Zeos loved the sound performance of the AFUL MagicOne. He liked the unique design with long acoustic chamber and the special tuning structure of the IEM. As per him, the sound of the MagicOne is natural, wide and has a smooth and exciting presentation. Zeos find the MagicOne to be easily driveable but requires a little more power than other IEMs. He tried different eartips and finds Silicone tips to work best with the set and provide a good seal. At the time of his review, The MagicOne was not released, but he recommended the set if it gets priced under 150$. Now, you all know the AFUL MagicOne got launched for $139.99, which makes it a solid deal and worth trying(now the deal is even better at just $109.99)!! Zeos has done a fantastic review on the AFUL Magic One that shows how deeply he liked the set. Does your preferences align with Z Reviews?
Timmy from Gizaudio loved the sound performance of the Magic One. He shared this video with initial impressions on the AFUL MagicOne and Kefine Klanar. Timmy loved the performance and design feel of the MagicOne, he says in his review that the MagicOne looks and feels premium. He is surprised by its sound performance, wondering that this is actually a single BA producing such beautiful sound. As per Timmy, the tuning of MagicOne is well-balanced and neutral, he also says that being a single BA set, the MagicOne produces bass really well. He also finds it good for most genres out there.
Audio-In Reviews have shared an extensive review on the AFUL MagicOne. David from Audio-In liked the MagicOne and finds it to be a very solid offering, considering its affordable price point. He is particularly impressed with its smooth, refined treble response and smooth detail retrieval as well. David finds the AFUL MagicOne to have a simple yet well-thought-out design that is aesthetically pleasing. He says the Treble is the most impressive aspect of the pair. David rated the AFUL MagicOne as a good value-for-money product and is a good option for people who are looking for a well-rounded IEM with excellent treble performance. It is really good to hear such good words about the treble performance of the MagicOne as we all know, AFUL achieved such a fantastic sound with a single BA driver unit here. Check out the complete review by Audio-In!!
This is a fantastic review by Ian Fann on the beloved AFUL MagicOne. He is mighty impressed with the MagicOne and recommends it to his viewers. Ian states in his review, “The sound signature of the AFUL MagicOne is unique and pleasing. With a linear bass and a safe, smooth treble, the mids are not too recessed and the vocals sound authoritative and natural.” He also says that the AFUL MagicOne offers great value of the price and sounds better than some IEMs that cost more. His review is well-put and has good quality shots as well, we hope you enjoy watching his complete review.
Akros is a famous audio gear reviewer on YouTube. He has done an amazing review on the AFUL MagicOne, referring to the pair as a unique IEM that is well-suited for listening to music in a relaxed manner. As per Akros, the AFUL MagicOne has a neutral and smooth sound signature with a focus on the mids. He says the IEM has excellent imaging and detail retrieval as well. Akros finds the mids of the MagicOne to be the best in its price bracket. In this superb video review by Akros, he compares the MagicOne with FiiO DT100, FlowAudio FA-12, Moondrop Chu, and Letshuoer Galileo as well. It’s worth a watch!!
Now on to some written reviews, let’s read some solid reviews posted on Head-Fi now.
This is a very well-put and very well-described review on the AFUL MagicOne. He simply appreciates the extensive R&D done by AFUL to design the MagicOne to benefit the users. We would like to just share his own words here, “Being the first one to use an exotic driver technology or the first one to jam an insane number of drivers into an IEM means little unless those innovations lead to a new height in sonic quality or make the existing high-end sounds more accessible. In the case of Magic One, the innovations of AFUL push the single BA configuration to a new height, matching or exceeding the previous multi-BA releases one some key aspects. By pursuing the single BA configuration, AFUL also managed to create a smaller, more comfortable, and likely more cost-effective IEM.”
He really appreciates the great job done by AFUL in designing an innovative BA setup for the MagicOne. His review is a great read, take some time out of your busy schedule and give the write-up a quick read on head-fi here.
Head-Fi is full of amazing reviews on the AFUL MagicOne, this one by BaskingSharky is another well-put review on the pair. He explains his struggles with single-BA IEMs before and shares his appreciation for the amazing job done by AFUL on the MagicOne. We would just like to put his words here, as he has explained these things quite simply, “As written above, I was a detractor of single BAs, due to their inherent weaknesses of BA timbre, sub-par end-to-end extension and second-rate technicalities. However, in the MagicOne, AFUL has done a convincing job in addressing these limitations with impressive cutting-edge technology, literally changing my viewpoint overnight!
Sub-bass and treble extension are more than decently portrayed with the “SE-Math” and Nautilus concepts, with a fast and clean bass, clear midrange and smooth yet resolving treble. Technicalities are nothing to sniff at - with imaging and layering the star of the show - and the MagicOne bestows a smooth warm-neutral tone, which is very well-balanced and coherent, with not an ounce of sibilance.
The MagicOne easily stomps on other single BA competitors - some maybe costing even more - and actually sounds more like a multi-driver transducer due to these special innovations. It can even be used for stage monitoring or audio work due to the solid technical chops, great comfort, splendid isolation and neutralish profile.”
His review is a great one with the different comparisons with other IEMs, and has a great description of the sound of the MagicOne itself as well. You should check out his detailed take on the AFUL MagicOne on Head-Fi here.
In this review, Jaytiss seems to be impressed by the magic AFUL has created with the MagicOne. Like everyone else, he is also amazed to see the performance achieved with a single BA driver in the MagicOne here. From a neutral and clean sound, to a lovely midrange performance, his review shows the love he has found in the MagicOne. Let us just put his own words here that truely showcase the sound capabilities of MagicOne, “While this iem is very good, and almost perfect is seems that there could be some room for some slight improvement here. I think it has an almost manufactured hyper-clean sound like it is coming from a studio rather than a concert. If you are looking to recreate an old concert feeling this may not be for you. It lacks slam, and umph for those bass heads. If you want something with insane vocals that fits great and is a modern marvel this is for you. I am not gong to tell you this iem is better than the P5, although it might be depending on your preference, it’s definitely not better than the Aful 8. I love the Aful 8 a great deal, and find the tonal balance to be good.
This is a solid choice for those looking for a wonderful IEM. I could easily take the Aful 1 as my island iem and I find it exceedingly enjoyable.” These impressions are strongly from the point of view of a pure audio lover. He appreciates what the AFUL MagicOne brings and also suggests an EQ if you wanna tweak things a bit for further improvements based on his liking. We suggest you read this beautiful review by Jayiss on Head-fi hehe.
Well, we tried our best to list all of the reviews about AFUL MagicOne, but believe us, each one of them is simply amazing and it’s really hard to put all of them together in a single blog. That will just make it a messy one, but you guys can go ahead and check out over 20 reviews of MagicOne available on Head-Fi, and you will notice that each one of them tells us how good the AFUL MagicOne sounds. If you still have any doubts, why not grab a pair for yourself and check the beauty of the AFUL MagicOne yourself!!
]]>Ever since the Celest Phoenixcall came out, we have received great feedback from users worldwide. Everybody has loved the pair not only for its design part but also for its sheer musical sound signature. The pair is said to bring a detailed sound with fast and dynamic response throughout the frequency band. We get excited when people share their positive feedback for something that we personally love as well. Today, with this blog we are going to share some reviews of the Celest Phoenixcall which caught our attention. We hope you read it till the very end. At the time of this write-up, the Celest Phoenixcall is available for 129.99$, you can check out more details on the pair over here. Let’s dive deep into the world of Celest Phoenixcall reviews.
YouTube Review Link: https://www.youtube.com/watch?v=eug2DBa0ZCQ
Review Summary:-
Dave from Audio-In Reviews has shared a deeply detailed review on the Celest Phoenixcall. He likes the stunning designer face covers and also appreciates the fit as well. As per his review, he likes the sound finding it to be detailed and precise with a V-shaped sound signature. He finds the Celest Phoenixcall to have a mature sound presentation. What impresses him the most is that the Celest Phoenixcall reaches the level of Yume Ultra, Falcon Ultra, and Talos in terms of technical performance. Let us remind you, all these IEMs are priced above the Phoenixcall so that’s a win-win situation for the Phoenixcall. According to Dave, the Celest Phoenixcall can compete with higher-priced IEMs with ease. He has done an extensive review with amazing comparisons with other IEMs. If you are planning to go for the Phoenixcall, you should definitely check out Dave’s review to know the pair better before pulling the plug on the set.
YouTube Review Link: https://www.youtube.com/watch?v=jAORWGNWQwQ&t=417s
Review Summary:-
Zeos has done an extensive review of the Phoenixcall. Starting with the unboxing to different pairings and in-depth sound discussion, everything is done so nicely that you can’t stop watching this review by him. As expected, the looks got an appreciation and so did the sound profile. He finds the Phoenixcall to be amazing with dynamic and punchy lower-end, but what interests him the most is the subtle treble response and the big overall sound presentation. Zeos has shared an easy-to-understand review with simple terms. He explains the sound of the Phoenixcall very nicely and also appreciates the pair for delivering quality sound at an amazing price point, surely a review worth checking out!!
YouTube Review Link: https://www.youtube.com/watch?v=LcMUUHjh8a0&t=1s
Review Summary:-
Paul shares his opinion about the Celest Phoenixcall in a very simple manner which is easily understandable for most of the folks. He finds the pair to have a warm, smooth sound with a safe tuning profile. As per him, the tuning is too safe at times, but it is fairly enjoyable as a whole. Celest Phoenixcall has a smooth V-shaped profile with a relaxed treble which is never fatiguing or harsh. His review is simple yet nicely detailed with all the sections described in detail. He also appreciates the well-put packaging and the solid design of the Celest Phoenixcall. Overall, we can say that he described the pair well and talked in-detail about the sound of the set. We hope you enjoy his review as much as we did!!
YouTube Review Link: https://www.youtube.com/watch?v=QHx1w3CAKw8
Review Summary:-
If you want a complete in-depth review with huge comparisons with other similarly priced products, Akros’s review is one of the most detailed ones available for the Phoenixcall. He has done a complete in-depth review with comparisons featuring other famous names including Juzear Flame, Kinera URD, and more. He finds the Phoenixacll to perform quite well and competitively even when compared to such high-priced gear. This shows how well the Phoenixcall is tuned, He has done a deeply detailed review which we are sure you are gonna love. He has also shared graph comparisons at the end of his review so you guys can check that out as well.
YouTube Review Link: https://www.youtube.com/watch?v=PLXEi5PcjI4
Review Summary:-
HobbyTalk shares a well-detailed review for the Celest Phoenixcall. His reviews start with talking about the stunning design and beautiful looks of the Phoenixcall followed by clear sound descriptions. He explains the pair to have a unique sound profile with V-shape tuning producing a warm, smooth lower-end, with a bright, sparkly treble response. As per him, the warm mid-bass bump balances out the signature providing a fun and enjoyable sound with the set. He loves the Celest Phoenixcall for Country music. His review is well-detailed and it actually feels like he likes the Celest Phoenixcall a lot!! We hope you enjoy his review!!
Review Summary:-
When it comes to reviews, reading well-written reviews is always an amazing experience. Jaytiss on Head-Fi has shared a well-written review for the Phoenixcall including some solid proof to back his experience including graphs and song listening experience. His review is very well done, you will enjoy reading every single bit of it. As per Jaytiss, the pair feels much more expensive simply because of its extra-ordinary packaging. He finds the pair to have a well-done V-shape tuning profile and provide an excellent value for the retail cost. Just stating his own words here, “The Price is $130. It’s strong for this level. It’s packaged like a champion, go buy it. It’s also in the Amazon proper stores so it’ll ship in one or two days to most of the US!”!! Do read his review to get an insight on the Celest Phoenixcall.
Review Link: https://www.head-fi.org/showcase/kinera-celest-phoenixcall-multi-driver-tribrid-iems.26650/reviews#review-31556
Review Summary:-
Drewbadour has shared a well-written review where he has explained the pair quite nicely. We want to summarise his review, but he has himself summarised it very well in the final words, let us just share his own words here, “This new addition to the pantheon of $100-$200 IEMs is well worth a look - it eschews all notions of what is correct (cough* Harman) and does its own thing. Usually, when people stray too far off the beaten path, it's in for a rough time - not this time. No, this is not a market-defining or breaking IEM. And no it's not going to replace all the Wan'er/Hola/Hexa/Aria/Kato/you name it IEMs many of you already own. But it's not trying to do that. The Phoenixcall set out to do something different and to provide a different flavour to complement tuning/driver configs that have all but flooded the market. While I can't recommend this IEM as a one and only IEM or for someone's first IEM, the Phoenixcall still gets a solid recommendation from me, especially as an addition to a collection to provide either a different tuning or driver configuration.”
His review clearly shows how deeply he has enjoyed the pair. He finds the pair perfect for doing something different and providing a different-than-regular flavour for your everyday listen!! We hope you enjoy reading his review on Head-Fi!!
Review Summary:-
Talk about well-written, detailed reviews, Ceeluh7’s take on the Celest Phoenixcall is one of the most detailed reviews available here. He has explained every single intricate detail about the pair very well diving deep into different sections including bass, Midrange, Treble, and more. He finds the pair to have a fun, musical sound with great technical proficiency. His review is very well put and serves as a great read. If you are eyeing the Celest Phoenixcall, we recommend you read his review for full details!!
Celest Phoenixcall is an IEM that we personally love, not just for its deep lore or its stunning design, but also for its different taste of sound which is both fun and enjoyable. The package is also pretty solid packing all the things in an exquisite design backed by a solid mythological lore. We hope you guys enjoy the Celest Phoenixcall as much as the community does which is pretty clear from the reviews posted above. For any further details related to the Celest Phoenixcall, you can check it out on our website here.
]]>YouTube Review Link: https://www.youtube.com/watch?v=vELicktFHpk
Review Summary:-
Dave from Audio In Reviews has thoroughly enjoyed the AFUL performer8. He has shared two videos on his YouTube channel one for the unboxing with some initial impressions and another one as a final review with some comparisons. He actually loved the Performer5 as well, even putting it in his best budget picks around the 200$ price bracket. Right from the start he has liked how well the pair is built, from the eye-catching face covers to the lightweight shells that sit comfortably and provide great isolation as well. As per Dave, the Performer8 has a neutral sound signature with a relaxed presentation. He appreciates the extensions at both ends of the spectrum like the sub-bass depth and the treble extensions on the Perfomer8. He has done an extensive in-depth review with a full comparison with other models including the Performer5, the Moondrop Blessing 3, and the Softears Studio4. We enjoyed watching his detailed take on the Performer8, we hope you like watching his video review as well!!
Youtube Review Link: https://www.youtube.com/watch?v=QKWW-de7O1E
Review Summary:-
Zeos Pantera of Z Reviews has this channel for in-depth reviews of in-ear monitors. He has done a fantastic review for the Performer8. He begins his review with a brief impression on the Performer5 as well which he also loved. His review shows how much he has enjoyed both the Performer5 and Performer8 IEMs. He likes the clarity and the detail retrieval of the Performer8. His review is a bliss to watch as he compares different eartips on the Performer8 as well. The Performer8 finds a place on his recommendations list as he finds the pair to deliver an interesting sound with an exciting price-to-performance ratio. Zeos has done a deeply detailed review on the Performer8 which we are sure you would love to watch. Definitely watch his review to get a deep insight into the Performer8s.
Youtube Review Link: https://www.youtube.com/watch?v=P5Z8rSEstac
Review Summary:-
Timmy from Gizaudio has shown immense love to the Performer series from AFUL. He loved the Performer5 previously, and he loves the Performer8 even more. He has done two videos on the Performer8 one with the unboxing along with the initial impressions and another with an in-depth review and detailed comparisons as well. Timmy has done a deeply detailed review on the Performer8 where he has compared it with famous IEMs such as the Moondrop Variations, DUNU SA6 Ultra/SA6 MK2, and Moondrop Blessing 3. As per him, the Performer8 has rich vocals with clean bass and well-separated instruments. It He finds the pair to have an exceptional midrange performance delivering quality vocals and details in instruments. He also appreciates the detailed, lively treble of the Performer8. Basically, his entire review shows he has enjoyed the Performer8 deeply, we suggest you give his review a watch and enjoy the show yourself.
Christopher from MMORPG has done an extensive review of the AFUL Performer8. He has shared a well-written and meaningful review of the pair. He appreciates the Performer8 for its beautiful design, comfortable fit, excellent detail retrieval, balanced and smooth sound, and great gaming performance as well. The Performer8 actually has a clean and balanced sound with an ultimate level of detail which makes the pair a fan-favorite choice; you can read their entire review over here.
It’s good to see people praising the AFUL Performer8. Apart from these reviews, we have got so many positive feedbacks from our customers who find the P8 to have exceptionally solid sound responses easily making it one of the ideal choices around this price point. We are super excited that AFUL is soon coming up with two new IEMs including a single BA driver-based IEM and a flagship 14BA driver IEM as well. If you are looking for something that sounds neutral with a hint of sub-bass boose, clear midrange, and extended-detailed treble response, the AFUL Performer8 might match your requirements perfectly. Know more details about this beautiful IEM here.
]]>This is a review round-up summarising views from different reviewers worldwide. We will try our best to describe their review in their own respected way(the content creators). We might have to change the language here and there to make it easy to read and summarise. Rest all the credit goes to the respected creators.
Gizaudio is a widely-famous audio gear review channel on YouTube. Timmy from Gizaudio liked the DUNU SA6 MK2 a lot. He has given the pair “S-“ tier rating, which if we check closely only a few models around this price point of 500-600$ are there in his database to get such high ratings. He absolutely loved the pair and stated in his review, “ The DUNU SA6 MK2 is easily one of the best IEMs to grab south of the 600$ price range”. According to Gizaudio, “DUNU SA6 MK2 has a balanced tuning”. He states it’s similar to a very slightly V-shaped tuning.” While checking out his review, we find him loving the SA6 MK2 for its fuller and complete midrange presentation. He has shared an amazing review sharing his deep insights on the amazing DUNU SA6 MK2. You should definitely check out his complete review on the Gizuadio Youtube Channel.
Z Reviews liked what DUNU has done with the SA6 MK2. He finds the pair to have a smooth sound across the frequency band and a mid-focused signature that is impressive to listen to. He was the mind behind the tuning profile of the SA6 Ultra which was a limited-run product. Zeos himself finds the SA6 MK2 to have a bigger stage and lovely midrange presentation. The new design is also liked by Zeos, the faceplates are really intriguing here. It’s really amazing to see Zeos liking the SA6 MK2 to this extent and sharing his deep insights on the pair. If you are considering getting the SA6 MK2, you should check out his complete review on his YouTube Channel.
Talking about the clear and crisp review by Super* on his YouTube Channel, it feels like he has really enjoyed the SA6 MK2. He praises the pair for its outstanding tonality, smooth laid-back style neutral tuning that has a focus on the midrange. Just stating his words here, “The bass is boosted but it doesn’t interfere with the midrange, You get a clean and clear midrange, the vocal texture is really good, and also has a really good level of detail throughout the entire frequency range.” He finds the treble quality of the SA6 Mk2 to be of excellent quality as well. Although he finds the bass to be a little lackluster for his taste, overall he really shows his enthusiasm for the SA6 MK2 through his review. Check out his complete review on his YouTube Channel.
David from Audio-In Reviews has treated us with an in-depth review of the DUNU SA6 MK2 on his Youtube channel. He absolutely had a blast with the pair and he found it to be an excellent choice for the price point. Just stating his own conclusion here, “Of all the IEMs that I own, or I had own, or I have just heard in this price range and up to about a 1000$, the DUNU SA6 Mk2 approaches, or even in some cases matched their performance in terms of tuning, or technicalities, or both”. This is really a highly appreciative statement from David. We are super glad he enjoyed the SA6 Mk2 to this extent and treated us with his in-depth review. You guys should really check out his Video review on his Youtube channel.
Headfonics is a famous review channel on the internet. They have to go van a recommended rating to the SA6 MK2 with an astonishing score of 8.9. We will just state their own words here because we believe they actually depict our own opinion of the SA6 MK2 exactly, the reviewer states, “The DUNU SA6 MK2 combines the best aspects of the OG SA6 and SA6 Ultra into the MK2. Truly a return of the king, it exemplifies DUNU’s ability to achieve once again a ‘lightning in the bottle’ type product. Rarely do we get an IEM that is so hard to nitpick – from spot-on tuning, and excellent choice in custom drivers, to a solid accessories package, the SA6 MK2 is deserving of a blind buy.
I have not heard something in this price range that maintains the slam, detail, airiness, and sparkle of the MK2.” Looks like, they really loved the sound performance of the SA6 MK2!! You can enjoy reading their review on their website here.
Zerstorer has shared a well-written and deeply insightful review of the DUNU SA6 MK2 on the Head-Fi platform. In his review, he shared his experience with the SA6 MK2 giving him full 5 stars for the sound performance. He has also compared the SA6 MK2 with other mid-fi and high-end IEMs in his collection finding the pair to compare well with them. As per his opinion on the SA6 MK2, he says “The bass quality of DUNU SA6 MK.II is punchy, articulate, and vital enough to deliver an engaging and sufficiently dynamic sounding as I expected from a Sonion BA woofer. It focuses more on mid-bass rather than sub-bass which I really prefer.”, “As a mid centric listener like myself, like its original sister, SA6 MK.II delivers such exquisite and well-delineated midrange registers that I can pronounce without hesitation as closer to perfection.” According to him, the DUNU SA6 MKII is a marvelous performance in all the departments!! Check out his complete review here.
Genesis has shared a very well-written on Head-Fi thread. He finds the pair to be quite an amazing performer which is explained very nicely in his review on head-fi. He says, “Similar to its predecessor, the original SA6, the SA6II embodies a quintessential mid-fi IEM. It comes with high-quality accessories, boasts a beautiful design, and provides a comfortable fit. The tonality of the SA6II is natural and pleasant across various genres, offering a refreshing departure from the typical Harman target sound. It also delivers respectable resolution and soundstage performance to complement its tuning. The limitations of the SA6II become noticeable only when scrutinizing the soundstage and comparing it to much more expensive high-end IEMs.”!! Go ahead and read his complete review here.
There are countless more reviews available on YouTube and different forums worldwide. After all, DUNU SA6 MK2 is actually a great performing set, a multi-BA driver IEM that comes at a mid-fi level price but packs a really solid sound performance within. People across the reviews for the SA6 MK2 have praised the pair for its outstanding mid-range response, clean and smooth natural sound, and beautiful build is just like the icing on the cake. DUNU SA6 MK2 is an IEM that you can use on a daily basis for both casual as well as serious listening sessions!! You can check out more information about the DUNU SA6 MK2 in our store over here. For any further assistance or queries, you can contact us at support@hifigo.com.
]]>This is a review round-up summarising views from different reviewers worldwide. We will try our best to describe their review in their own respected way(the content creators). We might have to change the language here or there to make it easy to read and summarise. Rest all the credit goes to the respected creators.
DAVE from Audio-In Reviews is a fantastic guy who is also quite active on Head-Fi. He does fantastic video reviews on his channel. He has done a great review for the LETSHUOER x Gizaudio Galileo on his channel. We would just like to share his words from his review on Youtube as we feel like he clearly shares our thoughts on the same with these words, “I was just able to sit and enjoy music on the Galileo, so taking everything into consideration, the sound quality, the immersive experience, the beautiful design, great build quality, I would give these a recommendation.” He also finds the Galileo to be great for stage use, for actual monitoring, especially for vocalist or guitarist”. It looks like he enjoyed Galileo a lot and gives the set a nice and easy recommendation. You guys should check out his complete review on his Youtube Channel, we will be adding the link below.
BGGAR is a famous video reviewer on Youtube with a massive following. He finds the Galileo to have an amazing sound profile and deliver quality sound at a really decent price. In his own words, “Galileo is a competitive set in its price range if it’s a 100$, It plays back my library very well. I recommend it, I think it does a great job. I think Letshouer has done a great job in meshing up the dynamic driver and the Sonion BA driver with the Galileo.” His review is quite energetic and feels like he has really enjoyed Galileo for himself. You guys should really go and check out his complete video review on Galileo from the link below.
Mostly known for #DongleMadness, Andy is an emerging name on Youtube as well now. He has tested out the amazing Galileo. In his own words, he states, “ Gizaudio probably has put a lot of thought into bringing their first collaboration with a big IEM manufacturer. It has been designed to be non-offensive, something that is appealing to people who love neutral sound, midrange, and bass, but not the extreme side of it.” Andy finds Galileo to be perfect and ideal for treble-sensitive people. His review shows how excited he is with the pair. We recommend you go check out his complete video review on his channel on Youtube from the link below.
Now on to some written reviews on Head-Fi, we are checking out an amazing writeup by RemedyMusic. He has done a fantastic review on the Galileo, we are just going to state his own words here, “In addition to its stunningly beautiful appearance, the Galileo boasts impressive sound quality, with a bit of trade-off in technicalities, sadly. Although its sound profile may not be particularly impressive for bass or treble enthusiasts, the Galileo is designed for those who prefer a flat, yet smooth and fluid audio presentation. Its unexaggerated sound profile prioritizes the clarity and balance of all sound elements. So, if you appreciate polished and precise audio quality, the Galileo is an excellent choice.
Galileo enters a very congested price bracket with some crowd favorites like Dunu Titan S, Truthear HEXA, IKKO OH10, TRI Starsea, and Kinera Idun Golden, and for me, personally, it still manages to be fairly exceptional in its own right. I must hand it to Timmy for collaborating with Letshuoer for making this brilliant pair.” We recommend you go and check out his exciting write-up on Head-Fi here.
Many people have described the sound of Galileo to be reference-grade and neutral, Koyawmohabhal on head-fi also describes the sound of Galileo to be refined and reference-class. He states that “The Galileo can easily be a reference set for people who are on a tight budget. I cannot think of other sets that can come close to the performance of Galileo in terms of a natural presentation. Well, planers might offer more excitement and spice, but Galileo nails it to the ground when it comes to the length of listening sessions. They are smooth, non-fatiguing, yet detailed in every way.
I think Timmy hit the jackpot on this one, albeit not from luck. But from intent, good philosophy, and the thirst for exploration.” Be sure to read his complete review on Head-Fi here.
Gadgetgod finds the pair to have a natural, refined sound profile that is pleasing to listen to for hours and hours. He states. “Letshuoer x Gizaudio Galileo is a lovely-looking IEM. I would like to congratulate Timmy on this collaboration of his as I personally loved the tuning profile. The pair sounds natural, lively, and open. It has excellent tonality, I can assure you, you can listen to this set for hours and hours without feeling any fatiguing or getting tired at all. I mean, in the end, it is all that matters, to enjoy our music with a natural, rich tone and a good amount of details and resolution. Galileo checks all these boxes for me in the right way!!” The pair surely sounds lovely and it feels like he has enjoyed the set thoroughly. You can check out his complete write-up on Head-Fi over here.
This is a short glimpse of what the community has to say about the beautiful and stunning Galileo. The pair packs an authentic listening experience for listeners who prefer to have a neutral-sounding set with exceptional clarity in the mid-range and smooth, inoffensive treble response. People have actually found the pair to be quite pleasing to listen to and complement different genres of music nicely. The Letshuoer x Gizaudio Galileo is available to purchase at a very attractive price of just 99.99$, you can check out some more information about the Galileo over here.
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The Build
AFUL Performer 5 (P5) is a newly developed 5 drivers hybrid IEM from AFUL, boasting some of the most impressive array of technology I have seen yet. For a start, P5 comes with 5 distinctive patented tech - something almost unheard of from most earphone manufacturers (the likes of Etymotic and Shure does have their own patents).
Frankly, I am not well versed with tech stuffs pertaining to audio gears. What I do appreciate is when a manufacturer goes the extra mile to produce bespoke like products to achieve possibilities and maximizing performance, value and dependency. So I will not delve too much into the specifics because my reviews has always been, how do they perform in real life? sounds good? - that sort of thing.
Let’s start with the shells. They are made of hardened resin with EnvisionTEC High-Precision 3D Printed Acoustic Tube Structure, I figured that this is where the characteristic of P5 sound are influenced - IEM auditory and sonic characteristics are largely attributed to how the shells are designed. What this means to me, AFUL has spent great effort to tune the internals of the IEM shells to comply to specific target they deem as fitting. Inside the shells, a single Dynamic Driver accompanied by 4 Balanced Amatures, Those 5 drivers deployed with RLC Network Frequency Division Technology - I assume that it means there's some serious tech under the hood to connect and tune the five different drivers, ensuring high level of precision, cohesion and accuracy.
Esthetically, P5 is a thing of beauty. The magma like faceplates looking gorgeous, layered with thick enameled lacquer finishes. The inside section, dark blue-ish black. P5 has been designed meticulously ergonomic to offer comfort and best possible universal fit. I would say the 4mm bore size nozzle exhibiting moderate length - not too short nor does it protrude longer than necessary. On top of that, at just 4.2gm each side, P5 is assuredly among the lightest IEM have ever had yet in my possession. These thoughtful design and implementation meant that wearing P5 is a pleasant affair. It is super comfortable once anchored securely. I have been able to wear my P5 for literally half a day with music on shuffle nonstop - no unsavory effects like wear fatigue that I can complain of. P5 literally disappear when the music starts.
