INTRO

Ambitious and hungry, the HIDIZS MS5 Dark Angel flagship emerges with hopes and dreams of chanting hymns from the shadows. Utilizing four quality balanced armatures from Sonion combined with a custom liquid crystal kevlar fiber dynamic driver, the HIDIZS MS5 is designed to extract the finest essence from all your recordings like a vampire.

HIDIZS aims to be the one stop shop everything portable audio company with past excellent products we reviewed such as the S9 Pro DAC and the AP80 Pro X. The HIDIZS MS5 is the shot of Irish cream in your coffee with quick bass speed, a sprinkle of lively midrange and exacting microdynamics in the treble worthy of a premium title.

Disclaimer: HIDIZS provided these directly to Audioreviews prior to the pre-sale. We chose to skip the affiliate links, donating to any Super PACS, having wisdom teeth removed, and waiting in long lines. Pre-sale pricing is $379 directly from HIDIZS starting April 21,2023 12am EST, after pre-sale period ends retail is listed at $399 and will be available from other retailers.

PACKAGE CONTENTS

Inside the package of the HIDIZS MS5 Dark Angel you will get a premium accessory kit. The earpieces are a one piece anodized aluminum alloy shell designed to reduce fingerprints and maintain a long lasting durable finish. They are large and bulky which makes for handling easy, but those with smaller ears might find them too large.

The universal shape is not as tight fighting as the Moondrop Blessing 2 Dusk or the Shozy Form 1.4 which both fit me better. The MS5 right ear piece requires some readjustment from time to time. This is normal for me on a majority of sets. The Moondrop and Shozy tuck into my crevices better, where the MS5 floats. Fitment is an extremely personal experience.

Adorned on the outside for all the world to see, the dark angel panel face plate is made with a skin friendly resin, although the only time it comes into contact with skin is via fingertips from inserting into your ears. The Dark Angel nomenclature comes from this face plate, but I cannot help un-see a Venom Marvel character, or forgive me a bicycle helmet. Who knew we needed ear protection without the hearing protection.

Sandwiched between the aluminum cavity and the resin face plate is a rose gold colored mesh that is for decoration only. All venting is provided through a controlled vent port that is of exact size to make sure both earpieces have no discrepancy between sizing that would affect the bass response. The external vent port appears to be a white resistive balanced armature filter damper. Since it is molded in, modding with a different damper is unlikely.

Premium detachable cabling of the HIDIZS MS5 is made from a mixture of 504 strands of 6N single crystal silver plated copper and 6N copper braided to form a total of 8 stands of wires sheathed in black environmentally friendly PVC giving it a shiny darker appearance with a sticky feeling.

The cable is weighty yet flexible and combined with the formed ear hooks stays firmly planted. The chin slider is for decoration, if it were open completely instead of having wire channels it would freely move, but it binds against the cable too much so I opted not to mess with it.

This is one area that is somewhat problematic as the weight combined with the aggressive ear hook deforms my ear and applies extra pressure. For longer listening sessions users will find it irritating. I wish they would have opted for something lighter, but still of the same quality. Consider replacing it.

With a plethora of tuning options between the included library of ear tips for Balanced, Bass and Vocals, the HIDIZS MS5 also includes three pairs of tuning nozzles screwed into a piece of aluminum plate with laser engraved text to help identify.

I would have preferred the color name included on the plate and adding a spot for the balanced pneumatic gold colored nozzles. At least it was a much more premium way to include them as opposed to in a plastic bag or attached to a piece of plastic like the Drop JVC HA-FDX1.

The replaceable pneumatic sound tuning filter- as HIDIZS refers to the nozzles – have a piece of open-celled foam in the balanced and bass pairs, while the silver treble colored ones have none. The red bass pair contains a higher density amount to cut back on treble letting the bass become slightly more prominent. For those who really like to tweak, you can experiment with your own materials such as cotton, gauze, other foams, etc. You might want to consider a little removal thread locker to prevent them from unscrewing and getting lost.

As I peered into the open cavity while changing these sound tuning nozzles, I can see 4 guided tube openings via a plastic insert. One of those tube openings includes a white colored resistive balanced armature damper used to tune and tame resonances of the balanced armatures.

It uses 3 different balanced armatures from Sonion, the E50DT for highs, 2389 (dual armature) for mid/highs, and the 17A003 for the lower midrange. The combined dual armature is how they count four. The 10mm Kevlar center cone attached by a liquid crystal surround dynamic takes over the low end.

The three different sets of eartips for the HIDIZS MS5 each serve for different purposes. The Vocal eartips have a shorter thicker stem and a wider opening to allow more sound through at a closer point to the exit and allow for placement closer to your eardrum if allowed by fitment.

The ones marked Bass and Balanced appear similar for stem and opening sizing, the only difference I detect is the black bass ear tips have a thicker outer shell to better retain shape and to minimize sound leakage.

What flagship IEM would not be complete without a protective carrying case, and the HIDIZS MS5 provides a roomy premium leather zippered case. Inside it is coated with a fleece material to prevent moisture build up. Plenty roomy, the mesh pocket can hold some of the accessories. It’s  large for a pants pocket, but fine in a coat or bag. It’s the same size as the Moondrop Blessing 2 Dusk carrying case.

SOUND

Tested primarily with the HIDIZS AP80 Pro-X , SMSL DO100/HO100/SU-9

Seems fitting to pair the HIDIZS MS5 with the HIDIZS AP80 Pro-X for excellent power output, however I also tested with the LG G8. One thing to consider is that this is a low impedance earphone spec’d at 5.3 ohms, it does dip further to ~4 ohms around 1khz. That might be hard for some devices to drive properly in a different sense as output impedance of the device can impact high frequency response roll-off.

The overall sound signature of the HIDIZS MS5 is balanced with medium levels of boosted bass and elevated pinna gain. For once I get to not call this a Harman tuning, as they notch out an area that can be sensitive to some around 4Khz, and also ease into the upper midrange pinna gain instead of a straight climb to the peak and keep it fairly level out to 9khz. For the bulk of my listening I selected the balanced ear tips and balanced nozzles.

The bass nozzles soften the treble giving a more relaxed and non-fatiguing listening session, but the bass is more dominant and fuller. The treble nozzles allow free flow of everything the Sonion balanced armatures have to offer and really bring orchestral works to life with their light and airy capabilities.

Bass is full and warm, extension reaches the bottom and feels centered to provide nice balance between mid-bass and sub-bass. They have similarly wonderfully tight and controlled bass as the Shozy Form 1.4, but with the sub-bass of the Blessing 2 Dusk. The elevation avoids sounding too boomy and coming from some recent sets that boosted only the lowest last octave that could present as thin sounding, the HIDIZS MS5 is anything but. The tapering off is gradual but not bleeding, blending with the Sonion BA well. For me it tapers off before vocals start sounding too muddy and honky, instead a little chesty. If I EQ out around 250Hz it sounds closer to the Moondrop Blessing 2 Dusk.

Vocals deliver all the nuances and never sound strained unless the recording was over-driven. I definitely recommend using the vocal ear tips, as the upper registers are tamed with the smaller bores. Since it eases into the treble, the vocals feel a bit pulled back. The lower mid-range upper mid-bass tends to pull forward the staging. It is noticeable when switching back and forth with the Moondrop Blessing 2 Dusk.

Sliding into the treble, the HIDIZS MS5 delivers all the nuances you expect out of a flagship. While it may not have the air like qualities of the 7HZ Timeless, it delivers a superbly brilliant upper end. Listening to Queen’s Crazy Little Thing Called Love, you get a real sense of space as the drums sticks tap the edge of the drums, something the Moondrop Blessing 2 Dusk is also capable of.

One of my other favorite hybrids the Shozy Form 1.4 does not deliver that kind of technical ability to resolve that level of detail. I can really pick out the nuances of the different cymbal strikes, or the fluttering of the pads and levers opening and closing in a solo saxophone.

TECHNICALITIES

For classical fans or even acoustic rock fans, height information comes through excellent as I listen to Georgia Peach Acoustic Alchemy when the chimes in the beginning come in, the higher chimes propagate higher. The HIDIZS MS5 is a high resolution set without feeling over-blown or fatiguing sound wise. For those that find it to have too much presence might actually want to use the bass tuning filters.https://www.audioreviews.org/hidizs-ms5-review-2-review-ap/

When comparing the HIDIZS MS5 to the Moondrop Blessing 2 Dusk, they are nearly identically wonderful. The difference between the two becomes apparent in the staging. Since the HIDIZS MS5 has more upper mid-bass, the staging feels U shaped, with the extra bass pulling some instruments closer around the edges hence what I call U shape not to be confused with U shaped frequency tuning.

The Moondrop Blessing 2 Dusk has a more even or straight position. As a result overall the HIDIZS MS5 sounds wide and forward, with depth front to back good, but overall the whole stage is closer.

Layering front to back is excellent with nothing ever feeling congested. Microdynamic detail retrieval is excellent. Nothing ever feels out of place. HIDIZS utilized excellent drivers and implemented the Sonion to their fullest ability. The multi-BA budgets do not even stand close, and I would hope not at this mid-tier pricing level ($150-500).

A HAPPY ENDING

The HIDZS MS5 Dark Angel swoops in and steals my attention away from my other favorites. The resolution and brilliance is superb. The use of the excellent Sonion balanced armatures combined with the fullness of the dynamic driver is a good match. The things some might not find appealing are the thicker lower midrange/upper midbass transition, forwardness of the stage, the heavy weight of the premium styled cable, and the bulkiness of the size.

Sometimes less is more, but overall I give it an A/B in tuning and an A- in technical abilities. One of my only favorites from HIDIZS. For those that prefer a diffuse field tuning from Etymotic or the Harman tuning, you will find these more energetic, but in my opinion in all the right places.

SPECIFICATIONS

GRAPHS

• Left vs Right
• Tuning filter comparison
• HIDIZS MS5 vs Shozy Form 1.4 vs Moondrop Blessing 2 Dusk
• Impedance Plot

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DISCLAIMER

Get it from the HIDIZS store.

Our generic standard disclaimer.

About my measurements.

The post HIDIZS MS5 Dark Angel Review (1) – Venom Protection appeared first on Music For The Masses.

The AFUL PERFORMER 5 is a technically innovative earphone that does not quite hold up to the the company-generated hype.

The AFUL Performer 5 was provided by HifiGo for my analysis – and I thank them for that. You can get it from HifiGo.

Introduction

It was only three months before this writeup that AFUL – coming seemingly out of nowhere – launched a gigantic promotional campaign and hype, presenting themselves as a a leading player in the earphone market. From 0 to 100 in a few seconds. To achieve this would be nothing short of sensational (Sennheiser have been at it since 1945).

We at audioreviews.org love dissecting claims and hype – and put the Performer 5 happily on our work bench. OK, ok, the name alone…we have heave heard the jokes about it already…it is apparently pronounced “A-foo”. L is silent. It means “prosperity and fortune” in Mandarin. Nothing wrong with that.

From AFUL’s self presentation:

Aful Acoustics has always targeted a strong and experienced acoustic R&D Team. They have adhered to the simple concept of “Only Real Progress in Technology can bring Tangible benefits to the Consumer”.

Four Years Ago, AFUL Acoustics was founded to bring a change to the HiFi Audio industry with class-leading IEMs and Headphones at pocket-friendly prices. After painstaking research by the team for over two years, Aful Acoustics matured the basic technology in 2020. Ever since then they have got several different technologies such as EnvisionTEC Medical-Grade 3D Printed Acoustic Tube Structure, 3D Air-Pressure Balanced Relief Technology, etc.

Aful Acoustics has always targeted innovative Acoustic Technologies to produce crisp, high-resolution sound quality with IEMs that outperform the competition by a huge margin. We have always aimed to design quality products that deliver high-end performance while coming at a mid-range price tag.

Source: HifiGo

To be fair, the Performer 5 does incorporate some good innovative technical ideas. KopiOkaya told me that the pressure-relief vent has similar principles to 64Audios ADEL, just that it is built into the shell design. They also seem to be serious about the coherence. Not often you see separate sub and mid-bass tubes, especially the coiled ones that tend to extend sub-bass rumble. Moondrop Blessing2 does it around $300, but not many others. 

Specifications AFUL Performer 5

Physical Things and Usability

In the box are the earpieces, cable, eartips, metal storage case, and paperwork. The shells are bulky but light and comfortable, and the isolation is good – with SpinFit CP145 eartips, the stock tips are too small for my teutonic ear canals.

The cable is pliable with sturdy metal connectors. Very good. Overall haptic and build are commensurate with the price tag.

Tonality and Technicalities

The AFUL Performer 5 was hyped as somewhat different sounding from the rest – and this is actually true. It offers a relaxed, laid back presentation with a mild BA timbre. Tuning is quite good but the technicalities are more in the category of a $100 earphone. The Seeaudio Yume comes to mind.

I always pick out the bass first in my listening sessions, which, unfortunately is the Performer 5’s weakest point: midbass is mushy and muffled to a point that my eardrums start ringing after a short while. And that, although it does not have a lot of kick. This lack of bottom-end focus may be compared to hitting a drum with a somewhat loose skin.

If the bass had more pizazz, this mush would be unbearable. Needless to say that the bass resolution is not satisfying, basslines are sloppy and lack composure. Extension into the sub-bass is average and there is not much rumble down there at all.

The soft midbass partially covers the vocals which are actually well presented. Note definition is good, note density is ok but not the fullest, vocals come across with a reasonably natural speed. Nothing shrill and there is also zero shoutiness (a new trend across the board). But I find the midrange somewhat splashy and fluffy. It lacks discipline.

Treble extension is also good with middling resolution. I find the cymbals a bit on the lean side and high violin notes somewhat muffled.

Timbre is as you expect from a “multi”, resolution is best in the midrange and poorest in the bass. In less bassy pieces, the midrange has lots of air, once bass sets in, it is getting muffled to various extents. Soundstage is average but can be narrowed by the bass smear.

Separation, layering, and headroom do hold up to its class.

Overall, the Performer 5 lacks cohesion and composure to justify its price. It could be more refined in its presentation.

There is no comparison to top notch $200-250 iems such as the JVC HA-FDX 1, which have much better tonal balance, tonal accuracy, and cohesion…to name but a few criteria…which add up to much more enjoyable listening experience.

Concluding Remarks

The AFUL Performer 5 is another example of an unjustified hype of a prematurely released product. You can evaluate this statement yourself: where is the Performer 5 three months later? While the R&D may justify its price, the result does not.

We are now waiting for the “Pro” model addressing the initial toothing issues. And, I am sure, it will be a good one. The early adopters as guinea pigs? That’s not how it should work – but unfortunately that’s how the game goes. Again and again.

Until next time…keep on listening!

The post AFUL PERFORMER 5 Review – Lost In Translation appeared first on Music For The Masses.

These two four-$-figure (before discounts) tribrids, the 8-driver Conductor and 9-driver EJ09, sit at the top of LETSHUOER’s IEM range and are aimed at different audiences – “concert” vs “instrument (studio?) monitor”, respectively – via different tunings. Each is available in universal fit & stock colours; or for extra $, in universal or custom fit with a choice of faceplate..

Preamble

I can’t make comments on packaging or say much about what’s included in the retail packs because these two pairs, kindly loaned by the local rep., came with one cable (the 3.5mm SE version of the EJ09’s SPC one) and no stock tips.

