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I've had my eye on the Audio Technica CKR series for a good while now. Reading reviews from Head-fiers earfonia and vlenbo had me as excited to hear them as I've been about any headphone. Since I've been exploring other AT products in recent months, including the excellent value IM50 and IM70, it only made sense for me to buy a pair of their higher end budget headphones and the CKR9 was just what I was looking for. 
 
Build/Design/Accessories
 
Audio Technica touts the CKR9 as having the world's first dual phase "push-pull" driver system. This means that rather than having the drivers in sequence like the "symphonic" drivers of the IM50 and IM70, the CKR9's massive 13mm drivers face each other and are wired out of phase with each other. This way, the drivers move in the same direction, while facing in different ones. As a result, Audio Technica claims, distortion is reduced and sound reproduction takes on a more natural and realistic quality. 
 
I'd like to first point out to US and European based Head-fiers that the CKR9 will need to be imported from Japan in order to get the best prices. I believe this IEM will soon be or is currently available in North America and Europe, but at a higher price.
 
The CKR9 is packaged in a very nice box with multiple compartments and cutouts for the 4 sets of standard Audio Technica silicone tips, the sleek and professional looking snap leather carrying case, and the CKR9 themselves. 
 
The design of the large shells CKR9 is plastic, but they look and feel sturdy enough for the price paid. It isn't as hard and indestructible feeling as the IM50 and 70, but I can't say it feels low quality in any way. The milled aluminum part of the housing feels reminiscent of a MacBook. It's got a bit of a thin feeling, but you'd have to hit it pretty hard to actually damage it. The cable is very simple and unremarkable. Two wires meet at an incredibly tiny Y split and terminate in a sturdy, very well relieved 90° plug. The cable is, again, very unremarkable, and while it doesn't bother me, some may be bothered by the fact that it doesn't have a chin slider. 
 
The CKR9 is intended to be worn cable down, though some have said they can be worn over the ear. I can get a decent fit over ear, but the long strain reliefs make it difficult for the cables to sit properly. As such, I'd recommend them being worn in the intended configuration. The fit is great for me and I have no problem using them for hours on end. Smaller eared folk may find the large housings more fiddly, but I don't have any such issue. As a final note, there is some very mild driver flex, likely as a result of the large push-pull drivers. It's not as noticeable as with cheaper IEMs, but I did find it necessary to mention it. 

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Sound
 
Audio Technica has given the CKR series the tagline of "Sound Reality." If reality was their intention, I have to say they've got it pretty much nailed. The sound is warm and rich where it needs to be and transparent and sparkly where it doesn't. Everything sounds exactly as you would expect it to sound were you in a studio or live venue listening to it. The low end is fast and accurate, with beautiful texture and layering in drums and basses. The midrange is forward and features crystal clear vocals and instruments. The highs are sparkly and detailed with great extension and resolution. Unlike the IM series, the stock tips work perfectly on the CKR9 and I haven't seen a real need to change them. Finally, like other AT dynamic drivers, the CKR9 requires no amping and can be driven easily from any source. 
 
Bass
 
The CKR9's low end is very tight and controlled. The attack and decay of drums are spot on, whether bass drums booming, toms resonating, or snares popping. Nothing is wasted and nothing bleeds or echoes where it shouldn't. The sound is reminiscent of and  the GR07's papery, crisp textured drum sounds. Listening to the fastest metal beats and the boomiest EDM tracks are no sweat at all for these IEMs. At times, the listener will feel as though they're sitting behind the drum kit themselves. Basses and Bass guitars are full, rich, and detailed. Again, nothing bleeds into the midrange further than it needs to and basses never com across as too forward, but rather, complimentary. Reverberations and resonances from symphonic instruments like contrabassoons, double basses, pianos, et al are well replicated and give a great impression of the halls and chambers they are recorded in. 
 
