’m saying this about a clock alarm) and the bass notes felt textured in "high resolution".

What came next was somewhat of a surprise to me. After that crazy opening, Time on Fun + HD6xx is a more “streamlined” experience than on, say, the AKG Kxx or HD800. The HD6xx has more energetic trebles than its siblings in the HD6 lines, but once again nothing about it stands out – no huge soundstage, no bass rumbles either. Once that opening has passed, I started to realize how close Time was to a country-rock song. That wonderful guitar solo and the background vocals would immediately drag me back into the Floydscape, but it was still refreshing to experience Time in this totally new aspect.

Master & Dynamic MH40 – Adele, Water under the Bridge
I would wholeheartedly agree with the opinion that the MH40 is a closed-back version of the HD600, but the problem is that too often the closed-back part is too much. There are moments when the bass would overpower everything, as if the bass player is right next to you. No, as if the bass player is playing through power speakers placed right next to you while every one else is situated properly in the room, playing their instrument through nothing.

At 32 ohm, the MH40 wouldn’t require a powerful amp like the Play – an iPhone should do more than enough. But the real benefit here comes in the form of lean bass, provided by the Fun + V6 Classic. My laptop and iPhone, just like every laptop and phone out there, will bloat the bass a bit, which is definitely the last thing I’d want on my MH40. Fed from a clean and neutral DAC, the MH40’s low ranges will get a bit cleaner and less intrusive. The bass player thankfully is no longer playing through an amped speaker next to me.

Anyway, this makes Adele on MH40 a more tolerable experiences. In a track that is uncharacteristic upbeat like Water under the Bridge, I’m glad that I can hear her “angelic raspy” voice in all of its beauty without having everything buried under the bass. Without all those sudden “boom”, soundstage also opens up nicely, vocals feel fuller – overall, the HD600 part has more room to shine. More refined. More elegant.

That being said, physics rules still apply, and the Fun cannot do magic for the MH40. The bass player is still sitting on my lap and the bass is still very prominent. I should look into changing the pads or something.

Symphonio Xcited 2 - Collapse under the Empire, Lost



Also marketed under the name "Notes Audio AT10", the Symphonio Xcited 2 was a big surprise with its full-bodied mids on top of the (somewhat) mild trebles and punchy bass. It doesn't have a lot of details in comparison with my bigger headphones, but what it does have is real good dynamics and an overall engaging "feel" to it. More upbeat, well-produced Post-Rock tracks such as those from Collapse under the Empire and God Is an Astronaut are such perfect match for the Xcited 2.

Becaues it's an IEM with very low impedance we're talking of, I don't think the Xcited 2 hugely benefits from the Fun. That which actually improve the Xcited 2 here is the DAC, and the Fun passes through my Dragonfly's clean, neutral sound to the Xcited 2 with a perfectly dark background, no hissing noise whatsoever. Most of the time the Fun also takes away some jagged edge from the Dragonfly (as driven from its amp), which I perceive to be a synergy problem that the Fun never had.

Grado RS2e – Lake of Tears, So Fell Autumn Rain

Grados are regarded as the go-to choices for Metal by my fellow Vietnamese Metalheads. The reason I think is because the Brooklyn house knows how to “mix” bass and mid-ranges to create a layered, thick guitar sound.

Which is exactly what I found on this song, as presented by the Fun with V6 Vivids op-amp installed. On this one, I’ve found the stock NE opamps (that comes with the starting version) a bit muffle when it comes to riffs. On the other hand, the V6 Classic feels a tiny bit too shouty. The difference could be marginal and perhaps inaudible to many, but not to me.

Anyway, the doom-ish riffs “flow” like torrents of rain on this combo. Perhaps of the way this track is mixed, the Vocals take 1 step back to let the instruments shine, but the level of raspy-ness (and sadness) is just right. The way my RS2e renditions all those keyboard riffs and cymbal crash is also perfect – there’s enough energy to keep the song from being boring, but not as much as to ruined what “Doom Metal” should be.

It’s also worth mentioning the overall presentation. The crazy thing about Metal tracks is that, they’re often not perfectly mixed and engineered, but give them a lesser DAC/amp and everything will get messed up: background instruments disappear, riffs become thin, cymbal crashes become grainy as hell. None of that happen with the Fun + RS2e with its refined, coherent representation of So Fell Autumn Rain (and the Forever Autumn album as a whole).

Why have Fun, though?


I should have addressed the elephant in the room first, but I guess it can be saved until we’ve discussed the sound. I can say that, with my limited experiences at the moment, the Dragonfly + Fun combo would be almost identical to the Play – at least when driving my RS2e. The Play + HD6xx is also very close to the Dragonfly + Fun + HD58x. This is me speaking from my memories as I’m away from home and don’t have the Play to compare directly with.

So, why get the Fun while the Play starts at the same price? Basically, why get a powerful amp while you can pay the same amount and get a DAC/amp that is still powerful enough to drive the HD600 to its fullest?

The answer would lie in the DAC. I really liked the Play, but after all it starts at $300, meaning its DAC unit should cost $50 or maybe less. It was just a basic Sabre that’s way too common. On the other hand, the Play was the only sub-$300 device that was powerful enough to make me feel happy with my HD6xx. Having the Play’s amp unit fed by a better DAC like my S16 at home will be a mid-fi dream, as the Aune’s amp just plainly suck.

The Play is an integrated DAC/amp – so there’s no flexibility. But thankfully, Burson has “detached” the amp unit, add even more power and reduce the number of op-amps.


Unfortunately it will be another month before I can tell you how great the Fun + S16 combo is, but even now the Dragon + Fun combo would make more sense in my situation. I can enjoy the Dragonfly at work and at 5:00PM bring it home to the Fun – bringing the Play to work and back will be too cumbersome. The Dragonfly’s amp unit holds no candle to the Fun, so that’s acceptable sound quality at work and perfect listening at home for me.

The same would apply to some of the favorite (and more expensive) DACs, such as the iDAC2 – I don’t quite like its amp unit, but it can be used as a DAC/amp and it is better than my crappy laptop’s Realtek soundcard.

So much Fun

I love the Play, but if I only had $300 to spend and had to choose between the 2 Bursons, I’d go with the Fun. This is still the Burson sound at very attractive pricing, and it gives you room to upgrade in a field that is honestly not Burson’s strongest suit – DAC. Though without digital input, the Fun is built like a tank, has plenty of power, and it gives you the Sennheiser sound of your dream. And it almost totally erased my longing for the expensive HA160 that I had a chance to try with my friend's HD650 years ago.
And that is more than enough to justify owning this $300 amp.

Disclaimer: This review was written after just a couple of hours listening from my laptop and my phone - I'm away from home. It is not the ideal testing environment and obviously doesn't speak for many people here. However, I was greatly impressed by the HD58x, especially how good it sounds while being driven from such "normie" devices. The other reason for the quick review is IMO the HD58x isn't night-and-day different from other HD6 series models I've owned/tried. Both traits make the HD58x a true HD6 series for the everyday man - but still I'd look forward to seeing how it scales with better equipment. Will update the review when I come home.

It was in April and the reason I joined the HD58X’s drop was the HD6xx. Long story short, the HD6xx’s build quality wasn’t as crappy as I had feared – on the contrary it was quite good. So with the thought that Massdrop won’t ruin what I’ve come to love from Sennheiser, I blind-ordered the HD58x. There was no chance to audition the pair at the time, and sure there was this whole “we will re-tune based on your feedback” thing going on. But it was, as I proclaimed in the HD58x thread:

It’s a $150 Sennheiser. What can go wrong?

Design and Build Quality


Here’s the thing with the HD6xx when I first got it on my hands: it’s way more plastic than I had thought. It’s so prevalently plastic, so obviously plastic that I felt a bit disappointed. But then, when that somewhat irrational feeling has passed, I was more happy than ever. The $200 HD6xx was a true HD650.

So I had to tell this story because if you have had a chance to try an Sennheiser HD58/HD6 series before, be prepared for that tiny bit of disappointment. The finish on the headband (and the yodels) look even cheaper than the $5 toys I bought for my son back in Vietnam. The cable doesn’t impress, either. Heck,I can even go so far as to compare the Hd58x unfavorably to the HD598 and HD558 (which I owned for ~ 1 year each) in terms of materials and finish.

Yet, to be frank, I don’t mind it a bit, because I’d fallen in love with the HD6xx before. Plastic is as plastic does.


All that being said, I still quite like the HD58x’s design – all because of the grill alone. While it’s nowhere near the original HD580’s level of refinement (look at those waves!), the grey-painted grill surely gives the HD58x a “new”, weirdly retro and distinct look, one that stands out from its more recent siblings. Yes, I like the way the HD600, 650/6xx and 660s show off their drivers housing, but this is way more refreshing.

Comfortable Enough

I'm an Asian. For me the HD58x is comfortable enough - I've been listening to it for 3 hours now. However, it does seem like the clamp force could hurt bigger heads. The headband is the same as the HD6xx so I don't have any problem with it either. The pads are on the stiffer side but will definitely soften with time.


The more friendly Sennheiser

Before I get into detailing my experiences with the HD58x, I must first point out that there’re already many detailed reviews on the webz and well-written impressions in the HD58x thread. I’m also in a bit of an un-normal situation: I’m 14 timezones away from home; the only things I can use to drive the HD58x are my HP laptop and my iPhone 6s.

As you can see, Sennheiser and Massdrop’s words hold true. I was quite skeptical when I heard the 150-ohm HD58x can be driven by a mobile source, but here it is, sounding great from my iPhone at ~85% volume.


Is the sound "great"? Oh yeah, the sound is the reason that I dared to write this review despite spending so little time (and with such embarassing equipment) on the HD58x: if you’d experienced the HD580, HD600, HD650/HD6xx or HD660s before, you will feel right at home with the Hd58x - even on non-ideal sources as mine. It still features the “no wow” sound that I had described about the HD6xx (in my review of the Burson Play): no harsh, edgy mids, no nostrils-rumbling bass, no honey-sweet mids and no artificial soundstage.

Instead, it’s got “natural” painted all over the place. Lovers of the Sennheiser HD6 series know this warm-ish and smooth-ish sound (the HD600 maybe not so much, but still). Lovers of the HD6 series know the full mids, the extending bass and the forgiving, lovely highs. I love the clarity and details here, as yeah, like they said in soooo many headphones reviews, I can hear instruments that my IEMs cannot reproduce. Do remember though, I’m not playing from my top-notch DAC/amp, I’m playing from my phone.