After some experimentation – tips being something I often change anyway – I found my trusty JVC Spiral Dots to work well on the nozzles of both pairs (elliptical on the Conductors). Details of each model’s package contents and physical characteristics are given on LETSHUOER’s website (Conductor; EJ09).

One difference worth highlighting is cabling: the Conductor comes with a 6N OFC cable terminated with a 2.5mm balanced plug, with 3.5mm SE & 4.4mm balanced adaptors included; whereas the EJ09 comes with a silver-plated monocrystalline copper cable with your choice of 3.5mm SE or 4.4mm balanced plug (i.e., one or the other, not both).

I listened to both IEMs from a few sources, spending most time with iFi iDSD Nano Black Label and Schiit Hel; also direct from a Samsung Galaxy S10 Android phone. Having both of these models at the same time, I switched back and forth between them often. While reading my impressions, bear in mind that the contrasts I note between the two might be exaggerated because of that.

Prices, configurations and specifications of the two models are presented together below so readers can easily compare. Following that, Conductor and EJ09 are reviewed separately.

Conductor: Price, Description & Specs

EJ09: Price, Description & Specs

Conductor: Sonics

Tonality

To me these are fairly neutral to slightly U-shaped, with good extension but a bit of exaggeration at each end. A notable hollowness in the upper bass & lower mids leads to perceptions of an apparent disconnect between sub-bass and middle mids and of slight exaggeration of the upper mids, although on sine sweeps the 2.5-3.5k area that often gives me problems, doesn’t, and excessive sibilance is not an issue either. Higher in the treble is still a bit exaggerated though.

Timbre

The thin note weight (and tone density) in the lower mids referred to above tends to de-emphasize male vocals and lower piano & string notes, penalizing material that’s rich in that content. Around 8 kHz there’s a noticeable change not so much in level but in timbre (yes, even on a sine sweep), which might be the EST driver starting to dominate.

Transients seem even across the range, neither too fast nor too slow. Texture is smooth enough in the bass, but the light weight there exacerbates somewhat rough (and ‘ringy’) upper mids & treble. Piano & vocal timbre through the middle to upper mids is nice, however.

In the highs, the EST driver makes cymbals & tambourine sound metallic rather than plastic, but like BA drivers, decay of these seems too fast, so is still somewhat unrealistic. Evidently incorporating EST drivers for the highs takes care & subtlety.

Technicalities

Macrodynamics are subdued – despite these being sub-bass heavy, bass slam is missing. In the middle mids, though, macrodynamics are notably stronger, actually better than the EJ09. Microdynamics and resolution are not remarkable in either positive or negative ways, but at least don’t suffer from the ‘fake detail’ often brought by an exaggerated lower treble.

Imaging is a bit imprecise and instrument separation diffuse, but both come off as “there” because of relatively wide staging – wider than EJ09, but a bit artificial sounding because of it.

Depth front to back comes off a bit better than width because percussion is not quite so forward. However, layering is not particularly well defined. These phones become slightly congested in the mids when playing dense material; this could perhaps be due to relatively high 3^rd-order distortion, a feature of many balanced-armature implementations (see under Measurements).

Measurements

Frequency response from my DIY tube coupler, corrected to approach an IEC711 unit, shows a curve similar to a bassier JVC HA-FDX1, with an upper-mid peak around 4 kHz. This is a few dB higher in the 2.5-5 kHz range than the measurement on the manufacturer’s product page but is similar elsewhere.

Channel balance is very good. I interpret the ‘wobble’ around 200 Hz as an artifact produced by movement at the resonant frequency of the heavy earpiece / light tip-skirt-to-stem junction system.

The impulse responses (not shown here) show that this pair appears to be wired in reverse polarity, but having used the EJ09 cable rather than the stock Conductor cable, I don’t know whether the latter might correct for this by being wired the opposite way. Interested users might wish to insert the cables backwards to see if they hear any difference.

The distortion pattern for the measured SPL shows a THD of around 0.5%, with the 3^rd harmonic popping above the 2^nd between 300 & 1500 Hz. 3^rd order distortion being higher than 2^nd at lower SPLs is common with balanced-armature IEMs, and is held by some people to be responsible for a rough or grainy texture.

The 3^rd order hump in this measurement would manifest at 3x the frequencies it’s displayed on the graph, i.e., centred on about 3 kHz, so might be responsible for the ‘ringy’ upper mids and congestion through the midrange noted earlier.

My impedance measurement is mostly within the range given on the HiFiGo page, around 10 Ohms at the highest and dropping to a bit below 6 in the high treble. This curve is not extreme; amps with higher output impedances will gently suppress the treble response of these earphones, as shown below.

Synergy 

A source with powerful dynamics, a relaxed or rolled-off upper treble, and with warmth in the upper bass and lower mids to compensate for the thinness there would be best with these ‘phones.

Comparisons & Conclusions 

The Conductor is tonally a fairly balanced IEM – though perhaps having a high treble that might cause issues for listeners who are sensitive there – which, to me, is let down mainly by a thin upper bass to lower midrange character. In comparison, the ~$200 more expensive EJ09 (getting ahead of myself) has worse tonal balance (or rather, is too elevated in the low treble; if eq’d or even iEMatched out it could be similar to Conductor) but better timbre & technicalities.

LETSHUOER’s cheaper EJ07M 7-driver tribrid (reviewed by Jürgen here) has technicalities on par with Conductor but tonal exaggeration at the other end of the range (sub-bass rather than high treble), which many people might prefer.

EJ09: Sonics

Tonality

This has a different signature from the Conductor: lower treble is emphasized. Bass, like the Conductor, is strong, the combo coming across as U-shaped on bass-heavy material; but it’s not elevated to the point of being offensive. It’s the lower treble that’s most notable here, becoming tiring on naturally sibilant material.

For my upper-mid sensitive ears there’s a touch too much around 3 kHz, but it’s really the 6-7 kHz area that gives me trouble. Otherwise, there’s a good balance through the bass and into the mids, lower mids in particular coming across smooth and natural.

Timbre

Despite the lower treble’s elevation it doesn’t come across as too artificial – there’s no notable ‘plastic’ texture, cymbals sounding nicely metallic but maybe decaying too fast (possibly the effect of the EST driver again). The roughness/ringyness of the Conductor is not evident, a good thing given the EJ09’s elevation in this part of the range. Lower & middle mid character is smooth; a bit lean, but much more satisfying than the Conductor’s hollowness there.

I speculate that the EJ09’s nicer upper bass & lower mid character might be due to its lack of front venting vs the Conductor; from the manufacturer’s descriptions, the dynamic drivers are otherwise the same . Transients are fairly fast in the mids but not particularly slammy, which gives the perception of a slight disconnect from the strong and well-textured bass.

Technicalities

Macrodynamics are good, there being solid slam in the bass (more than Conductor) and moderate through the mids (somewhat less than Conductor). Microdynamics in the upper mids & highs are good, but are not quite so well rendered in the lower mids. Imaging and separation are good, especially in upper mids & highs, but again, not remarkable, maybe surprisingly given the lower treble emphasis.

Layering and front-to-back staging seem a bit flat, probably because percussion high notes are too up front and (male) vocals are relatively recessed. Stage width seems narrower than portrayed by the Conductor, but as a consequence perhaps less artificial.

EJ09 is resolving of low-level information through most of the range, but gets into ‘fake detail’ territory in the lower treble because of the elevation there. These maintain character well through complex passages, avoiding the midrange congestion of the Conductor, but the elevated lower treble can become a distraction with some material.

Measurements

Corrected frequency response is similar to the Conductor (and to the measurement on the manufacturer’s product page) below ~4 kHz, but remains elevated through the lower treble out to around 10 kHz, this being the major tuning difference between the two models. Channel matching is again very good, and the ‘wobble’ around 250 Hz is again interpreted as an artifact of my measuring system (not real). 

Distortion is somewhat lower than Conductor, with the notable difference of being dominated by 2^nd order throughout the range, 3^rd order at this SPL remaining lower everywhere – in contrast to many BA-based units. Possibly this accounts for EJ09’s better perceived texture through the upper mids and into the highs.

 EJ09’s impedance profile is more extreme than Conductor’s, varying from a high above 20 Ohms in the midrange to a low of 4 Ohms in the lower treble. This means that even slightly higher output-Z sources (e.g. the iFi Audio iEMatch’s ‘high’ setting of 2.5 Ohms and the 4.4 Ohms of the iEMatch jack of the Nano BL) will result in notable reductions to the upper mids and treble, having greatest effect around 6 kHz.

Synergy

If you don’t like an elevated lower treble, you should avoid pairing the EJ09 with a bright source. The impedance profile is possibly a lifesaver in this respect, as higher-impedance amplifiers suppress this area. Using the iEMatch jack of my iFi iDSD Nano Black Label, I found the tonal balance to be much improved.

Comparisons & Conclusions

The lower-treble-boosted EJ09 represents a different tonal flavour vs the bass-heavy EJ07M and neutral to slightly upper-treble-tilted Conductor, and these 3 tribrid models could be viewed as complementary in that respect (this was presumably LETSHUOER’s intention, although the marketing language and the existence of 3 different EJ07 variants confuses things somewhat).

Users for whom tonality is the primary selection factor have 3 clear choices according to their preferences. However, the different tonal tunings also come with timbral and technical contrasts, so potential buyers should read reviews carefully to see what non-tonal aspects of a particular model might be deal-breakers for them.

Concluding Remarks

While hybrids and tribrids with EST treble drivers are becoming more common at all sorts of prices, particularly with tribrids it’s hard to escape the sense of disconnection resulting from the contrasting sonics of the different driver types that dominate different parts of the frequency range. For a sense of coherence, in my opinion it’s hard to beat earphones that use the same driver type, preferably a single driver, throughout. 

This is not to say, though, that great tribrids cannot be done: the best IEM I’ve heard to date, the Vision Ears Elysium, mixes DD, BA & EST drivers very successfully (and in an odd configuration), but to compare it would be unfair to LETSHUOER because it’s much more expensive ($2280 currently) than the models reviewed here (and my least favourite part of that earphone was the EST treble).

Getting back to the $1000 range, these earphones present me with a conundrum: while they do a lot of things well, there’s a lot of competition from similarly-priced IEMs with all sorts of driver complements for all sorts of tonal preferences. I admit my experience in this price range is lacking, so I’ll refrain from making value judgements on these two models.

Footnote: TOTL Cadenza 12 arriving

LETSHUOER will shortly release their new TOTL, the Cadenza 12 (see stories at HiFiGo and ecoustics; as of today they’re not on LETSHUOER’s site).

These will sport one 10mm kevlar-dome dynamic driver (likely the same as in the Conductor and EJ09), 11 balanced-armature drivers from Knowles and Sonion – no electrostatic drivers, interestingly – titanium alloy shells, and a monocrystalline copper + monocrystalline silver hybrid cable with 2.5, 3.5 & 4.4mm terminations/adaptors.

According to ecoustics, impedance is 16 Ohms (but with so many BA drivers this will likely vary significantly with frequency), sensitivity is 110 dB/mW, and price will be $US 2299.

Disclaimer

These earphones were lent to us for evaluation purposes by North America LETSHUOER rep. Joseph, who we thank for the opportunity.

Our generic standard disclaimer.

Contact us!

The post LETSHUOER Conductor & EJ09 Review appeared first on Music For The Masses.

The Akoustyx S6 is a superbly built and very handy planar-magnetic earphone with excellent resolution and timbre that can get spicy in the midrange at louder volumes.

The Akoustyx S6 was kindly supplied by the manufacturer for my review – and I thank them for that. You find more information on the respective product page.

The S6 are currently on deep discount sale (like: 50% off) on Drop.

Introduction

Akoustyx are an American junior earphone company out of San Jose, CA, producing in Nashville, TN, with US and imported parts. They are the type of company who put a lot of detail into their designs aiming to develop budget to medium-priced models with long shelf lives – that do not get succeeded every 6 months by a “Pro” version. Just like the big boys ala Sennheiser, AKG, etc., players with lots of experience and confidence behind them.

Akoustyx focus on a small number of products – instead of getting lost in a jungle of “moreofthesame”. I purchased my first few mid-tier earphones from companies that are renowned for the electronics, speakers, and headphones, but only offered a single earphone model. I concluded these iems must be good: Focal Sphear, Bowers & Wilkins C Series 2, and the NAD HP20. And they were good in their days.

I tested the Akoustyx R-220 previously, which feature 2 balanced armature drivers – and sound almost clinically diffuse-field neutral. Technically great, but temperature wise not for everybody. And they are still being offered three years later. I still consider the R-220 as being timeless – and something special in my huge iem collection.

As to Akoustyx’s attention to detail, which they marry with pragmatism: all three of their series are extremely small, light, and they come with nifty “Earlocks” – patented soft-rubber rings that hold the iems firmly in your ears. They have the effect that you don’t feel the earphones in your concha anymore. They even offer neoprene cases for their R-200 and S6 series.

The Akoustyx engineering team’s 6.1 mm planar-magnetic driver has been developed since 2018 and was officially launched at CanJam Social 2022. You may guess the reason for this delay. It is assembled in the USA.

Specifications Akoustyx S6

Physical Things and Usability

In the box are the earpieces (of lightweight Al alloy with a Ti oxide treatment), 3 sizes of soft-rubber Earlocks, the OFC cable with a Ti Kevlar sleeve, 1 set each of silicone and foam tips, a slimline neoprene case, and the paperwork. Cable and earpieces are connected via MMCX.

Materials, build quality, and haptic are as fine as it gets.

Akoustyx earphones are special in that they leave the smallest possible footprint in your shirt pocked of any iem (except perhaps Etymotics). They are not only small but also extremely light. Fit and comfort are excellent, the Earlocks add increased hold.

You get the company’s more detailed tech description from their product page. The S6 are very easy to drive.

Tonality and Technicalities

Well, my frequency response graph looks just terrible (the company’s looks better…we obviously use different standards…in fact I applied a ‘correction’, which is an empirical adjustment of the DIY tube coupler’s response towards a particular IEC coupler’s response based on comparative measurements of 13 IEMs – which do not include a sample of the Akoustyx S6). On the other hand don’t I know what measurement parameters Akoustyx applied.

My graph lets expect a bassy screamer with vocals buried 6 ft under. This is not quite the case and shows once again how graphs can be deceiving. The S6 is not as V-shaped as it appears and not as bassy either.

It offers a slightly warm temperature at the low end, and becomes neutral from the midrange up, resulting in an appealing timbre, as long as you don’t turn the volume up. Maybe this frequency response is required to bring the best out of this small driver.

I usually measure frequency responses with 85 dB @ 1 kHz but had to go down to 82 dB as the software started clipping the upper midrange/lower treble peaks.

The bass is…very good. Yes, it is fast, but not too fast, composed and controlled. It could be even more for my taste. Confused? Well, remember the story of the JVC HA-FDX1 with its three tuning filters? All they do is change the upper midrange – and all you hear is a different bass response.

That’s because the human ear records the whole frequency range in context and not just the individual snippets (bass, mids, treble). Also, the S6 does not have the mid bass boom of the famous 7Hz Timeless.

That means for the S6 is that this gigantic pinna gain greatly diminishes the quantity of our bass perception. The bass is not even much extended into the sub-bass to my ears. Unfortunately, that bass does not tame the upper midrange to reasonable levels. It is shouty and can be fatiguing at higher volumes.

Fuelling the upper harmonics it really etches vocals out: they are lean, articulate, they are very lively, but they lack body, although they are not even particularly recessed. I wished the midrange corners were a bit (more) rounded. As a positive, this results in excellent midrange definition and resolution – and great speech intelligibility.