Mids
 
This seems to be an area where several of the newer Audio Technica IEMs are focusing their efforts and the CKR9 is no exception. The midrange once again pays respect to the moniker of sound reality with ethereal vocals, pianos, and guitars that put the listener right in the midsts of the performances. Female vocals are angelic, otherworldly and crystalline in texture. Male vocals don't take a backseat as they often can, instead sounding full and weighty. Guitars sing with the sense that you could almost pick out sound traveling up the strings. Pianos resonate in such a way that one could almost identify the type of wood they're made from. Those descriptions may seem idyllic and full of hyperbole, but the instruments and sounds in this register leave me feeling positively charmed by them. The naturalness and timbre of the middle registers has me grinning from ear to ear every time I put these in.
 
Another note on the mids; I've heard a few people mention that the mids are too forward and detailed for them, almost to the point of fatigue. I did find the mids particularly forward and intense, but got used to them quite quickly and haven't had any such issues aside from a few shouty J-Pop tracks. Having said that, if you find yourself sensitive to such things, take note.
 
Treble
 
The CKR9 features a very detailed treble with plenty of clarity and sparkle. I've heard some compare the CKR9 to a hybrid IEM given its rich realistic low end coupled with a detailed treble and I can definitely see where those people are coming from. Again, nothing sounds artificial or wasted. I'm particularly sensitive to how cymbals and rim noise resonate from drums and don't have a single complaint about how the treble handles itself. Whispers, breaths, and instrument noise are readily apparent in classical pieces and vocal-centric songs. This treble, for me, strikes the perfect balance between the smooth and relaxed IM70 and the energetic and detailed GR07. I only very rarely detect sibilance or offensive percussion and this is more often than not a mastering or file quality issue rather than a fault of the IEM. 
 
 
Soundstage and Image
 
In terms of width, the CKR9 is on the intimate side of things. It's not a particularly wide soundstage though it can definitely reach out of one's head if the recording is so inclined. Depth is wonderful. Notes and resonances seem to travel forever in front or behind. Height is very realistic and it's easy to pick out the ceilings and floors of venues or studio rooms. Overall the soundstage is intimate but very three dimensional with as many layers as your favorite cake. Imaging is very good to my ears, with placement of instruments being easy to pick out down to their height and depth. 
 
EDIT: Using Auvio Hybrids or JVC Spiral Dot tips opens these up quite a bit. Quite a bit more spacious than the stock tips. 
 
Test tracks 
(The usual disclaimer here that YouTube often isn't the best option for hi-fi sound, but these are mainly for reference.)
 
ZZ Top - La Grange
 
This song is all about realism, from drumsticks tapping on the rims to the fingers against the guitar strings to Billy Gibbons' voice sounding as though he were standing right behind you. The texture and impact of the drum fill when the full band comes in reinforces the feeling that you're sitting in a small room listening to the band play. This entire album is wonderful, but this tune in particular give me that feeling of realism that the CKR9 so wonderfully replicates. 
 
Kimiko Kasai w/ Yuji Ohno Trio
 
A live number that can put you right on stage at the club Kimiko is performing at. The image of the piano, bass, and drums in different spots can be disorienting, but showcases how the CKR9 handles placement of instruments. Female vocals also showcase very nicely on this track. This kind of thing is where the CKR9 can really shine.
 
Arch Enemy - Nemesis
 
This is one of my go to tracks for a test of speed, control, and separation. Machine gun bass drums, chugging guitars, and growling female vocals. It can get very bloated and details get lost easily on many headphones. The CKR9's midrange can almost make Angela Gossow's death growls sound pretty. Almost. 
 
OceanLab - Come Home/If I Could Fly
 
A double feature of one of my favorite Vocal Trance groups. The CKR9 shows that it can do electronic music as well. This track demonstrates how low the bass reaches and how big it can get when needed. A display of both the bass dynamics and midrange. The treble extends well and gives the extra energy up top that's needed with EDM. 
 
