INTRO

TRN Conch is calling from 2018, and looks like TRN dusted off the V30 shell and equipped it with a single dynamic 10mm DLC coated driver. Shell shape is familiar, coils tightly and fits easily in smaller ears, however the nozzle width is still quite large. I did like this smaller Dunu like shell back in the day from TRN, but seasons change. Unfortunately the smaller size allows it to float in my ear, and the angle of the nozzle tends to push out of my right ear.

I’m just going to get right to it, Diamond Like Coating doesn’t mean it needs to cut like a sharp blade, but that is what we have here. DLC was all the rage 2 years ago and still works great in some other models. I bought another DLC IEM from Senfer a few years ago that was just so rough I could not even review it, plus it had major channel imbalance. While the TRN Conch looks like a great vacation package, the reality is far from white sandy beaches and tasty fruity beverages.

SOUND

Tested with LG V8, Shanling UA3

The TRN Conch has a dry damped bass reminiscent of British bass. It was tuned to have the mid bass snap with some leftover sub-bass for dessert. Vocals sound a bit chesty since the bass is more mid-bass centric. Not too sculpted though with a soft mushy center.

Midrange is clear and resolving with average depth definition which is right in line for something in this price range of $38, but then we continue into the overzealous treble that hits sharp and grainy occasionally becoming sibilant.

Timbre has an unattractive tinge, but I also do not ever remember any TRN model being a poster child for normal. Instead they tend to always shoot for big treble with highly focused presence where snare and cymbals jump out, at least that has been my experience with all the models I have used.

All this excitement comes even when using the tuning nozzles I find the least offensive. The other two have the tell-tale eastern 12-15db pinna upper midrange that makes them extremely forward. The level of detail for the TRN Conch unfortunately does not need a magnifying glass put towards an area it struggles with.

PACKAGE CONTENTS

The TRN Conch comes with extras you would expect in a $100+set with the hard circular case, the swappable tuning nozzles, 2.5mm/4.4mm balanced 3.5mm single ended connectors, and great sticky advanced eartips named TRN T eartips. They feel similar to the MOONDROP springtips. The cable is above average and more premium than TRN/KZ entry level thickness and quality that reduces some tangling, and the chin slider moves easily.

All these extras attracted me to the TRN Conch for curiosity anticipating a new TRN ready to take on the midfield “budget”. Ignoring the zesty treble it might work for mellow tracks, but anything else is tiring for me. I recommend pairing it with a warmer source to tame the sharpness and smooth it out even further.

Perhaps the tuning nozzles are worth stuffing some extra dampening materials inside to tame that treble peakiness around 8khz, but there are others ready to go without this hiss. This was not the more mature TRN I was hoping for, the treble has the contrast turned to 11.

TECHNICALITIES / COMPARISON

Staging is quite narrow feeling, I tried the reference and atmospheric nozzles with no improvement. The reference moves the staging closer, but there is still congestion.

In comparison to the TRN Conch, the Kiwi Ears Cadenza has a leaner proper midbass, and lower midrange with less pizazz in the treble and is easier to listen to without a hint of sibilance. The TRN Conch has better ear-tips that stay on the nozzles, and the accessory kit with case and connection types, but is that supposed to be the main show?

THE END

The TRN Conch as an IEM is the summary of the book, and not the actual book. While you get a decent picture and substance of the music, to fully appreciate the nuances requires more in depth studies.

The accessory package is good, the bass lacks some definition and the sibilant treble is sharper than I would like. In this day and age, a rookie mistake even for $38. Overall the window dressing is only enough to get a passing grade, but this will not be a good memorable IEM for me other than a DLC IEM that sounds like a sharp rock.

Disclaimer: I would love to extend gratitude to Shenzhenaudio who sent these free of charge.

SPECIFICATIONS TRN CONCH

Resistance 30 ohm
Sensitivity 114dB
Driver: 10mm Dual Circuit DLC Dynamic
Shell: Metal
Cable: 0.75mm with detachable 2.5mm balanaced, 3.5mm, 4.4mm balanced

TRN CONCH GRAPHS

• Left vs Right
• Nozzle Tuning

Contact us!

DISCLAIMER

Get it from SHENZHENAUDIO

Our generic standard disclaimer.

About my measurements.

The post TRN Conch IEM Review – Watch Where You Step appeared first on Music For The Masses.

INTRO

Moondrop May has me looking forward to the spring given our latest arctic blast where we dipped colder than Siberia. Moondrop are notorious for challenging how much value you can get from a dynamic driver earphone. The uniqueness of the MOONDROP May is the built-in dac dongle EQ tuning feature strung unfortunately to the Android OS for now, but once adjusted can be carried across devices or applications.

Planar treble and a new Sapphire dynamic driver meld together to create something new from Moondrop Labs in the value realm with great technical abilities and optional electronic tuning in the more serious earphone price category.

DESIGN FEATURES

The Moondrop May only has a USB-C connection built into the solidly thicker than normal silver plated braided cable. Installing the tips was difficult feeling like perhaps the bore size was not matched well to the nozzle diameter, but once on they stay in place so not all a bad thing.

The unboxing experience was easier to open than past offerings and along with the mundane eartips and the detachable USB dongle cable is a premium leather zippered case that looks quite classy, but is bulky in the height dimension. It’s best in a bag or coat pocket, awkward in a pants pocket.

The Moondrop May departs from the shell shape that has been a staple through many models. I actually find the Moondrop May is less finicky for my ear shape and fits better. It is also quite isolating. Inside we have a new wideband Sapphire dynamic to handle up to 8khz where the 6mm annular planar driver takes over upper treble duty.

The USB dongle cable has minimal power drain, I measured only 0.01A or approximately 10mA of current draw. The convenient controls include coarse volume steps so a little change goes a long way, for finer control the DAP/phone may offer better control. 

Play and pause are activated with the center button. There were in some instances a faint ringing tone that lasted about 2-3 seconds could be heard when paused or even as it switched to other songs, probably has to do with the noise filtering of the DAC, the EQ (perhaps they are using convolution or minimum phase filters) or the low pass filter used to abide by Nyquist theory. I have no way to flesh that out and determine what is causing it, other than I can notice it only in the moments of silence (not during song listening).

IOS users could still use it with a camera adapter or a newer device that has USB-C over the lightning connection. Those that manage to connect will have a different experience and not be able to fully utilize the design. Moondrop Link 2.0 is required to select EQ’s being USB-C and there is no 2.0 link app for IOS. 

I am curious as to why there is no official store app. The Moondrop Link 2.0 like the original Link app is not on the Play store. You must allow 3rd party app access with the developer options. Some may view this as a security risk so use at your own peril. Users can create their own tunings and add them to the Moondrop repository by creating an account. Otherwise, you have mostly free range on the app.

It did appear buggy, sometimes my LG G8 would not recognize the device to make changes and I would have to restart the phone, but it was connected since music could be played through it. If I did not get the message to allow Moondrop to access the May, then I knew it would not be recognized. I have no way to tell if it was my phone, or the app.

SOUND

Strangely, the out of the box tuning does not match any of the downloadable target curves. I measured it first before I started playing with any of the EQ settings and was surprised to find that oversight. I am not sure if this was on purpose or accident, but either way a bit concerning.

One question I have is what is it like without DSP? Being that the cable is detachable, I connected another cable just for funsies. Graph below, surprise it matches the out of the box tuning. So to answer the question of how to get a tuning that does not exist in the presets…use a different 0.78 2 pin non-dongle cable. Given the 10dB lower treble pinna gain, this might fit better with eastern style tuning. It is too forward for my preference.

The nice thing about the presets is you can hear the change instantly without actually hitting apply to lock it in. The presets are also different than just straight EQ because it will carry across any app or device you listen to them on. Ranking the presets for my personal tastes were Standard, Basshead, Reference, Harman, No Bass. Reference and No Bass were rather close and sound a bit thin in upper bass, but heavy on upper midrange/low treble gain.

The Harman setting was thunderous and weighty feeling even more so than the Basshead tune and it adds extra treble zing. For classic rock that might be missing some midbass tone and warmth, the Basshead is the way to go, but if you want more treble essence and further thickness go for the Harman. It also increased the upper treble with cymbal shimmer.

Standard has a minor bass lift somewhere between the reference and basshead. I find the Standard and reference pretty close to balanced, but occasionally the reference could feel too thin in the mids. Bass has a tight punch and snap with either of these presets, basshead and Harman adds some slowness and can come off bloated.

Mids and treble sound realistic and never dull, however like most Moondrop products the essence of air is where they pull back the reins. To fully utilize the annular planar driver, the Harman tuning adds more air and shimmer. Overall, there could be some extra contrast but nothing that worries me. The bones or structure is in place, I think the user has to embrace the electronic tunable nature of these and unlock the full potential. Transient response is quick as expected from the planar treble, especially with the smaller driver. 

With some of the reference or no-bass presets it gets overpowering however less so than the Moondrop Starfield 2. Nothing sounds weird or off in the timbre department until you download some of the PEQ downloadable content to mimic the tunings of some of their other models.

The downloadable presets come from Moondrop, plus other users who have created accounts. I yearn for a reset button though, and also wish that by setting the presets it might carry over to the adjustable PEQ section so you could have a starting point, but add or subtract from the preset. 

Regardless of tuning, the Moondrop May never felt too crowded and provided ample instrument separation front to back and side to side. Clarity is good and what is normally found at this price range I find them near on par with the excellent Sennheiser IE200. The standard tuning is also close to what you find on the Sennheiser IE200, but there will be some differences in the midrange. Sennheiser likes to give us a more vocal enhancement that blends with the overall tuning. Jazz and classical fans would be more satisfied with the IE200.

So I mentioned the Sennheiser IE200 is a close competitor and excellent overall, it gets an overwhelming positive stamp of approval from audiophiles, the general population takes issue with the cable and fitment. The Sennheiser is a new benchmark around the $130-150 price range. The Moondrop May is half the price and one of my favorites closer in price is the Truthear Hexa. It’s not going to best the Sennheiser, but recognize it can fill the gap.

With the Hexa you get balanced bass, and equal resolution and clarity, with additional treble presence that is boosted. It sounds more V shaped with less midrange presence. The Hexa fits with modern rock and pop music, where the Moondrop May is trying to straddle the mainstream and yet still appeal to audiophiles with a more proper timbre. The Truthears Hexa also has lower sensitivity and works better with more amplification.

FINALE

Keeping in mind the Moondrop May is a $65 earphone with an attached DSP dongle it ticks off many boxes with caveats. Those being restrictions on connections and devices, app is only available on the Android platform (not even Windows or Mac OS), and has to be side loaded outside the Play store. It has technical abilities that set it apart from the ok entry level offerings, and could easily last a while without getting the itch to upgrade.

Great value too minus the bland eartips, this is a good one to have and safer to recommend over the Starfield 2. Much like the KZ VXS Pro, the built in DSP tuning is something that is carrying over from the powered professional studio monitors, and I think we will star to see more and more of this concept.

Disclaimer: We are grateful for Shenzhenaudio.com for providing the Moondrop May at zero cost and zero affiliate kickbacks for a thorough picking, poking and an occasional wet-willy.

PACKAGE CONTENTS

• May Earphones
• Detachable Cable
• Manual
• Leather Case
• Service Card

MOONDROP MAY SPECIFICATIONS

https://moondroplab.com/en/products/may

Moondrop USB-C Online Interactive DSP DD+Planar Hybrid Dual Drivers
Driver: 10mm Sapphire Plated Diaphragm Dynamic Driver + 6mm Annular Planar Magnetic Driver
Impedance: 30ohm +/-15% @ 1khz
Sensitivity: 120dB/Vrms @ 1khz
THD: <0.05% @ 1kHz
Frequency Response: 7Hz-39Khz
Effective Response: 20Hz-20Khz (IEC60318-4, 3dB)
Cable connection: 0.78-2Pin to USB-C

GRAPHS

• Left vs Right Out of the box (Note this is not one of the presets, but can be achieved with a non-dsp dac cable)
• Tuning Presets
• Out of the Box Tuning Compared to Non-dongle powered cable
• Moondrop May vs Sennheiser IE200 vs Truthears Hexa

Contact us!

DISCLAIMER

Get it from Shenzhenaudio.com

Our generic standard disclaimer.

About my measurements.

The post Moondrop May IEM + Dongle Review – Oops They Did It Again, Digital Delight appeared first on Music For The Masses.

BEGINNINGS

I never thought I would see my Starfield again, but then the Universe delivers the Moondrop Starfield 2 to my doorstep. Not much of a spiritual individual, I was still thankful I get another chance to reminisce.

Truth be told, the Aria would have been more my type to boogie with, but it was released later than the Starfield. Like all impatient audio junkies, I wanted the quick fix of what was new now.

The new Moondrop Starfield 2 is better than version one where the treble brilliance took a trip to the basement and never came back. We should take hints from kids, always shine a light before embarking on a trip to the darkness.

What to expect from the new version? A more forward upper midrange paired with a less gradual decline in treble output with a topping of sparkle and tighter controlled bass.

PACKAGE CONTENTS

Borrowing 1960’s hot-rod paint jobs or old amusement park rides for the kids in us, the Moondrop Starfield 2 utilizes the familiar shell that helps to keep tooling costs down for production. The iridescent paint is beautiful on top of the cast alloy zinc shell.

I believe there were reports of the original Starfield paint had a tendency to chip off. That does not mean the Starfield 2 would suffer the same fate, but painted metal things bouncing against each other will eventually show wear, call it patina or just be warned.

Inside they have stuffed the Moondrop Starfield 2 with a new 10mm dynamic constructed of Magnesium and Lithium alloy that claims to be more rigid and lighter than pure Beryllium.

This should equate to precise and quick transients, and hopefully push the breakup mode of the driver past our threshold of hearing. That is usually the goal of extremely rigid driver materials.

The faceplates are flat vs the angled ones from the Kanas Pro and Kato designs. Moondrop chose to make the screw a decorative feature. The tips of the nozzle also unscrews to change the mesh screen.

I have taken pictures in the past of these screens, and they are rather intricate and specialized to not only keep the moisture out, but apply acoustic filtration.

Also new the Moondrop Starfield 2 are vent hole plugs, in comparison to modders using micropore tape in the past to increase bass. You need patience to attach them, but once attached they increase the bass to bass head levels in a straight liner shot to the bottom. There are also plugs with holes, but it did not seem to change anything different than just leaving them out. 

The 2 pin cable is a striking blue color of twisted silver strand wrapped in a slightly rubberized texture sheath. The brass accents standout and match the brass nozzle. It’s rather weighty at 32g while both ear pieces clock in at 22g together. Microphonics are rendered moot, but the weight of the cable puts a damper in another way.

SOUND

Tested with the Shanling UA2 Plus and SMSL DO100 with HO100, the Moondrop Starfield 2 is a lightweight with the bass, easy on the lower midrange and focused on upper mids with a sprinkle of sparkle. This is the essence of Moondrop’s VSDF target curve many of their products follow with varying degrees of refinement.