The upper midrange brings out higher piano notes very accurately with a natural stroke — but higher trombone notes can be strident. You can avoid fatigue by simply keeping the volume at bay. Using parametric or graphic eq remedies this, too.

Going higher in the frequency range, cymbals are still well resolving but can be a bit robotic/metallic and certainly tizzy, that’s where the planar-magnetic characteristics appear. High notes are generally well resolving.

Technicalities are outstanding for this class. Stage is expansive and not too deep. Imaging is wonderful, separation and layering are great, and the driver can handle whole symphony orchestras with ease. No crowding, each player is reasonably accurately placed on stage.

The S6 also passes the cello test: decay is natural enough to make a cello sound like a cello (and not like a hacksaw through ultra-fast note decay), which can be a problem with planar-magnetic drivers. The S6 offers a fantastic timbre.

In summary, these S6 are great if you find the (volume) limiter button, also considering their haptic and comfort. Turning the volume up can make you curse them. Angel and Devil in one. I experienced both. The S6 therefore work best with warm sources and jazzy or classical acoustic sets. Pounding EDM or similar against your eardrums may be a bit much for you.

I expect the S6 overall design and haptic may rather appeal the mature, audiophile crowd and not the compulsive buyer.

Concluding Remarks

The Akoustyx S6 nevertheless come as a big, positive surprise to me. I was aware that the company could produce technically fantastic earphones offered below $300, but in the S6 they added an element of “musicality”.

The S6, despite their tiny size with their miniature planar-magnetic drivers offer big, accurate, and enjoyable sound with the caveat that it can get fatiguing at higher volumes. The Akoustyx S6 are certainly special but will mainly appeal to purists.

Until next time…keep on listening!

The post Akoustyx S6 Review (1) – Angel And Devil appeared first on Music For The Masses.

Gear of the Year: 2022 marks the blog’s fourth year. We collectively published 100-150 articles, mainly product reviews, but also technical information (such as earphone modding). Apart from receiving review units from manufacturers and sellers, we also purchased a lot…and we borrowed from audiophile friends and colleagues.

Our list of earphone reviews is going towards 400, which is a very useful database. And one of the world’s biggest. In the DAC and amplification department we have also reached a respectable 70.

While we shrank from 8 to 6 authors, we essentially doubled our viewer numbers and currently record well over 1000 daily individual blog visitors (1377 on Black Friday 2022). But we remain humble, continue viewing our hobby as labour of love and focus on information for you, the reader, while not selling out.

Another very popular list is our Wall of Excellence, which hosts gear not approved by one of us, but by the whole team. This is a useful filter for you and should give you confidence in your buying decisions.

And yes, we searched for and found an exclusive sponsor in HiFiGo, who help us with our basic operating cost (web hosting). We still chip a lot of our own money in for mailing between us reviewers, import charges etc.

By having a single sponsor (and not Google ads) paying us a moderate flat fee, we don’t rely on viewer numbers. For you, this means no popups and no ads between paragraphs, nothing in your way when reading our articles. All advertisement takes place in the top toolbar and the sidebar. Feel free to check it out.

We also continue refraining from affiliate links as it still leaves a bad taste in our mouths.

As at the end of the previous years, we list our our personal favourites of 2022 – the portable audio we personally enjoyed most. There are no rules, we just tell you what we like. It does not have to be the latest. After all, the gear we use most is the best for us. Between us, the Dunu Zen, 7Hz Timeless, Final ZE3000, and Questyle M15 received the most mentionings. The Questyle M15 appears to be the most highly acclaimed dongle in the blogosphere period and may as well be the “Product of the Year” all around.

We don’t publish any “best of” lists as we have not tested all competitors in each category.

Enjoy this read and we wish you a happy and successful 2023!

We thank

And here we go…that’s what we enjoyed in 2022…

Alberto Pittaluga… Bologna, ITALY

My 18 readers know that I’m much more into enjoying better sound than into getting excited about sidegrades or other small changes from my existing preferences. I am the polar opposite of a marketing hype target individual – on pretty much any topic by the way. I mean: try and sell me a “better” (?) Moka coffee machine…

With that in mind, and considering that I’m not into this since yesterday evening, it’s quite logical that the list of the really significant items out of all those I come across over a year’s time is short. Here’s what I found in 2022 which is worth recommending.

IEMS

Intime Miyabi – a great piece of engineering ticking most if not all boxes for my tastes. Beyond details, one of the absolute best sound delivery experiences one can buy (well… some personal initiative is required to fetch it from Japan) below 500$… spending less than half of it. My report here.

RHA CL2 – I heard quite a few planar IEMs, and not a single one “closes the door” for me. Long story short, none offers me a well-articulated-enough sound experience out of the box, and none carries a driver good enough to be equalised into something I really like. The sole exception I ever came across yet is this RHA CL2 – a dated model indeed, which I had the venture to audition this year for my first time. More on this on my piece about it.

DAC/AMP Dongles

Questyle M15 – no doubt the “best overall quality” battery-less DAC/AMP (“dongle”) at any price. Paired with a small transport easily makes all sub-800$, and most sub-2K$ DAPs pointless in terms of sound quality delivery (some may still prefer “some” DAP for better pocketability convenience or specific features). Firstly reviewed in depth by Jurgen here, you can read my incremental notes here.

E1DA 9038SG3 and 9038D – the M15 is what it is, but it also is relatively expensive (almost 300€ once delivered to Italy). My previous experience taught that me that exclusively higher-tier (and price) dongles are able to deliver sound qualities worth investing in more money than the 9$ price tag asked for an Apple Dongle ($9). Then I found these two gems which fulfill the need for incredibly clean and powerful sound for less than half M15’s price, and 90% of its proficiency.

Biodegraded…Vancouver, CANADA

7Hz Timeless:
Despite a somewhat elevated and loose midbass, these have great overall tonal balance, smooth mids, excellent instrument separation and layering, and speed. Macrodynamics are on the soft side, which might not be for everybody; and the fit will be problematic for people with concha bowls on the smaller side. They work best with warmer, dynamic sources.

Durwood…Chicago, USA

Swimming in dongles I don’t have a favorite, Moodrop Dawn has the selectable gain, others like the Shanling UP3 have single and balanced outputs and controls. Take your pick. I would like selectable gain AND single ended/balanced outputs.

Desktop DAC goes to the SMSL C200 for best value and sound that hangs near the top dogs. I personally prefer separate pieces for the ability to have more connection options and swapping but for near double the price I don’t see double the performance. The SMSL SU-9 is excellent for me I ended up buying one on the second hand market. The SMSL DO100/HO100 is great too and bit more user friendly for the size.

For earphones I still love my Shozy Form 1.4 for the bass tuning, warm signature and superb fitment YMMV. There are lots of excellent performers if just factoring in sound and technical merits including the 7Hz Timeless and Moondrop Kato, but I struggle keeping them in place. For those starting out or not a lot to spend, my budget pick for what is available would be the CCA Lyra.

For TWS, I only have 3 pairs to compare-but if I don’t need ANC, I would pick the Moondrop Alice all day everyday. Review coming soon, they are a wireless Kato and they nailed all the important features (sound, battery life, control, fitment), form follows function.

Jürgen Kraus…Calgary, CANADA

In terms of earphones, I continue liking the JVC HA-FDX1, the Dunu Zen, and the Final E5000. The Zen remain my go-tos. New on my list are the LETSHUOER EJ7M (great allrounders), the Final A3000 & E3000, and the very articulate Dunu Talos. But the earphone I used most in 2022 is the superb Final ZE3000 TWS.

As to headphones, my Sennheiser HD 600 have received company by the Final Sonorous III. On the budget side, I added the excellent KTXPro1 to my Koss selection (Porta Pros, KPHi-30, and KSC75).

I am principally a “portable guy” who used to operate his iPhone with a dongle, mainly the AudioQuest DragonFly Cobalt. Whilst the Cobalt remains a standard staple of mine, the excellent Questyle M15 (and here too) is a great alternative for my higher current-drawing headphones/earphones – and my personal product of the year 2022.

For driving full-sized headphones and single DD items, nothing beats the Apogee Groove. For Bluetooth DAC/amp, I exclusively use the very mature Qudelix-5K. And for earphone testing, I am still holding on to the totally underappreciated Earstudio HUD100.

The Hidizs AP80 Pro-X has proven a great dap for me, no matter if used alone or as transport with a dongle. The Sony NW-A55 with Mr Walkman firmware also remains in my collection of favourites. And the very crisp sounding Questyle QP1R remains my flagship dap. The biggest surprise for me was the Tempotec V6 dap…essentially a $500 device at half price.

For my desktop setup, I am holding on to EarMen Tradutto DAC in combination with the Burson Funk amp and AudioQuest analog and digital interconnects.

Kazi Mahbub Mutakabbir…Munich, GERMANY

Just like that, another year went by. This year was special for me as I got to visit High End Munich 2021 (which happened after a 3-year hiatus) and also got to meet some great reviewers and legends of the industry in person.

Best Headphones: This year, I have slowly transitioned from portable audio into desktop audio. A knock-on effect of that has been my growing headphone collection. What used to be a mere 4 headphones last year, has grown into a whooping 25 now.

Yup, I need another shelf.

Speaking of the best headphones, Hifiman HE-6se V2 got the most use this year from me. I still use the Sennheiser HD650 whenever I feel like relaxing, but for my playlist – the Hifimans absolutely slap!

That being said, they aren’t the best headphones that I’ve tried this year. That recognition goes to the venerable Stax SR-X9000. Still underrated in the summit-fi segment, these overtook Susvara for me in almost every aspect. They are build better, has better sense of space, bass is better defined and slams a bit harder, and of course – the ethereal treble is an absolute joy.

Too bad that the price tag (with energizer) makes these nigh-unobtainable for me. Doesn’t make them any less awesome, though.

Best IEMs: Dunu Zen remains my daily driver, and they scale tremendously with desk sources, so I am a happy camper.

Speaking of camps, Campfire Audio Holocene has sneaked their way into my daily rotation. Probably my most favorite Campfire Audio IEMs, ever. They deserve a lengthy, long-term review, which is in the pipeline.

This year I also had to wade through loads of “meh” IEMs, each mimicking a certain “scientifically perfect” (lol) curve in one way or another, and each sounding boring and unremarkable. But the one IEMs that kept the fire alive was the Softears Turii.

Exceptional in almost every sense, their fit is the biggest concern, but with Spinfit W1 tips (excellent tips btw, recommended) I found them stable enough to enjoy outdoors. Too bad that they’re discontinued.

The Softears Twilight is a spiritual successor of sorts. Doesn’t have the crazy sense of space that the Turii portray, but pretty much beats every other single dynamic I’ve tried under USD $1000 (and I have tried nearly all of the hyped ones by now). So yeah, Softears, take a bow!

Desktop DAC and Amp: Questyle CMA Fifteen takes the cake for the best all-in-one system that I’ve heard. Near-endgame for 99% out there I’d say. Drives almost everything with authority. What’s not to like? Oh yes, the price. Something’s gotta give after all.

As for standalone units, the best solid-state amp I’ve tried: Zaehl HM1. As for the best tube amp: Feliks Envy, or the Feliks Euforia AE. Two very different price-points, but both about the best tube amps you can buy right now.

DACs are a bit difficult for me to judge, and the ones I’ve tried this year couldn’t replace the Holo May L3 I tried last year, so that one still reigns supreme.

Portable DAC/Amp: Questyle came outta nowhere with the M15 (and here too) and seized the day. Nothing else comes close, really. On the higher side of the price, Chord Mojo 2 is an excellent device. For using with IEMs and moderately efficient headphones – that’s all you’ll ever need. The DAC section is kilobuck-level as well.

Surprise of the Year: Final ZE3000.

I do not like wireless stuff at all, mostly because of how poor and compressed 99% of them sound. This one caught be off-guard. I bought them only to review them, fully expecting to put them up for sale once the review is done.

Now, three months later, I carry them everywhere and despite the finicky touch controls, I keep coming back to them. Only the Sony WH-1000XM4 sound as good as them, and they cost 2x the price. To think that Final would come up with one of the best TWS IEMs around – didn’t see that one coming.

Then again, who else would be that methodical?

Loomis Johnson…Chicago, USA

IEMs:

Moondrop Starfield—my default rec to folks who ask me which <$100 phone to buy…big-sounding, with seamless coherence and as lot of PRAT.

7Hz Timeless—polarizing and imperfect (there’s some stridency at the highest frequencies), but technically very accomplished and highly resolving. The more I hear ‘em the more I dig ‘em.

Tin HiFi TWS Buds 3—light on features (no app, no ANC) but beautifully built and a really engaging listen, with very good imaging and instrument placement.

AXS Audio Professional Wireless Earbuds—generic-looking, with a modest soundstage, but probably the best-sounding TWS I’ve heard to date. 

Portable DAC/Dongles:

Xumee USB-C—lots of power and surprising finesse for less than the price of a six pack.

Hidisz S3Pro—a really refined performer which synergizes well with anything under 150 oHm.

Headphones:

1More Sonoflow Wireless ANC—you can pay a lot more for punchier sound or more tech features, but these are an awful lot of headphone for the money, with good noise-cancelling, an unforced natural tonality and fantastic battery life.

Koss KTXPro1—uber-comfortable and musical as hell; for $19 there’s no reason everyone shouldn’t own a pair.

Bluetooth Speakers:

Oontz Angle 3—diminutive, seemingly indestructible cheapo with surprisingly good bass output and an enveloping 3D soundstage.

Edifier R1280DB Bookshelf Speakers—I gave a set of these to the owner of a cannabis dispensary, whose customers rave incessantly about how good they sound even before imbibing.

Desktop DAC:

SMSL SU-6—a more than capable DAC, with excellent bass control and a very detailed (if occasionally overbright) high end; digital preamp and Bluetooth functionality are big plusses. Outstanding value.

KopiOkaya…SINGAPORE

The editor: although KopiOkaya retired a year ago (on his own terms), he keeps his eartips compendium up to date. His list has been a cornerstone of this block and its most successful article. It currently records somewhere between 80,000 and 100,000 views.

Best under $50 IEM:

7HZ SALNOTES ZERO

Best under $100 IEM:

DUNU KIMA

Best IEM of 2022:

SOFTEARS TURII Ti

Best dongle DAC/AMP of 2022:

QUESTYLE M15 (here and here)

Best portable DAP of 2022:

TEMPOTEC V6

Best budget DAC/AMP combo:

SMSL SH-9 THX AAA-888

Best desktop DAC of the 2022:

HOLO MAY KTE (KITSUNE EDITION)

Best desktop headphone amp of 2022:

QUESTYLE CMA FIFTEEN

Best eartips of the 2022

SPINFIT W1

Most outstanding audio product of 2022:

QUESTYLE M15 (here and here)

And This Was The Previous Year:

The post Gear Of The Year 2022 – Our Personal Favourites appeared first on Music For The Masses.

INTRO

Something a little different came across the hands of the audioreviews crew, the Ampapa A1 Phono preamp and headphone amp. Ampapa, founded in Seattle Washington, USA appears to be short for Amplifiying All Passions.

They seem be related to another company Nobsound, parent company of brands Douk Audio, One Little Bear, and now Ampapa. I have to admit they have not been on my radar at all. They have a sort of steam punk design aesthetic across many of their products.