On top of that, P5 has something called High-Damping Air-Pressure Balance System, some sort of integrated ventilation system intended to relieve possible buildup of vacuum pressure - which means that there will be no sensation of closed vacuum proximity when IEM seal has been achieved. But this was also intended, and perhaps more importantly to impart some element of influence of how P5 would perform sonically (more on this later).
P5 comes accompanied with pretty much standard array of accessories as per expected of an IEM of this pedigree. Nothing too lavish or extravagant - it is more practical than fanciful. The stock cable, I believe being made of SPC, looked just like many other IEM cables seen these days. Well built, offering robust yet pliable feel to it and should stand the test of time with daily rigorous usage.
Then, there's two sets of silicone tips offering 2 variant - wide and narrow bore. Wide for Treble focus and narrow for lower frequency emphasis. I wished AFUL would have also included foam tips but alas none are offered, manufacturers really need to understand that silicone tips won't work for everyone - and I am one of them. The entirety of my review for P5 has been done with Dekoni foam tips instead. I just cannot bear the odd feeling of silicone tips on my ear canals.
Test Audio Playlist
Sound Impressions
AFUL Performer 5 (P5), I would describe it as a fusion between Harman and W curved sound tuning. Pronounced boosting and coloration especially on the lower frequencies being prominent out of the box. With approx 40 hours of burn-in, I can audibly hear the lower frequencies firmed up and settled down nicely. Otherwise, to my ears which is so accustomed to Diffused Field Neutral sound curve, P5 sounded exceedingly Bassy, colored and vibrant.
P5 is assuredly rich and expansive with dynamic range. The breadth and expanse from one end to the other end practically TOTL level - only bested by the likes of Shure KSE1500. On the aspect of dynamic characteristics, P5 offer lively and vibrant dynamic transients that exhibited silky smooth flow of harmonics. Euphony level exhibited finesse and grace, it is exciting as it is mature sounding at the same time. Always clean and coherent. The transitions of sonic frequency interchanges seemingly fluid and purposeful. Most prominent would be the depth of lower frequency reach, P5 projected them masterfully yet keeping it sensible with imaging crispness - it is cleanly audible, but it does not overwhelm.
Tonal and timbre balance of P5 is highly organic. My extensive listening to P5 covering all possible genres, I was able to throw at it, I have yet to hear any hint of unsavory metallic or plasticky timbre. P5 is natural as it is gracefully realistic with tonal and timbre balance, despite being highly colored and vibrant. On this aspect, I can totally respect tuning acumen as exhibited by AFUL. For the most part, instruments, percussions and vocals presented transparently as how they are meant to be. I think P5 owes it a lot to how the 5 drivers bonded together to always remained cohesive to each other, the technology as stated earlier applied ensuring that the harmonics being well controlled and balanced, resulting in smooth projection of dynamic transients that sounded believable tonal wise.
For something that is relatively V Harman-ish curved, P5 is surprisingly rich and frontal with Mids presentation. Hence why I said earlier this P5 being a hybrid of V and W sounding IEM. It is rich, dense and succinct. The overall theme of P5 Mids being naturally organic, just very mild hint of warmth to the timbre and texture. P5 Mids offer good depth and resolution. Be it stringed instruments, percussions or electronic, P5 Mids will always appear well defined, crisp and smooth. Playing Jazz is an emotional and immersive affair thanks to the ambience of Mids staging which can be intimate depending on how they were mixed and mastered. The V element of Mids will be audible when subjected to listening to Rock/Metal genres, or practically any music that exhibited native suppression of Mids as part of the recording scheme. What this translated to me, P5 being highly transparent to the nature of the recording - the ability and agility to adapt to the source intended design. For someone who listens a lot to Metal music, P5 offer some of the smoothest sound for electric guitars - smooth yet still crispy enough imparting good sense of bite and edge. Or should I say, the electric guitar riffs will always appear well rounded and refined. The attack and decays remained realistic, engaging and vibrant. I can listen to raw Black Metal Lo-Fi recordings all day long and will never get any risk of auditory fatigue due to the smoothness of P5 Mids presentation, especially upper Mids which is absolutely free from any elements of Pinna glare.
For vocals, notably I would say the lower keyed female vocals (Contralto) from the likes of Diana Krall or Sinne Eeg would appear slightly warmer, but it still has ample natural tint to it - which resulted in something that is lush and engaging, highly emotional...that's the purpose of Jazz isn't it? to be emotionally connected to the music and singing. The same can be said of male vocals, typically richer and thicker in density, I am hearing deep chesty singing from Morrissey and Nick Cave, both being Baritone-Tenor type. And last but not least, subjecting P5 to the peakier type of vocals from Alison Krauss and Mariah Carey (Soprano-Alto), P5 exhibited excellent control to emit even the most shrill section of their singing - simply outstanding.
Treble for P5 can be best described as mature and well controlled. In fact compared to some competitors, I would say P5 may appear seemingly moderate with Treble projection. But moderate does not mean P5 being weak with upper frequencies performance. Simply put, it is not an outright bright sounding unit. P5 offer delicate and cleanly audible Treble with deep extensions - evidenced with great presentation of Treble micro details exhibiting smooth decays dispersal. The energy, the attack being highly mature. It is euphonic enough to instill excitement, yet never offensive or sibilant - not even when subjected to highly aggressive music that contain lots of Hi-Hat and cymbals. Treble transients being harmonious and fluid. I daresay, for someone who love refined Treble, I find P5 capable of mesmerizing performances that will not fail to impart sense of satisfaction.
Now to the best part, Bass. Among the many that I have listened to, without a doubt P5 is an absolute champion with Bass performances. I would even describe P5 being a miniature Subwoofer IEM. And thus the subject goes back to the implementation of P5 High-Damping Air-Pressure Balance System, which means that P5 has an advantage of behaving like an open backed earphone instead of an In Ear Monitor. This in return resulted in something that is airy and gracefully flowing. Yes, Bass notes of P5 is literally flowing and mesmerizing, devoid of any sense of closed vacuum - something that is akin to Subwoofer sensations. Midbass of P5 exhibited solid authority and presence, commanding yet never overwhelming. It has details and rich texture, immersive depth and articulation. Impact and slam just as per expected of a Dynamic Driver, with strong seismic sensations all the way to Subbass decays. The Subbass itself being well extended into the furthest region with realistic dispersal of note edge. Despite largely being somewhat Bass heavy IEM, P5 surprisingly does not feel awkwardly boomy or bloated, Bass is always clean and fast. I am no where near being a Basshead yet I am addictively attuned to this sort of lower frequency performances. This is where I would say P5 being strong enough to rival some of the Harman tuned IEMs competitors out there. That deep and engaging Bass will assuredly please those who appreciate beautifully presented lower frequency vibes.
Technicalities
Without a doubt, AFUL Performer 5 is exceedingly good with technicalities. Perhaps the only critic I would say would be on the aspect of overall headstaging width and dimension. I feel that the soundstage could use a bit more space to compliment the open sound. It is not exactly narrow, but I have heard wider staging from other IEMs. Maybe, because P5 being frontal with the projection of Mids, that sort of presentation impart strong sense of intimacy which in turn making my ears perceive the soundstage being not wide enough. But really I am nitpicking here.
As for the rest, P5 exhibited clinical precision with layer separation and spatial imaging. Being a 5 drivers hybrid tuned correctly does that. P5 is highly holographic and immersive. P5 can easily be at home for music as it is for gaming as well, especially for FPS or TPP type of gaming where sound source accuracy is critical.
Transparency and resolution is assuredly top notch. P5 will resolve even better for high quality sources. Extracting all possible details contained therein. The bonus part, despite being highly resolving, P5 is still forgiving enough for Lo-Fi or even YouTube contents - this is not an easy thing to balance out.
Aligned with the rest of technical competencies, P5 is also great with speed. Good coherency between the 5 drivers ensured that P5 is able to resolve even the most complex of music composition, or outright speedy exceeding 250 BPM. P5 will never be subjected to sounding sluggish or muddied.
Scalability
Rated at 35 Ohm with 110 dB of sensitivity, P5 runs perfectly fine even directly from my Sony Xperia 1 iV phone. The output being wholesome and rich.
Subjecting P5 to higher powered partners, P5 will then exhibit improved dynamic density and technicalities. Absolutely mesmerizing when paired with CEntrance DACport HD, Cayin RU6 and Ovidius B1. I must say that I am impressed that P5 was able to handle all that power without any effect of being shouty or overly euphonic. That's the sign of maturity and great scalability.
But I must also mention, P5 may exhibit floor noises on some DAC/Amps, something like Ovidius B1 or VE Megatron, both of which are obscenely powerful.
Final Words
AFUL Performer 5 is a solid and amazing unit end to end. The application of exotic tech does translates into sonic performances that will not fail to instill WOW element. I know it WOWed me, despite of my dogged insistence to sticking to more neutral sounding IEMs.
I like it a lot that P5 is highly organic and natural sounding with timbre and tonal balance (despite being colored with sound spectrum). This is how a vibrant yet mature sounding unit should be tuned. It compels the user to want listening more and more, not wanting to put it aside because music sounded so lively and immersive. While being musical, P5 remained highly acute with technicalities, details and crisp imaging in abundance, always.
And yes the Bass, damm that Subwoofer sensation is an absolute winner in my book. That rich mesmerizing flow of Bass responses, airy and commanding. Bass heavy tracks simply blissful to listen to.
Ultimately, AFUL Performer 5 is a wonder to behold. The build, the tech, the sonic element, the wear all seemingly well crafted. It will be hard to match the unique qualities of P5.
AFUL Performer 5 is available at HiFiGo (to be released 24 November 2022):
Pros:
Cons:
Just slightly lacking with overall soundstage width
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Foreword
Tangzu Wan'er S.G is a budget IEM, that's pretty evident with the $19.90 price tag. Meant to be highly affordable to the masses. As such, the construction is pretty much very modest with simple transparent acrylic shells. Offered in two choices of color, Wan'Er S.G comes in either Transparent White Motif or Black Opaque theme - resembling Yin and Yang.
The overall build of the shells felt firm enough. It is very lightweight and smooth edged.
Wan'er S.G IEM shells boasted dual cavity chambers for sonic tuning purposes, this can be observed clearly especially with the fully transparent white version. The single Neodymium N52 PET diaphragm dynamic drivers anchored close to the nozzle port with generous chamber behind it.
Accompanying Wan'er S.G, set of accessories including OFC cable with QDC two pin termination, silicone tips and a very artistic piece of cleaning cloth depicting Wan'er S.G herself.
The selection of stock tips, both narrow and wide bore included. Normally wide bore for Treble focus and the narrow bore for emphasis on lower frequencies. For my own usage, I opted not to use any one of them, preferring my own Misodiko MIX460 hybrid tips.
Wearing Wan'er S.G is a straightforward affair. It is very comfortable and lightweight. The shells rest comfortably on my ear concha. I can use Wan'er S.G for 3-4 hours without experiencing any hint of wear fatigue. My only concern would be the stock cable, the ear hook section in particular - the curved hooks kind of looping a bit wider than my ear inner tips, and without a chin slider on the cable, it can appear as if my ears has become like an Elf pointy piece visually - swapping it to Kinera Leyding Cable solved that.
Before I proceed any further with Sound Impressions, it is best to clarify that 90% of my review for Wan'er S.G will be based on combination of Misodiko MIX460 tips and Kinera Leyding Cable. After some tweaking and swapping, I have discovered that Wan'er S.G improved dramatically with that combo as compared to using stock tips and cable.
Out of the box, Wan'er S.G sounded fairly natural with good sense of organic temperament to the overall sound. I would regard the overall tuning edging closer to neutral territory, with an exception that there's audible elevation of lower frequencies with Bass sounding stronger and denser than true neutral sound curve. It's pretty much the trend nowadays, IEM's tuned with heightened lower frequencies to sate the demands of consumer which has grown fond of thicker and denser lower frequencies. Otherwise, Wan'er S.G would have been quite neutral with the Mids and Treble seemingly uncolored for the most part. To tone down the boosting of lower frequencies, I used the Misodiko MIX460 hybrid tips which has proven quite effective at tidying up Bass responses (more on this later).
Dynamic characteristic of Wan'er S.G can be best described as fairly extended and well balanced. Nothing too extravagant. Dynamic transients largely being clean and smoothly rendered. It has enough energy and pace to the flow of harmonics, as to be expected of sensibly tuned single DD. The vibrancy level being well controlled and mature - in contrast, the likes of HZSOUND Heart Mirror would appear highly energetic and euphonic. Wan'er S.G on the other hand resonate closer to Tangzu' s debutant of Yuan Li (which I really like until today).
Timbral and tonal characteristics of Wan'er S.G being highly organic and musical. End to end from lower frequency to the uppermost region, it is faithfully natural sounding and realistic. The only caveat I would complain would be the strength and depth of timbre imaging which can appear a bit fuzzy (due to preferences for overall smoothness). It is neither warm nor it is bright - just about right. The sort of natural tone and timbre to be heard from the likes of Shure KSE1500, Kinera Idun Golden or Sennheiser HD600 - of course the said devices being highly superior to the actual implementation - but you get the idea, Wan'er S.G hovers close to those sort of sound. It is non-offensive, smooth and flowing. No hint of being digital-ish or metallic - in my book, this is highly favorable to my taste subjectively.
The Midrange of Wan'er S.G is quite impressive actually. The staging and placement being amply forward, properly moderated to appear bold yet never too frontal. It is transparent to the intended nature of the sources - depending on the sort of mixing done on the subjected audio tracks. For example, on Jazz, Pop, Folk and Ballads, Wan'er S.G will appear audibly upfront, taking centerstage with Mids dominance as how it was intended. With Rock/Metal music, which are typically mixed with V curve tuning, the Mids will then appear stepped back appropriately.
Wan'er S.G offer rich and dense Mids, the texture felt wholesome and engaging, organic theme evident with the attack and decays, the pace being moderate and believable. It's absolutely at home for easy listening that impart musical emotions especially for Jazz and Ballads.
Instruments for the most part, sounding smooth and well defined - lacking only some clinical precision and depth as would be heard from higher end IEMs. I like the fact that Wan'er S.G handles stringed instruments and percussions with realistic tone and timbre, electric guitars offering ample bite while keeping the smooth theme still. Perhaps not as strong edged as some of the competitors but this also mean Wan'er S.G offer more musical experience over technical precision.
Vocals wise, Wan'er S.G is highly versatile and adaptable. Does not matter male or female, Jazz or Rock, Wan'er S.G offer good transparency to emit neutral sounding vocals that remained organic - perhaps some small hint of warmth especially for Baritone/Tenor (males) or Contralto type of voices. This in turn helps with imparting good emotions to savor the music with sensible vibe and nuances. Again, I wish the imaging would be slightly crisper here, I felt that the smoothing of Mids in general imparted that tingling sense of fuzziness on lesser quality recordings - but works quite well on the good ones.
Treble of Wan'er S.G is modest, yet sparkly and smooth. Non-offensive tuning that still offer good vibrancy and shimmer. The extension does feel a bit rolled off, with micro details barely audible. The most important part, Wan'er S.G Treble remains natural sounding with no hint of being plasticky or metallic. There's also good air and smooth transients with the flow of Treble timbre, soothing even. Largely attributed to the pairing of Misodiko MIX460 tips and Kinera Leyding Cable.
It is worth to mention as well, despite the decays being somewhat rolled off, it is still admirably clean and crisp - again with polished edge to disperse naturally, clearly evident with highly energetic recordings that contains lots of Hi-Hats and cymbals. What is certain, the range between upper Mids to Treble is free from any Pinna glare element, which means Wan'er S.G will not exhibit any upper frequency sibilance - ultimately offering non fatigue listening even for hours on end.
On the lower frequency, Wan'er S.G exhibited pronounced boosting for Midbass, with ample density on Subbass. After 100 hours of burn in, it is totally free from any element of Bass bleeds (of which up to 40 hours, there may be some occurrences of Midbass messing up with lower Mids, imparting minor element of bloat on some Bass heavy tracks). The good thing is, being a DD, Bass settled in admirably well - now it is very clean and disciplined. The vibrancy seemingly mature and sensible.
Midbass offer good texture and depth, the impact and slam being moderate - which means this may not be dense or heavy enough for Bass lovers, Basshead will still find Wan'er S.G Bass performances being leaner. However, for those preferring more uncolored sound, Wan'er S.G Bass is quite abundance and rich - especially for Midbass presence.
Bass overall texture while seemingly rich, I feel that it still lacks some depth and macro details, it is smooth yes, but then on some music it will appear slightly opaque sounding. This is just me being critical, the truth is, without critical comparison, Wan'er S.G Bass performances are quite good for casual musical indulgences. In fact I normally prefer less Bassy audio equipment. Wan'er S.G offer just about right amount of Bass overall density and body mass.
On Subbass, the decays are quite crisp and smooth - not exactly far reaching like how it is normally heard from Harman tuned IEMs, but Wan'er S.G has ample density to offer satisfying and realistic seismic sensations for the lowest range of Bass frequencies.
Wan'er S.G has wide and open sounding presentation of Headstage, which in turn impart good sense of expansive Soundstage that is spacious and airy. Separation lines being amply clean, not exactly clinical but I would not complain for it being fuzzy as well. Not difficult to track individual layers.
Spatial positioning and projection admirably holographic for a single DD, the imaging crisp enough and smooth. On the aspect of transparency and details handling, Wan'er S.G proved to be a competent unit - again not exactly an analytical set, with the retrieval of Micro details seemingly slightly subdued. Otherwise, it is still very good for casual usage - for enjoying music (not analyzing it). Wan'er S.G, transparency and resolution being quite good too, it renders the source faithfully with natural tone and accuracy - moderately if I must add.
Speed is average for Wan'er S.G. Not exactly as speedy as some of the competitors - with Wan'er S.G preferring the languid smooth attack over prompt precision. At least it is agile enough to avoid being congested or muddy sounding on some of the more complex audio tracks I thrown at it. So that's already a big plus in my book.
Just like Yuan Li and Zetian Wu, despite being rated 20 Ohm with 107dB of sensitivity. Wan'er S.G scales really well with power. Yes is does sound already good directly connected to my Sony Xperia 1 iV, the output being rich and highly musical. Subjecting Wan'er S.G to higher powered partners will help to improve some technical aspects like stronger imaging and crisper note weight. Wan'er S.G seems to work really amazing with Cayin RU6, CEntrance DACport HD and Ovidius B1 - with technical element being heightened audibly. Worth to mention that Wan'er S.G remained stable with all the power fed into it without any hint of getting shouty.
TANGZU Wan'er S.G is easy to like. The biggest value proposition, Wan'er S.G is a well balanced performer that is sensibly modest and easygoing. Even for certain degree of analytical listening, Wan'er S.G will prove to be competent enough to satisfy technical element of sound - for as long as it is connected to an equally competent partner that offer great technicalities. Not forgetting gearing up Wan'er S.G with good cables and tips. In stock trim I would say Wan'er S.G is more than enough for casual use, pimp it up a bit more and then the versatility will pay dividends with satisfyingly articulate output that remains musically well balanced.
Ultimately, for something that is priced just $19.90, Wan'er S.G offer amazing Bang for the Buck value that is hard to ignore. For the most part, it does not sound like a budget IEM at all. It will appeal greatly for those seeking close to neutral sound with sensible amount of lower frequency boosting. Without a doubt Wan'er S.G falls into something that I would recommend for anything below $20.
For a budget IEM, Tanchjim OLA Bass Version sure does look way more elegant than most. I am truly impressed with the clean, graceful and thoughtful packaging by Tanchjim.
The IEM itself, visually identical to the original OLA released a few months back. So aside from the drivers configuration, nothing new really, because the original OLA was already a well-built unit. Constructed of acrylic plastic shell with aerospace grade Aluminum faceplate, Tanchjim somehow managed to impart good sense of solidity to the unit. Design wise, perhaps it is non-conventional and will appease some, probably less to others - subjectively.
Internally, OLA B sports a pair of PEEK Composite Diaphragm single dynamic drivers, of which are commonly found on higher end units. The original version of OLA was made of DMT4 Architecture Dynamic Drivers.
OLA B comes accompanied with equally elegant looking High-Purity Litz Braided 4N SPC Cable, with built in MIC and two-pin 0.78mm connectors, terminated on the other end with 3.5mm audio jack. Again I will repeat myself the cable setup does not look like a budget set at all.
Then, there's two sets of silicone tips offering either "Treble Enhancing" or "Bass Enhancing" options. Simply, the Treble version being wide bore and the Bass version being Narrow bore. However due to my personal preferences for foam tips, I don't actually use them - and my review on this unit will be based on this configuration with Dekoni foam tips.
One feature that's quite interesting, OLA B is supposedly dustproof and waterproof (with Nozzle filter). Now, I personally haven't tested this extensively (like jumping into a pool or something), but it does mean OLA B is highly usable for outdoor usage be it for dusty road commuting or rainy days. Or even at the gym when the sweats start pouring. Intentionally OLA B has been designed from the ground up for versatility of active lifestyle.
Comfort wise, OLA B being very lightweight, I have no issues wearing it for hours on end once anchored properly to my ears. Admittedly OLA B is not as ergonomically friendly with the shell design, so it will depend on what sort of ear tolerances the user has - at least for me I didn't encounter any issues and thus no element of discomfort to worry about. In fact once worn, it is easy to forget I have OLA B lodged in my ears.
Despite being different from the original OLA which was made of DMT4 Architecture Dynamic Drivers, OLA B running on PEEK Composite Diaphragms offers similar overall sound signature of being neutral-ish - with mild emphasis on lower frequency boost if to be compared to the original OLA.
Timbral and tonal balance of OLA B, can be best described as generally uncolored, natural and near organic - but this depends on the type of source it is connected to. Plugging OLA to an already bright and dry sounding DAC/Amp can emit an output which may sound a bit leaner, less musical and digital-ish. In my case, I get the best results pairing my OLA with Sony Xperia 1 iV, Ovidius B1, CEntrance DACport HD and Cayin RU6. OLA B will sound slightly lean when paired with most ESS Sabre DACs. Similar to the original OLA, OLA B can even be described as a bright sounding unit, definitely not warm or dark.
Dynamic wise, OLA B offers good dynamic range on both ends. The handling of dynamic transients being well controlled and mature - to a point that it can even be regarded as less energetic or less vibrant especially for those preferring a more euphonic presentation. Being a single DD, there's good cohesion on dynamic flow, with clean temperament throughout the entire frequency ranges.
Mids of OLA B is assuredly neutral and uncolored. There's ample density and mass, just perhaps lacking a bit of depth to make is truly rich sounding. Instruments offer sensible amount of energy, attack and decays. OLA B Mids are neither dry or warm, it is as transparent as it can be, faithful to the original intended timbre and tonality of the recordings. The placement of Mids also sounding proper, not too forward, nor does it sounding recessed. I will admit that, for people who like their Mids thick and rich, OLA B can appear lean and flat - perhaps lacking a bit of musical emotions as would be observed from warmer sounding units. But this is not necessarily a Cons, it is simply the nature of neutrality - ultimately subjective sound preferences will determine if the listener will like it this way, or that way.
For all it's worth, OLA B handle vocals fairly well and transparent. Which means, for certain peaky female vocals like to Soprano-Alto of Alison Krauss and Mariah Carey, can be slightly more edgy, more pronounced. While with the lower octave of Diana Krall's Contralto, OLA B is simply neutral and natural, same goes for Sinne Eeg. Male vocals, typically thicker sounding than females, does then sounding a bit richer and dense - as would be heard from the likes of Morrissey and Nick Cave (both on Baritone type).
The upper frequency of OLA B, can best be described as amply sparkly and vibrant. It is well controlled to not sounding outright bright or edgy. I am hearing good Macro details with subtle touches of Micro detail nuances. The only thing that I felt lacking was the airy transients of how Treble flow, OLA B focusing more on prompt and crisp attack and decays. The dispersal of decays being solid yet sensibly extended. Also, worth to note that pre-burn in under 40 hours, I observed some granularity in Treble textures especially for Hi-Hats and cymbals - the decays seemingly a bit grainy edged. But this no longer an issue right after 40 hours and practically smoothened out by 100 hours. OLA B must be commended for being able to remain steadfast and disciplined, avoiding elements of spiky annoying sibilance even when subjected to Treble aggressive tracks. On certain instances, I do feel that the Treble timbre being a bit digital-ish, but thankfully it does not ended up being outright plasticky or metallic (which again will also be influenced by the type of DAC/Amp used). Just avoid using OLA B with bright sounding DAC/Amp and it will be worry free.
Switching to lower frequencies, OLA B offer pronounced boost for Midbass if to be compared to the original OLA. But really, I would still not regard OLA B being a Basshead unit. The heightened elevation of OLA B Bass being sensible and moderate. In fact this helped to impart richer overall dynamic density to the sound - of which the og OLA would sound leaner in contrast. In general Bass is clean, fast and resolving. Lacking only on deeper texture and details. Midbass has good presence and authority, imparting mild seismic impact and slam. Subbass however, will likely not work for fans of Harman V tuning. Subbass of OLA B audibly reserved sounding with signs of roll-off on the decay stage (similar to Etymotic ER series). The good part, OLA B will never be plagued with Bass bleed, with Midbass being highly disciplined to not overshadow lower Mids or Subbass.
OLA B Bass performs the best with stringed and percussion Bass, not so much for electronic Bass. This means OLA B will likely be unsuitable for listening to Electronic or Dance genres.
OLA B strongest trait, the projection of Headstage is wide and spacious. This helps to impart good sense of Soundstage which felt open and expansive. I think this is a trait for most Tanchjim tuned IEMs, and OLA B benefits from this greatly.
For the rest, OLA B is amply resolving, transparent and detailed. Nothing too prominent, it is well balanced to satisfy even for analytical purposes (at least for me it does). Separation lines are clean and succinct, helped by the fact that OLA B is already a crisp sounding unit. Imaging and spatial positioning is also quite admirable, for a single DD it is not easy to sound decently holographic, but OLA B is one of the few that does not sound like typical single DD implementation where they normally ended up with Left/Right bias.
Speed and resolution is also quite good. OLA B being a speedy single DD implementation, it will respond with good agility to resolve busy and complex tracks - thus avoiding the pitfall of sounding muddy or congested even for the most demanding of recordings.
All in all, I would say that OLA B is good with overall technicalities. I do not observe any worrying weaknesses.
For a 16 Ohm, 126 dB IEM, OLA B is surprisingly demanding in term of driving power. On my Sony Xperia 1 iV, I actually have to crank it up to 75/100 to get proper listening loudness. To get the best from OLA B, it will need to be paired with something more powerful - something like Ovidius B1 or CEntrance DACport HD.
But really, even on my weak Sony Xperia 1 iV, OLA B sounds great when the proper loudness has been set. It is amply rich and engaging. I am just saying that OLA B does scale better with more power above 2 Vrms - in this case with Ovidius B1 and DACport HD, I observed that dynamic density exhibiting richer body with better airy transients.
The best part, despite having such high sensitivity at 126dB, OLA B will not sound shouty when subjected to powerful drive even above 4 Vrms (just need to be mindful with the volume level).
Tanchjim OLA Bass version is yet another solid budget oriented offering from Tanchjim. Perhaps what I find very appealing is how well presented OLA B is end to end. From the elegant build, to robust usability and solid sonic performances. OLA B does not feel like a budget IEM frankly. Yes it is simple and lightweight, it is also less extravagant when compared to many others. Sometimes simplicity is more than enough.
For one, despite the Bass moniker, OLA B will still appeal to those preferring a more neutral sound, or those who are into Bright Neutral sort of tuning. OLA B would probably still not Bassy enough for Bassheads (especially those loving the Harman V curve). OLA B is a solid performer technically, there's no mistaking that wide and spacious headstage which is quite amazing considering this is a single DD. The rest of OLA B being well accounted for, timbral and tonal balance that is admirably transparent and accurate. For the asking price, I see Tanchjim OLA Bass version as a solid unit to recommend based on specific preference of sound.
LISTENING EQUIPMENT USED IMPARTED HUGE INFLUENCE TO SOUND IMPRESSIONS & RATING
Build, Functions, Usability
JCally is not a stranger when it comes to budget oriented audio gears. AP10 is among one of the newest offering from JCally (which seems to keep on coming at every 3 months interval).
Completely built of aluminum chassis, AP10 is a no nonsense unit. Rectangular and angular, it is practically similarly sized to Cayin RU6. Thankfully despite the heft of feel, the weight being sensible at 26gm.
At the heart of AP10 is a pair of Cirrus Logic CS43131, which seems has been quite a popular choice recently for many other implementation of highly portable DAC/Amp. One of the biggest appeal for CS43131, it is probably one of the few DAC options which are easy to implement with dual DAC mode - most prominently with early adopters such as iBasso DC03.
Externally, it will be difficult not to notice the huge rotary volume wheel imbedded on the top side of AP10. At first I was so excited to see this as I am a big fan of independent rotary volume wheel - something that I have grown very fond of from regularly using my all time favorite dongle of CEntrance DACport HD.