Sergei Rachmaninoff - Cziffra - Piano Concerto No. 2 Mvt I
 
Youtube doesn't really do this recording justice, but with a good file this is beautifully replayed on the CKR9. It loses some of the raw width you'd get from an open back headphone or a higher end IEM, but makes up for it with hearing cues based on the hall's reverberation. It ticks all the boxes in terms of dynamics, room size, texture, and so on.
 
 

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Conclusion
 
To sum it up, Audio Technica has succeeded in developing an IEM that can deliver wonderfully realistic sound reproduction and which can be had currently for under $200. At its price point the CKR9 is a very compelling option for those seeking realism in their music. There may be a few faults or missteps in the design of the cable, but with deep and detailed bass that shines in any genre of music and an emotional and life-like midrange, it should be on anyone's shortlist for a sub-$200 IEM. It may not be the endgame IEM, but it certainly might be for many budget conscious audiophiles. 
 

 
I've always heard great things about the Audio Technica brand, and had often seen fans of the brand lauding their products. When I had a chance to get my hands on their IM series in a trade with a fellow Head-fier, I jumped at it and got the IM50. I was impressed with the way it presented vocals and how fun it was to listen to, so I wanted to see if I could find the same type of signature with a more refined sound. Enter the IM70. Several head-fi veterans sang the praises of the IM70, even over the VSonic GR07, my daily driver. With such a claim, I certainly had to test it out so I immediately ordered the IM70. I wasn't disappointed.
 
Build/Design/Accessories
 
Opening the nicely packaged box, the usual IEM fanfare is waiting inside. Small, medium, and large replacement tips, as well as a pair of Comply™ foam tips and a vinyl carrying pouch. Nothing too fancy, but then, accessories don't make the headphone. 
 
The IM70 have a modern design, but also evoke memories of 1980s electronics for some reason. I personally find it rather appealing in its aesthetics. The dual symphonic drivers are housed in a hard hybrid plastic that looks quite sturdy and feels hard as a rock. The fire engine/Ferrari red color is very slick and stylish. The detachable cable starts with a thick 2-pin connector attached to a flexible memory wire. While I've heard quite a few complaints over the memory wire, it hasn't been a problem for me once I got it initially set into a comfortable position. The cable comes with an adjustable chin slider and terminates in a well relieved and sturdy 90° L plug. Overall, the cable isn't anything to write home about, and a bit on the bulky side, but seems very well made and strong. 
 
As far as comfort is concerned, the IM70s have a negative profile design, which is slightly larger than average. I've read a few complaints about fit, but to me they're just fine and I can wear them for hours on end. If one has smaller ears, however, do take note of the size. There's no problem with driver flex or any such thing. 
 
Sound
 
Overall, the IM70 has a very warm, natural, and engaging sound. It features strong bass (though not a basshead earphone by any means), natural mids that take center stage, and a smooth, yet quite detailed treble. One thing to note is that the stock tips can muddy up the sound a bit. If you like things smooth and darker, this is fine, but to bring out the details and energy, I'd highly recommend finding a thinner, wider bore tip. For this review, my IM70s are fitted with the Auvio hybrid tips, available at RadioShack in the US. Also, these IEMs are quite sensitive and require no amping. They should be easily driven from just about anything. 
 
Bass
 
The lower register of the IM70 is quite prominent, but gets out of the way when it needs to. It has some boom to it, but never feels like it bleeds into the midrange, and remains in control despite a softer impact. It's not as regimented and precise as a GR07 or a balance armature, but whether it's rapid fire double bass drums in Metal tunes, steady beats in rock and pop, or deep beats in EDM and Hip-hop tracks, the lower range will bring a smile to the face of anyone who likes a nice, warm, and controlled low end. Drums have a realistic weight and texture and bass guitars sing from the upper bass register. Basses can be a bit forward but balance well with the midrange, thus only rarely and on poorly mixed tracks do they become an issue. 
 