The dynamic driver feels quicker than past iterations and the sub bass rumble is adequate. The vent plug drastically changes that, so if you desire they respond well to EQ instead. Still the midbass has a soft start but a tight finish. Despite the relatively minor bass lift it rolls into the lower midrange nicely avoiding sounding too thin.

Midrange clarity is excellent for this tier of IEMs producing well rounded vocals that sound exciting and pure. Note definition has proper decay exhibiting good depth making instruments sound believable. The upper midrange lift is more than my personal preference by a few decibels, but it hangs back ever so slightly before it steps out of bounds. This pinna gain aids in the clarity perception.

The Moondrop Starfield 2 treble is in-offensive and delicate, brass never sounds honky in quieter passages and picks up the slight flutters of saxophones and flutes. A little kick in the brilliance at 10Khz adds excitement and helps to uplift the final stage keeping it from sounding too flat. Purists will probably object, but the original Starfield was too tame for me near this area. What can I say, I enjoy some spice.

Lately I have been giving the Ibasso IT01 some light of day, I felt another oldie but goodie that was frequently recommended in this price bracket deserves a chance. Some might remember the Pioneer SE-CH9T, if not no worries.

They share similarities in the bass department until the Moondrop Starfield 2 except the Pioneer goes flat before making it to the midbass, quantity and quality are equivalent. I find the Starfield 2 has more note weight when listening to stand up bass. 

The Pioneer is more balanced overall, it doesn’t quite have the sharpness at the pinna gain around 3khz. Staging sounds wider on the CH9T and some dips in the treble take the edge off and push the whole stage backwards in comparison to the Starfield 2 with its more forward nature.

I picked up some resolution improvements in the presence region on the Starfield 2. Shakers and cymbals sparkle on the Moondrop Starfield 2 and shine like watching a newer movie shot with digital cameras. The Pioneer feels more analog with a grainy quality. 

Another one of my favorite picks between the $80-100 mark depending on purchase date, the TinHifi T4 is a good match-up for the Moondrop Starfield 2. While following a more similar target to the Pioneer, the T4 has more mid-bass thump and grunt compared to the Starfield 2. Upper midrange on the T4 is a more pleasant and longer session tune for me, but the Starfield 2 has snappier snares. 

While the stage sounds wider on the T4, I do not sense as much separation when compared to the Moondrop Starfield 2. Micro detail resolution winner is the Starfield 2. I clearly pick out each instrument and place them as if listening live, the T4 otherwise sounds more like a great recording.

So what have I missed, perhaps at this point I should mention they offer between good or great isolation. While I sort of miss the sticky and unique Spring ear tips, I think the sizing on them was off and not appreciated by the masses so instead we get rather generic eartips. Storing them is easy in the flip top leather case that can also be found with the Kato.

SO WHAT NOW?

Moondrop really hangs their hat on the VSDF tuning which is more diffuse than the Harman tuning. Moondrop Starfield 2 enhances a few areas on the old Starfield while dare I say, undercutting the previously popular Kato in terms of technical abilities. It will be a shining star for those that crave sharp definition and resolution while not overdoing either in air or bass (unless you want to). 

I have personally bought my way up the Moondrop ladder with the Kanas Pro (retired), Starfield (lost), Kato and Blessing Dusk 2 still in rotation and have previously reviewed the Alice TWS.

I can say the Starfield 2 is good company however not kicking older brothers and sisters out of the house. Kato and Alice still deliver more technicalities than the Starfield 2, but the $100 buys a fantastic floor seat to a great concert anchoring itself at the gate for others to attempt to push past.

Disclaimer: I thank SHENZHENAUDIO/Moondrop for providing these at no cost. While I have purchased the original Starfield, Kanas Pro, Kato, and Blessing Dusk 2 on my own dime you could say I am a bit of a fanboy – I still keep my biases in check.

SPECIFICATIONS

GRAPHS

• Left vs Right
• Open Vent vs Plug
• Moondrop Graph Comparison of Starfield and Starfield 2

Contact us!

DISCLAIMER

Get it from SHENZHENAUDIO.

Our generic standard disclaimer.

About my measurements.

The post Moondrop Starfield 2 Review (1) – Deadly Electric Boogaloo With An Old Friend appeared first on Music For The Masses.

INTRO

Warm and inviting with a zing is how I would describe the HIDIZS MS3. Scaled back drivers to design elements from their flagship MS5, the HIDIZS MS3 is a safe gateway to the mid-tier over $100. Inside they have installed a dual Knowles SWFK-3176 balanced armature paired with a 10.2mm dual magnetic circuit dual cavity dynamic driver for boisterous low end. With nine tuning options, the HIDIZS aims to give users a way to find the right sound signature as long as the baseline contains some resemblance of elevated bass and treble.

PACKAGE CONTENTS

As many others, the HIDIZS MS3 have aimed the tuning towards one of the Harman tuning curves in particular the 2019 version, and hit that target well with 2 of their tuning nozzles at an introductory sales price of $119 and retail price of $169. The internals drivers do not share any similarities of the MS5. We have previously reviewed hits such as the HIDIZS S9, AP80 Pro-X, while the MS5 and other IEMS are always a mixed bag of opinions.

HIDIZS seems to have improved a couple of things that bothered me with the HIDIZS MS5, mainly related to the cable ear-hooks and weight. It is still a heavier cable than most with a plastic stiffness, but the ear-hooks are less dramatic easing the pain inflicted on my ears.

The case is not nearly as lavish and has opted for a coin purse like Moondrop did with their LAN, which is great for reducing the bulk in your pocket. Instead HIDIZS focused on the same nice selection of ear-tips and nozzle filters included with the MS5. Missing is the aluminum plate for storing the filters. The filters do include an o-ring to provide some friction from unscrewing, but I still recommend occasionally checking the tightness.

The 3 sets of ear-tips do what they say, vocals tips accentuate the upper mid-range, bass tips knock down some of the treble, and the balanced take a small bite out of the upper treble and sharpness. They are not overly firm- I wish the outer portion would maintain their shape a little better, on the plus the stems are thick to keep them in place while improving bass concentration into the ear canal.

FITMENT / ISOLATION

As I test more IEM’s I am starting to realize the fitment is the number one factor in determining if the HIDIZS MS3 would be considered for a position in my rotation, then and only then does sound factor in. If I am constantly repositioning or they hurt in some way, this will determine usage. Unfortunately my fitment does not equal your fitment. It is smaller than the MS5 mainly in outward protrusion, nozzle length is good, they do wiggle a bit, but I would classify as medium sized. Isolation is stronger than average given the aluminum shell and decent coverage of filling the space.

SOUND

Pairing the HIDIZS MS3 with their AP80 Pro-X they are heavy in the bottom, easy on the top except for a thin peak in the treble knob region they feel grounded otherwise. I would characterize it as a V tuning. Nuances in the bass overpower much of the mid-range and treble, they are not bass-head, but are bass heavy if that makes sense.

Drums and bass guitars are meaty as opposed to thinner presentations from Moondrop offerings. This is pretty standard affair HIDIZS bass. It could probably use a few clicks of less bass between 250-400Hz to remove some coloration, but it might also suck some life out. Impact is forceful, with good rumble to add dimension. The dual magnetic circuit appears to offer good control.

Upper mid-range and treble are mostly impacted by the filters which tilts the balance between powerful bass and amount of treble energy. Treble is clean and well detailed given the dual Knowles balanced armature.

I gravitated towards the combination of the red filters with the balanced ear-tips. Resolving the macro dynamics, the HIDIZS MS3 also manages to deliver some micro details as needed. Because of the placement of the BA right at the exit, clarity in the treble is pronounced.

The red filters transform the HIDIZS MS3 to something different like a cousin of the other tunings, while the silver and gold filters are siblings. With the red filters you have a gentle ramp up into the lower treble peaking in the presence region. This keeps the vocals from sounding too forward. I prefer the red filter with the balanced tips.

Treble is clean and articulated well by the Knowles BA, it does have a touch of extra zing at 8-10Khz that causes cymbals to pull forward in the mix. It’s not sibilant but rather accentuates some brilliance. I chose the balanced tips to knock down the upper treble to offset this.

Staging feels tight with everything clustered-orchestra pieces feel small but even and well integrated. They are more sensitive than the Ibasso IT01 and the TinHifi T4, with the Ibasso having a darker tone and less biting bass.

The TinHifi T4 is similar to the overall signature of the HIDIZS MS3, but removes some of the coloration from the bass. Upper mid-range pinna gain is knocked down a bit in comparison to the HIDIZS MS3. The TinHifi T4 sounds tilts in the direction of V/balanced.

Comparing to another equal contender the BQEYZ Spring 2, the HIDIZS MS3 has bigger bass with more bloom and room reverberation enhancement. Not surprising the Spring series bass was like drinking a lite beer in that it tastes like beer, but lacking in flavor and refinement.

The treble on the HIDIZS MS3 brings more sizzle and definition while mid-range feels on par to the BQEYZ Spring 2. Fitment of the MS3 is larger over the Spring 2 and the cable is heavier as well with my cable preference going towards the Spring 2. Bigger is not always better.

While the HIDIZS MS3 is easily driven from the AP80 Pro-X along with a dongle or smart phone, the SMSL SU-9 with the JDS Labs amp tightens up the bass even further with more umph and control. Timbre is not as organic as single dynamic Moondrop Kato, but I do find the clarity higher most likely the result of the peaking treble.

WRAPPING UP

I think it would be wrong to primarily focus on the Harman tuning of the HIDIZS MS3 when it has another side to it. The point is the MS3 is a properly accessorized worthy mid-tier IEM. I would rather recommend someone save for these than buy a pile of $50 or under IEMs hoping to make medicore sound gains.

With the unique shell faceplate, and nice selection of ear-tips and filters offering 9 tunings (only 2 major and 7 minor), I can stand behind the recommendation of the MS3 in the price range of $100-200 with the caveat the heavy cable is too much burden on your ears and it does have a V tuning with a wee bit too much in and around 8Khz. If this does not worry you, give them a look.

Disclaimer: I cannot go on vacation without incident- hot tip, ocean waves can be stronger than knees. HIDIZS provided these free to sweep me off my feet but I own my own opinions and my actions when playing in the ocean.

SPECIFICATIONS

HIDIZS MS3 Manufacturers Product Page

Type: 1DD+2BA Hybrid 3 Drivers In-Ear Monitor
Frequency Response: 20Hz-40Khz
Hi-Res Certification
Dynamic Driver: 10.2mm dual magnetic circuit, dual cavity PEEK+PU
Balanced Armature: Knowles SWFK-31736
Replaced Sound Filters: 3 types
Shell: Aluminum with black oxide coating
Sensitivity: 112db
Impedance: 18 ohms
Cable: 0.78 2 pin removable high-purity oxygen-free copper 4-strand braided, 1.2m length
Plug: 3.5mm or optional 4.4mm when ordering
Weight: 15g includes cable.

GRAPHS

• Left vs Right
• Comparison of Tuning Filters
• Comparison of Ear-tips

Contact us!

DISCLAIMER

Get it from HIDIZS or Amazon

Our generic standard disclaimer.

About my measurements.

The post HIDIZS MS3 Review (1) – Nine Lives But One Life To Live appeared first on Music For The Masses.

The Calgary Community Standards Bylaw 32M2023 protects the industry and offenders but not the community from noise and vibrations, not even from sleep deprivation. Example: air conditioners that are poorly placed AND poorly managed without consideration for the neighbours, a common problem in Calgary. The city does little to promote vibrant, liveable, inner-city neighbourhoods with a high quality of life.

Disclaimer: location images taken from publicly accessible Google Street View and Google Earth Pro. Last edited 2023-08-20.

Introduction

This rather comprehensive article deals with holes in the Calgary Community Standards Bylaw and the consequences for me and many other victims whose quality of life is adversely affected by inconsiderate neighbours. I have been working on this topic since 2008.

Under the Calgary Community Standards Bylaw, residents have the right to not be disturbed by noise and, therefore, have the responsibility to not make noise that disturbs others. Source: Calgary Bylaws site.

In reality, this is not true. The city allows companies to operate 110 dBC leaf blowers indiscriminately during the 48 hour period following a snowfall, nights included.

Air Conditioners have been a similar, long-standing problem. In 2009, Bill Bruce, then the head of Animals and Bylaws Services, reported 1500 annual AC-related noise complaints to me personally. This number must have increased substantially with the increasingly hotter Calgary summers.

Noisy hot tubs are not far behind in negative popularity.

The Calgary bylaws do not consider AC installation locations and the effects of low-frequency noise.

!

Air Conditioners causing Constant Hum and Vibrations – Example from an Established Neighbourhood.

Here a representative sample of an issue that affects many Calgarians: I have lived in the white, semi-attached house with green trimmings (centre right) for 19 years. Structurally, both attached houses are one unit. While we were out of town recently, the neighbours to the left of this double-dwelling installed an air conditioner in the middle of the narrow, reflective sideyard that is partially covered by the two protruding rooflines.

A narrow sideyard ist the worst possible installation site for neighbours as the operators essentially throw their unwanted “garbage” over the property line, but with a twist.

The AC emits sound pressure that is echoing (technical term “reverberating”) between the walls back and forth, is thereby amplified and shoots out of the front and back of the sideyard.

Sound sample recorded with phone at my patio door (2023-10-01 @ 4°C). Would you like to sit on my deck?

But part of the sound pressure is absorbed by the vinyl siding and causes the neighbouring house walls to vibrate. The more rigid the walls, the lesser the vibrations; stucco is the best reflector with the smallest absorption.

The vibrations travel a long way without much attenuation (because of the long wavelengths of low frequencies) and affect all our walls, including the party wall between the attached dwellings.

The science and its consequences are well established and summarized in this document:

Not Cool: Central Air Conditioner Noise in Calgary’s Narrow Sideyards Background and Solutions

Although there are lots of other ACs running in the neighbourhood, including one in the front yard of the attached dwelling, their sound waves do not invade our house as the waves can freely dissipate towards the street. They also do not reach our backyard.

My very problem is not conventional noise but wall vibrations, something omitted by the bylaws.

“…Council will review how to handle complaints about air conditioners, central vacuum systems and even outdoor hot tubs. The concern is the constant hum or vibration is too annoying and doesn’t fall under existing bylaws. Mayor Naheed Nenshi would like to see air conditions only in backyard and not between homes but that would mean changes to land use bylaws…” GLOBAL NEWS 2013.

The Double Nuisance

The AC nuisance is twofold: installation in the “wrong location” and managing its use without consideration for others. Very common in Calgary. In our case…

1. Poor Air Conditioner Placement (between Homes)

Owing to its installation location in the narrow sideyard between homes, the AC’s sound pressure and the resulting wall vibrations generate a constant hum all over our house, from the basement, the basement bedroom, the main floor (kitchen, living room), through my home office to even our master bedroom. And our backyard sounds like a construction site. There is no escape.