Unfortunately, as I discovered later, the volume wheel is NOT an independent unit. It merely serve as a remote adjuster which is still governed by the host. Which means, rotating the wheel will adjust the volume level on the source. The caveat of this approach, AP10 will then be at the mercy of the host limitations - for example on Android system, the volume jump from one level to another can be quite annoying and because AP10 cannot regulate that independently, the remote adjustment (at least with my usage) will only serve pedestrian novelty purpose - may as well use a dongle without volume adjustment and the results will still be the same. The volume gap issue can be addressed slightly with the usage of HiBy App USB Exclusive mode, at least the volume jump between levels will not be as big, but it is still not as refined as how it can be observed from the likes of CEntrance DACport HD, Cayin RU6, Lotoo PAW S1/S2, Shanling UA5 or L&P W2. In fact AP10 sits in the same segment with xDuoo Link2 BAL, Moondrop MoonRiver 2 etc (all of which uses host dependent volume steps).
Another way to mitigate this is to allow USB Audio Player Pro to fully take control of AP10 and then define the volume steps in over 50 steps.
Another thing which I observed, using the volume wheel can be finicky at times. Sometimes it goes backwards the opposite direction when scrolled too fast. The trick is to be gentle with the rolling of the wheel and allow the host to receive the input and then adjust accordingly - and this is the reasons why I said independent volume adjuster is so very critical. Especially if the host is already not the most responsive type, remote volume adjustment can be plain annoying.
One very positive element of the volume wheel, it also serves as Play/Pause button that will always respond even when the host is in standby mode. At least this is something that I find very useful
AP10 is a modular unit which will allow for USB C cable swaps. The package will come with braided short USB C to C, which as you would notice is not shown in my review here because I have no idea where the cable went. Luckily I already have tons of USB C cable lying around and being modular means I can easily swap them in. Problem solved.
Another prominent feature of AP10, it offers two level of gain - or should I say two level of power stages. Aptly labeled as 1.8V and 3.8V. Which means it is easy to manually select desired VRMS on tap. The switch is easy to flick and most importantly it works for both 3.5mm or 4.4mm jacks. For highly efficient and sensitive IEMs, running in 1.8V proved more than enough - especially for multi BA or hybrids. 3.8 Vrms definitely suitable to drive more demanding partners.
As for the rest of AP10, it has a simple recessed led light indicator which will always operate in Green color. The indicator does not change with the variance of source resolution.
Perhaps, the MOST impressive feature of AP10, it is amazingly efficient with power draw to the host. Through extensive tests, AP10 was able to run for 14-15 hours straight non-stop when connected to my Xiaomi Mi9t (4000 mAH Android Phone) - all in HiBy USB Exclusive mode driving 32 Ohm IEMs. In comparison, most dongles would score anything between 10 to 12 hours, clearly AP10 has 2 hours of gas left when all other dongles would have run out of juices (I mean they drained out the phone battery flat).
Then, AP10 admirably remains cool despite being subjected to long hours of usage. With all that dual DACs, I find this to be quite impressive. Just a very mild hint of heat (which is to be expected) when driving more demanding partners in 3.8v mode.
I will make this simple. JCally AP10 is an evolution of sound tuning which was first introduced with JCally JM10. Both using CS43131. So I will recap a bit on what JM10 has to offer. JM10 is a 2 Vrms unit with single CS43131. And it is already an impressive dongle with the output quality. Easily one of my favorite during that time.
Now, AP10 built on JM10 success and carries similar tuning principles - which means AP10 is assuredly very neutral and natural with dynamic range. The timbre faithfully organic and realistic. AP10 in fact has improved on several element of dynamic density due to being a dual DAC unit now and with almost double the power of the og JM10. I am not hearing any hint of frequency coloration throughout the frequency bandwidth - which is how a great DAC/Amp should be. The level of dynamic transients vibrancy being highly disciplined without any element of unnatural Pinna glare or metallic digital tint (read, so unlike some ESS Sabre implementation which are unnaturally bright and sterile). So does this mean AP10 is a "warm" sounding unit? NO, being natural and organic is all about sounding well balanced and devoid of any edgy elements. AP10 is actually as smooth as can be expected from the likes of xDuoo Link2 BAL, Moondrop Moonriver 2 and Lotoo PAW S2. The timbre hovers close to being analogue (only CEntrance DACport HD, Cayin RU6 and Ovidius B1 does this better).
For the fact that AP10 sounding as smooth as it is, yet seemingly articulate with crispness, I found myself liking it more and more - the more time I spent using it. Despite the annoying finicky volume adjuster, AP10 is a solid performer when it comes to sound quality. This budget unit does not sound like a budget unit at all.
As I already mentioned so many times previously, and will still say again and again, a DAC/Amp can only be judged with how they perform with the partners attached to them - of how good/bad they synergize with specific partners. In this case AP10 gets two thumbs up from me. AP10 sounds endearingly refined when used with my Etymotic ER4SR - the presentation of sound spectrum being rich yet neutral - it has proper depth and density. I don't feel my finicky ER4SR being lean or dry. And that alone set it right with AP10 in my book. To pass the test of ER4SR is paramount because that exceedingly neutral DF unit sets the benchmark for accuracy and transparency.
Then, partnership with TOTL stuffs, in this case AP10 subjected to driving my Shure KSE1500 Electrostatic IEM, connected to the KSA1200 energizer unit as a Lineout (with volume set to 20/32). The measure of reach, depth, resolution, technicalities and timbre will then be all revealed and AP10 does not falter to stand up tall to sate stringent demands of KSE1500. The output being rich and satisfying with great technical balance and musicality. Worthy to drive TOTL level partners, that's AP10.
Then of course, pushing it to the max. Partnering with Fostex T40RP MK3. As I wrote this particular line, I am listening now to my T40RP (on 4.4mm BAL, 3.8V mode) and I am hearing practically desktop level of output which is probably on par to most 4 Vrms DAC/Amp. The output is rich and dense, the loudness more than enough with room to spare, dynamic density and extension sounded right to my ears.
Switching to more efficient and sensitive partners, my SeeAudio Bravery AE sounded outright blissful and addictive. The synergy being fluid and harmonious. SeeAudio Bravery is the type of IEM that can be a bit sizzling with more power subjected to it. With the 1.8v mode of AP10, I get clean background with no hint of floor noises whatsoever. And then the music just simply flow naturally - does not matter what genre I threw at it. Be it Hi-Fi or Lo-Fi. Jazz or Black Metal. All sounded at home with this pairing. Organic and articulate - very well balanced.
Switching to Tanchim ZERO - my newfound favorite ultra budget single DD IEM which is surprisingly power demanding, yet beautifully tuned similar to Etymotic ER2 series. I am getting wholesome results as well. Perhaps less organic sounding, more like cleaner and flatter sort of neutral sound which I appreciate very much.
So, all in all I would say AP10 delivers. However I suspect the tuning characteristics of AP10 may also be perceived as "lacking precision" especially if the user is more accustomed to Hi-Fi sort of tuning which to my ears typically sounding quite sterile and bright - something that is typically offered by ESS Sabre based DACs or even certain aspect of CS43131 itself as can be heard from the likes of iBasso DC03/DC04 (the iBasso being dual CS43131 as well, they are markedly more euphonic and aggressive sounding with mild coloration on the lower frequencies compared to AP10).
The truth is, AP10 is technically competent. For one the staging of Soundstage being open and wide, I am sensing good expanse of space with airy feel to it. The sort of balance between crispness and smoothness - of sounding mature and coherent. AP10 will resolve admirably great even for the most demanding partners - with all of my listening equipment I am hearing great transparency which reveals Macro and Micro detals with audible nuances - perhaps not as surgically succinct like Ovidius B1, DACport HD, Questyle M15. Lotoo PAW S2 or Cayin RU6, but definitely on par to the likes of xDuoo Link2 BAL and Hidizs S9 Pro. AP10 offers very sensible moderation technical wise, it has the speed to resolve and render even the most complex of recordings without any hint of strain or congestion.
AP10 sure does has lots of power under the hood. With my Fostex T40RP MK3, running on 4.4 BAL 3.8V mode, on HiBy App USB Exclusive mode (bypassing Android SRC), I get full listening loudness at the mark of 17/32 of volume levels. This officially set AP10 being as equally powerful to the likes of xDuoo Link2 BAL and Moondrop MoonRiver 2.
As noted above, despite being exceedingly hard to drive to full potential, my T40RP MK3 sounded wholesome and rich. The loudness being more than ample, the depth and density of sound proper. Perhaps I would say that micro nuances are slightly subdued as when compared to the output of Ovidius B1 or DACport HD, but if I am not comparing then it totally does not bother me one bit.
To summarize AP10, it is a very capable dongle DAC/Amp that is highly versatile and dependable. The sound tuning alone being adaptable to practically any partners being the biggest strength - of being able to synergize with almost anything. Be it hyper sensitive IEMs or doggedly stubborn partners, AP10 handles them all gracefully.
Then there's that excellent efficiency with power draw. For mobile usage AP10 is super forgiving to the host with some of the best battery drain factor I have witnessed so far. AP10 also being admirably cool and resistant to being warm despite used for long hours cannot be ignored.
JCally AP10 will appeal to those preferring their sound to be naturally organic and realistic. AP10 does not exhibit any unsavory Pinna glare or element of sibilance. It is as smooth as can be expected yet amply articulate and technically competent.
Perhaps my only woes, I wished that AP10 would have come with independent volume adjustment instead. That would have totally been a game changer had the volume adjustment offers something like 90 or at least 60 steps of gradation.
Nonetheless, AP10 is an impressive unit for the price asked. It does not offer lavish outlook or luxury feel - but for the intended purposes, AP10 is a solid performer sonic wise.
Best Pairing: Highly flexible and adaptable to most IEMs & Headphones
#donglemadness
Pros:
- Neutral and natural sound
- Smooth organic timbre
- No Pinna Glare
- Technically competent
- Highly resolving
- Great driving power and versatility
- Amazing battery drain to the host
- Stays cool even for long hours usage
- Very wallet friendly price tag
Cons:
- Non independent volume wheel, still depends on host
- The overall build may not look premium
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- Highly organic, natural and elegant sound
- Near neutral waveform tuning
- Superb overall coherence and cohesion
- Modest, yet detailed and highly textured Bass performances
- Transparent, rich and engaging Mids
- Slick smooth Treble transients, properly detailed
- Very premium build, packaging and wholesome accessories
- Exceedingly comfortable to wear for long hours
- Highly efficient to drive
- Scales great with more power
- Chin slider tend to loosen up
- NOT for BASS lovers, NOT for Bassheads
- NOT for Harman sound fans
Following the success of SeeAudio Bravery in 2021, ANGELEARS has teamed up with SeeAudio to release a variant of Bravery, aptly named as Bravery AE Limited Edition. With some build changes and improvements here and there (more details on this later). It is no secret that the og Bravery was one of my favorites, an IEM that I use regularly. Alas I used it so much that I broke my og Bravery due to my own mistakes of dropping the right side unit on hard floor. Long story short, here I am reunited with a new Bravery.
For the asking price, Bravery AE sure does live up to expectations.. and more. Unboxing the Bravery AE, I was greeted with beautiful sight of a pair of blue Bravery AE accompanied with premium companion accessories.
Let's look at the cable first. Just like the og Bravery, Bravery AE comes equipped with premium custom 6N OCC Hakugei cable, tastefully finished in robust nylon twist braid. It is elegant as it is wholesome to the touch and feel. Most importantly, Bravery AE now offers modular plugs too, with all three major sizes included - 2.5 BAL, 4.4 BAL and 3.5 SE.
I can't stress enough how much I love this cable setup, black is already my staple color and the fact that it is also somewhat minimalist in appearance makes it all the more appealing. The only caveat that I would mention would be the chin slider - the nylon sleeving is a bit slippery and thus it is difficult to make the chin slider to stay put. To mitigate this issue, I simply added a small velcro ring underneath the chin slider - problem solved. (chin slider is especially crucial to secure the cable from microphonics).
Then, there's the selection of tips. Bravery AE does not cut corners with the accompanying tips options. Absolutely critical to me personally, the inclusion of Foam Tips which is what I always prefer over most silicones. Even more crucial, SeeAudio foam tips were made of high quality slow rebound composites. These are not the cheap average tips we are looking at. The foam tips felt so pliable and will deform nicely when compressed, then slowly expand as it adapt to ear canals perfectly. Comfort is top notch, once settled in, I literally forgot that I am wearing an IEM. The isolation is great too. I can barely hear ambient noises even outdoors.
Then the premium azla Xelastec. I must admit I was pleasantly surprised how good this Xelastec can be. Normally I would avoid using silicone tips, they seemingly just would not work with my ears. But Xelastec, after initial insertion, takes a bit of time for the "body heat adaptation" to form - of which later it would also disappear when the music starts. I was impressed with the sonic output too, devoid of any unsavory resonances and reverbs (especially lower frequencies).
As it is, I can totally use either the foam or Xelastec silicones. But ultimately I ended using the foam tips more - just some die hard habit of preferring the feel of soft foam - also at least to my hearing, the foam tips sounded more open and spacious (more on this on Technicalities section).
So how does Bravery AE differ from the og Bravery? for one, Bravery AE is more compact and more ergonomic. As seen in the pics below, Og Bravery is visibly larger. The internals are practically the same, but the implementation of the shells makes Bravery AE looking even more sleek. The good news, this more compact body also means improved comfort.
Perhaps the most important aspects, the change in shells design also inevitably introduce some changes with the sonic output - and I would say the subtle changes are for the good. At this scale and size, especially true for IEMs, driver housings play huge role in shaping the sound, we are talking about sound wave here after all - where the surrounding enclosure will impart how they form.
In case I haven't mentioned it yet, Bravery AE is absolutely comfortable to wear. Once settled in, I literally forgot that I had IEMs plugged to my ears. Throughout of last week for example, I was working on my DIY bike project and from the morning until late afternoon, I had music accompanying me on shuffle playlist - my Bravery AE remained plugged practically from the start until I stopped for the day - not a single element of ear fatigue that I am aware of. Simply amazing. I daresay that Bravery AE is on par with my Kinera Idun Golden on this subject, both totally usable for marathon listening for hours on end.
SeeAudio Bravery AE is a very mild V curved IEM. Normally I am not fond of V or Harman tuning, but just like the Bravery OG, Bravery AE is among the very few that appeal to my senses. The elevation of Lows and Highs are done sensibly moderate and thoughtful - to a point that it will even entice a Diffused Field Neutral junkie like me to savor the meticulous and graceful elevation of sound curve.
Most importantly, the tonal and timbre balance of Bravery AE is highly organic - quite a pleasant surprise considering that this Bravery AE being all Balanced Armature drivers, no dynamic driver or anything else in the mix. The tuning exhibited amazing cohesion and fluidity to emit output that is realistically natural, harmonious and believable. In comparison, I would say Bravery AE is almost as organic sounding as Kinera Idun Golden, which offers even more analogue timbre among all Chi-Fi IEMs I have tested so far (only bested by the ethereally realistic Shure KSE1500).
Complementing the natural sounding tone and timbre, is the equally polished and sublime dynamic transients presentation. The vibrancy and energy emitted by Bravery AE can best be described as highly controlled, sensible and mature. The euphony level being kept well in check - imparting great balance between disciplined articulation and fun element. This is evident especially when I subject my Bravery AE to handling myriad of music genres, from the most raw Lo-Fi Black Metal to Hi-Fi complex composition of modern Jazz or Electronic music - what is evident, how deft Bravery AE at handling the variance of transient interchanges - always smooth, always fluid with finesse and grace. Even the most offensive energetic tracks sounded bearable - listening to Lo-Fi is not an easy thing to do if the listening equipment does not exhibit agility to adapt to the chaotic dynamic contents.
Dynamic range and expanse is quite respectable too. Bravery AE lives up to the expectation. While not being an outright bold performer in this aspect, Bravery AE offers sublime depth outreach - it is present yet it is moderate. I can hear proper details on both end of the sound spectrum which indicate Bravery AE being well extended with dynamic range. The theme being highly sensible and does not rub everything upfront - what I am trying to say is that, Bravery AE may not be as bold sounding or resolving as Etymotic ER4SR, but it does not mean it lacks dynamic coverage - just that the presentation is toned mildly which in turn, will allow for longevity of listening without imparting sense of loss for better depth.
Being a V curved unit, Bravery AE must be commended for being rich and highly textured with Midrange presentation. Audibly, I sensed that the staging of Mids being slightly stepped back - just enough to avoid it from being sounding recessed or distant. This is especially evident when subjected to listening to some genres like Rock/Metal which are typically mixed and mastered with recessed Mids. When listening to Jazz, Ballad and Folk music, the Mids sounded as engaging and wholesome as can be expected. It is highly transparent and neutral - I do not sense any element of coloration beyond what I regard as realistic. The tone being properly dense and organic, the attack timed correctly, imparting believable energy and vibrancy - yet it is not warm or dry, just natural and neutral.
The best part of Midrange, being a Metalhead I am absolutely loving how Electric Guitars and Percussions sounded with Bravery AE. The attack of guitar riffs are crisp, solid and commanding - yet utterly smooth edged and harmoniously polished. It does not matter E Minor or D Major, they all sounded right and realistic - engaging and addictive. As I wrote this, right this very moment I am listening to "Heavy Chains" by Loudness, legendary Japanese Heavy Metal pioneer, I had goose bumps on how articulate the stringed notes are, flowing from low octave to high pitched crescendos. Akira Takasaki, Loudness lead guitarist, the maestro guitar legend, has some of the most commanding riffs and speedplay - his guitar solo are peerless, and Bravery AE managed to keep up with the pace and energy with deft fluidity - retaining the bold crisp bite while being smooth at the same time. Totally mind blowing.
On the aspect of vocals, I would say Bravery AE is highly transparent and faithful to the intended sound. It is neither warm nor it is dry, or lean. Be it female or male, Bravery AE handles them all faithfully with great realistic texture, depth and resolution. Alison Krauss with her piercing Contralto or Mariah Carey with her Soprano-Alto, to low key deep singing of Diana Krall contralto, or chesty Baritone-Tenor of Nick Cave. They all sounded neutral and natural. Very much similar to what I am hearing from the likes of Etymotic ER2XR. There's no hint of upper Mids sibilance or Pinna getting hotter than they should be, making even the most prominent piercing vocals sounding smooth and engaging.
As for the lower frequencies, let's just clarify this upfront. Bravery AE will NOT please those liking their Bass big and commanding. From my subjective standpoint, I love Bravery AE Bass end to end. It is slightly boosted from what is regarded as neutral, but in no way being overcooked or Bassy enough for Bassheads. The overtones of Bravery AE Bass is natural, fast, tidy and borderline lean (for those loving big Bass). Which also mean, Bravery AE will absolutely be free from any risk of getting bloaty Bass performances.
The articulation of Midbass and Subbass evidently well projected. They operate respectfully within their own space, the Midbass never attempting to overshadow Subbass, nor does it attempt to subdue Lower Mids.
Midbass of Bravery AE is markedly mild, especially when compared to the likes of Dynamic Drivers equipped competitors. Impact and slam being moderate at best. Yet it has good speed and pace, accompanied by sensibly detailed texture and depth despite not being commanding with overall presence. The best part, at least for me personally, when I listened to KRAFTWERK "Radioaktivitat", Bravery AE became very lively and vibrant - rich, dense and detailed Midbass with equally crisp and lush Subbass seismic responses. Yes it does not pound my head like most Bass heavy IEMs, but it does not lack in energy and excitement. Touching on the Subbass, Bravery AE is quite respectable with how the lower extensions are handled, again it is sensibly realistic and smooth - not as bold as would be observed from Harman tuned IEMs, but by no means lacking in quality - it is just modest yet present. The dispersal of decay edge being velvety smooth and polished.
Last but not least, Bravery AE markedly offer "brighter" upper frequency performances versus the og Bravery. In contrast, I can almost say that the og AE sounded like slightly "darker". It's like comparing Sennheiser HD580 with HD600, if that makes any sense. Bravery AE offer slightly more air, sparkle and shimmer. Treble transients being very disciplined with the presentation - always smooth edged and always dispersing gracefully with the decays. I can hear proper resolution of Macro and Micro details. From the bold overtones of metal Snare drums to the most subtle of Hi-Hats, all present and audible. Again, the overall theme of moderation applies here as well, which in turn making is less likely for Bravery AE to be offensive with upper frequency output. And yet again, I would say the overall Treble tonal and timbre being realistic and natural, I don't hear any element of the overtones being plasticky or metallic. In short, Bravery AE Treble is crisp, clean edged, airy, and highly polished.
Technicalities
Let’s start with the best part, especially when equipped with the stock foam tips, I am hearing wide open sound that is generous with headstage width and depth - perceived soundstage being expansive even for an IEM. This is a marked improvement over the og Bravery, which to my ears sounded a bit more intimate and less spacious.
The projection of soundscape is highly holographic with precise imaging and well placed spatial positioning. Effortless to track the source and layers of sound, each respecting their own space yet harmoniously intertwined regardless how complex the composition is. The cohesion between the four Balanced Armature drivers nothing short of being amazing.
When it comes to resolution and transparency, Bravery AE proved to be a competent unit. Not exactly surgically clinical when compare to the likes of Etymotic ER4SR or Shure KSE1500, but on its own I totally have no qualms about the ability of Bravery AE to project highly resolved output which offer great details and imaging. And this also means Bravery AE offer great balance between the need for analytical indulgence to musical enjoyment. I want to enjoy music, not analyze it
Now to my favorite part, speed. Bravery AE is an outstanding speedster. That four BAs are not just for show, they all resolves and respond admirably agile in unified cohesion to emit an output that is capable of handling the most complex of composition, or outright speedy tracks exceeding 250 BPM. Bravery AE will never be subjected to sluggishness or being muddy.
Rated at 18 Ohm and with 110db of Sensitivity, Bravery AE is freakishly efficient to drive. Paired directly to my Sony Xperia 1 iV, I will find myself glued to it for hours on end, not wanting to put them down, to be continuously immersed with my music.
Despite that, Bravery AE does exhibit great ability to scale with more powerful partners. Bravery AE sounds the best with the likes of Ovidius B1 and CEntrance DACport HD. With heightened density of dynamic texture (yet still natural) and more sense of air.
Perhaps I should clarify, I actually use Bravery AE more with my Sony Xperia 1 iV phone, direct out from the 3.5m SE. This is a testament for it being so engagingly usable - there's no sense of loss that I would be worried of. Bravery AE efficiency really is spectacular.
The only caveat I would like to note, Bravery AE does have tendency to get a bit sizzling if subjected to higher than normal volume loudness, so when paired with my obscenely powerful 4.1 Vrms of DACport HD, I will need to be mindful to crank the volume low. Even more so with 4.7 Vrms of VE Megatron, practically I need to set the volume at 02/100 and then further tune down on the player side to 30/100 otherwise the atomic power of Megatron will literally send me to the hospital with blown eardrums.
Being highly efficient, Bravery AE will also reveal floor noises on some DAC/Amps, Ovidius B1 and VE Megatron for example, yes they sounds amazing when paired with Bravery AE, but on silent passages I can audibly hear background floor noises. But really this does not bother me at all.
At this point, it is evident how much I love this SeeAudio Bravery AE. The very fact that I am still wearing it since this morning, savoring my music nonstop is a testament of how great this IEM is - at least for my subjective preferences and taste.
Bravery AE is a superbly well rounded IEM that seemingly capable of anything I thrown at it. It does not matter what genre or what level of quality the sources are, they all sounded addictively appealing to my ears. That smooth dynamic transients handling, always fluid and harmonious, yet highly technical and succinct. Bravery AE is well balanced to sound highly technical as it is engagingly musical, simply amazing.
Without reservation, I would say that Bravery AE made it to the list of my regular rotation alongside Kinera Idun Golden and Simgot EM2 Roltion. All of them quite lovable for what they are.
7Hz 71
Review Date: 03 November 2022
DAC: AKM AK4377.
- THD+N: 0.0004%.
- Output Voltage: 1Vrms.
- Output Power: 70mW.
- SINAD: 106dB.
- Frequency Response: 20Hz-40kHz.
- Noise-Floor: <0.9uV.
Supports high-resolution 32-Bit/384kHz PCM and DSD128(DoP) signals.
High-purity 36-core Silver-plated OCC copper cable.
Supports Android 5.1 and above.
Works with iOS devices(Lightning connector to be bought separately).
IEMs and Earbuds:
Headphones:
Sources:
LISTENING EQUIPMENT USED IMPARTED HUGE INFLUENCE TO SOUND IMPRESSIONS & RATING
The first portable DAC/Amp from 7Hz, built on the venerable AK4377 - the exact same one found in Lotoo PAW S1, S2 and Creative SX-Fi. It is an old DAC chip but by no means obsolete.
71 is a simple dongle. The build and packaging quite spartan - intentionally so to keep the price highly affordable. It is very compact, lightweight and highly portable. In fact with the 1 Vrms classification, this 71 can be considered as ultra-portable class dongle.
Seemingly made of CNC machined aluminum chassis, 71 comes in no nonsense black powdercoat and adorned with one blue led light that will stay switched on for as long as it is connected to a host. The led itself will not change colors like some other dongles depending on the resolution of the media being played.
The digital USB connection is not detachable, it has a permanent simple ribbon type cable which 7Hz mentioned to be made of SPC strands, and I believe it is also well shielded as proven by 71 ability to resist RF interferences really well when used portably with my phones. In view of this, I do not lament too much on the lack of ability to switch USB cables (normally it would have been USB C mini connectors on dongle side)
Perhaps the most impressive aspect of 71 build is the efficiency of power draw to portable hosts. I subjected my 71 to continuous play on my Xiaomi Mi 9T (4000 mAH Battery), running on HiBy USB Exclusive mode at normal listening level.
71 was able to score a very respectable 12-13 hours of playtime until the battery shows 2% remaining. This is rather impressive. In comparison, dongles like Cayin RU6 and Lotoo PAW S1 scored average 10-11 hours.
Additionally, 71 managed to keep the temperature in check. Just mild hint of warmth that doesn't cause for any concerns.
71 is a truthfully neutral and natural sounding DAC/Amp. I am very familiar with AKM based dongles and I must say I am impressed with the tuning to keep it accurate and realistic. The hallmark of a great DAC/Amp has always been their ability to render uncolored output - of which will work well with any pairing partners to reflect on their own sound signature. For example, I always start listening to new dongles with Etymotic ER4SR - an IEM that is widely regarded as a reference for true neutrality. ER4SR would immediately detect any coloration if they are evident in the output - what I heard from this combo convinced me, that 71 does not impart any sort of boosting in any of the frequency ranges. And that is a huge plus in my book.
Dynamic wise, the transients of 71 can be considered as highly mature and polished - as expected from well implemented AKM DACs. The vibrancy level is energetic enough without any unnatural sense of euphony. In fact, drawing comparisons from Lotoo PAW S1 and S2, I would say 71 exhibited a bit more of energy and focused more on crispness - while the S1 & S2 remained as the smoothest (yet still crispy) dongle to exists still. From my perspective, the dynamic temperament of 71 seems to be bridging the gap between Lotoo PAW S1/S2 and Creative SX-Fi - of which the tuning of SX-Fi exhibited even more energy (SX-Fi almost sounding like ESS Sabre type of dynamic temperament instead). Still on the same subject, dynamic range of 71 is surprisingly good for a 1 Vrms dongle. When paired with Shure KSE1500 and Fostex T40RP MK3, I am hearing great reach of depth on either ends of the sound spectrum. Micro dynamics audibly heard and present, indicating good extensions on both ends. Well perhaps not as pronounced on T40RP MK3, but the nuances are there subtly.
Tonal and timbre balance for 71 is admirably organic, almost analogue - but not quite as analogue sounding from the likes of CEntrance DACport HD or Ovidius B1 (both being the very best of AKM based dongles still). Notably I can hear 71 just lacking some element of air, the sense velvety organic and realistic tone is there, yet slightly masked by the preference for more crispy timbre deposition. But one thing for sure, 71 has excellent Pinna control than many other ESS or Cirrus Logic dongles - of which most of them would sound digital and edgy - but not 71. 71 offers crisp polished presentation. The pitfall of some AKM tuning, they also tend to sound dull edged and seemingly lacking resolution, but 71 does not exhibit this trait. The tone, the timbre embodies solid natural sound that is crisp and well rounded.
Being a neutral DAC/Amp, 71 is exhibit consistent presentation for Mids, Lows and Highs. As noted earlier, I hear no element of boosting in any of those areas. It will then boil down to the nature of the paired partners to develop sound synergy. Pair it to a bassy unit, 71 will not fail to act accordingly and present strong Bass performances - at least for anything that's not too demanding in term of power. At least up to 50 Ohm, 71 Bass sounded fast, textured and well extended - being neutral means that 71 will not add any boosting to impart additional impact, slam and presence beyond the paired partners ability. The Mids being solid with realistic attack and tonality. The highs exhibiting accurate sparkle and shimmer, with Treble details presented depending on how competent the partners are (which also means 71 will not boost any partners that are already weak with Treble). Treble attack and decays being realistic and organic, never any hint of being metallic or dry even when paired with natively bright sounding partners.
Technical wise, 71 is a highly competent dongle. The most prominent element that caught my attention from the get go was how spacious and wide the headstage is - perceived soundstage for IEMs appeared generous with width and depth.
