[darmanastartes]

Moondrop Aria 2 Impressions​

The Moondrop Aria 2 was provided to me by ShenzhenAudio in exchange for my impressions.

The eartips included with the Aria 2 are softer than most generic silicone eartips. However, it is disappointing that the package does not include any Moondrop Spring tips. The fit of the Aria 2 is not as snug as the original Aria because the housings are significantly larger. I again question whether Moondrop is trying to repurpose some of the shells from the Stellaris debacle. Even the largest size of the included eartips was too small to ensure a secure fit for me, necessitating the use of aftermarket eartips like the Dunu Stage & Studo eartips. Additionally, the exterior finish on the housings is already showing signs of wear.

On a positive note, the included modular cable might be the most aesthetically pleasing cable I’ve ever seen included with a Moondrop product. The cable comes with 3.5mm single-ended and 4.4mm balanced terminations, and the cable locking mechanism seems robust and secure.

In terms of sound, the Aria 2 and the original Aria are broadly similar tonally, but there are a few key differences. The biggest difference between the two is that the Aria 2 has a more refined treble response with less exaggerated upper treble glare, which results in a more natural timbre overall. On the other hand, the original Aria has better sub-bass extension and more substantial note weight, making the Aria 2 sound thinner in comparison. The Aria 2 has improved male vocal intelligibility but less body to male vocals. The Aria 2 also sounds more open and has a noticeably more expansive soundstage, especially along the vertical axis. The Aria 2’s instrument separation is only marginally better than the original. Female vocals, bass articulation and texture, and overall internal detail retrieval are very similar between the two IEMs.

While the Aria 2 addresses its predecessor’s greatest shortcoming, it also takes a step back in at least one significant respect. The Truthear Hexa is still a better purchase in this price bracket.

The Moondrop Aria 2 can be purchased at the link below:

MOONDROP ARIA 2 In-ear Headphone (shenzhenaudio.com)

 

[darmanastartes]

Hidizs S9 Pro Plus Review​

The Hidizs S9 Pro Plus is a DAC/AMP combo with both 4.4mm balanced and 3.5 mm single-ended outputs, an ES9038Q2M DAC chip, and a $89.99 price tag. I received the S9 Pro Plus directly from Hidizs in exchange for my review.

HEADPHONES:​

I tested the Hidizs S9 Pro Plus with the following headphones:

• Moondrop S8
• Moondrop Para

PACKAGING AND ACCESSORIES:​

The Hidizs S9 Pro Plus comes in a square black plastic box with a black slipcover. Technical specifications for the S9 Pro Plus are printed in English and Chinese on the rear of the box. The device is held inside a foam mounting sheet inside the box. In addition to the S9 Pro Plus, the box includes a USB-C to USB-C cable, a quality control pass chit, a pair of Hi-Res Audio stickers, a warranty card, and a USB-C female to USB-A male adapter. As always, I recommend against the use of this kind of adapter due to the risk of backpower. The USB C-C cable has purple markings inside the connector on one end, leading me to believe that it is one of Hidizs’ bizarre, standards-breaking unidirectional USB cables.

STANDARDS COMPLIANCE AND FUNCTIONALITY:​

The Hidizs S9 Pro Plus does not implement headset controls or pause on headphone disconnect functionality, nor does it send connector status to the host device.

POWER CONSUMPTION AND HEAT MANAGEMENT:​

Using my IEC-711 clone microphone and a WITRN U2 USB power meter, I measured the power consumption of the Hidizs S9 Pro Plus connected to my Windows PC with the system volume set to 18/100. For the test, I used the S9 Pro Plus to play a -10 dBV 1 kHz test tone from REW through the Moondrop S8. This sound level achieved an SPL of roughly 94 dB.

The S9 Pro Plus gets a little warm to the touch with prolonged use but not uncomfortably or dangerously so.

The power draw does drop noticably when no sound is being played but the S9 Pro Plus does not appear to have a true idle mode:

POWER DELIVERY:​

With the Moondrop S8 connected to the Hidizs S9 Pro Plus’ 4.4mm balanced output, I reached my typical listening volume at a Windows system volume setting of 6/100. When I played a -10 dB full-range pink random noise signal at this volume setting, my clone IEC microphone indicated a dB level of roughly 79.2 dB. Please note that the dB reading of my microphone has not been calibrated using an external SPL monitor. To reach a perceptually similar volume with the Moondrop Para using the 4.4mm balanced output, I increased the system volume to 19/100.

