dududuckling
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Thank you so much! Just what I was looking for
Cayin N7: A Voyager of Unexplored Frontier
- Thread starter Andykong
- Start date
It’s been a couple of weeks now since I’ve gotten my hands on a Cayin N7 so I thought I’d leave some impressions. I won’t get into the unboxing etc as there are plenty of reviews that cover this, I’ll look to concentrate on sound. I will however say that the provided case is great quality, I can’t say I’m the biggest fan of the yellow but there’s method to Cayin’s madness… enter Cayin’s optional “Royal Blue” case which is also available… at a price 
Either way, it’s a nice case which does it’s job perfectly well and frankly I’m quite surprised its provided as standard. I will also say that the build quality is superb, it feels sturdy and reassuring in the hand and has a heft to it which screams quality. The buttons and volume knob feel tactile and of high quality, much better than some of the competition from the likes of ibasso etc. A criticism here being an Astell & Kern design lover, I wish that the volume knob had more of a tactile ‘click’ to it with more resistance, a minor nit-pick in the grand scheme of things with the control still feeling of high quality and premium in looks.
IEM’s used: Empire Ears Odin, Vision Ears EXT
Sources used to compare: Shanling M9, Chord Mojo 2
Treble
Keywords: Natural, Extended, Smooth, Detailed
Arguably the least memorable aspect of the N7, at least to me. The treble is smooth, slightly laid back and unaggressive yet extends well and is no less detailed than the rest of the frequency response. When going back and forth with the Shanling M9 its clear to see that Cayin were going for a natural, uncoloured approach here. It’s quite unique in that I don’t hear a roll off in the upper treble, it’s just linear and laid back which lends to an easy listen. This may be considered a selling point to those who consider themselves treble aficionados as I haven’t heard a treble with this mix of characteristics before, smooth and detailed tends be at the expense of extension in my experience. This treble makes the N7 an especially great pairing for those IEM’s that may be perceived as being a little spicier up top like Odin. The downside of this sort of presentation is that its unobtrusive nature doesn’t make it stand out against the backdrop of the rest of the players highlights despite nothing being wrong with it in isolation. The Shanling M9 comes across more pronounced here and in your face / excitable at the expense of naturalness.
Mids
Keywords: Spacious, Airy, Natural, Convincing
The Mids of the N7 are exceptional for my preferences, they sit a little back in the mix and are expansive and natural. I’d say they sit slightly behind the mid bass and are given plenty of room to breathe, there is a clear separation between the mid bass emphasis and the expansive Mids. This portrayal is aiming for realism over being a clear-cut reference type of presentation which can sometimes come across as unforgiving, clinical, and unnatural. The spaciousness is quite apparent when A/Bing with the already accomplished in this regard, M9. Staging is the best I’ve heard with layering in this range being superb and works very well with the imaging aspects of the player which I’ll delve into later. Notes weight is on the weightier side which adds body and textured to Odin’s nimble signature. It also plays well with EXT’s already excellently textured midrange, something I feared wouldn’t be the case (too much of a good thing and all that). Not one region of the Mids is accentuated to my ears, they come across as linear and alongside the fantastic imaging and layering, lends to an immersive and convincing listen.
Bass
Keywords: Organic, Mid-bass centric, Substantive, Textured
A great sense of PRaT originates from the bass of the N7 with a clear emphasis on mid bass punch over sub bass rumble. I don’t feel that the sub bass is lacking however, mid bass just takes a more prominent role in the signature which is more apparent when coming from a sub bass emphasised source like the Shanling M9. When the Cayin C9 is added into the mix the balance between sub to mid bass is more even keeled with boosted dynamics and extension in all areas of the staging. Without the C9 the player presents the sound in a more amphitheatre-esque type presentation with grand left to right stage dimensions with plenty of space between instruments. Bass has similar attributes to the midrange, being thick, meaty, and textured, and imbuing the player with that great sense of PRaT. When going back to the M9 after becoming accustomed to this signature the PRaT and musicality imparted by the N7’s bass is sorely missed, making the music sound lifeless and reference in comparison.