Then the speed, the manner how agile and efficient 71 is with resolving either highly complex or fast music without sounding sluggish or muddy. On this element 71 is quite capable to tighten up slow sounding IEMs to make them less syrupy or outright bloated - simply amazing. 71 is also very good with overall resolution and transparency, the output is quite faithful to the intended sound as per contained in the sources - Macro and Micro details audibly heard and present. There was never a moment anything felt lacking. In alignment with the spacious headstage, 71 also offer crisp imaging with good spatial positioning, tracking different notes was effortless especially on highly resolving partners.
Despite being rated at 1 Vrms, I am truly surprised that it was able to drive my 50 Ohm, 91db Magnetic Planar of Fostex T40RP MK3. Yes I will need to crank up the volume to get proper listening loudness, and when this is achieved, the sound was in fact wholesome and engaging.
To show some perspective of 71 power, as compared with my favorite dongles:
- Ovidius B1 - 30/100 Volume
- Centrance DACport HD - 34/100 Volume
- 7Hz 71 - 58/100 Volume
- All tests on USB 3.0 900mA Power, Windows 10
Upon closer scrutiny and comparison, I will admit that both Ovidius B1 and DACport HD has upper hand. Especially with the density of dynamic transients which are richer - Bass and Lower Mids being more potent - while 71 appeared leaner and lacking utmost density. However this is only evident when doing side by side comparisons. Otherwise on its own I would say that I can be satisfied with 71 driving my stubborn planars for casual listening. The most important part being, 71 does not exhibit any worrying negative effects subjected to driving heavy load, no hint of crackling or distortion as would be observed from less capable, weaker DAC/Amp dongles. 71 does not sound distant or meek, not at all.
Ultimately, I believe the optimization for 71 is for driving highly efficient IEMs. With the craze on IEMs these days. New ones being released almost everyday - and each of them for the most part are highly sensitive. Regularly, I used my 71 paired with SeeAudio Bravery AE, VE Azure and Salnotes Dioko. The synergy exhibited by 71 to those IEMs being great and fluid. Another important element, 71 also offer very clean and black background with these highly sensitive IEMs, especially hybrids like Bravery AE which are so prone to picking up floor noises.
7Hz 71 is a great sounding dongle - the simple fact. Being highly neutral, resolving and articulate with technicalities, making it such an amazing bang for the buck device. 71 has amazing versatility to pair with any type of partners, especially for those highly efficient IEMs. While at it, 71 does not slack with more demanding pairing, it has ample juice to not sound outright meek and sketchy. But yes, perhaps best to keep it with those under 50 Ohm or with over 100 dB of sensitivity - and then the output would be 100%. Not forgetting how efficient it is with power draw from portable hosts - and keeping sensible with not getting hot, or RF interferences.
71 does some Cons here and there, subjectively I don't see the Cons being detriment to the overall value proposition. The non-removable cable or advanced features, or lack of independent volume adjuster - those are highly negligible Cons considering how affordable this unit is - with great sonic performances on top of it And the cable itself has proven to be quite robust for my own daily usage. I can be quite abusive with my audio gears, but 71 seems to withstand all those admirably.
Ultimately, 7Hz 71 is something I would not hesitate to recommend - especially for anything below $40.
Best Pairing: Highly flexible and adaptable to most IEMs & Headphones
#donglemadness
Under the sub branding of Celest, Kinera debuted the Gumiho for the budget IEM consumers. With bold and experimental approach of introducing something they coined as Flat Planar hybrid
For a sub $50 budget IEM, understandably Celest opted to construct the IEM unit entirely of plastic. The design and ergonomics exhibited a blend of angular front with curved back. Nothing spectacular really, just simple and functional build. Gumiho comes accompanied with twist braided 2 Pins cable of Black/White. Silver-plated Copper + Alloy Pure Copper Cable which looked like twisted candy to my eyes. Again simple affair and I believe the cable itself will prove pliable and robust enough for daily usage.
As for the drivers itself, it has been labeled as Square Planar. I will admit I am not privy to what that actually mean. I know magnetic planars very well, to my knowledge all planars are flat. By the account of Gumiho being a flat driver, well it doesn't sound out of place in my opinion. Planar literally means Flat. Then there's the custom Balanced Armature drivers that serve as upper frequency host, a common practice nowadays for many hybrid IEMs.
Despite being a budget unit, Celest also included two sets of tips, a pouch and a cleaning brush. Not forgetting an ornament of 7 tailed red fox as freebie on the box.
On the aspect of wear, I would say Gumiho proved to be a comfortable set. Being lightweight and compliant to my ear concha, I have no issues wearing it for extended listening sessions up to 4-5 hours at one go. So this is a huge plus and I always value the ergonomic aspect as much as I value the sound itself.
- Xiaomi Mi 9T
- Sony Xperia X Compact
- Windows 10 with Native USB Drivers
- USB Exclusive Mode with FLAC files
- CEntrance DACport HD
- Cayin RU6
- 7Hz 71
- VE Abigail
- NotByVE Avani
- VE Megatron
Before I proceed any further, best to clarify that out of the box experience was not an impressive one to say the least. I was taken aback by the thick, syrupy and nasal sound which reminded me of the notorious BLON BL-03. It was slow and uninspiring. Then I tucked my Gumiho away, for Pink Noise burn in sessions for almost 170 hours (practically forgetting it running on loop). I also opted to use my own tips, the Misodiko MIX460 which I have always used on seemingly slow sounding unit to tighten things up. Then, swapped out the cable for my all-time favorite of Kinera Leyding. The sound impressions mentioned here will be in this state.
Celest Gumiho is a strong W curved sounding unit. Boosted Lows, Mids and Highs. It is very colored. Making Celest one of the most vibrant planars available now. The dynamic overtones oozes with pronounced sound spectrum.
However, being colored, I must say Gumiho somehow manage to impart good natural undertone to the overall timbre. I suspect this due to the characteristics of the flat planar. It does have that organic touch that magnetic planars are known for. Being on the thicker side of tonal balance, one may even regard Gumiho as a "warm" sounding unit.
Dynamic transients of Gumiho can best be described as smooth with adequate harmony in the manner the presentation of sound flowed. The euphony level being well controlled and somehow imparting a sensation which I find to be as vibrant as would be expected from dynamic drivers.
The Midrange of Gumiho is thick and dense. It can appear borderline nasal especially if the listener is so accustomed to Harman or V curve tuning. The timbre is organic and bold. It takes some time to adjust and once aligned to the listener perspective, the overall Mids I would regard as wholesome pleasing for some genre of music especially Ballad, Jazz and Bluegrass (folk music). However this same thick overtones may prove a bit sizzling for Rock/Metal, where the upper Mids may appear edgy.
Attack and decays of instruments sounded proper to my ears, it is natural as it is believable. Lacking only depth of resolution and micro details - but then we are talking about a budget IEM here. The fact that Gumiho being able to impart realistic tonal balance is already a plus. I have heard a lot worse Mids from IEMs of this price range in the past.
Vocals wise, I will applaud Gumiho for being very competent with both female and male vocalist. Being able to handle Alison Krauss piercing Soprano voice even at her highest peak without any hint of edge distortion and sibilance is something I dearly appreciate. The low and chesty Contralto of Diana Krall being naturally warm (slightly colored) yet pleasing - imparting the emotions needed for Jazz indulgence. The same can be said for handling of Baritone-Tenor of Nick Cave and Morrissey.
Treble of Gumiho is quite sparkly, lively and borderline bright. It has air and good shimmer. However I am a bit worried with how the decays are presented. On some poorly mixed/mastered recordings, it is evident the decays being granular, the timbre being digital-ish metallic/plasticky. The good part, it behaved well enough to avoid being sibilant or offensive.
The key is to use Gumiho on properly Hi-Fi sources, it will not sound good with Lo-Fi, especially Rock/Metal.
Bass of Gumiho is best described as dense and thick. The speed being average. At least from my observation Bass being respectfully tidy despite lacking speed and pace. Midbass is strong and commanding, the presence demands attention. Impact and slam similar to dynamic drivers. Bass texture being amply rich with good sense of depth. Subbass on the other hand, almost as deep as Harman tuned devices. I am impressed with the smooth decays with good sense of seismic sensation. Gumiho will handle all manner of Bass type, be it stringed, percussions or electronic, all handled and projected as how they should be (with some boosting of course). I must mention though, that in some instances of Bass heavy composition, there's minor hint of Midbass almost bleeding into lover Mids, this is where the nasal element will then present itself - but this is not frequent enough to cause for worry.
Technically, Gumiho is fairly respectable. The width and expanse of soundstage felt spacious. The height tall. Spatial projection of sound scape is good too, with holographic placement of instruments easy to track. Separation lines are clean enough with some hint of edge smoothing, layer of tones respecting each other space accordingly.
Imaging and resolution, impressive for a budget unit. Does not appear sloppy at all. Lacking only absolute clinical precision as would be expected of more expensive units.
Speed on the other hand, it is average. The manner of how deft and agile the drivers respond to project the sound being sufficient to avoid the output being muddy or congested. And thus even with the most complex/speedy of sound composition and rendering, Gumiho proved to be quite capable in its own respect.
Gumiho is easy to drive. Sounds great with my Xiaomi Mi 9T.
It does scale admirably with power. Sounding absolutely the best when paired with 2 Vrms of Cayin RU6 or 1 Vrms of 7Hz 71. However when paired with even more powerful partners, the likes of VE Megatron or CEntrance DACport HD, the overall sound may prove a bit over the top. Gumiho already a vibrant sounding unit, pumping over 4 Vrms of power into it serve to amplify dense dynamic transients which sounded even more colored. It is enjoyable but I personally prefer the more neutral vibrancy of RU6/7Hz 71 for this particular situation.
For a unit costing $49, Celest Gumiho is a fairly exciting IEM for casual use. And thus the perspective of judging this unit must take into account what does the entire package entails. Gumiho ultimately is a good sounding IEM with vibrant and technically competent output. There's cons here and there, but then at this price point it is highly negligible. The Pro outweighs the cons.
Perhaps most important is the need to find the right tips to match the sonic output. Gumiho Celest is among the few of IEMs that's highly tuneable with tips pairing. This would require some effort but once the sweet spot identified, the results will not fail to put smile on our faces.
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TIN has released an improved version to the original classics T2 which proved well accepted by many for budget oriented universal IEMs. They have opted to change very little from the original T2 physically, but focused more on sound tuning.
T2 DLC comes in simple yet elegant package.
Starting with the build of the IEMs itself, CNC machined aluminum that retained the design of the original T2. Professional no nonsense design intended for functionality and longevity. Comes accompanied with 5N silver-plated cable with standard 0.78mm 2-pin connectors. I truly admire the compactly braided cable which is so flexible and appeared strong too. It is beautiful as it is functional.
Then T2 DLC comes with standard selection of silicone tips. The one that pleases me the most is the inclusion of a pair of blue foam tips which I love a lot. TIN should have included more of this type of tips because it proved to be the best tuning companion for T2 DLC.
Now the best part, without a doubt T2 DLC is among the very best when it comes to comfort and ergonomics. Despite the seemingly edgy construction, the size and implementation somehow ended being quite wearable. The testimony of this, often I would forget that I have an IEM plugged into my ears when doing my daily chores. There was a time I even had my T2 DLC stay plugged for half a day and me just enjoying my music. Truly exemplary.
- Xiaomi Mi 9T
- Sony Xperia X Compact
- Windows 10 with Native USB Drivers
- USB Exclusive Mode with FLAC files
- CEntrance DACport HD
- Cayin RU6
- VE Abigail
- NotByVE Avani
- VE Megatron
- MUSE HiFi M1
To get the true nature of T2 DLC sound, it needed some burn in as would all dynamic drivers would. Out of the box I was hearing typical euphonic and overly vibrant dynamics which stabilized a lot after the mark of 48 hours. I know this is not placebo because I did interval checks to observe the sound. True indeed after 48 hours everything sounded sensible and polished, unsavory element to the sound all gone.
The character of T2 DLC can be best described as mild V curve tuning. Pronounced lower frequency boosting with slight suppression of Mids staging. This is one of the few V tuned Dynamic Drivers that sounded well balanced and disciplined. Dynamic transients presentation being crispy smooth end to end. It has vibrancy that makes single DD appealing
Timbre and tonal wise, T2 DLC is properly organic and natural. The tone sounded just right - no hint of timbral coloration. The overall tone being pleasant yet exhibiting authority. Simply put, the tone/timbre is believable and realistic.
Aside from the evident minor suppression of staging for Mids (as would be expected of V tuned IEMs). the staging of Midrange actually sounded proper without imparting any sense of being recessed. Mids offer great transparency and neutrality as I am not hearing any attempt to color the sound spectrum with added warmth or dryness. The texture being amply rich. Perhaps lacking some depth of imaging but this is just critical observation. The attack and decay is realistic, pace and rhythm flowing gracefully
T2 DLC proved quite adept with both male and female vocals. As would be expected from a properly tuned unit, T2 DLC handles all 5 major vocals type. Even the most peaky of G7 Soprano sounded great with good resistance to edge distortion at the highest peak. The harmonics of vocal transients from lower to upper octave sounded graceful. Even the most chesty of Baritone and Contralto exhibited solid presentation with the natural warmth and authority. Despite all this I would still say that T2 DLC is not Mids centric, but it is mature enough to allow the user to savor high quality Mids from a supposedly V tuned device.
Now, my favorite part would be the handling of stringed instruments, and percussions too. As a hardcore listener to Rock/Metal genre, I am absolutely having a blast with T2 DLC. The attack, tone and reverb of guitars are richly dense and crisp, yet ever edgy beyond what is realistic. It is almost like listening to analogue speakers setup with good tube amps sort of sensation. Snare drums on T2 DLC manage to impart the excitement of the beat. Apparently this is also evident with most other genres that contain lots of stringed and percussive instruments, even Bluegrass. But of course it gets better with Rock/Metal.
Looking at upper frequencies, I would say T2 DLC exhibited good balance to keep it bright enough without imparting any element of hot sizzles or shimmer. Treble has good air and texture, strong with macro details, slightly mild with micro details. The attack and decays also sounded natural. The start of the attack never too euphonic, the dispersal into the extended region smooth and well rounded. As noted earlier, T2 DLC sounds great with percussions, hi hats and cymbals exhibited admirable realistic tone and timbre - no hint of being metallic or digital - even when subjected to playing Lo-Fi recordings.
T2 DLC can stand proud with Bass performances. Let's just clarify firsthand, T2 DLC is not a Basshead IEM. The overall mass, density and body would still be not strong enough for Basshead indulgences. That clarified, without reservation I would say that T2 DLC some of the best Mid Bass presentation I have heard within this price range. That classic DD Bass which offer great presence, slam and impact. Most importantly the texture of Bass which sounded rich with good depth. Sub Bass on the other hand, is modest actually - unlike most Harman tuned devices, T2 DLC does not boost Sub Bass. Yet I can still hear and sense great decays as the Bass transition between Mid Bass to Sub Bass, it is present and it is smooth.
On top of that, T2 DLC Bass proved more than sufficient for electronic Bass as well. Even when subjected to Bass heavy tracks from Massive Attack and ZU, T2 DLC shown great agility to resist distortions. For me personally, T2 DLC Bass performances being a winner for how good it sounded handling Rock/Metal. From impactful Drum Bass to groovy Bass guitars, it is addictive and engaging.
I will start with T2 first real weakness. Spatial bias for T2 DLC seems to be Left and Right oriented. Meaning T2 DLC appeared non holographic - a trait common to older type of tuning for dynamic drivers. This is not uncommon as I have heard the same issues with the likes of 7Hz Eternal. But if I am not paying too much attention I would not penalize T2 DLC for this shortcomings, because the rest of T2 DLC technicalities are great actually.
Despite the spatial bias issue, the soundstage itself sounded spacious enough. There's good sense of space and separation which is always neat, always tidy. It is effortless to track individual note or instruments.
Resolution and transparency of T2 DLC being quite respectable. Especially when paired with highly competent sources. I am getting satisfying details handling even with subtle nuances. Perhaps not as clinical as more expensive units, but on its own T2 DLC is quite respectable in this regard. What I do like, how forgiving T2 DLC is with the handling of Lo-Fi recordings, while keeping details available, T2 DLC also still manage to avoid presenting artifacts.
Speed is great too. For a DD to exhibit this sort of agile and responsive characteristics, I am impressed. T2 DLC has the speed to resolve the transients of dynamic flow effectively even when subjected to highly complex compositions - or outright speedy - and this is why it sounded so great with Rock/Metal.
Rated at 32 Ohm with 111db of sensitivity, T2 DLC is efficient for pairing demands. Runs perfectly fine directly from my Xiaomi Mi 9t.
T2 DLC does gets improved with scaled up feed. The more power, the more dense and rich the sound. Especially evident with Bass being very visceral and engaging.
This is a great trait to have, because it means that T2 DLC is highly flexible with source paring, even with 775 mW of power from the 4.1 Vrms of CEntrance DACport HD, T2 DLC responded gracefully and admirably with no hint of being shouty due to higher wattage.
Priced at $59, it is easy to like T2 DLC. It is almost perfect in many ways, very minimal cons that does not tarnish the entire experience.
T2 DLC has great sound tuning, it has great wearability, solidly built and it is quite affordable. I would not hesitate to recommend T2 DLC especially to fellow Metalheads. Well, I would still recommend T2 DLC even if they are not Metalheads, T2 DLC simply being versatile and adaptable to any genre.
]]>Hot on the trail of the highly regarded Heart Mirror, HZSOUND has rebooted the same offering with some tweaks intended to cater for diversified needs of the portable audio enthusiasts. Practically HM Pro, at least from the design and outer appearance remained the same as the OG HM.
Very Impressive! That’s my first reaction when I first unboxed my HM Pro. I don’t think anything within this price point can compete with HM Pro when it comes to build, package and accessories.
The IEM housing itself is a thing of beauty with mirror smooth Electroplated Zinc-alloy imparting elegance and grace. Housed within is a pair of 10mm CNT diaphragm dynamic driver, employing powerful N52 magnetic architecture, with Japanese DAIKOKU CCAW Voice Coil. Rated at 32 Ohm of Impedance with 110 dB of sensitivity.
Then there’s the beautifully crafted modular high-purity OFC silver-plated copper cable. The cable itself with simple twist braid and very pliable to the touch. The highlight being modular to allow for swapping of all three popular sizes for 2.5mm BAL, 4.4mm BAL and 3.5mm SE. The cable construction really felt very premium and equally graceful to match the IEM itself.
Even more impressive is the inclusion of dedicated separate cable which has proper inline MIC to be used with mobile phones directly or for usage of conferencing when attached to PC/Laptops. I have not seen anything like this before with other IEMs, especially not at this price point.
It does not end there. HM Pro comes with full range of tips to suit different preferences. I am happy so see the inclusion of foam tips on top of the regular three type of silicone units. HM Pro also comes with nozzle filters for further tuning (to dampen some high frequency if needed).
Last but not least, HM Pro also include very practical black case. Together with cable hook which can be used to manage the cable when on the move. I must say that on packaging alone HM Pro is a real winner.
Right off the bat, HM Pro exhibited traditional strong Harman-ish V curve profile – notable elevation of high frequencies and pronounced boosting of lower registers. The Midrange seemingly stepped back as how it is normally done with V sounding gears.
Timbral and tonal balance being organic yet very sparkly. The sort of characteristics to be expected of well-tuned traditional dynamic drivers.
The Midrange of HM Pro, albeit being stepped back (position wise), does offer rich and audible body. It does not sound recessed. Just that the staging are less forward. The Mids being smooth and realistic. I did not sense any attempt to add warmth or element of dryness to the presentation. Attack and decays of instruments being smooth edged with ample resolution.
However vocals wise. I observed that HM Pro may at times appear slightly peaky when subjected to some Soprano type. Alison Krauss for example, her peaky and boyish singing may appear borderline sibilant especially on crescendo sections, where she will pushed her singing to the max. On the same note, it would behave similarly with the vocals from Varg Vickerness (who wails all the time). Otherwise, the singing of Diana Krall (contralto), Sinne Eeg (contralto), Nick Cave (baritone) and Morrissey (baritone) appeared natural sounding. It is rich with proper depth and texture.
BASS, now this is where HM Pro differs significantly from the OG HM. Right out of the box I was shocked out of my wits with the amount of Bass this thing produced. It was literally a Bass cannon that overwhelms everything. However, despite all that, HM Pro Bass settled down more sensibly after 12 hours of Burn-In. After the first 20 minutes of initial use, I set it aside to burn with Pink Noise on loop. True enough 12 hours later I can clearly hear the Bass has stabilized and no longer sounding overly dominant. It gets better as more time allocated for aging. Now at approx. 150 hours, HM Pro has some of the most dense and deep Bass I have heard within this price range.
Midbass being impactful and commanding, yet manage to behave to not overwhelm everything else around it. Subbass deep and well extended. It is still a lot stronger than what I would prefer (in fact I prefer the OG HM Bass responses). But I can understand the trend nowadays seems to favor Bass heavy presentation and as such HM Pro came forth to cater for that needs.
Bass responses of HM Pro reminded me a lot to the sort of Bass performances from KOSS PortaPro. As I said earlier, it is authorative, impactful with slam and reverbs. Absolutely suitable for listening to electronic, dance, pop or fusion music. But may prove a bit over the top for Jazz, Folk, Bluegrass or Instrumentals.
However I must note that despite the richness in density, I feel that the Bass in general lacked a bit of details and texture. This perhaps due to focus on smoothness with Bass transients which masked the micro details. On the other hand it does offer good decays imparting smooth dispersal with vibrant seismic responses.
Switching to higher frequencies, I would say that HM Pro is a tamed version of the original HM. For those who are familiar with the OG HM, Treble brightness, shimmer and sparkle is what makes it special. OG HM was a thoroughbred Trebleheads IEM. Now with HM Pro, the upper frequencies has been re-tuned to be a bit more sensible and less metallic. It still has that airy Treble transients like the OG HM, but the level of shimmer and sparkle are reined in just enough to keep it exciting still. Which also means HM Pro is less euphonic as the OG HM. The energy and attack markedly more mature and well controlled. Treble decays however remained the same as the OG HM – so this is a plus in my book.
Perhaps one of the caveats that proved worrisome from my perspective, HM Pro appeared to struggle with speed and resolution – when subjected to handling of past paced music that contain lots of layers. This is evident when I use my HM Pro for Rock/Metal/Indie playlist. While it does not succumbed outright to being muddy, the soundscape seems to caved in and thus imparting cramped fuzzy lines between layers. Thankfully it fares better when playing most other music genre like Jazz, Pop, Folk or anything else that does not exceed 100 BPM.
Nonetheless, I would say the technical prowess of HM Pro is average at best. Imaging amply clean but not as clinical due to edge smoothing. The overall resolution proved enough for casual use.
Another element that I find to be less appealing would be the projection of spatial positioning. HM Pro exhibited traditional Left/Right split, which is common for most dynamic drivers. This means that HM Pro is not suitable for gaming or movie usage. HM Pro simply lacked holographic imaging.
One key element that HM Pro does better from the OG HM, it is a lot more efficient to drive. In fact I was pleasantly surprised to hear my HM Pro sounding so good with my weak Sony Xperia X Compact (which is under 1 Vrms). Further tests indicated that the efficiency of HM Pro goes to peak at around 2 Vrms, of which it sounded the best when powered by Cayin RU6 and Ovidius B1. Pushing it further with CEntrance DACport HD or VE Megatron at over 4 Vrms, I frankly can’t hear any difference in terms of fidelity which was already present with RU6/B1.
In summary, I would regard HZSOUND Heart Mirror Pro as a solid performer for the asking price at just $80. Despite being Bass heavy as compared to the OG HM, HM Pro proved to be a more balanced sounding unit which will appeal to many. It is vibrant, fun and smooth. Some deficiencies with technical aspect but it is not a deal breaker really – for as long as HM Pro is not used to listen to highly pacey music.
Not forgetting how premium the whole packaging is, I believe HZSOUND should be made as example how manufacturers should package their IEMs. That modular cable alone is more than worth the price.
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LISTENING EQUIPMENT USED IMPARTED HUGE INFLUENCE TO SOUND IMPRESSIONS & RATING
Out of the blue, MUSE HiFi joined the dongle war that has been picking up pace since the turn of late 2021. I have used their M1 series previously and those were just a prelude of what’s coming. While the M1 series were designated as entry level budget dongles, M3 on the other hand is a full-fledged unit designed to compete on the upper tier of highly portable DAC/Amps.
Suffice to say M3 came fully loaded with tons of features of which I will talk about in details later. Possible with the implementation of a very well established ESS Sabre ES9038Q2M, which is the staple of ESS DAC that has proven quite successful over the years.
First off, M3 is an absolute tank of a dongle. Premium metal chassis with premium finish. End to end full metal jacket. The dongle assembly notched an astonishing 59gm of weight, almost double the weight of Cayin RU6. Even the bigger boxed Questyle M15, is only 39gm. My all time favorite dongle of CEntrance DACport HD at 43gm.
So it is only fair to consider this factor when getting the M3, the indestructible dongle is designed to take abuse, but it also meant it is officially the heaviest dongle to exist now.
M3 comes with dual option to connect it to both USB C or Apple Lightning. A clear indication that this device has been designed from the ground up to offer great flexibility between different systems. No need to buy separate adapters as everything essential for this purpose comes included. MUSE even included some O ring spacers for 4.4mm plugs that may need it (usually HiFiMan standard 4.4mm plugs). I appreciate this thoughtfulness on MUSE side to make things easy and convenient for the users.
The next highlight of M3, 60 steps of independent volume adjusters. The importance of this cannot be underestimated. Over the years, with M3 being my 125th dongle I have ever owned, I have learned to appreciate the comfort of being able to adjust volumes without the need to fiddle with my phone. I don’t have to tap the screen of my Android device and press anything (especially when used with HiBy Music App, USB Exclusive mode which can only be adjusted with screen on). Adjusting the simple volume bar on the M3 makes all the difference.
With 60 steps of volume levels, M3 is refined enough to offer the ability for fine tuning the right loudness. However I must say that the likes of Lotoo PAW S2, Cayin RU6 (90 steps) and CEntrance DACport HD offers better resolution with volume scaling. Especially DACport HD with that linear micro level adjustment which is simply unmatched by anything in existence. Nonetheless, I find M3 volume feature to be amazingly useful. To a point that I feel less keen to use any dongles that does not have this feature integrated.
Next big feature of M3, 7 levels of digital filters that are innate to ES9038Q2M. M3 brought filter switching to another level with simple long press of the volume down button. The indicator will blink corresponding to the numbered filters.
Now, the filters does not behave like an EQ. Instead it offers dynamic and timbre temperament bias which for the most part will not be immediately evident especially on less than resolving listening devices. After switching the filter modes, it seems that the subtle changes will materialize after a while, a short period and gracefully. But this will require experimentation because different partners will behave differently.
It does not end there. M3 even offer true Line-Out feature to serve as AUX out to feed amplifiers. By my estimation, the Line-Out feed seems to be fixed at 2 Vrms. While connected to my Shure KSA1200 Electrostatic Energizer unit, I can clearly see distortion warnings from the Shure Amp indicating it goes too high over 1.5 Vrms. So I was forced to use digital volume on source level to tone it down to eliminate the distortion. Is this a bad thing? NO!. It simply means that for most amplifiers that are optimized to work with 2-4 Vrms of AUX will find M3 a fitting partner to pair with.
To toggle the Line-Out mode, just press the Vol UP and DOWN together (don’t do this while earphones are connected to the ears).
For my own usage, I have found the sweet spot between Filter No.2 and No.5 depending on what music I am playing. But for the most part, I feel that No.2 being the most neutral and balanced. No.5 being big and open sounding (but may sound a bit odd with some genre of music).
So what else M3 has to offer? Ah yes there’s an option also to pause/play when the volume UP is long pressed. I am just impressed of how much feature MUSE was able to cram into this single long button.
Just like most respectable and powerful dongles, M3 gets a bit warm to the touch after prolonged usage, especially when paired with power demanding partners. But I would say it is quite acceptable. DACport HD in contrast runs a LOT hotter, hot enough to fry some eggs. M3 seems to run slightly cooler than Cayin RU6 and Hidizs S9 Pro (which also uses ES9038Q2M).
Finally, for such a massive dongle, M3 is quite commendable with battery drain to the host. Tested on my Sony Xperia X Compact (now running 4700 mAH battery), M3 scored 7.5 hours of runtime continuously. With volume set at 50% pushing 32 Ohm Kinera Idun Golden.
Last but not least, as with many offering nowadays, M3 came with both 3.5mm Single Ended and 4.4mm BAL ports. Now this is super important. M3 seems to offer equal level of loudness be it from the SE or BAL port. Switching between the two, I don’t have to adjust the volume at all and this is actually amazing. It means M3 pay equal attention to both ports. Not like some dongles like Luxury & Precision W2 which totally ignore the importance of 3.5mm SE. These were tested with Etymotic ER4SR and normally I would be able to tell the difference immediately when switching between 4.4mm to 3.5mm SE. But M3 just works as great on both. Kudos to MUSE HiFi.