SOUND:​

Note: I made the following observations switching back and forth between the Hidizs S9 Pro Plus and the Moondrop Dawn Pro repeatedly under sighted conditions. There was a delay of several seconds when switching between devices. The two devices were volume-matched to within less than .2 dB. The Moondrop S8 was used as the transducer for this comparison. In most cases, any differences between competently designed sources are infinitesimal and not necessarily apparent under uncontrolled testing conditions.

In addition, I made the following observations with a system-wide -4 dB pre-amp setting as suggested here. While I recommend using this pre-amp setting to preserve fidelity, it does reduce the headroom of all connected source devices.

Overall, the Hidizs S9 Pro Plus has an up-front, energetic presentation, while the Moondrop Dawn Pro is more controlled and cohesive. The Dawn Pro seems to have slightly clearer, better-articulated bass reproduction. The S9 Pro Plus has greater impact to bass notes, more substantial note weight, and better bass texture. The midranges of the two devices are largely indistinguishable. The S9 Pro Plus seems to have imbue treble transients with more energy compared to the Dawn Pro, which makes cymbals sound more prominent and slightly sharper.

CLOSING WORDS:​

The USB dongle market is mature to the point of saturation. More than sound quality or even power delivery, I believe the main differentiator between dongles at this stage is power efficiency. Judged on this metric, the S9 Pro Plus is simply uncompetitive and does not sound special enough to justify its purchase over more powerful and efficient alternatives.

The Hidizs S9 Pro Plus is available for purchase at the link below:

Hidizs S9 Pro Plus Martha — HiFi Balanced Dongle DAC

 

[darmanastartes]

Simgot EM6L Impressions​

The Simgot EM6L was provided directly to me by Simgot.

The Simgot EM6L comes in a large box with a surprisingly spartan accessory selection. It includes a clamshell-style zippered semi-rigid carry case and three pairs of silicone eartips (S, M, L). However, the quality of the silicone used for the eartips felt cheap and I did not use them for this review, opting instead for a pair of white wide-bore eartips from one of my Truthear sets.

The earpiece design is clean, but the large earpieces are not ergonomically shaped. As a result, my comfort was average and the fit was poor for me. The earpieces tended to migrate out of the ear canal over time. However, the earpieces are well-vented and there is no driver flex.

https://bedrock.squig.link/?share=Simgot_EM6L

The Simgot EM6L offers good bass articulation and resolution. However, the note weight and impact are limited, and the bass texture is average. The bass has a soft, pillowy timbre, and the sub-bass extension is middling.

The midrange tuning is on the brighter side and emphasizes vocal delivery. Both male and female vocals are clear, present, and intelligible without being sibilant, oversaturated, or overly forward. Male vocals have body, grit, and power, while female vocals sound smooth and vibrant. In general, the EM6L has excellent presence, clarity, and instrument separation. Timbre is generally good as well. The kick drums during the chorus of Five Finger Death Punch’s “Lift Me Up” sound incredible.

The lower and middle treble are also forward of neutral, and cymbals can be too prominent on certain tracks. I was impressed by the EM6L’s upper treble response, which rolls off gradually instead of dropping off sharply. The EM6L has an expansive soundstage and above-average imaging.

While I did not personally find EM6L’s treble harsh, this is probably not a good recommendation for treble-sensitive listeners. On the other hand, this is a great alternative to the Truthear Hexa if you prefer brighter tunings and is more in line with my own preferences.

 

[darmanastartes]

EPZ Q5 Impressions​

I received the Q5 directly from EPZ in exchange for my impressions.

The EPZ Q5 in-ear monitor (IEM) arrives in a large, premium package that includes a generous selection of eartips, both conventionally shaped and shallow wide-bore. The package also includes an EPZ-branded microfiber cloth and a clamshell-style semi-rigid zippered carry pouch.