Unfortunately, my phone is way too far from a perfect source, and I’m seeing traces of an under-powered headphones. I think the bass could tighten up for the better. And, in certain passages, I’m still hearing “splintered” highs – guitar or cymbal “tick” that sound as if it consists of two different sounds. Speaking from my experiences of using the Audio Technica R70x (which surprisingly shares a lot in common with the HD600), I think these are symptoms of headphones being under-powered. The Realtek dac chip in my laptop or whatever it is in the iPhone 6s don’t help, and arguably my HD58x could still be going through burning-in. I’m not a firm believer of the burn-in concept, though.

Regardless, I tried the HD58x with all my favorite music. It is truly versatile. On acoustic Vocals tracks, the high-ranges opens up the soundstage and mixes very nicely with the tender-feeling of the songs. But moving onto Metal, the drum kicks will fill up soundscape, resulting in a surprisingly lively experiences which I’ve never expected from the HD6 series.

My top favorite genres to try with the HD58x would be more or less cross-over ones, like (Symphonic) Gothic Metal, Fusion Jazz or Post Rock. It’s always nice to see your headphones moving effortlessly from one type of music to the next, rendering all kinds of different instruments without ever ruining anything.

Conclusion

Speaking of the HD58x, it is perhaps best to reference Grado. No, the HD58x doesn’t have the Grado sound, but Grado fans would know that, through out Grado’s history, all of their Reference Series models more or less share the same sound sig – the only difference lies in the level of refinement or a small re-tuning of low or high frequencies. Same words can be said about the HD58x and its lineage: the HD58x fits right into the HD58/HD6 family. There are audible differences, but, in the imaginary scenario that a lover of HD650 or the original HD580 is forced to live with the HD58x, they will just survive happily.


Yet the HD58x has 2 important traits that makes it much more interesting than all of its siblings: it doesn't sound bad from your phone/laptop, and at $150 it still carry the signature Sennheiser HD6 sounds. I do feel that, at $150, the HD58x has a lot more in common with the HD600/HD650 than any products Sennheiser have sold at the price range.

And even when driven from my laptop, the HD58x definitely beats all the low-impedance sub-$300 headphones that I have ever tried. There can be nothing wrong with a Sennheiser bona-fide HD6 that is this easy to drive, sounds this great and costs this little. As such, I will happily bestow all of my 5 stars onto the HD58x, the first "HD6 for everyone".

Disclaimer: The Dragon 2+ reviewed is a loan unit from Simphonio via their friends in Notes Audio.

When Tuan, Note Audio’s founder mentioned the Dragon 2+ during my latest visit, I was a bit surprised. What does an Vietnamese audio equipment company has anything to do with a Chinese brand? As it turns out, Simphonio’s founder/CEO and Tuan used to be colleagues in Sunrise Audio, which they co-founded and ran together. Now they have split to focus on their native markets (China and Vietnam), but the relationship is still close: Notes’ excellent AT10 get distributed in China under Simphonio's name and the Dragon 2+ gets to Vietnamese music lovers at very attractive pricing.

To be honest, if it had not been for this special relationship between Notes and Simphonio, I wouldn’t have bothered with the Dragon 2+. $320 (at Penon Audio) is no small price to ask for any new headphone/earphone product. I’ve never been a fan of the earbud form factor either. Could the Dragon 2+ change my mind?

As if it came with a cassette Walkman


Let’s start with the reason why I’d never held earbuds in high regards: they look cheap. At first glance it’s more reasonable to say the Dragon 2+ costs $20, not $320. Look at the housing. It’s the very same plastic earbud that has been with us for the last many decades.

There’re still some face-saving here. First, the plastic housing feels sturdy and reassuring. The Dragon 2+ doesn’t bother to deny that it is (very) plastic, but this type of plastic screams “durability” and “polishing”. Then there’s the braided cable, perhaps the most relevant cue to the 2+’s price. Mixing black with yellow/god is rather an ingenious choice in terms of looks.

(It also screams “I’m balanced”).


Funnily, the housings are the only elements that feels cheap. The 3.5mm jack is unabashedly big, similar to that of the Notes AT10. The 2.5mm balanced – 3.5mm dongle is made from metal and perhaps would feel finer than the housings themselves.

Also, the Simphonio’s product box is top-notch. Just keep it so you can display it to visitors of your attic. The pleather pouch that comes inside also impressed with looks, especially with its uncanny green-ish finish. This is also the best carrying case I’ve had with earbuds and IEMs. Each time I finish using the phones, I can just wrap the cable around my hands and put it straight inside the pouch. Much faster and more convenient than other type of pouches and carrying cases.

Urgh, earbud comfort


I could remember how sore my ears were after a few hours with my dad’s Walkman – and after that, with my first iPod Nano. The Simphonio Dragon 2+ isn’t an entirely new story. Even with the outer foam, it still hurts my ears after about half an hour. The flat surface on Simphonio doesn’t quite fit the curvy space inside my ears. For the same reason my “Earbud Comfort Hall of Fame” only include the AirPods and EarPods – please don’t laugh at me, as IMHO their “bean” shape allows for much better extended listening sessions.

It’s important to mention how well the Dragon 2+ could fit into your ears because the sound will be affected. At times I do find myself having to push these phones in to regain the bass lost after I stood up and grabbed a cup of coffee. Sometimes I did try to position the speaker grill so that it faces my ear hole directly. Needless to say, the mid ranges immediately became more prominent.

Iced honey water


Let’s pretend my tiny Vietnamese ears can stand the Dragon 2+ for more than 1 hour, how does it sound? First thing: Simphonio’s newest is definitely NOT for those looking for neutral sound as colorings are quite audible in the mids. If you think of the ATH-AD2000’s mid-range presentation as honey, Simphonio is iced honey water. Instead of making the mids as “sweet” and thick as possible, Dragon 2+ instead aims for a smooth-but-not-in-your-head mid-range, improving clarity in the process.

I was also quite surprised to hear the Dragon 2+’s bright-but-not-hot trebles. I imagine Simphonio engineers tried to make the sound as bright as possible but decided to stop at the 8 instead of 10. There’s a feeling of airiness as opposed to energetic hits like those you’d hear from Grado or Beyerdynamic. It extends and decays very naturally: no peak and no “broken,” grainy cymbal crashes. I could not determine how detailed the mids and highs are (with the Dragon 2+ being 16-ohm it’s hard to do accurate A/B with a pair of full-sized AKG or Sennheiser) but overall, it’s audibly less revealing than my Q701.


Anyway, “Relaxing enjoyment first” seems to be the motto here – I’m sure lovers of solos-ridden Hair ballads will love the Dragon 2+. Female vocals-centric like those “audiophile” albums that we Asians love would also shine with the Dragon 2+, provided you are not looking for the Beats (or V-MODA) sound. Similar to the AKG Q701, there’s just enough bass to create a “base” for the musical landscape as well as to keep the phones from sounding weird. It doesn’t rumble your nostrils, being earbuds and all. It doesn’t extend too deep and it doesn’t last for very long.

The general lack of bass quantity allows for quite good Rock/Metal (of which drum passages might be over-powering) and once again almost perfect for relaxing Vocals-centric performances. This perhaps would perplex some listeners, but as a long-time fan of Grado, Audio Technica and Sennheiser I’ve come to the conclusion that a (somewhat) mids-centric sound signature with articulate bass and refined trebles will always be good for both Rock and Vocals.


Obviously, the same type of sound signature can be easily found on some cheaper earbuds from Yuin or VE. What makes the Simphonio Dragon 2+ stands out is its impressive imaging capabilities. Based on my experiences I’ve already learnt that earbuds are capable of putting out some pretty spacious soundstage, but I never figured it could extend as far and as deep. Upon listening closely, I could hear the layered positioning of instruments, something the Yuin PK1 or most VE earbuds that I’ve auditioned cannot produce.

A final point of notice is that while the Dragon 2+ is of low impedance and high sensitivity, it will still improve with your source equipment. Plugging it into a phone or a laptop and you’ll get a more closed-in sound, which is quite similar to vintage speaker system. But a Mojo or a Burson Play will open up the mid-ranges and “refine” the trebles a bit, putting away that veil of old-ness. I suppose a balanced DAC/amp will help even more, but unfortunately, I don’t have any equipment with 2.5mm balanced output.

The Earbuds of Wows


Will I spend $350 to buy the Dragon 2+? Unfortunately, the answer is still no. At the same price range, I much prefer its distant cousin, the Notes Audio AT10. My ears are just more compatible to IEMs than earbuds.

Yet I’d still wholeheartedly recommend the Dragon 2+ to listeners who prefers earbuds to IEMs. It offers such a lovely musical experience that will definitely put a smile on any Jazz, Classic Rock and Oldies Pop lover’s surprised face. It’s so impressive that all of my prejudices against the earbud form factor were all gone in just a few days of use. Yes, I still hate the comfort, but this is not my old Walkman/iPod earbuds, of which I hate the comfort and the sound. On the contrary, the way it sings make the Dragon 2+ my most favourite earbuds ever.

PS: I had seen the Dragon 2+ is being discounted to ~$240 on Massdrop. The drop is long gone but with it fellow product Xcited 2 frequently appearing on the site, I guess the Dragon 2+ would return some time in the future.

I could still years ago, when I went to my classmate's – who also happened to be an audiophile that got me into this hobby – and had a go with the HD650 and the DT880. I didn't quite like the Beyer, but I specifically remember falling in love with the HD650. I wanted it for my Carpenters, my Celine Dion and my Bee Gees.

But I never bought the HD650. First thing: it costed around $400, and before there was an official distributor in Vietnam, it costed 1.5 times as much. Second: the amp might even cost more. I had numerous "run-ins" with the HD650, and each and every time I love it more only to realize that the cans were being driven by an amp even less affordable than the headphones themselves.

Among those were the Burson HA-160 that I encountered at a meet a few months later. Yes, of all the "forget it you won't afford it" amps that I've seen, I specifically remember the HA-160 because, let's be frank, how often do you see an Australian equipment maker pop up on the map?


Fast forward to 2018 and I still live with my parents because it's the way of life in Vietnam. I'm now what the company calls "engineer level 3", I'm married with one little boy. So, while my budget has definitely increased, the likes of Burson Conductor or Woo Audio WA7 remain out of reach. (Well I did once decide to spend around $1000 on a Chord Hugo but never could bring myself to justify the price, so I sold it).

Thankfully, it's 2018 and this headphone hobby has become more accessible. In 2016, Massdrop collaborated with Sennheiser to produce a $200 version of the HD650. Needless to say, I joined in.

The most accessible Burson

Yet the amp problem remains. It was the same thing that happened to my AKG Q701, which I got from Amazon for just $100. The headphones have become cheap, now how much must I spend on the amp?