The sound output of MUSE HiFi M3 lived up the expectations. It is generally neutral and well balanced. Exhibiting mature tuning. Totally free from any element of typical ESS Sabre Pinna Glare or brightness. To give some perspective, comparing M3 to the implementation of other ES9038Q2M devices, M3 sounds close enough to Hidizs S9 Pro, except that M3 exhibited smoother transients and less aggression, more controlled energy from one end of the frequency range to the other. Compared to E1DA 9038 series (which also offer filters swap, but need to do rocket science to do it), M3 definitely is the more organic sounding unit, E1DA 9038 is a prime example of bright-ish Pinna Glare of ESS. Those loving bright digital sound will prefer E1DA 9038 over M3, those preferring a more organic and natural timbre will find M3 much preferable. Compared to DragonFly Cobalt, M3 is simply a much better unit end to end. While Cobalt is slow and sluggish with unnaturally thick Mids (Cobalt is permanently stuck with Slow filter), M3 exhibited more graceful sound practically with any partners.
However I would say M3 is not without caveats. Perhaps most prominent would be the handling of fast and complex upper frequency decays. Best example I can give, M3 seems to struggle a bit with the composition of cymbals/Hi-hat of “Harper Lewis”, a song by Russian Circles which contain concurrent cymbal attacks from left and right and interchanged at fast pace. It is complex as it is fast. This indicated some minor deficiencies on M3 side to handle speed and resolution under extreme load. I did not get this issue from CEntrance DACport HD, Cayin RU6 and Questyle M15. Not sure about the rest but I had limited times to do repeat tests. But that’s enough to give me clear indication of M3 weaknesses. Is this a deal breaker? No. Not by a longshot. For the most part, M3 behaves like a top tiered dongle it was meant to be. For as long as it is not used to something exceedingly fast and complex at the same time. Something like Modern Jazz, Pop, Dance, Folk, Vocals and anything else in between, M3 sounded flawless.
Dynamic and timbre handling, just like how a good DAC/Amp should be, should always strive to sound neutral and natural. The difference that separates them, richness and density of sound. For instance, up until this point nothing can compete with the natural and airy richness of DACport HD or Cayin RU6 (which comes 2nd) and M15 comes 3rd – at least from my personal ranking. All of them are truthfully neutral. M3 can proclaim itself as a neutral sounding unit, especially when filter No.2 and 4 are selected. The measure of how neutral it sounds tested with Etymotic ER4SR, Kinera Idun Golden and VE Monk GONE – all of which natively uncolored and flat. For depth and richness of texture, I used Shure KSE1500 – of which everything will be revealed and the limit being the amount of details fed by the source. Admirably M3 stood up to the occasion and did not faltered to satisfy the ultra-resolving Electrostatic IEM.
Comparatively, I would say M3 sounds similar to Questyle M15 in many ways, perhaps the differences being, M15 offer slightly better edge resolution and energy, a more polished and sharper sound compared to M3 smoother edges which is velvety yet detailed. So this will boil down to preferences – as both are equally competent technically – especially with micro details. With M3 seemingly less pronounced on the imaging due to focus on smoothness. What M3 does prominently better than M15, the staging feels wider and more spacious – a bit more air. This especially evident when Filter No.5 is selected.
For the rest of the sound element, I would say M3 is highly versatile and will sound great regardless what type of partners connected to it. Be it highly sensitive IEMs, single BA, single DD, multiple Hybrids and even legitimate 200v Electrostatic IEM, M3 handles them all gracefully without any hint of strain.
For the most part, I find M3 to offer ample power to drive my highly stubborn magnetic planar of Fostex T40RP MK3. I do need to crank the volume almost to the roof but when proper loudness is achieved, the sound is wholesome and amply rich. No distortion or strain detected. I estimate that compared to the true capabilities of what that T40RP capable of sounding, the output is close to 70%. Which is amazing considering this is a portable dongle we are looking at.
Personally, I would keep the load for something higher than 95db of sensitivity and up to 300 Ohm of resistances for 100% output richness. Anything above and it will still sound good but not as dense.
In the wake of highly competitive dongle wars, MUSE HiFi M3 have proved itself to be a device to be reckoned with. Superbly built with premium features all over, and equally impressive sound to match. In the search for synergy of sound, M3 positioned itself as highly versatile and practical. The features offered all meaningful and effective. Despite being a jumbo of Swiss Pocket knife, M3 make use of all the beefy build to pack everything that matters.
What I appreciate the most, M3 despite being built on ESS Sabre platform – it is free from any unnatural digital brightness. M3 is truthfully neutral, natural and organic. Immaculate tuning from MUSE HiFi is evident end to end, the sound being effortlessly smooth, musical yet never sacrificing details and resolution the ESS Sabre are known for. Again kudos to MUSE HiFi for this mature and polished sound that M3 delivers.
I should also mention, the all metal build somehow helps with resisting RF interferences better when paired with phones. I can recall than even some of the more prominent dongles I owned to exhibit high sensitivity to picking up RF interferences, but M3 fares better.
Best Pairing: Highly flexible and adaptable to most IEMs & Headphones
#donglemadness
]]>DAC Chip: Realtek ALC5686
PCM 32bit – 384kHz, DNR: -110db, Power: 1 Vrms, USB Type-C Male, 3.5mm SE, Metal Chassis, Cable-Less
MUSE HiFi M1 is simply another great small DAC/Amp that can satisfy for most casual audio indulgence. The usage of Realtek ALC5686 proved to be the right choice. M1 reminds me a lot to Avani and JCally JM04Pro – both of which I personally like and both running identical chips to M1.
While not exactly a powerhouse, M1 proved to be powerful enough for pairing even with my stubborn magnetic planar of Fostex T40RP MK3 (running on HiBy Music App in USB Exclusive mode, bypassing Android SRC). The output was satisfyingly good – but of course not as dense with overall texture and depth as how it would be sounding when partnered with more powerful dongles. But then what’s more important, M1 does not buckle or distort even when the volume were cranked almost to the max at 90/100.
When paired sensibly with more power efficient partners, especially with the likes of Kinera Idun Golden or LETSHUOER D13, I find M1 to be thoroughly sufficient for quality listening on the go. The dynamics being vibrant yet organically neutral – never attempting to emit any unsavory metallic sound or pinna glare. Perhaps for those preferring brighter signature would consider M1 being subdued, but to me being organic is what I prefer more and for this reasons I regard M1 as a great unit. The resolution does not get impacted by the “warmer” presentation, the transparency as good as can be expected of an ultra-compact DAC/Amp
Last but not least, perhaps the most endearing feature of M1, the super compact build which feels premium and thoughtful. While most dongles will have dangling cables attached, M1 proved to be quite usable with the form factor of providing 3.5mm SE port directly.
All things considered, for the segment of ultra-compact DAC/Amp, MUSE HiFi M1 offers great value for features and sound quality. Not many in this segment would be comparable to M1.
]]>D13 offers somewhat unique designed shells which suggests Steampunk theme. It is made of CNC machined aluminum enclosures. Thankfully the metal shells are designed to be amply ergonomic especially on the inner side and I did not feel any discomfort due to unsavory edges. In fact I will say that D13 is among some of the most comfortable metal shelled IEMs I have used so far. Credit to LETSHUOER for this subtle yet welcoming engineering feat.
D13 uses traditional DLC single dynamic drivers sized 13mm. Hence the name, D13. With 16 Ohm of impedance and 105dB of sensitivity, D13 obviously designed to be an easy to drive unit from the get go.
To complement the overall neat design, D13 comes with proper set of companion accessories. Most prominent being the handcrafted 4 cores/216 strands of Monocrystalline Copper Cable with premium and sturdy finishing. There’s also simple yet practical carrying case for the array of silicone tips and the IEM itself. The highlight of D13, swappable nozzle filters. Two set of nozzles offered, of which I will describe in details later.
D13 offers something I would regard as soft U curve tuning. Definitely not a neutral sounding IEM by a longshot. The pronounced elevation of lower frequencies are prominent. The Mids, depending on what genre of music being played, will appear slightly recessed. The high frequencies being mildly tamed in favor of smoother energy and vibe.
The general theme of D13 sound, properly controlled dynamics that offers mature and clean sound with admirable balance of vibrancy that does not sound overly euphonic like most DD based V tuned IEMs. It is fun sounding as it is neat at the same time – I really appreciate this balance which in turn will offer big sound that is spacious and open.
Perhaps, one element that impresses me the most is how well controlled attack and decays being presented. Always clean and resolved – with believable speed and dispersal. Dynamic extensions are not exactly far reaching as some others, but it is not exactly rolled off either – for they appear to be mild in presentation. With highly resolving sources, there’s ample micro details to suggest the depth of extensions – especially on the lower frequencies which offers deep and dense Sub-Bass responses. Even the highs will reveal ample micro details despite not as pronounced
Tonal wise, D13 is assuredly organic and natural sounding. No unsavory or unrealistic metallic element that I can hear of – some may even regard D13 as “warm” especially if the user is used to bright sounding unit. Otherwise, I think the overall timbre and tonality is faithfully realistic despite the coloration of lower frequencies and mild suppression of Mids
As noted with the other LETSHUOER IEM that I have tested, D13 carries similar Mids signature to LETSHUOER Z12. Despite being U curved tuned, I find the Mids to be present enough not to sound outright recessed. Largely depending on the genre of music being played. For example, with the Bluegrass of Alison Krauss or Modern Jazz of Diana Krall/Sinne Eeg, the Mids presentation were actually properly forward sounding – I did not feel that it was recessed at all. The tonality and texture of Mids being rich and dense, natural with good clarity and resolution.
However, when listening to Pop/Indie/Metal/Rock music, then I feel that the Mids are less forward.
The staging of instruments offered smooth edged attack, with enough energy to emit something that is natural sounding – like the piano tones being “warm” yet believable – the saxophone deep and chesty.
Perhaps the point to criticize, at times I feel that the Mids placement may sound slightly “lower” on imaging, as if I am standing taller than the singers in the songs.
Vocals wise, D13 must be commended for projecting natural output be it males or females. Perhaps a slight hint of coloration due to the “warming” effect on upper Mids – which I suspect will appeal to some.
Smooth is the general theme for D13 Treble. Clean edged, polished attack with equally smooth dispersing decays. It does not offer lengthy decays, but it is present enough to be heard with just the right amount of sparkle and shimmer. I can’t find any element of sibilance or pinna glare especially when paired with natural and neutral sounding partners. Treble being organic enough to not sound unnaturally metallic or plasticky.
The only caveat that I can think of, if I am going to be critical on this – I wish there’s a bit more air with the flow of Treble transition between upper Mids to lower Treble – it may appear slightly clustered. This is evident on complex composition like Sinne Eeg recordings.
Most important to note, D13 Treble presentation ultimately depends on which nozzle filters being used. The stock nozzles will exhibit the nature as described above – generally favoring smoothness over edgy attack/decays. But when the secondary nozzles swapped in, then it was evident to me, a bit more of Treble sparkle, shimmer and energy revealed. Now D13 would appear a bit more appealing to those preferring brighter presentation. The caveat, it will also sound less smooth as compared to the “warmer” stock nozzles.
D13 Bass can be described as well balanced. The Mid-Bass being strong but tidy and well behaved – never attempting to overcome anything within the frequencies. Even more impressive is the Sub-Bass presentation. D13 offers deep and far reaching Bass extensions. I dare say that D13 will even satisfy the need of most Bassheads, perhaps not as prominent as LETSHUOER Z12 (which I regard as outright Basshead IEM).
The presentation of Sub-Bass is perhaps the one element of lower frequency of D13 that I find myself enjoying the most. For one, D13 offers the sort of seismic sensations that is felt as it is heard. The reverb of drum machines or twang of cellos – all properly audible and present. It does not matter which type of Bass I am looking at, be it electronic, strings or percussion Bass, they all sounded satisfyingly rich and dense. With just the right amount of body mass and density. At times I can even feel the texture being as great as higher end devices – simply admirable.
For this reasons, I find D13 completely at home for listening to the likes of Russian Circles, Pelican, KRAFTWERK, Kitaro, Controlled Bleeding or any music that offers myriad of rich Bass mastering. Perhaps the Bass responses can be a bit too strong for when listening to modern Jazz or Bluegrass, but even then it does not really bother me much because despite the larger than neutral presentation, Bass remained clean and disciplined for the most part
D13 offers good sense of space and width for soundstage. Perhaps not as tall but I can’t find any reason to complain about the overall staging. In fact being In Ear Monitor, this is a common issues for many. For D13 to sound big and open, it is already something that I regard as a very positive output.
Technically, D13 is a very well behaved unit with clean separation lines, not exactly razor edged nor does it appear blurry even when the output being largely warmish organic. Surprisingly, D13 also seems to exhibit very good handling of Macro and Micro details – thanks to the clean overall resolution.
What I do find interesting, D13 does not seem to be a very holographic unit with spatial positioning. Yes the imaging is clean and clear, but the positioning is decidedly more of traditional Left/Right orientation. This I believe has a lot to do with the native design of single Dynamic Drivers. Obvious to me, multiple driver IEMs will offer better spatial staging. So in this regard, D13 is not suited for gaming or immersive movie watching. But keep it for music, then D13 will be one worthy device to use.
Speed and resolution of D13 also being quite admirable. Despite being warmish sounding unit (with stock filters), D13 does not falter with overall transparency and resolution. And the most interesting bit, D13 seems to be quite forgiving as well with less than stellar recordings – it resolve enough details but somehow manage to dampen recording artifacts – this I find very evident when listening to Lo-Fi Black Metal recordings of the 90s.
Lastly, D13 will be quite resistant to sounding congested or muddy. In fact I would say the speed will handle anything I throw at it. Complex Jazz or outright speedy music, D13 handles them all with proper agility and finesse.
D13 is SUPER easy to drive. Straight out of my weak Sony Xperia X Compact, I am already getting great sound with rich dynamics. It gets even better as when paired with more competent partners. Scalability of D13 is nothing short of impressive. Even when pushed with 4.7 Vrms of VE Megatron, D13 does not get shouty or unnaturally edgy – the expanse of dynamics gets a bit more of headroom with richer density. Same goes with my favorite DAC/Amps of CEntrance DACport HD which pumped out 775 mW of power at 4.1 Vrms.
It must be noted though, being low impedance and highly sensitive, D13 will pick up audible floor noises from either Ovidius B1 or VE Megatron.
Frankly, D13 does not offer the sort of sound signature that I would normally favor. I prefer flatter neutral sound. However, the indulgence of music ultimately is for the pleasure of listening – and in this regard, D13 is one unit that fits the bill perfectly. D13 is fun yet articulate, resolving and technically competent. It has ample maturity for critical listening as it is for casual sessions.
The ability to easily swap nozzles makes D13 a truly versatile IEM – smooth or more energetic, just swap them nozzles and it would be hard not to like any one of them – depending on the moods of the listener.
Worth to mention also, D13 can be worn for long period of hours. The ergonomic design is very thoughtful of human ear cavities – I truly appreciate that. Lastly, D13 will sound great with almost any source partners, versatile yet scalable. Overall, for the asking price, D13 offered positives that harbor very minor cons (most of them subjective to preferences).
]]>Z12 is a limited release by LETSHUOER (only 500 units) based on their highly successful S12. Z12 has been designed and built with frequency tuning as advised by Zeos.
Essentially, Z12 is identical to S12. With the very same metal shells housing a pair of single Magnetic Planar 14.8mm drivers. The difference, Z12 comes in anodized Red/Blue color scheme which makes it stand apart visibly.
Rated at 16 Ohm, sensitivity level of 102dB, Just like S12, Z12 is tuned to be easily driven with most audio sources.
Z12 comes in a very neat package, the one that impresses me the most being the beefy stock S12 Silver Plated Copper (SPC) cable. Available either with 3.5 SE or 4.4mm BAL termination. Equally impressive, Z12 comes standard with very high quality foam tips on top of the regular selections of silicone tips. Last but not least, Z12 also comes with a nice carrying case for both the IEM and the tips.
Z12 turned out to be a very comfortable IEM to wear. I am truly impressed with the ergonomic design of the inner shells. From the get go I was able to wear Z12 for long hours. No fatigue or annoying pressure subjected to may rather sensitive ear cavities.
One element that stand out the most, from the get go, Z12 being very organic and smooth with overall timbre. Totally free of any metallic or dryness element. By my own subjective observation, frequency wise Z12 has been tuned towards Harman U curve. Definitely not neutral as how I would normally hear from my regular arsenal of Neutral/Diffused Field tuned IEMs. There’s pronounced emphasis on the lower registers especially Sub-Bass region. What Z12 does offer in spades, good natural sense of sound some would even consider as “warm”.
Z12 exhibited very cohesive and mature dynamic transients, yet it is still vibrant enough to be fun sounding. Perhaps not as euphonic as V tuned dynamic drivers, but then that’s the appeal of Magnetic Planars – they tend to be better behaved. As with the overall theme of timbre, Z12 tonal balance is admirably organic too, smooth and well resolved.
With the appreciation for U curve tuning, the Mids of Z12 is less forward and less pronounced than what I normally favor. While the resolution and texture is succinct, I can’t help feeling that the presence of Mids being staged a step back. This will be evident when I use Z12 listening to some genre of songs especially Jazz and Bluegrass. This stepped back Mids will be less evident when listening to Rock, Pop or Metal genres.
Instruments wise, for the most part Z12 Mids offer clean and smooth edged attack and decays, perhaps not as clinical – yet the definition is evident and clean.
I must say that Z12 may not be suited at all for listening to classical or stringed ensemble which require a bit more of sharpness. On the other hand, for those who are familiar with the sound signature of Sennheiser HD580 or Fostex T series, the Mids of Z12 bear close resemblance to those two, “warm” ish and soothing, never offensive. So this depends on the moods as well.
Z12 must be commended for a very well behaved upper Mids projection, closer to Treble region, I am impressed with the control of Z12 avoiding any element of sibilance or shouty output.
Vocals wise, similarly as noted above, Z12 does the job well enough for a U curved unit. However I must note that the normally peaky and shrill singing of Alison Krauss (Soprano type) would sometimes sounded a bit off with the emphasis on warm-ish tonality. It gets even warmer with the likes of Diana Krall (Contralto type). Z12 fares better with Male vocals, less warming and a bit more neutral.
Without a doubt, Z12 is not a Trebleheads IEM. Z12 exhibited ample sparkle and resolution with Treble definition. But do not expect far reaching extensions with the decays seemingly disperse slightly shorter that what I am familiar with. I also observed that Z12 also seems to be not as generous with air, the projection primary appearing clean edged, and prompt. It is generally smooth and non-offensive, no overcooking and unlikely for things to get shouty or unnaturally peaky. Despite the seemingly early roll-off, Z12 does still exhibit good sense of Treble micro details, which are evident with how gentle yet audible cymbal splashes being presented.
In this aspect, Z12 will fit in perfectly with those preferring their Treble section well behaved and smooth, like a frothy Cappuccino instead of hard edged double Espresso – if that makes any sense.
As a matter of saying, Z12 will not be suited for listening to percussion heavy music – precisely classical or instrumental compositions. Or even modern Jazz – the warming of upper frequency can appear dampened a bit than what I consider neutral and transparent.
The highlight of Z12, BASS and BASS. This would probably the first Magnetic Planar IEM that I would consider as a Basshead unit. Most prominent would be the presence and authority of Sub-Bass performances. The depth and extension of Bass lower region being deep enough to match the likes of Fostex T40RP MK3 (a Magnetic Planar that I dearly love).
However I must note that, out of the box Z12 will exhibit some Bass bleed between Mid-Bass, Lower-Mids and Sub-Bass. This being evident when I listened to Alison Krauss Union Station outfit which contained some pronounced stringed Bass recordings. Composition of Mid-Bass being slightly engulfed by Sub-Bass presence.
The good news is, after 100 hours or so, I no longer observe this bleeding. Things actually turned our admirably well, I was able to identify the borderline of Mid-Bass to Sub-Bass transitions. It was somewhat hilarious – normally on Bass focused IEMs I have used before, the Mid-Bass would be the one to dominate (as observed with most dynamic drivers), but for Z12 it is the other way round.
A well burned in Z12 will assuredly satisfy the need for rich, highly textured and dense Bass – the Mid-Bass especially being very solid and vibrant. The imaging and resolution is clean and smooth. The density satisfying. Z12 will project them all deftly from stringed, percussions or electronic Bass – most prominent with Electronic Bass perhaps. So in this regard, Z12 will absolutely be amazing for listening to Electronic or Dance music, for listening to the likes of Depeche Mode, KRAFTWEK, Hans Zimmer or Massive Attack. Deep and prominent Sub-Bass responses being very immersive and engaging.
Notably, the part that I like the most, Z12 Bass performances also worked amazingly well with Rock/Metal music. This is where I feel that the Mid-Bass and Sub-Bass both being equally impressive – coexisting side by side in fluid and harmonious transitions. Like the composition of Russian Circles “Harper Lewis”, thumpy and commanding Drum Bass complemented by equally graceful Bass guitar edge decays – the sort of sound that is felt as it is heard, seismic sensations – simply amazing.
Z12 is quite adept with technicalities. The only caveat, soundstage could have been wider. It is not exactly narrow but I feel that the big and vibrant sound would have been perfect if the width and breadth of staging offer more spaces. Otherwise I would say that Z12 being very competent with speed and resolution – always clean sounding with well defined separation lines. Spatial positioning being holographic and immersive. The imaging sharp enough despite being largely a “warm” sounding unit. Z12 turned out to be quite a good device for gaming as well as action movies indulgence.
While not exactly being the speediest of IEMs I have tried so far, Z12 must be commended for keeping it tidy. I haven’t observed any instances of things getting mucky or congested – no matter how complex the composition are or how outright fast paced they are.
Drivability of Z12 is another highlight that I would regard as exemplary. Without a doubt Z12 is the easiest to drive Magnetic Planar that I have ever used. I was pleasantly surprised how good it sounded even when used directly with my old Sony Xperia X Compact (which has measly power under 1 Vrms with no more than 50mW of wattage). I don’t feel that the output was underwhelming – it was quite enjoyable.
But of course being a Magnetic Planar, Z12 also exhibited great scalability as more power are being fed to it. As the power scale goes up, it is evident that things get improved with dynamic density and depth. It felt richer and more resolved.
Z12 sounded at it’s best with the likes of Cayin RU6, CEntrance DACport HD, Ovidius B1 and VE Megatron. All of which are quite abundance with power.
I reflect upon the values that Z12 offers and it is evident to me, this IEM is a very specialized unit. It was not designed to be an all-rounder. Z12 is probably the only Magnetic Planar that qualify as proper Bassheads earphone. For the most part, Magnetic Planar IEMs are not known to be strong with Bass performances – but Z12 is different. Z12 compete with the likes of SeeAudio Yume Midnight (Harman tuned) or Hidizs MD4 (W curved) – and surprisingly Z12 would stand out being the most dominant with Bass performances among all of them.
So it depends on the sort of sound we are looking at. Frankly for me, a self-styled Diffused Field Neutral junkie, Z12 would appear a bit overbearing to my senses. I am not used to, nor appreciative of this Big Bass thing subjectively. But I will not deny that if I do like Bass heavy stuffs, Z12 then is a worthy contender to satisfy that need.
LETSHUOER x Z Review Z12 must be appreciated for what it is intended for, Z12 is fun, cohesive, clean and big sounding unit – with lots of Sub-Bass :D – oh yes Z12 is also being one of the most comfortable IEMs to wear out there now and SUPER easy to drive too.
]]>TForce Yuan Li is one of my favorite single dynamic driver IEMs in the plethora of budget Chifi mediocrity out there. It is one of the most balanced-sounding earphones with a matured tuning from originally an OEM/ODM company, TForce (now Tangzu).
Shimin Li is the second part of the “Trilogy” that carries the same vibe & bold aesthetic on the packaging rather than the typical weeb-pleaser with waifus that most companies adopted conscientiously. I have nothing against waifus as I simply prefer something more minimal or simpler in a package. Anyhow, the IEM unit itself is a bit “extravagant” for my taste that comes in shiny gold. There's also a tolerable silver color option which I think similar to Yuan Li. A little contrasted to the packaging theme the tone of the gold color seems, still I believe there will be people who will appreciate it.
It sports a 10mm dynamic driver that’s said “tuned to deliver a neutral and balanced sound output” and priced to play in a highly competitive bracket with a $35 tag a pair. The main question is, can it compete? Also, will Shimin Li fit the bill in the Trilogy?
*This unit is sent by Hifigo (Lvy Yan) in return for an honest review. I listen to everything stock, without any modifications, or additional accessories. My source is varied depending on the occasion. Apple Music, Tidal, local files, LG G7, Windows PC, and dongles for a week duration with no EQ.
On subjective listening, the sound signature of Shimin Li can be described as neutral with a bass boost that’s skewed towards a slightly warmer tonality for the lack of treble response. It’s also could be described as Harman but definitely not a V-shaped. The tuning is arguably one of the most safe-sounding among other sets I’ve tried in under $35 price segment.
Let me be frank, I’ll be nitpicking here. The first thing I notice with this set is the overall slightly “thonky” sound which I believe is the main issue of its tonality, or perhaps the tuning. The upper midrange has peaks without the appropriate treble loudness around 5kHz to 7kHz to compensate for a more natural & smoother listen. The lack of air response (or overtones) also makes the instrument like cymbal or metal percussion sounded a bit bland and less definition at times, but I bet it might be sufficient enough for some people. There’s no sibilance whatsoever coming out from this set.
Vocal reproduction is forward & satisfying. It’s quite natural or I could say, safe. Vocal lovers should consider this set. But there's a balance issue with the loudness of the frequency response that makes up for the occasional “shoutiness” in the upper midrange. This is believed to be related to the tuning more than the driver’s frequency response itself. For example, the nozzle length or the volume of the shell which directly affecting the resonance.
The bass is probably the best feature of this set. Good mid-bass punch and warmth without muddying the midrange. Ample sub-bass rumble though not that shattering low. I think I’m pleased with the bass.
In the real world, the tonality of Shimin Li is decently-good but the tuning could be better even for a budget set. Nothing spectacular or really bad to write home about. It’s tonally listenable or perhaps enjoyable to a certain extend at a moderate loudness level.
Shimin Li has a bass texture that I’d consider quite good. The whole resolution is pretty good for the price with an exception to its detail retrieval. The imaging is a little fuzzy especially on busy passages but it’s still fairly decent with a rather not thin nor thick note density. Instrument localization is not the worst though I think that’s pretty common with budget single dynamic driver IEMs, yet that’s the fact. The imaging is not its forte. Sound staging is average as it’s lacking in depth mostly, however the width is slightly wider than Tripowin Olina’s.
It has a quite organic timbre, by not being too bright or dark which is something that I could really enjoy at this age. In terms of dynamic, it’s a bit compressed especially on the treble. Firmly to say, dynamically it’s average for a dynamic driver. It’s a pity because I believe this is a good driver as it has potential based on the transient response alone. Perhaps some overhauling or retuning could save it and thus turning it into an excellent IEM.
Comparing to the (in)famous Blon BL03, Shimin Li easily wins in many departments perhaps except the timbre. BL03 has an arguably more pleasant or more “correct” timbre although tonally it’s not as ideal or “natural” as Shimin Li. In terms of resolution & imaging, the award goes to Shimin Li. I could say, it’s an upgrade for Blon BL03 though indirectly.
How about Tripowin MELE? I prefer Shimin Li against MELE any time. No doubt that Shimin Li is way better in terms of tonality & technical performance. I know it’s a matter of preference as it's a different tuning yet somewhat a different class too. Shimin Li also feels like a budget Yuan Li whereas Yuan Li has slightly more control & balance. Overall, they both are like the same thing with minor differences.
I honestly think that Tangzu is doing themselves either a kind of stationary or dilly-dally by going this route with releasing a budget IEM that’s probably not just indifferent or ordinary, but rather almost-good and also passable at the same time. Yuan Li was a good debut in my opinion. So, I was expecting something different with a more refined tuning that's tonally pleasant from a company that I really look forward to but it is what $35 is. Nevertheless, I still think it’s a service for the masses, specifically the community to have more choice for their little money.
Good thing listening to Shimin Li after a few days (because my first impression was not this good) is it reminded me of the good old times where my younger self was blasting some good music to his mind with cheap but decently functional earphones. To me, Shimin Li is just another decently functional earphone that some might find it adequate to satisfactory for their library. For $35, I think it’s worth the price and it fits fine in the Trilogy. Maybe add a matte-black finish too?
Review Date: 15 April 2022
DAC: Dual Cirrus Logic CS43198
Headphone Ports: 3.5mm Single-ended and 4.4mm Balanced.
Power (3.5mm Single Ended): 2 Vrms
Power (4.4mm Balanced): 4 Vrms
Frequency Response Range: 6Hz-85kHz(±1dB).
Background Noise(4.4mm): 1.5uV(AES17 20K Hz).
Background Noise(3.5mm): 1.2uV(AES17 20K Hz)
SNR(3.5mm): 123dB(A-weighted).
SNR(4.4mm): 131dB(A-weighted).
Line-Out(3.5mm): 2Vrms(High-gain), 1.4Vrms(Low-gain).
Line-Out(4.4mm): 4Vrms(High), 2.8Vrms(Low).