The design of the EPZ Q5 is extraordinarily similar to the Meze Advar, but sports a milky white and copper color scheme that I am a big fan of. The cable is a bit tangle-prone but untangles easily and includes a chin adjustment choker.

The IEMs have a moderate to deep insertion depth. However, the vents can be blocked if the IEMs are pressed on while worn, making them not a good choice for sleeping despite the low-profile fit.

EPZ Q5 — Bedrock Reviews (squig.link)

In terms of performance, the EPZ Q5 offers very good technical performance across the board for its price point. It has very good bass articulation and texture, although the sub-bass extension is perceptually less than measurements would indicate. The note weight is average, but the instrument separation is excellent.

Both male and female vocal intelligibility are great. Female vocals are very far forward, and while not sibilant, are oversaturated. Male vocals have average body but a good amount of grit and definition. The upper midrange and lower treble are too forward, creating glare and some harshness. The presence region has too much emphasis, causing distorted electric guitars to sound like buzzsaws. The timbre is a little thin, and cymbals are too prominent. However, treble transients are passably realistic, and the upper treble extension is very good. The soundstage is wide but short, and imaging is average.

Overall, the EPZ Q5 is a good candidate for EQ because of the dynamic driver’s strong underlying technical performance, but it is not an IEM I would recommend without it.

The EPZ Q5 can be purchased at the link below:

EPZ Q5 Earphones Wired HIFI Ceramic Carbon Nano Moving Coil IEM In Ear Monitor MMCX Detachable Cable Earbuds Gaming Headset — AliExpress

 

[darmanastartes]

Colorfly CDA-M1P Review​

The Colorfly CDA-M1P, a DAC/AMP combination device, is equipped with both 4.4mm balanced and 3.5 mm single-ended outputs, and an AK4493SEQ DAC chip. It is priced at $79.99. This review is based on a unit provided by ShenzhenAudio.

HEADPHONES:​

The Colorfly CDA-M1P was tested using the following headphones:

• Moondrop S8
• Moondrop Para
• Dunu Vulkan
• Truthear Nova

PACKAGING AND ACCESSORIES:​

The Colorfly CDA-M1P is packaged in a square black cardboard box with a black slipcover. The device is securely nestled in a foam mounting sheet inside the box. The package also includes a USB-C to USB-C cable and a user manual.

DESIGN AND CONTROLS:​

The Colorfly CDA-M1P is sleek but heavy, weighing in at 45.16 grams. It has physical volume controls. A short press of both volume buttons swaps between low and high resistance modes, while a long press switches between the six selectable digital filters. Swapping between filters 1–5 produces a single flash of the CDA-M1P’s LED indicator. When the user reaches filter 6, the LED indicator flashes twice. This is an elegant solution to inform the user what filter is active in the absence of a display.

STANDARDS COMPLIANCE:​

The Colorfly CDA-M1P does not support headset controls or pause on headphone disconnect functionality, and it does not relay connector status to the host device.

POWER USAGE AND HEAT MANAGEMENT:​

Power consumption was measured using an IEC-711 clone microphone and a WITRN U2 USB power meter, with the CDA-M1P connected to a Windows PC and the system volume set to 27/100. The test involved playing a -10 dBV 1 kHz test tone from REW through the Moondrop S8, achieving an SPL of approximately 94.1 dB.

This represents a slightly higher power consumption than the Moondrop Dawn Pro.

The CDA-M1P does not seem to have an idle mode.

The high resistance mode draws slightly more power to reach 94 dB but requires a lower Windows system volume setting (18/100) to do so.

The CDA-M1P gets quite warm with prolonged use.

POWER DELIVERY:​

With the Moondrop S8 connected to the Colorfly CDA-M1P’s 4.4mm balanced output, I reached my typical listening volume at a Windows system volume setting of 12/100. When I played a -10 dB full-range pink random noise signal at this volume setting, my clone IEC microphone indicated a dB level of roughly 83.8 dB. Please note that the dB reading of my microphone has not been calibrated using an external SPL monitor. To reach a perceptually similar volume with the Moondrop Para using the 4.4mm balanced output, I increased the system volume to 20/100.