Here comes the Play, which start at $299. Having blown away by many of Burson's accessories (including the V5 op-amp and the Cable Pro+), I had always hoped to have a chance to review a full Burson amp. The engineering student me was amazed at the HA-160 driving the HD650; the engineer me was amazed by the Conductor driving the LCD3 Fazor. Even better: Burson is having a trial tour for the Play, the result of which is this very review you're reading.

Let's run through some details first. AFAIK, at $300 the Play is the most accessible "completed product" from Burson. The specs are quite good: the DAC chip is SABRE32/ESS9018; the amp is pure Class A and can output 2000 mWatt per channel. You can play DSD256 with the Play, and you can also use it to output directly to headphones or pre-amp your speaker system.


It also stands out as somewhat of a "pro" audio solution for gamers: while the Play looks just fine as a standalone unit, its design also allows for easy installation inside a ATX case. It also has a microphone input for streamers – ain't nothing as interesting as getting Chicken Dinner with your audiophile equipment, right?

Unboxing and setting up


As I had to pick up the Play at the airport that's 1 hour away, I actually unbox it on the bus home. The box looked good enough for any $500 product, and inside there's 2 smaller boxes that contain the accessories. I have the V5i version, so there's this sleek-looking remote control. There're also a 6.5-3.5 jack and some accessories to install the Play inside a PC case. The included USB and RCA cables are way more decent than those "gifted" with Chinese DAC/amp.

Setting up the Burson Play to use with my PC was a breeze. Just plug it in, turn it on and Windows automatically installs the drivers. Technically it's all Plug and Play. However, if you intend to achieve the best sound available, get ASIO drivers from Burson. You can also remove the Windows default driver and force the OS to use the XMOS driver inside that package, but I honestly can't tell if there's a difference.

Looking industrially sharp


In comparison to all the other amps that have ever sit on my busy desk, the Play looks somewhat unique. The chassis is obviously rectangular and falls in line with the DVD Drives that you forsake years ago to get yourself a Wi-fi router instead. To make that shape less industrially ugly, Burson use a matte-metallic finish and add some lines on the top and its 2 sides. The result is an incredibly well-built, industrially-sharp looking unit. Everything about it screams "I'm going to last longer than your taste in Metalcore, urgh".

There's no way I can overstate the build quality of the Play: while it's not as striking as the Conductor Play or the WA7, every detail feels premium. The knob, the gold-plated sockets, the way the upper lid fits into the lower chassis, and most of all, the volume indicator. I think at this point the volume indicator lights have become Burson's trademarks: on the industrial Play, it tones down the industrial look just a bit.

As the Play is a review unit I'm not allowed to install it in my gaming case. Regardless, I strongly recommend everyone to use the Burson Play as a standalone unit – it'll be a worthy addition to your desk and it'll be much more convenient this way.

The Burson sound


Before going into the sound, I'm going to mention another special feature of the Play: it's built for a very easy op-amp rolling experience. Burson even includes a screwdriver and an extra set of 4 screws in case you ever lost one. Kudos to this company for going extra lengths to serve their customers, even those of their most accessible products.

Naturally the first thing I did after I had spent a whole long listening session with the Play was open it and roll op-amp. After trying different combinations of Burson’s V6 Vivid, V6 Classic, V5i as well as Sparkos and MUSEs (and a bunch of cheaper options from TI), I’ve decided to stick with the Vivid dual and Classic single opamps. Yes, 3 Vivid will bring the sound much closer in line with the other, more high-end Burson amps that I've had the chance to experience in the past.

With the HD540


Let's start with the HD540. I think it's one of very few 1980s-made headphones that still have an active following on Head-fi. I have a 300 Ohm version which is really hard to satisfy: just get the wrong amp and it gives you all the symptoms of an underpowered mess: bass is muffled, highs get "broken" into sharpy pieces and the mids is shouty.

How will the Play help? To be honest, at first I didn't like the Play with my HD540: while volume was quite easily reached at 25-30, most of the time the HD540 had a robotic feel to it. But that was with the Sparko opamps. With the V6 Vivid combo, there's an elegant bass boost that totally change the tonal picture. The highs and the mids get smoothed out, as if there's a thin version of the famed Sennheiser veil put on the HD540.

Surprisingly enough, it was around 2 years ago that I did get the chance to enjoy this euphoric sound on my friend's HD540 & Mjolnir combo. I bought a pair for myself only to almost never find it again on my Little Dot I+, which still gives enough volume but never could recreate the magic again. I always thought it was because of the Chinese pads that I had to put on the HD540 (Sennheiser no longer produce parts for these oldies). I was wrong. I just needed a more powerful amp.

Naturally the HD540 has become my go-to pair for all my Jazz & Fusion stuffs. I suspect the same would happen if I had a HD580 or HD600 here, but this full-bodied bass and organic rhythm must be hard to find on all other amps, especially with the "neutral" craze that has gone on for too long on manufacturers’ websites.

With the AKG Q701


Here in Vietnam we have a saying that’s roughly translated to “1 buck to buy the chicken, 3 to feed it”. Unsurprisingly, the phrase gets uttered a lot at local meets where any AKG 7-series model is present.

Once again, the Play comes to the rescue. Burson sent me the V5i version, but I find the MUSE 8920/8820 and OP27 (bought in Japan, costing me ~15 bucks in total) to be more than adequate with the Q701. With Florence and the Machine on, many times I felt that the AKG came this close to tearing my ears off, but it never did. After a few songs, the fear of sibilance was silenced and I could focus on the details of my favorite Indie records. Treble feels extended and natural. Mids feel engaging but not glary. Strangely, all these details are presented in an extremely organized manner.

Coming back to my favourite Jazz live album, Blues for Tony, all that exceptional drumming and bass-ing couldn't prevent me from doing my favorite thing: counting notes. While the difference with the K7xx (which is much warmer) is still night and day, the depth and more prominent presence of the bass also helps to tone down the somewhat-artificial soundstage. It's still the spacious sound AKG is known for, but it no longer feels like you're sitting in a room with weirdly-positioned speakers.

(PS: Despite the cheap op-amps performing well and very Burson-like, I still prefer the all-V6 Vivids version to add even more warmth to the sound).

With some Grados…


Every amp has its pitfalls, and so did the Play. Many in the Play thread have pointed out that the Play v1.0 requires impedance-matching accessories to work with IEMs, otherwise there will be a constant hissing sound. I tried matching the Play with some low-impedance headphones only to find that the hiss *might* also happen on these.

Thankfully there’s a new version to the rescue. I received the new version just last week and tested it with my Grados. The hiss is gone at all volume levels. Choosing the right op-amp combination makes the Play a pretty good choice with mids-centric headphones from Grado and Audio Technica. The downside is that upgrading from the orginial Play costs $100 (new version start at the same $300). I don’t really hear any difference on harder-to-drive cans, so if you solely rely on those, there’s no need to update.

How is the sound? On my Grados, the Play generally improve the soundstage and clarity: the Audioengine D1 and all mobile devices/laptop will sound extremely muddy in comparison. Op-amp rolling also helps. Grados are famously colored so a set of more neutral op-amps in the Play will the best clarity for my iGrado (think of it as a more claustrophobic version of the SR60 when it’s plugged into your laptop). With the Alessandro MS2e, which is practically a tuned SR325e, a set of V6 Vivid will tame down the highs in old recordings.

With the HD6xx


Words cannot express how happy I felt that day, when I got my HD6xx. I spent hours listening to my favorite albums again, as if I were re-discovering them all over again.

The thrill is there because the “wow factor” is not. It’s been years since I first got into this hobby, I’m no longer easily impressed by things like a supernaturally wide soundstage or “edgy” sound sig. The HD6xx has none of that. It seeks to impress no one and instead wows the true audiophile with timeless elegance: a refined, smooth and coherent sound that only a few can deliver.

Well the Play and the HD6xx deliver. The Burson HD650 sound, years later at a fraction of the prize and an unexpected bonus: while the level of awesomeness is as much as I remember it to be, I’ve found out that HD6xx doesn’t come off as “veiled” like the HD650 used to. With the veil gone and the HD6xx giving out more details than I’d expected, I can roll opamps to tune the HD6xx to sound good on almost any genres. Putting all 5 V6 Vivid inside and there’s plenty of bass to go with your favorite Hip-hop or even Vocals-focused EDM track (like Reality by Lost Frequencies). Put V6 Classic into the single slots and the dynamics improve, making it great for Bon Jovi or any other 80s rock band.


A V5 in LPF and 4 V5i in I/V and single slots give me the most mellowed-out sound of all combinations: there’s not so much (dominent) bass but there’s still enough warmth and smoothness pasted all over the edges. From Spotify’s excellent Coffee Table Jazz playlist and Peter, Paul & Mary’s In Concert to my favourite album of all time, Carpenters’ Ultimate Collection, this is truly the combo to enjoy music with.

With the HD800

Patient readers would have noticed that I’m a sucker for colored sound – I could just go on and on about the HD800 sound as driven from my tube amp. But while the V6 Vivid brings a lot of warmth, the Play is at its core a solid-state amp. It gives more than enough volume and sound imaging on the HD800 is still crazily eyes-opening as usual, unfortunately the neutral sound really, really puts me off.

Which bring us back to the HD800’s classic debate: is this actually the sound intended by recording engineers? If "utterly neutral" is your sound of choice, perhaps you'd be happy to get the Play to drive the famed Sennheiser (and remember to get some clean op-amps). It's just not my sound though.


Regardless the Play functions perfectly as the DAC/preamp for my tube unit. I’m of the opinion that coloring should be left to amps and headphones, and that everyone should appreciate a truly neutral, clean-sounding DAC. The remote control is an added bonus, too.

The real added bonus: Home Audio

With the Play fitting quite well with my Aego M, I figured I could pair it with my powered speakers set: Klipsch KG4 driven by Sansui 707. Lovers of vintage audio equipment knows that clarity isn't their strong suit, so the Play's resolution certainly helps here: the sound is just so clean at times I thought, maybe I should get worse-quality cables to add some vintage-y feel to it.


It's here that the Play's remote control really shines, as finding a compatible for these amps most of the time is a pain in the @ss. The Play's remote control and a wireless mouse G900 will help bring about a complete couch experience. Else, you could use Spotify, which strangely doesn't allow volume control when remote playing on anything other than an Echo.

With this view of the Play, I also share the opinion that it should come with more input options (optical, coax and aux in). However my main source of music is Tidal/purchased AAC on laptops dedicated to playing music so the lack of optical/coax doesn't really bother me.

But the Burson Play v1.0 is not perfect for Playing (Games)

Even though the name is “Burson Play”, I’d like to think of this amp as “Play with Op-amp” rather than “Play games”. On practically all headphones I’ve tried except for the HD800 and Q701, the sound is still way too stereo rather than surround.