While my collection of vinyl is thin, I can appreciate the attachment to technology of the (g)oldendays and forming a bridge to today’s technology. It seemed like a nice departure to experience something that can color the sound rather than always focusing on the transparency of other products.

The Ampapa A1 priced at $139 is one such device, and my expectations were open. It is a solid and well constructed piece reminiscent of a pro-audio effects device, that is free from hiss but not of coloration. Let’s dive in.

Disclaimer: Sent to me through Amazon direct from Ampapa, they had no strings attached to acceptance of this freely provided gear. Will pass onto to Loomis for further abuse.

TOTAL PACKAGE

The Ampapa A1 arrived in an easy to open box about the size of a small child’s shoe box. Inside was the unit, a 12Vdc power adapter, a set of flexible RCA cables, a cleaning cloth for the tubes, a manual and the tubes packaged separately in their own boxes to prevent damage.

The Ampapa has some heft to it housed in an aluminum enclosure with sharp easy to read lettering, solid metal toggle switches, and knurled aluminum knobs that feel great to turn and are free from play and noise. There is the standard bass and treble knobs to the left of the volume knob.

Surrounding the perimeter is a selected array of orange or green LED lighting that also lights up the vacuum tubes. Looking only at pictures one might assume there were separate lights, but instead uses a light pipe and internal lights to create this glowing switched effect so as not to appear overly bright adding additional cost for a cosmetic feature. There is also the option to turn if off altogether.

What is missing is a gain switch and it appears to play nice with 50-100ohm headphones. Not enough juice for the 300ohm or greater, but it will drive them to acceptable listening levels.

SOUND

Tested with SMSL C200, LG G8, Headphones Philips Fidelio H2XR, Drop Sennheiser HD6XX, Drop JVC HA-FDX1

Initially I paired the Ampapa A1 for use as a headphone amp with the recently reviewed Aoshida Audio SMSL C200 as the DAC preamp. With the Bass and Treble set to zero, the Ampapa A1 sounds rather unexciting and perhaps a bit dull. That’s ok, because this unit is designed to color so I found a few clicks ~+2 on the bass and treble let it come life.

It is clean sounding bass has a warm tinge but not exactly punchy. Midrange proves to be clear and concise but the treble takes on a bit of a brittle glassy nature. Even if I turn the treble back to zero it still exhibits this characteristic. I am a bit surprised as the headphone circuit uses the NE5532 op amp which is a staple excellent opamp for preamps and headphone amps, so perhaps this is the vacuum tube sonic signature. I lack experience in this area, so I can only report on this particular device.

SOUND (PHONO PREAMP)

I connected my vintage Technics SL-1500Mk2 turntable to the phono preamp of the Ampapa A1. Note it is only designed to work with MM cartridges and not MC. In this connection I noticed a bit more background noise that is probably due to the age of the turntable and the different circuitry required for phono preamps. In other words, I fully expected extra noise.

The Ampapa A1 has built in RIAA equalization to properly even out the shortcomings of the vinyl playback system. This is where the Ampapa A1 tends to strut its stuff. I found the brittle glassiness of the top end melt away and become an ally instead of a villain. With the bass and treble knobs at zero it sounds very analog, warm and comforting. It still helped to add some bass and treble to liven it up, but it did not feel as necessary as it did when using it strictly as a line-in preamp or headphone amp.

Another note, the volume knob controls both the preamp output and the headphone output at the same time. Beware of leaving high sensitivity headphones plugged in if also feeding the line-out to an amplifier speaker setup.

TECHNICAL MERITS

While it’s harder to rate something that is purposely designed to alter the sound, the Ampapa A1 does had good separation and clarity for tube preamp. It presented good depth and spacing so as not to sound flat or too low-fi.

It doesn’t have the gusto to drive a pair of Sennheiser HD6XX, but it pairs well with 50-100ohm headphones. In ear monitors are perhaps a bit too sensitive for this. As an example the Drop JVC HA-FDX1 was only able to utilize volume below 3 before it started to become unbearably loud. There is no gain switch, so choose wisely.

Just like opamp rolling which is a novelty or in some cases can cause instability in circuits if you select poorly, the Ampapa A1 allows the tuner to play with other tubes and they make some recommendations (6J1, 6K4, 6J5, GE5654W, 6*1N, 6*2N, 6J5, 6A2, etc). Of course the ones they have selected (JAN5654) are superior if we are true believers. I will not pretend to know or disagree since tubes are not my expertise.

THE END

The Ampapa A1 was a well constructed fun to play with phono preamp. I cannot recommend it as a line-in preamp/headphone amp as it has a narrow use and the treble was too sharp and glassy. However, if you want to use it primarily for phono preamp, this appears to be in its wheelhouse and I can get behind it.

SPECIFICATIONS

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Get the Ampapa A1 from Amazon or the DoukAudio Store or other distributors.

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The post Ampapa A1 Vacuum Tube Phono Preamp/Headphone Amp (Review) – What A Knob! appeared first on Music For The Masses.

A device gets attached to this Wall of Excellence when based on our private and of course subjective experience it performs so well within its technical and price category as to even discourage considering homologous alternatives.

If it ain’t here, WE don’t want it!

Please note that our WoE will not be limited to devices we actually published a review of. Nonetheless, all WoE devices have for long time been or still are part of our operative gear.

We start small and plan to expand our wall according to merit.

This Site is being consistently updated…please bookmark it and keep checking back!

LATEST ADDITIONS: Qudelix-5K, Questyle M15, E1DA 9038SG3.

In-Ear Monitors

Past excellences, now discontinued or superseded

Headphones

Digital Audio Players (“DAPs”)

Desktop Amplifiers

Desktop DACs

Desktop Integrated Headphone DAC/AMPs

Portable Headphone Amplifiers

Portable Integrated Headphone DAC/AMPs

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Dongles are little DAC/amps without battery that are powered by their source device.

Past excellences, now discontinued or superseded

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Cons — Lacks extension at both ends; not the best note definition, could be a bit edgier.

Executive Summary

The $600 Oriolus Isabellae is a warm, cohesive sounding, well balanced single DD iem with an inviting organic timbre that provides for a relaxed listen.

Introduction

Oriolus is a Japanese boutique manufacturer that has subscribed to high-end audio since 2015. They specialize in in ear monitors but also offer a digital analog player. Oriolus products are only available from hand-picked retailers.

The Isabellae is a well-perceived single-dynamic-driver earphone in the $500 price category. I could test it only for a few days as it was a private loaner.

Specifications

Physical Things and Usability

I did not receive the retail packaging but the bare iem plus cable. But what immediately stroke me was the earpieces haptic: I could not think of a better quality resin. The earpieces felt substantial and superb between my fingers. What’s unusual is the large nozzle thickness. I had to stretch standard eartips with 4.5 mm stems to get them on. Isolation was not great, but fit and comfort were good.

Cable comes with a 4.4 mm pentacon balanced connector. I used a Venture Electronics adapter to connect to 3.5 mm sockets. I could not find any tech information on the cable but it was very flexible and great to handle.

Tonality and Technicalities

Equipment used: Sony NW-A55; Macbook Air + AudioQuest DragonFly Cobalt or Apogee Groove; LETSHUOER EJ07M white stock tips.

The Isabellae has an overall warm tonality with a slight V-shape, resulting in a cohesive, organic presentation without irritating peaks. Extension at both ends ist somewhat modest so that the main focus is at the mid-bass to lower midrange. The frequency response is close to the plethora of personal target curves of the usual protagonists. Tuning is safe and there are no unpleasant surprises across the frequency spectrum.

This results in a relaxed, never fatiguing listening experience that is particularly well suited for orchestral/acoustic pieces.

There is a mid-bass boost that is not overbearing (it does not pound against my sensitive eardrums) which adds warmth to the image and adds richness to vocals in the lower midrange. This frequency region is the most obvious/characteristic of the whole presentation.

Mid-bass is of medium speed, well textured, but can come across as a bit fuzzy at times, and it can make vintage recordings sound thick. Although there is some rumble at the bottom, sub-bass extension could be better, which is reflected in decreased soundstage depth.

The lower midrange gets weight from the mid-bass boost and not much energy from the moderate 2-4 kHz area. This results in rich, slightly warm vocals reproduction and the complete absence of shoutiness, but at the expense of midrange clarity. Note definition could also be improved, that is adding some edge. Male vocals have a good weight, more so than female ones, which are more intimate.

The drop starting at 2.5 kHz and increasing just before 5 kHz excludes sibilance and adds to the overall smoothness, but it also adversely affects stage width. Cymbals and hi-hats are typically recessed, though reasonably well resolving.

Soundstage is of average width with average depth. I miss a deeper stage. Macrodynamics is a bit polite for my taste, notes are rather rounded and deserve more bite. This contributes to the opposite of fatigue…after two hours or so, I feel I need a bit more pizazz and a harder kick! Microdynamics could be better at this price tag. I’d appreciate a bit more sparkle.

Spatial cues, layering and separation are good however the usual compromise of a single DD, but the wonderful organic timbre compensates for that. The stage can be crowded when a symphony orchestra plays.

Oriolus Isabellae Compared

Of the iems I know, the Dunu Zen comes sonically closest to the Isabellae. The Zen has a better sub-bass extension, which creates a deeper stage and a more immersive and engaging listening experience. And it has incredible microdynamics. But it also has a glare in the upper midrange that can attenuate and sharpen vocals. Both lack notable treble extension.

The better resolving $600 LETSHUOER EJ07M tribrid at a similar price tag provides a stark sonic contrast with its much drier, leaner, more energetic, less weighty, and more brittle and neutral presentation. It’s bass is also boosted, but faster, tighter, and crisper/snappier/more dynamic, the vocals sharper, leaner, and more energetic. But the EJ07M has the narrower (however deeper) soundstage and the better resolution. You want the smoother Isabellae with its thicker bass and natural timbre for laid back, symphonic listening and the Shuoer for your energetic rock music.

The $350 Unique Melody 3DT with its three (!) dynamic drivers has a sharper, edgier/spicier, and a leaner, cleaner but more brittle and analytical presentation. Notes are better defined but the experience is less engaging though crisper than with the Oriolus. I had to tape the 3DT’s nozzle off to reduce its upper midrange and the danger of shoutiness. Both models could not be more opposite: warm and fuzzy vs. correct and sterile.

The $200 Moondrop KATO has the narrower stage but a clearer midrange and an overall “harder” sound than the Isabellae. It is not as warm and rich as the Isabellas, which probably stems from its comparatively less boosted mid bass. The Oriolus sounds smoother and more mature, the Kato more juvenile and energetic…and borderline shouty.

The JVC HA-FDX1 has a leaner, more neutral, and less bassy presentation. It offers a narrower stage, is more strident in the upper mids, has a somewhat metallic timbre…and is still less analytical than the UM 3DT.  

Concluding Remarks

The Oriolus Isabellae are rather polite playing single-dynamics earphones with state-of-the-art haptic. They will appeal to fans of Final Audio Design products (another Japanese company) and to those who enjoy natural timbre in acoustic sets.

Until next time…keep on listening!

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Disclaimer

This private loaner was kindly provided by Super Best Audio Friend Rockwell – and I think him for that.

Get the Oriolua Isabellae from Musicteck.

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You find an INDEX of our most relevant technical articles HERE.

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The Questyle M15 is a very enjoyable, powerful portable DAC/amp with an uncoloured, crisp, transparent sound far from being analytical or sterile. Candidate for “Best in Class” and on our “Wall of Excellence”.

Pros — Powerful, uncoloured, transparent sound; versatile usage; moderate current draw; great build.

Cons — Can’t find any.

The Questyle M15 was added to our Wall of Excellence.

Introduction

Jason Wang has been an audiophile since middle school. In university, he invented current mode amplification (CMA). CMA devices are characterized by their crisp and transparent sound. It became his ambition to produce audio products with the best possible sound quality. But nothing can remain the best forever, so we should always keep questioning for better. He made this his lifestyle. Jason combined his two principles to form the company Questyle in 2012. Got it?

Questyle had a huge impact with their first digital analog player QP1R back in 2016. Three of us have purchased one – and it remains our reference to this day. Their flagship dap QPM made it onto our Wall of Excellence as true endgame. And the CMA Twelve DAC/amp also collected very good marks from our team.

The company recently also followed the trend of battery-less dongle DAC/amps. Such dongles are marketed to people who want to play music in high quality on their phones, and who don’t want to have a second device in their pocket.

The current market is flooded with dongles – we covered a few – and it appears to be increasingly difficult for a new release to stick out. The 2021 M12 was Questyle’s first effort in this field. Our two guys in Europe were not…too impressed. That’s probably because of their expectations of the crisp Questyle sound, which the M12 did not deliver. It was unusually warm and soft to their ears.

Spoiler alert, the M15 returns to the strictly neutral sound Questyle made its name with. There are a few more things to say, for example how they did it…let’s start with the physicals.

Specifications

Physicals

In the box are:

• 1 * M15
• 1 * USB-A to USB Type-C cable,
• 1 * Type-C to Type-C cable
• 1 * Instruction manual
• 1 * Warranty card

The body is made of metal with a glass cover on top so that one can see the internals at any time. Sturdy, robust…as good as it gets.

Technology

The Questyle M15 incorporates the ES9281Pro SoC (System on Chip) that comprises an all-in-one DAC and headphone amplifier, which delivers a prefabricated sound so that all such devices sound similar. STOP! This is not the case with the M15.

Questyle engineers have enhanced the output signal by adding two Current Mode Amplification (CMA) SiPs (“System in Package”: each with two independent amplification circuits) to achieve the Questyle sound, which is characterized by ultra low distortion, a very low noise floor and very low output impedance of around 1 ohm. This low-voltage configuration is further meant to minimize power consumption, beneficial for mobile use.

The reason why Questyle did not bypass the SoC’s amp altogether is because that’s virtually impossible. And the reason why they didn’t use a pure DAC chip such as the ES9038 is size – it is simply too big. The ES9281Pro chip also features a USB module. Therefore, size and performance dictated the choice of chip.

The M15 offers both balanced (4.4 mm) and single-ended (3.5 mm) circuits.

Functionality and Operation

What it does

• Works plug and play with Windows, Linux, and OSX computers and Android/iOS devices.
• Plays music though single- ended (3.5 mm) and a more powerful balanced (4.4 mm) circuits.
• Supports almost all music streaming platforms worldwide, including Apple Music, Tidal, QQ Music, among others.
• Fully supports and decodes ALAC, FLAC, MQA, and other lossless formats.
• Features two data status indicators that will illuminate one of the following colors: green (sample rate is 48kHz or less), red (hi-res lossless playback: PCM 88.2kHz~384 kHz, or DSD64~DSD256), magenta (final unfold of an MQA Core stream).

What it does not

• Has no on-board control.
• Needs a lightning adapter to be used with iPhone.

The Questyle M15 does not have an on/off switch. It draws current from the host device and switches itself on, when a headphone of earphone is plugged into one of its two sockets.

Amplification and Power Consumption

The manufacturer’s amplification data are rather cryptic so that I put the Questyle M15 to a practical test. The problem is that balanced cables for full-sized, power hungry cans are hard to come by – to take advantage of the M15’s 4.4 mm balanced circuit, which is much beefier than the single-ended circuit (a generally valid statement).

Running the 300 ohm Sennheiser HD 600 on the (weaker) single-ended output – to my surprise – did not only provide enough power, it also maintained the zing, bite, and clarity experienced with easier to drive earphones.

Then I ordered a balanced cable for the balanced circuit – which worked even better. The M15 has enough power to adequately drive a 300 ohm headphone.

