final B3

One Bright and One Thick



Final Audio is back once again, this time with their B3 and B2 IEMs, both of which are interesting. They are priced at 500 USD, and 300 USD, so the comparisons with include FiiO FH7, IMR R2 Aten, TheCustomArt Fibae Black, for B3, and for B2, FiiO FA7, HIFIMAN RE800 Silver and UFO EAR 112 IEMs. As far as pairings go, we're going for something more modest, including FiiO M11, iBasso DX160, Shanling M2x, Opus #3, HIDIZS AP80 and Earmen TR-AMP.



Introduction

Final Audio has come to show us how a true masterpiece from Japan looks like, and they managed to impress the entire world, by keeping face while having the exact same package for many generations of IEMs, starting with their E4000 and E5000. They are known for being very supportive of their fans and customers, and in Japan they have a strong following, employing Waifus to give virtual tours of their shops, and being present at every large convention there. They will provide direct warranty and support, and they are also represented by some local sellers, so you can get quicker, and more reliable support, especially if you don't like delayed shipping times.

It should be noted that I have absolutely no affiliation with Final Audio, I am not receiving any incentive for this review or to sweeten things out. I'd like to thank Final Audio for providing the sample for this review. This review reflects my personal experience with Final B 2 and B 3. Every opinion expressed is mine and I stand by it, the purpose of this review is to help those interested in Final B Two and B Three find their next music companion.



About me

https://www.audiophile-heaven.com/p/about.html



Packaging

First things first, let's get the packaging out of the way:

I always loved the Japanese art of making things aesthetic, and they never cease to amaze. Even some of the most trivial things can be fun to unbox and explore, and if you read my review on Final E5000, you know I've been a fan of their packages for a few years now.

The package is the same as the one for Final B1, which I already reviewed, and they have all the basics narrowed down, but there's not much extra. The tips included with both are Final Tips, and those are some of the most comfortable tips out there, on par with the Spinfit tips included with Dunu DK-4001, DK-3001 PRO, and Lime Ears Model X.











I sometimes wish that Final Audio would include something a bit more practical for a carrying case, because the default rubber carrying case is not the most practical solution, and actually is quite easy to open and the IEMs may fall out. This being said, the case protects them really well from drops and impacts, and if you like a forward design, it is different from anything that's out there at the moment.

There are ear guides included in the package, for those of you who may get a better comfort using those, but I personally have a much poorer comfort when using them, and I prefer using the IEMs as they come.



What to look for when purchasing a high-end In-Ear Monitor

https://www.audiophile-heaven.com/p/what-to-lookl.html



Build Quality/Aesthetics/Fit/Comfort

There are two key differences between B 2 and B 3, and you should keep in mind that B3 is the better of the two in every way, including cable, and build quality.

Those two key differences are the tech inside, as B3 is a networkless, so no crossover, 2BA design, while B2 is a 1-BA design, and the cables included with each. Only by holding them side-by-side you notice that the finish is also slightly different, with B2 having a gunmetal finish, while B3 is more of a frost silver finish. Both are kind of silvery and neither isn't particularly glossy.



I noticed that there's going to be more headroom in B3, and if you are one to EQ or tweak your sound, B3 will manage to sound better than B2. This also means that B3 will hold its ground a bit better at loud volumes. Those are tested things about those two IEMs, not necessarily general rules about the number of drivers.

I did notice a trend though, as with TheCustomArt Fibae Black, which had a pretty limited headroom in both maximum volume, and in terms of how much EQ it could take.

B1 is even more different and stands out with its beautiful mirror finish, the high-quality cable, and with the sound that overtakes B3 and B2 in terms of detail, clarity and overall tuning.

The comfort is awesome with both B2 and B3, the cable is more flexible, but feels lower quality on B2, and if you have them side-by-side, you notice this a lot, but you may also notice it from the photos, B3 having that unique braided cable, while B2 has a very bland black thin cable.



Neither of the cables doesn't carry any microphonic noise, and both offer great comfort, although when switching between them, since I had both, the cable of B3 does sound a bit cleaner, more crisp, and also a touch brighter.

Final B2 has a higher sensitivity of about 109dB, and a higher impedance of 41 OHMs, which makes it easier to drive, and which makes it sound better from entry-level sources, including smartphones, or ultraportable DAPs like FiiO's M5, Shanling M0, or HIDIZS AP80.

On the other hand, Final B3 gets a lower sensitivity 102dB, and it also gets a lower impedance of 19 OHM. This means that B3 is more sensitive to hiss, so DAPs like Hiby R6 are not recommended, but DAPs like FiiO M9, FiiO M11, Shanling M2X, xDuoo X20, and Opus #2 should work flawlessly. Final B3 is not hard to drive, but I noticed that it does sound better from a good source, and I noticed that it can reveal hiss and noise, since testing it with HPA-3U did reveal noise, but it also revealed that Earmen TR-AMP is silent.



Both IEMs have the same comfort, and it is the same comfort as B1, both feel nicely when over-the-ear, both are modest in size, so they should work for both medium and smaller ears, and neither doesn't have pointy edges that may cut into your ear during usage. I noticed that both IEMs have a moderate level of passive noise isolation, neither isn't Etymotic ER4XR, but neither isn't quite as open as Final E5000, or Audeze iSine20. Both have a moderate level of leaking, so blasting them full-volume in a library may not be the best idea, and neither isn't quite as silent as FiiO FH7.

Overall, both are comfy, and both make good outdoors IEMs, and you can use them nicely indoors as well, provided you don't have to keep silent for a baby, and you don't have a really really noisy environment and you don't need to listen really quiet.



Sound Quality

B3 is a Natural / Bright-ish experience, with a wide soundstage, excellent instrument separation, clear and accurate, with a slightly rolled off sub-bass, and with great dynamics.



I should clarify this from the get-go, as I mentioned that there's a lack of headroom, that's only if you blast B3 so loud it makes you think you'll need hearing aids. For normal listening volumes, they have enough, and they also take some EQ without distorting, so there's no real issue there.

The bass is what I'd call a mixed bag. Where for B2, the highlight was it's bass, for B3 the bass is probably its weakest point, because while it is ever so slightly bumped above the midrange, it lacks some of that sub-low extension that you may be looking for in a traditional V-Shaped IEM. This is why I consider B3 to be a natural bright-ish IEM, rather than a full V-Shaped one. Besides the sub-lows lacking some extension and impact, B3 has a beautiful main bass body, and a recessed upper bass, which leaves enough space and creates a good balance for the mids.

The mids are natural, not exactly forward in presence, but not really recessed either. The tonality is slightly bright, and also slightly wet, which works well for all music, from rock, to pop, to EDM. I'm not a big fan of dry-sounding IEMs and headphones, as most people fear BA Drivers will sound like, but in my experience only Etymotic ER3 and ER4 IEMs sounded really dry, most of the other BA-designs can sound really wet and natural. Back to B3, they have a huge soundstage, combined with excellent imaging and layering, which makes me really pop them more often in my ears.

The treble is also a highlight for them, because it has good extension, also has a wet / soft presentation, and compliments the bass and the midrange quite well, by not having too forward of a presence. This was an issue with really bright IEMs, and even with V-Shaped IEMs that have too much treble, but happily with B3, I never get tired of their presentation. They also have great accuracy and a clear sound. Overall, they can be considered pretty musical as well, especially for electric guitars, where they sound sweet and refined.



Portable Usage

Portability is great for both IEMs, and you could easily enjoy both out of a portable source, and if you're a bit more daring, you could even bring a DAC/AMP like iFi Q5s, iFi xDSD, or xDuoo XD-10 Poke to the fight.



Since neither isn't exactly an Etymotic of isolation, I consider them great for portability, you want something that has a fair degree of isolation for usage while on a walk, but you don't want to be entirely cut from the outside world, or you could run into an accident. On the other hand, the leakage is low enough to not bother others if you used them while on public transport, but both B3 and B2 have some leakage.

The best part about both is that they are made to last, the construction quality is so awesome that you won't have to ask about what the warranty is like.As a proof, I have a pair of Final E2000 and a pair of Final E4000 from a few years ago, when I reviewed them, and they have been used daily, but still hold up, and the B series is even better made than the E series.

The little ear guide thingies may prove handy if you're prone to discomfort while using IEMs, but I personally had better overall comfort with the B series if used as they are, I personally get a great fit with the bare cable touching my ears.

A good point to remember is that neither IEM doesn't have a driver flex, so you can easily use them for jogging, running, and other activities.



Youtube Video

Final Audio B3:



Comparisons

The list of comparisons includes two parts, one where I compare Final B2 with FiiO FH7, IMR R2 Aten, and TheCustomArt Fibae Black, and one where I compare B2 with FiiO FA7, HIFIMAN RE800 Silver, and UFO Ear 112 IEMs.