SOUND QUALITY:​

Note: The following observations were made while switching back and forth between the Colorfly CDA-M1P and the Moondrop Dawn Pro under sighted conditions. There was a delay of several seconds when switching between devices. The two devices were volume-matched to within .2 dB. The Moondrop S8 was used as the transducer for this comparison. In most cases, any differences between competently designed sources are infinitesimal and not necessarily apparent under uncontrolled testing conditions.

In addition, I made the following observations with a system-wide -4 dB pre-amp setting as suggested here. While I recommend using this pre-amp setting to preserve fidelity, it does reduce the headroom of all connected source devices.

The CDA-M1P is more resolving than the Moondrop Dawn Pro, with slighter better treble detail and greater vocal clarity. There is more separation between instruments and the bass is more textured. The CDA-M1P also seems to do a better job of conveying dynamic swings.

FINAL THOUGHTS:​

The impressive sound quality of the Colorfly CDA-M1P was a pleasant surprise when compared head to head against the Moondrop Dawn Pro. However, the power consumption of the CDA-M1P is notably higher than the most efficient dual-output dongles currently available, and I would recommend pairing it with a dedicated portable transport device or using it with a laptop or desktop.

The Colorfly CDA-M1P is available for purchase at the link below:

COLORFLY CDA-M1P AK4493SEQ Portable USB DAC/AMP (shenzhenaudio.com)

 

[darmanastartes]

Colorfly CDA-M2 Review​

The Colorfly CDA-M2 is a DAC/AMP combination device equipped with both 4.4mm balanced and 3.5 mm single-ended outputs, dual CS43198 DAC chips, and an OLED display. Priced at $159.99, this review is based on a unit provided by ShenzhenAudio.

Headphones​

The Colorfly CDA-M2 was tested using the following headphones:

• Moondrop S8
• Moondrop Para
• Simgot EA1000
• Dunu Vulkan

Packaging and Accessories​

The Colorfly CDA-M2 comes in a square black cardboard box with a black slipcover. The device is securely nestled in a foam mounting sheet inside the box. The package also includes a USB-C to USB-C cable and a user manual.

Design and Controls​

The Colorfly CDA-M2 is slimmer and much lighter than the Colorfly CDA-M1P. Unlike the M1P’s polished gunmetal grey exterior, the M2 sports an anodized cobalt finish. Like the M1P, the M2 features physical volume controls and a multifunction button that, when long-pressed, allows the user to configure various device parameters. These parameters include gain level, left-right balance, digital filter, S/PDIF output through the 3.5mm jack, a de-pop function, display brightness, display rotation, and the display sleep settings. Additionally, the current firmware version can be displayed, and the M2 can be reset to its factory defaults through this set of menus.

Standards Compliance​

The Colorfly CDA-M2 does not support headset controls or pause on headphone disconnect functionality, and it does not relay connector status to the host device.

Power and Heat Management​

Power consumption was measured using an IEC-711 clone microphone and a WITRN U2 USB power meter. The test involved playing a -10 dBV 1 kHz test tone from REW through the Moondrop S8 (Impedance: 16Ω±15%@1Khz, Sensitivity: 122Db/vrms) and increasing the volume until an SPL of approximately 94 dB was achieved.

The M2 does not get as hot as the M1P but will still get warm if left running in a pocket or under a blanket.

Sound Quality​

Note: The following observations were made while switching back and forth between the Colorfly CDA-M2 and the Colorfly CDA-M1P under sighted conditions. There was a delay of several seconds when switching between devices. The two devices were volume-matched to within .1 dB. The Moondrop S8 was used as the transducer for this comparison. In most cases, any differences between competently designed sources are minor and not necessarily apparent under uncontrolled testing conditions.

In addition, I made the following observations with a system-wide -4 dB pre-amp setting as suggested here. While I recommend using this pre-amp setting to preserve fidelity, it does reduce the headroom of all connected source devices.

The CDA-M2 provides surprisingly greater insight into treble details than the M1P. There is a hint of extra brilliance to cymbal clashes that is particularly noticeable. There is slightly more breadth and separation to the soundstage with the M2. I also noticed the same phenomenon comparing the M2 to the M1P as I noticed comparing the Topping D90SE to the Topping D30 Pro and E30, which is that I can turn the volume up louder with the M2 before I lose the perception of separation between instruments. The M2 just sounds more resolving and cohesive. The M1P does seem a bit punchier in the bass region and seems to dig a hair deeper into the sub-bass, at least with the Moondrop S8, which is arguably least competitive in its lower frequency response.