Questyle claims that the M15 has an ultra-low power consumption (which, of course, is relative to performance). I did a quick test with the FNIRSI-FNB48 voltmeter. The M15’s single-ended circuit has about twice the power drain of the “frugal” AudioQuest DragonFly Red, and approximately one third more than the DragonFly Cobalt. Both are designed for low power drain, which comes with compromises in performance.

The Questyle M15 has, however, a much smaller current drain than the much less powerful Hidizs S9 Pro. And it works with iPhone that limited power draw to 100 mA, which shuts out similar dongles such as the Astell & Kern PEE51.

I’d say the M15 is very current efficient, but you’d still better have a decent phone battery.

Sound

The Questyle M15 has a sonic signature owners of Questyle equipment love: essentially neutral with great extension at both ends, unparalleled resolution, clarity, transparency, and crisp dynamics – and all that without ever being strident or aggressive, sterile or analytical (Topping comes to mind as the opposite). Almost like a little class-A amp in your pocket. If you have listened to the QP1R dap or the CMA 12 DAC/amp, you will know what I am talking about.

Spatial reconstruction is excellent in both single-ended and balanced circuits. No compromise has been made for the single-ended circuit, the only difference between the two is power. This is in contrast to some other models that sacrifice headroom in their single-ended circuit such as the EarMen Sparrow.

And that’s all you have to know.

Questyle M15 compared

Questyle had released the $150 M12 a year earlier. In contrast, it features only a 3.5 mm single-ended circuit, and, most importantly, it has a different sound: softer and warmer than the M15 or QP1R dap…which did not quite delight Alberto at the time. The M15 also has a gain switch for driving a larger variety of headphones.

Apogee Groove: is much more powerful, way higher current drain, a very high output impedance of 20 ohm, and it does not run with most phones, not at all with iPhones. Its use with hybrid iems is not recommended by the manufacturer. Sonically, the Groove is more coloured and it drives headphones without the need of balanced cables. The Groove offers the best spatial reconstruction of all dongles I have tested but is limited to single dynamic driver earphones and headphones.

With the Sennheiser HD 600, the Groove delivers more dynamics and a deeper stage than the M15. The differences are, however, not substantial. In summary, the Groove excels in it specialized applicability, but the M15 is more universally deployable.

AudioQuest DragonFly Cobalt is smaller and thus handier on the go, has USB filtering included and sounds a bit smoother and a tad warmer. It has similar imaging and spatial reconstruction qualities. It is less powerful – at a lower power consumption, and therefore more limited in its application. The evaluation of sonic differences relies on personal taste but are on par in terms of overall quality. Both offer stellar sound.

Practical Aspects

Questyle and similar dap manufacturers offer dongle DAC/amps to cover the phone/table/notebook market. A dap has principally a cleaner data and power source than a phone or a computer, as it is designed for playing music only. Computer and phone feature other clocked internals that introduce contaminations (“noise”) to the sound. So you are always better off with a dap, sonically – any USB DAC/amp (“dongle”) is a compromise.

When it comes to dongles, the user has to pick their poison: low current draw (= low power = battery preservation) vs. high power (= better sound quality = battery hog). Both are mutually exclusive.

You obviously need a powerful dongle to operate full-sized cans. Devices optimized for low current draw such as the AudioQuest DragonFlys will be easy on your phone’s battery however not do a satisfactory job on demanding headphones. Clipping will occur which will first be noticed when the bass is getting muddy.

Battery hogs such as Hidizs S9 Pro will do a better job on such headphones but empty your phone in no time. The Apogee Groove will not run with most phones at all. Powerful AND low battery drain does not exist!

There is a fundamental lack of technical understanding by some testers who run full-sized, insensitive cans on battery-preserving dongles, then rate them lowly. This misuse conveys the wrong information on the quality of such devices and distorts the playing field.

Therefore, if you have an old phone, a DragonFly type dongle may be right for you. If you want to run full-sized headphones from your computer, you may favour the Apogee Groove type. The Questyle M15 strikes a good balance between powerful output and current drain. However, despite its advanced power management, it is not a miracle power saver. In the end, you have to factor your intended usage into your buying decision.

Concluding Remarks

The very versatile Questyle M15 dongle is as good as it gets in its category. It is for listeners with very high standards. I will use this one for future iem testing…and submit it for approval to be attached to our Wall of Excellence.

Until next time…keep on listening!

Contact us!

Disclaimer

I received the unit from Questyle Engineering for my analysis. I thank them for that as well as for responsive in answering my questions. You can purchase the M15 at the Questyle Shop.

Our generic standard disclaimer.

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Cons — Relatively high impedance…benefits from amplification.

Executive Summary

Introduction

BQEYZ made themselves a name back in 2018 with one of the first neutrally tuned budget iems, the $30 2DD +2BA BQEYZ KC2, at a time when budget meant V-shaped. The KC2 is still available and has a dedicated following.

The company continued a class higher with the $139 1DD +1BA +1 EST BQEYZ Spring 1, which had wonderful vocals but a somewhat pillowy bass. The subsequent 1DD +1BA +1 EST $169 BQEYZ Spring 2 improved the bass somewhat. All of the above were metal built.

The subsequent $129 1DD +1BA +1EST BQEYZ Summer deviated with its translucent resin shells and finally featured the desired punchy bass.

We have collectively analyzed all of the above to the hilt, including Durwood’s study of the effect of nozzle mesh on the Spring 1’s frequency response.

The latest BQEYZ model is named “Autumn” after the third season of the year, hence “Tre Stagioni” (three seasons). With their BQEYZ Autumn, the company reverts to metal shells being essentially identical in shape to the Summer’s.

New is the driver configuration which is a single DD. BQEYZ also offer maximum sonic flexibility by including three sets of magnetic tuning vents at the font of the shells. Each of these pucks constitutes a different front vent with its very own bass response.

It is an interesting approach contrary to the JVC FDX1, the perceived bass response of which is dosed by screw-on nozzles containing different filters. Although these alter the JVC’s upper midrange response, the effect is only heard at the low end, as the human ear registers the whole frequency spectrum in context.

Specifications

Physical Things and Usability

In the box are the 2 earpieces, the cable, 3 pairs of tuning pucks in a holder, the magnetic tuner pole, 2 sets of eartips (S/M/L), a brush, and a carrying case. The three tuning pucks (“bass”, “normal”, “treble”) are actually the inner earphone vents (also called front vents). They come in different openings: the smaller the bassier. We describe the relevant physical principles in this article.

The metal pucks are inserted and removed with the included magnetic pole. This takes as long as a tire change during a Formula 1 race. The magnetic fit guarantees minimal wear and tear even when swapped frequently. Very handy.

The earpieces are made of CNC machined metal and are built very well. The overall haptic of shells and cable is great. BQEYZ have addressed the criticism of the BQEYZ Summer’s resin shells.

Fit and comfort are very good, isolation is rather poor for my ears. The cable has silver-coated copper and high-purity copper strands. It is loosely braided with minimal contact area between the strands for minimum interference. I find the cable rather pliable and light – it has no microphonics.

2 sets of eartips (S/M/L) are included, one wide bore and the other narrow bore. Note that the nozzle diameter exceeds the usual 4.5 mm so that many third-party eartips will not fit. You may try the SpinFit CP500 or any Azla SednaEarfit models if going for third-party tips.

Tonality and Technicalities

A universally valid assessment of the BQEYZ Autumn is difficult as tonality and technicalities depend on the interplay of several factors: magnetic tuning puck + eartips + source (in any combination). This versatility allows to you pretty much to create your own favourite sound.

Considering its 46 Ω impedance, the Autumn benefits from amplification, although it works surprisingly well with my iPhone SE (1st gen.). For example, the powerful Apogee Groove produces a much cleaner and better defined image than the weaker AudioQuest DragonFly Cobalt.

Using the JitterBug FMJ with the Apogee Groove makes quite a difference in that it ads definition to the image. The difference is actually considerable.

With the wide-bore stock tips, the “bass” vents generate more…yes…bass…which drowns the vocals out somewhat — and the “normal” vents bring voices more into the foreground without sacrificing bass impact. But this latter combination may be bassier than the combination of “bass” vents and JVC Spiral Dots.

I played with the stock eartips but got the best results with the JVC Spiral Dots that disperse some of the mid-bass and produce the tightest possible low end. Bass generally digs deep but the vocals move into the foreground with the JVCs. Signature becomes brighter but notes also cleaner and more articulate.

I also experimented with the vents, and the normal ones yielded the best result (in combination with the Spiral Dots). The bass vents “overthicken” the low end, move the vocals back and therefore remove intimacy and detail.

My favourite combination therefore is the normal vents with the JVC Spiral Dots.

So, how does the BQEYZ Autumn sound, actually (with “normal” puck and Spiral Dots)? It has the classic slightly warm single-dynamic driver sound with a rather crisp attack adding some edge.

The low end is on the tight side, it is well extended and remains focused to the lowest frequencies. There is no mid-bass hump as emphasis is on the lower frequencies, just above sub-bass. Drum kicks in the mid bass are not as pronounced as they could be but they are nevertheless hard as a rock – and dry.

Lower midrange is standalone without bass bleed. Male and female voices are somewhat recessed, of medium note weight, energetic, and natural. There is no shoutiness but we are getting there, although that 5 kHz peak is not irritating to my ears.

Midrange temperature is a bit cooler than in the bass region but still not quite neutral. Midrange resolution is very good, everything clean and clear there. Note definition is very good.

Lower treble rolls of substantially. Cymbals are a bit back and don’t have the best definition – but they are still ok. Resolution is better in the midrange than in the treble region.

Stage is average in width, height and depth. Spatial cues is very good. Attack is sharp and crisp without being aggressive. The dynamic driver is rather nimble. Stage positioning and separation are also good. Timbre is good.

I am a bit short in my sonic description as it mostly applies to this very particular setup.

BQEYZ Autumn compared

The dynamic-driver competition in the $200 region is tight. The Tanchjim Oxygen (which I don’t know) and the JVC HA-FDX1 are standard staples on our Wall of Excellence (also count the 1+1 IKKO OH10 in). The Moondrop KATO is arguably the company’s best dynamic-driver offer.

To disappoint you, it is impossible to tell which is the best of the lot as they are very close in terms of (sound) quality. But they differ quite a bit in ergonomics.

For example, the IKKO OH10 is very heavy in one’s ear, and so – but to a lesser extent – is the KATO. The Oxygen have short nozzles that may not fit everyone and the JVCs have a weird shape altogether that may not be the most comfortable for many either. In this respect, I prefer the Autumn’s compact shells.

But what I can say is that the Autumn sound more refined than the brighter $139 BQEYZ Summer, particularly in the midrange. The JVCs are not as crisp as the Autumn, they are smoother, dampened, with more rounded notes – but not as deep. The Autumn are rougher around the edges, more dynamic/energetic, and they have more midrange body and a much better sub-bass extension.

The Moondrop KATO are brighter than the Autumn (in my setup), with a wider but shallower stage. They have a smoother bass and vocals are not quite as intimate. They also have more sparkle with more air in the midrange. And they are more prone to shoutiness. How graphs can deceive us. Voices are a bit thicker and more rounded in the KATO. Treble resolution is similar between the two.

As I tend to say (well I stole it from Alberto): pick your poison!

Concluding Remarks

The BQEYZ Autumn are well built and good sounding single-dynamic driver earphones that fit their price category well – and that can prevail against their tough competition.

Whilst it is difficult to rank the large crowd of $200 single-dynamic drivers, the Autumn stick out in two aspects: comfort/fit and sonic versatility through the included tuning front vents. They are, in my opinion, the best offering in BQEYZ’s 3 season series.

Tre stagioni? Quattro stagioni! Now we are ready for “inverno”. No, that’s not what you think*…learn Italian…

Until next time…keep on listening!

*Italian: winter

The post BQEYZ Autumn Review (1) – Tre Stagioni appeared first on Music For The Masses.

Cons — Timbre not the most organic; large shells; rose gold not for everyone.

Executive Summary

The Hidizs MM2 is a well resolving iem that let’s you adjust the sonic signature with three screw-in outer vents. Another novelty is a magneto-static driver for the treble.

Introduction

Hidizs are a Chinese company that came on strong recently with their dongles and digital analog players. We analyzed their popular S3 Pro and S9 Pro DAC/Amps and their very good AP80 and AP80 Pro X players. As it looks, the company has a bit of catching up to do when it comes to earphones. Their MS1 Rainbow model received a mixed reception from Durwood and Loomis.

Hidizs’ latest MME iem implements a few semi-novel ideas, “self tuning” and a magneto-static driver for the uppermost frequencies.

Earphone tuning, the practice of generating a specific frequency response, has become an important marketing tool. YouTube/blog influencers lately picked up on it, projecting their personal preferences in the shape of “target graphs” onto the consumer – which provides a new revenue stream for them and the companies alike.

The consumer also benefits – from the lack of unpleasant surprises: no more “screamers” with icepick signatures in the mail anymore means much less risk of losing our money. On the downside, the consumer has to cope with silly avatars of the “celebrity tuners” on the shells – and an extra royalty to them.

So, why not do it yourself? There are several methods to tune your earphone according to your taste. First, the old “taping vents and nozzle methods”, as described in many of our reviews and also explicitly in our blog. This is referred to as “reversible modding“, which is based on simple physical principles. It is called “reversible”, as you can easily bring the iem back to its original state without any damage done to it.

But there are more convenient methods. For example, the Anew X-One comes with tuning modules that are being plugged into the faceplate. These look like little opamps and probably alter the earphone’s impedance. JVC’s HA-FDX1 deploy exchangeable nozzles containing different filters that change the midrange frequencies but keep the low end consistent. BQEYZ use a different method in their Autumn iem in that the user can change the width of the inner vent with magnetic pucks.

Hidizs have yet another approach to user tuning in their $79 MM2 by providing screw-in outer vents that change both lower and midrange frequencies. For the case you are confused now: the physics of “venting” is explained in our article. Let’s see how well it works for the MM2.

Specifications Hidiz MM2

Physical Things and Usability

In the box are the earpieces, cable, 2 sets of silicone earpieces (wide-bores and narrow-bores), 3 sets of tuning valves (bass, normal, treble), carrying case, and the paperwork.

Each screw-on tuning valve represents an outer vent. The included tuning vents therefore differ in opening diameter: the bigger the “hole” the more bass is produced.

The earpieces are very light and somewhat bulky…you see a lot of space inside them. But maybe these large “resonance chambers” are needed for the sound signature. They fit well, are comfortable, and don’t seal very well for my ears. Their lightweight comes in handy.

The cable is excellent: pliable, light, and it has no microphonics. Just the rose gold colour mix (and maybe the handbag-like carrying case) may not hit everybody’s taste. Both sets of eartips fit me well but I prefer the wide-bores.

Tonality and Technicalities

Equipment used: MacBook Air | Earstudio HUD 100 (low gain) with AudioQuest JitterBug FMJ | stock bass filters | stock wide-bores.

Since Hidizs give you the option to perform your own tuning with the included screw-in filters, I started tinkering with them…and finally decided on the bass vents as the created the “most substantial” sound experience for me with a great vocals reproduction.

In the big picture, the Hidizs MM2 is all in one: a neutral sounding iem (normal filters), a warm one (bass filters), and a screamer (treble filters ).

In my favourite “bass” configuration, the MM2 deliver a “fun” signature with some surprisingly good sonic characteristics.

