To help put this into context, the Heaven IV sounds relatively linear by FAD’s standards and, like their other stainless steel earphones (even the Piano Forte IX in a relative sense), a bit thinner than its brethren. “Purity” is the operative word here. In comparison the use of chrome copper on earphones such as the Heaven VI seems to result in a somewhat thicker, more lush and “romantic” sound. Which brings us back around to the Heaven V and its shaved brass housing. There’s a certain energetic quality present among the brass units, a liveliness that is captured here and makes itself known above and beyond the more sedate Heaven IV. Vocals pop. Highs shimmer.
In terms of bass response, I don’t hear the Heaven V as particularly heavy or elevated. It’s about on par with the Heaven IV in terms of quantity but somewhat punchier in execution; tight and well-controlled if a bit modest.
The same holds true with regard to imaging: simply put, the Heaven V and Heaven VI are imaging champs. Instruments are clearly defined in space around the listener, convincingly solid entities with extension and heft. This is perhaps the biggest reason I would choose the Heaven V over the Heaven IV. The field of sound on the latter is less three-dimensional and more flat, more compressed; the Heaven V by comparison does a better job making one feel as if he or she were “there.” On their website FAD mentions that the Heaven V was tuned with live music in mind, and it would seem they’ve succeeded in their objective, as the earphones do a particularly admirable job with live material. The rendered stage isn’t overly expansive but rather more moderate. Within that space however the presentation is very holographic, and while I wouldn’t characterize the sound of the Heaven series in general as particularly airy, on the Heaven V instruments have a satisfying sense of air between them in my opinion. The sound is immediate without being claustrophobic, open but not cavernous.