Mids
 
This is where the IM70 truly shines. The midrange is somewhat recessed in the lower mids, but comes right back up to meet the listener when it reaches vocal territory. Male voices sound powerful and balanced with the low end, and female vocals sound wonderfully ethereal and well placed. Guitars are full and have that chunk when they need it, and heavenly plucks when they don't. Instruments sing as well as the vocalists do. Everything sounds sweet and pure, in a way that really has to be heard to be believed. 
 
Treble
 
Treble is very detailed and extends well while remaining smooth and inoffensive. Like the rest of the signature, it never comes across as artificial and snare drums and cymbals sound uncannily realistic. Even in low bitrate recordings, sibilance rarely comes through and there is no treble fatigue. Coming from VSonic IEMs, the treble seemed overly smooth to me, but after the initial ear and brain adjustment period, I fell in love with it. Small details like pick scrapes, piano hammers, and cottonmouth come through clearly and bring a smile. 
 
 
Soundstage and Image
 
The soundstage of the IM70 is quite realistic in its 3D presentation. It’s by no means the widest, but has excellent depth and height for an IEM (not to mention a sub $100 one). It’s not at the level of an amped Havi B3 Pro 1, but provides a wonderful stage with splendid separation and imaging for the listener. 
 
Test tracks 
(Admittedly, YouTube isn't the highest fidelity audio, but these sound just fine for frame of reference purposes)
 
Tom Waits - Walking Spanish
 
This track shows off the naturalness of the IM70. Close your eyes and you can imagine sitting in a room Tom Waits’ growling voice in front of you. The bass thumping and clicking on one side while the mids and treble response of the acoustic guitar on the other. Behind you, the pop of a snare drum in the depths of the stage. 
 
Dire Straits - Money for Nothing
 
This song starts with a synth echoing throughout the soundstage and Sting’s voice trailing off into the depths. When the drums come in, each drum moves from once channel to the other and Mark Knopfler’s finger plucks pop and crackle into your left ear. The snare drum can sound overbearing in a few places with certain headphones. The IM70 with its smooth treble has no such issue. One of my favorite tunes to listen to on these headphones. The full bassline is also wonderfully replicated. 
 
Aldious - Ever Since (Metal Version) 
 
The bass drum at the beginning should echo into forever and feel like someone pounding into your chest. The guitars are back in the stage until they need to fill in phrases, then come forward. The dynamic female vocals showcase the IM70s mids. Everything is almost too much, yet, somehow, all this chaos stays well balanced and nothing takes over anything else.
 
David Grisman and Tony Rice - Swing 42
 
Just a guitar and mandolin. Words won’t do it much justice, but this tune is all about texture and depth. It’s a great display of these characteristics in the IM70.
 
W. A. Mozart - Zoltán Kocsis and Dezső Ránki - Sonata for Two Pianos in D, K448 I: Allegro con Spirito 
 
A great piece and a great test of the dynamics and soundstage of the IM70. You should be able to hear reverberation coming off from all around, as well as the room’s ceiling. When you can hear the height of the room, an IEM is doing something right. Also listen for the dynamics of the pianos. 
 
Ludwig van Beethoven - Herbert von Karajan - Symphony No. 9 
 
As if to prove it doesn’t have a dual symphonic driver for nothing, the IM70 can also hold its own in symphonic music. Though not the widest stage, the depth and 3D presentation do a very nice job recreating the size of the hall and the dynamics of the instruments. Not too bad at Classical music for a fun and warm IEM. 
 
Conclusion
 
The IM70 is a real winner. A natural (have I said that word enough in this review?), engaging IEM that can do just about anything you need it to. It competes with the likes of the GR07, a head-fi classic. It can handle anything you throw at it from Rock to EDM to Jazz, and even serviceably handle Classical. Its sweet mids, impactful bass, and 3D soundstage make it a great option for film and video games as well. At $85 this Audio Technica offering is a no brainer.
 

Before I begin, I’d like to thank shotgunshane for the opportunity to review these new headphones.
 