Bassy filters means serious bass, without being too serious. Focus is on sub-bass. It digs deep, very deep – and with some energy. Mid bass slam has still good impact. This makes the low end a bit blunt and less tight than I want in some tracks. I don’t think the bass is overdone, though. All in good doses. It’s fun tuning after all.

The transition to the midrange works rather well. I would not call it bleed but the bass re-inforces the vocals in the lower midrange department quite efficiently. Although recessed, female and male voices are not lean or thin but have some nice richness and creaminess. They are not your stale black coffee but more a mocha latte with 2% milk. Notes are surprisingly well rounded. The MM2 beats a notorious weakness of budget iems in this department. And, although there is enough energy in the vocals, there is no shoutiness.

Treble is well resolving. Cymbals are very crisp, clear, and well carved out, but also a bit robotic, which is an artifact of this kind of driver. And since the treble sits a bit back, the cymbals are frequently covered up to some extent. I take it the magneto-static drivers are connected and working (as opposed to some of the competition’s).

Stage is no the widest but has good height and decent depth (with the bassy filters). Resolution, separation, and layering are astonishingly good. But…the timbre…is somewhat plasticky and could be more organic. Once I got used to it is as fine. That’s the biggest concern I have about this earphone – and I’d take $20 off for that.

And if you want to know how the MME compares to its peers, you find it in Kazi’s review.

Concluding Remarks

So why not tune yourself? By screwing in tuning filters you also screw the noisy YouTubers…that bad pun may be allowed. Hidizs have done a decent job with the MM2 and the tuning filters, which can be helpful particularly for newbies who want to learn different sonic signatures. Nevertheless, the MM2 could be $20 cheaper imo. But, maybe Hidizs let you tune your own price, too…see included coupons.

Until next time…keep on listening!

The post Hidizs MM2 Review (1) – Screw The Tuners appeared first on Music For The Masses.

Executive Summary

The Burson V6 Classic opamps are a valid alternative to the V6 Vivid opamps for those who prefer a leaner, wider, and better resolving sound. The V6 Classic work particularly well with acoustic pieces and jazz, but also with sources too warm for the V6 Vivid.

Introduction

Burson Audio is a >20-year old innovative company from Australia that produce high-quality DACs and amps. They started their business with opamps and other audio parts before dipping into complete devices.

I have exhaustively analyzed their lowest-priced amp, the Burson Funk, which, in its “Deluxe Package”, comes with a pair of Burson’s flagship V6 Vivid opamps that produce an energetic and dynamic sound. But the company offers another set of flagship opamps separately, the V6 Classic, which generate an alternative sound signature.

Both V6 Classic and V6 Vivid retailed at $85 per piece/$145 per pair at the time of this review. You can order them from Burson. Both models are based on 12 years of research and carry a life-long warranty. V6 stands for Version 6 (or 6th generation). You can learn about their internals here.

What are Opamps?

Operational amps (“opamps”) are one of the building blocks of analog electronics circuits, used for sound optimization and customization. Opamps fine tune the’s sonic signature and help tailor the sound to the listener’s preference – similar to tubes in tube amps.

Opamps are universally deployable across different amps independent of brand. They are easily plugged into/pulled out of an amp’s logic board.

Caution, “opamp rolling” can be addictive!

Physicals and Installation

In the box are two opamps and two adapters. You don’t need the adapters when plugging the opamps into a Burson amp. If using them with amps of other brands, make sure there is enough space in the enclosure. Considering that most other opamps are these flat spider-like things, the Burson opamps are little skyscrapers.

You install the opamps by opening the enclosure (Allen keys included), align them according to manual, and stick them into the dedicated slots on the logic board. The Burson Funk, for example, has 2 such slots, one for speakers, and the other for headphones.

And if you align the opamps incorrectly, Burson’s unique “reverse voltage protection” prevents them from getting damaged.

The Burson Funk holds two opamps, one for the headphone circuit and the other for the speaker circuit. You can use a different opamp in each signal path. Many users prefer the V6 Classic for headphone use and the V6 Vivid for speakers.

Test Setup

I tested both opamp models, the V6 Classic and the V6 Vivid with the Burson Funk and different headphones/earphones. I used a neutral and a warm source to establish a possible source dependence for the performance of these opamps. After all, you’d expect the warm V6 Classic to pair better with a neutral source and the V6 Vivid to harmonize best with a warm source.

Neutral source setup: Questyle QP1R as DAC via AudioQuest Golden Gate RCA interconnects into Burson Funk amp. Warm source setup: Questyle QP1R as transport via Lifatec USA optical cable into EarMen Tradutto DAC and via AudioQuest Golden Gate RCA interconnects into Burson Funk amp; Sennheiser HD 600 headphones, JVC HA-FDX1 and Final E5000 iems.

Sound

Previously, I had tested the V6 Vivid opamps for my exhaustive Burson Funk review. What became evident to me was how the Burson Funk with the V6 Vivid opamps replaces the neutral signature of the Questyle’s own Class A amp with a slight warmth and an overall subtle tone colour. Sound is quite natural and definitely not digitally artificial.

Replacing the Vivid with the V6 Classic changes the Funk’s sound substantially — similar to exchanging the pickup of a record player or the eartips on an iem.

To give you the helicopter view: the Classic make the Funk’s sound sound wider, more open, leaner, more neutral, and flatter, but also faster. In contrast, the V6 Vivid create a thicker, bassier/warmer, deeper, more dynamic but also narrower sound.

In detail, the V6 Classic deliver a tighter, faster, more composed bass compared to the V6 Vivid’s thicker, richer, and warmer low end with a better sub-bass extension, which contributes to the V6 Vivid’s deeper soundstage. On the other hand, the V6 Classic’s more forward treble makes for a wider, more open but also flatter stage. Due to the lesser warmth from the bass, the V6 Classic’s mids are leaner, cleaner, and clearer, as opposed to the Vivid’s richer, smoother, softer, and more rounded notes. This results in a better midrange resolution, transparency, and spatial cues in the V6 Classic.

Saxophones, cellos, and vocals sound leaner and “sharper” with the V6 Classic and smoother/richer/thicker with the Vivid. The advantage of the V6 Classic’s leaner presentation is “more space between notes and musicians on stage” and therefore better instrument separation and placement. A symphony orchestra on stage becomes easier congested with the V6 Vivid than with the V6 Classic.

On the other hand, the V6 Vivid have more dynamics and therefore a punchier sound.

V6 Classic: the right Choice for You?

The question is not which opamp is better, but which source and music fit better to which. I find the better resolving, “wider” V6 Classic better suited for acoustic pieces, classical music, and jazz. The more dynamic, punchier Vivid are better working for rock music and electronic…or anything noisy.

But that’s my observation for my combination of neutral source and neutral iems/headphones. If you have a warm source, you may overthicken your music with the Vivid, the same accounts for warm headphones and earphones. So you may have to balance the temperatures of source and headphones/earphones against the choice of opamps.

Concluding Remarks

My analysis shows that the performance of the V6 Classic (and V6 Vivid) opamps are to some extent source and output dependent. Whilst, admittedly, the V6 Vivid is more universally deployable, the V6 Classic caters to the listening to acoustic/classical/jazzy pieces and such who want to cool their coloured source.

In the end, the opamp choice relies on personal preference and savvy aficionados collect them all. Opamp rolling is not any different from tip rolling (and cable rolling) with earphones/headphones, it is just another enjoyable addiction for audio junkies.

Until next time…keep on listening!

Contact us!

Disclaimer

The V6 Classic opamps were provided by Burson – and I thank them for that.

Get the Burson opamps HERE.

Our generic standard disclaimer.

You find an INDEX of our most relevant technical articles HERE.

The post Burson V6 Classic Opamp Review – Carnegie Hall appeared first on Music For The Masses.

INTRO

Lately there seems to be an overwhelming desire for budget brands to break into the mid-tier market. There was not a lot of room to wow and differentiate in the budget class and now it seems we are seeing the same happen in what I consider the mid-tier $100-200.

While there is a whole wide range of offerings way upwards of that price range, they are more dangerous to your wallet as it starts reaching bragging rights and earning style points. Those I consider niche products.

The KBEAR Aurora was released an eternity ago in terms of fast fashion IEM’s and the only reason this comes to me now is a color refresh. One of our past reviewers Baskingshark had his go at them. We have some pretty strong $200ish contenders with recent hits such as the 7Hz Timeless now being challenged by the less expensive LETSHUOER S12, and the brilliant Moondrop Kato at $190.

Before that, people were singing the praises of the Drop JVC HA-FDX1 which runs between $200-250. The great thing is that all 3 of those have completely different strengths and tunings. So with value out the window, the KBear Aurora has to stand on it’s own and hope it doesn’t get lost in the sea of choices. I realize these have been out for 6 months and have already been forgotten. Just another NFAudio NM2+ perhaps, but in a better way.

Disclaimer: These were sent gratis via Keephifi and I hadn’t realized they were already released 5-6 months ago. Warm fuzzies were not exchanged until right now while I thank them for sending a pair to check out. I did not pimp my soul to promote these.

GOOD TRAITS

• Good universal fit and solid construction
• Good accessories
• Full sounding bass
• Perfectly sized carrying case
• No sibilance which should be standard for anything trying to sell for over $70. A low bar to clear in my opinion.

NEEDS IMPROVEMENT

• Low value
• Treble lacking in resolution and extension

PACKAGE CONTENTS

As with most Earphones over the $100 mark, the KBEAR Aurora comes packed into an easy open larger package that failed to keep the ears in place during shipment. I don’t typically care, but these are metal earphones so bouncing around in packaging is not a good thing given they can easily leave marks on the housings given the sharp edges on the faceplate.

The matte antique bronze color is definitely classier looking than the gaudy 1980’s neon chrome fingerprint magnet trend of the blue/chrome color. I think they should have released it solely in the matte brown first.

The braided gray snake skin looking cable is highly flexible and microphonic free. I notice the 2 pin connectors fit semi loose into the plugs however. The chrome/blue version sported a blue colored cable of the same style.

Two different sets of eartips, S/M/L of a standard widebore with a normal thickness stem, and 5 sizes of the main set that includes a widebore thick stem the same length of the outer tip.

SOUND

Right away it is easy to pick up the eastern style midrange boost that presents as a very in your face forward vocal. Snares are snappy as they should be. This hot upper midrange is preceded by the medium blend boosted bass that barely tickles the seismic region while going full bore into midbass territory with snappy and articulated fullness. Feels perfectly damped and well balanced with rest of the frequency range if you prefer stew over soup.

The treble on the KBEAR Aurora is the least noticeable asset. Inoffensive, bland and just one of those jobs you have to do but don’t put much effort to complete. The problem with this style of tuning is the upper midrange is so over-powering the treble doesn’t really get a chance to showcase what it can do.

For me the treble gives me the sensation of having stayed too long at the discotheque and consumed too many adult beverages. It is not particularly well defined. This was the same problem I had with the recently reviewed Whizzer Kylin HE03D. I have been ruined by the precision and air of the 7Hz Timeless and the control of the luscious Moondrop Kato.

TECHNICALITIES

The KBEAR Aurora sounds expansive, but lacks in depth. Clarity is only average with some cloudiness in the treble mucking things up. No real issues with the timbre until you get past the lower treble, it’s a single driver tuned in a typical +10db pinna gain in the upper midrange. It is driven easily by a smart phone, and has medium isolation.

COMPARISONS

Earlier there were hints at maybe a NFAudio NM2+ ($159) clone because to my poor memory I thought they were tuned similarly. Upon a review, the NFAudio NM2+ is a really hot intense listen, the Kbear gives my ears a break in comparison. Bass is very similar with the KBEAR Aurora recognizing lower extension is important.

The treble is still a bit chewed up sounding on the Aurora, but the NFAudio has so much upper treble my ears just give up looking for the upper end extension. Point goes to Kbear. Width and spacing sound more balanced on the Kbear Aurora. Fitment and isolation are similar.

The BQEYZ Spring 2 ($169) is another good comparison given the price bracket. The BQEYZ suffers from the droning bass tendencies again showing the KBEAR bass is tuned to be midbass centric as well with subbass only having a minor supporting role. Switching back and forth the BQEYZ Spring 2 can actually sound tiring due to this. Vocals sound smoother and treble is cleaner on the BQEYZ Spring 2, but the KBEAR Aurora seems to present more width in the staging aspect although lacking some treble resolution and extension.

When this was previously released the Moondrop Kato ($189) was just on the horizon, but now it’s available for only $20 more than the KBEAR Aurora. The Moondrop kato is more delicate sounding with a much lighter presentation than the Aurora.

The lower midrange/midbass boost give the KBEAR Aurora a more intimate smaller room presentation, but the treble lacks the resolution and clarity of the Kato. The Moondrop Kato has better resolution, more depth and a lighter airy feeling in comparison as if listening in a concert hall. Width feels comparable.

FINAL REMARKS

The color refresh of the KBEAR Aurora is much more elegant than the original shiny launch color scheme, however other brands have encroached on the pricing territory. It is a capable sounding IEM, I just have trouble recommending it based on value and a cloudy treble region. On the plus it is not a screamer or ear-piercer with most of the focus on the low to middle region, with good build and an above average accessory package.

GRAPHS

• Left vs Right
• KBEAR Aurora vs NFAudio NM2+ vs BQEYZ Spring2

Contact us!

DISCLAIMER

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post KBEAR Aurora (Review 2) – Elegant Color Remix appeared first on Music For The Masses.

Instead of first impressions, we offer completely flavour-neutral optical treatments before following up with our exhaustive reviews of the products’ performances.

Current Photography

1. BQEYZ Autumn vs. BEQYZ Summer (Jürgen Kraus)
2. Hidizs MM2 (Jürgen Kraus)
3. IKKO OH2 vs. IKKO OH1S (Jürgen Kraus)

Vintage Photography (prior to March 2022)

1. AME Custom Argent Hybrid Electrostatic (Jürgen Kraus)
2. Anew X-One (Jürgen Kraus)
3. Blon BL-05 Beta (Jürgen Kraus)
4. Blon BL-05 Beta (Jürgen Kraus)
5. Blon BL-05 MKI & MKII (Jürgen Kraus)
6. BQEYZ Spring 1 (Jürgen Kraus)
7. BQEYZ Spring 2 (Durwood)
8. CCA CA16 (Durwood)
9. Drop + JVC HA-FXD1 (Jürgen Kraus)
10. Fidue A65/A66 (Jürgen Kraus)
11. FiiO FD1 (Jürgen Kraus)
12. FiiO FHs1 (Jürgen Kraus)
13. Hill Audio Altair • RA (Jürgen Kraus)
14. iBasso IT01 V2 (Jürgen Kraus)
15. Hilidac Atom Pro (Jürgen Kraus)
16. Ikko OH1 (Jürgen Kraus)
17. KBEAR Believe (Jürgen Kraus)
18. KBEAR Diamond (Jürgen Kraus)
19. KBEAR hi7 (Jürgen Kraus)
20. KBEAR KB04 (Jürgen Kraus)
21. KBEAR Lark (Jürgen Kraus)
22. Kinboofi MK4 (Jürgen Kraus)
23. KZ ASX (Jürgen Kraus)
24. KZ ZSN Pro (Slater)
25. Moondrop Crescent (Jürgen Kraus)
26. Moondrop Illumination (Jürgen Kraus)
27. Moondrop Kanas Pro Edition (Jürgen Kraus)
28. Moondrop SSP (Jürgen Kraus)
29. Moondrop SSR (Jürgen Kraus)
30. Moondrop Starfield (Jürgen Kraus)
31. NiceHCK Blocc 5N Litz UPOCC OCC Copper Earphone Cable
32. NiceHCK Litz 4N Pure Silver Earphone Cable (Jürgen Kraus)
33. NiceHCK NX7 (Jürgen Kraus)
34. NiceHCK NX7 Pro (Jürgen Kraus)
35. Queen of Audio Pink Lady (Jürgen Kraus)
36. Revonext QT5 (Slater)
37. SeeAudio Yume (Jürgen Kraus)
38. Senfer DT6 (Slater)
39. Sennheiser IE 300
40. Sennheiser IE 500 PRO
41. Shozy Form 1.1 and Shozy Form 1.4
42. Shozy Form 1.4 (Jürgen Kraus)
43. Shozy Rouge (Jürgen Kraus)
44. Simgot EM2 (Jürgen Kraus)
45. Simgot EN700 Pro (Slater)
46. Smabat ST-10 (Jürgen Kraus)
47. Tin Hifi T2 Plus (Jürgen Kraus)
48. Tin-Hifi T4 (Jürgen Kraus)
49. TRN-STM (Jürgen Kraus)
50. TRN V90 (Jürgen Kraus
51. TRN-VX (Jürgen Kraus)
52. Whizzer Kylin HE01 (Jürgen Kraus)

The post Photography appeared first on Music For The Masses.