Final B3 vs FiiO FH7 (500 USD vs 450 USD) - Final B3 is priced pretty close to FH7, which made me add the comparison to my review, but in all honest, when you look at the package, the artistic and user-friendly approach of Final is quite outmatched by the very complete package of FH7. The comfort is a bit better on B3 thanks to its smaller body size and shape. The overall headroom is much better on FH7, if you're an EQ fan, or if you like to blast your IEMs loud. You get a different sound though, especially with FH7 having filters included in the package, but both follow the same main sonic signature, a brighter one. B3 has a bit of sub-bass roll-off, while FH7 extends better in the sub-lows. The upper midrange is a bit more forward on B3. The main midrange is softer, with a more wet character on FH7. The treble extends better on FH7, especially in the upper highs, but it has an ever so slightly softer character on B3. From the two, FH7 is more revealing, has more clarity and detail, and also a larger soundstage. More headroom as well, so you can blast them louder, EQ them and fine tune them. B3 has a more beautiful design, and arguably, they also have a slightly more natural midrange, FiiO FH7 is actually a bit colder and if you don't like a more analytic sound, B3 may suit your preferences better.

Final B3 vs TheCustomArt Fibae Black (500 USD vs 510 USD) - TheCustomArt Fibae Black has a single BA driver, but with a complex acoustic room behind, made to squeeze the most out of its single Ba driver. This makes it really limited in terms of headroom, so you cannot listen to it too loud, and you cannot EQ it at all. B3 feels like a chad, allowing for quite a larger headroom. The comfort is better for B3, and so is the overall package, although, Fibae Black and TheCustomArt IEMs in general can be made as customs, rather than universals, which makes them isolate better, and would offer a more well-fitted experience. The universal version of Fibae Black has some void, making it hard to recommend if you're into a lighter more comfortable IEM. Fibae Black has a tuning that's considerably more similar to Final B2, rather than B3, as Fibae Black is dark-ish, has a thick, warm sound with a strong bottom end, and from there it rolls off, the midrange being placed behind the bass, and the treble being even more remote, making the entire sound very smooth, and fatigue-free. This makes Fibae Black a really good IEM for those who want an intimate, rich experience with a lush mid, and natural tonality, while B3 is considerably brighter, more open, has a much larger soundstage, more instrument separation, and also a more revealing sound.

Final B3 vs IMR R2 Aten (500 USD vs 500 USD) - The package is similar between the two, both having some disadvantages, and neither being perfect. For the most part, IMR R2 Aten is a larger IEM, but in the end both are pretty similar in comfort. In terms of leakage, R2 leaks more, and also isolates less than B3, which feels like a pretty closed IEM by direct comparison. The soundstage is large on both, and both are the wide type, both having similar depth as well. The thing that differentiates them the most is the main signature, which is natural - bright for B3, and aggressively V-Shaped for IMR R2 Aten, which is a very strong bottom end and a very strong upper midrange / lower treble. This makes R2 Aten stand out better if you enjoy contrast, an explosive exposition, and more impact, while B3 feels more natural, the midrange is recessed less, and feels more universal, easier to recommend for someone who leans towards a cold and bright signature, but who also enjoys a sweeter midrange with less colouring.



Recommended Pairings

The pairings list will include iBasso DX160, Earmen TR-AMP and FiiO M11 for Final Audio B3, and Opus #3, Shanling M2X, HIDIZS AP80 for Final Audio B2. I prioritised sources that are really silent and quiet in terms of hissing, for Final B3, and I prioritised sources that are ideally brighter, or have high quality EQ within, for Final B2. This should compliment both the best, and result in the most pleasing listening experience.



I have started adding the prices of each, so you have a clearer picture of what every one of them does, you can click on the names for the full review as well. I avoid that 399 USD price point and write it as 400, for example, because it makes the titles and sums easier to read in my reviews. Neither doesn't scale very much with sources above their price point, which is good to keep in mind, as there are IEMs and headphones that scale a lot with the source, especially those very sensitive, or those who prefer a certain source type.

Final Audio B3 + Earmen TR-AMP (500 USD + 250 USD) - The TR-AMP is the thing that took the world by surprise, in a very literal way. It has the power to even drive HE6SE from HIFIMAN, it is able to keep it's cool and be hiss-free with IEMs, and it has a reliable build. If I had any complaints with it, those were about the original USB cable it came with, because it didn't work for data at all, but Earmen confirmed that it is a charging cable only. With B3, you will hear a very natural and well-controlled midrange, you have a large soundstage, and although you don't have any EQ or enhancements, you get the performance of B3 in all its beauty. The best part about TR-AMP is that although it is single ended only, so you don't need to get aftermarket balanced cables, you do get to experience a sound that's better than most entry-level devices can offer even through a balanced connection.

Final Audio B3 + FiiO M11 (500 USD + 460 USD) - And as I was talking about Balanced and Single Ended, M11 pops up, and this is the first time in this entire review when I will tell you that you may want to upgrade the cables of B3. Although the default cables are excellent for ergonomics, and also have a nice sound, if you're using them with a source that sounds much better on Balanced, B3 will be better off with different cables. M11 is a slightly bright source, but that works well if you wanted to get a brighter sound from B3, and didn't want to tone it down. I actually don't mind a brighter sound, after all I am a fan of HIFIMAN Sundara, and this is why I liked B3 to begin with. All in all, the pairing is like made in heaven, no hiss, M11 has Tidal and even DSD decoding, making it a great DAP.

Final Audio B3 + iBasso DX160 (500 USD + 400 USD) - I always admired iBasso for being able to keep up with FiiO and always providing a good alternative. Especially for those who wanted a DAP that's as good as a DX150, but less pricey, and for all of you who didn't want to bother with interchangeable AMP modules, iBasso made the dX160, with MQA, Tidal, very quick hardware, and a sound to die for. The sonic signature of DX160 makes B3 sound a bit more natural than its usual, makes it a bit warmer, a bit more natural, and a bit more gentle, so it takes away any digital traces, or harshness or too much brightness.



Value and Conclusion

You probably knew from the start, and by looking at the prices of both, that neither isn't necessarily a value IEM, and if you wanted great value, you could probably explore Chifi a bit more, rather than looking at a Japanese producer. Priced at 500 USD for Final B3, and 300 USD for Final B2, they are a fair value, and the value is given more by the beautiful aesthetic, unboxing experience, reliable support, build quality, comfort, and sound quality, so the whole product as a whole, rather than the sonic quality alone, as it is for some Chifi IEMs.



The unboxing experience is always downright awesome with Final Audio, and you never wonder why you went with them, plus, although they don't have many extras, like secondary cables, they do have a very stylish and unique carrying case, and they come with Final Tips, which are some of the best in the world. The Final tips are developed by Final Audio, so their IEMs are best tuned to work with those tips.

When you consider the comfort and the build quality, Final B3 has been one of the IEMs that got the most head time from me in the past few months thanks to its excellent comforty, and easy-to-drive nature. This being said, if I was downright honest, I was never satisfied with the sound I got from it and my smartphone, a Xiaomi Mi Max 3, so I usually ended up using it with either the Earmen TR-AMP, or FiiO BTR5. Final B2 has the same great comfort, but I could actually use it with my smartphone, and am really happy with the result, especially as it doesn't scale very much.



The sound is colder, wider, and more analytical, coming from the Final B3, and you'd be hard pressed to find something that manages to sound this natural in the mids, while having that wide stage, and that sparkly treble, while B2 is a thicker, more intimate IEM that has a really soft attack, which makes them lack precision, but that lush and rich midrange, with a natural tonality will make it the favorite of those who enjoy a honest and natural sound more than the more analytical B3.



At the end of this review, if you're looking for a durable, and comfortable IEM, one that has a wide stage, excellent detail and clarity, one that has a natural-bright-ish tonality, yet manages to be a consistent V-Shaped experience, and one that has excellent layering, you would totally enjoy Final B3.



Also, at the end of this review, if you're looking for a comfortable IEM, that has an intimate soundstage, yet exceptional imaging, one that has a more lush and rich-organic tonality, and manages to keep the treble smoother, with a warm, bassy presentation, and has a well-controlled bass, you would totally enjoy Final B2, the less pricey IEM from their B series.



Full Playlist used for this review

While we listened to considerably more songs than those named in this playlist, those are excellent for identifying certain aspects of the sound, like PRaT, Texturization, Detail, Resolution, Dynamics, Impact, and overall tonality. We recommend trying most of the songs from this playlist, especially if you're searching for new most, most of them being rather catchy.