Final Thoughts​

There are many perfectly competent, powerful dongles for less than half the price of the Colorfly CDA-M2, and as with many aspects of this hobby, diminishing returns are very much in play here. However, as an audiophile who chases detail retrieval above all other intangibles, I can hear the CDA-M2 push the Moondrop S8 far enough beyond what is possible with more affordable dongles that it would be worth purchasing on my own dime were I to misplace my review unit.

The Colorfly CDA-M2 can be purchased at the link below:

COLORFLY CDA-M2 Dual CS43198 Portable USB DAC/AMP (shenzhenaudio.com)

 

[darmanastartes]

Simgot EA1000 Review​

Introduction and Disclaimer:​

The Simgot EA1000 is a single dynamic driver in-ear monitor (IEM) that retails for $219.99. Simgot sent me the EA1000 directly in exchange for my impressions.

Packaging and Accessories:​

The EA1000 comes in a medium-sized square purple box. In terms of documentation, the package holds an intriguing fold-out infographic on Fermat’s Last Theorem, along with a metallic warranty card and a user manual. The EA1000 includes three pairs of tuning nozzles and a selection of colored O-rings for differentiating them, though I only used the default pair of nozzles for my evaluation. Simgot also includes six pairs of silicone eartips (2xS, 2xM, 2xL) with the EA1000. Unfortunately, the eartips are the same type included by Simgot with their products since I first reviewed the Meeture MT3 in 2018. The silicone quality is poor and irritates my ears. Also included is a grey pleather rigid carry pouch. The lid is embossed with the Simgot logo and features a magnetic closure.

Build Quality and Design:​

The physical presentation of the EA1000 is nothing short of stunning. The gorgeous polished stainless steel shells feature glass-backed ceramic faceplates adorned with a delicate geometric pattern. The included braided detachable 2-pin cable with a 3.5mm single-ended termination is similarly beautiful. The cable features pre-formed earguides, strain relief above the straight 3.5mm jack hardware, and a chin-adjustment choker. On the inner face of the IEM shells are large passive radiators and two small circular vents. Despite the vents, I experienced mild driver flex with larger eartips. This is unfortunate because the EA1000’s shallow nozzles make achieving a secure fit challenging without large eartips. Tip rolling was essential, and I ultimately settled on large-size Softears Ultra Clear eartips to achieve a reasonably secure fit. Sound isolation is also fairly poor.

Sound:​

Simgot EA1000 (Red), Simgot EA1000 (Clear), Simgot EA1000 (Black) — Bedrock Reviews (squig.link)
The EA1000 offers a clean and resolving bass presentation with excellent texture and dynamics. While sub-bass extension is decent, the emphasis leans more toward mid-bass. While bass intangibles are noticeably punchier than the soft-sounding Simgot EM6L, more sub-bass and better sub-bass extension would make electronic music more satisfying to listen to.
The midrange takes center stage with a vocal-focused presentation. Male and female vocals benefit from excellent clarity and intelligibility. However, there’s a fine line: the strong presence region emphasis can occasionally lead to sibilance, especially with female vocals. The EA1000’s timbre is natural-sounding and avoids any percussion compression.
The lower treble is clear and present without veering into harshness. Detail retrieval is excellent, with sharp and well-defined treble transients. However, the mid-treble is slightly overemphasized, offering more treble sparkle than I consider realistic. The upper treble is well-extended and reasonably emphasized. The EA1000 mostly avoids creating a “fake hi-fi” sheen over the rest of the sonic presentation but can cross that line with some mainstream hard rock recordings. The soundstage is spacious, with above-average imaging and excellent instrument separation, especially for a single dynamic driver design.

Closing Words:​

The Simgot EA1000 evokes memories of the legendary Tanchjim Oxygen, and can easily be viewed as a modern evolution of that vocal-forward, detail-focused single dynamic driver design. However, I would not recommend the EA1000 to bassheads or the treble-shy. Considering the technical performance, build quality, and price, the EA1000 is a very good value. However, Simgot’s included eartip selection could benefit from an upgrade.