IEMs and Earbuds:
Headphones:
Sources:
LISTENING EQUIPMENT USED IMPARTED HUGE INFLUENCE TO SOUND IMPRESSIONS & RATING
Moondrop caused quite a stir in the Audio community (especially ChiFi) when words got out that they are releasing their first ever DAC/Amp dongle. Already immensely popular and successful in the IEMs segment, the anticipation for Moondrop flagship Dongle is probably one of the most exciting thing to happen in quarter 1 of 2022.
Named Moon River 2 (was there a Moon River 1?), it is set to enrich the premium Dongles option for the consumer. Seemingly at least two new models being released every month.
I must thank HiFiGo for their customary superb services in fulfilling my order with priority and sending me the unit literally the next day after they received it.
At the time of this review, I have already spent over 300 hours on my Moon River 2. Using it regularly – with all of my listening equipment.
Moon River 2 introduced to the world with bold and unassuming design. Seemingly CNC machined from solid aluminum block, it offers unique angular design which reminded me a lot to Sci-Fi stuffs like Blade Runner etc. Some hint of Aztec ziggurat too, with the “sloping stairways” on one side. All finished in solid black powdercoat. Moondrop opted not to use any bling element here. Just spartan and bold design that I find very appealing.
As with the normal standard nowadays, Moon River 2 has two ports on one end – 3.5mm SE and 4.4mm BAL. The other end being USB Type C female, which will then allow for replacement of any USB C (OTG compliant) cables to be used. The stock cable included, is nothing like I have ever seen before. Totally transparent from plug to plug. Design wise I can appreciate the creativity here. In real life the cable itself looked beautiful and unique. However, I must say that Moondrop should have paid more attention towards conventional cable design instead – thicker and better shielded. You see, the cable being flat, it is also somewhat thinner than ideal. For one, I need to be careful to NOT subject that cable to excessive movement as it seems to be somewhat flimsy. Secondly, my Moon River 2 will pick up RF interferences a few times whenever my phone (which is my primary device for audio) experience fluctuations on the GSM/LTE/4G signals. And this can be bothersome when moving about. A better shielded cable would have been able to mitigate these two issues.
Moon River 2 has hardware volume adjusters on the left side. At first it confuses me a bit as the way they are designed, I thought it was a combo of slider and push buttons. However, upon reading the manual, they are just two buttons – volume up and volume down. Unfortunately, they are NOT independent. The buttons serve as remote control of the host volume.
Now. Personally, I see two issues here with the volume adjusters. Issue number one, they are not as tactile as they should be. I need to press them slightly harder than normal to get it to shift to the desired levels. On top of that, the response seems to be sluggish as sometimes I need to press twice to get it moving. This is consistent on my two phones of LG V50 and Sony Xperia X Compact. It behaves similarly when connected to my laptop as well.
Secondly, the jump between volume levels is not refined. Jumping from volume of 6/32 to 7/30 on HiBy Music App will emit sudden surge in loudness that can be more than tolerable. The same can be said for usage on YouTube Music and Tidal App – both of which runs on Android stock SRC and honestly, I find it annoying that the loudness levels exhibiting big gaps. The only way to mitigate this issue is to use UAPP or any custom ROM Android host which will allow for the user to define the volume steps. HiBy Music App can be configured to do finer adjustment too, by setting it to Software Volume mode (not automatic). Nonetheless, I had hoped that Moondrop would have paid more attention to this. Getting the ideal volume level is one of the major factor for enjoying music.
On the aspect of power drain, I am a bit surprised that Moon River 2 only manages to score 4 hours of usage from 100% to 1% on my Sony Xperia X Compact (2700 mAH battery, Android 8, Airplane Mode). Driving 32 Ohm IEMs. To make sure that this wasn’t a fluke, I run the test 3 times and the results remained the same. In comparison, Cayin RU6, iBasso DC05 scored 6 hours and the likes of xDuoo Link2 BAL and HiBy FC5 scored almost 7 hours. Ovidius B1 scored 10 hours! The results will still be the same running on 3.5mm SE. All in all, it is below my expectation on this subject.
Last but not least, Moon River 2 does get a bit warm after 2 hours of usage. But this is absolutely normal for a Dongle of this specifications. Most DUAL DAC Dongles will exhibit similar behaviour.
Let me put it this way. All the Cons on design and features I ranted earlier? all complaints gone when it comes to the sonic performances of Moon River 2. From the get-go I was already impressed on how well it synergizes with my Etymotic ER4SR. The sound being truthfully neutral, natural and near organic – almost analogue.
There’s richness and proper weight in dynamic transients. The output is wholesome as it is properly dense. So very well balanced from end to end in the entire frequency range. No attempt to overdo any segment. Bass, Treble, Mids all sounding in harmony with fluid vibrancy that remains neutral, smooth and crisp.
Moon River 2 is totally free from any sort of coloration. It is also totally free from any element of Pinna Glare commonly heard from ESS Sabre devices. Moon River 2 does not exhibit any unsavory edginess or sizzle in the upper Mids or Treble. There’s no chance for the paired partners to end up being sibilant no matter how resolving and transparent they are. Such is the case with my ultra-resolving Shure KSE1500 and the bright-ish Beyerdynamic DT880. The same can be said of my Tripowin Olina, which shines beautifully with that 4 Vrms of power from the 4.4mm BAL port.
On the other hand, Moon River 2 worked amazingly well with “warmer” sounding partners too. In fact, I am hearing some of the best output coming from my Fostex T40RP MK3, Kinera Idun Golden and VE ZEN 2.0 – all of which are the more organic sounding unit natively. This is how a great and properly tuned DAC/Amp should behave, it does not care if the paired partners are bright or warm. This versatility and adaptability is probably one of the biggest strength of Moon River 2.
Technically, Moon River 2 is right up there with the very best of performers. It has wide spacious soundstage to equal xDuoo Link2 BAL and CEntrance DACport HD. There’s good sense of openness and space. The imaging being sharp and precise. Spatial stereo spread so holographic that when I was playing Fallout 76, using my open backed earbuds, I almost thought that the sound was from my surroundings.
Moon River 2 has the expected competencies when it comes to resolution, transparency and details. The limit set by what the paired partners can stretch. Which means on my KSE1500, the sonic performance is nothing short of breathtaking and mesmerizing. So very fluid and believable with no hint of artificial reproduction. It was effortless to track individual layers. The speed and resolution being clean and distinct.
It is also worth to note that Moon River 2 seems to be quite forgiving to Lo-Fi as well. With more than half of my songs collection being Black Metal and obscure music productions, I was actually surprised how well the combo of Moon River 2 + Kinera Idun Golden/Olina with those rough music/recordings.
Moon River 2 did not disappoint. That 4 Vrms of goodness is not just for show. It has the power even to drive my Beyerdynamic DT880 600 Ohm properly. The same can be said of Fostex T40RP MK3, both of which are super hard to drive.
Comparing Moon River 2 against my dedicated desktop DAC/Amp stack of iFi ZEN DAC V2 + ZEN Can, I will say that Moon River 2 performs close to 95%. The loudness alone more than enough with the volume set at 40/100 on my Windows 10 laptop, if I crank any higher and it can be very loud. But what’s more important, the output is rich and fluid. About the only thing that I would say the ZEN stack performs better would be the energy level and attack which appear more vibrant. Otherwise, if not comparing side by side, Moon River 2 totally can serve as a worthy substitute.
The difference between 3.5mm SE and 4.4mm BAL thankfully is quite marginal. Which means that the sound quality itself is consistent on either port. However, especially for scalable pairing partners, the BAL will then exhibit crisper imaging, transients and openness. Loudness difference between the two ports are also marginal, with my Olina, I set it to 6/32 of volume on the 3.5mm SE, and 5/32 when switched to 4.4mm BAL.
All things considered, Moondrop lived up to the expectations with this Moon River 2. The key elements, Moon River 2 being so exquisitely well balanced to be neutral and organic – with some hint of analogue touches depending on which partner being paired. As I said earlier, the measure of a great DAC/Amp is that they don’t care what type of partners being paired to, be it warm or bright, it just works. Versatility is what makes a great source highly sought after. Moon River 2 also lived up to the 4 Vrms power rating, easily driving stubborn partners properly and satisfactorily. While at it, of course Moon River 2 being agile enough to be delicate with highly sensitive IEMs, totally free from any background noises.
What I do wish that could have been done better, the way Moon River 2 handle volume adjustments. The hardware buttons are not user friendly at all, and the step gaps between levels could use more refinement. Not forgetting less than impressive battery endurance at just 4 hours when competitors offers 6 hours objectively. Last but not least, Moondrop should have forgo the fancy transparent USB C cable and went for something more robust and less likely to get RF interferences.
Well, despite all the Cons which are all on features, I will say that Moon River 2 is among the best released this year yet. The sonic performances can easily make me forget any grouses, immersed in sheer sonic bliss we are fortunate to experience in such compact form factor nowadays.
Highlights
Lowlights
Best Pairing: Anything up to 600 Ohms
]]>Review Date: 29 March 2022
IEMs and Earbuds:
Headphones:
Sources:
Shanling UA5 is the continuation of UA line-up in the wake of UA2 which has been widely liked by many. UA5 took some time to present itself, and apparently with some very interesting features to offer, vastly different from what we get from UA2. The most innovative being, battery support. A feature not available with any Dongle class DAC/Amp until now. Shanling opted to stay with ESS Sabre ES9028Q2M DAC, now in dual discrete format as opposed to single DAC design of UA2.
From the ground up, UA5 has been designed to be a premium device. Exquisite and elegant, made of aluminum chassis that looked super solid and convincing. The biggest change from UA2, now with a LED display much similar to what we see from the likes of Luxury & Precision W2, Lotoo PAW S1/S2 and Cayin RU6.
Most prominent is the special rotary volume adjuster never seen anywhere else on any Dongles, or even DAPs for that matter. Meant to be easily operated with the thumb, the volume dial offers very smooth movement. Admirably the volume steps are very refined and this alone is something I appreciate a lot. Being able to adjust volume at refined levels will enhance listening pleasure – adapting to the state of the listening sensitivity to sound depending on the moods and conditions. The volume wheel also serves as Functions button. Pressing it inward will toggle the functions menu which will allow the user to adjust desired parameters.
Once in the menu mode, available options: (Long Press on the Volume Wheel)
The effects of High/Low gain mode are quite audible. It is evident that the Low gain mode is to be used for highly sensitive IEMs, otherwise I prefer to set it always on High Gain. The truth is, even with my most sensitive IEMs I see no reasons not to use the High Gain mode to ensure the fullest power from it.
Power selection does impart subtle differences especially when used with highly resolving partners. What I am hearing, with internal Battery option selected, better sense of space and openness to the sound with a touch more pronounced imaging. However, it must be noted that this is only evident when I set myself to critical listening mode with some of the most resolving IEMs I have in my possession. Something like Etymotic ER4SR and Shure KSE1500. Less prominent with the rest. Be it on Battery or Hybrid Mode, the sound signature and overall presentation remained the same, subjective to the characteristics of each connected partners.
Filters selection. Now this is very interesting. Not many ES9038Q2M devices offer the option to switch these settings. UA2 does allow the user to change the filters with Shanling own app. UA5 on the other hand offers direct Filters switching. For my own usage, I have settled on “LinearSlow” filter – simply because my primary listening gears are natively neutral and somewhat bright-ish. From my past experiences with ESS filters, Slow filters on ES9038Q2M will appear less edgy, more balanced to my ears. Using fast filters will result in something which I consider unnaturally bright and aggressive on timbral balance and dynamic transients.
On the subject of power, I have conducted extensive tests with my Sony Xperia X Compact (Android 8, 2700 mAH, UAPP, Airplane Mode, driving TRN VX Pro in High Gain) with the following results:
6.00 Hours for the Host (USB Hybrid Mode, Charging ON)
5.30 Hours for the Host (Battery Mode, Runs on Battery, Charging ON)
5.00 Hours for UA5 (Battery Mode, Runs on Battery, Charging OFF)
For UA5 to score 6 hours on Hybrid mode, it is quite acceptable. Precisely on par with the likes of Cayin RU6 and Lotoo PAW S2 which scored 6 hours too, under similar operating loads. What I do like, UA5 capable of easing the host from power drain burden when charging is set to OFF, the host device will then run on its own course of battery drain while UA5 powered itself on DAC/Amp operations.
PS: I did not test the SPDIF feature as I don’t have any legacy DAC that could benefit from such options.
I will be very upfront on this. I expected more of UA5. My experience with UA2 has been great. That UA2 offered very well balanced AND organic (warm, as most people would term it) sound. UA5, to my ears sounded like a typical ESS Sabre tuned device. Yes, it is super clean, crisp and resolving. But on timbral balance I feel that it lacks the natural sense of organic touch. For someone like me who prefer analogue sound, this is not exactly what I consider as pleasurable. But that’s me being subjectively selfish and stubborn to my own listening preferences – I came from the cassette, vinyl and analogue amps background after all. It is evident that UA5 is a properly tuned unit to emit something very neutral and uncolored. I really appreciate that element a lot, of being neutral and transparent. But the problem is, I have also heard similarly neutral and transparent DAC/Amps capable of presenting something more organic and even analogue-ish. What I can tell, it seems a trend nowadays for manufacturers to tune their devices for this “Hi-Fi” sound that many would appreciate. It has that modern and digital characteristics that would jive very well to equally modern music. I can totally understand that it is just not my sort of thing, subjectively.
To be fair, that digital and less than organic sound is only evident when paired with something natively neutral, something closer to being bright-ish. For example, with my primary IEM Etymotic ER4SR, UA5 sounded edgy, lean and a bit more aggressive than I prefer it to be. I observed that similar results to be had from the pairing of UA5 with TANCHJIM OLA, DUNU Titan-S, Beyerdynamic DT880 and TRN VX Pro – all of which will have tendency to sound equally metallic, dry and lean when subjected to typical ESS Sabre sound tuning. There was even mild hint of the infamous ESS Pinna Glare that some may find annoying (me included).
But enough about me bitching on with my personal listening preferences. To counter what I mentioned above, UA5 is amazingly great when hitting the right synergy with partners that are natively organic sounding. And I must admit I have been having great times with UA5 when paired with Shure KSE1500, TIN HiFi T3+, Kinera Idun Golden, VE ZEN 2.0 SLQ, Fostex T40RP MK3 and Tripowin Olina. There’s the sort of natural and balanced sound that I consider as realistic yet highly technical. Even good sense of musicality that is free from that sterile timbre as observed with bright sounding partners.
Dynamics wise, UA5 lived to the expectations. The range is admirably extensive to even synergize amazingly well with Shure KSE1500, the most resolving, beautiful IEM I have ever had the pleasure to listen to. Superbly articulated details even on the lowest or highest frequencies. Airy smooth Treble with realistic decays, deep and engaging seismic responses for Sub-Bass, tidy and discipled Mid-Bass, highly textured and natural sounding Mids – UA5 has it all to allow my KSE1500 to shine like a true champion that it is. To a certain extent, I can the same for Tripowin Olina and Kinera Idun Golden as well – both of which seems to be quite at home with UA5.
Technically, I am just glad that UA5 does not inherit the tall but narrow soundstage as observed with UA2 – or most ESS based Dongles for that matter. UA5 has good width and expanse with proper sense of spacing. Imaging and resolution being top notch. Spatial imaging being very holographic and precise. It was easy to track individual instruments or layers, for the separation lines are well defined without any hint of fuzziness. It is crispy clarity all over. Similarly, depending on the prowess of the paired partners, details retrieval being great too. Macro and Micro details resolved admirably. Very satisfying for any details junkie for sure. Last but not least, UA5 has the speed and agility to resolve even the most complex of passages, or something outright speedy. It will not sound sluggish or congested even with slower partners.
Shanling did not mentioned specifically the VRMS rating of this UA5, but I believe is is definitely something at the mark of 2 VRMS at least.
Pushing it to the max, I subjected my UA5 with the likes of Beyerdynamic DT880 600 Ohm DD and Fostex T40RP MK2 91db Magnetic Planar headphones. While UA5 does need the volume cranked up all the way almost to the roof, when proper loudness is achieved, the output is actually very usable coming from a portable device.
Here’s how it panned out:
DT880 = Vol 75/100 High Gain
T40RP Mk3 = Vol 68/100 High Gain
I would say, compared against my desktop stack of iFi ZEN DAC V2 + ZEN Can, UA5 emitted an output close to 75% of what those two monsters capable of. Anything above 65% is more than adequate in my book. UA5 would appear to lose some energy, dynamics density and headroom. Otherwise, it is as pleasurable as it can be (without being critical of comparing it to desktop setup). However, I would say that the optimal threshold of UA5 is at approx 320 Ohm. With VE ZEN 2.0 SLQ, I was pleasantly surprised to hear something very engaging and rich. It is not easy to make ZEN 2.0 sound great when the driving unit lacks power. But UA5 definitely fits the bill in this instance.
SE and BAL Differences: (Tested with Tripowin Olina)
Vol: 26/100 4.4mm BAL High Gain
Vol: 32/100 3.5 SE High Gain
The output appeared crisper and with more pronounced dynamic transients on BAL, softer edged from the SE port. Otherwise, they are identical in everything else. Definitely the 3.5mm SE should only be used with something less demanding or scalable.
Ultimately, Shanling UA5 is a very well-tuned ESS Sabre DAC/Amp and will appeal a lot to those already liking that sort of sound signature. There’s maturity and refinement all over especially when it comes to technicalities. However, from my own subjective listening perspective, I wish UA5 could have done better with timbral balance and tonality – a bit more of organic touch that I consider as realistic. This too much focus on HiFi sort of sound is pushing it close to being sterile, almost lifeless. Not sounding that great with my Etymotic ER4SR is something that I feel detriment to my sonic indulgence. But enough of that. UA5 when paired correctly with matching partners, will then reveal how great it can be. With the likes of Shure KSE1500, Kinera Idun Golden and Tripowin Olina especially, I will admit the output being satisfyingly amazing. UA5 will then live up to the expectations. There’s exquisite balance that I consider as properly musical as it is technically competent.
What I do know, UA5 will also appeal greatly for those liking the rich features offered. That volume adjustment alone is a wonder in itself. Being able to fine tune the loudness is something I consider a must have feature, especially if the listener is the type that prefer listening at slightly lower than normal loudness. All in all, Shanling UA5 is like a Swiss Army Knife – sharp and purposeful.
Best Pairing: Prefers natively organic sounding partners
]]>OLA came in somewhat unique shell design that I have never seen before. It has that old Star Trek tech vibe to it. While I am not particularly a fan of this design, I must admit the construction is well conceived. In fact, the whole package of OLA from the box to the IEMs and cable all themed exquisitely in silver/grey that inspire a sense of simplified elegance.
Offering single 10mm dynamic drivers each side, OLA is rated at 16 Ohm with 126db of sensitivity. Looking at the spec alone, one would assume this could be one very sensitive and easy to drive IEMs, yes? Well, read on and find out how true is this.
Being rather petite and lightweight, I find wearing OLA quite easy. It would stay attached to my ears for long periods of time without any risk of getting fatigue. However, I find that the isolation with the stock silicone tips is not that great in supressing external ambient noises. Changing it to aftermarket foam tips will help improve isolation.
Dynamics, Tone & Timbre
The overall tone and timbre signature of OLA is something I would regard as “almost” neutral. Taking Etymotic ER4 series as the benchmark for Diffused Field Neutral, OLA edge very close in matching the sound curve of the Etys – with an exception that the lower frequencies have mild tilt and elevation on Mid-Bass section. Otherwise, I would say that among many ChiFi IEMs that we see flooding the market nowadays, OLA assuredly fall into one of the most neutral sounding unit available. It is amply mature with dynamics vibrancy to not appear unnaturally euphonic. OLA also has pronounced Mids focus with super crisp presentation, where the entire theme of being neutral starts. Except for the mild elevation of lower frequencies, OLA is gracefully free of any coloration.
Dynamic range appeared well staged. OLA offers great extensions on both end of the spectrum. Perhaps being clinical I would say it does seem to fall short on Sub-Bass region.
My only critique on the overall sound characteristics of OLA, it can appear dry and lean especially when paired with natively bright sounding partners – lacking organic touch and smoothness (a little too much on crispness). But then when paired with an already neutral organic sources, OLA will then sound very well balanced and articulate – devoid of any edginess.
The strength of OLA, Mids being very neutral and uncolored. The staging of Mids properly placed to appear well defined with clean and crisp imaging. Tonally faithful to the intended nature of the recordings. I am hearing good amount of texture and details especially for acoustic, percussions and air instruments. There’s polished maturity in the way attack and decays with how the instruments being played.
On vocals, OLA exhibited similarly neutral presentation. I was actually mesmerized by how realistic Diana Krall and Sinne Eeg vocals are as heard with OLA. Properly chesty and deep, no attempt to add any element of warmth. On the other hand, with something a bit peakier like Alison Krauss, OLA faithfully presented her Soprano singing with piercing tone which may appear borderline sibilant. But then that’s the nature of Alison Krauss, she’s known to be one of the sharpest sounding female vocalist to ever exist. I personally find this to be quite acceptable because I get similar results from my Etymotic ER4SR and ER2XR. For male vocals, OLA sounds the best with Baritone type – being very chesty, deep and commanding, Nick Cave and Morrissey sounded realistically lively and engaging. Again, without any hint of added warmth. A matter of saying, for those preferring the Mids being totally neutral, OLA will not disappoint.
Another strength of OLA. Crisp and clean Treble being the highlight of the upper frequency characteristics. OLA exhibited admirable prowess with Treble micro details. Well controlled to not appear overly bright. Crisp and well-defined edges that manage to avoid peaky spikes. There’s ample sparkle and shimmer to keep things vibrant, nothing overly done. What I do wish OLA could have done better, a bit more of air and smoothness. The focus on crispness seemed to take away some velvety element that I normally prefer for Treble presentation. But it must be noted, that how competent Treble is, largely depends on how good the recording/mastering are with the sources. OLA will reflect on these transparently.
Now, what I do know, OLA is not an IEM for Bassheads. Being relatively neutral it also means OLA will appear subdued to those preferring their Bass big. What OLA does offer is richly textured Bass performances especially with Mid-Bass. Generally, the theme is, Mid-Bass being solid and fast, very tidy. Admirable details and texture while at it. There was never a moment the Mid-Bass will attempt to overshadow lower Mids. But I will say that it is still not neutral enough to call it flat. Perhaps the caveat of OLA, Sub-Bass appeared meek and reserved. Very rarely I would be able to feel the presence of Sub-Bass seismic responses. Otherwise, I have nothing else to complain about OLA overall Bass performances.
Undoubtedly, OLA scores big on technicalities. For a start, the soundstage is wider than most IEMs that I have tried so far – offering good sense of space and depth – maybe the height not as tall. Precise and very holographic spatial imaging evident no matter what song I threw at it.
Macro and Micro details handling of OLA also being very commendable. Especially when paired with natively technical sources, OLA exhibited very deft articulation of details retrieval.
Speed and resolution being great as well. No matter how complex and fast the tracks are, OLA handled them all gracefully without any hint of congestion or compression. Each layers remained separated, no mucking up of multiple complex composition of instruments. Making it easy to track individual instruments.
I noted earlier that OLA is a 16 Ohm IEM with 126db of sensitivity. Surprisingly, OLA does not appear to be that sensitive on actual usage. On my LG V50 ThinQ Quad DAC (low gain mode), OLA needed the volume to be cranked at 56/75 to attain proper listening loudness. It must be noted that I am a low volume listener and most of my IEMs needed only 40-50/75 on my LG V50. Despite that, I have observed that OLA does need the volume to be adjusted just about right. Subjecting OLA to higher loudness will result in the output being peaky and shouty. So, it does seem that OLA can be very finicky with loudness adjustment – perhaps due to being 16 Ohm.
Now, this is crucial. The sound impressions that I stated above, reflects what I am heard when OLA was paired with Ovidius B1, Audirect BEAM 3 Plus, iFi ZEN Stack and Avani. OLA seems to shine the best with natively organic neutral DAC/Amps – or should I say “warmer” sources. Pairing OLA with bright sounding partners will result in output that can be lean, dry and metallic. For example, with ESS Sabre based LG V50 ThinQ (ES9218P), Shanling UA5 (ES9038Q2M) and Earmen Sparrow (ES9281PRO) – the output sounded digital and lacking organic timbre balance. Yes, they will be super clean and pristine, but they are also borderline sterile. Matching OLA with warmer sources is the key to getting the best of it. So, it does seem that OLA being choosy as to the nature of the pairing partners.
With so many ChiFi IEMs out there withing this price bracket being tuned towards Harman-ish, and V curved sound, TANCHJIM OLA offers something refreshing. Something that is very close to being Diffused Field Neutral. What I like about OLA, is how transparent and technically competent it is at sound presentation. I will not hesitate to say that the sort of technical performances normally expected of IEMs double the asking price.
The weakness of OLA, it is a bit finicky with pairing selection. Perhaps because OLA has that source transparency traits that will reveal the true nature of the sources. Pairing it with bright sounding DAC/Amp is not something I would do for OLA. It needed something more neutrally and naturally organic partners to sound the best. Or in what most people would say it, warm sounding sources.
Comparatively, I would say that OLA definitely scored better on technicalities than most other competition in this price segment. Undoubtedly more technically competent than the likes of HZSOUND Heart Mirror, TIN HiFi T3 Plus, Moondrop Aria etc.
Ultimately the appeal of OLA, being very close to being neutral and uncolored. But it does have some minor cons that otherwise negligible – just a matter of pairing it right.
]]>Review Date: 27 February 2022
DAC Chip: ESS Sabre ES9219 DAC Dual
Full MQA decoding
3.5mm Single Ended Headphone Out
RGB Indicator light
Supports Multiple Devices: Windows/MAC, iOS/Android
Output Level: 2VRMS
SNR: -123dB
THD+N:-105dB
Output Power: 145mW@16Ω, 95mW@32Ω
PCM: 32-Bit/384kHz
DSD: Up to DSD256 natively
Headphones:
IEMs:
Sources:
LISTENING EQUIPMENT USED IMPARTED HUGE INFLUENCE TO SOUND IMPRESSIONS & RATING
The continuation of TempoTec Sonata line-ups. Sonata HD V appeared modest and simple. Competitively priced and now with MQA support.
The build and construction of Sonata HD V is simple and practical. Aluminum chassis sandwiched between two glass faceplates. Being glossy glass, Sonata HD V will attract fingerprint smudges that would otherwise tarnish the elegant look from time to time.
The unit that I ordered is specific to USB C only variant. But TempoTec provisioned for consumers with options between USB or iOS Lightning, similar to Sonata HD Pro. The USB cable constructed in twist braid design and complement the look of Sonata HD V perfectly. I do observe though, that the braid can unwind itself if the Dongle unit is subjected to active usage where the body may turn clockwise.
At the front, there’s a big LED RGB indicator to show the current resolution level being played. Typically Green and Red for different PCM levels, purple for MQA.
On the subject of MQA. I must state that my Sonata HD V does not seem to work properly with Tidal own native app on Android. It gets recognized properly on my LG V50 ThinQ, however the volume was stuck at MAX, any attempt to adjust the volume simply futile and unresponsive. It will only work properly when accessing Tidal via UAPP. I switched to Sony Xperia X Compact and it gets even more baffling, Tidal app does not even recognize Sonata HD V and thus playback was only possible via native Android SRC (no exclusive mode), which means MQA does not load properly and played at fixed resolution as sampled by Android.
Endurance wise, Sonata HD V scored 5 hours of continuous play on Sony Xperia X Compact (Android 8, 2700 mAH battery, UAPP USB Exclusive Mode, driving TRN VX Pro). That’s on par to the battery drain of Colorfly CDA M1 and FiiO KA3. In comparison, iBasso DC05 and Cayin RU6 scored 6 hours. Admirably, Sonata HD V remained cool enough to the touch after prolonged use with minor hint of heat.
Simply put, Sonata HD V is Sonata HD Pro with MQA support. Yes, they are practically identical sonic wise. Neutral bright and highly resolving, the timbre lacks some organic touch to it, but it remained polished and crisp enough to not sound outright digital.
Dynamics range exhibited great extensions end to end. Sparkly and crisp Treble exhibiting proper details and texture, Deep Sub-Bass with crisp decays, Fast and Impactful Mid-Bass that remained neutral and uncolored. Mids equally neutral and devoid of any coloration. The overall theme of dynamics handling being well balanced and truthfully neutral.
There’s maturity in the way dynamic transients is handled. Greatly controlled attack and vibrancy to keep it from sounding outright euphonic. I am relieved that Sonata HD V does not exhibit any of the dreaded ESS Sabre Pinna Glare, at least not pronounced enough to cause for concerns. However, with neutral/bright partners like Etymotic ER4SR, TRN VX Pro and Beyerdynamic DT880 600 Ohm, there’s some hint of aggressive upper Mids brightness. Luckily it wasn’t offensive enough to spoil the output that could ended up being sibilant.
Sonata HD V has ample note weight and density to dynamics body. It does not sound lean or dry even when paired with flat neutral partners. I would have preferred a more organic touch to it, but that can be easily solved by pairing Sonata HD V with strongly organic sounding partners like TIN HiFi T3+, Kinera Idun Golden, Shure KSE1500 or Fostex T40RP MK3.