It is not loud inside but static, visceral, repetitive, and simply everywhere and continuous over long periods. And when you are stationary (bed, sofa), this becomes a Tinnitus. It is a constant stress for people susceptible to low-frequency noise.

It has to be noted that the hum does NOT come in through our windows but strictly from our own vibrating walls.

You can recreate this hum by using this online tone generator, pull the slider to 120, and push PLAY:

https://www.szynalski.com/tone-generator/

120 Hz appears to be the natural resonance frequency of my walls. This is so low in the frequency spectrum that it cannot even be covered up by the TV sound (unless you add a subwoofer)…even earplugs are problematic.

Another example of a low-frequency nuisance is that famous Encana hum that travelled for kilometres.

Now try to sleep when it hums and buzzes around your ears in your pillow at night when ambient noise is low. How can anyone take the liberty to impose themselves on others like that? Well, they can, and it happens all over the city.

Constant low-frequency noise, even at low volumes, is a nuisance for many, particularly at night.

2. Poor Air Conditioner Management (vs. Common Courtesy)

Placing an AC unfavourably for the neighbours is one thing, managing it unfavourably is another.

Calgary has a subarctic (mountain) climate (Dfc according to the Köppen-Geiger climate classification) with cool summer nights (8-16°C). My bedroom is located 1110 m above sea level. Is there ever a need for running an AC in the wee morning hours?

Like many other Calgarians, the owners run their AC in overkill mode: they don’t mitigate the heat problem by keeping the sun out using blinds or opening their windows to let a cool breeze in. And they run it even on cool days.

Relying on a thermostat and/or timer, the AC runs even on 12°C evenings (after a 19°C afternoon peak) for hours and also daily in the middle of the night (independent of outside conditions)…which affects our sleep patterns. No attempt is made to be considerate, to conserve energy, or to protect the environment. And they are by far not the only ones.

If you are lucky, your neighbours acknowledge the impact of their AC and are willing to mitigate the problem. If you are unlucky, they put their heads in the sand. Ours are not even talking to us.

The circular argument is: “installation and use are within current bylaws, hence it cannot affect neighbours”.

Unbelievable that neighbours that far away are allowed to affect one’s life this much.

Blast from the Past

We gathered technical knowledge during a two-season abuse from an AC unit formerly in our sideyard back in 2008/2009, installed by a house flipper.

Although this unit was much closer to our walls and much louder than the currently offensive one on the other side, it did not affect the basement bedroom or my back office. Its more aggressive pitch was filtered out by the walls. Only the familiar 120 Hz wall vibrations remained.

Those neighbours switched their AC off at 11 pm nightly to let us sleep in our master bedroom.

Bylaw Services were of no help, but the AC unit disappeared nevertheless when the flipper wanted to sell the house. Our interaction with potential buyers would have made a sale difficult.

Legal Aspects

The Calgary Community Standards Bylaw 32M2023 states…

No Person shall operate or permit to be operated an air conditioner, fan, central vacuum system or generator that causes a Continuous Sound that exceeds the greater of the following Sound Levels:

1. (a)  70 decibels (dBC) Leq measured during the Day-time; or
2. (b)  60 decibels (dBC) Leq measured during the Night-time;

at any Point of Reception within a Residential Development.

Comment: Air conditioners are rated between 65 dB and 75 dB (manufacturers use A-weightung, not C-weighting, as it does not consider the wall-penetrating low frequencies and produces much smaller numbers). Not having a fixed reference for sound pressure measurements (“at any point of reception”) renders the city’s sound level numbers meaningless.

Essentially all ACs in narrow sideyards would fail these measurements at the property line considering the amplification through ricocheting sound waves. Industry lobby prevents that.

As an educated guess, the neighbours’ AC would clock in at 80-85 dBC at the property line, way above the legal thresholds.

The City of Calgary only considers noise quantity but not noise quality. Even a quietly dripping faucet is excavating over time.

What the Bylaw misses: Installation Sites, Wall Vibrations, Noise Quality, Health Implications

No person should be exposed to a constant hum (or any other CONSTANT MECHANICAL noises of any kind) from neighbours in their own house. If you applied such sounds to a prison cell, you would have Amnesty International after you two days later.

The city only considers noise quantity, but not noise quality (such as pitch, frequency etc.). The current legal quantities are ludicrous, especially since they are not even applied rigorously (“at any point of reception…within a residential development” vs. property line; what is specifically meant with residential development is also unclear).

Also, low-frequency noise is a known health hazard. According to common sense, nobody should be given the right to run their appliances in other people’s houses.

No air conditioners should be allowed to run in narrow, reflective, noise amplifying sideyards…banned, for example, in Vancouver or Denver for that reason.

All these suggestions are common sense. As to common courtesy: it is sadly not governed by bylaws either.

Air conditioners should not be allowed in narrow, reflective, noise-amplifying sideyards.

Air Conditioners and the Calgary Climate Emergency

Air conditioners are both cause and result of climate change. They run on a coal-/natural gas-powered grid and release further CO2 through their refrigerant. Air conditioners first appeared in substantial numbers in Calgary after nine 30°C days in 2003. Their number has grown exponentially in recent years.

In November 2021, Calgary has declared a climate emergency and calls for action:

Pure greenwashing with empty words! It is, however, grotesque, that many young people burn the planet out of convenience – and leave it to their offspring to deal with the consequences. Selfish or just thoughtless?

Concluding Remarks

The new Calgary Community Standards Bylaw continues to fail protecting residents from inconsiderate neighbours. It still caters to industry and offenders – and reflects the city’s lack of knowledge of basic physics and health issues related to noise.

Back in 2013, mayor Nenshi already wanted to ban air conditioners from sideyards (Global News reported), but, on the contrary, the city even loosened their land use bylaw in 2018. CBC had raised the issue first back in 2009 [here].

Today, City Council rather focuses on noisy cars – that come and go in an instant while changing their pitch constantly (“Doppler effect”) – and not on stationary mechanical devices that harass people with constant, static low-frequency noise – day and night.

Since Bylaw is typically on the offenders’ side, all that victims have available is civil disobedience within the legal framework…which worked for us in the past.

Calgary is way behind comparable cities when it comes to establishing and preserving liveable, vibrant neighbourhoods. Compare to Vancouver, Seattle, Minneapolis…

In 20 years from now, I’m sure, the installation and use of air conditioners will be strictly regulated owing to the world’s ever evolving climate crisis. Until then, the number of neighbourly feuds will increase with the rising number of unregulated air conditioners.

Until next time…keep on listening!

The post Calgary Community Standards Bylaw 32M2023 Failure: Intrusive Air Conditioners And Problematic Neighbours appeared first on Music For The Masses.

Cons — Needs above-average volume to sound best
– Treble has metallic timbre with hints of splashiness
– Upper-treble rolls off too early
– Over-dampened treble response
– Some bloat in upper-bass, bass decay could be faster

INTRODUCTION TO TOPAZ

BQEYZ is one of the few manufacturers around (along with InTime) who has kept the piezo technology alive in IEMs, especially the budget ones. The likes of Unique Melody, FIR Audio, and Empire Ears also have similar tech inside their IEMs as part of bone-conduction drivers, but BQEYZ uses it for the treble.

Piezo treble definitely sounds unique and it’s more of a personal preference thing. I find it to be super-responsive and having a better sense of “rawness” than typical BA or dynamic driver treble, but then again, piezo drivers are prone to resonances that can be perceived as “splashiness” at times.

BQEYZ Topaz is a cut-down version of the Spring2 in a sense, and the reduced price tag should definitely appeal to those who have been willing to try Piezo on a budget. Do the Topaz scratch that particular itch, or is the novel driver setup inadequate to stand out in today’s hyper-competitive budget segment?

Please read on…

Note: the ratings given will be subjective to the price tier. BQEYZ was kind enough to send me the Topaz for evaluation.

Sources used: Lotoo PAW 6000, Questyle M15.
Price, while reviewed: $76. Can be bought from Linsoul.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

You get 6 pairs of eartips (two different types), a round carrying case, the stock cable (can be terminated into balanced during purchase), and a small cleaning tool. I really like the option of customizing termination during purchase and I hope more brands follow this.

As for the accessories themselves, the stock 4-core OCC SPC cable is very good: flexible, supple, and complements the design of the IEMs well. The stock tips, however, might need changing. I opted for Spinfit CP-100+. Your mileage may vary. The rest of it is absolutely fine for the price tag.

BUILD QUALITY

The Topaz have a two-part design: the inner side is 3D-printed translucent resin, while the face-plate is CNC anodized aluminum. There are several vents throughout the shell: one on the inner side, right in front of the driver, a pair of small vents just on top of it, and one on the face-plate that acts as a back-vent. The 2-pin connectors are recessed, which is another plus.

General build is solid, even though it is a step down from the phenomenal build of the BQEYZ Autumn, for example.

COMFORT, ISOLATION, AND FIT

Comfort is top-notch as I felt no driver flex, and the general shape is fairly ergonomic. Isolation is below average due to the multiple vents.

SOURCE AND EARTIPS

BQEYZ Topaz can scale slightly with higher tier sources, but not so much that investing in one becomes a necessity. The stock eartips did not offer the best bass response for me so I went ahead with the Spinfit CP-100+.

DRIVER SETUP

The Topaz sport a dual driver setup with a 13mm LCP dynamic driver that handles the bass and mids, and a 9-layer piezoelectric ceramic driver on top of it that gets “excited” for the treble notes.

TONALITY AND TECHNICALITIES

BQEYZ Topaz have a warm, bass-focused tuning with rolled-off treble. That’s the summary, so let’s delve deeper.

The bass is definitely the star of the show here. It’s got physicality, texture, and the density of snare hits are especially satisfying. There is some bass bleed into upper-bass, however. This results in “thickened” male vocals, denser snare hits and pedals, and somewhat more fleshed out female vocals (whereas they should be thinner in tone).

The mids have no shout or shrillness, though I wish guitar riffs had more definition. Acoustic guitars and keyboards sound somewhat smoothed over, and this sensation of “over-dampening” carries over into the treble.

Now, the piezo treble is one of the key differentiators between the Topaz and the rest of the competition. BQEYZ probably wanted to not offend those who are adverse of Piezo-treble and decided to play it safe. I’d say, a bit too safe at times. The upper-treble extension is non-existent, which kills the extension that piezo drivers are known for. Despite this cautious approach, some splashiness in treble is evident, even though things sound dampened overall.

Soundstage is surprisingly wide and tall, though depth is middling. Imaging is mostly left and right, with ordinal orientations being less evident. However, there is no “gaps” during stereo pans, which is a positive. General resolution is hindered somewhat by the treble roll-off and bass-forwardness, while the dynamic driver can lag behind the piezo at times.

Overall though, these scenarios are rare and in most cases the Topaz sound warm, with a rich, dense bass. Just that the treble could be more… special. A missed opportunity indeed.

SELECT COMPARISONS

vs Dunu Kima

Dunu Kima are similarly warm-tilted in tone, though they have a more pronounced upper-mid presence. As a result, the Kima sounds slightly cleaner with better clarity. The treble is also not as rolled-off on the Kima, so you get better end-to-end extension. However, I prefer the bass on the Topaz more since the sense of physicality is more evident there. Imaging is better on the Kima, while staging is wider on Topaz.

As for the rest, both are built well, but the Kima are full-metal throughout. Accessories are also better on the Kima though the BQEYZ cable is superior IMO. Between these two, I think the Topaz will suit more to those who prefer a warmer, richer presentation, while the Kima is better suited for the “laid-back without losing all the clarity” crowd.

CONCLUDING REMARKS

BQEYZ Topaz are targeted towards a niche: those who want warm, dense sound while looking for something special in the treble, courtesy of that piezo driver. It’s just a small letdown that the driver is so hindered to make the sound inoffensive that it loses most of what makes it special.

I hope BQEYZ can add in some more upper-treble in the subsequent successor to the Topaz, while utilizing a slightly faster bass driver (or reducing the bass by a bit between 300 – 500 Hz. That should take care of all my qualms and turn the Topaz into something special.

For now, the Topaz are good, just that some small improvements can make them even better.

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

The post BQEYZ Topaz Review – Piezo Promises appeared first on Music For The Masses.

The $21 KZ ZVX is a well-built single-dynamic driver earphone with great resolution but off timbre.

The KZ ZVX was provided unsolicited by the manufacturer and I thank them for that. You get it from KZ Audio.

Introduction

I had given up on KZ after their 50th model or so. The company focused on releasing new models (“quantity”) but not on getting their tuning and therefore their sound right (“quality”). In particular did they never tone down their icepick peaks in the 2-4 kHz area, which is the most sensitive area of human hearing. I think the last KZ earphone I reviewed was the EDX in 2020.

Paradoxically, KZ’s first batch of iems, all single-dynamic drivers, back in 2014, were quite good sounding. Oldies of this hobby may remember the classic bullet-shaped EDR1 and EDR2, both in the $5 category (including shipping). They offered an “agreeable” mainstream sound – their only issue was a somewhat boomy/loose bass.

KZ introduced their aggressive tuning at around 2017 with the general advent of affordable hybrids.

But this may have finally changed, which appears to be a common trend of many Chinese companies across the board. I recently got wind of the Ling Long, a $15 single dynamic driver in the classic bullet shape, and wanted to give them a chance.

Coincidentally (or not), the KZ ZVX showed up in that package, too. A good opportunity to test this new generation of dynamic drivers.

Specifications KZ ZVX

Physical Things and Usability

In the box are the ZVX earpieces, a cable, 3 pairs of foams (S/M/L), and the paperwork. The cable is the standard slightly springy fare from the past — but I am missing some silicone eartips.

The metal earpieces have a matte finish and are slightly bulky and heavy and feel substantial – way above a $20 product. Fit and comfort somewhat standard according to their standard shape. Isolation is good because of the foams.

Tonality and Technicalities

The KZ ZVX is a well tuned, incredibly well resolving single DD, that falls short of being sensational by its weird timbre and its overly fast note decay. The sonic performance is reminiscent of an overpixelated photo. Yep, it could have been that holy grail bargain hunters have been hoping for in Chifi in the last 5 years – but it isn’t quite. Though it is a very interesting iem at this price.

When saying “fast note decay”, you may expect a crisp, tight, lean bass with good speed that does not bleed into the midrange. And sure, it is, although sub-bass extension is just average: the rumble is subtle, but it is there. The low end has a good punch. So far so good.

Vocals are rather forward, but they are edgy, analytical, even robotic, and sometimes tinny and nasal. Notes are lean and with sharp corners. Smoothness is entirely missing. Midrange resolution and clarity are outstanding. Note definition is great, note weight is lean. Voices could be rounder and smoother, they sound a bit roughed up.