 

[darmanastartes]

Moondrop May Review​

The Moondrop May is an in-ear monitor (IEM) which uses a dynamic driver and a small planar driver in each earpiece and uses digital signal processing (DSP) integrated into its cable. The May interfaces directly with the transport device via a USB-C connector. The Moondrop May retails for $64.99. My review units (more on that later) were provided by Shenzhen Audio.

The May comes with the same brown pleather Moondrop-branded zippered semi-rigid carry pouch included with several other recent Moondrop IEMs. I have no complaints about the pouch.
The May seems to use the same black, barely translucent inner shell material as the Moondrop Variations. It has comparatively narrow nozzles versus the Variations and actually has lips for eartips. The included eartips are generic silicone and come in three sizes (S, M, L). I do wish Moondrop still included Spring tips with their IEMs.

I found the Moondrop May extremely comfortable as well as the most securely fitting Moondrop IEM I’ve used, with the exception of the S8 and Variations. Its relatively low profile fit makes it suitable for wearing to sleep.

The physical cable is the same as the Moondrop FreeDSP, and is probably just an updated FreeDSP with specific EQ presets. It’s an aesthetically attractive cable with a microphone, chin adjustment choker, and robust strain relief.
Using the May’s cable with the Moondrop Link 2.0 app presents many of the same issues I described in my Moondrop FreeDSP review. The app is sluggish and unresponsive, with invasive permissions and limited PEQ flexibility. There is no reason this app needs background access to all files on the device. I recommend installing, setting your preferred EQ profile, and then uninstalling.

Unfortunately, my first cable died without a clear reason within a few weeks of use. The earpieces were continued to work normally, and I carried on my evaluation with the Moondrop FreeDSP cable (which retails for $29.99 versus a replacement May at $64.99) and Wavelet. Shenzhen Audio sent me a replacement May and I swapped the cable over. That the cable failed after such a short period of time is far from confidence inspiring but my FreeDSP cable has continued to function without issue over a longer time frame. On the other hand, this is a perfect example of how the May would allow its user to mitigate cable failure over a longer ownership period.
Moondrop May (Normal) — Bedrock Reviews (squig.link)

In terms of sound, the frequency response with the “Normal” EQ preset is almost perfect for me below 10 kHz. The bass is clean, crisp, and impactful, with excellent sub-bass extension and average bass texture. The bass dynamics are great, and the bass resolution is very good.
The midrange is cool and vocal-forward. Male vocals are highly intelligible with grit and definition. They could use a touch more warmth but are surprisingly solid in terms of body. Female vocals are clear and vibrant. Electric guitars and analog percussion sound great, with no percussion compression to my ears.
The May offers superb midrange clarity that punches well above its price point. The presence region is perfectly emphasized, with no sibilance. The lower treble is slightly overemphasized. It’s not harsh, but it’s a bit too “in your face,” though it does offer great transient definition.
There’s plenty of mid-treble sparkle. The upper treble extension is decent but feels lackluster given how hypercompetitive almost every other aspect of this IEM is. The detail retrieval is excellent.
The imaging is very good, with a slightly wider soundstage than average. The instrument separation is slightly better than expected for the price point, more like a $100 IEM than a $65 IEM.

Compared to the Moondrop S8, which is a much more expensive IEM, the biggest improvements are in treble response refinement, upper treble extension, soundstage size, and instrument separation. It is crazy to me that the difference in sound quality is not wider given the price disparity.

In closing, the Moondrop May is technically stellar and is a terrific example of what can be done with integrated DSP while still providing end users with a replaceable cable.