That being said, I'm still somewhat skeptical of how surround headphones help with gaming. In 2016, I did a review on one of the top gaming headsets, the Logitech G933, only to find that while they're convenient and comfortable, the 7.1 surround sound didn't really improve my K/D. If I really wanted to, I could pinpoint enemy players' position either on my Aego M, provided the satellite units are placed properly. I can also do that with any of my headphones, but for long gaming sessions, I do prefer speakers simply for the fact that they don’t rest on my head.


Some games do have surround virtualization. However, that still cannot make the Play a truly gaming-first product. At its heart, the Play is a quality audiophile product – the added microphone jack and the form factor are only bonus for those headphones lovers that also play games. I count myself among those: with the Play driving my Aego M and my Q701, I got so caught up in Battlefield’s excellent soundtrack that I felt bad when the match actually started.

Even the Play's design to fit into a gaming case would not be suitable for all users. After around 30 mins of use the Play "feels" around 40*C/104*F (which is around the degree I warm my baby's milk to). This is actually not bad for a Class-A headphone amp per se, but in a gaming case with all the excessive heat generated by the GPU and CPU it's going to be much higher. Thus I will always recommend using the Play as a standalone unit, with audiophile headphones.

The affordable Burson doesn't dissapoint

A few months ago, I did write a small article comparing various amp/DAC around the $500 price range. If you want the most intimate (but NOT congested) listening experience, the Burson Play with V6 Vivid op-amps would serve you better than all those DAC/amps mentioned. If you want something a bit more elegant, V6 Vivid duals with V6 Classic singles is the way to go.


If budget is a concern, the stock version will not disappoint, especially at the $300 asking price for a powerful amp/DAC unit like the Play. As others in the Play thread have pointed out, there are many cheap op-amps to roll (I quite like how $15 spent on 8920 and OP27 could turn a Play into a "reference" unit). Of all versions, I do believe it's the V5 version that will bring the famed "Burson signature sound" to you at a fraction of what the Conductor or the HP-160D costs. We're talking about a lot of possibilities via op-amp rolling, and I'm sure that no version of the most affordable Burson will disappoint.

I view this as Burson's natural progression. Years ago, when I could only dream of the HD650, Burson started as a high-end amp maker that won awards left and right. At the moment, when the HD650 is no longer out of reach and we headphones lovers have a plethora of choices at the $200 range, Burson has introduced a $300 DAC-amp that you can easily tune to your liking. Yes, it might not have the surround virtualization that you might need, but the Play is a bona-fide audiophile DAC-amp that your music deserves.

Back when I first started this hobby, one of the first things I learnt from this very forum was "Grado's are for Rock lovers." I consider myself a Rockfan, listening to everything that falls into the category, from Pink Floyd to Guns n' Roses, Nightwish to Opeth, God Is an Astronaut to The Eagles.

The love for music drove me to the Grado sound. Long story short: the very first moment I heard the burnt-in SR60i played Sweet Child of Mine, my journey as a Grado lover started. And despite how young and eager I was, I already know what cans my endgame would be: the Alessandro MS2.

And here it is, on my hands, the e-generation MS2e.

The Grado Looks


For the uninitiated, what's this Alessandro that looks just like a weird Grado? Well it is a Grado, made by Grado Labs themselves and "tuned" by Alessandro Music Product. Unlike its twin brother - the Grado SR325e, the MS2e is immediately recognizable by the lack of the "button" at the center of the cups.

The removal of these 2 buttons certainly make the MS2e stand out among its Grado brothers, but does that make it a "beautiful" pair of cans? Well this is where things get heated: it's Grado, and I'm sure that some of us love this distinctively "retro" looks to death. But some, including my wife, would say Grado's are just... ugly. She wouldn't put my Grados in the same camp with the Fostex TH-X00 or Sennheiser Momentum M2.

Regardless of whichever camp I'm in at any given moment, I wouldn't even rate the MS2e as among the most "beautiful" in the Grado camp. Put it right next to its brother: I used to own a pair of chrome SR325is, and boys it looked stunning! In comparison, the powder-ish finish that Grado have used on the last generation i-series and all e-series models never truly won me. It looks okay, but it's no chromies.

The Grado Sound

How does it sound? In total, I owned 3 pairs of SR325is and 3 pairs of SR325e before I bought the MS2e. I did not even keep my stunning chromies, for no matter how many Grados I've been through, I never forgot why I chose the MS2 as my endgame cans right from the start: it is the refined version of the Grado sound that we have all known and loved.


So what is this Grado sound? Years ago, when I first heard the SR325is driven by the O2+ODAC, I was blown away by how musical it was. I will use the very same words to talk about the MS2e: The mids is forward, saxophone, cello and voices vocals leans on the intimate side with the right amount of edge – the kind of mids you'd want with both your Karen Carpenters harmonizing and your Axl Rose screaming. There is no upper-mid glare, which is a blessing for female voices, especially on Rock albums. While the MS2e's mid-range presentation does not have the same sweetness of the RS2e or the HD650, I still say they're great for any Jazz-y evening.
The trebles were sparkling, oh the right amount of sparkling: it didn't screech like the notorious 325i but it give so much (Living Force) energy that every metal songs and every acoustic song sounded just... right. I have this hobby of, listening to Metal songs on Grados, I'd focus on cymbals, cow-bells or background piano notes instead of the guitar riffs or the main Vocals. Suddenly this intimate space with a lot of candles light up in front of me. That's how good it is.

There's not much to say about trebles' extension – it's not as good as the RS1i but there's no feeling of roll-offs either. On another pair, I'd think this trebles will create a good soundstage, but this is Grado so the forward mids will put you into a small bar, where you are seated in the front row.

About the bass, I'd like to use head-fi's classic words: "not Beats by Dre." If you've ever tried listening to a Rock song on Grados, you know how crunchy, grindy these mean cans can be. And there's this way, how the bass and the mids mix together to create the distorted rhythm guitar sound that I have never found on other brands. If Rock/Metal is not your things, I still feel like these aluminum Grados can give you the Eminem experience of your life. Plenty of PRAT for the beats, but not invasive like Beats.


Now I know it's weird to spend so many words describing another model, but here's the catch: I could just use the above words to describe the MS2i, the SR325e and obviously our star, the MS2e. There's a limit to my vocabulary – English being my 2nd language after all, and the difference would be easier explained on graphs rather than by words. Unfortunately, I don't have graphs, but I can tell how the 325 models "evolve":

- From the 325is to the 325e: more perfect. The 325e managed to add this "euphoric" cloud over the bass and the mid ranges. You could say the 325e was between the 325is and very similar to what I heard on the RS1i. This increase in bass does not hurt complex passage at all, instead you'd feel an increase in both depth and quantity.

The added "bass cloud" certainly makes the mids sexier. I'm not sure if the trebles were toned down but I've never seen people complain about e-series troubles. No wonder so many people sang praises about the 325e – with the harshness gone, it marked the point where the 325 truly became the Prestige Series flagship.

- From the 325is to the MS2i, which I got to audition a few months after I sold my first 325is: a bit more spacious, a little bit more recessed mids and somewhat toned-down trebles. Still very much a Grado, still mids-centric and very energetic.


Going from the almost perfect SR325e to the MS2e, the changes are similar: the mid-range are a bit more distant so you'd hear a bit more soundstage. I don't see any significant changes in trebles or bass, which I think might come from the fact that the treble on the SR325e is already perfect. It's great for complex Metal passage and it's great for acoustic moments, I don't think we need to ask for more (in the price range anyway).

All in all, here's what the MS2e is: it's the most accessible version of the 325/MS2 line so far. If you have found the Grado trebles too aggressive and if you're not a fan of the "in your head" Grado way, the MS2e might be your chance to re-evaluate the Grado sound. But if you love the 325e, I don't see no reason for you to change. If you have the 325is or the MS2i, do upgrade (or just ADD the MS2e to your collection) though. Hardcore Metal fans might miss the brighter trebles, but in exchange you get the "bass cloud". You'd be surprised how a small increment in low-frequencies can improve the sound.

Oh, but the Grado comfort

Before I go on with more praises tacitly disguised in the form of comparisons and stuffs, we must face the sad reality of loving Grado: they are not the most comfortable headphones around. Sadly, the MS2e (and all other 325/MS2 models) are actually the least comfortable among all Grados: they are on-ears and they have aluminum cups!

There's something we could do, thankfully. Number one: with all on-ears Grados, bend the headband out before you use it. It will not break and the pressure against your ears will be lessened. Number 2: maybe takeout the pads and wash them with water, they will get softer. Number 3: there's a mod to make Grado compatible with over-ears G-cushs, but I'm not sure they will work well with the MS2e.

I like Grados


While the MS2e is truly a great pair of headphones, it is still Grado so the unavoidable question is "What about other Grado models?". Here's how it is:

- Vs. the 225e: less controlled bass and trebles. At this price point I think the SR225e don't make a lot of sense, just get the 325e or the MS2e.

- Vs. lower-priced Prestige Series models: in the "glass half empty" way I'd say they sound muddier than the 325e/MS2e. Some people do love that sound, not to mention the added comfort on the SR60/SR80.

- Vs. the RS2e: the RS2e was the true surprise of the e-series. It marked the first time the RS2 could outshine the RS1, thanks in part to the RS1e's disappointing sound when it first got released. Take the legendary RS1i, add more intimacy to the mids and you got the RS2e. So if you like Vocals-centric music, buy the RS2e. If you want something more aggressive (but still versatile), get the MS2e. In a way, they do complement each other, but they're still bona-fide Grados.

- Vs. the PS500e: I've come to think of the PS500 line as "un-Grado": recessed mids, less trebles and plenty of tube-like bass. The same goes for new wooden "Heritage Series" (GH1) that people have reported to have a similar sound to the PS500e. For me, the MS2e, the other Prestige Series and the Reference Series hold the "true" Grado sound that I've loved ever since I got myself a pair of SR60i, so there's no comparison with the PS500e. They're just too different.

Amp? What amp?


Because we're talking about Grado, you don't necessarily spend thousands (or hundreds) on an amp. That being said, some entry-levels DAC/amp will do your Grados great. Some of my recommendation includes:

- O2/ODAC. Get the ODAC revB, though.

- If you like op-amp rolling and a colored sound, get a cMoy instead of the O2.

- If you like tube sound, get the Little Dot I+. It's actually driven by an op-amp with tube buffers.

- Pioneer XDP-100R is a good choice for a DAP, if you're a sucker for "musical" (as opposed to "neutral") sound like me.

- A Burson Play if you also have high-impedance cans. Make sure it's the new version though, because the original version got ground noise for low-impedance headphones, including Grados.