Staging / Layering / Imaging / Dynamics / Tone
Keywords: Spacious, immersive, grounded, convincing, sure-footed, airy, nuanced, neutral
I think the characteristics herein is what differentiates the N7 from a lot of sources and should be considered the main selling points over other players. The N7 comes across as relatively neutral in tone to me when compared to the warmer M9 but not quite as neutral or ‘matter of fact’ as the Mojo 2 (with no EQ applied). I’ve read from a few sources that the N7 is a warm DAP however this is not how I hear it despite the clear Mid bass emphasis. The 1-bit DAC comes across as extremely smooth and effortless, with the leading edge of notes having a rounded, tangible quality to them which lends to all day listening without fatigue. This is quite evident when going back to the M9 which comes across as comparatively two-dimensional, etched and somewhat superficial. I believe these attributes may contribute to this perception of warmth.
Despite not being as hard edged as the AKM / ESS counterpart, the 1-bit DAC is great at extracting detail (although the M9 takes the crown here, with the Mojo 2 trailing the N7 in both resolution and detail retrieval) and renders images marvellously, the best I’ve heard in fact. Imaging is pinpoint on the wide stage and the density of the imaging is so convincing and tangible which further adds to the natural, encompassing nature of the player. I can confidently say that I haven’t heard imaging like this from any other source. Layering is also another highlight with the staging depth of instruments being clear cut and easily discernible. The culmination of these qualities adds up to an immersive, holographic experience which is intoxicating and extremely fun to listen to. As cliché as it sounds, I was genuinely going through old music which I hadn’t listened to in years to see how the N7 depicted it… and I wasn’t disappointed, the N7 breathed new life into tracks and made me engrossed all over again.
I’d be remiss not to mention how the N7 renders vocals. It has this uncanny ability of putting the singer right Infront of you, floating in their own space away from all other aspects of the music. I’m not sure how it manages this, but I think it’s in part due to the surefootedness of its imaging, the space and breadth allowed to the midrange alongside the players excellent layering capabilities.
Dynamics are great although I would opt for the M9 if you are looking for a player that accentuates those dynamic swings. This is a clear win for the Shanling given its emphasis on Sub bass and upper treble, it’s a player that’s great for electronic music but can sometimes evoke a sense of uncanny valley when listening to instruments and vocal centric music, areas in which the N7 excels. When the C9 is added into the mix you get the best of both worlds with dynamics getting a significant bump alongside stage dimensions.
Amp – Class A vs AB
For those of you who are familiar with how these AMP modes impact the sound of the C9 will be right at home with how the N7’s signature changes when going between them. Much like the C9, in Class A mode the N7 sounds slightly more detailed, warmer and fuller while in AB it sounds cooler and slightly less details, but airier and more dynamic. The differences between these modes on are much more pronounced and easier to discern on the N7 compared with the C9 however and adds some great versatility.
Paired with the C9
Pairing the N7 with the C9 is simply exceptional, there’s not a doubt in my mind that the N7 was designed with use alongside the C9 in mind. In pre-amp mode it takes the amphitheatre-esque staging of the N7 and expands outwards, all the colourings and characteristics of the player (mid bass emphasis, spacious midrange, laid back treble) remain intact but are taken up a notch. Odin does have significant waterfall hiss in this mode once music starts to play however, this isn’t the case with line out.
Line out goes for a different approach with a more spherical presentation, adding further verticality and dynamics into the mix. Sub to mid bass is more even keeled and the laid-back nature of the treble gets an injection of energy. The staging is huge, the largest I’ve heard and its clear to see that the internal amps of M9 and Mojo 2 are the bottleneck here, preventing the C9 from showing its full potential. This combination is the most immersive and impressive I’ve heard in terms of pure musicality and immersion, besting the Hugo 2 / C9 in wow factor, engagement, and musicality.