Youtube Playlist



Tidal Playlist

https://listen.tidal.com/playlist/64555551-ec3c-4279-ae44-248fdfcf6c4b

Song List

Bats - Gamma Ray Burst: Second Date
Eskimo Callboy - Frances
Incubus - Summer Romance
Electric Six - Dager! High Voltage
Kishida Cult - High School Of The Dead
Dimmu Borgir - Dimmu Borgir
Breaking Benjamin - I Will Not Bow
Thousand Foot Krutch - The Flame In All Of Us
Gorillaz - Feel Good Inc.
Infected Mushroom - Song Pong
Attack Attack - Kissed A Girl
Doctor P - Bulletproof
Maximum The Hormone - Rock n Roll Chainsaw
Rob Zombie - Werewolf, Baby!
Escape The Fate - Gorgeous Nightmare
SOAD - Chop Suey
Ken Ashcorp - Absolute Territory
Machinae Supremacy - Need For Steve
Ozzy Osbourne - I Don't Wanna Stop
Crow'sclaw - Loudness War
Eminem - Rap God
Stromae - Humain À L'eau
Sonata Arctica - My Selene
Justin Timberlake - Sexy Back
Metallica - Fuel
Veil Of Maya - Unbreakable
Masa Works - Golden Japang
REOL - Luvoratorrrrry
Dope - Addiction
Korn - Word Up!
Papa Roach - ... To be Loved
Fever The Ghost - Source
Fall Out Boy - Immortals
Green Day - Know The Enemy
Mindless Self Indulgence - London Bridge
A static Lullaby - Toxic
Royal Republic - Addictive
Astronautalis - The River, The Woods
We Came As Romans - My Love
Skillet - What I Believe
Man With A Mission - Smells Like Teen Spirit
Yasuda Rei - Mirror
Mojo Juju - Must Be Desire
Falling Up - Falling In Love
Manafest - Retro Love
Rodrigo Y Grabriela - Paris
Zomboy - Lights Out
Muse - Resistance
T.A.T.U & Rammstein - Mosaku
Grey Daze - Anything, Anything
Katy Perry - Who Am I Living For
Maroon 5 - Lucky Strike
Machinae Supremacy - Killer Instinct
Pendulum - Propane Nightmares
Sirenia - Lithium And A Lover
Saving Abel - Addicted
Hollywood Undead - Levitate
The Offspring - Special Delivery
Escape The Fate - Smooth
Samsara Blues Experiment - One With The Universe
Dope - Rebel Yell
Crazy Town - Butterfly
Silverstein - My Heroine
Memphis May Fire - Not Over Yet

I hope my review is helpful to you!

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Specifications

• Housing: Stainless steel (frost silver)
• Driver: 2BA (Networkless)
• Sensitivity: 102 dB
• Impedance: 19 Ω
• Weight: 36g
• Cable: 1.2m; MMCX Connector; OFC silver coated wire

Price may vary depending on the region and currency exchange, but a rough estimate is U$450~500.
Can be found at Amazon JP
Credits to the final team for arranging the B3 for the limited time of review.

Official final B3 page.

The box is not very different from the E series just a bit renewed with a more elegant and discreet look. All white hard cardboard box with a simple hassle free presentation. The logo and writing are all printed in gold color at the front and sides of the box, while the specifications are on the back side in a few languages. Inside it is very simple, the now usual silicone round case holding the B3 inside and a small plastic bag with final E tips in all the fives sizes, a pair of soft ear guides in clear color and exta films that apparently should be used to remove the MMCX cables safely (haven’t tried that yet). Now, despite having the same black round silicone case, the carabiner clip which supposed to be attached to it is missing. The case itself is convenient to carry the earphones without occupying much space, though for the higher price of these new B series a nicer case and extra ear tips could be added to match the competition.

Design

The new final B series follow a formula that mixes a very solid build quality and attractive design. The shape is not specifically new for the B series as has already appeared on the Make series, but still just the second of the final line adopting a fixed over-ear wearing design for in-ear type earphones. Like the E5000 model as the current highest model of the E series, both B1 and B3 are made of tough stainless steel housings and just differing in the outer finish and color theme applied. Here the B3 gets the “frost silver” color in a more matte finish; still shiny but not like the mirror like E5000, so less prone to show scratches over its metal surface.
The shells consist of two pieces made of thick and weighty stainless steel material and are very well attached, apparently by only the two screws, one on the outer piece and one on the inner one. There is also what a small hole on the inner part which is probably meant to work as a vent, though not sure of its use in a pure balanced armature driver setup. The shape on the B3 has various corners that while being smoother and more rounded at the inner part, they are noticeably sharper on the outside. The ‘polygonal’-like shape does not imply a better or worse fit; however, they are sharp corners that make the whole new design less comfortable and potentially will be difficult to wear for some. Honestly, it could have been a same very cool design by just having a bit more rounded shape. This is something that could be compared with the Campfire Audio earphones, a nice design but average in fit and comfort. It also reminds of the Dunu DK-3001 that with all steel housings still found dislikes among many users due the sharp shape.

The nozzle is not too long and with the standard silicone tips – E tips – the fit is a bit shallow. The earpieces do sit securely on the outer ear. They are not too large but will depend on each ear size how snugly will they fit. Isolation is around average or a bit above, good for everyday use, but not meant to block loud background noises.

Interestingly, the MMCX sockets are placed in a certain exiting angle from the housings, nothing that affects the fit of the earphones anyway. The cable itself is the same one included on the E5000 and MAKE1. Silver-plated oxygen free copper (OFC) wires. Four separated strands each of them holding two twisted thin OFC wires inside. The inner two wires are covered by a thin tubes of PFA material, while the outer sheath is made of PVC – all translucent. Worth noting that the silver-plated had shown no signs of oxidation, and based on the E5000 cable it should keep the same quality after long periods of use. The cable is also flexible and easy to fit inside the round silicone case, however shows some cable noise when moving around, though much less noticeable with the strict over-ear fit versus the E5000 with straight down fit.

The MMCX connectors are of standard type so can be replaced by any aftermarket matching cable. The MMCX plugs, 3.5mm stereo plug and y-split are covered by small metal tubes with the mirror-like finish. Red and black rings are added to differentiate the right and left sides. They arrived already attached and the MMCX connection seems to be very good. There are no strain relieves on the MMCX and y-split, but the cable is very soft anyway. The 3.5mm plug has a flexible relief as it is a more critical section despite the L-shaped plug.


Sound Quality

Sources: iBasso DX220 & AMP9, HiBy R6 Pro & R5, Shanling M5s.
IEM: final E5000, E4000; FLC 8N; iBasso IT04; DK-3001 Pro; Campfire Audio IO; Fibae 3 & Black.

On the technical side, the final B3 is a pure BA in-ear set. Sitting in the middle of the recently released B series, this model includes two Balanced Armature units; clueless why it is marked as B3 if the B1 is the higher model and B2 the lower one. As can be understood from the final company description these are two separated drivers with no implemented crossover – “networkless”, as described. This might be new a take for some, where usually two drivers are either packed as a dual BA in a single unit or adopt an external electronic crossover circuit.

Regardless, what really matters is the actual product sound tuning rather than any specific tech implemented inside. This is not the first IEM I tried from final, but it is the first BA based one. The E4000 and E5000 are both single dynamic drivers, and even the B1 is a hybrid 1D + 1BA. Each of these sounds rather different and yet seem to share a well achieved tuning; musical and engaging midrange with good sense of dynamism.

On to the B3 itself, there is no info shared about the Balanced Armatures models applied, but if following the previous Heaven series, they might be easily own final made drivers, or at least specifically tuned by the company itself. The sound could be described as slightly mid-centered with good addition of bass and treble to complete a nice well balanced presentation, where there is not much of emphasis on a certain area (unlike the E4000 or E5000) but not missing either. It is also more oriented to overall clarity but not by being too linear or clinical when presenting little details.

The low-end is managed by one of the drivers and clearly shows the qualities of the armature types, with their pros, and cons as well. A single BA might be considered as not best suited for low frequencies, however the bass on the B3 is presented with very good dynamics and texture. Quantity is above neutral, not just as bit north of neutrality but actually showing good impact with decent lift on mid-bass and even enjoyable rumble when it appears on the music track. It is also dense and thicker in texture with fuller body, giving more realistic weight on notes. More ‘dynamic’ sounding than just a BA. This is also reflected on the bass speed – it is fast as armature types but not that quick in attack, instead, more natural and better paced in decay. Still as an armature driver it is tight and very controlled with great precision, and yes, limited in low-end extension, depth with a bit if roll-off on the lowest sub-bass (usually the reason to go for ‘hybrid’ setups).

The midrange is forward – not too mid-centered as there is good balance and presence of lows and highs, but it is highlighted on the B3. This is the fourth in-ear earphones from final I have listened to, and while each of them has its own particular tuning, the midrange is always very nicely tuned. On the B3, the main priority may be the clarity and it is clearly noticed on the midrange very detailed, airy and resolving at this price range. While it is forward it is not too thick or colored; very articulated with good dynamics in a BA way with a touch of musicality. The balance goes a bit more towards the upper midrange - lower midrange has good texture and weight, but the upper area is more forward. Female vocals sound more emphasized without sibilance or harshness.

The treble is bright and energetic on the lower part, along with the upper-mids, yet showing very good control. There is no hint of grain, nor a peak on the lower treble. It is well rounded and even a bit smooth despite the bright tilt. The extension is a bit limited on the upper treble, not very unlike the sub-bass, though overall it is still well balanced for mid-tier level.

The soundstage is nothing out of average in terms of dimensions, and has been clearly stated by own final description graph of the sound being towards narrow next to the other models. Even when paired with the iBasso DX220 player which impress with soundstage and extension, the B3 is somehow limited in that regard.