My first experience with Brainwavz was when I picked up their M4 a couple of years ago. I was impressed with the company’s effort for being so young and how accessible their CEO was, asking customers for their input and helping them personally with issues they had with their headphones. Since then, I’ve purchased their S1 and while they weren’t my personal kind of sound signature, I liked the tough build quality and the ergonomics. I thought it would be nice if they made an IEM that had the same build quality, but a more detailed and clear sound. To my excitement, the S5 seemed to do just that. 
 
Build/Design/Accessories
 
The S5 comes with a flat cable, which doesn’t tangle easily. It features sturdy, professional looking metal housings which, like the S1 seem like they can take quite a beating. I definitely wouldn’t be afraid to take these out and about. The cable comes to an end with a smaller, straighter jack than the S1. Many people dislike straight jacks, but this one is very well relieved and much improved over the S1’s slightly awkward 130° angle jack. The Y-cable retains the same bulky split as the S1. Nice and rugged, and not too noticeable, but a bit large and odd looking, like something out of a 90’s Sci-fi program.
 
The S5 comes with the same assortment of tips as the S1; 3 gray, 3 black, 1 bi-flange, 1 tri-flange, and 1 pair of Comply T-400s. Out of the bunch, I found the best sounding tips to be the stock gray. Also included is a 1/4 inch adapter which makes me very happy as a musician who often plugs into guitar amplifiers and my digital piano. Brainwavz kept the same sturdy case from the S1, and for good reason; it was and is an excellent case for any pair of IEMs.
 
As far as comfort goes, the S5 are excellent. I had some reservations about the long housings, but rather than stick out, they fit into the curves of one’s ear. Very comfortable for long listening sessions, and even comfortable enough to sleep in. There is driver flex at times, as with every Brainwavz IEM I’ve owned, but otherwise, outstanding job by Brainwavz on the design.
 
Sound
 
I used a selection of different genres to test different aspects of sound. First, some notes on what I’m listening to and what I’m looking for.
 
Metal

1. Galneryus - Silent Revelation
2. Arch Enemy - Nemesis

 
Both of these tracks feature lightning fast double bass drums and drum work with rapid fire guitars and bass. They serve as a great test of bass tightness and how well a headphone can keep up with and control the frantic pace. They also test attack and decay, particularly in the mids and bass.
 
Rock

1. Deep Purple - Lazy
2. Dream Theatre - The Silent Man

 
These tracks both have very good imaging and detail. A good way to test soundstage and clarity. Both should also sound very natural and organic with the right headphones. The Silent Man has a deep sub bass current that plays under the acoustic guitar in the middle of the song; a very good test of bass extension. Male vocals.
 
EDM

1. OceanLab - If I could Fly
2. Leslie Parrish - Remember Me

 
Vocal trance and Eurobeat. These are both highly produced electronic songs, but are good tests of bass impact, extension, and tightness. Even with the production, these are also a good test of the female vocal range and how harsh your treble can get. The former has a bit more natural sound while the second is very artificial sounding. Should be fun and engaging to listen to.
 
Jazz

1. Dave Brubeck - Everybody’s Jumpin’
2. Diana Krall - Devil May Care (Live in Paris)

 
Detail, Imaging, bass, mids, highs. Two Jazz tunes that test just about every feature you could need a headphone to test. The Diana Krall has a nice live soundstage.
 
Classical
Sergei Rachmaninoff - Piano Concerto No. 2 in C minor, Op. 18 Mvt I (Grygory Cziffra)
Erik Satie - Trois Gymnopédies (Daniel Varsano)
 
The Rach challenges a headphone’s texture, dynamics, and cohesion across the entire orchestral spectrum, where the Satie is a simple, but emotional solo piano score to test detail, harmonics, and piano timbre. 
 
Hip Hop/R&B

1. Public Enemy - Can’t Truss it
2. Utada Hikaru - Fly me to the Moon (2007 Mix)

 
Two different urban styles that test the same things. Bass and vocals. One more powerful and male, the other more musical and female. Utada Hikaru’s take on a classic jazz standard also does some nice things with imaging. 
 