Overall
If you’ve made it this far you may have picked out a re-occurring theme throughout this breakdown, the N7 is the most natural and convincing source I’ve had the pleasure of listening to. While Detail retrieval isn’t of the highest level (it’s no slouch either), the players spatial aspects alongside its tuning make it an absolute joy to listen to and extremely engaging. This isn’t a player for those wanting to dissect their music by utilising hard, etched notes and shoving detail down your throat, this is a listeners DAP, made with pure musical enjoyment and immersion in mind. It’s mastery over spatial and staging aspects are its calling card, allowing you to experience old classics in a new way and inviting you to get lost in the music. It’s really made me re-evaluate what is important when purchasing high end audio gear and if that isn’t the sign of a great audio purchase then I don’t know what is.
Either way, it’s a nice case which does it’s job perfectly well and frankly I’m quite surprised its provided as standard. I will also say that the build quality is superb, it feels sturdy and reassuring in the hand and has a heft to it which screams quality. The buttons and volume knob feel tactile and of high quality, much better than some of the competition from the likes of ibasso etc. A criticism here being an Astell & Kern design lover, I wish that the volume knob had more of a tactile ‘click’ to it with more resistance, a minor nit-pick in the grand scheme of things with the control still feeling of high quality and premium in looks.IEM’s used: Empire Ears Odin, Vision Ears EXT
Sources used to compare: Shanling M9, Chord Mojo 2
Treble
Keywords: Natural, Extended, Smooth, Detailed
Arguably the least memorable aspect of the N7, at least to me. The treble is smooth, slightly laid back and unaggressive yet extends well and is no less detailed than the rest of the frequency response. When going back and forth with the Shanling M9 its clear to see that Cayin were going for a natural, uncoloured approach here. It’s quite unique in that I don’t hear a roll off in the upper treble, it’s just linear and laid back which lends to an easy listen. This may be considered a selling point to those who consider themselves treble aficionados as I haven’t heard a treble with this mix of characteristics before, smooth and detailed tends be at the expense of extension in my experience. This treble makes the N7 an especially great pairing for those IEM’s that may be perceived as being a little spicier up top like Odin. The downside of this sort of presentation is that its unobtrusive nature doesn’t make it stand out against the backdrop of the rest of the players highlights despite nothing being wrong with it in isolation. The Shanling M9 comes across more pronounced here and in your face / excitable at the expense of naturalness.
Mids
Keywords: Spacious, Airy, Natural, Convincing
The Mids of the N7 are exceptional for my preferences, they sit a little back in the mix and are expansive and natural. I’d say they sit slightly behind the mid bass and are given plenty of room to breathe, there is a clear separation between the mid bass emphasis and the expansive Mids. This portrayal is aiming for realism over being a clear-cut reference type of presentation which can sometimes come across as unforgiving, clinical, and unnatural. The spaciousness is quite apparent when A/Bing with the already accomplished in this regard, M9. Staging is the best I’ve heard with layering in this range being superb and works very well with the imaging aspects of the player which I’ll delve into later. Notes weight is on the weightier side which adds body and textured to Odin’s nimble signature. It also plays well with EXT’s already excellently textured midrange, something I feared wouldn’t be the case (too much of a good thing and all that). Not one region of the Mids is accentuated to my ears, they come across as linear and alongside the fantastic imaging and layering, lends to an immersive and convincing listen.
Bass
Keywords: Organic, Mid-bass centric, Substantive, Textured
A great sense of PRaT originates from the bass of the N7 with a clear emphasis on mid bass punch over sub bass rumble. I don’t feel that the sub bass is lacking however, mid bass just takes a more prominent role in the signature which is more apparent when coming from a sub bass emphasised source like the Shanling M9. When the Cayin C9 is added into the mix the balance between sub to mid bass is more even keeled with boosted dynamics and extension in all areas of the staging. Without the C9 the player presents the sound in a more amphitheatre-esque type presentation with grand left to right stage dimensions with plenty of space between instruments. Bass has similar attributes to the midrange, being thick, meaty, and textured, and imbuing the player with that great sense of PRaT. When going back to the M9 after becoming accustomed to this signature the PRaT and musicality imparted by the N7’s bass is sorely missed, making the music sound lifeless and reference in comparison.