The Moondrop May can be purchased at the link below:

MOONDROP MAY Dynamic Driver + Planar Driver In-ear Headphone (shenzhenaudio.com)

 

[darmanastartes]

Simgot EA500LM Review​

The Simgot EA500 LM, which retails for $89.99, is an in-ear monitor (IEM) that uses a single lithium-magnesium dome diaphragm dynamic driver per side and features three pairs of interchangeable tuning nozzles. My review unit was provided to me directly by Simgot.
Packaging and Accessories

The Simgot EA500 LM arrives in a medium-sized black cardboard box, adorned with a black slipcover that features holographic printed text and designs. The rear of the slipcover showcases the EA500 LM’s technical specifications and frequency response graphs of the EA500 LM with two of the three included tuning nozzles.
Upon unboxing, you’ll find an instructional manual, a pill-shaped semi-rigid zippered carry case, three pairs of generic silicone eartips, a velcro tie, and a bag of replacement o-rings for tuning nozzle identification.
Build Quality and Design
The build quality of the EA500 LM is immaculate, with heavy, mirror-polished shells with laser-etched detailing. From an external view, the EA500 LM’s vent structures are more sophisticated than most IEMs at any price point. The shells are on the smaller side, providing a very comfortable and secure fit.
Cable
The included braided 2-pin cable is on the thinner side, and the yellow and black color scheme is not to my taste. On the other hand, I am a fan of the the black anodized 3.5mm jack and Y-split hardware. The cable features a chin-adjustment choker, preformed earguides, and strain relief above the straight 3.5mm jack and below the Y-split. The right side is easily identified by a red dot on the 2-pin connector. The cable is not very microphonic.
Sound
Simgot EA500 LM (Silver_Red), Simgot EA500 LM (Gold_Red), Simgot EA500 LM (Silver_Black) — Bedrock Reviews (squig.link)
In terms of frequency response, even the most conservative tuning nozzle has an aggressive Harman tuning with very forward ear gain and presence regions. Functionally, this is a V-shaped IEM.
The bass performance is impressive, with excellent note weight and sub-bass extension, great texture, and good resolution. However, the strong technicalities are somewhat held back by the aggressive tuning, and I can’t help but wonder if it would sound more dynamic with a more restrained frequency response.
As for the midrange, male vocal intelligibility is good but not great, with limited detail, grit, and body. Female vocal intelligibility, on the other hand, is excellent. Female vocals are not sibilant but are on the brighter side. The EA500 LM shows the limitations of its tuning more clearly when listening to heavy rock genres compared to electronic dance music (EDM). Electric guitars sound overdriven and fuzzy, and analog percussion sounds dull compared to synthesized percussion. There is a bit of percussion compression as well.
The lower treble region is detailed and energetic, without sounding harsh. Cymbal clarity is good, with realistic-sounding transient delivery. There’s a tasteful mid-treble emphasis, adding a good amount of sparkle. The upper treble extension is surprisingly good for an IEM at this price point, and overall detail retrieval is very good. The soundstage is pretty wide but not very tall. Instrument separation is surprisingly good when the tuning complements the music genre being listened to.
Conclusion
In closing, the performance of the EA500 LM is more dependent on genre than I would have expected. It does a lot better with bass-focused genres like EDM, pop, or hip hop. However, it doesn’t render distorted electric guitars, male vocals, or analog percussion favorably compared to other options at this price point. This may be a great option for some, but as someone who listens to a lot of heavy metal and hard rock, this IEM is not a good fit for me. Furthermore, I think there are more versatile alternatives at this price point.

 

[darmanastartes]

Introduction and Disclaimer​

The IO Audio Volare is an in-ear monitor that employs a combination of one dynamic driver, four balanced armatures (BAs), and four electrostatic (EST) drivers per housing. Retailing for $599, this review unit was provided to me by Shenzhen Audio. I suspect that IO Audio is an in-house brand, akin to the relationship between Thieaudio and Linsoul.