There is no shoutiness as KZ have finally dialled back that pinna gain from 13 dB in some previous models to 8 dB.

Treble continues to be well resolving, lean, and…fast. Cymbals are tizzy and robotic, they are grainy and too fast.

Stage is rather deep, of average width (voices don’t leave your head), imaging is very good, there is lots of headroom. In live recordings with band and applause, the concert hall is mapped out well. Dynamics is very good and the overall presentation is rather lively.

Timbre is somewhat off, it is overly metallic, and, paired with an overly fast note decay (string instruments sound scratchy), makes the overall sound somewhat odd and edgy. This does not matter that much with pop and rock, but it does with acoustic sets, jazz, and classical music.

Concluding Remarks

The KZ ZVX is a mixed bag full of contrasts. On the one hand, it is tuned well and offers excellent technical capabilities that rival much more expensive iems, but timbre and speed are not natural on the other. My most positive take home is that KZ have finally recognized and fixed their shoutiness issues.

Despite all its shortcomings, the $21 KZ ZVX is a very interesting budget iem worth a try by the learner drivers, but the “pros” won’t bother.

Until next time…keep on listening!

The post KZ ZVX Review – Fast Eddie appeared first on Music For The Masses.

INTRO

The next entry level IEM Moondrop LAN has landed at a price of $39. There are several brands that tend to do well with almost every product they release and Moondrop is on my list of favorite brands. However, not everything resonates with me. The Moondrop LAN is a bass lean neutral sounding midrange focused IEM, that will not be as popular as their older siblings.

Disclaimer: These are my own words not created by ChatGPT for an IEM sent free of charge from Shenzhen Audio. The robots are coming for our jobs.

The Moondrop LAN is our 400th earphone review.

PACKAGE CONTENTS

Moondrop insists on larger than normal packaging for their products including even the budget oriented Moondrop LAN. It can be rather frustrating to get the box open, but it’s what is inside that matters, so cliche.

The powder coated stainless steel metal shell is petite and has a nice unassuming presence. The detachable 0.78mm 2 pin connector cable is a single transparent sheath with a twisted silver black wire inner core.

Pretty and coils nicely. Unfortunately, it suffers the same problem the Kiwi Ears Cadenza presented to me, it does not accommodate cases very well due to no bump out on the 3.5mm jack.. Alas I will test it with the Hidizs AP80-Pro X.

The Moondrop LAN does come with a foldable leather case that secures with just a hole to a button rivet. Seems rather hipster inspired instead of an actual usable zipper case. I understand companies want to differentiate, but if you are going to include an accessory make sure it isn’t a nuisance please. With no reinforcement around the attachment hole, longevity could be called into question.

Moondrop skipped using their Spring tips on the Moondrop LAN, cost decision or maybe the Spring tips are a love hate design due to their oddball sizing, who knows. Instead you get a rather firm classic eartip set, that differentiates them apart from the classic flimsy generic tips of other budgets. They are not amazing, but they are a good choice.

COMFORT / ISOLATION

The Moondrop LAN shell is compact and solid with good heft. Due to these combinations I find isolation higher than average. It is nice to find something on the smaller size that blocks out noise without having an unholy sized universal custom. The nozzle length and size does not bother me, I think it sized appropriately.

Tested with HIDIZS AP80 Pro-X, SMSL DO100/HO100.

SOUND

Here is where I am less than thrilled with the Moondrop LAN. I normally expect Moondrop to deliver a balanced signature since they do not deviate too far from their VSDF house sound. Bass is super lean on these, tuned towards the sub-bass region. It’s hardly elevated so it sounds extremely flat and not much umph, a little constrained, similar to a  bookshelf speaker with no extension. Oddly though every now and then the sub-bass comes through.

I wish the bass tuning was pushed higher in frequency to give us a little more meat where it counts. To me the problem seems too low of tuning frequency, as not enough punch comes through on drums, instead sounding soft and mushy. Classic and jazz lovers will probably like these, those that listen to rock, pop and electronica are going to want to avoid. 

Midrange is front and center on the Moondrop LAN, because it doesn’t have the bass to offset the pinna rise. Tool’s Forty Six and 2 is hard and overly aggressive with a lot of the instruments fighting each other for attention even though Tool is not exactly calm audiophile music. I like this track since it has a lot going on.

The Moondrop LAN has a polite top end that makes it easy to listen too without a ton of excess air. It is well damped and avoids shrillness. It portrays good articulation for something in this price range, but does not ave the resolution of the upper brethren models like the Kato or Dusk 2. 

Timbre is done well, with nothing majorly wrong sounding. Stage width is more prominent than depth, with the boosted upper midrange it is very forward.

COMPARISONS

If we compare the Moondrop LAN to another popular good budget offering Kiwi Ears Cadenza ($35), I notice better 3 dimensional qualities of the Cadenza giving more depth. The Moondrop LAN flattens the staging instead.

They both have a light midbass, however the Cadenza is smidge punchier adding a little more detail to the upper bass. I prefer the fitment of the Moondrop LAN for sealing purposes since it is more forgiving, my right ear can be tricky with the wrong nozzle length or angle.

Another issue has developed with the Cadenza, one of the eartips does not like to stay on due a combination of oils, short nozzle, big lip, and too small of a nozzle stem on the eartip mated to a larger nozzle diameter. The Moondrop LAN has a longer stem and a smaller lip so the eartip does not slip off. Point for the Moondrop.

With the Moondrop LAN up against the Tinhifi C3 ($49), the Tinhifi treats you to more bass, and a less defined treble. The treble is softer and hazy on the C3, the Moondrop LAN has more brilliance. The Moondrop LAN sounds wider but flatter, the C3 is pushed further out but with less width.

EXIT

The Moondrop LAN is suitable for more intimate music types such as Jazz, Classical could use more three dimensional capabilities, and I would love to have more midbass punch for Rock, and electronic based music. No big faults, but it does not leave a lasting impression. I give the Moondrop LAN an honorable mention mostly based on their consistent VSDF tuning and the clean and solid build quality.

SPECIFICATIONS

GRAPHS

• Left vs Right
• Moondrop LAN vs Kiwi Cadenza vs Tinhifi C3

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DISCLAIMER

Our generic standard disclaimer.

About my measurements.

The post Moondrop Lan Review (1) – Lean Cuts appeared first on Music For The Masses.

It is customary for us in these cases to write a rather succint piece to avoid too much replication of the previous article’s contents but I’m going for an exception here. These little ones do in facts make me feel compelled to share my extended opinions with my few readers. I know, it’ll be boring. Few readers, however, means little damage. So let’s just get down to it.

Just for the record: Akoustyx S6 are currently on deeeep discount sale (like: 50% off) on Drop.

The manufacturer’s official page is instead here.

At-a-glance Card

Full Device Card

Test setup

Apogee Groove / Sony NW-A55 mrWalkman / Questyle QP1R / Questyle M15 / Questyle CMA-400i – Final E tips – Stock cable – lossless 16-24/44.1-192 FLAC and DSD 64/128/256 tracks.

Signature analysis

Tonality

S6’s timbre is natural, sculpted, muscular and well bodied, and stays so all across the spectrum. There’s above decent microdynamics, and no sign of “artificial” aftertastes. This, alone, would be worth closing my article with a glowing rec.

S6’s tonality indeed deserves some articulated comments. The manufacturer underlines S6 are intended for “studio reference acoustics”. Talking through with them they reported they tuned them closely following the Harman IE2017 target (see below) – and I must say it does show, big time. The presentation I hear from the low mids all the way up is definitely that. Sub-bass elevation is only more modest on S6 compared to the theoretical target.

Simply put IE2017 is not my personal preference, period, and this for two main reasons.

One: the circa 11+dB value gap between the 1Khz and 3Khz points results in highmids being slapped hard into my face when I raise volume beyond a very moderate level, and

Two: the depressed lowmids values convert in a very dry, too dry tonality – I do prefer bright neutral to warm balanced, but IE2017 is below neutral, it’s almost aseptycal.

This has to do with the target itself. Then, depending on the particular driver technology and/or implementation accuracy or lack thereof on this or that driver the “actual” result will be for me moderately bad, very bad, or downight unbearable.

Now, the good news is that planar drivers in general bear tonality corrections by means of equalisation with a certain ease. And, S6’s driver is very flexyble (pretty much in Audeze iSine or RHA CL2 league), so first thing I did of course was bringing tonality more in my preferred ballpark, and a bit off the effing IE2017 “thing”.

Here’s the scoop:

My experience with S6 refers to the first 2 corrections (3K and 4K) imperatively applied. I will outline differences when the optional ones are applied too.

Sub-Bass

S6’s sub-bass is fully extended and quite present. Typical snappy planar transients apply without distortions here so there’s little more to squeeze off the onion so to say. That said those who prefer an even more visceral rumble can experiment with a Low Shelf correction from 50-ish Hz, +3dB (or more) and a very wide badwidth (0.3 or so).

Mid Bass

S6 midbass is seriously good. Oh well, of course it’s good if you like technical acoustic bass as I do. Distorted overbloated bass lovers should never buy S6, period.

Transients are well managed here and while they stay in fast, precision-rendering territory as you expect from a planar, they are not overly snappy and do deliver some body and microdynamics.

Applying the aforementioned warmth correction (Peak 200Hz +2dB wide bandwidth) does exactly what it says: midbass (and not only) will heat up a good 20%, coming across as a bit more bodied and flowery.

Mids

Mids are spectacularly sculpted yet organic and detailed. Guitars and tenor sax benefit most of the situation delivering good nuances and microdynamics while staying precise and seprated (see Separation below).

Highmids is where the IE2017 – and S6 which follow that very closely – loses my personal approval and that’s why in my books S6 strictly require the EQ-based retuning I mentioned above.

Once that’s done however the magic happens in all its splendor: high mids are energetic, detailed, sparkly and controlled (!!), even when you pump the volume up significantly, which is indeed a way to open the presentation up and let S6 give its musical best

Male Vocals

Tenor vocal lovers will be those finding the Wamth correction (see above) most desireable. Without that there’s too much dryness to call delivery really organic.

Female Vocals

Female voices are natural and organic, although not flutey. Good texture available and good microdynamics for a planar.

Highs

On a corrected S6 trebles are integral part of the nice show. Well extended, quite airy, snappy without excesses, not zingy, not tizzy. Love them. Apply the “Extra Air” EQ correction to add further airiness. Don’t be scared nor shy: experiment. Try +3dB, +4dB, +8dB if you want. Only stop where you like the sound best : S6’s driver shall anyhow follow you like a doggie.

Technicalities

Soundstage

S6 cast a nice sized stage both accross and in depth – a bit more or a bit less depending on fit depth (the deeper the fit, the smaller the room).

Not the absolute widest projection I heard but very good anyway.

Imaging

Macrodynamics are beyond good. Intruments and voices are well scattered on the scene and there is nice air inbetween

Details

This is a point of excellence. S6’s detail retrieval smoothness is easily top rank for my experience on sub-500€ drivers. While I can name other “detail monsters” around, they all will “cost” some or a lot of fatigue and, before that, distraction from the music flow. S6 deliver fine and subtle details without slamming them onto your face nor covering you with “metallic noise dust” as other much leess refined drivers do.

Detail is also good from bass, although to a lesser extent: down there I guess planar-snappy transients do represent an apriori limitation to low frequency microdynamics. Something can be obtained with some light EQing but that’s it. Not “bad” however, just not so outstanding as to point it out as key plus. If you want special bass articulation and nuances get a high end DD.

Instrument separation

S6 execute separation very well. Crowded passages stay perfectly readable at all times, thanks to very controlled transient behaviour, and that glowing compromise mentioned above between snappyness and microdynamics.

Layering is top class: you can follow second or third voices with ease at all times and that’s not trivial to get – at any price, let alone with this small budget.

Driveability

In the “planar drivers” world S6 are probably the easiest to bias I found. You can even drive them from a phone, although you won’t have much headroom to compensate for low recorded materials (e.g. some vinyl digitisations, DSD conversions etc).

That said, their presentation opens up to more details and microdynamics when submitted to somewhat higher power. Once I apply my EQ corrections and the highmids excess goes for good, S6 offer a wonderfully smooth SPL progression. Indeed I find that even “dangerous” insofar as they cease any shouting, and you don’t get any “too high volume warning” so to say when pumping them up. Be careful… we all have only one hearing system you know that, once screwed you can’t fix it…

Like any bright/bright-neutral drivers S6 pair best with relatively warm sources, or at least with non-analythical ones. A special mention for Groove: the pairing with S6 is beyond spectacular.

Finally, a last important point of attention regards the equalisation requirements: your source need to be capable of at least “some” EQing.

Physicals

Build

The cylindrical part of the housings is in titanium alloy. The supersmooth outside finish is a titanium-oxyde based treatment. The backside is realised of a special polymer, in angled shapen, to properòy house the MMCX connector. Very stylish at least in my tastes, and covered by some patent too.

A red/blue colored ring helps easy identification of the right/left piece. Depending on fitting that ring might end up covered by the Earlock structure (see Fit below), however.

Lat but not least S6 housings are extremely lightweight: once selected the right size/type tips, and worn on with Earlocks etc they virtually “disappear” from your perception. Superb.

Fit

Stock silicon tips are not bad for the job. It’s not so easy to rotate others in as S6 nozzles are quite slim. In the end I settled for Final E (black) as they tend to tame trebles and bring mids forward a bit, which of course helps on re-estabilishing my preferred balance in this particular case.

Technically speaking a good alternative would be Spiraldots too, but their stem diameter is too wide so who wants to adopt them onto the S6 must be ready to apply a tight rubber ring onto the nozzles first, then the tips. Couldn’t be fussed personally, as I found Type-E’s more than good enough.

As you may reacall I am not in general a foamies lover but S6 is one of the few exceptions: here the typical foamies effect (“combing” thinnest treble notes and making bass a whiff “matte”) resolves in a very pleasant timbre nuance alternative.

Once again stock tips are of very good quality – very soft and quickly reactive material, classic cylindrical style – so you can easily go with those to begin with. My effing left canal is always creating problems though so in my particular case S stock tips is too small and M is too thick :-/ My best option is Comply TS200. YMMV needless to say.

Last but certainly not least in importance: the Earlocks. Those are totally brilliant. Think to the IEM version of those “comma shaped” rubber thingies you fit onto earbuds to help the stay put in your concha – and add twice the design accuracy.

These EarLock® silicon “rings” realise several contact points on the outer ear to (literally) lock the housings in place and fit the same way every time. The item comes from a company focusing on hearing protection aids for people involved in very loud noise situations (including law enforcement, army etc) aiming at guaranteeing that the noise attenuator/plug/intercom – whatever stays in-ear – won’t ever budge let alone pull out even in case of sudden hard movements, pullbacks, rush etc etc. And boy do they work!

