Executive Summary

The $55 Maono WM620 is a compact set of two well-built, good-sounding microphones with receiver that can be used for Vlogging, streaming, and Zoom/Teams/Skype telecasting.

Also great for broadcasting music due a special “reverb setting”. Indoor/outdoor use with special noise-cancelling algorithm. Very portable and easily chargeable as all elements are stored in a dedicated charge case not exceeding the size of some TWS cases.

The Maono WM620 was provided unsolicited by the company and I thank them for that. You can get it from maono.com.

Introduction

Lavalier microphones, that is small mics that you attach to your shirt, are widely applied in TV studios for interviewing purposes. At home or in the office, you can use them for Zoom, Microsoft Teams meetings, or (YouTube) live streaming/Vlogging. If you want to do interviews, you need two microphones. And if you want to be mobile during use, your microphones should be wireless.

What we would like to see in such microphones is a small size (to conceal them if required), good sound quality, long battery life, and a long wireless range. The Maono WM620 Lavalier Wireless are…errrm…wireless.

On top of these standard requirements, they offer environmental noise cancelling — that is background noise is being removed…and a reverb mode for musicians and horror movies.

Maono is a high-tech company that produces affordable microphones, audio interfaces, headphones, and other audio accessories. They preferably sell directly to consumers to keep their prices reasonable.

Specifications Maono WM620

Physicals of the WM620

In the box is a charge case with USB-C cable, inside are the receiver and two transmitting microphones with magnetic clip, 2 magnets for attaching, and the manual. The case is barely larger than that of an earphone.

All parts are made of hard polycarbonate and appear reasonably sturdy. The receiver has a USB-C plug for attaching it to Android phones and computers. It also works for iPhone but you need an OTG adapter like this one for (except iPhone 15, which has a USB-C port). The transmitting microphones and the receiver are very small, the whole set is very transportable and therefore well suited for use on the road.

Functionality and Operation

The WM620’s receiver is connected to your recording device and the two microphones are attached to people, either by a (magnetic) clip or by an included magnet. Pairing is easy on the push of a button.

If you don’t like the view of the transmitter on your chest, you can hide it in a pocket or behind your shirt/blouse/jacket and hardwire a small external lavalier mic to it (not included)…which bypasses the two mics but reduces your recording microphones from 2 to 1. The receiver hosts a 3.5 mm headphone socket for real-time monitoring.

The microphones feature a 2-step environmental noise reduction to minimize the ambient background sounds, and a 4-level gain. They also have a reverb button for musical productions and a mute button.

The microphones and the receiver have a range of status LEDs on their tops.

Each transmitting microphone features its own USB-C port for charging, although they are all being automatically charged in the storage case. The receiver does no have a battery but draws power from the host device. You can use the set while charging your phone through the receiver’s USB-C port.

The mics work for 6 hours and can be recharged twice in the recharge case, which totals 18 hours of use. You need a 5 V USB charger (not included) for charging the case.

The maximum transmission distance is given with 100 m.

Sound Quality

The most import feature of this microphone set is its sound quality. Check it out here:

I used the maximum gain on both mics. The radio was playing very quietly. Pretty good sound to my ears. The reverb function is a bit of a gimmick but the environmental noise cancellation works very well. What’s really great…and I am repeating myself, is the compact size of the whole set…everything fits in a handy charge case.

Concluding Remarks

The Maono WM620 is a great microphone set that ticks the following boxes: it is small, light, and works well. And the price is right, too.

Until next time…keep on listening!

Disclaimer

The WM620 was provided unsolicited by Maono and I thank them for that. You can get it from maono.com.

Our generic standard disclaimer.

The post MAONO WM620 Wireless Microphone Review – UFO appeared first on Music For The Masses.

INTRO

The Colorfly CDA-M1P is a force to be reckoned with in terms of shear weight for a portable USB DAC dongle. Sometimes making things heavy to appease those that equate heavy with quality does not improve the experience. Something this heavy jammed into a pocket with a phone gives me a moment of worry in terms of damage to screens and such.

The predecessor to the Colorfly CDA-M1, the CDA-M1P utilizes the AKM DAC chips over ESS, different opamps and adds some more power. The bass presents strength, the treble is gentle, and the overall package is a mixed bag in features.