- A Chord Mojo or a M9xx would bring about noticeable improvement. Another contender in the price range is the iDSD Micro, but some people might find it too bright for Grados.

- A Chord Hugo, because you can.

The Grado fan's Alessandro


When I first started the head-fi journey, the reason I thought my journey would end with the MS2e was simple: I was a student, I didn't have much cash and I won't be able to spend too much on an amp. A low-impedance pair of headphones at $300 seems like a perfect choice to me at the time. It was expensive enough for me to have to work to reach, it was said to be the best Prestige (read: entry-level) model that inherits all of the SR325's greatness without its downfalls.

Years later, I've had the chance to own many headphones that are more expensive than the MS2e, including the RS1i and RS2e. But the MS2e holds their own: even with its signature Grado sound, the MS2e still have traits that make it better than its more expensive siblings in the Rock/Metal genres, namely the slightly "colder," more recessed mids in comparison to the RS2e. Going hands in hands with the change in mids is the slightly bigger soundstage, which makes the MS2e more suitable for Piano, Fusion Jazz or Symphonic Rock/Metal music.

Should you buy it? Well if you already own a Grado, please do consider the points I've mentioned in the previous sections. But if you never own a Grado, if you already have a Sennheiser, AKG or Audio Technica, buy the MS2e. No other brand can produce the Grado sound, and being one of the most versatile Grado I've ever own, the MS2e is your safest ticket to that musical haven.

While normally the reason I'm interested in a pair of Vietnamese IEMs is because they're made in Vietnam, AYA's first product attracted me for a very different reason: it's bullet-shaped. In fact, the housings were made from Makarov bullets, with the brandings still very visible.


So from that idea, a Vietnamese earphone maker was born. Without a prominent name at first, they literally advertised themselves as "bullet in-ears" on our online forums/fb groups. I almost thought the products were just another "unique bling bling" idea from the Chinese, but upon contacting the owner, I was quickly proven wrong. The earphones were made in Vietnam.

Yet nice-looking as it is, the bullet in-ears that carry AYA's namesake sounded nothing out of the ordinary. Read: nothing out of the "cheaply priced, V-shaped, nicely package" that used to be the norm in my country. Thankfully though, AYA wasn't entangled too much in the endless baseless arguments that often plagued our forums. It only took them one or two years (and 3 generations of bullet IEMs) to produce their next product, the first to get into the mid-range market: Nightingale YK-S.

Not priced for the mass


Sold for $200, the Nightingale YK-S isn't priced for the mass market in Vietnam, where you can get a perfect bowl of pho for $2 (instead of at least $10 in the US). Its sound doesn't aim for the mass either: instead of going for that dance-y, hip-hop-y sound that has ensnared the majority of our youths, the YK-S was made for Vocals music first and foremost.

The fact is just clearly evidenced from the bass. In comparison to its brother (the bullets), YK-S can almost be said to be bass anemic. Having a warmish source like the Chord Mojo or a ODAC-O2 with a Burson op-amp installed will help provide just enough bass for EuroPop or Lady Gaga, but still it's not Sony or Beats or V-Moda. There's just no comparison.

But moving onto the higher frequencies, you can see clearly where the YK-S shine. It has a full and smooth mid-ranges, perfectly made for Frank Sinatra, Andy Williams or Bee Gees. Having previously used a Sony XBA-H3 and Audio Technica IM02 for those crowded, lonely Singapore train rides, I feel like the YK-S bring a feeling of timbre to the mids. It I was listening to an electronic, re-produced sound on other in-ears before, I'm now listening to the suited men singing in their natural habitat. A real feat, considering that the YK-S uses Balanced Armature drivers.

As for the soundstage and details, the trebles did a fine job. Not perfect, just fine. The soundstage expands in width, not in depth. I couldn't "see" rockstars moving their hands during MTV Unplugged shows, nor could I hear the bite that removes the boredom from stadium AOR. Yet this weakness fits really well into the YK-S' raison d'être: there are no sibilance of any kind when amped by a Mojo, and thus no ear-shredding when Candice Nights sing her "s" sound.
As with the male voices, the ladies also shine on AYA's IEMs: each enunciated word sound full and a bit sweetened. The very songs that sound lifeless and out of touch on the typical Vietnamese IEMs have become alive on the Nightingale YK-S. Alive, not lively though.


Well in terms of sound that's practically all the YK-S does. Of my favorite genres, the YK-S is clearly not for Metal. The way AYA's newest IEMs blend bass and mids, and mids and trebles just does not allow for very good riffs/licks. There was no "bite" for electric guitars – though the upper mids and trebles can still provide some airy feel for male Vocalists and some sparkles here and there for some instruments. Overall, I feel for Rock, Jazz Fusion and Metal the YK-S didn't provide enough upper-freqs energy.

The bass-oriented genres, as I've mentioned before, are just not for the YK-S. The bass-boost on the C5D or iFi iCan might help, even a Bursonized Objective2 helps bring about a fuller low-ranges. But no matter how you tune your system, the YK-S will never become powerful in the search for an explosive EDM experience. The genres that this pair of IEMs can play well never stray too far from relaxing Vocals-focused music: instrumental piano, instrumental guitars, instrumental saxophone (oh this one was great), faux classical (like those from Paul Mauriat), baroque Classical, non-Wagnerian Classical etc.

Which is not quite a problem for me. But still a very bold move, considering in Vietnam we've songs like this:


The tradition of a nice package, discontinued

What our typical V-shaped IEMs lacked in sound, they made up for in packaging. The YK-S goes the opposite way: I really like its sound, but the packaging was not quite impressive. The phones were shipped in a small case that also included 3 pairs of extra tips. The case itself was put inside a paper box that was itself covered by a cover... I know that doesn't make a lot of sense, so this is the pic:


So there's quite some drawings on this cover, trying to look artsy and such. I'm not too impressed though. The bullets were shipped in this beautiful wooden box:

Well at least there's the "Designed and Manufactured in Vietnam" that always make me feel proud each time I see it.

But the phones looked extraordinary

AYA's website showed that they've done quite a lot of work with the housing. The results are astounding: the housings shine, not in a plastic-ky way but in a orb-y way. Upon receiving the product, I literally couldn't stop staring at it for like 1 or 2 hours (Bee Gees was on, so of course that was as true as any sentence with "literally" in it). The finish was kind of like the "holy qilin" necklace that my wife bought me when we were still dating. In combination with a pair of white silicon tips, the YK-S has an undeniably high-end look.


Comfort was also great. The earhook is made from some kind of soft, nice-feeling plastic, the housing was very lightweighted. You can easily change the cable, which use the same kind of connector as Noble's and other popular IEMs. The plug is L-shaped too, so no worries when you use the YK-S with your smartphones or DAPs.

Lastly, the YK-S have truly great noise isolation. Tired of the boring sound from my QC15 on the long, 3-legged flight from my beloved Denver back to Vietnam, I decided to wear the YK-S on the way from Hongkong to Hanoi. To my surprise, the "bzm bzm" engine sould wasn't as prevalent as I'd thought. It was certainly waaaay better than the Jelly Galaxy (a horrible sounding IEMs that somewhat put our country on the audio map because it had an indiegogo) or the XBA-H3.

The next step

As with the Notes Audio AT10, the Nightingale YK-S marks a whole new era for Vietnamese earphones. From a place where we almost had nothing special to speak of, we now have 2 truly great earphones to enjoy.


Not that they are anything alike. The AT10, while still very hi-end in my humble opinion, is still a IEMs product that everyone can enjoy. The YK-S boldly go in the direction of Vocals and almost Vocals-only, greatly limiting its potential market in my country. Priced a few bowls of Americanized Pho higher, it will surely bring about a much difficult thought process for any Vietnamese interested.

Yet for anyone who enjoys the oldie, Vocals-focused music, or anyone that spends most of their time on slower, more relaxing music, the YK-S is a perfect choice. The beauty of its finish, the comfort over an extended session and the overall premium feels of the phones totally justify the price. It's selective, yes, but selectively great for the right listeners.


Looking forward, I'm really, really hoping for more products like the YK-S. Despite my country's terrible traffic, lackluster medicals and aggressive interwebz, I still believe the people deserve the best domestically-made earphones for their enjoyment. Here in Vietnam we love the Carpenters, we love the Bee Gees, we love Celine Dion, we love Kenny G and we love many, many Vietnamese singers whose melodies come much closer to those classic artists than the modern HipHop/EDM-infused "artists" that compete for YouTube records.

And that means the YK-S should find its way to a lot of music lovers.

A troubled two-year start

A few months ago, stuck in the US with a crappy laptop, I decided to recount my experiences with Vietnamese earphones. Notes NT.100 was among those, and it sure was the epitome of the scene. It was priced for the general public, sounding "ok so-so" albeit nicely packaged. It was at times the focus of many heated arguments - most of which were caused by the "We won't support Vietnamese industries because this is not Vietnamese-ly premium enough for me" mentality that is the norm here.

Against this background, they still announced the AT10, a product destined to carry the "signature" Notes Audio sound. Yet the NT.100 fame was dying, and to make matters worse, a portion of sold NT.100s had problems with many reports saying it stopped working in one side or the other. Notes Audio disappeared for like 1 or 2 months, popped up to serve all the warranty requests then disappeared again. This time for much longer.


I thought they went out of business. Then all of a sudden, almost 2 years later one of their Facebook posts appeared on my News Feed. They announced a new service called "Itsfit" which offers CIEMs re-shelling and custom tips making. Then they even announced a $800 DAC/amp! Totally surprised, I went to get myself a pair of the tips, only to learn that Notes Audio is very much alive with a much larger team.

So is the AT10.

A different approach, a refreshing sound

The reason (I feel) I have to recount the AT10's troubled history is because, taking into these difficulties, the sound quality is an achievement. Upon trying on the AT10 for the first time, I could already see that it was not developed for the wow factor. It doesn't have that airy sound that entry-level/mid-range IEMs often go for in order to impress first time listener that "our phones are instantly different from your typical mass-produced Beats and Beats clones".

And yet the AT10 is a truly pair for the sound lovers. In comparison with your typical balanced armature IEMs, the AT10 has a distinctively full sound that can easily be associated with dynamic drivers. In the context of that full sound, upon more careful listening, I started to find myself liking the non-boomy but still very pronounced bass, the smoothly harmonic thick mid ranges, the just-enough but detailed trebles.

Already impressed, I had to spend roughly 1 hour talking the Notes team members into selling me a pair (they was rushing to deliver the first batch to the customers who held onto their pre-orders from 2 years ago). Now with the AT10 free from the iPhone and amped by my domesticated Chord Mojo (or just a humble ODAC+O2 combo), the sound continue to improve.