The highlight of Sonata HD V, it is one hell of competent Dongle with technicalities. Soundstage appeared admirably wide with proper depth and headroom. Spatial imaging and positioning crisp and very holographic. Macro and Micro details practically on par with the top dogs of #donglemadness. Sonata HD V has the speed to resolve even the most complex of passages as it is agile with outright speedy tracks. Layers separation crisp and well laid out making it easy to discern individual instruments.
Rated at 2 Vrms, Sonata HD V exhibited admirable driving power to drive Beyerdynamic DT880 600 Ohm and Fostex T40RP MK3. With DT880, I was able to get proper listening loudness at 26/32 volume on HiBy Music App USB Exclusive mode. For T40RP MK3, volume at 21/32. By my estimation, the performance of Sonata HD V is at approx 60-65% fidelity as compared to iFi ZEN Stack of ZEN DAC V2 + ZEN Can driving those two juggernauts, losing on headroom, soundstage and dynamics density. Otherwise, it is still commendable as I have observed worse performances from other Dongles within the same power bracket.
On the other hand, Sonata HD V proved to be very clean serving as AUX feed for my Electrostatic Shure KSE1500. And this is where Sonata C performs the best. The output being amazingly well balanced, organic and natural.
TempoTec Sonata HD V is a very well-tuned Dongle. It continues the legacy of Sonata HD Pro with similar sound signature – neutral bright. This also means Sonata HD V prefers warmer sounding partners. Pairing it with natively bright partners may result in something which appeared overly crisp and edgy. Pair it with an already organic sounding IEMs/Headphones and there’s good balance that I consider great.
However, all is not dandy with this Sonata HD V. The MQA playback with Tidal own App exhibited major flaw of not being able to adjust the volume. I hope TempoTec can fix this with FW upgrades. Other than that, TempoTec Sonata HD V is a solid Dongle all things considered, especially how amazing it is with technicalities.
Best Pairing: Prefers warmer pairing partners
]]>Review Date: 20 March 2022
DAC Chip: ESS Sabre ES9281C
DSD: Up to DSD128 (DoP)
Indicator light: RGB LED status indicator
USB port: Type-C
Microphone: Support (Available)
Size: 23x23x10.5mm
Output: 3.5mm Single Ended
Input: Fixed USB TYPE-C Cable
Body Material: Aluminum
Recommended Headphone Maximum Impedance: 32-50 Ohm
IEMs:
Sources:
LISTENING EQUIPMENT USED IMPARTED HUGE INFLUENCE TO SOUND IMPRESSIONS & RATING
Out of the blue, Whizzer came out with seemingly special looking dongle that is simple and robust. The perfect square look making it very unique among all other dongles I have owned so far. What is apparent, Cube DA1 was designed to be super compact and intended for portability.
DA1 Cube comes in black powder coated aluminum chassis. Perfectly square, it is very well designed with beveled edges.
On the body itself, placed at the front, a single very visible led that will exhibit the resolution of currently played music. The color will change with the resolution. On the right side, there’s three color coded marker to remind the user what those colored led means.
DA1 Cube has a permanently attached USB C cable that is twist braided and seems to be robust enough for daily usage. However, just like many twist braided cables, it is also possible to accidentally unwind the cable the opposite direction and it can look somewhat messy. I would have preferred a solid sleeved cable over this.
As for the Audio port, DA1 cube offers singular 3.5mm Single Ended stereo jack and have opted to not include any BAL ports like what is commonly seen nowadays.
What I find most impressive with DA1 Cube, power drain appeared to be amazingly efficient. 8 hours of continuous play on my Sony Xperia X Compact (Android 8, 2700 mAH battery, UAPP Bitperfect, Airplane Mode, driving TRN VX Pro). That is over 2 hours longer than most competitors except for Ovidius B1 (10 hours) and Abigail (11 hours). Most other dongles have an endurance of 5-6 hours. Last but not least, DA1 Cube managed to stay sensibly cool with prolonged usage, just minor hint of warmth to the body when touched.
Just like most other ESS Sabre based DAC/Amps, DA1 Cube exhibited a familiar sound signature offering clean and crisp output. Timbral balance is still something I would regard as digital-ish neutral. It has good coherence with dynamic transients to keep things tidy, with proper level of vibrancy to not appear unnaturally aggressive as how it would be observed of ESS based tuning of yesteryears. So, despite not being as organic or analogue sounding as how I normally prefer, I would say DA1 Cube has mature approach to sound output. I have not observed any pronounced edginess normally associated with the notorious ESS Sabre Pinna Glare – unless when paired with an already bright sounding partners. Something like bright-ish neutral Etymotic ER4SR or V-bright TRN VX Pro, then there’s a hint of that edgy glare within upper Mids to Treble region. With natively organic or what most people will call “warmer” partners, then it sounded smoother, less tendency to be edgy. Something like TIN HiFi T3+, Moondrop Quarks and Kinera Idun Golden, they just synergize better with Cube DA1.
Dynamics wise, DA1 Cube appeared as competent as can be expected. The expanse of dynamics range and extensions evident with crisp and clean presentation. The more competent the partners then the more audible these extensions are, on both ends.
Admirably, DA1 Cube neutrality does not impart any sort of coloration that I can hear of. Treble, Mids and Bass sounded right as how it is reflected by the nature of the connected partners. The measure of neutrality of course, when paired with Etymotic ER4SR where it is revealed that I am not hearing any unnatural elevation throughout the range. DA1 Cube has good texture and definition to the sound, there’s ample mass to note weight to make it wholesome enough for up to 50 Ohm of load. Most importantly, DA1 Cube does not exhibit any coarse, grainy or dry anomalies to the overall sound spectrum.
Technically, I would say the performances are as per expected of ES9281C. Nothing extraordinary than the rest of ES928X series that I have in my collection. Soundstage is tall but the width is average. Spatial imaging is sharp as it is holographic. Speed and resolution being great, with macro and micro details handling up to my expectations.
It is evident that DA1 Cube was designed and built optimized for driving IEMs, with impedance rating not exceeding 50 Ohm. As such I have only tested my DA1 Cube with Etymotic ER4SR (45 Ohm), and what I am hearing convinced me that DA1 Cube will not be as great with my very demanding full-sized headphones. I suspect the power rating is lower than 2 Vrms. However, I did briefly test DA1 Cube with my Beyerdynamic DT880 600 Ohm and Fostex T40RP MK3 magnetic planar, yes, it is usable, but the output is approximately 60% of the true potential of those headphones as compared to more powerful dongles.
So, keeping it to efficient partners is the best way to enjoy DA1 Cube. The silver lining of this, DA1 Cube will appear super clean when paired with highly sensitive IEMs, absolutely free of any hint of floor noises.
Whizzer DA1 Cube. The biggest appeal of this unit, it is super-efficient for portable use. With 8 hours of endurance scored, it is hard to ignore when competitors mostly scored 5-6 hours. Sound wise, I will commend DA1 Cube for being well balanced and neutral for an ESS tuned DAC/Amp. It does sound better than most of the unnaturally bright ESS Sabre dongles of 2020. I wish it could be a bit more less of digital sounding. This is not uncommon with Sabre DACs, only a select few has that organic and near analogue sound which I regard as realistic. But then it could be just me since I came from an era of cassettes and vinyl. Ultimately, DA1 cube will appeal greatly for efficient IEMs that are natively organic and “warm” sounding. May not be as great paired with something already bright.
Best Pairing: Natively warm sounding partners, natively efficient IEMs
]]>
It is elegant as it is rugged looking, with lacquered carbon fiber outer shell faces. Simple decals on both sides. It is minimal, smooth and ergonomically comfortable to the touch. Housed inside, a hybrid setup of two custom Balanced Armatures and Liquid Silicone dynamic driver each side, rated at 32 Ohm, 106db of sensitivity. Meant to be highly efficient and easy to drive. The assembly complemented by a 2-pin 0.78mm setup. Accompanying the IEM itself, equally simple yet elegant 5N OCC Silver-Plated Copper Cable, finished in basic twist braid and terminated in Single Ended 3.5mm stereo jack. I have found the cable to be quite durable, my only complain perhaps the chin slider is a bit loose and will require constant adjustment. Chin slider is important, it provide a solid deterrent to microphonics due to cable movement.
As for the rest, Yume Midnight came with Waifu themed box, complete with two sets of silicone tips and a box. And some trivial goodies that seems to be a normal standard nowadays. I am a bit disappointed that Yume Midnight does not come with foam tips, I recall my SeeAudio Bravery had them included. My ears just will not work with silicone tips and for a manufacturer to ignore the needs of foam tips user, I think they can do better. Especially at this price point. But no biggie for me. I have a few stashes of foam tips in stock which was easily adapted to my Yume Midnight.
Dynamics, Tone & Timbre
SeeAudio Yume Midnight Crinacle appeared to my senses as a very mild Harman curve tuning meets neutral/natural sound curve. Not a surprise at all since Crinacle has been well known to favor this sort of sound signature. I said very mild Harman-ish because what I am hearing is something that edges closer to neutral territory. Less V, Less U curves. A bit more pronounced Mids and great deep lower frequencies elevation and extension. With matching high frequencies to complete the fusion of Harman-ish sound to neutral/natural experience. It is done so well; it amazes me for the great balance that would even impress a Diffused Field Neutral junkie that I am. So, I can imagine a V tune junkie would probably be similarly impressed with this sort of tuning.
Dynamic range is expansive as it is with proper density and note weight. Yume Midnight exhibited timbral balance that I would regard as organic and close to analogue bias. Most importantly, it never felt dry or overly colored. It depends on the sources as well. With natively bright tuned ESS Sabre DAC/Amps, I have observed that Yume Midnight will pick up some euphonic and pronounced attack within the upper Mids segment. With, more natural and neutral sources (normally AKM/Burrbrown DACs), the edginess is less pronounced. But all these, they are not something I would regard as Cons. It simply demonstrated how versatile Yume Midnight is.
There’s great coherence in dynamic transients. It is very clean as it is smooth. Great balance between smoothness and crispness. Too many I have observed, in the pursue of crispness, smoothness being sacrificed – but not Yume Midnight.
One of the first things that really clicked to my taste, from the first listen is how well presented Mids are on Yume Midnight. It has ample forwardness to the staging thus avoiding the recessed sensation as would normally observed with Harman based IEMs. No, it does not slap Mids right in the face, but the placement and intimacy level feel just about right. Tonal wise, Mids appeared neutral with good hint of organic touch to it. Never edgy nor dull. Even with “warm” sources, Mids will remain faithfully uncolored. There’s great texture and definition to make instruments sounding lively yet well controlled. Percussions, strings and even electronics sounded believable, conveying musical sensations with proper vibe.
Vocals wise, again Yume Midnight exhibited great neutral presentation. It does not matter male of female. The output exhibited the sort of sound faithful to the intended nuances of the recordings. Even with the normally super peaky Soprano of Alison Krauss, the edgy shrill crescendos of her vocals sounded realistic – no hint of being nasal. Similarly, with Sinne Eeg and Diana Krall, chesty and commanding – richly textured yet natural.
Ultimately, I am very impressed with Yume Midnight Mids. It has great balance and maturity to it. Proper smoothness and crispness highly evident here.
The general theme of Yume Midnight Treble, lots of focus on smoothness and subtle sparkle. It is not exactly bright or edgy, but Yume Midnight have tantalizing shimmer that teases the listener with near euphonic attack and decays. Which in turn making it difficult for Yume Midnight to be Treble sibilant – unless, subjected to usage on poorly mastered sources. Yume Midnight has good amount of transparency that it will reveal granular edges of these less than stellar recordings. There’s good amount of Treble details and texture to the overall upper frequencies’ presentation. Yet it appeared not as pronounced as some other IEMs that are tuned a bit more aggressively. Again, I will say Yume Midnight exhibited balance to keep it in harmony with the rest of the frequencies.
Perhaps the highlight of Yume Midnight, sumptuous and articulate Bass presentation – especially Sub-Bass. What I am hearing is a superbly orchestrated balance between Sub-Bass and Mid-Bass that complement each other in fluid harmony. I was mesmerized by the deep, engaging and smooth Bass transitions especially for stringed Bass performances. Most of the times, I have found that many IEMs exhibited tendency to be more dominant on Mid-Bass and slightly reserved on Sub-Bass. But Yume Midnight has that amazing resolution and texture to extend deep thus allowing Sub-Bass to appear and disperse with smooth attack and decays. Mid-Bass on the other hand, remained highly disciplined to not overwhelm lower Mids (which was why the Mids remained neutral). There’s speed, resolution, details and textures that I regard as very satisfying.
I must say that soundstage for Yume Midnight is average in width and expanse. It does have proper depth and height, with great spatial holographic imaging. I must admit, I wish there could be a bit more of space between layers, and thus would impart better sense of spaciousness. But perhaps this is also dependent on the nature of the driving sources.
Otherwise, separation lines are crispy clean and smooth. Easy to track individual passages of sound. Details well pronounced – Macro and Micro. The resolving prowess of Yume Midnight being equally great, as noted earlier how transparent it can be, revealing even the flaws of poorly recorded/mastered sources. The hallmark of a great IEM, Yume Midnight is as technically competent as it is musically adept.
Lastly, Yume Midnight also exhibited great speed and resolving power. No matter how complex of busy the tracks I thrown at it, Yume Midnight has shown deft and agile responses to avoid sounding compressed or congested. I guess the cohesion between the three drivers playing their part here in unified synergy to each other.
Being super-efficient. Yume Midnight already performed amazing with 1 Vrms Dongles of Avani and Abigail. The overall presentation being rich, musical and technically satisfying. Subjecting Yume Midnight to higher powered devices does help to improve on headroom and staging. What’s more important, Yume Midnight does not buckle when subjected to these high-powered sources. For example, SeeAudio Bravery (another IEM that I love so much), will exhibit tendency to sound slightly edgy and perhaps even shouty when subjected to higher loudness. Yume Midnight fared better. And yes, Yume Midnight also sounds amazing with the phone out direct of LG V50 ThinQ.
By now it is evident that I am impressed with Yume Midnight for the overall performances delivered. It has great tonal balance to keep things proper. While not being a true neutral device, Yume Midnight was designed to please the senses with fun yet subtle mature performances. Teasing the listener with coy musical smoothness and technical crispness – not an easy thing to achieve. I can totally relate how Yume Midnight will appeal to both fans of neutral sound as it is with Harman faithfuls. Two things that I would regard as the X factor for Yume Midnight, #1 Yume Midnight has hit the sweet spot of balancing vibrant dynamics without sounding outright euphonic. #2 Yume Midnight has some of the best Bass performances I heard within this price segment. Those two alone sealed the deal for me, SeeAudio Yume Midnight is one hell of refined performer.
]]>Review Date: 13 February 2022
SPECIFICATIONS
DAC Chip: Cirrus Logic CS43131 (Dual}
Input port: Type-C USB
Output port: 3.5mm+4.4mm
Output Power: 4 Vrms (3.5mm: 125mW@32ohm, 4.4mm: 270mW@32ohm)
Sample Rate Support: PCM: 16-32Bit /44.1-384kHz
DSD: DSD64-256
Frequency response: 20Hz~20kHz(±0.5dB)
THD+N: 0.001%1kHz (3.5 Headphone AMP), 0.0007%1kHz (4.4 Headphone AMP)
SNR: 123dB(3.5 Headphone AMP), 123dB(4.4 Headphone AMP)
Crosstalk: 3.5 Output: ≥77dB, 4.4 Output: ≥120dB
Weight: 28g
Size: 63mm23.5mm13mm
Headphones:
IEMs:
Earbuds:
Sources:
Comparative Reference DAC/Amp:
xDuoo Link2 BAL, a fresh re-entry by xDuoo into the ever-growing Dongle DAC/Amp scene. About the only thing that this Link2 BAL shares with the predecessor, just the name. Internally and externally, it is practically a different beast with different DAC chips altogether. Nonetheless, this is one of the many that I have been waiting for. Dual Cirrus Logic with xDuoo tuning – and I like their tuning philosophies, which focuses on the balance between musicality and technicalities.
xDuoo Link2 BAL, built like a tank. Aluminum chassis sandwiched with glass faceplates. Holding it in my hands, I truly admire the industrial look and feel. The heft inspires confidence, the ruggedness indicates this thing is built to last. It is a gadget worth owning even just by the looks. However, if I must nitpick, then I would have preferred the stock USB-C cable to be a bit more thicker than it is, the heft of Link2 BAL just seemed out of proportion to the thinly twisted cable. No biggie for me as I opted to use my own USB-C cable which are much thicker and robust. On the other hand, I must applaud xDuoo for providing iOS Lightning cable too, a rarity nowadays. Which means Link2 BAL is natively capable working with iPhones. That’s a huge bonus.
The most prominent feature of Link2 BAL, on one side there’s two tactile volume adjusters placed conveniently with a huge red colored play and pause button. With regular usage daily, I have developed a fondness for these three buttons especially when used with UAPP. However, the volume adjustments are not independent, which means they operate directly to alter digital volume levels on the source – this can be a hassle when used with HiBy Music Player USB Exclusive Mode since HiBy does not provision for volume adjustments while off screen. Otherwise, when used with UAPP it worked perfectly and the increment of volume steps can be refined based on UAPP settings.
On the other side, there’s two toggle switches which will allow for switching between UAC Modes. UAC 1 or UAC 2 – I find this very useful especially for wide range of compatibility element. It is quite apparent that xDuoo considered Link2 BAL ability to adapt to any host as paramount. It means Link2 can also be used on many gaming consoles which may only operate in UAC 1. I personally prefer UAC 1 for the simplicity and primarily use my own Link2 BAL on that mode as it works better with HiBy Music Player.
The other toggle switch, it is for switching between Normal or Turbo modes. Normal being normal gain and Turbo being High Gain. It is quite simple really; I will always use the Normal mode when driving highly sensitive IEMs and the Turbo modes for anything above 45 Ohm. Loudness levels difference being audible between modes.
Last but not least, there’s two ports for Audio output which is fast becoming the normal standard for compact DAC/Amps nowadays. 3.5mm Single Ended and 4.4mm BAL. The circuitry on the BAL side I believe very much similar to the implementation of TempoTec Sonata E44, another CS43131 which I liked a lot. Even better, when tested with my own Multimeter, Link2 BAL employ the use of 5th pole Common Ground similar to E44 as well. It suggests that Link2 BAL is running some sort of discrete circuit, each channel Left and Right having their own grounds, the common GND being reserved to the 5th pole of Pentaconn 4.4mm socket for hybrid usage.
Endurance wise, Link2 BAL scored a respectable 6 hours of continuous play on Sony Xperia X Compact (Android 8, 2700 mAH Battery, UAPP, driving TRN VX Pro on 4.4mm BAL, Low Gain). That is practically on par to Cayin RU6 and Lotoo PAW S2.
And here’s the most interesting bit. Link2 BAL has superb heat dissipation and management! Despite used for long hours, I can barely feel any heat emitted. It remained cool to the touch. This is something I find very rare among tons of Dongles I have tried so far. In comparison, CEntrance DACport HD and Apogee Groove operates hot enough to fry some eggs, hahahaha.
From the first listen, with my Etymotic ER4SR, I was immediately greeted with a sound that I regard as rich, wholesome, neutral, natural, and organically realistic. Link2 BAL markedly has that near analogue timbre and tonality that I adore so very much. It is quite evident to my ears, how polished and mature dynamics presentation are – dynamic transients being fluid and effortless, a sign of proper power to drive the paired partners. On the subject of tonality, I must admit that Link2 BAL tuning is more preferable (subjective to my personal taste) to the more euphonic TempoTec Sonata E44. Both being dual CS43131. I would describe it this way, E44 has a bit more of aggression and vibrancy, less organic, more modern sound sort of tuning, Link2 BAL on the other hand, slightly more refined, smoother on attack and transients, appearing less aggressive – but it also means Link2 BAL ended up being smoother in comparison to the crisper/energetic E44.
To complement the great tonal and timbre balance, Link2 BAL exhibited Desktop grade dynamic range presentation. No, I am not making this up out of thin air. Extensively comparing the output from my iFi ZEN Stack and Link2 BAL, I would say Link2 BAL performs 98% to that desktop stack. No joke. The depth of extensions on both end of the spectrum is practically similar. Bass being deep, Highs being realistically extended, and Mids being rich in density. Perhaps, I would admit that ultimately the ZEN Stack has an upper hand on Mids overall texture, depth, and intimacy, not a surprise considering that the ZEN Stack operates up to 15.1 Vrms as opposed to Link2 BAL 4 Vrms. But for a small dongle to even traverse the territory of Desktop DAC/Amp is simply mind blowing – this sort of thing is not even achievable before this (with an exception to CEntrance DACport HD and Apogee Groove that performs on similar level, even earlier).
Going back to Link2 BAL dynamics handling. I will say that this is one hell of capable DAC/Amp. The balance of sound is nothing short of amazing. Treble, Bass and Mids all well-articulated to not overshadow each other. This is one Dongle that is faithfully neutral with no hint of coloration on any frequencies. At least this is what I conclude from the pairing with the highly resolving and flat diffused field Etymotic ER4SR, or the naturally neutral Shure KSE1500 – both being my reference IEMs for determining the characteristics of the sources.
Treble is crisp, polished and smooth, exhibiting proper decays. Good amount of sparkle and shimmer, never overcooked to make it unnaturally bright, yet there’s substantial amount of Treble details to satisfy even the most discerning Treble junkies.
Bass being well balanced with great speed, never sluggish or unnaturally boosted. It all depends on the nature of the paired partners. With my Fostex T40RP MK3 and Shure KSE1500, I am hearing very satisfying Bass responses. Mid-Bass super solid and commanding, Sub-Bass audibly present with strong sensations and smooth decays. Lots of texture while at it.
Mids appeared very neutral but rich. There’s great density and texture to the presentation. This is a consistent trait I am hearing on most of my listening gears. However, if I must nitpick, then I would say that I observed Link2 BAL does not seem to work that great with open backed earbuds. Both of my VE ZEN 2.0 SLQ and Asura 3.0FE sounded slightly off key, with Mids appearing somewhat hollow despite a rounded exterior. But this is an isolated case as Link2 BAL works perfectly with the rest of my gears. The general theme of Link2 BAL Mids being neutral and natural, and I love it just the way it is.
Technically, without a doubt Link2 BAL is now the new king of Soundstage alongside DACport HD. This was something that has been held by THX Onyx for quite a while. The expanse, width, depth, and spaciousness of Link2 BAL soundscape is quite evident even when paired with the natively narrow sounding ER4SR. Even more obvious with TIN HiFi T3+, TRN VX Pro and Kinera Idun Golden. Link2 BAL also exhibited great prowess in spatial imaging and resolution, it is right there alongside the top dogs of #donglemadness. The staging of instruments, notes and passages are super clean and crisp – yet smooth enough to instil good sense of maturity. Details are resolved properly depending on how resolving the pairing partners are – and it should be that way, transparent as it is realistic. Despite all that, I am pleased to find out that Link2 BAL is a bit more forgiving on poor sources or Lo-Fi, unlike Ovidius B1 which can be quite finicky on those stuffs. Last but not least, Link2 BAL is assuredly excellent with speed, hugely evident when subjected to playback of complex or outright fast paced tracks – there’s no chance for things to get muddy or compressed sounding.
xDuoo Link2 BAL Vs iFi ZEN Stack Vs DACport HD
Tested on Windows 10, USB 3.0, Foobar 2000, Song: Diana Krall “The Look of Love” FLAC Lossless.
iFi ZEN Stack 4.4mm BAL (Gain 3/4)
Vol/Loudness: 10/100 (Etymotic ER4SR)
Vol/Loudness: 30/100 (Fostex T40RP MK3)
Vol/Loudness: 40/100 (Beyerdynamic DT880 600 Ohm)
Soundstage: Surprisingly not as wide as DACport HD or Link2 BAL
Headroom: Very spacious despite with less than wide Soundstage
Sound Observation:
Very forward and intimate Mids, rich dynamics density with very crisp note weight. Solid attack and decays. Close to analogue sound, very organic
CEntrance DACport HD 3.5mm SE (High Gain)
Vol/Loudness: 18/100 (Etymotic ER4SR)
Vol/Loudness: 40/100 (Fostex T40RP MK3)
Vol/Loudness: 58/100 (Beyerdynamic DT880 600 Ohm)
Soundstage: Wider than ZEN Stack by a step
Headroom: Equally spacious to ZEN Stack
Sound Observation:
Neutral placement for Mids, slightly less aggression and attack Vs ZEN Stack, smoother but crisp. More air compared to either ZEN Stack or Link2 BAL. The most analogue and organic sounding unit between the three of them.
xDuoo Link2 BAL 4.4mm BAL (High Gain)
Vol/Loudness: 12/100 (Etymotic ER4SR)
Vol/Loudness: 32/100 (Fostex T40RP MK3)
Vol/Loudness: 50/100 (Beyerdynamic DT880 600 Ohm)
Soundstage: Equally wide to DACport HD
Headroom: Equally spacious to DACport HD & ZEN Stack
Sound Observation:
Neutral placement for Mids, solid dynamics density almost comparable to ZEN Stack, crisper but slightly less smoothness Vs DACport HD. Close to analogue sound, equally organic to DACport HD & ZEN Stack
The fact is, aside from volume loudness, I find all three being very similar sounding sonic wise. The difference described only evident with critical A/B listening, and they are miniscule really. If I am to do a blind test, I would probably fail to identify which one is which, especially between ZEN Stack and Link2 BAL. However, no mistaking that airy characteristics of DACport HD which makes it unique (the same sort of airiness found only on Ovidius B1). Another big surprise, both DACport HD and Link2 BAL actually performed marginally better than ZEN Stack on resolving Micro Details.
Link2 BAL 3.5mm SE vs 4.4mm BAL (Both High Gain)
(HiBy Music Player USB Exclusive Mode)
SE Vol/Loudness: 16/32
BAL Vol/Loudness: 13/32
Sound Observation:
Tested with Etymotic ER4SR, while the sonic characteristics remained similar, I can hear the BAL port being more spacious and wider sounding. Dynamics density and note weight appeared stronger too. So, it is quite apparent that the 3.5mm SE is optimized for highly sensitive stuffs, something at around 32 Ohm and below, with over 100db of sensitivity.
xDuoo Link2 BAL. To sum it up. I am impressed with this one hell of a Dongle. Minor cons aside, I found myself using it regularly. Articulate balance between musical and technical element being one of Link2 BAL greatest strengths. Not forgetting how powerful the 4 Vrms output is. Practically among the best with overall loudness and drive. While at it, Link2 BAL being consistent at synergizing with many partners, be it super sensitive stuffs or outright stubborn juggernauts, imparting great sonic indulgence that will not fail to make me smile. There’s a lot of things to like about this Link2 BAL, most important to me, how well executed the tuning, offering great near analogue sound that is neutrally, naturally realistic, and believable. I must commend xDuoo for putting the right focus on this tuning approach, they opted not to get carried away with overcooking anything – there’s moderation and articulation in the implementation of Link2 BAL – and for that reason, it is one of my firm favourites now.
Best Pairing: Flexible up to 600 Ohm
]]>Review Date: 20 February 2022
DAC Chip: ESS Sabre ES9281AC
Dual Independent OPAMP
MQA Unfolding
Balanced 4.4mm Pentaconn Headphone Output Port
Hi-Res PCM Decoding (Up to 32-Bit/768kHz)
DSD Decoding (Native DSD512)
Gaming Mode
Three-level Main Modes
Lightweight design with Anti-Glare glass panel
Output Power: 0.612 Vrms(Low gain), 2.48 Vrms(Medium gain), 4.1 Vrms(High gain)
Max Power: 88mW(16Ω), 190mW(32Ω), 27mW(600Ω)
SNR: -118dB
THD+N: 0.0003%
Weight: 25grams
Dimensions: 53 x 15 x 11 mm
Headphones:
IEMs:
Sources:
LISTENING EQUIPMENT USED IMPARTED HUGE INFLUENCE TO SOUND IMPRESSIONS & RATING
Audirect BEAM 3S is the latest offering from hiliDAC using the very same ESS Sabre ES9281AC which were used on BEAM 2 series from yesteryears. I believe the fact that ES9281AC is something that they are already very familiar with, Audirect was banking on their experience with this particular DAC chip to continue to BEAM 3S roadmap. On top of that, ES9281AC is natively capable of MQA unfolding which is fast becoming a normal standard these days.
BEAM 3S is a simple device. The build is very solid with aluminum chassis sandwiched between two matte glass faceplates, a great move to eliminate the dreaded fingerprints residue that can tarnish the look of anything shiny. The overall construction obviously aimed to instil sense of durability that can withstand daily usage.
BEAM 3S comes in three Gain mode – Low, Medium and High. A rarity these days to have all three provided in Dongle form factor, there’s a small but highly accessible button on the left side to toggle the gain mode during playback. I can attest that the gain levels are quite effective to match the load of paired partners.
There’s also a simple led indicator to exhibit the source feed resolution. MQA will be shown in the standard Purple. Green and Red for different PCM bandwidth.
BEAM 3S comes very spartan with single USB C connector wrapped in fabric sleeve. It is quite robust as it is practical.
BEAM 3S only has sole 4.4mm Pentaconn headphone port. Exactly similar to Audirect BEAM 2S. Which means it will only work in BAL mode specifically for 4.4mm jacks. I have checked with my Multimeter, the channel for Grounds is indeed discrete on this BEAM 3S, with L- and R+ being separate.