FEATURES

The detachable ribbon cable is the same as the fixed cable on the Moondrop Dawn 4.4. I particularly do not enjoy the rigidity of the cable, but again maybe the designers had concerns of a more flexible cable not holding up to the forces a heavier dongle may weigh onto the cable connections.

One final concern involves the 130ma current draw regardless of gain setting. While not the highest I have seen from other dongles, it will drain your battery faster than other dongles such as the Truthears Shio that clock in around 50ma. It is quite interesting that the high/low gain settings do not impact current draw. This seems to be the case on all USB dongle DACs I have tested so far. It does however generate significant heat in the high gain setting mode.

The heavy zinc alloy electroplated case is smooth, extremely solid, and the fit and finish is most excellent. The beef of the case helps to dissipate the extra heat generated from the higher power consumption. The detachable USB-C cable fits tight and snug. The user can change out the cable in case of failure, general preference, or for something longer if using at home.

Airing out my grievances of the Colorfly CDA-M1P we can focus more on what it aims to achieve in terms of sound. Packed inside is the AKM4493SEQ DAC chip allowing 6 filter changes. It also includes dual opamp gain stages powered by the XR2001 opamp. I am not familiar with this opamp and trying to find a datasheet was difficult. The opamp allows higher output power than relying solely on the DAC chip itself.

We get a powerful 125mW single ended and 240mW 4.4mm balanced output at 32 ohms. There are more powerful options for single ended, but balanced output is near the top of other DACs in the same class. It’s not going to be equivalent to a dedicated desktop dac/amp, but it will provide increased power and control for moderately high impedance headphones doing justice for loads 150 ohms or less 300 ohm is the ultimate ceiling for me.

Low and High Gain modes are selected by pressing both volume buttons at the same time, with the red light indicating low and yellow high gain. Colorfly recommends low gain for anything under 120 ohms, and high impedance/gain mode for greater than 120 ohms.

The Colorfly CDA-M1P is a direct competitor and shares almost all the same features as the Shanling UA3 previously reviewed. As DAC’s are trending downward in price, the Colorfly CDA-MP1 shaves off $40 coming in at $79. The Shanling UA3 can be used with their Eddict Player app which allows control of assigning buttons and changing filter settings. The Colorfly CDA-MP1 is only controlled via the buttons.

Due to only hardware control, I could not tell what filter mode the Colorfly CDA-M1P was set in easily without the help of the manual. Only mode 6 flashes the white light twice when pressing both volume buttons long enough. Once you know it is in mode 6 you can cycle back to the other modes by keeping track of how many times you switch it. This has an impact since I wanted to match the filter of the Shanling to that of the Colorfly.

DSD fans with have several options offering 512 native decoding or 256 DoP decoding with sampling frequencies up to 768khz. For simpler connections there is a UAC1.0 mode to connect with legacy connection devices such as the Nintendo Switch.

SOUND

Tested with LG G8 Sennheiser IE200 Single-ended, and Sivga Nightingale, BGVP DM9 Balanced

I notice it sounds fuller and balanced compared to the thinner in the lower mids and brighter Shanling UA3. The UA3 sounds more V shaped with slightly more sculpted bass with longer decay and impact. They will both measure flat, so this likely comes from noise shaping and distortion handling. We are talking about tiny differences here though. 

Cymbals sound smoothed and cleaner on the Colorfly CDA- M1P overall. There is some increased naturalness when paired with the Sivga Nightingale in balanced mode in comparison to the UA3. I don’t know if the UA3 struggles to control the planar driver but it also sounds compressed and tinny.

Now against the Moondrop Dawn 4.4, the Colorfly sounds cleaner and bass has more low end grunt. The Moondrop Dawn is less exciting and focuses on the lower treble enhancement and midbass impact. I would clearly pick the Colorfly CDA-M1P as it sounds cleaner and more resolving.

FINAL REMARKS

Taking dings in the power consumption, weight and user settings categories, the Colorfly CDA-M1P is a strong contender for clean transparent sound. If you are not one to tinker too much and don’t mind a pocket weight heater, the Colorfly CDA-M1P performs well.

Disclaimer: I am grateful ShenzhenAudio.com sent this free of charge no strings attached. That is how we like our relationships.