Still, the presentation is airy and very detailed. It may a be a very full sounding IEM, at least of BA types, yet shows good transparency when paired with different sources. In brief, with the Shanling M5s as one of the most neutral and linear DAPs, the B3’s sound is more neutral and flat, softer in lows impact and treble energy but with a very detailed midrange and particularly beautiful with some upper string and brass instruments. On HiBy R6 Pro there is more bass presence, especially on the sub-bass rumble, and brighter treble with more aggressive/forward presentation. The iBasso DX220, with stock AMP1 MKII, gives the best balance and weight; lower mids are more equal with upper mids having more body on male and lower instruments. All of these with just 3.5mm single output as that’s how the B3 arrives with.

Introduction

I love ice cream, I really do! I'm generally a vanilla man, but sometimes chocolate, especially when combined with vanilla, is the perfect sensory experience. Today's review is on the excellent final B3 ($499), a vanilla/lighter flavored IEM that I believe warrants your attention. I already presented my thoughts on the B1, a more chocolate/comparatively darker flavored design, so I'm going to skip some of the perfunctory information about final's newest series of IEMs that I wrote about in my B1 review.

Since I didn't go over the casing—or shell—design other than its comfort in my previous review, I think it is important that I do spend some time with it here. All three models of the B series are made from stainless steel, but are done so in a unique fashion which contributes greatly to the sound of these models. Final calls this manufacturing process Metal Injection Molding (MIM):

"MIM is a process by which powdered metal is mixed with a binder to form a resin in the desired shape and applying high-temperature sintering to achieve the desired form. There is a high degree of freedom in molding the resin into the same shape as the cast, making it possible to achieve a complex internal design even with metal."

Sounds a little obtuse to me since I have little understanding of such manufacturing, but what I gather from this information is the ability to create an internal space that is optimized for the driver(s) that are used. In loudspeaker design, the cabinet and its internal structure is a fundamental aspect to extract the best performance from the loudspeaker, so it makes perfect sense that this same principle would hold true to IEM design even though the space within is minuscule. I've never heard of this process being used with other IEMs, so perhaps final has broken some new ground in IEM technology, and this contributes to the excellence of sound I'm hearing in the B3 (and B1).



Another design principle introduced with the B series is the relationship between dynamic range expression and clarity/spaciousness. Frankly, I initially had some trouble fully understanding this concept which seems to be a criterion of final's latest thinking on the relationship between the type of music one prefers, and the optimal transducer in which to listen. If one likes classical music, for example, does this mean the B3 with its greater dynamic properties is best suited? What if one also likes hip-hop, or EDM? Which B series should one buy? Although I appreciate finals' attempt to clarify the relationship between the type of music and the best transducer design, my simple answer to the purchasing question is ... choose the B series model without regard to price that allows the emotional connection to all the music you enjoy. The complexity and plurality of how listening occurs amongst music lovers is perhaps too great to pigeon hole a buying decision, in my humble view.



Impressions

The B3 uses the exact same final-made Silver OFC cable as the B1. The casing has the same shape which optimizes comfort, however, the edges on the B3 are a bit sharper compared to the more rounded B1, so placement in one's ears will initially require greater care in order to maintain long listening comfort. Additionally, unlike the B1's mirror finish, the B3 has a texture to its silver casing. I imagine this difference in aesthetics between the two is partially responsible for the B1's higher price—there's more labor involved in manufacturing the B1.

Everything included in the package for the B1 is included with the B3. Since the MMCX cables fit so precisely, removing them takes a lot of effort, but final includes a square shaped piece of plastic textured on one side which aids in gripping the smooth barreled connectors. Final does not recommend disconnecting and connecting the cable frequently because the nature of MMCX connectors is that they use a metal that deforms with repeated use, thus compromising the connection. Finally, the B3 is a dual balanced armature design, each BA different, and both without any crossover circuit.

Before I get to my listening sessions, I'd like to thank Michael Brown, the US distributor for final products, for providing me free samples of the three B series models. I also would like to thank Kyo-san, final's International Sales and Marketing Manager, for answering many of my more technical and design oriented questions about the B series. He's a real audio enthusiast, and I enjoyed our written conversations immensely.

As with the B1, my source component for my review is the Astell&Kern AK240SS ($3,000)—no EQ was used. Unlike the B1 with its lowish sensitivity, the B3 has a sensitivity rating of 102dB, 8dB higher than the B1. There is, however, a small difference in impedance between these two models with the B3 at 19 ohms versus 13 ohms for the B1. I found I had around 6dB more gain driving the B3 with my AK240SS, so those using a cell phone as their music player will find the B3 more satisfying in regards to achieving higher volume levels than the B1. The music used in my review spanned many genres with CD rips from my music library as well as purchased hi res files. Finally, I burned in the B1 for 100 hours before I did any critical listening. I did notice an improvement in the high frequencies' smoothness, no doubt due more to cable burn-in than the crossover-less BA drivers.

Boston / Boston / More Than a Feeling (DSD64)

When Boston's debut album first came out in 1976, I had just started college and this song was very popular on FM radio; my memory recalls hearing it all the time on campus. This song fades in at the beginning then rises to a fevered pitch, with a wall of sound type feel. Beginning with the bass, the B3 is taut without the overhang that is sometimes apparent on the B1, but it doesn't have any of its sub-bass rumble. The midrange is more elevated than the B1 with great clarity and precision. The trebles have a nice delicacy in their portrayal, more nuanced, and micro detail retrieval comes through with greater highlights compared to the warmer sounding B1. Finally, the soundstage is more focused and a bit shallower than its more expensive sibling.

Sade / Love Deluxe / Cherish the Day (16/44.1)

When I first heard Sade in the mid 80s, I fell in love with her sultry voice, and she remains one of my favorite female singers. This rhythmic song has a great bass track which shows the B3 is quite competent in reproducing bass with speed and decay—the bass is very clean sounding although one can tell the B3 runs out of gas with the bottom octave. Pace, rhythm, and timing (PRaT) is outstanding with my whole body swaying to the syncopated beat. On music like this, I do like the more upfront vocals the B3 has compared to the B1 since they are portrayed with a greater expression that pulls me into the sound.

Batushka / Litourgiya / Yekteniya 1 (16/44.1)

Music is my biggest passion and I like most genres, especially those that have a dark side to them. This Polish black metal band is a recent discovery, and though it wouldn't fall into the audiophile approved category in regards to sonics or content, the music is mesmerizing and highly recommended to those with similar tastes. The sound is guttural, the voice haunting, and the B3 captures the music in all its glory. During the infrequent quieter passages, one can hear a sense of space and decay, the resolving power of the B3's mids and high frequencies readily displayed.

John Coltrane / Blue Train / Moment's Notice (24/96)

The jazz music I most love is from the 1950s and 60s. This hard bop style album in hi res really reveals how wonderful the B3 is in reproducing a minimally miked recording. There is a sense of transparency as if you are there, hearing Coltrane and his band play. Unlike the earlier mentioned albums, the soundstage is more dimensional with a much greater sense of width and depth. Coltrane's saxophone playing sounds immediate and full of subtle variations of his play without any stridency or grain, and the cymbals have a sheen that is relaxed, yet sparkly. PRaT is excellent, leaving me focused on the music undistracted by what is going on around me. I feel fully present in the here and now with this level of realism. Bravo!

Santana / Abraxas / Oye Como Va (24/88.2)

This rock/jazz fusion album ranks as one of the all-time great albums by Rolling Stone magazine. Carlos Santana's electric guitar playing takes center stage here with highly innovative play, and the B3 shows why he is considered one of the best at his craft of his generation. There is a fluidity to the sound, grainless, the band members beautifully rendered in a focused space, depth and width wise.

Beck / Morning Phase / Morning (24/96)

This Grammy winning Album of the Year remains my favorite Beck album. "Morning" is a beautiful, melancholic song with lots of ambience which the B3 renders in a likewise beautiful manner. Beck's articulate finger work on his acoustic guitar is easily reproduced by the B3, and the twang of the strings has a resonance that is wonderfully realistic. There is no dryness in the upper frequencies, rather, a luscious portrayal that compliments the slow tempo of the song. There isn't much extension of the soundstage on any axis, but this is made up for by the B3's tonal harmony, so I didn't miss the out of head experience.

Summary

So, the question many of you may be asking is, which one should I buy? Is the B1 worth the extra $200 over the B3? It depends ... if you are a bass head, I would answer with a resounding yes! The B1 goes down another octave to the sub bass region, and that is why final chose to use a dynamic and BA driver for this model (by the way, I confirmed with Kyo-san that the BA drivers used on the B1 and B3 are not the same). If instead you are a treble head or you like a more balanced sound, then I'd point you to the B3. That's not to say the B3 isn't capable of satisfying bass, it is, but its bass is focused on detail and clarity, not amplitude. The midrange on the B1 is recessed having a more distant perspective as if you sat near the back of a venue for a concert. The B3 is more up front, not in a heavy handed way, actually in a more neutral way. With the trebles, the B1 sounds very smooth, but it isn't the last word on detail retrieval since its smooth characteristic comes at the expense of heightened detail retrieval. Lastly, if soundstage size is important, this isn't necessarily a strength of either the B1 or B3, but the B1 is more dimensional, more out of the head in its portrayal of music.