Endurance wise, BEAM 3S only managed to score 4 hours of continuous play in Low Gain mode driving TRN VX Pro on my Sony Xperia X Compact (Android 8, 2700 mAH Battery, UAPP Bitperfect, Airplane mode). A stark contrast against the likes of Cayin RU6, Lotoo PAW S1 or iBasso DC05 which all scored 6 hours under the same load and conditions.
Lastly, BEAM 3S also exhibited slight warmth after prolonged usage, especially when paired with highly demanding partners in High Gain mode. This is common as observed with many Dongles.
From the get-go, I can clearly hear that BEAM 3S is another well-tuned DAC/Amp which is truthful at being neutral and closer to organic sound than most ESS based tuning of the past. At this point of time, I have had the opportunity to listen to BEAM 2S, BEAM 2SE, BEAM 3 Plus and Atom 2 – all of which runs on ES9281AC. BEAM 2SE and Atom being the ones with typical ESS brightness, better neutrality observed with BEAM 2S and BEAM 3 Plus. In fact, BEAM 2S being the most organic (almost warm) in comparison. BEAM 3S is pretty much similarly tuned to BEAM 3 Plus.
What is evident, BEAM 3S exhibited great coherence level on dynamic transients. It is super clean and fluid. I did not observe any hint of peaky edges or distortions throughout the dynamic range. The sound is very mature with pleasing sense of neutral tonal balance. Perhaps if I am being critical, I would say that at times the density of note weight appeared slightly leaner especially when paired with an already bright sounding partner. In this case it was Etymotic ER4SR and Beyerdynamic DT880 600 Ohm. Unlike another ES9281AC Dongle which I liked a lot, the Questyle M12, BEAM 3S appeared drier and flatter. By no means M12 is colored, it is just having better overall richness while staying neutral. But then this is only evident when compared directly side by side. For these very reasons, I concluded that the tuning for BEAM 3S is not something I would pair with anything neutral bright.
However, switching to “warmer” or natively organic partners like Kinera Idun Golden, TIN HiFi T3+, TRN VX Pro and even Fostex T40RP MK3 – the sound is pleasingly wholesome and textured with great resolution.
Back to dynamic range. BEAM 3S is a very competent DAC/Amp exhibiting deft handling of extensions on both end of the spectrum. I especially like the crisp and pronounced Treble texture and details even when paired with DT880 600 Ohm. The decays focus more on crispness rather than smooth dispersal. So it would appear to sound prompt and with equally crisp attack. I must commend BEAM 3S for staying realistic with Treble presentation. It does not appear unnaturally bright or sibilant.
Bass on the other hand, it is fast and tidy. Similar theme to Treble. The highlight being Mid-Bass which appear solid and polished without any hint of coloration or unnatural euphonic vibrancy. Sub-Bass less pronounced but still audible depending how receptive the paired partners are capable of. There’s enough details and texture to be had especially when synergy hits the mark.
Mids and Vocals, equally impressive for being faithfully neutral. It is not warm, nor it is peaky bright. The upper Mids admirably free from any element of “Pinna Glare” which some ESS based DAC are known for. Even with the peaky sounding Alison Krauss, BEAM 3S was able to keep things in check avoiding the dreaded SSS sibilance. Sinne Eeg, Diana Krall, Morrissey and Nick Cave – female or male vocals appeared neutral sounding with no attempt to add any warmth. Which also means, for those preferring lush, polished presentation may find this slightly flatter in density. Instruments wise, BEAM 3S offers crisp attack and tonality. Be it acoustic, percussions or electronic – all sounded neutral as it is believable, especially when paired with natively neutral partners.
Technically, BEAM 3S is an excellent performer when it comes to imaging, resolution, details handling, transparency and speed. However, I must admit I am frustrated with the size of soundstage. Despite all the power up to 4.1 Vrms, BEAM 3S exhibited narrow soundstage. It is tall, but I can hear how closely quartered the layering are to each other’s, with instruments being spaced tightly together. Now this is the interesting bit. This behaviour is only apparent on single drivers be it BA or DD. When switched to multi drivers or hybrids, surprisingly the soundstage appeared normal with proper holographic spatial positioning. For example, Etymotic ER4SR, Beyerdynamic DT880 and TIN HiFi T3+ all exhibited this cramped in headstage, but it all sounded proper with Kinera Idun Golden and TRN VX Pro (both being multi drivers). It just baffles me. So, to summarize, when with single drivers, the sound is somewhat akin to traditional stereo split of Left/Right bias and will only get holographic with multi drivers.
Last but not least, MQA unfolding when tested with Tidal Masters (USB Exclusive mode) exhibited some unsavory artifacts which I have observed on some ES9281AC based implementation. Consistently throughout playback, I can hear soft crackle or pops every 5 seconds or so in the background. Unfortunately, I find BEAM 3S just not suitable for usage with native Tidal App. The good news is, with UAPP Tidal, all these issues are not present. It runs perfectly with direct MQA streaming, no cracking or popping sound observed. I can only conclude that BEAM 3S just will not work with Tidal own app on Android.
BEAM 3S has the power even to drive Beyerdynamic DT880 600 Ohm or Fostex T40RP MK3. In comparison to my iFi ZEN stack of ZEN DAC V2 + ZEN Can, I would say that BEAM 3S scored approximately close to 70% of the dedicated desktop DAC/Amp performance, lacking only on overall headroom, dynamic density, texture and depth. On DT880 600 Ohm, proper listening loudness achievable at the mark of 15/32 of volume, very impressive I must say. The 4.1 Vrms High Gain on BEAM 3S really does work as intended, something that fell short with the earlier BEAM 2S.
The highlight of BEAM 3S, driving the utterly stubborn Fostex T40RP MK3. Now, this favorite Magnetic Planar of mine is natively warm and dark if the source is less than competent. But I was pleasantly surprised by how well they synergize to each other. Not only the loudness was more than sufficient, but dynamics presentation was also actually quite wholesome and rich. I can hear even micro details pronounced audibly. It is fluid as it is effortless sounding. Simply amazing.
Unfortunately, I was not able to test BEAM 3S with my Shure KSE1500. At the time of this review, I do not have proper 4.4mm to 3.5mm interconnect cable. Apparently BEAM 3S does not provision the 4.4mm Pentaconn port with 5th Ground like other Dongles (xDuoo Link2 BAL or TempoTec Sonata E44). Which means the GND for BEAM 3S is only available from L+ or R+. Forcing BEAM 3S to use my existing hybrid cable could spell disaster of burning something inside the Dongle.
Audirect BEAM 3S. When I reflect on this Dongle, it does exhibit the legacy of BEAM series tuning towards neutrality, maturity and power. It is very well tuned tonal wise. Faithfully neutral and close to being organic sounding. These are the strengths of BEAM 3S. Despite being very powerful at 4.1 Vrms, BEAM 3S remained super clean and silent, devoid of any floor noises.
The caveat at least, for my own usage, BEAM 3S is marred with odd and clustered soundstage when paired with single drivers. Also, I cannot ignore the fact that BEAM 3S has underwhelming battery endurance to the host. Not forgetting the fact that BEAM 3S will not work properly with native Tidal App (it is okay with UAPP Tidal). Otherwise, these Cons set aside, BEAM 3S would have been a truly amazing all-rounder.
Best Pairing: Prefers warmer pairing partners, works great with Magnetic Planars
]]>Also known as Idun 2.0
Kinera Idun Golden is a beauty. Majestically elegant from the packaging to the IEMs unit itself. Hand painted resin shells will not fail to impress with strong accent of Norse motifs, a reference to Goddess of Youth, Iduna. What impresses me even more is how ergonomically comfortable this Idun Golden is to my ears. So very lightweight and wearing it all day long does not impart any hint of fatigue to my ear cavities. It is beautiful as it is practical. Holding the IEMs in my hands I can clearly see the amount of details done to make this possible. It would not be too extreme for me to declare that Idun Golden is the most comfortable IEM that I have ever worn, alongside my personal longtime favorite of Shure KSE1500.
Technically, Idun Golden is a Triple Hybrid. Two Balanced Armatures and a single Titanium Plated Dome PU dynamic driver. The BA being Knowles RAF-32873 for Mids, and Kinera own custom BTC-30095 for the Highs. Tuned with an impedance of 32 Ohm, 112db of sensitivity, it suggests that the Idun Gold is fairly easy to drive (but is it?).
Equally beautiful, the inclusion of Kinera ACE cable. Fully modular with all three sizes of 2.5mm BAL, 4.4mm BAL and 3.5mm SE included. Kinera even included a separate 6.3mm adapter for use with bigger devices, that’s very thoughtful on their side. Kinera ACE is an OFC+OFC with silver plating, constructed in Litz formation of 8 cores 3-dimensional braid. It is as exquisitely elegant to match the overall theme of Idun Golden. Sonically tuned to complement the intended sound appreciation as well. The cable itself is quite robust as it is flexible.
Icing on the cake, inclusion of tips selection for varied preferences and usage. I am especially happy with the stock foam tips. Made things easier for me to not fumbling out for aftermarket tips, as I can’t seem to be able to wear silicone tips these days. They just don’t sound right to my ears. Foam tips that came with Idun Golden, they are slow rebound and gloss skinned, which means they seal really good and does not impart any discomfort to sensitive skins (mine being a bit on the dry). Paired with foam tips, I get great isolation and mileage for extensive usage. I even fell asleep numerous times with Idun Golden still pumping music to my ears. That’s how comfortable it is to me.
Last but not least, a simple box to keep them all stored properly. Useful for travels and outdoors.
The entirety of my impressions done with the following audio gears:
Kinera Idun Golden is tuned with appreciation for natural and organic timbral presentation. No matter which partners I paired it with, natural organic theme is evident and audible. What this means, Idun Golden does not sound unnaturally bright, nor does it sounded sluggishly bassy. Idun Golden is audibly tuned to be closer to neutral sound curve with welcoming presence to Mids, of which I have found to be one of the strongest appeal for Idun Golden overall sound signature. Dynamics handling decidedly, non-euphonic and non-offensive. It is amply vibrant as it is matured sounding, analogue-ish bias with preferences for subtle fluidity on technical aspects.
In lay man’s term, Kinera Idun Golden is a very musical IEM, supposedly designed for musicians and people that actually make and play music. I can tell from the get-go that Idun Golden is not for analytical listening. Those preferring something highly resolving, bright or outright analytical will likely find Idun Golden not their cup of tea. But for those who just want to enjoy music, less analysis, then Idun Golden has that element in spades.
Despite primarily being musical, I have found that the handling of dynamics transients of Idun Golden to be quite impressive. The flow of which frequency ranges being traversed and presented, there’s harmony and cohesion. It does not offer pronounced edge or aggressive attack; the demeanor is subtle and polished – smooth.
Being well versed to BA timbre, being a lifetime user of Etymotic ER4S since 2006, I know how edgy BA setups are natively. Some people just can’t tolerate Balanced Armatures timbre altogether. Idun Golden, despite predominantly being BA equipped, does not sound like a typical BA to my ears. I like it a lot.
The strength of Idun Golden is the Mids. With the current trend of tuning towards Harman Curve, I have found many IEMs to struggle a bit with Mids presentation. Idun Golden evidently does not seem to follow that trajectory. I am hearing Mids that is richly textured and detailed. The density of note weight feels right and believable. It is not unnaturally warm or edgy. It has natural bias that keep things organic sounding. Especially true for stringed instruments. Be it guitars, banjos, violins or even cello, I am hearing realistic tone and pronounced roundedness to the imaging, the flow of notes harmonic as it is natural. But does this mean, Idun Golden is Mids intimate? Not really, the placement of Mids is sensibly positioned to not splash everything upfront. What it certain it is not recessed as how would be observed from many V sounding unit. Percussions and electronics being equally realistic, with attack and vibrancy not being overcooked.
Vocals, now this is where the real deal is. For one, Idun Golden striking great with Alison Krauss, my all-time favorite Soprano artist. Her piercing, boyish and peaky vocals can be quite annoying if the listening devices are anything than less competent. What I am hearing, Alison’s vocals being sweetly lush and smooth, addictive. Even at the crescendos, when she gave it all, Idun Golden was able to handle the super peaky passages without any hint of upper Mids sibilance. Just give a listen to “A Living Prayer” by Alison Krauss with Idun Golden and you will understand what I am rambling about.
Diana Krall and Sinne Eeg, Idun Golden equally amazing with the presentation of Contralto type of vocals, of which it is deep, commanding, and intimate. The essence for enjoying Jazz, to me it needed a good balance of organic warmth and density, textured yet not overly done note weight. Idun Golden excels at this. Switching to the male side, the same can be said of Baritone type of vocals. In my case it is Morrissey and Nick Cave. Both with very chesty and commanding presence to the vocals. Idun Golden was able to present all these faithfully to the intended nature – imparting good sense of emotions amidst musicality.
Idun Golden is not for Trebleheads. Let’s just make it clear upfront. The presentation of Treble is well controlled that it will have zero chances to be sibilant or glaringly bright. For someone who appreciate exceedingly extended Treble, Idun Golden will be perceived as rolled-off and muted. However, to my ears, there’s ample extensions and details in the Treble region, perhaps the texture being a bit shy to what I normally prefer. The overall theme for Treble is subtle as it is smooth. Idun Golden does exhibit good sense of airy sparkle and shimmer. Most important to me, it does not sounded lean or outright metallic. One thing that is certain, Treble performances of Idun Golden largely depends on how competent the driving source is. With anything that is below 1 Vrms, I can say the projection of Treble is just about 70% of what Idun Golden truly capable of. A different story when driven well at the mark of 2 Vrms and over. Shines the best when paired with my iFi ZEN Stack (15.1 Vrms), DACport HD, RU6 and PAW S2. So, to get the best and more pronounced Treble performances of Idun Golden, best to pair it with something powerful.
All in all, Idun Golden is modest with Treble. This sort of tuning will be at home for extended listening sessions as it will not induce Treble fatigue.
Much similar to Treble. Idun Golden apparently not for Bassheads too. The tuning for Bass responses focuses on prompt attack and smooth decays. However, I must applaud Idun Golden for being very generous with great Bass textures and density. Bass note weight far from being heavy of commanding, it is as subtle as it can be without being withdrawn. Mid-Bass appeared to have just enough vibrancy to instill euphonic sense of excitement, it has solid body to it. Sub-Bass equally modest yet audible with smooth sensation and realistic decays. What is important to me, none of the Bass frequencies will attempt to overshadow anything. I have been so used to Diffused Field Neutral Bass responses and what I am hearing from Idun Golden is definitely richer than the likes of Etymotic ER4SR, not as flat or subdued. But Idun Golden will pale if compared against the prowess of Sony, Fostex or Beyerdynamic Bass performances. Again, very similar to Treble, Idun Golden Bass performances will just get better with upscaling of power. I mentioned great textures and depth, this is only audibly evident with 2 Vrms of power and above. The most engaging Bass responses I get from the pairing with Lotoo PAW S2, it actually shocked me to hear such refined textures, extension, and resolution of Bass of which wasn’t present when paired with my low powered devices.
Moderate is the best description I would label to Idun Golden when it comes to technicalities. The Soundstage however deserve commendation for being wide and spacious, not as tall but it has good depth to compensate. Due to overall theme of Idun Golden being musically smooth, imaging and resolution does not appear to be clinical or analytical. The imaging is clean as it is well defined, however the resolution does not have knife edged sharpness. What is great, Idun Golden remained highly transparent and neutral. It has the ability to project the strengths (and weaknesses) of paired sources. On the aspect of details, macro details not an issue. However micro details will only start to shine when paired with competent and powerful partners. I don’t get much micros details from Idun Golden when paired with Avani or Abigail, nor does LG V50 ThinQ. Different story with the rest of my gears, DACport HD and RU6 proved to be the most technically competent partner for Idun Golden.
Spatial staging and placement are as holographic as it can be expected of an IEM of this pedigree. Layers cleanly defined and non-intrusive to one another. There’s good speed and coherence in dynamic transients handling to keep pace even with the most complex of passages – again largely depending on the source’s competency as well.
I have mentioned this a few times. Idun Golden despite being just 32 Ohm and with 112db of sensitivity, seems to really shine when subjected to upscaled power. I like this. While already sounding great with the pair of Avani or Abigail, Idun Golden primarily sounds musical and entertaining, great for casual music indulgence. And things get really good when Idun Golden is subjected to more power. As noted above, the performances of Treble and Bass improved significantly with good 2 Vrms partners. What I am hearing, better definition of textures and dynamic crispness, while remaining smooth at the same time. Not forgetting better headroom too.
All has been said, it is clear Kinera Idun Golden is not a jack of all trade. Idun Golden is a device intended to convey musical experiences for music enjoyment, Idun Golden excels with tonal and timbre balance that is pleasurable as it is natural sounding. Not a device to be used to analyze sound. From this perspective, I have found that Idun Golden is an IEM that takes time to develop a connection to the user. It does not have that WOW element from the get-go. But with regular usage, the elegance of subtleties will then begin to present itself in spades. I appreciate Idun Golden for being highly organic and smooth, I appreciate the musical enjoyment that can be had for extended usage, I have spent over 6 hours in single sessions using Idun Golden regularly. Despite being not a highly analytical device, I think the time I spent with my Idun Golden proved that the charm of the Goddess of Rejuvenation, Iduna, has captured my heart.
]]>There have several reviews of Hidizs S3 Pro now posted online, let’s check out what some experienced audio reviewers have to say about the compact and wonderful S3 Pro.
David from Prime Audio Reviews has done a great job in exploring the Hidizs S3 Pro. He has briefly explained the build, design, functionalities, and sound of the S3 Pro in his video review. He finds this compact and tiny device to have enough juice to drive most of the IEMs and low power requiring Headphones with ease. Stating his words from his review, “Hidizs S3 Pro is not a beast in terms of output power, but for most regular stuff like FiiO FD3, TRN VX Pro, TRI Meteor, or even the Meze 99 Classics, the S3 Pro can power them easily”.
“In terms of sound, the best part about S3 Pro is that it has three different firmware versions with each of those having a slightly different sound signature, you get your treble one, your balanced one, and your bass one”. This feature allows the users to choose their appropriate sound profile with the Hidizs S3 Pro. He tested the S3 Pro with Balanced firmware installed and here are his sound impressions, “S3 Pro has a balanced, uncolored sound presentation with a little bit of elevation in the bass region and a touch of smoothening in the treble region”. David says, “S3 Pro is a nice little resolving DAC that doesn’t have trouble driving most of the IEMs in the market, it has good bass control, wide soundstage presentation, the layering and imaging are also pretty good for its price point”.
You can check out the complete video review by David on the Prime Audio Reviews Youtube channel here.
Bedrock Reviews have done quite an in-depth review on the Hidizs S3 Pro where they have covered everything right from the package and contents to the functionality, power consumption, and more. Just stating their words here, “The Hidizs S3 Pro seems average in terms of its power delivery compared to similar devices but is more than capable of powering any IEM”. They tested the S3 Pro with Moondrop S8 which was adequately powered at just 32% of the system volume. In terms of sound quality, the Hidizs S3 Pro falls into the broad bucket of adequate. It sounds as uncolored and clean as I would expect any competently designed generic source device of its price to sound. It also lacks any real distinguishing characteristics in terms of its intangibles or transient delivery. Following their words, they find the S3 Pro to have a clean and balanced sound profile though there are some limitations with the S3 Pro in regards to USB functionalities which they want Hidizs to address. Fair enough for the asking price we would say, check out their complete review here.
Passion For Sound has presented a complete showdown of all the latest launched USB DAC/AMPs including the Hidizs S3 Pro, IKKO Zerda ITM01, E1DA9038D, Hidizs S9, and a few other Portable DAC/AMPs. About the Hidizs S3 Pro, he states, “This is the smallest, most compact Dongle DAC I have ever seen”. He finds the S3 Pro to have a thicker, richer sound profile. It sounds rich and smooth with a slightly warm touch to the tonality. S3 Pro has a forward sound signature where vocals come out to be more prominent.
Check out the complete review of Hidizs S3 Pro on Passion For Sound YouTube channel here where he has put it up against several different newly launched dongles too.
Looking for a to-the-point review for the Hidizs S3 Pro?? Alex Hong on Youtube has done a fantastic job in covering everything right from the unboxing to detailed sound impressions in a 3-minute video on his channel. He states, “The Hidizs S3 Pro is actually surprisingly small and has a nice build quality”. He finds the S3 Pro to have a neutral sound profile where he tested the S3 Pro mainly with the Etymotic ER4XR. Following his words, He finds the S3 Pro to have better clarity than the Apple Dongle with improved treble response too. The S3 Pro has better clarity but the female vocals sound a bit thinner. It also has better power in comparison to the Apple Type-C Dongle. He has tested the S3 Pro with a 300Ω earbud too where it drove them well enough.
Check out his complete review here.
In this highly detailed review of the S3 Pro, we get to hear about the different firmware sound profiles of the S3 Pro along with a comparison with Audiofly, Lotoo Paw S1, and IKKO Zerda USB DAC/AMP. As per his review, The S3 Pro has a silent background presentation with no noticeable noise or hiss in the background. It has a fairly neutral sound signature on the stock balanced firmware. He has tested the Hidizs S3 Pro with plenty of IEMs and Headphones including the Moondrop Quarks, Aria, AKG K371, and even the Senn HD6XX. He finds the S3 Pro to have an identical sound signature to the IKKO Zerda ITM03 and the Dragonfly Cobalt. It shows no problems in driving headphones with high-impedance of up to 300Ω(like the HD6xx). However, it will struggle to drive 600Ω headphones or planar magnetic headphones that require extra power to shine their best.
Check out their complete review on their YouTube channel here.
From his review, it looks like ICHOS actually finds the S3 Pro to be quite useful in day-to-day use scenarios. He has tested the S3 Pro with multiple new IEMs including the DUNU Falcon Pro, FiiO FD3, and the Final Audio B3. He also finds it powering the HD660s adequately. Just following his words, “The S3 Pro has a linear, balanced sound profile with a good engagement factor. It has a mildly warm presentation with a hint of treble brightness.” The top end has good sparkle and energy, it sounds a little bright but not harsh. The treble region with the S3 Pro is transparent and true to the source but the timbre is slightly metallic/artificial with a sense of roughness. S3 Pro has a full-bodied and weighty lower-end presentation with sufficient layering and tight texture. Midrange sounds open and atmospheric with a good sense of separation, the timbre here in the midrange is natural and lifelike.
Check out his completely detailed review on the head-fi website here.
Hidizs S3 Pro looks like an amazing USB DAC/AMP that packs a decent punch in a small form factor and comes at an attractive price tag too. All these reviews are evident that Hidizs has created an excellent device for just 69$ that has MQA decoding support. Check out more details about the Hidizs S3 Pro here.
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Super* was among the first ones to put up the review for these beautiful earphones. From his review, it’s quite clear that he liked the Kato a lot. His words in his review are, “Kato is a step forward for Moondrop, in fact, this is Moondrop’s best single dynamic driver earphone yet”. He really liked the included accessories such as the stock cable and the carry case. He finds the tuning to be mildly V-shaped with a fairly moderate boost in the bass region. Following his words, the sub-bass region extends well with good mid-bass providing a good rumble and thumpiness with the set. He finds lower-midrange to be slightly recessed and upper midrange to take a step forward bringing vocals upfront with the pair. Going by his review, Moondrop Kato has a very pleasant tonality where vocals come across with a natural tone. He finds the Kato to have a better definition throughout the frequency response range when compared with other single DD IEMs by Moondrop. Imaging with the Kato is a lot better than all previous single Dynamic offerings by Moondrop. He has done a well-detailed in-depth review on the Kato, be sure to check out his complete review on his Youtube channel here.
Precogvision on The Headphone Show has written the review for Moondrop Kato. He has also shared his opinion on Head-fi on the desired page. His review reads, “The Kato effortlessly demonstrates Moondrop's continued dedication to improving their packaging game with excellent packaging and accessories”. The Kato itself follows the design that inspired its predecessor(KXXS) but with some more angles at the back of the shell. Build quality is good and the 0.78mm pins lock noticeably more securely than on the KXXS. They are recessed as well which is always a nice touch. The cable included with the Kato is also a solid step in the right direction. It is not as thin and tangly as the KXXS's and generally feels more substantial in the hand.
There is a small difference in the tonality between the KXXS and the Kato small enough that one could probably chalk them up to margins of quality control, akin to tonal differences observed between the Starfield, KXXS, and Aria. That being said, he finds Upper Midrange response to be slightly smoother on the Kato. Kato also has a smoother treble region, especially in the upper treble region. Regarding the brass and silver nozzles that are included with the Kato, I’ve seen mixed impressions online. With the gold nozzle, I hear the Kato as having more treble air and sharpness up top. I’d be remiss to mention that I tire of all these single-DDs from Moondrop, but given that 1) this is a legitimate improvement over the KXXS, and 2) it clocks in at the same price, it’s really difficult to complain. As it is, I find the Kato to be another solid addition to the Moondrop lineup
Check out his complete review here.
Tech Power Up has given a highly detailed and in-depth review of the Moondrop Kato. They find the pair to have a very balanced tuning without any sense of low resolution or lack of energy. Following their review, they find the mid-bass to have excellent energy complementing genres such as Rock, Pop, and Jazz. The transition between the midrange and the lower end is smooth. They find the pair to have a less bright tonality than other Moondrop sets with smoother transient responses in the highs section. The pair maintains excellent consistency between the two channels. They also find the tonal separation in the mids and highs to be crisp and clear. The new spring silicone tips are excellent contenders for tip rolling.
Tech Power Up finds the soundstage to be so-so with the Kato, they also notice light sibilance in some tracks. They like the Moondrop Kato a lot, that’s why they have awarded the Kato with their Highly Recommended award. They have really done a well-detailed review where they have covered everything from package accessories to a detailed description of the sound. Be sure to check out their complete review here.
EL JEFE has done a great in-depth review of the Moondrop Kato. He showcased everything right from the package to the build and sound of the Kato. The design and shape of the Moondrop Kato are identical to other Moondrop offerings such as the KXXX, Aria, and the Starfields. They are very comfortable with no issues of ear fatigue or anything like that. So you won’t get any kind of issues with fit with the Moondrop Kato.
Coming to the sound quality of the Moondrop Kato, the pair features a warm Moondrop house sound profile. So if you have previously used any Moondrop product you might recognize the tuning style here too, especially their single Dynamic driver offerings. It has a mild V-shape sound profile where you get a lift in the bass and treble regions with very smooth mids. Moondrop Kato brings an excellent sub-bass extension that really intrigued EL JEFE about Kato’s sound. The pair has a nice punch without any bloatiness. He finds the Kato to present a tightly controlled bass response that doesn’t leak into the midrange. Coming to the midrange with the pair, Kato has a smooth and rich midrange response.
As per him, the midrange with Kato is slightly more forward in comparison to something like the Aria or the KXXX. The voices sound detailed and clean, he finds the pair to complement male vocalists with its brilliant presentation. He says the vocals are natural and full-bodied, they don’t sound overly colored by any means. Soundstage with the Kato is also impressive, it is wide and spacious. Treble on the Moondrop Kato is crisp and clear, you get good detail retrieval with the pair with no fatigue or sibilance present. It has got enough energy to give you a top-tier sound quality experience. The Moondrop Kato replaces his favorite IEM IKKO OH10 and is now his absolute favorite pair under the 200$ price range.
Check out their complete review here.
Timmy from Gizaudio has done an outstanding job in the Moondrop Kato review. He has provided us with a highly detailed review that includes a brief comparison with other Moondrop single dynamic IEMs including the KXXS, Aria, and Starfield. As per Timmy, the biggest improvement in the package is the accessories included with the Kato, The cable with the Kato is exceptional. It is a heavy and comfortable cable that looks like an upgrade to all the previous Moondrop stock cables. He nicely covers all the details of different accessories in the package including the ear tips and the swappable tuning nozzles.
Coming to the sound of the Moondrop Kato, it sounds quite similar to its predecessor the KXXS. They find the Kato to sound almost identical to the KXXS with the Brass nozzles with the Silver nozzle they sound 90% similar to the KXXS. The Kato is a better version of KXXS with a slightly more resolving nature and slightly more energy in the vocals. Kato is tuned to the Harman Target, it has a really pronounced mid-bass response. The Sub-bass is there too but it is slightly overshadowed by the mid-bass. Kato has really good bass control, so the bass doesn’t bleed into the midrange. Male Vocals comes across as rather natural with slightly rich tonality. The bass transitions to the mid-range with the Kato are quite natural. Kato has a bit of energy in the vocals section, the vocals section in general is slightly forward. Instruments are also presented very well with the Kato. This is the type of IEM that one can buy and be done with IEMs for a long long time. Under the 200$ price segment, the Moondrop Kato is among the best IEMs out there under the 200$ price range.
Check out his complete review here on YouTube where he also compares the Kato with other single dynamic driver offerings from Moondrop.
Just going by these reviews, the Moondrop Kato seriously looks quite interesting. The pair is beautifully built and has a really decent sound tuning, packed with quality accessories too. Check out the Moondrop Kato on our store here, priced only at 189.99$.
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