INTRO

KZ Acoustics is one of the more well known budget kings where they take and constantly tweak models, the KZ X Crinacle CRN Zex Pro is no exception. I wouldn’t be surprised to see a third iteration. KZ has taken liberties with marketing slang to advertise it as an electrostatic but then clearly indicate later it uses an electret microphone. Not the same thing, but seems a little misleading.

So the the original KZ Zex was sort of interesting from a driver standpoint, but sported the usual KZ style of tuning. It received mixed reviews with the CCA NRA being a slightly better take on it from what I have seen but not experienced.

The Zex Pro attempts to rectify some of the short comings by adding a balanced armature to pick up the treble. The tuning appears to be a complete departure from the KZ ZEX based on reviews I have seen of the original ZEX. Instead I believe the KZ X Crinacle CRN Zex Pro is actually inspired by the popular JVC HA-FD01 or Drop JVC HA-FDX1. So if you were curious what a JVC HA-FDX1 sounds like with a sprinkle of bass lift and a resonant treble peak around 8khz, this gets interesting.

Disclaimer: No animals were harmed in the receipt of these free earphones from KZ. I would like to thank the post office for delivering them to my mailbox without incident.

Tested at $35 with the LG G8 and Sony NW-A55, Liquid Spark DAC + JDS Labs Atom

GOOD TRAITS

• Not another KZ tuning, something different and balanced
• Fitment fits snugly
• Isolation

NEEDS IMPROVEMENT

• Resonance around 8Khz, not just measured. Impacts Timbre.
• Higher volume improves staging, but at the expense of the resonance.
• Misleading “Electrostat” verbage if buying based on technology is how you make decisions.

PHYSICAL COMMENTARY

After removing them from the simple KZ white box, I surprised to find the KZ X Crinacle CRN ZEX Pro does not use the ZSN/ZS10 Pro/ZEX shell. Instead it appears to use what I think is the DQ6 shell that is more contoured and offers excellent isolation for a universal shell.

I received them shortly before my workplace decided to do some concrete ceiling work with a jackhammer. Perfect time to really put these to an isolation test. While I cannot say they are OSHA approved, I did find them to be excellent isolation when seated further away in a separate room, better than the more generic shells.

The KZ ZEX Pro 2 pin silver plated flat cable is a departure from the tangling prone twisted cable, and while it looks and feels meh, it does tangle less easily.

PACKAGE CONTENTS

• Detachable 0.75mm 2 pin 1.2m long cable with or without mic depending on order
• IEM pair
• 1 Pair each of S/M/L starline eartips

SOUND

So the KZ X Crinacle CRN ZEX Pro is not a minor incremental improvement of the original flavor Zex, but what is it? I had heard this signature before initially thinking maybe the ZSN series. After a quick measurement, I realized it looks eerily similar to the Drop JVC HA-FDX1 and well sounds a bit like it to.

The difference comes from a lower centered bass boost enough to add fullness to vocals and drums and upright bass that the JVC lacks. It departs from neutral but classifies as balanced for my definition. Vocals dance along the forward line, it’s a less vivid sounding than my preferred signature, but works great for jazz and classical.

For popular music the signature presents a studio effect. It doesn’t have the suckout though that more mellow KZ iterations such as the ZSN, or ES4 had with shoutier 2-4KHz treble plateau.

Listening to drums and cymbals I am picking up some extra twang from that resonance peak, this impacts the timbre as well. The KZ X Crinacle CRN Zex Pro treble experience is a nice departure despite that zest.

I feel like there is a hand off issue between the electret and the BA driver that reminds me of an audio tape slightly boogered up. I don’t always hear it, so it depends on if the music has information in that particular band.

TECHNICALLY SPEAKING

Excellent width combined with above average depth is a good fit for the KZ X Crinacle CRN Pro. While it seems unfair to keep comparing to the Drop JVC HA-FDX1, instrument spacing and overall blackness doesn’t reach top ratings for the Zex Pro, I would classify as above average.

There is not a 10x difference here though so ignorance can be bliss. As volume is increased it starts to sound a little crowded, so best to keep it mid level or a tick north of that for more liveliness.

COMPARISON

BLON BL-03 ($25) vs the KZ X Crinacle CRN Zex Pro ($35)

So I should probably compare the KZ X Crinacle CRN Zex Pro to something in the same price bracket right? The Blon BL-03 was widely dispersed so this should give an idea. Obviously fitment is better on the Zex Pro. Less punch on drums, more blended in the bass for the Zex Pro, the BLON has more natural timbre whereas the Zex Pro gives a more spacious feeling and ambient room portrayal.

There is a minuscule hint of forwardness in the BLON BL-03 only compared to the Zex Pro. Together these two characteristics make the BLON BL-03 feel closed in compared the Zex Pro. Since the treble rise occurs later and that pesky peak around 8khz, cymbals and flutes get more prominence in the the spotlight.

HAPPY ENDINGS

While the misleading use of electrostat leaves a bad taste in my mouth, the rather different tuning makes this KZ X Crinacle CRN Zex Pro a foray into experiencing what some people might view as a more natural tuning with extra low end and narrow treble boost that distinguishes it as a vivid budget HA-FDX1-esque.

Consider it a less technical version where your college roomate has turned the bass boost and treble knobs on that 1970’s vintage stereo system to make it exciting. It’s sculpted custom universal adds more secure fitment with good isolation, so if you played with their earlier KZ ZSR or DQ6 models, you will know what I mean.

I rank these as nice to have budgets way different from other KZ offerings and no issues recommending to friends, but not replacing my daily mid-tier favorites in the $150-$200 category.

I had no idea these were Crinacle branded until later when I was told by KZ to use the new ridiculously long name. I can understand that “X Crinacle” is the moniker used for models with his hand in the tuning.

I respect Crinacle’s work, it’s just too long of a name. I would have actually ditched the Zex Pro portion and give credit where credit is due, and if people didn’t like it so what. Chi-fi is a fast moving target where 6 months from now there will be other things in the market catching our attention.

SPECIFICATIONS

GRAPHS

• Left vs Right
• Zex Pro vs JVC HA-FDX1
• Zex Pro vs Blon BL-03
• Impedance

Contact us!

DISCLAIMER

Get it from any available reseller.

Our generic standard disclaimer.

About my measurements.

You find an INDEX of our most relevant technical articles HERE.

The post KZ X Crinacle CRN Zex Pro Review (2) – Inspired By Drop JVC HA-FDX1? appeared first on Music For The Masses.

Summary

These two single-chip dongles (Bolt: ESS9281 Pro, UA1: ESS9218 Pro) are superficially similar but quite different sounding. The Bolt can be summarized as clean and midrange-focused, the UA1 as bass- and upper-mid-emphasized (more “Harman”). Which is preferred will depend on the transducers they’re paired with as well as the tastes (and budget) of the listener.

For this comparison I listened with JVC HA-FDX1 single DD & Ultimate Ears UE900S quad BA earphones to 16/44.1 FLAC files played via USB Audio Player Pro from a Nokia 4.2 Android phone. The Bolt is currently $110, the UA1 $45. For details on physical things, specs, etc., see Jürgen’s individual reviews here and here.

Helm Bolt

In summary, the Bolt’s tonal/timbral package is warm in the bass and more clean & precise in the upper mids & treble. With some material, these contrasting characters make it seem a bit disconnected top to bottom. While having good weight in the bass, bass & sub-bass can come across as a bit boomy, un-defined (one-note) & soft, particularly with the source-picky JVC HA-FDX1. 

With the UE900S, though, the tendency for softness in the bass goes away and the rounder character benefits the otherwise lean BA bass notes. Treble is extended but not overemphasized; ‘sweet’ would be the old-school audiophool term. The clean nature of the mids and highs gives a very good sense of instrument separation and imaging. 

Overall I found the Bolt to be very good with UE900S – they sound ‘cleaner’ than from other SE dongles I’ve tried them with and the tonal balance benefits their lean-in-the-bass, low-in-the-upper mids, tizzy-up-top character.

Shanling UA1

First impression of the UA1 is of good top-to-bottom integration and good resolution, with dynamics that are more consistent in character across the range. The top end is well defined but well controlled, not splashy. There’s good bass: with HA-FDX1, sub-bass definition & extension are certainly there, both better than with the Bolt.

However, the UA1’s upper mids are a bit nasal/honky/shouty, particularly with the FDX1s which are a bit elevated there. With those ‘phones the UA1 is more balanced at the extremes than the Helm, but a bit tonally and timbrally off in the mids.

With the UE900S, the bass remains good but the upper mids & treble come off as overexaggerated, sibilant and a bit hashy compared to the Bolt. Cable games might help this, but I’m not optimistic.

Matching

Comparing these two dongles with these two earphones shows the importance of synergy: the Helm is a much better driver for the UE900S than the UA1 is. The sweeter treble of the Helm helps balance the 900s’ overdone highs, and although the 900s’ dipped upper mids would ostensibly seem a better fit with the UA1’s tendency for shoutiness, they actually seem cleaner and better balanced there with the Bolt. The Bolt’s softer, rounder bass isn’t a problem, as it makes the 900s sound a bit more natural. With the FDX1s, however, the Bolt gives a very soft sub-bass compared to the UA1. Conversely, while the bass of the UA1 matches the FDX1s better, its Harmanish tonality does their upper mids no favours.

It’s tempting to attribute differences in the bass, in particular, to differences in output power.  According to Audio Science Review’s measurements, the Bolt clips at 60 mW into 32 Ohms and about 56 mW into 16 Ohms (HA-FDX1 impedance). Shanling specifies the UA1’s power output as 80 mW into 32 Ohms. The difference between the two dongles isn’t large and I doubt it tells the whole story, because the DragonFly Black is very anemic at 18 mW into 32 Ohms yet the HA-FDX1s don’t lose the definition in the sub-bass when fed from the Black to the extent that they do from the Bolt (warmth of the Black’s signature aside). I conclude that with these dongles, transducer synergy is ‘a thing’.

Other Quick Comparisons

Audioquest Dragonfly Black: pleasant warm emphasis (more than the Bolt), but everything softened and resolution lost (blurred, even a bit scratchy or fuzzy in the highs) compared to the Bolt and UA1. Would view as smooth if not by comparison. Smooth (but not soft) in the bass & lower mids; relaxing with the FDX1s.

Apple dongle: softer than DragonFly Black throughout, not as warm though.

EarMen Sparrow single-ended output: Bolt has better macrodynamics, more and cleaner treble, and is more resolving. UA1 has better note definition (resolution). Sparrow balanced output bests both in dynamics & resolution.

Ifi iDSD Nano BL SE (unfair comparison because: not a dongle, battery powered, 200 mW @ 16 Ohms, significantly more expensive; but included here for completeness because I compared it): darker tonal balance, timbre across the range more integrated, balance between dynamic swings & transient speed more even (maybe a little on the slow side compared to the ESS sound, but to me more natural because of that; organic). S-Balanced is a notable step up over SE in ‘cleanliness’.

Conclusion

It was interesting to hear such different sonic characters from these superficially similar dongles. I hesitate to recommend one over the other as transducer synergy, based on my admittedly limited trials, seems to be important. In general terms, I’d suggest that the Shanling UA1 might be the better match if you have ‘phones that are known to be demanding in the bass; and the Helm Bolt might be the better if you have ‘phones you find at the edge of your tolerance in the upper mids.

Disclaimer

These two dongles were sent to Jürgen for review by Helm Audio and Shanling, who we thank for the opportunity to hear them.

Our generic standard disclaimer.

Contact us!

You find an INDEX of our most relevant technical articles HERE.

The post Helm Bolt vs Shanling UA1 USB Dongle DAC/Amps Review – Freedom of Choice appeared first on Music For The Masses.

Gear of the Year: 2021 marks the blog’s third year and the second with 8 contributors. We collectively published almost 200 articles, mainly product reviews, but also technical information. Apart from receiving review units from manufacturers and sellers, we also purchased a lot…and we borrowed from audiophile friends and colleagues.

We are a heterogeneous bunch not pressed into templates by commercialism. Each of us enjoys maximum freedom. None of us gets paid. And it is this variety that makes this blog interesting. Two of us, Baskingshark and Kazi, have been drafted to also write for Headphonesty, which gives them more exposure and also access to very interesting gear.

Our main focus has traditionally been on earphones – we have reviewed almost 300 – but particularly DACs and amps also caught our attention this year.

As at the end of the previous years, we list our our personal favourites of 2021 – the portable audio we personally enjoyed most. There are no rules, we just tell you what we like. After all, the gear we use most is our best. And we attached some of this gear to our newly created Wall of Excellence, which averages all our opinions.

Enjoy this read and we wish you a happy and successful 2023!

We thank

Most of our reviews would have not been possible without our 2021 cooperating partners. We thank:

ADV, Allo, Apos Audio, Astell & Kern, AudioQuest, Azla, Blon, BQEYZ, Burson Audio, Campfire Audio, Cayin, CCA, Dekoni, Dunu, ddHiFi, EarMen, Easy Earphones, Fiil, Helm Audio, Hidizs, HifiGo, ifi Audio, IKKO Audio, KBEAR/TRI Audio, Keephifi, Khadas, Knowledge Zenith, Meze, Moondrop, Musicteck, NiceHCK, OneOdio, Penon Official Store, Pergear, Sennheiser, Shanling, Shenzhenaudio, Smabat, Snake Oil Sound, SpinFit, Tempotec, Tin Hifi, TRN Official Store, Unique Melody, Venture Electronics, Whizzer Official Store, Yaotiger Hifi Audio Store. Don’tkillusifweforgotyoujustsendusanotandwefixit. 

For the companies: you can check for your products/yourself in the search field on the right-hand side.

We also thank the private sources that supplied us with loaners.

And here we go…that’s what we enjoyed in 2021…

Alberto Pittaluga…Bologna, ITALY

I’ve come accross quite a few interesting pieces of gear in 2021, mixed / hidden amongst piles of shameful crap. Nothing new, is it ? I’ll try to make a succint list of the most significant stuff I auditioned here. Most of these devices are also now part of my operative audio gear.