Staging / Layering / Imaging / Dynamics / Tone
Keywords: Spacious, immersive, grounded, convincing, sure-footed, airy, nuanced, neutral
I think the characteristics herein is what differentiates the N7 from a lot of sources and should be considered the main selling points over other players. The N7 comes across as relatively neutral in tone to me when compared to the warmer M9 but not quite as neutral or ‘matter of fact’ as the Mojo 2 (with no EQ applied). I’ve read from a few sources that the N7 is a warm DAP however this is not how I hear it despite the clear Mid bass emphasis. The 1-bit DAC comes across as extremely smooth and effortless, with the leading edge of notes having a rounded, tangible quality to them which lends to all day listening without fatigue. This is quite evident when going back to the M9 which comes across as comparatively two-dimensional, etched and somewhat superficial. I believe these attributes may contribute to this perception of warmth.
Despite not being as hard edged as the AKM / ESS counterpart, the 1-bit DAC is great at extracting detail (although the M9 takes the crown here, with the Mojo 2 trailing the N7 in both resolution and detail retrieval) and renders images marvellously, the best I’ve heard in fact. Imaging is pinpoint on the wide stage and the density of the imaging is so convincing and tangible which further adds to the natural, encompassing nature of the player. I can confidently say that I haven’t heard imaging like this from any other source. Layering is also another highlight with the staging depth of instruments being clear cut and easily discernible. The culmination of these qualities adds up to an immersive, holographic experience which is intoxicating and extremely fun to listen to. As cliché as it sounds, I was genuinely going through old music which I hadn’t listened to in years to see how the N7 depicted it… and I wasn’t disappointed, the N7 breathed new life into tracks and made me engrossed all over again.
I’d be remiss not to mention how the N7 renders vocals. It has this uncanny ability of putting the singer right Infront of you, floating in their own space away from all other aspects of the music. I’m not sure how it manages this, but I think it’s in part due to the surefootedness of its imaging, the space and breadth allowed to the midrange alongside the players excellent layering capabilities.
Dynamics are great although I would opt for the M9 if you are looking for a player that accentuates those dynamic swings. This is a clear win for the Shanling given its emphasis on Sub bass and upper treble, it’s a player that’s great for electronic music but can sometimes evoke a sense of uncanny valley when listening to instruments and vocal centric music, areas in which the N7 excels. When the C9 is added into the mix you get the best of both worlds with dynamics getting a significant bump alongside stage dimensions.
Amp – Class A vs AB
For those of you who are familiar with how these AMP modes impact the sound of the C9 will be right at home with how the N7’s signature changes when going between them. Much like the C9, in Class A mode the N7 sounds slightly more detailed, warmer and fuller while in AB it sounds cooler and slightly less details, but airier and more dynamic. The differences between these modes on are much more pronounced and easier to discern on the N7 compared with the C9 however and adds some great versatility.
Paired with the C9
Pairing the N7 with the C9 is simply exceptional, there’s not a doubt in my mind that the N7 was designed with use alongside the C9 in mind. In pre-amp mode it takes the amphitheatre-esque staging of the N7 and expands outwards, all the colourings and characteristics of the player (mid bass emphasis, spacious midrange, laid back treble) remain intact but are taken up a notch. Odin does have significant waterfall hiss in this mode once music starts to play however, this isn’t the case with line out.
Line out goes for a different approach with a more spherical presentation, adding further verticality and dynamics into the mix. Sub to mid bass is more even keeled and the laid-back nature of the treble gets an injection of energy. The staging is huge, the largest I’ve heard and its clear to see that the internal amps of M9 and Mojo 2 are the bottleneck here, preventing the C9 from showing its full potential. This combination is the most immersive and impressive I’ve heard in terms of pure musicality and immersion, besting the Hugo 2 / C9 in wow factor, engagement, and musicality.