Please let me add that I am using generalities in describing the difference between the B1 and B3: the source material can make a profound difference, the playback chain as well, but the biggest influencer on all of the parameters detailed above is going to be the innate sensitivities of the listener. One thing a prospective buyer can be assured of is final has used the latest technology to extract what it believes is the best price/performance ratio on the market today. I trust final in this regard because I've owned/own several of its products including the D8000, its top end planar headphone, and I've never felt less than happy with any of my purchases of its product.

Life is full of compromise. The B1 and B3 epitomize this dilemma, but frankly, so does every other IEM in the same price class. My suggestion for those who have a varied taste in music styles and the budget to buy both is to do so, that way—going back to final's conceptualization of matching the music to the transducer—you'll have the right IEM for the moment. Like the ice cream analogy that began this review, sometimes I'm in the mood for vanilla, sometimes chocolate. I keep both in the freezer.

To conclude, the B3 is a beautiful sounding IEM that is nicely priced for the level of performance it achieves. I strongly recommend an audition.

FINAL AUDIO B3 REVIEW :


SOUND: 9/10
CONSTRUCTION: 10/10
DESIGN: 9.5/10
ACCESSORIES: 8.5/10
VALUE: 8.5/10

There you go, the self-procamed biggest fan of Final Audio earphones is in the house for another fascinating review. After having listening a whole month to the whole B serie, its time I share my impressions and comparaisons of the marvellous B3 model, wich is my favorite one and explain why I listen more to it than the other very nice B models.

The Final Audio B3 is a dual balanced armature earphones, with same housing shape than 2 other models, and while it’s not gold plated like the more expensive B1, it still use same type of metal injection stailess steel housing. This housing is not just candy for they eyes with its gun metal finish, the shape have been thinked as much for inner acoustic spatiality than universal fit and comfort too. B serie are perhaps the most beautifull earphones I ever seen or use, perfection cannot be achieve with sound, but with housing constructon it can and I think Final Audio nailed it with the B serie.



Priced at 500$, the B3 isn’t the most budget friendly earphones from Final Audio, but a serious investment that will be rewarding in long time of use. Why? Because this type of sound never get old and the top notch housing construction with changeable cable was thinked for life-time use, to the point Final Adio create the housing with 2 screw for futur easy repair (f needed too).

For B serie, Final Audio sound approach was about the relation between spatial impression and dynamic range, all models have their own approach to it, with different drivers implementation. B1 is a BA+Dynamic driver Hybrid, B2 a single balanced armature and B3 a dual BA’s.

For B3 models, they try to tend toward a high level of clarity with tigh vocal and delicate presentation that do as good for live recording than movie soundtrack and EDM (this is their toughs I share here not mine). One thing sure, they are right about B3 being the clearer and faster (tigher) sounding models of the bunch, for a better idea of how the B serie are tuned, look at their schema, but I really suggest you to give a read HERE too, because its very revealing and interesting about whole models approach.

DISCLAIMER : I wanna thanks Final Audio as well as my friend Kyo for sending me this review sample. (Arigato!) I have no official affiliation with this company even if yes, as said, i’m a big fan and even a groupie. Even if I feel humble and rewarded to receive such high end earphone, I will stay as objective as my subjective ears and mind can. As well, I will be cold blooded about overall price value too.

For more info about Final Audio products, give a look to their S'NEXT WEBSITE, its the most eloquent audio company website out there and you will enjoy the articles.

As I do not really know any other place to buy it, give a look at AUDIO46 STORE if you want to buy the B3.

SPECS:

• Product code: FI-B3B2SSD

• Housing: Stainless steel (frost silver)

• Driver: 2BA (Networkless)

• Connector: MMCX

• Cable: OFC silver coated cable

• Sensitivity: 102dB

• Impedance: 19Ω

• Weight: 36g

• Cord length: 1.2m

ACCESSORIES, CONSTRUCTION & DESIGN :



UNBOXING is a real joy and a step up from the boxing of E serie. Now, we have a very elegant solid white box with a big B on it, its minimal yet luxurious in the choice of design and material. As expected, theres plenty of accessories included, wich is this time very similar to higher E serie model. The unique silicone protecting case, extra ear hook the nice final silicone eartips as well as a pair of memory foam. And a strange sticky fabric to help you unconnect the mmcx cable that can be slippy due to its metal part. For the price, well, perhaps we would have love an second cable but this is very rare that we are spoil that much and to be honnest I prefer one great Final Aduio 4cores silver plated cable than 2 bad ones.



CONSTRUCTION is top notch and you know you have an high end earphones in your hands as much due to the weight of it than the feel of it. No sharp corner touch your ears even if the housing is sculpted with a mix of curve and angle, all is smooth, no asperity, and it is soft too, mate type of softness. Unlike many metal earphones (including B1), the B3 do not look easily scratchable, i do not always cary him in its case and as seen their not a single scratch on it. This look just invincible and i’m pretty sure it is, the metal is thick and the two part are stick togheter with 2 screw but i’m pretty sure it’s more complicate than that, so why not look inside?



DESIGN is just mesmerizing and sure have take lot of time to be achieved. More you look at it, more you discover the number of details in its conception and are in awe : nothing was let to hasard. The curve of the housing is made so it slip in your ears smoothly and comfortably, the back being sharper at edge do not touch the ears, and if some corner touch is its more polished and smoother than upper back angle. Nozzle is molded in same front metal housing part, and is just long enough for perfecrt fit with eartips, you can push it very far in your ears due to housig shape and as say, it will be the curvy, organicly shape part that will be in contact with you ear hole.



MMCX connector look heavy duty industrial and just unbreakable, but be aware connection with cable will be extremely tigh, wich make this a little too hard for cable swapping lover like me, Even with the sticky fabric ‘’tool’’ its extremely hard to disconnect...to the point I litterally hurt my thumbs and have a white spot on it for 3 days. So, yeah, that is sure securre connection for the iem but less so for your fingers! But, finally, the mmcx connection became smoother after connecting disconnecting it, it still securly tigh but easier to disconnect wich it's a BIG relieve!

COMFORT is excellent and in fact you dont feel the weight due again to meticulously thinked design, as the curvy part sit on your inner ear naturally. I can wear this all day without problem, no joke.

ISOLATION is insanely good as well, due to thick metal and excellent fit, it literally block all the outside noise once you put musc, and passive isolation without music is extreme as well. So, be aware it can be a little risky to do jogging or biking with the B3, but I do it anyway.

Even if their a little front venting, sound leakage is way above average and near dead silent. Only bats will be able to hear any sound as I can conclude with high volume music playing while i block nozzle end with my finger. I need to put my ear on the vent to hear something.

DRIVEABILITY is quite easy and will most likely be properly amped with any audio source because of low impendance, but the 102db sensitivity is not the highest for proper sound pressure dynamic so yeah, I tend to prefer using powerfull source or portable amp than cranking the volume higher with less powerfull DAP like the Xduoo X3.

SOUND IMPRESSIONS:



First impressions was very positive, and perhas my more immediate crush of whole b serie. Does it mean it give me a violently joyfull Wow effect at first second I listen to the B3? Well, not exactly, and this is why in fact I still i’m as much (or more) impress one month after that the very first day I listen to them.

For people familiar with the E serie like me, they will feel in secure territory with the B3, but to a next level of definition, attack and imaging only well tuned balanced armature can offer. Mix the E4000 and F4100 sound and you pretty close to what the B3 will offer to you, wich is a sumptuously balanced sound with thick timbre, tigh attack and revealing clarity for those who contemplate the sound with curious ears. For passive listener, even if yes, the B3 will impress by high level of clarity, it will not be as much fascinating than those that explore musicality.

Whatever music style you throw to the B3, it will deal with it likeslightly warmed studio monitor , should it be ultra fast and complex jazz rock, electronic IDM or solo violin, the rendering will be accurate yet never harsh or agressive even if the B3 is sure brighter than E4000 or E5000.

We know we are in high end territory when an iem feel as much well rounded in timbre than tonality and attack, yes, these BA’S are fast and have weight impact, but it do not sound forced, all is natural and musical. Treble is buttery and do not push the highs in front of other sound layers, its neither rolled off like the E serie, micro details are their own space in back layers and they aren’t thin, dry or too sharp or brilliant. Perhaps some will prefer more decay to classical guitar or some type of percussion, but this would interfer with overall treble articulation, wich is to my ears extremely well controled.

About the balanced armature limit for bass rendering, from what I read, no BA can dig lower than 50hz, but I think psychoacoustic as well as housing acoustic can solve this issue, because with the B3 bass dig very low, have weight and even a tigh rumble in lower end, but sure its not a basshead earphones and the slam weight is more in mid bass tough not in an peaky overly coloured way.