Bass
 
The S5’s bass is decently extended and strong enough to handle any EDM, Hip-hop, or Metal song you want to throw at it. It has a strong mid-bass punch that will satisfy most people looking for a funner low end. It isn’t, however a basshead IEM. The bass also features well in other genres such as Rock and Jazz. It’s not as tight and controlled as something like the VSonic GR07BE, however, and while it isn’t smeared or blurry, the bass has some trouble with faster passages in Heavy Metal tunes. Drums don’t have the best decay and bass guitars can bleed a tad. For most songs, however, they do just fine. 
 
Mids
 
When I first heard the S5, I was coming from a more neutral midrange IEM. As such, the female vocal range sounded somewhat distant and laid back. Male vocals, on the other hand, sound more neutral. This is most likely due to the emphasized bass bridging into the low mids. The overall sound of the mids is somewhat thin, a trend which follows into the upper registers. The mids are well detailed despite the thinness as well as clear, though laid back. Guitars sound very nice and detailed, but piano can sound a bit hollow and lacking dynamically in classical pieces. 
 
Highs
 
The upper range is definitely brighter and has a sort of coldness to my ears. There are a few peaks near 6kHz and 10-11kHz, but nothing that bothered me too much. Bad mp3’s can sound a bit harsh, but nothing overly sibilant or bothersome at normal listening levels. The highs can sound a bit artificial due to their splashiness and thin presentation but, again, this results in clear and detailed sound. This does however get a bit fatiguing after a longer period of listening. Snare drum pops in particular can bother one’s ears. 
 
Soundstage and Image
 
The S5’s instruments are well separated, although not quite as much as some other competitors. The soundstage is fairly wide, but not too deep and high, at least noticeably. The image is good and it’s easy to hear where the producer placed mics and instruments in the stage. Overall a nice and open sound that isn’t congested.
 
A final note: The S5 is easily driven and quite sensitive, so no need to amp it up. Just plug into your favorite source and enjoy.
 
 
Comparisons
 
VSonic GR07 Bass Edition:
 
The GR07 is a bit more warm and full overall and the mids aren’t quite as recessed. The S5 is more artificial sounding while the VSonic is more natural. Detail wise, the GR07 is very slightly ahead, but you won’t miss too much from the S5. Soundstage and imaging is about the same, but the GR07 seems a little more clear and separated than the S5. The GR07 also excels in its tight and controlled note presentation, where the S5 could use a bit of refinement. It’s great to see two of my favorite headphone brands this close though, and the competition between the two is starting to get closer, but it's not quite there yet.. 
 
VSonic VSD3:
 
We’ve looked at a tier higher IEM so let’s look at a tier lower one. The VSD3S is actually quite a good competitor to the S5. The VSD3S is warmer (but less bassy) in the lows and mids and has a fuller sound without some of the bleed that the S5 has. Both have somewhat artificial treble, but the VSD3S is a tiny bit more so than the Brainwavz. Both are also about equal in soundstage with the VSD3S lagging behind the S5 in openness. The S5 also wins in terms of clarity and detail. Overall, not actually too bad of a race, considering the VSD3S is half the price, but the S5 wins out here, as expected. 
 
Brainwavz S1: 
 
Finally, I’d be remiss I didn’t compare the S5 to its little brother, the S1. The most glaring thing is the bass is far less controlled and much bigger in the S1, where the S5 has to come along and teach it a thing or two. On the whole, the S1 is muddy in comparison to the thin and detailed presentation of its family member.
 
Summary
 
Overall, I feel the S5 is a great consumer friendly IEM that shines with genres like Rock, Pop, Hip-hop, Jazz and Electronic. It’s not the best for classical, but this is not where the S5 makes its mark anyway. It’s an all-rounder that does everything well, but not without a few flaws. However, anyone looking for a sturdy, fun, friendly IEM that will handle almost anything without much trouble should enjoy them. They’ll disappear in your ears and make you smile. If you’re a discerning audiophile, on the other hand, you’ll want to look elsewhere.