Overall
If you’ve made it this far you may have picked out a re-occurring theme throughout this breakdown, the N7 is the most natural and convincing source I’ve had the pleasure of listening to. While Detail retrieval isn’t of the highest level (it’s no slouch either), the players spatial aspects alongside its tuning make it an absolute joy to listen to and extremely engaging. This isn’t a player for those wanting to dissect their music by utilising hard, etched notes and shoving detail down your throat, this is a listeners DAP, made with pure musical enjoyment and immersion in mind. It’s mastery over spatial and staging aspects are its calling card, allowing you to experience old classics in a new way and inviting you to get lost in the music. It’s really made me re-evaluate what is important when purchasing high end audio gear and if that isn’t the sign of a great audio purchase then I don’t know what is.
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Loftprojection
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Great review, very well done.
Would you by any chance own a tube desktop amp that you could give us some comments on the performance of the N7 DAC feeding a desktop amp against another DAC? Thanks again.Thank you very muchGreat review, very well done.
appreciated. I’m afraid I do not own a desktop AMP.
FooFighter
Headphoneus Supremus
Using N7 balanced into Topping A70pro Desktop Amp into notorious DCA Stealth headphones.
What a burst of organic and smooth sound and some extra vocal glaze.
Wide stage.
Exactly what I was looking for cheering up the damn neutral Stealth.
Sp3k was too reference neutral and unpleasant as a source here longterm and I needed to EQ upper mids down.
No need to EQ anything using N7.
Preamp mode is giving some extra punch and depth.
That experience is now fully convincing me of the capability of N7 as a top source even for full size rig.
@Andykong will you offer such a design as a real Desktop DAC with scaled components?
I am looking forward to buying it!
What a burst of organic and smooth sound and some extra vocal glaze.
Wide stage.
Exactly what I was looking for cheering up the damn neutral Stealth.
Sp3k was too reference neutral and unpleasant as a source here longterm and I needed to EQ upper mids down.
No need to EQ anything using N7.
Preamp mode is giving some extra punch and depth.
That experience is now fully convincing me of the capability of N7 as a top source even for full size rig.
@Andykong will you offer such a design as a real Desktop DAC with scaled components?
I am looking forward to buying it!
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After 4 months, the so-called leather case began to fall apart.As they say in Russia it is made of crap and sticks, or to be more precise, the cover consists of some sawdust.Well, how can you trust Cayin when it says on his website that the case is leather, but in fact the case consists of sawdust and rubber?
HarlanDraka
Previously known as HarlanDraka81
Saturday morning listening with N7+C9.
IMO the real “superpower” of N7 is the insanely good Line Out.
Adding C9 to N7 takes everything good about N7 and dial them to 11. While the soundstage it’s as wide as the vanilla N7, the increase in depth and height is pretty noticeable, creating an amazing encompassing 3d sound. Layering and separation are improved as well along with bass slam and extension. Mids and treble are more present, slightly rounded and musical. The whole presentation is full, warm, euphonic but still detailed.
While N7 is a solid 8 as standalone DAP, it’s difficult to go back when adding a C9.
Strongly advised to add C9 to anybody that wants a stationary yet still portable endgame setup for headphones and iems.
N7+C9 LO, Low gain, Tubes, Class AB
Denon D9200 + Forza noir hybrid
Album: Ludovico Einaudi - Divenire
IMO the real “superpower” of N7 is the insanely good Line Out.
Adding C9 to N7 takes everything good about N7 and dial them to 11. While the soundstage it’s as wide as the vanilla N7, the increase in depth and height is pretty noticeable, creating an amazing encompassing 3d sound. Layering and separation are improved as well along with bass slam and extension. Mids and treble are more present, slightly rounded and musical. The whole presentation is full, warm, euphonic but still detailed.