What changed? Well, the layers become less difficult to discern, though the music was still too involving to stop listening and start writing. "How is it that I can't stop listen to this nothing-special sound?" came to my mind. The trebles isn't energetic like Grado, the mids isn't vinyl-honey like Audio-Technica, the bass doesn't punch like Fostex. And yet I still feel like I'm not missing anything. They key is that they play with each other really well to create a clearly harmonic, extremely enjoyable soundscape.

It would have been customary for me to include a list of songs and how the AT10 perform on each, but for this particular pair, it's hard to. I think the newest, "signature" Notes Audio IEMs remind me of the Sennheiser HD600 and HD650. Not that they sound alike or in the same league, but they're the kind of headphones/earphones that leave you unimpressed at first then only to realize you're not missing anything.

The devil in the details


According to Notes, achieving this sound wasn't easy. They had to custom their own dynamic drivers, had to gone through different design for the housing. Even the two tiny holes (to increase airflows) on the housing took was the results of months of experimenting.

But the end product, while not quite finished, feels really polished. Not that it shines in the hand like an expensive pair of CIEMs, nor that it emits that wonderful flower-y scent like my Grados when they arrived. The devil is in the details: your ears doesn't hurt after an extended session, because AT10 was designed with the average Vietnamese's earhole size in mind; the cables have special coating to survive our extremely humid (and polluted) atmosphere; and the jack easily "dwarf" other in-ears' to last a longer time in your pants' pockets. The latter was the results of the NT.100's debacle: around 10% of Notes' first product had to get serviced because when the jack deform, you either lose one side of the IEMs or both.

Anyway, this was all their words. I feel pretty comfortable with the AT10, but I still can't tell how long mine will last yet. Time will tell, but with really special looking (and feeling) cable, my hopes are way up.

A somewhat unfinished product
Yet my AT10 is not a completed product. At first Notes wanted to give a LP-inspired AT10. I wasn't a fan of the band. Then a white AT10 without the "faceplate" that looked almost too cliched. I couldn't stand the heart-shaped plastic look, so I decided that the lightly used Batman-finish in this article was good enough. If anyone asked why mine looks so old, I'd just say the sound make it all up.

But that's not a cause for complaint. Quite the opposite, it's the cause for celebration. It was a long, long time ago that I first heard about a company that dared make a Vietnamese UIEM product that's not for the masses, a product that is priced about what a normal Vietnamese would pay for earphones/headphones and has the sound quality to match. A product that competes globally, one that can by itself silence all those "oh you're just abusing our national pride to sell" trashtalks that have flooded our Internet for too long.

I think that my long waiting is over.

I'm pretty sure that in this audiophile world that has forever been ridden with absolutes and crazy spending, I'm one of the biggest skeptic about cables. Having stuck to my trusty Dell usb-b cable since forever, I have yet to see an expensive USB cable or reasonably-priced USB purifiers that can help make a change.

Of course that's digital, and analog is another matter. I have actually seen some custom cables greatly change the headphones' sound. But then other question pops up: is that an actual improvement, or just a change in sound? If it really improves the quality, then why shouldn't I just straight up upgrade to another pair? Buying new would be much more refreshing and make much more sense economically.


Then there're those RCA cables like the Cable+ Pro. How do I think about those. Well, you guessed correctly: I've stuck to 2 pair of no-name Canare cables since forever. I've tried some thick (make 2 meters of those and you've got yourself an indoor snake), rare metal-ridden RCA cables onto my hundreds dollar DACs and headphone/hi-fi amps. Zero improvement.

Sure you'd easily tell when it's a pair of Canare or Chinese no-names (that got shipped for free with cheap amps). Yet the rules remain: there're the sub-standard, then there're the standard ones. The standard ones, no matter how expensive, only give you that much.



So, to be honest, when Burson offered me a chance to review the Cable+ Pro, I wasn't quite as excited as when they sent the Burson V5. That was a perfect small part to maximize the potential of my beloved hybrid tube amp. This, this is just a pair of cables (I thought). It should just be the same as the snakes my friend lent me. Should be the same as my Canares.

Anyway Burson was really quick to send the Cable+ Pro to me, just 2 weeks after I got home from a trip to the US. I received it on a Tuesday, didn't bother to plug it in right away. Just another cable products in this audiophile world that's full of absolutes, after all.


Then I plugged it in on Friday's night. I was blown away, almost literally. MAKE SURE TO REDUCE THE VOLUME ON YOUR AMP AFTER CONNECTING THE CABLE+ PRO. Thankfully my Denon speaker amp wasn't playing at 11, so just a tiny bit of startle when I turn it on with the Cable+ Pro connected. Working in software services, I'm all too used to alarms and surprises.


Now the sound. Here's the context: I have a Denon 780D + Klipsch KG4 sets. I always felt that the configuration was too dry and stale. As the amp and the speakers were given to me by my father, they always stay. The DACs had to go: the m9xx, the Hugo, the iDSD... all of them served my headphones and my Little Dot I+ really well, but they didn't play well with Denon. No matter what purifiers/expensive cables they got souped up with.

Even my current DAC, the Aune S16 with Slow filter leaves something to be desired. It smooth out my speakers the most, but I was seriously considering adding a sub or a tube preamp.

On Friday's night, happened the magic that's called "Cable+ Pro". After almost got blown away literally, I was blown away psychologically. The sound on my Denon+Klipsch got much much clearer, fuller and transparent. Words are beyond me, as this is not what happens when you change your amp, your DAC or anything that you would normally categorize in "it matters". This is just the replacement of the RCA-RCA cables from something already OK into something that, well, matters.

It's like I had owned 80% of my Aune+Denon+Klipsch. Now I own a full 100% of them.

Let me try putting the change in our typical "deal in absolutes" audiophilespeak. Have you ever heard Wonderwall? Of course you have, Oasis on the radio, or your nerd friend trying to impress someone after learning the guitar for a few weeks. So I put Wonderwall from Tidal on and for the first time ever, it really sound like Noel Gallagher is in the room with me and me wife. He was here, playing the guitar for us. That guitar tone now has that natural bite that I'd been longing for.

Then something more classical. "Love is Blue" by Paul Mauriat. Whatever they're playing at the start of the song, it's got sparks now! That instrument sparks like my childhood Noel lights!

Something more radical. "Smoke" by Amorphis. Your distorted electric guitar now has layers.

Something more sensational. "Self-Control" by Laura Branigan, God rests her soul. Your 80s synth bass now has timbre while that bling-bling keyboards/guitar chops is sending you back to Vice City.

Moving onto another set, a pair of JBL XE5. These were the first proper hi-fi speakers that I bought for myself. Denon+JBL should have been more lively than what'd got previously, but that was just not the case. The JBLs were a bit underpowered and boring, even though the Denon had enough power to drive practically anything.

Now with the Cable+ Pro, it's got bass. JBL now sound like JBL. The boomy JBL attacks. "All about that bass" is on. I can now happily dance erratically looking at my wife's butt!

Before singing more praises about the Cable+ Pro, a few (minor) criticisms. After all it's just a mutant cable, but I think Burson should have included a very brief user manual to note that:

- It is directional. There's small marking on the impedance-matching unit, but I think not everyone would see it at first. Take my father, who doesn't speak English, for example: to him it's just a typical pair of cables.

- You really should turn down the volume on your speaker set before making any changes to it. This is like "audio 101", but once again, who would have thought that way about a pair of cables?

Another small thing is that the Cable+ Pro requires another power plug to function. Obviously this could be a problem for some people. Anyway what I did was plugging it into the same strip as the Aune S16 and Little Dot I+.

Lastly, be aware that it runs a tad hot. That said, I live in an over-populated arch-type tropical city, so nothing ever runs cool. Just make sure to 1, not put the impedance-matching unit too near to your overheating amps and 2, turn it off after your listening session.

Ok now more praises with the heavenly combo: Aune S16 -- Cable* Pro --> Little Dot I+ with Burson V5 installed. I actually wrote a review for the amp and almost thought that there was no room for (sensible) improvement in my S16 I+ V5 combo anymore. But after the mind-blowing experiences with the Denon, I had heaven-high expectation for the new combo.

Surely it had to go that way: I have never felt so drawn into music that much. IT WAS A WHOLE NEW EXPERIENCE, I crap you not! First it was about the soundstage: for me it was more or less a constant, though I can tell when it's a bit more open and a bit more intimate. Yet with the RS2e plugged into the very combo that I've used for the past few months, it feels like at one moment Barbara Streisand is in front of me, singing directly to me under the dim lights of a bar. Then suddenly the whole bar (let's say it's twice as big as Mos Eisley) lit up and I see the chorus people all around, standing next to the wall. They sang to me. Never had I been *that* into music. It felt surreal.



With my other headphones, the Alessandro MS2e and the Audio Technica ATH-AD2000, the improvement was not as impressive. Or maybe, I've set my expectations much higher and the "first time experience" effects have worn off. Nevertheless, I can still tell that it has made something already perfect much perfecter.

Well, I never knew it could be *this* good.

Which is my decisive conclusion about the Cable+ Pro: you'd never know that a pair of Canare cables with a charger can bring about this much enjoyment. As I had said many times to many people: I never seriously considered spending a lot on cables, purifiers, transports and other "peripheral stuffs" in audio. They rarely improved my beloved-for-life equipments, and when they did, the cost just doesn't justify the value. In my experiences, the only "peripheral stuffs" that could introduce the same amount of improvement have always costed too much: the Nordost power cable sold at around $350, the iFi iUSB3.0 Micro sold at $400... I like my music, but with a baby coming, I just can't keep buying $400 stuffs to improve a $600 DAC.

But at $200, I think the Cable+ Pro is a substantial improvement – the very value you'd expect from these Australian fellows. It is also the first cable product that turn me into a believer, that talking about cables it's not just 0 (you get very bad quality) or 1 (you get the normal, ok, standard experience no matter what the price). There's now a 10 for cables, one that truly changes what you hear - for the better, and without "rare metal" snake oil!

Forewords
First, a few words about me. I would consider myself a semi-audiophile, as I have written a few reviews in details, I understand audiophilespeak and I have gone through plenty of equipments searching for the most analogue sound possible. 
For those who were looking for a structured review, this one won’t be like that. I already did a review for the LD I+ that way but it was in Vietnamese, my mother tounge. The only reason I’m doing another review for the I+ is because I’ve just received the Burson V5 SS opamp and it takes the I+ to a level I never thought this cheap Chinese amp could reach. If you want my assessment on SQ of the Little Dot I+ w/ Burson V5 SS opamp combo, please skip a few dozens paragraphs.
Also, all apologies for any mistake I’m going to make, as I’m not a native English speaker.
 