SOUNDSTAGE is wide and deep, with average tallnest and not the most airy, its quite spacious for a dual BA’S and surround your head nicely, never feeling too intimate or frontwarded. As always, the soundstage isn’t particularly airy, and I think this is due to how the treble play it as neutral as it can, but I would like that Final Audio engineer find a way to give more decay to upper range instrument like harpsichord, I think its possible with multi BA without affecting imaging or distraction the listener.

IMAGING is excellent and accurate , instrument placement are very clear and articulate and offer a mix of layers and spacial placement that give a rich, realist and energic presentation to whole musicality.

TIMBRE have good thicknest that do not interfer with their textured transparence, it have a palpable sens to it due to how well rounded instrument note sound, this type of approach make it for a versatile neutrality in sound approach, in the sens there is not emphasis colouring to affect frequencies range wich would result in brighter timbre for some instrument and dryer one for other etc.

BASS is fast, weighty and midly punchy, it’s not your normal BA type of bass as it have quite a lot of body to it, even sub line have plenty of presence and well rendered texture that do not feel forced. Yep, I can bang my head listening to heavy sub kick without distortion (!) in ‘’Pick Six’’ track from Gila at high volume, but I prefer way more listening to Bach cello sonata that sound utterly delicious, realistically bodied and lively.

Fascinating is the bass due to extremely well articulate presentation that separate lower end and mid bass without any hint of muddyness, as Final Audio explain in their B3 presentation, you will enjoy EDM as much as classical with those and it’s true, when I listen to super fast ‘’Tessellations’’ electronic track from Peverelist, we are in for a complex rythm treat were the 2 type of kick (sub and mid bass) stay layered and keep their tigh agility without affecting spaciality and definition of other percussion, so perhaps I was lying when I say the B3 don’t Wow afterall.


MID RANGE is gently fowarded, very clear and articulate, with polished bright timbre that have just enough thickness to keep great transparence. Accuracy and imaging of whole mid range is cover naturaly, nothing feel forced or favorised, every type of instruments or vocal keeping their lush individuality. Piano is particularly enjoyable and will not mix with signers voice, making definition incredibly refined and spot on, every note have good weight and impact with just enough decay to not make them dry. I always beleive Final Audio audio engineer are either passionate about Glenn Gould, piano tuner or player, because rendering is really accurately reproduce and life like. But as said, every part of mid range sound great, sure perhaps some will prefer thicker warmer reproduction of male vocal, but this would inflict other instrument surrounding this voice and make it for a less clear representation. Signer like Rhye do not sound thin at all, its like a mix of brightness, thickness and breathyness wich give rich transparent presence to its sweet voice and never create sibilance in upepr mids even if detailed in this region. Agnes Obel, wich play piano and have often cello l arrangement in its song, benifit from next level of clarity the B3 offer, as we can heard its voices layering clearly as well as her piano playing and cello, all fully bodied and with natural texture.

TREBLE extend well until it begin a drop in mid treble around 14khz, after we have a little bump in far upper treble wich help with decay. It’s emphasis is more in lower and mid treble wich continue a near neutral curve that begin at lower end, this make the B3 near reference monitor sounding with a high level of revealing accuracy in principal human hearing range. Highs are thick and crips, fast and accurate, but not peaky or overly sharp. Treble sensitive people will be rewarded by this treble approach, as it act as if it was very extended without the agressivity or harshness i can have created with a too peaky approach. I do not consider the B3 as analytical or extremely revealing in an artificial way, everything is there for you to discover by yourself and if you are a critical listener, you will understand level of richness this treble deliver smoothly.

SUB BASS : 7.5/10
MID BASS : 8.5/10
MID RANGE : 9/10
TREBLE : 8.5/10
SOUNDSTAGE : 8/10
IMAGING:9/10
TIMBRE : 9/10
ATTACK : 8.5/10
DECAY : 8/10

PAIRING :


With RADSONE ES100 : Do justice to its fast attack, good imaging but tigher decay, timbre well defind but less thick, vocal very clear but more fowards and bright. Good pairing with enoug power to drive properly the B3, give a hint more brightness-fowardness, but still very neutral if perhaps lacking bass body.

With IBASSO DX90 : Thick bass and good body, great clarity and attack, soundstage is wide and deep, treble extended nicely without peakyness. Plenty of power to drive them. Natural, rich timbre. Excellent.

With Xduoo X20 : Colder sound and more trebly on top, thinner timbre and lighter in bass, vocal slightly harsher on tope, great clarity, very detailed in upper range. Attack isnt as good in mid and low than in highs. Not the best pairing, too sharp and brilliant.

With Xduoo TA-10 hybrid Tube DAC-AMP : Plenty of power, warmer overall sound that thick the bass but affect imaging negatively, vocal sound wider and smoother but less transparent, upper treble feel veiled. Soundstage very wide but lack deepnest. Interesting pairing but not versatile.

With Xduoo X3 : Unamped it sound rather bright and lack dynamic, wich affect imaging and weight in attack. Once amped sound open deliciously, giving very detailed timbre with good thickness, fast tigh bass well rounded, fowards intimate vocal and crips high with good decay. Great pairing with the Burson V5i amp.

MUSIC STYLE PAIRING :

CLASSICAL : 2 thumbs up
JAZZ : 2 thumbs up
ROCK-INDIE : 2 thumbs up
METAL-FAST AGRESSIVE MUSIC : 2 thumbs up
FOLK : 2 Thumbs up
SINGERS SONGWRITERS : 1 thumbs up
ELECTRONIC-IDM-EDM : 1 thumbs up
BIG BEAT-RAP-D&B : 1 thumbs down
POP : 1 thumbs up


COMPARAISONS :

VS FINAL AUDIO E5000 (300$) :



One of my favorite sub-500$, the E5000 have lush and thick bass and mids with an addictively smooth timbre, as well, the vocal are very bodied and clear for such a U shaped towards neutral soundsignature. It will be interesting to compare single micro dynamic drivers against the dual balanced armature drivers of the B3. For this comparaison I use my Xduoo X3 pluged into Walnut V2S+Burson V5i as portable (powerfull) little amp. Xduoo being slightly bright and detailed, the warm V5i dualOPamp made it for a great pairing with both earphones. To note that E5000 is quite harder to drive than B3 with its lower sensitivity. As well, I use the Ibasso DX90 without extra amping because this DAP is already powerfull.

SOUNDSTAGE of E5000 is as wide as B3, but less deep and tall, it have as well a less out of your head holographic presentation.

IMAGING have again a more stereo like presentation than surround one of B3, its less clear and accurate due to important bass warmth of E5000. Still, instrument placement is good, its just that the space between instrument is less warm with B3, wich make layering more transparent too with it.

BASS is thicker, weightier, warmer but slower in attack than B3. E5000 timbre is addictively juicy and its sub dig deeper, making the E5000 more impressive in term of bass extension and presence, but the presentation is warmer, less controled and less detailed in timbre than B3. Slam is weightier and will please basshead, while B3 is tigher and faster with higher resolution, making it better for rock, fast jazz etc. Mid bass is more fowards and punchy with B3, but body feel a little thin after listening to thick E5000, still, again, resolution and accuracy is better due to tamed mid bass and drop of E5000.

MID RANGE isn’t as much warmed or recessed than one would think with E5000, in fact, lot of audiophile are addict to their warm and full sounding vocal that avoid any sibilance without loosing too much in clarity or presence. I’m one of them, and while the B3 have clearer and more fowards vocal, they are more intimate and centered, so we can say they are hyper realist compared to analogish E5000 vocal. But even if the vocal win in musicality, mid range isnt just about that and its were the B3 sound way more accurate and refined as well as detailed, the E5000 have limit to its transient response when it come to music playing lot of instrument togheter like jazz sextet or classical symphonie, it can even came to the point it sound congested and messy while the B3 will deal with anything and show an unseen level of agility for a dual balanced. Sure, the B3 is more agressive than the laid back and sensual E5000, but never to the point of creating sibilance, harshness. Mid range is fully covered by the B3 and life like sounding while E5000 have a more poetical way that make it less versatile for complex music style.

TREBLE is more emphased with the B3, but still quite softened in upper range, highs have more sparkle but mostly more micro details from lower to upper range compared to more relaxed overall treble of E5000. Still, E5000 deliver plenty of details in lower and mid treble and do not feel anemic in term of detailing. Where it differ its in clarity and vividness, with E5000, even the percussion sound thicker in timbre wich is incredible but affect attack speed and decay to some degree. B3 is sharper, more accurate but still balanced and not coloured in upper region, here, its all about well framed realism.

Like the beautifull luscious lazy lady wondering on the coach in the Francois Boucher painting, E5000 sound is slowly contemplative and voluptuous while with B3, we have a grand realist old master painting that you feel you can enter and travel into.