Simply put: the Earlocks (provided in 3 sizes S-M-L) fit perfectly and “disappear” in/onto the outer ear, I don’t even perceive them as being there once worn, and S6 housings get a 100% firm stability in place, whatever I do however I move etc. This not only means that they won’t entirely slip off, but also and probably even most importantly that they won’t budge even as a consequence of mandibular movements while talking or eating which – in my case it does happen – may produce loss of seal and/or need to reposition.

Long story short: now that I tried them I want something similar for all my IEMs !

Comfort

Subjective differences apart, bullet shapes are normally considered “comfortable”. Amongst their downsides there’s typically stability which is totally fixed by the Earlocks in this case (read above). S6 are not particularly “long” in the bullet shaped category however they do support mid-deep fit, as a free choice user option.

As always: the deeper the fit the softer the trebles, the more relevant the bass, and the narrower the stage. Pick your poison

Isolation

Using foam tips and Earlocks to guarantee stable fit, S6 reach a whopping 34dB passive ambient noise reduction (NRR 28dB). That’s a lot! We are in professional NR aides territory indeed – these values are indicated for people working on tractors for example, or in some noisy industrial plants. Fantastic. Just be careful walking outside : you won’t hear traffic (!)

Cable

S6 stock cable is an unassuming-looking yet very sophysticated 16 core Oxygen Free Copper conductor. According to the manufacturer it is accuratly impedance-paired with the drivers. Be as it may, it sonically pairs spectacularly well with S6. I tried rotating some others – OFC is definitely the right choice, SP-OFC adds on edgyness which is not required here, Grafene does not pair well either.

As it often happens on low budget packages the cable has a fixed 3.5 termination only (the company is working on a multi-plug alternative to bundle on future versions but that’s on the drawing board yet).

Considering how well the cable pairs with S6 I recommend swapping only to those who are in dire need as all their sources sound best exclusively from their balanced otuputs. In such case a very inexpensive, decent option is the good ol’ ultracheap NiceHCK 16 core High Purity Copper (aka “Ugly Cable”). Alternatively a Linsoul HC08 will do well. Or, wait for Akoustyx to deliver their own

I guess something more is also worth saying about the cable.

One: the Kevlar sheath may easily be a love/hate thing. The material itself is beyond wonderful, super resistant etc. On the down side it’s badly microphonic (which is probably why the manufcturer strictly recommends over-ear cable install – RTFM…) and it’s quite springy at first. For the latter issue the good news is that the sheath gets obviously softer and malleable after a quite short time.

To quicken such “break-in” period you can frictionate harshly the cable in between your hands after coughly “coiling” it – don’t worry it won’t break – do it a few times and it will already get much better.

Two: the MMCX connectors offer a very firm “click-in-fit”. This may sound like a detail but for my experience it is not (!). Without going too far, this is one of the very few points of structural weakness I underlined on my Miyabi analisis (here). The down side on low quality MMCX options is of course micro-discharges resulting in subtle craclking noise while listening or worse.

Don’t take me wrong here, I’m not saying S6’s stock cable is the one and only good cable out there – I’m just saying don’t discard it quickly replacing it with “just any other one”, as – unlike what too often happens with cables bundled with budget-tier drivers – Akourstyx put a good one in here…

Specifications (declared)

Comparisons

7Hz Timeless ($ 199 Drop deal)

Simply put, S6 are miles better. Timeless have bloated, untextured midbass, a generally artificial timbre, scarce microdynamics (aka invasive “planar timbre”), very modest layering and separation. They also don’t seem to react particularly well to EQing, although some correction do make them a bit better. They do cast a wider stage compared to S6, there’s that. And they are more expensive.

TINHIFI P1 ($ 169)

P1 offer a smooth, nicely balanced and inoffensive tonality. Possibly a bit “too inoffensive” – one of their limitations for my tastes being that I find them a bit boring. S6 are obviously sparklier, much more engaging energetic and “brilliant” – they do require EQ correction ootb however, which is not an “absolute requirement” for P1 instead. Other major differences are the timbre – P1 being desperately “planar” vs S6’s much better microdynamics – and the driveability – P1 is much harder to bias.

Ikko OH1s ($ 74 promo on Amazon.com)

Recently price-repositioned by Ikko (I’d like to think: also after our suggestion), OH1S are based on different driver tech (1 DD + 1BA) but offer a general presentation and tonality similar to S6.

OH1S don’t require EQ corrections to deliver good bass, mids, vocals and some technicalities – all coming close to S6, which still has the edge on pretty much all counts, even if sometimes by not much. OH1S fall more evidently short of S6 in terms of imaging, and most of all energy. They are also very much tip dependent, and may not be so easy to fit.

final A3000 (€ 129,99 on Amazon.it)

By far my sub-300€ clear-timbre, bright-neutral tonality reference. A3000 are built on a custom-developed DD essentially sounding like a planar, and specially tuned prioritising equal clarity on sounds both closer and farther away from the listener position – which is particularly beneficial to acoustic music from large orchestras or groups.

As a direct consequence A3000 win big on sounstage drawing vs S6 – and pretty much any other sub 1K$ driver I heard tbh, solely bar their siblings A4000, which I find however less pleasant for my tastes on other counts (won’t digress here).

Tonal homogeneity, phenomenally nailed compromise on details vs musicality on trebles, layering proweness and well calibrated snappy transients are on par between the two. S6 offer higher note weight and whith that a more energetic, muscular, lively musicality while A3000 are obviously silkier. S6 sound if you wish… american, while A3000 so japanesely discrete-yet-deeply-sophisticated.

A3000 do not “require” EQ out of the box, their few shortcomings however can’t easily be fixed by EQing. Opposite situation on S6, which need to be put hands onto, but can be EQ-pushed/pulled/stirred in so many different sonic flavours, such argubaly being their most solid upper edge.

Considerations & conclusions

Building low priced, low quality products is not too complicated. Building equally low priced products carrying some more quality as to trigger a user’s attention on “price/performance compromise” grounds is already a bit less easy. Building, again, equally low priced products featuring however the same quality of a market-top product and just scaled-down features… this is a challenge. Taking and winning it requires serious, original industrial competence.

Some 2-3 years ago I auditioned my first planar IEM and I was kinda puzzled. Then I heard another. Then another. And I gave up. Most of all, they were drowning me into “planar timbre”, i.e. [almost] complete lack of microdynamics. A total turnoff for me. Simply put, I could see no reason why one would prefer one of those to a much more expressive and/or refined fast-transient DD or (quite rare, on low budgets) good BA.

Then in spite of my disappointment for the category last year a friend convinced me to audition a pair of RHA CL2, and that’s where I finally “got” planars: different beasts, indeed. And not at all “inexpressive” as the previous ones I tried.

Too bad that a) those CL2 babies cost a pretty penny, and what’s worse b) they are not in production anymore. “Alright too bad” – I said to myself. At least now I know “what” I look for “can” exist in a planar IEM, and that I was right on disregarding lower rank / quality alternatives.

Finally, in came Akoustyx.

Simply put, their S6 are truly hightech planar drivers built into a scaled-down, very modestly priced, stellar value package.

I sharply disagree on the apriori choice which as been made in favor of the IE2017 target. In my very modest personal opinion I don’t find it neither studio-neutral/reference, nor pleasantly musical. I was even more disappointed about stock CL2 tuning, however !

The outstanding things with S6 are their spot on native timbre, and their great elasticity vs EQ corrections.

No they do not deliver “precisely the same” technical proweness I heard on RHA CL2. They come seriously close however, with that indeed representing a credible, significant, differently flavored alternative to DD or BA technology budget drivers – that is, at a fraction of CL2’s price.

If you ask me, S6 are indeed worth their full 250$ MSRP, and then some. At their current deal price on Drop ($129) they are on “steal” category.

Our generic standard disclaimer.

The post Akoustyx S6 Review (2) – …This ! appeared first on Music For The Masses.

Cons — Aria SE are prone to discoloration of the shell over time
– Lack of sub-bass rumble
– Slight tizziness in the upper-treble
– Average staging and imaging
– Not the most resolving
– Competition is stronger now

INTRODUCTION

I will keep this review short and sweet, since the Moondrop Aria SE (Snow Edition) are more of a side-grade to the already reviewed Moondrop Aria (2021).

The primary differences lie in the color, the driver (and corresponding tuning), and of course – accessories.

I think Moondrop could have just named it something else entirely since apart from the shell – nothing else is in common with the Aria 2021. Then again, Aria 2021 is a very popular model, so it’s not a bad idea to piggyback on that popularity.

Let’s see if the Aria SE can become popular on their own right, or are they overshadowed by the already-accomplished predecessor.

Note: the ratings given will be subjective to the price tier. Shenzhenaudio sent me the Aria SE for evaluation.

Sources used: Questyle CMA Twelve Master
Price, while reviewed: $80. Can be bought from ShenzhenAudio.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

It’s not a Moondrop IEM without anime-themed (or “waifu”, for those men of culture) packaging, and the Aria SE are no exceptions.

Inside, you get a noticeably better cable than the OG Aria, Moondrop’s own “Spring” tips, and some spare nozzle filters. I am not a big fan of the Spring tips since they attenuate treble abruptly and even the largest size won’t fit those with larger than medium canals. Your mileage may vary.

BUILD QUALITY

The shells are the very same one that OG Aria uses, which means a composite metal shell, colored with (seemingly) baked enamel processing. I have seen numerous Moondrop Arias with discolored shells, and I suspect the Aria SE are not going to be any different. It’s the price you pay for the striking design, I guess.

Other than paint chipping off, general build is very good given the price. The 2-pin ports are thankfully recessed, which further strengthens the connection. The two vents are located on the inner-side, just like OG Aria.

COMFORT, ISOLATION, AND FIT

General comfort and fit are excellent. I felt no fatigue in long listening sessions. Isolation is unfortunately below average.

SOURCE AND EARTIPS

The Aria 2021 are fairly easy to drive, so any decent budget dongle will be enough to power them. However, they do benefit from better quality amplification, which tends to improve the bass texture and slam to a degree. For this review, I used the Questyle CMA Twelve Master and the Spinfit CP-145 tips.

DRIVER SETUP

Moodrop Aria SE replaces the LCP driver of the Aria 2021 with a 10mm DLC-plated diaphragm. This is the same driver that the 2019 Kanas Pro use, which used to be a $150+ pair of IEMs. So in a sense, you are getting the same driver for half the price.

The shell has two vents to equalize pressure inside the chamber, and there are dampers placed inside to suppress specific peaks in the frequency and control resonance.

TONALITY AND TECHNICALITIES

The general tuning of the Aria SE can be described as “warm-neutral”, with rolled-off sub-bass. I will compare the Aria SE with the Aria 2021 throughout this sound section, thus the lack of a formal “comparison” section in this review.

I think bass is the weakest aspect of the Aria SE, which is somewhat surprising since that was one of the strengths of the Aria 2021. The bass sounds hazy, especially the mid-bass. Sub-bass rumble is lacking and sounds rolled-off, though the graph says otherwise.

Things get better as we move into the mids. Lower-mids are warm, albeit a bit recessed. Snare hits have good body. Male vocals sound tonally correct, while female vocals have a smooth, relaxing undertone. Strings and pianos have very good timbre, and the way Aria SE renders these instruments are perhaps their strongest suit.

The biggest difference between the Aria SE and Aria 2021 is in the treble response. Treble sparkle better than the Aria 2021. The Aria 2021 sound overly dark in the treble at times, so this is definitely a welcome change.

However, the Aria SE sound somewhat over-emphasized in the upper-treble region. Depending on your sensitivity to upper-treble, this may not be a noticeable issue. I found the random “zing” in the treble distracting though. Tip-rolling can help with restraining the upper-treble issues to a degree.

Imaging is kinda average. Stage height, width, and depth are average as well. This is a downgrade from the Aria 2021 which have a wider stage width and taller stage.

Finally, microdynamics are rendered fairly well, with subtle gradations in SPL being noticeable to a degree. Sadly, macrodynamic punch is lacking, so sudden bass-drops and orchestral rise do not exhibit their dramatic nature.

CONCLUDING REMARKS

So, the Aria SE are a warmer version of the Aria 2021, with better treble sparkle and extension. In a vacuum, the Aria SE are good IEMs for those who want a mostly relaxing listen, without completely sacrificing treble response.

Unfortunately for Moondrop, the competition is stronger than ever. Dunu’s Titan S offer a tighter bass response with superior staging and imaging and cleaner mids. Dunu’s Kima have a similarly warm, analogue-ish tuning with better staging and imaging. Truthear Hexa offer a competent hybrid setup with superior resolution and technicalities. Tin T4 Plus have a similarly relaxed tuning with a cleaner bass.

That’s just four offerings from three manufacturers, and I am not even scratching the surface of the numerous collabs, planar offerings, and the usual FOTM (flavor-of-the-month) syndrome that plagues this hobby.

So the Moondrop Aria SE remain a decent alternative, but fail to elevate themselves into something special. The market has reached a saturation point, and there isn’t much the Aria SE can do about that.

MY VERDICT

3.75/5

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DISCLAIMER

Our generic standard disclaimer.

PHOTOGRAPHY

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

The post Moondrop Aria SE Review – The Yang appeared first on Music For The Masses.

PRESS START

Welcome the $189 Moondrop Alice with pixelated fonts I get an eerie sense of being watched by an AI fembot out to seduce and destroy. She does have a cheerful peppy voice and ready to send high quality sounds to your ears. True Wireless Stereo (TWS) has been making progress but these feel next level. In case you are new to Moondrop, they continue to add to the growing list of well received products of the likes of Kato, Aria, Starlight, Kanas Pro, Blessing 2, and such.

When the Moondrop Alice were offered up all I knew was that they were a TWS wireless set with price tag set at $189. When I first popped them into my ears I was instantly awarded with Moondrop’s VDSF (Virtual Difuse Sound Field) sound and it was recognizably clean, clear and spacious sounding. It was not until more details came out that it became clear, these were Moondrop Katos unleashed.

Disclaimer: Set sent free to me from Shenzhenaudio, much appreciated but still free from mind control for now…. muhahaha!

SOUND

Test with LG G8 Hiby Player and IPhone 8

I am not kidding when I say the Moodrop Alice is a wireless Kato (sound only). The bass has the typical Moondrop softness that is accentuated by the bluetooth amplifier blunting the bottom end a bit and doesn’t give it full breathing room. That is something I feel happens on every bluetooth set I have tried most likely a result to conserve battery power.

As usual though you would not find any bass bleed into the mids. The midrange is pleasantly enhanced to the typical Harman curve that rides the fine edge of not too forward and not too recessed sounding. What lifts these above is their ability to give plenty of spaciousness to the instrumentation and vocals that give a better sense of realism.

The treble has nice lift for presence but not overly bright that they feel goosed in the upper treble avoiding unnatural airiness. Cymbals sound natural and ring true with great clean precision while flutes and strings have good loft.