 
A long journey
I’ve heard of tube amps since I had my first true headphones – SR60i and Sennheiser HD448. However, at that moment, amps and DACs still costed a lot and tube amp was way out of my reach as an engineering student. I had an iBasso D2, but the improvement over my HP Envy laptop’s lineout was minimal.
Hell, the O2 ODAC didn’t even pop up on the scene back then!
Fast forward to the time when Little Dot, Hifiman and a few other lesser known brands like Little Bear, Nobsound, [insert random Chinese brand here] have taken the price of tube amp to under $200, I decided to join head-fi after too many years as a lurker. The I+ was the first product recommended to me by a head-fier: @JoeDoe told me that the I+ and Grados “are a match made in heaven”.
As a Grado fanboy then (and now), that was all I need to hear.
My journey with the I+ is not an easy one. I got it from an audiophile shop in Hanoi (my home city) for around 125 USD, which is much more expensive than what you can get it for right now on Massdrop. The version I bought was the Valvo EF92 one, which honestly, sucked. I didn’t like the stock sound one bit. It sounded like a cheap Fiio amp with no tangible benefits to speak of, almost everything was rolled off and artificial.
3 months later, when I’ve traveled cross countries at least 3 times, one of the Valvos stopped working for no reason.
I’m thankful it did.
 
 
It’s a tube amp with a lot of jumpers
The natural things to do was to look up the Little Dot thread on head-fi to see what tube was the best. Thanks to the very helpful post by @Dept_of_Alchemy, I decided to go for the Mullards CV4010, which was readily available in Singapore.
But here comes the biggest obstacle: in order to use the EF95 tubes, I had to remove some jumpers inside the amp. I have to admit I wasn’t too pleased with this. LD should have devised some easy way to change tube family so that we non-hardware guys wont’ feel a tiny bit scared when we do. Like, they could have created a mechanism to remove the jumpers from outside the chassis.
Anyway, it is sounds much more difficult and scary than it actually is. I only have to remove 4 screws (2 on the front plate, 2 on the back plate) to open up the amp. The instruction was clear; this little amp has gone through some variations and the location of the jumpers have changed but the denotation have not. As long as you follow the instruction, there should be no problem.
It really sucks that a lot of functionalities are hidden inside the chasis. If you want to switch from low-gain to high-gain, you’ll have to change some jumpers as well. If you want to roll op-amp, well the location is on the board. It would be great if LD could use an extender to connect the op-amp slot on the I+ to some place on the outside of the chasis, but they didn’t do that.
Here’s where another caveat of the LD I+ shows up: the screws are somewhat of bad quality. One of mine almost got stuck as the (+) shape on the head got messed up by the screwdriver.
Don’t get disappointed just yet. The LD I+ cost less than $100, and as far as I know, all Chinese products will trade off some build quality factors for sound quality. Here’s when the “sound quality” part kicks in.
 
 
A cheap, boring I+ that can be good and great and awesome
My jaws dropped when I first heard the Mullards. I have heard of the “analogue tube sound” but this was the first time I have actually experience it. Vocals was rich and intimate for The Carpenters, bass was visceral for my favorite Alternative Rock bands, Muse and Garbage. And yet the soundstage was much more open, layering was much better than my most favorite discrete amp, nwAVguy’s Objective 2.
It didn’t take long for me to join the tube race. Once again, it’s head-fi that provide the guidelines and in 3 months I’ve bought the GE JAN 5654W, Voskhod 6zh1p-ev and Siemens 5654W to “complement” my I+. Since then I’ve bought RTC 5654RT, another pair of Voshkhods (which, unlike the previous pair, do not have notches), Brimar CV850 and EI Yugoslavia 6hm5. Trust me, any of these bad boys won’t disappoint you, except for the Voskhods that don’t have notches and Rocket logo.
But in between those 2 waves of tubes are a big revelation. One certain day it occurred to me that the famed opa2107ap cost less than a pizza and decided to have it delivered to my place in Singapore. Took 3 weeks for it to arrive, I never understood why but was thankful that it did.
 
Upon plugging in this opamp I can see that the stock opamp was really really congested and boring. In restrospective the opa2107 had its trebles rolled off a lot, but that’s only because I’ve tried other opamps. The first time I listened to my favorite music on it, I felt like the sound stage expanded twice or thrice (do native speakers even use this word now?). The bass was even more prominent, but in a good way, not the Beats-by-Dre way.
The I+ sounded like a true tube amp. And I didn’t buy any tube amp worrying that it wouldn’t pair well with my low-impedance Grados. 
However, I must bring to your attention the point that tube rolling would be more effective than opamp rolling on the I+ if a change in sound is what you are after. My wife, who enjoys every single pair of headphones I bring home (in other words, is not an audiophile), could easily tell when I change the tubes from Voskhods to EI Yugos, yet barely tell the difference between the MUSES8820 and MUSES8920.
Oh and the MUSES 8820 and MUSES 8920 were both gifted from a very talented friend of mine who made a lot of DIY stuffs. These two can be considered BOTH a huge improvement AND a letdown from the opa2107. Improvements: better trebles, cleaner, much more clarity and soundstage. Letdown: it takes a lot of tubey-ness from my Liddle Tot.
While the 8920 was more analogue-sounding than the 8820, both made my O2 + Little Dot + SR325e too hot in the trebles, even with my warmest tubes, the Mullards and RTC. With one of these two plugged in, the difference between Siemens and Mullards or Mullards and Voskhods got drastically less noticeable. I appreciate the clarity, but taking away the tubey-ness is too much.
Enters the Burson Audio Supreme Sound Opamp V5.
 
 
The *real* review
Disclaimer: The V5 unit was received from Burson Audio for review purpose. My review remains objective. There's no reason not to, as before receiving the V5 I've already have a lot of opamps for enjoyment.
When I received the V5 SS from Burson, I was a bit surprised. It was too big. When I plugged in the V5 I can’t close the chassis of the LD. Which explains why my I+ is pant-less like in all these photos. If only I had taken the extender, this wouldn’t be a problem. My I+ has been like this for more than a week, and I’m too lazy to go around Hanoi looking for an opamp extender.
But if it works, it ain’t stupid. And it sounds great!
First, my gear: iFi iDAC2 (with iPurifier2) as input for the LD I+. On the headphones side I’ve got Grado SR325e, AKG K7xx, ATH-AD2000 and Fostex THX00.
 
 
Let’s go into details.
 
Little Dot I+, Burson V5 SS with: RTC 5643 tubes & Fostex THX00
Quite similar to their brothers Mullards, RTC tubes are warm and the THX00 is quite V-shaped with surprisingly large soundstage for a closed back, pleather-pad model, even though its mid-range is rich and more in-your-face than its brethren, the famed THX900.
So with the THX900’s quite prominent bass and the V5 SS tend to lean on the warmer side, I first tried my I+ with a pair of GE JAN 5654, perhaps the most lean of my tubes in the hope for a more neutral sound. The result was a neutral sound, as expected, however it was also a bit drier than what I’d like.
So I plugged in my beloved RTCs and BAM, the THX00 shows its true color. Bass rumbles like no other headphones in this review, rolling as deep as Adele on 21. I never thought I’d enjoy Adele this much on a closed-back, but I was wrong.  Mid-range is rich, not too smooth but not too grained either; trebles is crisp yet never harsh. I have seen too much closed-back over-ears and IEMs amps up their treble in exchange for an (artificially) big soundstage, but the THX00 is nothing like that. It all sounds just... natural, as if it were still 1971 and you are At Fillmore East. If you like electric guitars, the I+ V5 and THX900 is just perfect. This is the kind of perfect combination between the ranges so that anyone’s guitar riffs will sound right, be it The Allman Brothers, Eric “Slowhand” Clapton, Alice in Chains or, if you’re really into it, Devin Townsend.
That’s what my I+ V5 combo brings to the table, for guitar and everything else: Texture and details. Unlike the O2, there’s something about the way the bass and the trebles on my I+ and V5 THX00 decay that I can’t put into words. They all rumble/ring very nicely at the right place, resulting in an energetic sound that won’t overwhelm you with droning thickness or sibilance. Songs that are complex in the low-range like Sky Ferreria’s Boys suddenly has “bass resolution” where you can easily tell apart each instruments, each layer while they’re still flowing together. Steel-stringed guitar “pops” on the THX900 and you can air-bass after John Paul Jones or John Myung perfectly on these gears. It’s as if I feel their fingers move on the bass.
With the V5 SS installed, the I+ is easily king of soundstage among my entry-level amp/DACs. It just blows the O2, the C5D and the Class A amp section on my iFi iDAC2 away. Even the m9XX is no match, though its DAC section is superior to virtually any other DAC under $1000 and also a good combination with my I+ V5.
But don’t put too much of your hope into the stock I+ as its op-amp is too mellow. The weakness is going to show clearly on warmer tubes like Mullards, Siemens and RTC, as the I+’s trebles and bass are both going to lose the “bite” that make my THX00 so exciting. My wife tells me that this sound is too “pinkie” for her liking, because yep it’s soft and squishy. On the other hand, MUSES8820 has this bite, but as I have mentioned since the start, it lessens the “tubey-ness” on my I+. Thankfully the Burson V5 SS is here to help.
 