E5000 make me think of this indolent and sensuous 18th painting of Francois Boucher :



While B3 make me think of this grand, lightful, alive and detailed 17th painting of Claude Lorrain :




VS AUDIOSENSE T800 (300$) :



Now, well, this new budget flagship earphones have 8 Knowles Balanced armature in its big resin shell, is it a fair fight against 2 BA’s of the Final Audio B3? Priced at 500$, B3 is neat twice the price of T800, but tuning work is sure from another level and let’s see why in this comparaison.

Firstly, T800 even with 4 times more BA’s is easier to drive than the B3, but this make him more prompt from background hissing with bad pairing audio source, in another hand, the B3 benifit from powerfull source to open its overall sound.

In term of construction, both are mindblowing and well, quite different, resin housing have the advantage of not becaming cold in winter, while the stailess steel housing of B3 have the advantage of being way smaller and comfortable as well as practical for futur repair if needed because of 2 part screwed housing concept. The T800 will not fit every ears, this is an unfortunate fact, while the B3 will fit even the smaller ones.

SOUNDSTAGE is wider with the B3, but the T800 is taller in deeper even if less out of your head and airy.

IMAGING of both is quite incredible, and even if B3 win in term of cohesion and realism it is less analytical and sharp in instrument separation than the T800. In real life, the soundwave mix togheter on the stage, but if every instrument have their own spaekrs, we have something more revealing and fowards, like the T800.

BASS have more slam and weight with T800, its more fowards too, but loose in timbre as well as definition being sometime boomy in lower end where B3 is more accurate. B3 is smoother in attack, notably less coloured in sub region, wich make it way more neutral in low end than muscular and fun oriented T800. In some sens, B3 sound like a well balanced slightly bright single dynamic driver compared to super muscular bass Knowles Bas used for T800. For acoustic music, B3 bass is more appropriate, while T800 is delicious with well produced electronic and Pop.

MID RANGE is again very foward and clear with the T800, but it have more a balanced armature than B3 and lack a bit of thickness in timbre, here I seriously find the B3 from another league even if the vocal do not feel as singular and appart from rest of sound spectrum as T800. Male or Female vocal soud full, natural and textured, they have more body than T800 wich feel dry and slightly harsher in upper mids. T800 is more capricious about vocal, more their will be instrument, more the mid range transient response will be affected to some degree. Cohesion is perhaps warmer and less vivid with B3, but tonality and timbre is better. For example, piano note have more well rounded not and sound right compared to more artificial sounding one of T800.

TREBLE is more peaky with the T800, wich sure extract more micro details but have less balanced highs wich can sometime make the percussions being too fowarded and stole the whole show, again, sometime this is very pleasant and spectacular but the softer and more natural treble of B3 will never create ear fatigue like the T800. Final Audio tuner are genius about treble, they do not want to over emphasis any region and in fact the treble help more the mid range richness and accuracy than upper highs, wich are rarely fowarded (with the exception of F serie). Even if more analytical than E5000, they sound quite laid back in treble compared to T800. While attack is softer in upper range, decay is longer and I think its due to housing space being fullfill by BA’s with T800.

Here, the Audiosense T800 make me think about vivid colorfull expressionist painting (Starry Night) from Van Gogh. The glowing stars represent the treble.


CONCLUSION:



When you eat too spicy, sugary or salty food, your long term tasting can be affected so you can’t discover more subtle flavors that are hide in whole recipe. I like well balanced spice that do not hide subtle natural flavor of aliments, and with the music listening more and more I mature and more I tend towards epicurism instead of intense hedonism.

With Final Audio, you rarely have a sound shortcut that give a spectacular sudden wow effect to the cost of omiting certain part of sound spectruc or dynamic, sure, if you are a critical listener you will be wowed, but what I mean is that the meticulous tuning of the B3 is so rightly done that its naturalness even if vivid and very clear did not emphasis any frequencies range. Its quite flat but in a life like and energic way that respect musicality too, unlike cold sounding monitor speakers or iem, the B3 timbre is slightly smoothed for a balanced armature and the treble even if revealing never sound agressive to me.

Only music style that will not impress you is the one that are thinked for coloured sounding iem, in other words, for bass head, and to me, basshead aren’t bass lover they are physical slam lover. A bassist will love the B3, but not an amateur of boomy iem.

With a construction that is as beautifull than comfortable and durable, the 500$ price tag of B3 is justify due to the fact it’s a lifetime investment with a reference tuning that will stand test of time with its wide versatility. If your on the search to invest wise money into a superbly crafted iem that offer neutral, vivid and accurately revealing sound as well as long durability, great isolation and great comfort, the Final Audio B3 should be on your Top List and that even if you already have other iem from this company.

After auditioning final B3 multiple times in the past 2 or 3 years, and liking them of course, I took an opportunity recently and purchased a pair at a very convenient price. Originally released in 2019 and still in full production to date, B3 retail for € 499 in EU.

Important foreword​

I feel it’s appropriate to extend an informative preamble here, you’ll understand why as you read on.

As you might (or might not?) know, the people at final do take a quite scientific approach to acoustics, and to their headphones design in consequence. If you didn’t yet, I warmly recommend you to spend a couple of hours (or more) on this article.

Until a few years ago final’s strategy line was to develop “in-ear versions” of their flagship D8000 headphones aiming at delivering something as close as possible to the “allrounder” archetipe. Such was, and still is, their E-series.

Later on, final took a different approach: investigating specific musical genres and their listeners’ preferences and/or requirements as a basis to develop IEMs focused on each particular situations.

Final A- and B- series are the results of such different strategy.

Final shared some more detail regarding their studies and consequent choices.

First and foremost they put attention on the aspect of “distance perception”.

When listening to some musical genres – namely orchestral classical or big band jazz – more than others spatiality is key. Thinking to the “real thing” (the orchestra in the theatre) you expect, and therefore you want , to “feel” their music “in a big room”, and perceive the different distance the various instruments or instrument grups are placed at from your seat, and from each other.

Oppositely, when one listens to hard rock, pop, or even small-group jazz (think to a trio in a smokey canteen) widespread 3D spacing is not important as indeed it does not correspond to “the real thing”. In such situation you indeed expect a group of voices playing physically close to one another, and what you want is not hearing them artificially scattered here or there, rather you want them to be rendered “sonically well separated” from one another.

When at a live venue of a small group you do in facts always discern the guitar from the bass and the voice even if they are all standing on a stage less than 10 square meters – such discernment capability is instead too often “lost in translation” while we listen to corresponding audio tracks.

Another key element that final focused on is what techies call the sound’s “dynamic range”.

Vulgarly translated, think to dynamic range as the number of distinguishable shades of a certain physical quantity. A box with 12 colored pencils from dark red to black is an example of a much tighter dynamic range compared to a big box of 144 Caran d’Ache, still going from dark red to same black.

Ported onto audio terms, a wider dynamic range sound is what you want to appreciate all the most minute variations Maria Callas was able to issue while warbling, or Uto Ughi can deliver from a Guarnieri del Gesù.

Oddly enough, in some cases a wider dynamic range is less desireable. Using only 12 colored pencils, in facts, it is much easier to tell a red from an orange, even if they are drawn one adjacent to the other, for the simple reason that there is apriori only “one” red and “one” orange in your palette, not a dozen different intermediate nuances of each.

When you have “a lot of space” in between two color (or sounds) spots, one blue the other red, you can have each reproduced with more subtle nuances. Oppositely if the two spots are closer to one another, or even overlapping each other, your first priority is to avoid they mix into a violet!

Thinking in these terms, orchestral music, or anyhow music composed of many “voices”, be them acoustic or electronic, coming from multiple, spread-out physical positions will better require higher space reconstruction and dynamic range capabilities.

Oppositely, music generated by very few instruments/voices/sources playing shoulder-to-shoulder will rather want all voices to be “more or less in the same spot”, and that’s when the highest available proweness in rendering them clearly distinct from one another becomes crucial.

The B series has been developed exactly thinking to such last mentioned applicative scenario: small groups acting on physically small stages, with overlapping sounds and voices – calling for relatively lesser need for “spatial amplitude” in exchange for much higher sonic separation capabilities.

This graph taken from final’s web site is at this point quite readable.



https://snext-final.com/files/topics/881_ext_08_en_0.jpg?v=1561543365

The term “Clarity” in this case is used in the sense of “being able to tell different sounds apart from one another”.

For completeness: the opposite scenario is the typical big orchestral setup, involving many voices positioned on a quite (or very!) sizeable physical stage. In such case priority #1 is rendering the amplitude of the original, real scene. Technically, translates into micro-managing sound timing, and rendering distant sounds as clean and articulated as close ones. That is final A-series ballpark, instead.

At the end of this lengthy preamble, I hope I made its very reason obvious: don’t blame your Fiat Panda turtle speed and deafening noise if your purpose is covering 50.000 KM/year on motorways, nor criticise your BMW 530 if costs your a pretty penny of gas in the messy downtown traffic.

Full Device Card​

Test setup​

Sony NW-A55 mrWalkman / Questyle QP1R / Questyle M15 / E1DA 9038SG3 / Questyle CMA-400i – Stock Final E tips – Dunu DUW-02S silver plated cable – lossless 16-24/44.1-192 FLAC and DSD 64/128/256 tracks.