IEMS

Dunu ZEN (discountinued, was $ 699,00) : beyond spectacular microdynamics, resolution, layering and technicalities in general. A masterpiece.

iBasso IT07 ($899) : the sole real “direct upgrade” to Ikko OH10 I encountered as of yet. Same presentation, twice the refinement, at more than four times the price.

Oriolus Isabellae ($ 599) : somewhat “more V-shaped” alternative to Zen, delivering very similar technical prowess.

Ikko OH1S ($143) : a potential new join into the our World of Excellence roster as a sub-200$ allrounder

Headphones

Final Sonorous-II  (€ 300) : arguably by far the best neutral-tuned closebacks in their price category, staging and imaging easily compete with many lower tier openback alternatives.

Sennheiser HD600 (€ 310) : not a novelty for anybody but me, I’m sure. Quite simply: I got my first HD600 pair in 2021 and that’s why I’m listing it here. I presume no one needs a description. Do you?

Earbuds

Rose Mojito ($259) : superbly neutral-tuned high end earbuds with strong bilateral extention, beyond spectacular mids and vivid, refined highs in a fully holographic stage, with plenty of resolution and dynamics.

K’s Earphone Bell-LBS (€ 59,25) : mid centric buds delivering superbly organic vocals – both male and female – and very good trebles

K’s Earphone K300 (€ 28,59) : unreal sub-bass extension for an earbud, they deliver a very nice V shaped presentation while drawing an incredibly sizeable 3D stage. Presentation remembers a bit Ikko OH10, but in earbud form.

DAC/AMPs

Ifi Micro iDSD Signature (€ 749) : top sub-$1K mobile dac-amp. Very high quality DAC reconstruction paired with superbly transparent amping stage with power to spare for the most demanding planars and power deflation options to optimise low impedance IEM biasing. Truly a full step ahead of the competitors’ pack.

DAPs

Cowon Plenue 2 MK-I (€ 835) : hopped on this recently when I found a impossible to turndown openbox deal. Starting from my direct experience proving that there’s pretty much no game between proprietary-OS DAPs vs commercial-OS (read Android) DAPs, the former being in by far better position to achieve superior output sound quality, Plenue 2 represents a great companion to my QP1R offering a different / alternative optimal pairing opportunity for a few of my preferred IEM drivers.

DAC/AMP Dongles

This year’s experience proved to me that exclusively higher-tier (and price) dongles are able to deliver sound qualities worth the comparison with battery-equipped alternatives. Simply put: pretty much nothing until an Apogee Groove ($200) is really worth the price difference compared to the super-cheap Apple Dongle ($9), and even on the Groove some caveats apply (power needs, amp stage competibility).  That said, I really had pick one device “in the midfield” I’d pick the :

Questyle M12 ($139,99): while still not worth an inclusion on our Wall of Excellence, yet M12 runs circles around pretty much all similar or lower priced competitors I assessed in terms of extension, note weight, clarity and technicalities.

Biodegraded…Vancouver, CANADA

Doesn’t have anything to report this year.

Durwood…Chicago, USA

Shozy Form 1.4 has still been my go to earphone due to it’s warm inviting nature, great technical abilities and it feels great in my ears.

7Hz Timeless is another good buy late in the year for me, it’s a little more sub-bass plus analytical counterpart to the Shozy that has nudged the BQEYZ Spring 2 out of the way. A more detailed review is coming.

I rediscovered the Senfer UES for a quick throw around set, was hoping the Senfer DT9 was a slight improvement, but alas the Senfer UES sticks around instead. Sony MH755 is also perfect for quick on the go usage where I don’t need the universal fit in-ears.

Tempotec impressed me enough to consider the Sonata E35 for when good phone DAP’s are finally dead. Other than that, dongles are not my thing, and I have issues with some of Sony’s GUI decisions on the NW-A55 mainly related to playlist creation and long text support.

Lastly, the Questyle CMA Twelve would be an awesome DAC/amp combo to have, but my needs are more mobile. Perhaps when life slows down, but there are other bucket list items such as the Burson Playmate 2, RebelAmp, the Ruebert Neve RNHP, or RME ADI-2 that look interesting as well. Maybe someone will loan me one in 2022?

Jürgen Kraus…Calgary, CANADA

Earphones have traditionally been our main trade and there’s not many that stuck with me this year. First and foremost, I was impressed by the immersive and engaging sound of the single DD Dunu Zen that further excel in microdynamics. They are still very popular within our team.

Moondrop finally got it right with their tuning in the smooth and very pleasant sounding Moondrop KATO single dynamic driver. This model is generally well received. The JVC HA-FDX1 are still my standard iems for equipment testing, and an honourable mention goes to the Unique Melody 3DT for the clean implementation of 3 (!) dynamic drivers.

Another iem that fascinated me is the Japanese Final E5000. On the market since 2018, and very source demanding, this iem can produce a bass texture beyond belief. I have become a bit of a Final fanboy, as their products are unpretentious and natural sounding…and they fit my ears very well. I also purchased the Final E1000, E3000, and A3000…which get a lot of usage. No surprise that our Wall of Excellence is decorated like a Christmas tree by quite a few of these Japanese earphones and headphones.

Expanding my horizon into other devices, the Sony NW-A55 is a user-friendly digital audio player with great sonic characteristics and signature-altering 3rd party firmware options. But, most of all, it updates its music library within a minute or two. For the ultimate portable enjoyment, I discovered the Questyle QP1R dap...sounds simply amazing with the Final E5000. Found the dap on Canuck Audio Mart.

Dongles, battery-less headphone DAC/amps that turn any cheap phone into a decent music player, were big in 2021. Around since 2016, the market caught on to these devices. But out of the mass of dongles tested, the 2019 AudioQuest DragonFly Cobalt was the most musical to my ears. I also like the AudioQuest DragonFly Red and the EarMen Eagle (replacing the EarMen Sparrow which I sent to Biodegraded). For earphone testing (and bigger cans), I still use the excellent Earstudio HUD100.

For my full-sized headphone needs with my notebook, I discovered the powerful Apogee Groove, a current-hungry dongle DAC/amp that has been around since 2015. I am even portable around the house. As to headphones themselves, I am still happy with the Sennheiser HD 600 and HD 25, but also with the Koss Porta Pro.

For my desktop setup, I identified the EarMen Tradutto as being a fantastic DAC in combination with the Burson Funk amp. Currently testing the Tradutto with my big stereo system.

In summary, I learnt a lot in 2021…

My Take Home this Year

• The latest is barely the greatest…many old brooms get better into the corners
• Influencers are not always right (…to say it nicely)
• Measurements are overrated
• Timbre (degree of naturalness of sound) is underrated
• Source is super important and also underrated
• Group pressure through hype may become a sobering experience
• That groomed YouTube stuff is boring

Kazi Mahbub Mutakabbir…Munich, GERMANY

This year was very educational for me when it came to audiophilia. I got the chance to try out truly summit-fi setups and realized how good a system can sound. This also resulted in a sense of yearning where you keep comparing the gears you own with the ones you cannot own, at least not yet. Nonetheless, without further ado.

Headphones: The one headphone that has stuck with me throughout the year is the Hifiman Susvara. They won’t flatter anyone with the build quality but when paired with the right amp they sound astonishing. One of the most natural sounding headphones out there with exceptional timbre. A must listen.

Honorable mention goes to the Final D8000. Supreme bass that’s pretty much unmatched. On the budget side, I really liked the Final Sonorous-III. They are underrated and under-appreciated.

IEMs: When it comes to in-ear monitors, I have a hard time picking any single one of them as all of them fall short in one area or another. Nonetheless, the one IEM I’ve used the most throughout the year is the Dunu Zen. There is something truly addicting about their sound that makes me come back to them time and again.

However, the Zen is not the best IEM that I have heard throughout the year. That would probably be the Sony IER-Z1R or the 64Audio U12t. In the relatively budget realm, the 7Hz Timeless took me by surprise with their planar speed and excellent bass slam.

Source: Instead of going with separate sections for amps, DACs and such, I will just consolidate them into one.

Best desktop amp I’ve tried: Accuphase E380. One of those rare speaker amps that sound great with headphones.

Best portable amp I’ve tried: Cayin C9. It is the only review loaner in the past year that I have wanted to buy with my own money. I probably will, soon, budget permitting.

Best DAP: Lotoo PAW 6000, even though it can’t power difficult loads.

Best dongle: L&P W2. The only dongle that I found to be good enough to replace some DAPs.

Best DAC: Holo May L2. The price is extremely high but so is the sound quality. Exceptionally natural and neutral tuning. Another must listen.

And that’s a wrap. Have a great Christmas, and see you on the other side!

KopiOkaya…SINGAPORE

Too many lists…I focus on eartips…

Best EARTIPS of 2021

Most versatile eartips: SpinFit CP-100+
Best budget eartips: Audiosense S400
Best eartips for bass: FAudio “Instrument” Premium Silicone Earphone Tips
Best eartips for vocal: Azla SednaEarFit Crystal (Standard)
Best eartips for treble: BGVP S01
Best eartips for soundstage: Whizzer Easytips SS20
Most comfortable eartips: EarrBond New Hybrid Design

Loomis Johnson…Chicago, USA

Gear of the Year (and other Favorite Things)

SMSL SU-9 DAC/Preamp—one of those pieces that makes you seriously question why anyone would spend more. A seriously good DAC which is even better as digital preamp.

Hidisz S3 Pro DAC/Dongle—lacks the juice to power challenging loads, but has an uncanny knack for enlivening and improving more efficient phones. Very refined, with impeccable bass control.

Cambridge Melomania TWS—ancient by TWS standards, and its rivals have more features and tech, but this may still be the best-sounding TWS you can buy.

Shozy Rouge IEM—like a really hot girl you get smitten by the beauty before you even delve into the substance. Properly driven, however, these sound just as good as they look, with estimable staging and clarity.

The Beatles, “Get Back” Documentary—as probably the only person on earth who hasn’t seen Lord of the Rings I was gobsmacked by how brilliant this film looked and sounded. The real surprise for me, however, was how natural  a musician John was—unburdened by technique, but soulful and  exploratory.  Poor George invokes your pity—a good writer forced to compete with two great ones– while Ringo wins the award for Best Attitude.

Bob Dylan, “Desolation Row”—I always found the lyrics impenetrable and a bit sophomoric, but the Spanish-influenced lead guitar part is incredible, with scarcely a phrase repeated throughout the full 11 minutes. I’d always assumed it was Mike Bloomfield, but it’s actually the harmonica virtuoso Charlie McCoy, who also plays the trumpet part of “Rainy Day Women”.

Reds, Pinks and Purples, “Uncommon Weather” In hope of finding something genuinely fresh I dutifully listened to the most-touted 2021 releases before fixating on this one, which (predictably) sounds exactly like 80s Flying Nun and Sarah bands.

And This Was The Previous Year:

The post Gear Of The Year 2021 – Our Personal Favourites appeared first on Music For The Masses.

Cons — Interference could be an issue with certain mobile phones or signals; SE output takes such a hit in dynamics and resolution vs balanced that it might be a waste for many users; power consumption via balanced is likely high.

Summary

The EarMen Sparrow is a flexible (balanced or single-ended), powerful USB DAC/amp dongle with great sound quality, being particularly dynamic from its balanced output. However, it can be susceptible to interference when run from a mobile phone.

Sonics and Comparisons

I listened to the EarMen as part of a comparison of a few USB DAC/amp dongles old and new. Listening to all was mainly done with the Drop+JVC HA-FDX1 single dynamic-driver IEMs using the Mee Audio MMCX balanced cable (SPC), with a 2.5 bal. to 3.5 SE adapter where necessary to minimize possible cable differences. Being an Android user, I sent audio (mostly 16/44.1 FLAC files) to the Sparrow with USB Audio Player Pro.

Balanced: From the balanced output, performance is impressive: macrodynamics, note definition & weight, instrument separation, and transient resolution are all excellent, making for a very ‘technical’ package. Tonal balance is good too, no particular part of the range seeming over- or under-emphasized.

While I liked it, the dynamic and fast presentation from the balanced output might become fatiguing after a while with revealing and dynamic transducers like the JVCs and especially with very ‘technical’ multi-balanced-armature IEMs. Matching with smoother ‘phones, or switching to the SE output, might be preferable for long listening sessions.

Single-ended: There’s a notable hit in macrodynamics and low-level resolution from the 3.5mm SE output vs balanced, and note definition, particularly in the bass, is weaker, leading to a much more relaxed presentation.

As mentioned above, depending on the transducers the EarMen Sparrow is paired with, this might not be a bad thing. The contrast however is very pronounced, especially when comparing with others: The Tempotec Sonata BHD, for example – a balanced-only unit – is itself pretty revealing but is notably less dynamic than the Sparrow’s balanced output and notably more dynamic than it’s SE output. And the latter is more relaxed than the single-ended Shanling UA1, and – except notably in the bass – than the single-ended Helm Bolt (which uses the same ES9281Pro SoC as the EarMen Sparrow).

Non-Sound Stuff

Here’s what might be a deal-breaker for some: when playing from the balanced output, the EarMen Sparrow can pick up interference when it’s close to a phone. This has been discussed on internet forums, and EarMen to their credit tried to address it by replacing the original cable with a longer, better shielded one.

I replaced the original with another that was reported to help, the OEAudio OEOTG, which improved the issue but didn’t completely solve it. If you can keep the dongle away from your phone, if you only use it in airplane mode, or if your phone/carrier/local signal doesn’t give you this problem (Jürgen tells me he didn’t experience it with his iPhone SE), great – but it might be a lottery.

For me (Nokia 4.2) it’s much reduced (or absent) from the SE output, but present enough to be annoying at listening levels from balanced when everything’s jumbled together in a pocket.

Minor considerations: unlike with other dongles, sometimes the EarMen Sparrow doesn’t play right away from UAPP when hot-swapped in after another dongle, requiring a re-boot of the player. This doesn’t happen every time, though, and I suspect a recent UAPP update might have cured the problem entirely; I haven’t seen it in the last couple of weeks.

Also, the EarMen Sparrow gets very warm in balanced mode – you can tell it’s putting out some power! This is good, but will come with a pretty high battery drain. Jürgen found the drain when using SE to be in the higher half of his tested units; be aware that balanced use will drain your battery faster still.

More Comparisons & Conclusion

The most obvious comparison among the units I have here – because it’s the only other one with a balanced output – is the dual-CS43131 Tempotec Sonata BHD. Compared to the EarMen Sparrow this has tonal emphasis in the upper mids, a splashier/hashier treble, a more rounded bass, and transients which apart from in the bass are similar in speed to the Sparrow but lesser in weight. However, the Sonata BHD is currently under 1/3 the price of the Sparrow.

The Earstudio HUD100 Mk2 (currently $120), a favorite of Jürgen’s which I haven’t heard, could make for an interesting comparison because although being single-ended, has two outputs, one with high power. Comparisons with other, non-balanced units should be seen in terms of price – and not having heard similarly priced SE units, I can’t usefully comment. 

Overall, I’m impressed with the EarMen Sparrow. The flexibility and differences in sound signature offered by the choice of outputs, and the absolute performance of the balanced output, make it a great contender in the dongle space. The interference issue however, is a serious one.

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Disclaimer

This is the same unit reviewed by Jürgen here, which was supplied to him by EarMen upon request.

Our generic standard disclaimer.

You find an INDEX of our most relevant technical articles HERE.

The post EarMen Sparrow Dongle DAC/Amp – Brief Second Opinion appeared first on Music For The Masses.