TECHNICALITIES

The Moondrop Alice tackles instrument separation wonderfully and provides excellent resolution. They sound wider than deep, but still provide great depth. Pause on that for minute, because there is more to discuss about this. Volume is a tad limited, but I still found them faithfully loud enough to enjoy and probably take some years off my hearing. Isolation is below average, so combined with the lower than average sound output they loose a half a heart deduction.

VDSF+

Un-pause, so the Moondrop Alice have this feature called VDSF+ which didn’t seem like active noise control otherwise they would have said so. Upon listening to enabled I sensed a slight bass change and staging change. There was also a bit of treble coloration. After looking more into it, Moondrop added crossfeed or the act of inducing crosstalk (a little bit of the left signal goes to the right, and right goes to the left, delay it, level it down, some filtering-there are many ways to do it).

The concept for those that do not know is that in the non-headphone world our two ears create a bit of a timing difference heard from the same sound and filtered and bit due to blocking of our head. With headphones, this delayed mixing of sound signal is removed completely and you get that “in your head” experience.

The goal of crossfeed or VDSF+ in this case is to make it sound more “normal” and move the stage away from the imaginary line between your ears to further in front of your face. So it is a neat feature at the expense of a little comb filtering that mucks with the treble a bit. I think it is so subtle that I prefer it with the VDSF+ on, a slight bass boost and added staging realism.

COMPARISONS

Sony WF-1000XM3 ($60-80 used market/ $300 when new)

Sony makes great wireless products and can be in the same ballpark in terms of pricing compared to the Moondrop Alice. The WF-1000XM3 can be found for insanely low used pricing, but the XM4 version is closer in price currently. I bought the Sony WF-1000XM3 for 3 reasons, first was sound signature and technical abilities (app), second ANC, and third the battery can be replaced if you are handy.

The Sony app gives you control over EQ, active noise cancellation settings and transparent mode. This is why you buy the Sony. The Moondrop Alice on the other hand provides supreme sound quality better treble resolution and tonality, the Sony WF-1000XM3 have a V shaped signature making the treble sound enhanced only at the top end and do not bring out the micro nuances of say the triangle strikes in Pink Panther.

The Sony have a thicker midbass enhancement, while the Moondrop Alice is bit thinner here with more snap. The Moondrop Alice sound lighter and 3 dimensional with better layering, the Sony sound a little flat. Rock and Pop are favored on the Sony, while the Alice lean classical and jazz centric, however this does not mean you cannot use them for either or.

Drop Axel Grell ($150-200 Indirect comparison)

I have not had a chance to catch back up with Loomis who last reviewed the Drop Axel Grell, so I will have to refer back to my memory to compare against the Moondrop Alice. The Drop Axel Grell had a different bass profile centered on midbass, so given that the Sony sounds fuller than the Moondrop Alice, the Grell will further increase that gap with less controlled sub-bass region. The Alice will sound neutral in comparison.

The upper mids, treble follow the Harman curve similar to the Moondrop Alice, whereas the Sony has a warmer and treble knob boosted treble. The Grell seems to have a flat sounding midrange and the Alice will sound more dimensional. While the Grell’s treble was their best feature, I think the Alice is still hard to topple here.

One final nail in the coffin is the Moondrop Alice clearly have better battery management when sitting unused. They retain a charge just as well as my Sonys. The Grell seem to discharge and never enter a deep sleep mode like the others. I wonder if this is something that can be fixed with a firmware update.

DESIGN FEATURES

So why are the Moondrop Alice a wireless Kato? They use the same third generation U.L.T DLC (ultralight, diamond like coated) driver. Moondrop designed them around sound first, form second so the electronics in the shells were placed in position as to not interfere with their sound goals. The flat faceplates serve as an easy to use control surface and taking calls on them was simple and sounded good.

They paired quickly and easily with both my IPhone and Android and stay paired with both at the same time. This is handy because sometimes I listen to music on one phone, but get work calls on the other. No need to pull them out, I just take the call. The carrying case entertained my child with it’s magnetic flip top and additional cardboard protective cover. The Cardboard cover however makes it bulkier, I probably would skip it.

The battery life is great they claim about 8 hours + 40 more due the charge the case holds, taking 1.5 hours to fully charge the earphones. I have no reason to doubt this, and they stay charged unlike the Drop Axel Grell that annoying discharge just sitting there. It has 4 lights on the case to indicate charge level of the case taking 3 hours to charge up. To top it off, use the included USB-C cable (although no charger included) and it also offers wireless charging too when you place it standing in an upright position, not laying down.

The box was hard to slide the sleeve off but inside they give you a collectible anime artwork, the earphones, the case, the case cover and the S/M/L spring tips as well as the sticky feeling S/M/L tips. The Moondrop Alice are rather lightweight and fit ok, but they rely solely on the eartips to stay in place. The inclusion of the sticky feeling eartips are helpful in this regard. The were comfortable enough.

They lack sensors to turn them off if you take them out of your ears like the Sony WF-1000XM3, so they will keep playing music or just sit there turned on until you put them back in their charging case and close the lid. Controls include the following functions:

1. Voice prompt – 3 taps left or right earpiece
2. Play/Pause – 1 tap on left or right earpiece
3. Previous track – 2 taps left earpiece
4. Next track – 2 taps right earpiece
5. Answer or hangup call – 1 tap left or right
6. Refuse call – long press left or right
7. Toggle VSDF+ on/off – long press right or left

BONUS FEATURES

To unlock bonus features for the Moondrop Alice, the Moondrop Link app is essential. They have 10 different sound EQ presets that seem to be planned, I was unable to see them during testing. There is also a 10 band parametric EQ, but lots of apps already include an EQ of sorts.

Firmware updates are also done through this app. The firmware version I tested them with was 0.1.3, upon connecting with the app there was a version 0.1.9 that claimed upgraded sound, a version 1.2.0 that says reduced noise, but neither would update. Hopefully this gets sorted out, if something changes I will update my review to reflect.

I did take some calls through them and while I could hear my calls just fine, the microphone didn’t seem to make it easy for the person on the other end. I love that they can pair to 2 devices at once. I am a weirdo that typically hauls around a work phone and a secondary “music” phone. So while listening on the music phone, if a call comes into my work phone it pauses the music on the other device and I can take the call.

GAME OVER

I strongly recommend these to anyone that wants top quality sound first, and doesn’t need ANC. Moondrop dropped a boss level TWS into our laps and just upped the bar as usual. The only reason not to get a set is if you want ANC, or if you still want to accessorize with fancy cables, DAC’s and amplifiers then you have the Moondrop Kato instead. Or maybe you do not care for the Harman inspired Moondrop VDSF tuning model and need a bassy set.

Battery life is excellent, wireless charging is nice, they stayed paired without issue but just a reminder that as a headset they are not the best option. The app functionality is a bit freshmen, I would not buy it based on features that rely on the app, and talking into the mic, but if that is a deal breaker I would talk to Moondrop or stay tuned to the forums Head-fi, SBAF, etc for updates as people are eager to relay updates and fixes.

PACKAGE CONTENTS

• Earphones with U.L.T Dynamic driver and Qualcom 5151 Bluetooth 5.2 SoC
• Wireless Charging Case
• A Cardboard Case for your Case
• S/M/L Spring tips
• S/M/L Sticky Softears Brand Silicone tips
• Waifu Artwork Card
• Manual

SPECIFICATIONS Moondrop Alice

• Model: ALICE True Wireless Stereo
• Driver: 10mm U.L.T super-linear dynamic driver
• Diaphragm: 3rd generation DLC composite diaphragm
• Bluetooth version: 5.2
• Bluetooth protocol: A2DP/AVRCP/HFP/HSP
• Codec protocol: AAC/SBC/aptX Adaptive
• Charging plug: Type-C
• lmpedance: 32Ω±15%@1kHz
• Working distance: about 15m (barrier-free open environment)
• Input: 5V-0.5A
• Battery Life: about 8+40hours

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DISCLAIMER

Get it here from ShenzenAudio priced at $189 at time of publishing.

Our generic standard disclaimer.

About my measurements.

The post Moondrop Alice TWS Review (1) – Level Up appeared first on Music For The Masses.

Pros — Rich, mature, refined sound; decent screen; dedicated line outs for balanced and single-ended; drives full-sized cans easily; huge 4500 mAh battery; great haptic; complete accessories; excellent value.

Cons — Does not pair well with with fringe iems (“current hogs”); only 16 GB onboard storage and a single SD card slot; volume knob a bit flimsy; computer performance mediocre.

Introduction

Tempotec has been delighting us with budget dongles in the past. The $40 TempoTec HD Pro may have stuck out as the best accessorized budget DAC/amp with all cables included (including Lightning cable for Apple devices). We also analyzed their BHD and Sonata HD II/Sonata E35 budget models.

The $279 (early bird; MRSP $399) TempoTec Variations V6 DSD512 Android HIFI Music Player is the company’s first mid-price digital analog player “dap”, and it is surprisingly way above the company’s usual budget realm. This raises the question whether the TempoTec can design a mature mid-tier player without the usual toothing issues.

What we don’t want to hear is reviewers saying “it is a good first effort, I am looking forward to the follow-up”…which would mean: stay away, save your $$$, and wait for something better.

Fortunately, this is not the case. The V6 is good, very good to be concise…and certainly good enough for me.

Specifications TempoTec V6

Physicals and Features

I am not known for my love of window dressing but the TempoTec V6 is presented impressively. In the box are:

1 x TempoTec V6 Digital Audio Player
1 x USB Type A to USB Type-C Cable
1 x Leather Case
1 x Screen Protectors
1 x Paperwork (Warranty card, Quick Start Guide, Manual, etc.)

A second screen protector is already (flawlessly) installed. Take this, Apple! The quality leather case is thick and robust, but a cut out above the microSD card slot would have been handy.

The player feels substantial in my hand. Great haptic, just like a much more expensive device. The button mechanisms are solid, just the combined on/off and volume knob has a bit of play owing to its spring mechanism.

Functionality and Operation

What it does

• plays music through single-ended and balanced headphone circuits
• has dedicated line outs for both single-ended and balanced circuits
• works as wired DAC with computer and cellphones
• features bi-directional Bluetooth 5.0
• accepts one micro SD card up to 2 TB
• offers unique sound adjustments through “MSEB”
• supports 3rd party apps

What it does not

• 16 GB onboard storage is small
• has no 2nd microSD card slot

Hardware

The TempoTec Variations V6 DSD512 Android HIFI Music Player is essentially a phone without sim card, microphone, and loudspeaker, but with an audio component on steroids. The company scaled the computer part back in order to keep cost down. It features a basic Qualcomm Snapdragon 425 CPU and a 4.2″ 720 dpi screen.

The CPU is more than good enough for playing music, but not for playing games. The screen is fine for its intended use, too. It has a slightly warm tinge and is easy on the eye. The V6 features an accurate digital clock for removing phase noise in order to optimize sound quality.

In terms of DAC chips, the V6 sports two AK4493SEQ (no, the chips do not tell us anything about the sound, despite what the echo chamber in the blogosphere claims). The sound is produced by the DAC’s output stage and the amplifier.

TempoTec were initially not happy with the bass response and raised mid bass – which produces a slight bass boost and deviated the sound from neutral to mildly warm, still with good transparency.

The two dedicated line outs, one for balanced and the other for single-ended are a great feature that is usually reserved for expensive daps. I could handily connect the V6 to my desktop amp.

Software (Android 8.1; HiBy 3.0…)

Since the TempoTec V6 is essentially a small computer hosting the Android operating system, it can run (almost) any app from the Google Play store (and other sources). Due to the limitation imposed by the HiBy 3.0 player, the V6 runs 5-year old Android 8.1, whereas the current version is 12.

This could cause compatibility issues with some current apps, which is a problem for essentially ALL digital analog players – including the expensive ones. Another common problem is the lack of compatibility between Android and Apple. Mac users like me struggle with data transfer.

Bi-directional Bluetooth 5.0 is up to speed. As an internet device, the V6 was a bit slow on my mesh network (50 mbps download speed out of 150 possible on the 5 GHz band, Kazi reports 100/100 mbps on his single router; it also works at 50 mbps in the 2.4 GHz band) but this would be still more than adequate for streaming.

The HiBy 3.0 app is one of the standards across the board. Unique to HiBy is the MSEB, which stands for “Mage Sound 8-ball”. It is a parametric, very intuitive EQ. The OS also includes a standard EQ. Other remarkable features of the HiBy OS are low/high gain selection, crossfade, and antialiasing in the play settings.

Battery Performance

The TempoTec V6 hosts a 4500 mAh battery, bigger than in most phones. Interpreting battery drain is difficult as it depends on many factors additional to music playing, such as gain (high/low), equalizer use, volume, screen use, internet, Bluetooth, volume etc. After 12 hrs of continuous play with the 16 ohm/105 dB sensitivity Sonorous III headphone (low gain, with internet and Bluetooth switched off) at medium volume, there was 12% of battery capacity left.

I then charged it – and forgot – when checking after 4 hours the device was fully charged. After being switched off for almost a week, the charge was still at 98%.

Sound

The TempoTec’s sound can be characterized as slightly coloured, triggered by its somewhat boosted mid bass and its rather smooth, mellow/polite attack – which results in an analogish sonic perception with a timbre as close to natural as it gets.

Its balanced circuit delivers a big stage with a rather large headroom and an astonishing spatial reconstruction. The signature is very forgiving to aggressive recordings. I found the mature and balanced, well-dosed sound impressive from the first minute independent of pricing. It shows that TempoTec have obviously invested in their tuning.

The mid bass has more body than, let’s say, the discontinued $950 Questyle QP1R, but the V6 does not have that crisp leading edge. The V6’s notes are better rounded in comparison, the QP1R’s notes are better defined. The Questyle also offers more microdetail and better microdynamics.

In turn, the TempoTec V6 beats the QP1R in terms of staging and imaging. Which player is better is difficult to say as both are different beasts. Compared to cheaper alternatives, the V6 plays a league above my beloved $220 Sony NW-A55 and $180 Hidisz AP80 Pro-X in terms of refined presentation.

Where the V6 has problems is with “marginal” iems, such as current-hungry Final E5000, which results in a rather uncontrolled, muddy bass performance. Testing the TempoTec’s 4.4 mm balanced circuit with the 300 ohm Sennheiser HD 600 yielded great results. Swapping the HD 600 between V6 and MacBook Air/Fidelia player with Questyle M15 (balanced, high gain) came very close, sound wise.

Comparing the V6’s and QP1R’s DACs using the Burson Funk as amplification reveals the V6’s limits. The Questyle sounds more articulate with sharper notes, the V6 plays richer but not as detailed…though still pretty good.

In summary, the TempoTec V6 sounds enjoyable to my ears and we may have to pay a lot more to top it.