Signature analysis​

Tonality

B3 are just a bit on the bright side of neutral, with a presentation I would call roughly W-shaped. The timbre is very interesting: notes are clear and bodied, detailed and meaty – not simply “analogue”, rather “organically lifelike”. Veeery different from what’s commonly called “BA timbre”.


Sub-Bass

Sub-bass reflects the inherent limitations of BA drivers: its extreme end is in facts modestly rolled off. Not a big deal for my tastes: standup bass rumble is there anyhow. I can make it a bit more evident with some light EQing, which B3 bear with a certain tranquillity.


Mid Bass

Mid bass is very good but before that it’s… surprising. The BA driver reserverd to B3’s mid and low frequencies yields solid body and relaxed-calibrated transients, delivering still fast and punchy yet – very uncommonly for a BA – textured, flowery and meaty notes. For my personal taste B3’s midbass is at times even a tad too “imperative” – first time I hear such situation on a BA driver. Again, this can be easily corrected by some light EQing.


Mids

Mids are just spectactular: moderately forward, bodied, textured, articulated. Acoustic piano, guitar and tenor sax benefit most from this tuning.


Male Vocals

Baritones on B3 sound natural if just a whiff too much bodied to come across as “totally” realistic. Tenors are better in this sense: less “flowery” then baritones while still very much organic.


Female Vocals

Opposite to the male case, female voices are very good and cured, yet a purist might say they could use a bit more butter. And that’s true, in a sense, but in such case the rest of the tones “around” the soprano would have to be adapted too, to avoid losing coherence.


Highs

One of the two BA drivers is exclusively dedicated to this segment, with the quite obvious target of delivering an engaging and detailed experience while staying rigorously south of excesses. And boy did they succeed! A very good compromise has been reached here between note body and fine granularity, livelyness and unoffensiveness.

Technicalities​

Soundstage

Unsurprisingly considering their apriori design choices, B3’s soundstage is not more than average for it price class. It is however, if modestly, extended in all directions including some depth. Caveat: stage size also depends on fit – deeper push-in = narrower scene, as always.


Imaging

All instruments are well cut-out from the ensemble – for how closed-in may it be – and realistically cast on the scene with good body, to a very organic result.


Details

Detail retrieval is very good on B3, however you shouldn’t expect a “detail monster” effect, whereby details are thrown at you as “the first thing you hear”. It’s indeed the other way around here: on the frontline you hear main-bodied notes, while back layers bring you the details that complement the sound richness.

That’s very likely the consequence of the precise tuning choices operated in particular on the trebles, where as I mentioned above an evident succeeded effort has been applied to delivered the highest possible energy while never scanting into excess and fatigue.


Instrument separation

Layering and instrument separation is arguably where B3 deliver their best. Capitalising on their timbre clarity, on the accuracy of their tonal calibration, and – why not – on particular driving hardware features, they deliver a really uncommon separation quality. If their design purpose was to render small, closed-in groups with the maximum single-voice definition, they no doubt hit the bullseye here.


Driveability

It’s not so easy to drive the B3 due to quite modest sensitivity (102dB/mw). Nothing as hard as a nasty planar however – a modestly amplified source is basically enough.

Physicals​

Build

Housings are produced by Metal Injection Moulding, a process involving mixing steel powder with another element to form a resin which is then moulded at high temperature into the desired shape. The result is solid and sturdy, and aesthetically very pleasing at least for my tastes.


Fit

A 3-contact-point fit between the housing and the outer ear has been designed by final aiming at the best compromise between wearing firmness and light stress accumulation over time.

The design idea is quite brilliant to be honest, the rationale being: you need (just) 3 grip points to obtain stability. One is the eartip umbrella, inside the canal. Another one is the housing’s short front side vs the tragus.

And the third can be any one of the possible 4 contact spots between the housing’s shaped back side and the concha – depending on one’s ear particular shape that of course will happen on one or another position. I would say that for my experience it works as intended.

What I just find sub-ideal is the nozzle length which is a tad too short and makes tip selection pickier than it should. In my case the working trick luckily “just” stays in choosing a bigger size for my left ear: that gets me a firm grip and seal even if the tip stops “just in” the canal, relieving the need to push the housings too much into my left concha.


Comfort

B3’s particular housings size, their 3-point-fit design, and their external finish all contribute to a good comfort once I found my right “personal” position.


Isolation

Passive isolation is quite nice once B3 are properly fitted, but not more than that as the housings are not designed to “fill up” the concha, which would of course block more of the leak.


Cable

Stock cable is Final C106, a Junkosha silver plated copper with fixed 3.5 termination – it’s the same cable bundled as stock on A8000 and E5000. I recently focused how sonically limited such cable is – it’s at best on par with some quite cheap chifi alternatives, with the bad difference of it retailing for like 200$ when purchased alone.

In addition to that no modular termination plugs are available, so pairing B3 to a balanced source requires swapping it anyhow. To this day in 2023, and for packages like B3 starting to cost around 500$ list, I think final could do better.

After some cable rolling for my experience better stay on silver plated – pure copper “combs” B3’s trebles a bit too much – so I find Dunu DUW-02S an adequate quality option for B3. Compared to stock layering and note contouring get obviously better, and bass is better defined, less flowery.

Specifications (declared)​

Comparisons​

I’ll list a few comparisons down here, trying to be (for once) quite succint while hopefully informative enough

final B1 (€699 EU list)​

Insofar as another member of the B-series, B1 follows the same apriori musical pairing indications as B3. Featuring a Dynamic driver in the mid & low frequencis in lieu of B3’s BA driver, B1’s timbre is full and lush, tonality is obviously warm and V-shaped, their bass is viscerally deep and authoritative (even too much), mids are more recessed, and trebles are relaxed. If B3 pleases those like me longing for organic, unadultered acoustic renditions, B1 obviously caters to people liking bass-colored, energetic playbacks. B1 is also very tricky to drive, requiring much more current than most portable sources are able to deliver, and when underbiased they sound dark and quite ugly (E5000, anyone?).

final F7200 (€ 469 EU list)​

To me F7200 are [even more] specialised drivers, particularly dedicated to vocal performances like songwriters singers etc. Pretty much the single best driver I ever heard on that application. B3 offer more bodied, natural and more extended bass, and a bit better trebles.

Intime Miyabi (JPY 21000 + import costs)​

Miyabi offer a more “classical-all-rounder” presentation with stronger bass personality, and those unique piezo-trebles-without-piezo-timbre. A close call on layering and separation with the edge probably in Miyabi’s favour, if not by much. Mids are better on B3, which also deliver “silkier” notes all over the spectrum, but cost twice as much.

final A5000 (€ 299 EU list)​

As I tried to outline in the foreword up above, A-series stems from a polar-opposite design intention (rendering big bands instead of small groups) – no wonder then how B3 and A5000 sound different like day and night. A5000 draws a much wider space, and cast instruments all over it with a lot of clean air in-between one another. Notes are dryer on A5000 all accross the spectrum, its timbre is leaner, detail retrieval is “more upfront”. High mids and trebles may be “hot” for some on A5000, which do react very positively to EQ however. TL;DR: A5000 and B3 are fundamentally “complementary”.

iBasso IT04 (€ 499,00)​

IT04, too, feature particular proweness on layering / separation, and prefer casting a more intimate scene with band elements imaged as more closed-in to one another. A very good job was done on IT04 bringing the 3 BA driver’s tonality close to their DD one, which however deprives IT04 of that little % of “treble life” which is there on B3 instead. IT04 has an open-V shape, warm-ish presentation in lieu of B3’s more W-shaped, bright-neutral one.

Oriveti OH500 (€ 499,00)​

OH500 offer a U-shaped, warmer presentation compared to B3. Both ends (bass and treble) are more evident on OH500. Layering, separation and detail retrieval are better on B3, more so in the low end. OH500 are (even) pickier to drive then B3.

Dunu EST112 (€ 489,00)​

EST112 has slower and fuzzier (bur more visceral) bass, not as full vocals and a bit more tamed trebles (which are in my books EST112 Achille’s heel tbh) compare to B3. Stage casting is a bit wider on EST112, layering is better on B3.

Considerations & conclusions​

B3’s main cyphre is realism. When applied to the music they were designed for they gift their owner a stunning sense of physical presence on the scene. Instruments and players are cast near you such that you can almost reach out and touch them.

Even more importantly, B3 deliver a note discernment capability over the music being played which gets surprisingly close to that of your own ears when you are sitting in the front lines of a live venue. All of this paired with a deliciously organic timbre on a bright-neutral tonality.

As my eighteen readers know I am not a collector. Life is too short, and I have too little free time to spend any of that on second-best options, when I am lucky enough to have more than one availalble. B3 are part of my (very) short best-option list.

This article originally appeared on audioreviews.org, here.

P.S. – for the record: as any truly affectionated user knows spelling, “final Co., Ltd.” lowercase (“final”) is not a typo