While N7 is a solid 8 as standalone DAP, it’s difficult to go back when adding a C9.
Strongly advised to add C9 to anybody that wants a stationary yet still portable endgame setup for headphones and iems.
N7+C9 LO, Low gain, Tubes, Class AB
Denon D9200 + Forza noir hybrid
Album: Ludovico Einaudi - Divenire
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ThanatosVI
Headphoneus Supremus
Does anyone use Roon ARC with his N7?
Yes, the C9 is nearly "mandatory" to have a full experience. I found the Class A giving even a better depth (separation) with the Hifiman on my side.Saturday morning listening with N7+C9.
IMO the real “superpower” of N7 is the insanely good Line Out.
Adding C9 to N7 takes everything good about N7 and dial them to 11. While the soundstage it’s as wide as the vanilla N7, the increase in depth and height is pretty noticeable, creating an amazing encompassing 3d sound. Layering and separation are improved as well along with bass slam and extension. Mids and treble are more present, slightly rounded and musical. The whole presentation is full, warm, euphonic but still detailed.
While N7 is a solid 8 as standalone DAP, it’s difficult to go back when adding a C9.
Strongly advised to add C9 to anybody that wants a stationary yet still portable endgame setup for headphones and iems.
N7+C9 LO, Low gain, Tubes, Class AB
Denon D9200 + Forza noir hybrid
Album: Ludovico Einaudi - Divenire
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FooFighter
Headphoneus Supremus
Maybe you try your Violectric Amp even out of N7.
Imho C9 is great portable Amp but real AC powered Desktop amps should still scale full size headphones better.
For IEMs I think C9, A100T, Mass Kobo 475 or Tsuranagi can be better than Desktop amps
- but of course you cannot take your desktop Amp to your couch or bed so easily like C9
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I run the N7 to my ADI 2/4 PRO SE and it's really wonderful.
I could compare both easily before selling the N7 (C9 vs Vio) and they are very close. If we talk about bass, I can't see difference and the C9 is very impressive in fact. With some movie soundtracks like Braveheart and such (big drums passages), you clearly see the level of the C9, so clean and powerful. It is crazy to have that with such a small format. There is a review comparing the C9 with a 1800$ amp and there is no clear winner.Maybe you try your Violectric Amp even out of N7.
Imho C9 is great portable Amp but real AC powered Desktop amps should still scale full size headphones better.
For IEMs I think C9, A100T, Mass Kobo 475 or Tsuranagi can be better than Desktop amps
- but of course you cannot take your desktop Amp to your couch or bed so easily like C9
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FooFighter
Headphoneus Supremus
Don't want to make C9 bad and I had it twice but really for my Meze Elite and DCA Stealth there's no contest to my Ferrum Oor for example, great for the size and portability and maybe best portable full size amp on the market
SBranson
Headphoneus Supremus
I’ve long lost track of which albums I have that are DSD but I just listened to the first one tonight and I am amazed by this player in combination with my TGXEar Desolation Sound earbuds.
In all my years since first hearing this song in 1985 during one of the best TV episodes I’ve ever seen (because of this track) on Miami Vice, I’ve never heard it sound so good. The layering and the separation is stunning. I could hear the bass as an instrument rather than sort of just being in the background and the drumming is so precise me crisp. Mark Knopfler’s voice is so resonant and real sounding.
I am consistently impressed with this dap.
In all my years since first hearing this song in 1985 during one of the best TV episodes I’ve ever seen (because of this track) on Miami Vice, I’ve never heard it sound so good. The layering and the separation is stunning. I could hear the bass as an instrument rather than sort of just being in the background and the drumming is so precise me crisp. Mark Knopfler’s voice is so resonant and real sounding.
I am consistently impressed with this dap.
Loftprojection
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You’re right, that song sounds really good on good equipment. Can you give us your impressions listening to the same track in a PCM format not compressed?
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