Concluding Remarks

The TempoTec V6 is a mature and impressive product. It is a fully fledged Android (internet) device, essentially a phone without sim card, speaker, and microphone. It may have a somewhat basic computer performance (to keep cost down), but it sounds very good, has impressive audio features (including dedicated line outs), and comes with complete accessories (e.g. quality leather case, installed screen protector).

At its very modest price, the TempoTec V6 is in its own class and will sell like hotcakes.

Until next time…keep on listening!

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The Tempotec V6 was provided unsolicited by the company – and I thank them for that. You can buy it from Kickstarter.com. This is not an affiliate link.

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

The post TempoTec V6 Review (1) – Good, Better, V6! appeared first on Music For The Masses.

The Moondrop CHU is an OK $20 earphone that is overrepresented and overrated by the internet’s echo chamber, which distorts the playing field.

Introduction

After Kazi ranked the Moondrop CHU as a potential budget leader, and Alberto elaborated on the issue of compulsive sidegrading, I’ll focus on the effects of peer marketing and the resulting echo chamber.

“I can’t believe this earphone is $20” (YouTuber Crinacle)…this clever headline started it all off. His sentiments were mirrored by the likes of “The Moondrop CHU is the best IEM $20 can buy. Every other IEM at this price point comes with at least one major tuning shortfall. The CHU does not” (Bedrock Reviews). And so on…

This super-budget iem was suddenly talk of the town…or rather the internet, and the “best-in-class” for many simply by repetition of such claims (nobody had tested ALL competitors, a requirement to justify such ranking). The CHU created lots of buyer interest and puns alike, such as…well…

The questions are: is the Moondrop CHU really a more expensive iem in disguise or was that original claim just a clever business move? Is it at least the best in in class? And even if all these claims are correct, will the masses who bought this iem upon the recommendation of reviewers treasure it for more than a few days?

Moondrop is a reputable company out of Chengdu, China. We have collectively analyzed many of their iems, mostly on the budget side. One of their perennial favourite with us, the discontinued $30 Moondrop Crescent featured a warm Harman tuning – and if still available, would be a stiff competitor to the CHU. The $20 Moondrop Spaceship belongs to a series of brighter, diffuse-field tuned iems issued by Moondrop. The model is being replaced by the CHU.

Specifications

Physical Things and Usability

The Moondrop CHU come with a a fixed pliable cable without memory wire. The included rubber earhooks are taking over their job. The metal earpieces are small and have the same finish and haptic as the Aria, because of which some refer to the “CHU” as “Baby Aria” (as opposed to “Parents CHU?”). But that’s probably all these two earphones have in common.

The package also contains a complete set of Moondrop’s own “Spring Tips”, which usually retails at $13 (tells you something about the profit margin of eartips). These tips are too small for my ears, whereas Kazi reported they don’t fit the CHU sonically. We reviewers therefore used the SpinFit CP145/CP100+ for best results. Fit and comfort are good, isolation is average.

Tonality and Technicalities

Co-blogger Kazi has already characterized the CHU’s sonic capabilities and co-blogger Alberto gave a second opinion so that I rather focus on the shortcomings and some other practical aspects. After all, nothing at $20 is perfect. The overall listening impression reveals an articulate neutral sound somewhat on the edgy and lean side with a decent naturalness. And that’s where the main difference to more expensive models lies: their sound is more “substantial” and richer.

Bass is decently extended but lacks rumble and slam. Not much mid bass punch…which leaves the vocals “free standing”, that is no smudging from below exists. Vocals are somewhat lean with good note definition but little weight. It is the same old same old energetic upper midrange adds that particular edge to voices but also attenuates them…which can be perceived as shouty.

Treble is a bit rolled-off with the Spinfits and somewhat robotic, but with decent resolution.

Technicalities are all ok but far from sensational – and somewhat uninspiring for the spoilt ear. The edginess provides for relatively good articulation and separation. Stage is average in two dimensions but without much depth.

As to my enjoyment, I was bored with the CHU after a short time as it is simply just another uninspiring iem.

In comparison, the $25 Tripowin Leá also lacks bass kick and is even a tad shoutier. The harder-to-drive $20 Astrotec Vesna offers a warmer, smoother sound with rounder notes and better note weight. I find the Vesna more appealing for longer listening sessions and for chilling.

Concluding Remarks

In summary, is the Moondrop CHU the best iem $20 can buy? I think this question is irrelevant, because…is there any you would use beyond a couple of days? Is it perfectly tuned? No! And, can I believe this iem is $20? Yes, I can! Does it deserve the gigantic attention? No! The fact that one influencer started a wave of repetitions does not make the CHU better than they are.

We learn from this: the shallowest ripples can create the largest tsunami. Dangerous!

OK, if you are a hoarder who needs yet another $20 earphone, or a newbie short of cash, you may “do it”. But there is no need to get excited over these (unless you are a salesperson on a commission) – and you may also have a look at the competition. Good value does not guarantee that you will be using them — that’s when even something cheap is not worth its money.

The $20 alternative to the CHU would be the smoother, more organic sounding Astrotec Vesna, which I prefer. These were not picked out by the “bigger” influencers and have therefore not experienced an echo-chamber treatment. In their favour: the minority is always right (Hendrik Ibsen).

And then there is the established $30 Final E1000 (as already recommended by Alberto), always a great choice, but rather unspectacular looking – and largely ignored by the YouTubers (and therefore the masses).

For my part, I’d rather save my money for a more expensive, more inspiring model and stick to the E1000 in the meantime, which I have treasured for over 2 years now. And I have outgrown YouTube marketers and hypes for the longest time already.

Until the next hype…keep on listening!

The post Moondrop CHU Review (3) – Echo & The Bunnymen appeared first on Music For The Masses.

That’s mainly because I found myself a lot in line with what Kazi already reported on his own article. I’ll focus on underlying some details, and noting aspects where I have a different opinion.

Another reason for being short is that although I found Chu obviously “good for the price” I also find that they don’t offer anything significatively better compared to existing options. No change on our relevant Wall of Excellence section for now.

At-a-glance Card

Full Device Card

Test setup

Apogee Groove / Sony NW-A55 mrWalkman / Questyle QP1R / Cowon Plenue 2 – Spinfit CP100+ eartips – lossless 16-24/44.1-192 FLAC and DSD64/128 tracks.

Signature analysis

Tonality

Moondrop CHU deliver a definite bright neutral (Moondrop “VDSF target”) tonality, with some above average (good) accent on trebles. Bassheads and treble sensitives : stay away.

Sub-Bass

Not rolled off but a bit too slow to be organic. I found them less bad than other reviewers did though.

Mid Bass

Less slow than sub-bass but quite untextured and often dull. The driver is clearly fatiguing on crowded passages, often yielding some sort of undistinguished bass notes “blob”. Not bleeding in the mids though.

Mids

Moondrop CHU’s mids are flat and not particularly articulated. Highmids tend to overdo in many occasions. Organic note body is most often missing, which predominantly gets revealed on guitars and male vocals.

Highs

Sparkling and quite energetic, and also somewhat airy. That’s the area where stock Spring eartips most evidently fail. In addition to what Kazi noted regaring the 3-8Khz region, experimenting with an EQ and the Spring tips one can find an annoying situation at approx 12KHz that, once notched down, improves treble definition, and also instrument separation and layering. Most of this is “fixed” adopting Spinfit CP100+ tips.

Technicalities

Soundstage

Moondrop CHU offers a limited soundstage width, and virtually zero depth

Imaging

Lacking, mainly due to bad layering.

Details

Lacking and quite messy on the bass, Moondrop CHU offers a good detail retrieval on highmids and trebles.

Instrument separation

Very underwhelming with stock tips, separation and layering get better by swapping onto Spinft CP100+. Even then, layering and microdynamics (weakness thereof) still stay the single aspect where low price gets revealed on Moondrop CHU.

Driveability

CHU are oversensitive (120db/V, corresponding to 135dB/mW at their 28 ohm impedance), so they hiss like cobras on pretty much all high power sources you can plug them onto (there is where always carrying an IEMatch over makes the difference). On the other hand, this means they can be powered by “whatever” (even an old phone).

Specifications (declared)

Comparisons

Final E1000 ($29.90)

I do agree on most Kazi’s notes here, too.

On their down side, Final E1000 feature a rolled-off sub-bass that calls for some simple eq correction. On pretty much every single other aspect E1000 is superior to CHU: better bass definition and texturing, better more organic mids, better refined unshouty highmids, and most of all much superior layering and microdynamics.

Soundstage is comparable, with E1000 a bit better in terms of depth but that’s because I’m picky. Trebles are a give/take: E1000 are less aggressive overall yet nicely detailed and sparkly nonetheless, although someone might elect to tame them down on 5K; Moondrop CHU (with Spinfit) are furtherly airy and “clear” off the box (wether this is a pro is personal taste) and call for attention at 12K.

E1000’s price tags is unsignificantly higher, but gets equally unsignificantly lower when we account for Spinfit CP100+ tips required on Moondrop CHU, while E1000 perfectly pair with their bundled Type-E’s.

Long story short, I find no single reason why an E1000 owner should get a pair of CHU, nor solid reasons why someone would have to get CHU before E1000. Needless to add: YMMV.

KZ ZEX / CRN (€ 30,00)

As quite extensively reported on my article KZ CRN is a fundamentally flaw-tuned model requiring substantial EQ-ing to turn into something pleasantly audible. So for whoever is not keen on adding EQ to its gear, KZ CRN is simply rubbish.

Comparing an EQ’d CRN with CHU, the latter still easily wins in terms of timbre coherence of course. On low notes, KZ CRN is even worse than CHU. General timbre and tonality are quite similar, so is the fundamental lack of note weight mainly in the mids. Treble detail retrieval is superior on CRN. Soundstage and imaging are a bit better on CHU.

Considerations & conclusions

At this point in my piece there are two questions ready to be answered.

One: Are Moondrop CHU “good” ? Heck, yes: for 20$ they are more than good, really. And they stay so even at approx 35$ which is the total you need to pay for CHU + a pair of more appropriate eartips.

Two: Are they “entry level killers” as their bombastic payoff states? No, they are not and by far so. Final E1000 are still better, and not by a small margin at least for my tastes.

My few readers know I am the opposite of a compulsive sidegrader. To me a new product not proving significantly better compared to existing directly-comparable staples takes a negative mark as a product, and another negative mark to the company marketing a product which has no competitive reason to exist. And this definitely applies to Moondrop CHU.

So if you are a die-hard gear roller, yeah, do get a pair of Moondrop CHU and of SpinFit CP100+ – you’ll like the pair, I mean it ! All others, just stick to their E1000 and be happy

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The post Moondrop CHU Review (2) – Unneeded appeared first on Music For The Masses.

Appropriately-featured for the $150 pricepoint, including ANC, BT 5.2, 8-10hr. battery and wireless charging. AirPod-derived design and plastic construction are generic but solid; charging case is nicely pocketable and connection up to 40’ or so is flawless. Touch controls are, for a change, logical and responsive despite an odd latency before commands register. The tiny touch panels, however, are too small for fat fingers. There’s no app, though the stock tuning doesn’t demand EQ.   

I tend to think that this stem-down design, while lightweight and comfortable, doesn’t seal as well as bud or barrel-shapes, but isolation is good and ANC works well by TWS standards—an IPX4 rating is specified, and these are suitable for outdoors or gym use. Unlike many TWS, these get plenty loud without audible distortion.

The AXS immediately impresses with a bell-clear, slightly bright tonality and really excellent imaging, even if soundstage is fairly intimate and narrow, albeit with good height. Signature is sorta “reverse V-shaped”, with slightly dialed-back but well-sculpted low end, forward, prominent midrange and crisp high end which shows some sparkle but eschews harshness. Subbass is well short of basshead levels, but palpable, quick and very, very musical. Note texture is on the lean side, almost like a BA, with short attack and decay and seamless transition from highs to lows, without odd peaks. 

These aren’t as analytical or hyper-detailed as say, the Klipsch T5—there’s some de-emphasis of the highest frequencies—but drumheads retain a nice snap and piano keys are reproduced accurately. The AXS seem optimized for vocals—female vox in particular are placed center-stage and a few steps in front of the other performers, which gives a live-in-nightclub feel to acoustic fare. Perhaps because of the narrow stage (or smaller drivers?) they do struggle a bit with more complex arrangements (the string passages on “A Day in the Life” and Buffalo Springfield’s “Expecting to Fly” sounded congested), but straight guitar rock had a ton of jump and jive. They deftly navigate the delicate balance between being an exciting listen and sounding artificially boosted.

Compared to mainstream players like Apple or Galaxy Buds +, the AXS trail in tech but perform on another level sonically, with a much less compressed, more natural timbre. My favorite audio-oriented TWS like the Cambridge Melomania or Lypertek Tevi are closer matches—the Cambridge has a richer, more vinyl-like tonality, but trails in the technicalities (instrument separation, driver coherence, bass quality, etc.), while the Tevi sounds bigger and more expansive than the AXS, with more air between performers, but presents less microdetail and high-end refinement. 

The recent, well-tuned Grell TWS1X rivals the AXS for audiophile-accuracy and instrument placement and also presents a wider soundstage but is rather more laid-back and has much inferior fit and UI; except for denser orchestral fare I preferred  the  louder, livelier (and slightly cheaper) AXS overall.  Finally, the AXS register as better value than the (quite capable), comparably-priced Status Between Pro, which has woolier bass and lacks the AXS’s driver control and focus.

A lot of the new TWS products that pass through our greedy mitts seem like works-in-progress, with glitchy tech, conspicuous design flaws and/or polarizing tunings. AXS however, seem to have emerged from the womb fully formed—these are well-engineered, mature-sounding buds. Now, given (I hypothesize) that most consumers prioritize design and tech features, I’d expect that in the future AXS will trot out more distinctive shells, multipoint, auto-pause and other such gimmickry. However, AXS has nailed the hard part—these buds sound damn good and are very highly recommended.

Disclaimer: these were sent to us gratis for review by AXS’s very professional PR firm. Check out the AXS Audio website.

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Bluetooth & TWS

AXS Buds

The post AXS Audio Professional Wireless Earbuds Review – Technical Knockout appeared first on Music For The Masses.

Cons — Lacks macrodynamic punch and sub-bass rumble
– Notes sound smoothed over at times
– Lower-mids are somewhat recessed
– Imaging is hazy

Note: the ratings given will be subjective to the price tier. Elle Zhou of BQEYZ was kind enough to send me the review sample.
Sources used: Sony NW-A55, Questyle CMA-400i
Price, while reviewed: $200. Can be bought from HiFiGo

INTRODUCTION

The folks at BQEYZ are best known for their hybrid and multi-driver efforts. Their popular models such as the Summer or Spring had DD + BA + Piezo configuration. In fact, BQEYZ is one of the few manufacturers who still use Piezo drivers and has extensive know-how about this driver type.

The Autumn, being a single-dynamic offering, mark a shift in BQEYZ’s approach. Simplifying the driver count allows for easier tuning but also makes maintaining technicalities a challenge.