Little Dot I+, Burson V5 SS with: Mullard CV4010 8100 tubes and AKG K7XX
One thing I notice only after pulling the trigger on the THX00 is that while the impedance is quite low (25 ohms), the sensitivity is rather low (94 db/mW). Anyway, it has provided easy to drive these Fostex. My limited audio knowledge tells me it must be thanks to the V5 SS, which does the heavy-lifting in this hybrid amp (please correct me if I'm wrong). Next up is something much more challenging: AKG K7XX. Don’t let its impedance of just 62 Ohm and sensitivity of 105 db/V fool you: like all of its sibling K701, K702, Q701 and K712, the K7XX requires large current, large voltage and is definitely one of the hardest-to-drive mid-fi headphones.
The result is extremely pleasing. My Dot I+, Little as it is, drives the K7XX with full authority! I never had to experience the thin lifeless bass that plagued my previous experience with Fiio's E11K. Thanks to the V5 I++ and my beloved, expensive Mullards, the K7XX's bass extends enough for you to feel like nothing is cut from the song. That said, the K7XX's bass actually rolls off quite a lot.
The I+ V5 Mullards and K7XX combo does lean towards the warm side, but this is a AKG after all. Thankfully the typical AKG harshness that I dreaded so much on the K701 is no where to be found thanks to the Mullards tubes and the Burson warmness so present on my V5 SS. Treble here is not as crisps as I'd like but the level of detail is just enough to make things sound transparent. On Radiohead's No Surprise, you can say that the AKG's treble is smooth and very musical. This is something that 5 years ago I wouldn't dream of, having auditioned the K701, loving its midrange, huge soundstage and great detail retrieval but hating so much on its overall sibilant, artificial sound.
Did I say I love the AKG midrange? Oh Sarah Brightman sounds so smooth and sad (so sad!) on A Winter Shade of Pale. The hardcore Prog fan in me cries out, but this is one cover that I prefer much more to the original. Sarah's voice sounds as if she's performing live, cutting through all the production that I suppose must be heavy on all Sarah Brightman's records.
Here's another Prog Rock cover: Don't Leave Me Now by Gregorian (originally by Supertramp). The intro section to this song is done so beautifully: piano is full but still clean, cello is bodied and thick. Overall the vocals in this song is very foward but it feels like you are standing in the middle of the choir. Oh and steel guitars sound very steely indeed, which is commendable as I supposed the V5 SS combined with Mullards tube may result in a soupy sound. This was thankfully not the case and while the vocals were forward, the airy icy coldness of the song is very much preserved to me.
I think this is the dream combo for the Progressive Rock/Space Rock/Classic Rock fan in me. The AKG K7XX is not a fast headphone, but it can handle complex guitar passage just fine. Riffs sound raspy and nuanced when needed. Most importantly, there's enough space to actually enjoy Pink Floyd and Porcupine Tree. The THX00's just pale in soundstage comparison with the K7XX, which is actually not surprising at all. This is AKG.
Unfortunately, having been spoiled by the Grace M9xx's crossfeed feature, I've come to the conclusion that the I+ V5 combo's imaging is not very good. It's still more wide than deep. Sylvania tubes might be the solution to this problem, but I'm not that ready to spend 50 bucks on a new pair yet.
 
Little Dot I+, Burson V5 SS with: GE JAN 5654W tubes and Grado SR325e
 
Next in line is my most favorite headphones of all time: Grado SR325e. So favorite that I've sold and bought it again for 3 times (if you also count the 325is, that's 6 times). The SR325e is perhaps one of the most Grado-ish of all Grados with crunchy bass, highly energetic trebles and sweet refined mids, even though the mid-range here can be considered a bit more neutral and less forward than its siblings RS1i or SR60e.
What would the I+ V5 brings to my 325e? First of all, with the right tube it retains all the thing I love the most about the 325 line: aggressive trebles and textured, forceful bass.
Take my reference Metal track for example: I Remain by Paradise Lost. Each guitar notes rings out really nice into the soundstage, each cymbal crash or snare beat can be felt with the satisfying "crunchie" that I've come to love from the 325 line. Most beautiful and addictive of all is the distorted guitar sound: one again, it's as if you can count each layer inside the riff. Think of the words that are often used to name those Metal subgenres. "Groove", "Grind(core)", "Industrial", "Thrash" etc. The riffs on my V5 I+ 325e combo are going to turn all those lousy names into reality.
The Burson V5 SS must play some role in bringing out the bass and the low-mid sections from my SR325e, as my old MUSES8820 reduced these to ...And Justice for All level. That was the reason why my GE JAN 5654W never got much love while the MUSES was driving my I+, but now with the V5 SS I can certainly enjoy the sparkly trebles and the slightly accented mids.
On the other hand, it's quite obvious to me that the V5SS gives a smoother, more laid-back sound than the 8820. No wonder my Siemens 5654W turns out to be too smooth, too laid-back to pair with the V5 SS on my I+. These tubes practically muffle everything from November Rain (Guns n' Roses) to Angels (Within Temptation).
It can be said that the level of smooth-ness and forward-ness determines which tubes pair well and which don't with my I+ V5. My Voskhods 6ZH1P-EV, while also belong to the "warmer" group, doesn't take the bites away from my SR325e. Or, my CV4010 would turn my Nightwish listening session into a bombastic cinematic experience that any Tarja Turunen fan should have the chance to enjoy. It's is with this combo that Over the Hills and Faraway fires its denied-for-10-years emotions into the oceanic soundstage.
Wait, what did I say? "Soundstage"? Yep that's right, with the I+ V5 now my SR325e actually has a big one! Ask any Grado fan (like me) about these Brooklyn handmade's weakness and the first word comes to mind should be soundstage. Thankfully the I+ V5 is here to help! Actually, my tubes and the Little Dot already opens the soundstage a bit in comparison to the benchmark O2 ODAC sound, but it's with the V5 SS that a Grado fan can experience the spacious feeling that, say, AKG K612 users are used to. Now instead of me sitting onstage with the guitarist, the bassist and the drummers, I can hear them playing onstage with me taking a comfortable sip in a middle-row seat. Sure, it does take a bit of intimacy away, but that's totally acceptable for someone who's not really into Jazz like me. It's interesting to hear the wife proclaim "Oh, it sounds really wide!", which she never said about any Grado before.
That all said, the soundstage here is more wide than deep, and it's still not as 3D as what you'd have on a true crossfade amp/DAC. But don't be surprised if upgrading the stock opamp to the V5 SS feels like you just switched headphones.
Details have never been a strength of the SR325e in comparison to its higher-priced siblings in the RS, PS and GS lines, but at least on my I+ V5 there's no such thing as "I can hear this on the $700 RS1i but it's nowhere to be found on the SR325e". The quality of those details is another matter, but I think the Eagles diehard in me is quite pleased with what I got on Hell Freezes Over. And let's face a somewhat unpleasant truth: the LD I+ is a cheap tube amp, so in the stock configuration more often than not it would take away those micro details we crave rather than accent them up. The V5 opamp and more detail-oriented tubes like the GE JAN and the Voshkhods would help resolve that problem, though much cheaper opamp like the MUSES8820 and 8920 can also do that. Anyway, just take away the stock opamp and put into the I+ something of quality and you can enjoy nitpicking those details out of your favorite Indie tracks.
One thing I like the most about Grados is how easy it is to change the sound by changing the pads. This adds another dimension to the tune-ability of the whole sound signature. On songs where even the V5 SS cannot help the bass to be more prominent, I'd change to using the Sennheiser HD414 pads. Normally, this would result in a very unpleasant trade-off: the Grado soundstage, small as it is, would get reduced even more. Even Radiohead or Pink Floyd would become claustrophobic in that case. This is one more instance where the expansive V5 soundstage helps: it helps balance out the closeness that the Sennheiser pads bring, allowing me to enjoy the bass without any particular trade-offs.
All in all (for the SR325e), experiment all you can, but I think how much you'd like the V5 on your LD I+ really depends on what kind of tubes and what kind of headphones you're using. For me, the tube shouldn't be too laid back.
 
Little Dot I+, Burson V5 SS with: EI Yugoslavia 6hm5 and ATH-AD2000
 
Ah, the AD2000. The reason why this review get posted so late. Having bought this via Yahoo Auction in Japan, I had to wait for the famed Audio Technicas to return to Vietnam for 2 months. Is it worth it?
Hell yeah! As a big big Grado and Audio Technica fan I can see why a lot of people consider the AD2000 their endgame cans. The midrange in these classic are so desperate beautiful. Armed with articulate bass and sparkling trebles, the AD2000 are the ultimate headphones for any fan of great Vocals works.
The thing is, with the wrong amp, the AD2000 can sound annoyingly sibilant. For the I+, the wrong tubes and opamp can cause the same thing. Tubes defintely play a more important role here, as even with the V5 SS I had to go through all of my tubes to find that the EI Yugoslavia 6hm5 and the Voshkhods 6zh1p-ev helps my AD2000 reach its full potential.
How would I describe the voice of Karen Carpenter on this combo? Well, The Ultimate Carpenters Collection FLAC sound nothing like FLAC or anything digital. Everything is so natural and analog like, it's as if Karen is singing in front of me, not even via a mic and speakers! Many people complain about the AD2000 being too in-your-face, but perhaps the V5 SS and the 6hm5, which both have strengths in soundstage, help in my case. Even with Karen's sultry voice the AD2000 doesn't sound too claustrophobic for me and I can still pinpoint all the instruments in the background. Sometimes, high notes sound like they want to break out but always stopped at the right place. There's not too much bass and not much to say about bass, but I think for The Carpenters the bass from the AD2000 is just right. After all I'm standing in front of the band and NOT listening through any speakers that amplifies the bass.
Moving to other Vocals-focused music like Celine Dion and Whitney Houston, I'm really thankful that the AD2000 have such desperately beautifully mid-range and that the V5 SS and 6hm5/6zh1p-ev tubes are there to help smooth things out a bit. Male Vocals are no less natural and rich-sounding. Listening to Lionel Ritchie's Hello, Phil Collins's Against All Odds and Elton John's Sacrifice feels like I'm re-discovering these classics again, despite having learnt them by heart ever since I was a small boy (Thanks, Dad!). Sacrifice definitely shines out here, as there are a lot of times I'm pretty sure the Rocket Man's voice would cut my ears when he makes the "ss" sound, but thankfully he didn't.
That all said, the AD2000 will not always tolerate bad recordings. I tried Amy Winehouse's You Know I'm No Good from Apple Music and the artifacts just ruined the sound, no matter what tubes I tried. Also, the AD2000 sounds quite bad with bass-heavy songs. It's as if the beats try to get out but stopped in their track before they could do what they wanted do. Still, this could be the spoilt THX00 fan in me talking.
 
 
Home is where the tube amp is
Having auditioned some tube amps after buying the I+, I still think that this is the best amp for all the headphones that I've got, which always include some Audio Technicas and Grados. The V5 SS and my collection of tubes solidify that position of the I+.
Yes it can be said that in its stock form, the I+ sounds bad. But a lot of guys in the I+ thread have come to the realization that the I+ is actually a platform for improvement. There's tubes to roll, opamp to change, and if you're a DIYer, there's also the volume pot to replace. Even the fuse can be changed to improve the sound.
I have not replaced the volume pot yet, but I like my I+ in its current form. Rolling tubes is fun and changing the opamp to Burson V5 SS helps put the Little Dot into a whole new level. This is important, I don't intend to buy high-impedance cans in the future and there will always be some Audio Technicas and Grados in my line-up. In other words, there's no point for me to upgrade to some expensive "pure" tube amps. 
That alone ensures that I will stay with my I+ V5. This is the sound I have always wanted since I started this hobby: the most analog, open and natural sound possible for low-impedance cans. This is the best sound that I can have, not because I can't afford the Little Dot mk3 or Schiit Valhalla 2, but because I love my Grados so much I want to find the best amp for them. 
 
Pros:

1. Cheap
2. Extreme SQ scalability
3. Perfect tubey sound for low-imp cans

Cons:

1. NOT that easy to change tube family.
2. NOT that easy to change gain level.