Packaging and Accessories​

The Volare arrives in a large square black cardboard box, adorned with a black slipcover. The slipcover provides technical specifications in both English and Mandarin, and also displays B&K 4195-Q and GRAS 45CA-9 measurements of the Volare.
Upon lifting the flip-up box top, a rigid leather carry case embossed with the IO Audio logo is revealed. The earpieces are securely stored in a foam mounting sheet inside the case. For the case to be used, foam inserts in both the top and bottom must be removed. An elastic mesh pocket in the roof of the case provides storage for accessories.
Below the case section of the box, there are three drawers filled with more accessories.
The first drawer contains a thick braided detachable 2-pin cable with interchangeable terminations. All three common terminations (2.5mm balanced, 3.5mm single-ended, and 4.4mm balanced) are included. The terminations feature a notched index point built into the male and female 4-pin connectors and are secured by a screw-on ring cap. I had no issues with terminations coming loose. As an everyday user of a Qudelix 5K, I was pleased to see that the 2.5mm option was not omitted.
All of the cable hardware, including the 2-pin connector housings and the chin adjustment choker, are made of black polished metal or brass. The right side 2-pin connector is indicated by a red O-ring. The cable has preformed black heat-shrink ear guides and lacks strain relief. Without the use of the chin adjustment choker, the cable is quite microphonic.
The second drawer includes a staggering 15 sets of eartips in five different varieties, each available in small, medium, and large sizes. There are four different types of silicone eartips of varying height, shape, and nozzle width, plus a set of foam eartips.
The third drawer contains a user manual, a manufacturer contact card bearing the unit serial number, a warranty card, a quality control pass chit, a small microfiber cloth, and a simple 3.5mm to 1/4" adapter.

Build Quality and Design​

My first, and really my only, problem with the Volare is that some of the tolerances are not quite right. The shell molding seems a tiny bit rough in places, such as the nozzles and the circular vents below the recessed 2-pin connector ports. Most annoyingly, the left side 2-pin connector comes loose very easily. It’s fair to assume these concerns could be isolated to early units (mine is one of the first 40 produced), but it’s worth noting given the price tag.
Setting the build quality concerns aside, the physical design is very attractive. The housing bodies are black with inlaid silver glitter. The faceplates are grey with black vine-like designs set behind a clear cover. Silver “I” and “O” are set into the faceplates of the left and right earpieces respectively. The top of the shell is printed with the text “Volare” in gold lettering. The nozzles have substantial lips to secure eartips. I did occasionally have eartips come loose when wearing the Volare to sleep, but not during daytime listening. Each nozzle has three separate sound tubes.

Comfort, Fit, and Isolation​

The Volare is very comfortable to wear for extended periods. It has a moderate insertion depth and is low-profile enough to wear to sleep if you feel like living on the edge with a $600 set of IEMs. The security of fit is okay but not great, requiring occasional readjustment. The isolation is moderate.

Sound​

IO Volare — Bedrock Reviews (squig.link)
For the most part, the IO Volare exhibits a classic Moondrop Virtual Diffuse Sound Field (VDSF) inspired tuning. It features a moderate sub-bass elevation followed by a gentle downslope through the mid-bass, bottoming out in the lower mids, and a plateau-style elevated upper midrange without an isolated ear gain peak.
The Volare boasts terrific sub-bass extension and excellent bass articulation and resolution while still having very good impact, texture, and dynamics.
The mid-range clarity is excellent, with very good male vocal intelligibility. There’s a decent amount of body to male vocals, though they lack a little in texture and grit. Female vocals are bit bright and foward but are not sibilant. The Volare differs from a lot of VDSF-style IEMs in that its presence region is more forward than most. This results in a tad too much presence for my tastes, not egregious but enough to slightly exaggerate the distortion of electric guitars. While analog percussion sounds crisp and snappy, there is a bit of BA timbre in the midrange.
The lower treble is energetic with well-defined transients. As one would expect, the Volare has much better treble extension than the budget single dynamic driver IEMs that typically opt for this type of sound. Specifically, there is no precipitous treble fall-off after 10 kHz. In fact, there is a pronounced mid treble emphasis, providing plenty of sparkle for cymbal clashes. The upper treble extension is very good, and detail retrieval is terrific. However, I would have preferred more upper treble emphasis, especially above 15 kHz, given the use of ESTs in the design. The soundstage is reasonably open, with excellent instrument separation.

Conclusion​

I have nothing substantially negative to say about the sound quality of the Volare at this price point. My one reservation would be the build quality moving forward given my issues with the cable connectors, but looking at other reviews published to date, this seems to be isolated to my unit. Overall, the Volare is worth its asking price and is an easy recommendation for anyone looking for a rationally-tuned IEM in the $600–900 price range.

The IO Audio Volare can be purchased at the link below:

IOAUDIO VOLARE 1DD+4BA+4EST In-Ear Headphone (shenzhenaudio.com)