Do the BQEYZ Autumn pass the hurdle, or do they fall by the wayside? We’ll find out in the following.

PHYSICALS

Accessories

The BQEYZ Autumn come with 6 pairs of eartips, a 4-core silver + copper mixed cable, and the proprietary tuning magnets along side a tool to remove the magnets. A carrying case is also included which gets the job done without being flashy.

Build

General fit and finish are excellent here, with the BQEYZ Autumn having a polished aluminum shell. The shell is a two-piece design with the seam between the pieces barely noticed.

There are three vents on the inner-side of the IEMs. The nozzle is also metal. Lastly, BQEYZ has opted for 0.78mm 2-pin recessed connectors, which I personally prefer over flush or raised connectors.

Comfort and isolation

Comfort is very good but isolation is lacking due to the vents placed on the inner side of the earpiece.

Internals

BQEYZ went for a 13mm single dynamic driver here, with not much being told about the diaphragm material. Elle Zhou confirmed that they are using a 6 micro-meter ultra-thin PEN diaphragm.

The driver is housed in a dual-cavity structure which is becoming pretty standard lately.

BQYEZ Autumn Sound Analysis

Listening setup: BQEYZ Autumn with normal filter + stock cable + Radius Deep-Mount tips + Sony NW-A55

The BQEYZ Autumn have a slightly V-shaped tuning with emphasis around mid-bass and lower-treble. What makes them stand out is how relaxing the signature is, as the transients are rounded and leading edge of notes are softened out.

Bass here is mostly characterized by the mid-bass bloom that adds some extra decay to bass notes. Snare hits also get extra thickness and body as a result. This tuning works well for moderately paced tracks but leaves you wanting in fast metal tracks.

Sub-bass rumble is lacking, so sudden bass drops lack the physicality you expect. Macrodynamic punch is lacking as well, so the BQEYZ Autumn isn’t really suited for portraying the energy in tracks.

Mids are fairly well tuned. Lower mids are recessed but doesn’t sound drowned out. The recession gives a sensation of laid-back vocals that is devoid of shout or shrillness. If you don’t mind midrange recession, the Autumn won’t be disappointing. However, for those seeking more forward or energetic vocals – this ain’t it.

Then comes the treble, and here we have perhaps the only tonal oddity of the Autumn. The 5kHz peak is quite prominent and makes leading edge of cymbal hits sound a bit brittle. This presence region emphasis is needed to keep the Autumn from sounding overly dark but this also leads to over-crispness at times.

Upper-treble is well extended with resonances being heard well until 15kHz. The airiness is kept in check though so it doesn’t lead to fatigue.

Before getting into technicalities, let’s talk about the filters. The filters only increase or decrease the amount of bass but due to how we perceive sound, this change in bass markedly alters the presentation.

The normal filter is the one I found the most balanced, with the bass filter making things too bassy and the treble filter making the 5kHz peak even more prominent.

When it comes to staging, I found the stage width to be quite good. Everything is well separated, and the Autumn don’t sound cramped. However, stage depth is limited.

Imaging is also average with positional cues often being hazy. The saving grace here is the reproduction of microdynamics that allows you to delineate between instruments playing at differing volumes.

Finally, resolved detail is above average for a single dynamic IEM but the Autumn will be bested by a number of multi-BA or hybrid offerings in this range.

Compared to Final E4000

Final E4000 have been one of my default recommendations for a single dynamic driver IEM under USD $200.

In terms of build, the Final are no slouch with a similarly solid aluminium shell. Final went for a barrel shape and mmcx connectors but both IEMs are at equal playing field here.

Comfort and Isolation wise I think E4000 wins as they block more noise than the Autumn. Accessories are about par on both.

As for the sound, E4000 have a similarly bass-boosted, warm tuning but Final has even less emphasis in lower treble. This results in a tad darker tuning than the Autumn. Another noticeable change is the staging and imaging where the E4000 sound more expansive and accurate respectively.

Resolved detail is a bit better on the Autumn due to better upper treble extension. Macrodynamic punch is better on the E4000 meanwhile. Mids are also more engaging on the Final IEMs.

One advantage of the BQEYZ Autumn is the filter system that isn’t available on the E4000 at all. So if you want to change the tuning on the fly the Autumn will be better suited. E4000 are also more difficult to power, requiring better amping.

CONCLUDING REMARKS

BQEYZ have tuned the Autumn fairly well. They didn’t just try to copy-paste an existing target curve and instead went for their own flavor of sound which is rarer to see these days. I do wish that the Autumn were a bit better in terms of technicalities, esp the imaging department. BQEYZ’s previous offerings were better in this regard so this one is a backward step. 

Other than that, the Autumn are a solid pair of single dynamic IEMs, and on sale price they warrant a closer look.

MY VERDICT

4/5

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The post BQEYZ Autumn Review (2) – Incremental Improvements appeared first on Music For The Masses.

Cons — Lean notes, lacks kick, shouty and unbalanced; springy cable.

Executive Summary

Introduction

Tripowin is one of Linsoul’s in-house companies. It was established in 2019 – and we rarely had the pleasure to test their products. Linsoul, of course, is a major Shenzen audiogear retailer.

The Léa is a single dynamic-driver earphone aiming to the super-budget crowd whose goal it is to find a cheap iem that punches well “above its weight”. I personally have yet to find such a model, let’s see whether the Léa can convince us.

Specifications

Physical Things and Usability

In the box are the two earpieces, one set of eartips (S/M/L/), a pair of clip-on earhooks, and a cable. The shells ae built very well, the silicone eartips work for my ears, the cable is springy, rubbery, and tangles easily, but it does the job. Everything works out of the box.

Comfort and fit are good for my ears, isolation is average. The Leá are easy to drive with a phone.

Tonality and Technicalities

Leá’s signature is warm-neutral, organic, but notes are lean. It is unbalanced to my ears with lack of bass dynamics and too much of an edge in the mids.

Bass is exceptionally tight and clean right down to the lowest frequencies, although it does not reach very deep into the sub-bass. Slam is lacking. The low end lacks bite and is too polite.

This politeness is turned into the opposite in the midrange. Vocals are lean, and pointy, though overall still reasonably organic. They are attenuated by an over-energized upper midrange and lack weight, though note definition is ok. Call it shouty, there is too much harshness and some body lacking in the mids for my gusto.

The midrange is simply a too edgy and lean. When turning the volume up to reach satisfaction in terms of vocals body, all I get is bleeding eardrums. It is like the torture of Sisyphus as the desired result is never achieved. At low to moderate volumes, the midrange is fine, though.

Treble rolls off way to early. Cymbals are frequently buried and lack substance. They are clean but lack weight.

Stage is relatively narrow and has decent depth and height. Imaging, instrument placement, and separation are surprisingly good. So are clarity and resolution. But bass kick is lacking, painted over and taken hostage by the strident, over-energized mids, which knocks the whole experience out of balance.

In comparison, the $20 Astrotec Vesna sound fuller, wider, and smoother — just way more cohesive. Notes are also much better rounded in the Vesna.

Concluding Remarks

The Leá turn out to be too aggressive in the midrange and too dull at the bottom end for my ears. Some smoothness in the midrange is urgently needed. Technicalities are surprisingly good. They are average iems for listening at low to intermediate volumes in their price category. Build and haptic of the earpieces are excellent, though.

In summary, Leá offers nothing new, sonically. Another one for the lowest drawer in my desk.

Until next time…keep on listening!

The post Tripowin Leá Review – Sisyphus Revisited appeared first on Music For The Masses.

Cons — Supplied Spring tips are not the best match for CHU as they attenuate treble
– Mids can sound shouty at times
– Technicalities expose the cheap price tag
– Shell paint is prone to chipping off

INTRODUCTION

Moondrop’s last budget offering, the Quarks, left me unimpressed. The only thing those had going for them: price-tag. The neutral-ish tuning was too dry-sounding and the cheap build did not inspire confidence for long-term use.

Enter Moondrop CHU, their latest budget offering. Priced slightly higher than the Quarks, the CHU have far better build and accessories. The tuning, at least on paper (i.e. graph), looks closer to Moondrop’s VDSF target.

All good news so far, but how do they perform in real life? Let’s delve deeper.

Note: the ratings given will be subjective to the price tier. Hifigo was kind enough to send me the CHU for evaluation.

Sources used: Questyle CMA-400i
Price, while reviewed: $20. Can be bought from HiFiGo.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The CHU come in a rather fancy packaging with Moondrop’s signature anime-artwork on top. Fortunately the fanciness do not stop there, as these come with Moondrop’s Spring tips bundled. These tips cost more than half the price of the CHU if purchased separately, so the value proposition is high here.

There are a pair of ear-hooks which add extra strain relief to the cable while helping in over-ear fit. You also get a carrying pouch inside but it’s rather horrible. It offers no protection and is made of a paper-like material that I don’t think will last long. Something’s gotta give, I guess.

BUILD QUALITY

The metal shell of the CHU is exquisitely machined. The fit and finish here is as good as the more expensive Aria. In fact, the CHU have similarly “baked” paintjob on the shell, and similar golden design accents. The two vents on the inner-side of the IEMs also have similar position, with one being placed near the nozzle and another slightly higher up in the shell.

The biggest point of contention for many would be the fixed cable. The good news here is that the cable has ample strain reliefs near the jack and shell, and the sheathing is not too stiff. As a result, you won’t get many kinks and untangling the cable won’t be too difficult. If used carefully, I expect the CHU to last a while.

My only gripe would be the lack of strain relief near the Y-split. A cost-cutting measure perhaps that could be avoided. Another issue which is sort of Moondrop specific: the paint job. These tend to wear and chip-off over time.

COMFORT, ISOLATION, AND FIT

The CHU are very comfortable once worn. Isolation is fairly good, though you’ll need foam tips for best isolation. Do note that the supplied Spring tips are smaller than usual sizes, so you’ll have to choose “L” size if you usually use “M” size on other tips, e.g. Spinfits.

SOURCE AND EARTIPS

For this review, I mostly used the Questyle CMA-400i which is extremely overkill for such easy-to-drive (18 ohms, 104 dB/mW) IEMs.

As for eartips, this is where we run into some strangeness. As the supplied tips (and being fairly expensive), the Spring tips should be absolutely perfect for CHU. However, that’s not the case. The Spring tips attenuate the entire treble region noticeably, resulting in a smoother but less dynamic presentation.

As a result, for this review I chose the Spinfit CP-100+ tips. Even with the added cost of third-party tips I think the CHU are great value, so this small addition won’t change my final rating much.

MOONDROP CHU DRIVER SETUP

Moondrop has used a 10mm Nano-crystal coating composite Titanium-Coated Diaphragm in the CHU. In plain terms, there is a PET driver with perhaps a thin coating of Titanium. Overall, nothing spectacular and expected for the price-tag.

The acoustic chamber design is more interesting as the CHU use a similar system to Aria with two front-facing vents that equalize both the front and back-side air-pressure. As a result, driver control is easier to ascertain.

TONALITY AND TECHNICALITIES

Moondrop CHU have a “sub-bass-boosted neutral” tuning. Moondrop calls it their VDSF target and higher-tier IEMs like the Blessing2 and Aria have similar target response.

Having the same graph does not mean that the CHU sounds the same as Blessing2 or the Aria. There are noticeable differences in the technicalities and presentation that set these three IEMs apart.

In terms of bass response, the CHU do reach as low as 30Hz, but the rumble is faint. Bass lacks physicality and doesn’t have the mid-bass punch or sub-bass slam you get from better drivers. Mid-bass notes are not the most textured, but CHU do a better job here than many of their peers. Bass speed is average, but again – not expecting miracles here.

The one thing that I like about the bass is that it doesn’t bleed into the mids. Even then, in tracks with a lot of bass undertones you will miss a lot of the notes. The driver is just not capable enough for that kind of workload.

Speaking of the mids, the lower-mids could do with a bit of body as I think baritone vocals lack some of their signature heft. This is somewhat compounded by the nearly 10dB of rise to the upper-mids. Fortunately, the rise is not too drastic and only in certain songs do you hear hint of shoutiness, e.g. Colbie Caillat’s Magic. Nonetheless, the lower-mids never get the heft and weight I would consider “ideal”, so there’s that. Easily fixed with slight EQ though.

The treble response will probably divide the audiences. Those who prefer a bit more presence-region “bite” will be disappointed as the Spring tips smooth those out. This hampers resonances and upper-harmonic, and most noticeably kills the dynamics. The fix is simple: use other tips like Final E-type or Spinfit CP-100+. The graph shows how the Spring tips reduce the frequencies between 4-8kHz by 3dB or so. Upper-treble is also hurt but those measurements aren’t reliable.

General resolution is middling in the grand scheme of things, but for $20 only very few IEMs can claim better performance, and those who actually resolve more have other tonal oddities. Soundstage has decent height but lacks the width and depth of higher-tier IEMs. Imaging is mostly left and right but I don’t want to nitpick here because, again, price.

Dynamics is another area where CHU can perform better even for the asking price. With the changed tips, I find them to have better macrodynamic punch than stock form but the microdynamics are mostly average. Overall, technically the CHU fail to impress as much as they do with their tuning.

SELECT COMPARISONS

vs Moondrop Quarks

The Quarks are inferior in every single aspect. I can’t find a single area where they excel over the CHU, sadly.

vs Final E1000

I consider the Final E1000 more of a CHU competitor than anything else under $50. They have a similarly neutral-ish tuning and come bundled with the excellent E-type tips.

The bass on the E1000 roll-off earlier than CHU but has better mid-bass texture. Midrange is where Final knocks it off the park with the E1000 having a neutral-yet-engaging tuning without a hint of dryness. Lower-mids have adequate weight and upper-mids are smooth, articulate, and devoid of shout or shrill.

Treble also has slightly more energy and cymbal hits are easier to identify on the E1000. They also have some stage depth and slightly better imaging. However, the E1000 have availability issues and the price is at times higher than the suggested $25.

Depending on availability and price, I would pick the E1000 over the CHU if they cost less than $30. Other than that, with an increased budget, I’ll probably go for the Final E3000 or BLON BL-05S, provided an adequate source is present. However both of those IEMs cost more than twice the price of CHU so there is that consideration.

CONCLUDING REMARKS

The TL;DR version of this review would be: “I recommend the CHU if you only have $20 to spend and are willing to shell out for a pair of third-party tips, or like the sound with stock tips”.

The CHU have familiar failings of the budget realm, namely a lack of technical chops especially in perceived stage and imaging, and Moondrop’s VDSF target does not really fit well if the driver is not fast or resolving enough.

However, looking at the competition with their bass or treble-heavy offerings, CHU are pretty much uncontested in the under $20 price-bracket, and deserves the recommendation.

MY VERDICT

4/5

Good tuning meets average technicalities, and the end-product is more than decent.

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