PACKAGE CONTENTS

DAC
Cable USB-C to USB-C
Instruction manual

SPECIFICATIONS

Dimensions: 562214.5mm
Weight: 46g
USB Interface: Type C
Signal-to-Noise Ratio: 125dB
Frequency Response: 20Hz~20kHz
Dynamic Range: 122dB
Decoding Formats:
PCM 32Bit / 768kHz
DSD 512 / Native
DSD 256 / Dop

THD+N:
-104dB@RL=600Ω，0dB/Balanced
-100dB@RL=32Ω，100mW/Balanced
-104dB@RL=600Ω，0dB/Unbalanced
-100dB@RL=32Ω，100mW/Unbalanced

Headphone Jack:
3.5mm Unbalanced / 4.4mm Balanced

Output Level:
2Vrms @RL=600Ω Unbalanced Output
4Vrms @RL=600Ω Balanced Output

Maximum Output Power:
125mW@RL=32Ω Unbalanced Output
240mW@RL=32Ω Balanced Output

Firmware Upgrade: Support for future upgrades

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DISCLAIMER

Get it from ShenzhenAudio.com Store

Our generic standard disclaimer.

About my measurements.

The post Colorfly CDA-M1P DAC Review – Whoa This is Heavy Doc appeared first on Music For The Masses.

It’s not like I needed more bad habits, but in anticipation of democracy ending this year, I’ve recently gotten into Tequila, which has a number of analogues to DAC/dongles, i.e.:

• Price is a (very) imperfect measure of quality (although $50-60 seems to be sweet spot);
• Larger, established brands are typically trumped by the smaller boutique stuff; and
• It’s a hard commodity to write about—descriptions of aroma/taste etc. rarely do justice to the actual drinking experience.

Try Siete Leguas or Marcame Anejo, which wholly outclass the Don Julios and Patrons of the world.

Which, in an admittedly roundabout way brings me to Hidizs’ latest the $39.99 SD2. Straight up, I don’t really like the SD2’s stubby, hexagonal form factor, which seems more inclined to get snagged in a pocket than a conventional cabled dongle (and also looks funny). Build quality, however, is excellent—machining is impeccable and the jewel-like alloy casing exudes quality. 

The SD2 does PCM 384/32 DSD 128 as opposed to the ostensibly higher-rez PCM 768/32 and DSD 512 on Hidisz’s pricier models; whether or not you can hear the difference is an open question. In case anyone still cares, the SD2 is MQA-capable. Tiny blue/red sample rate indicator will surely please obsessives. 

 Output power on the SD2 is spec’d at 70mw, which renders it beefier than prior Hidisz house favorite S3 but less robust than the Hidizs S9, which, unlike the SD2 also has balanced outs for more juice. As such, I found the SD2 to pair well with efficient (16-32 ohm) IEMs and fully capable of driving fairly tough loads like the Koss KSC75.

With more challenging phones like the 300 ohm Sennheiser HD 600, the SD was adequate but slightly underpowered, which is audible mainly at the low end, which sounds more billowy and slow than with the SD2 than through the balance out of the S9.  I did observe that compared to my current go-tos like the Truthear Shio, the SD2 is quite a power hog, although it remains cool to the touch.

So how does it sound? Quite a bit like the S9 actually, with a ballsy, bright tonality that accentuates midrange and imparts a lot of sparkle and crispness at the high end. As with the S9, there is considerable coloration to the proceedings—voices and percussion have a hyper-pixilated quality that can sound analytical or overly-energetic on some material, although micro-details are very cleanly presented. Background is very quiet and at least on more sensitive phones, bass is speedy and tight and soundstage is expansive and three-dimensional, with a lot of air between instruments. 

Where the SD2 really stands out is in its stereo imaging, which is as precise as I’ve heard at this price point. The position of each performer is immediately discernible, and there’s no recognizable bleed between frequencies. Large-scale orchestral works are impressively sorted out, as are dense rock tracks (you can actually hear Ian Stewart’s piano on the Stone’s “Shake Your Hips”).

Now, among its peers the Truthear Shio or Cozoy Tact have a more natural/neutral presentation, but are notably less resolving and extended—your preference will likely be source-dependent. Hidisz’s own S3 (orig. $69, now discounted to $39) trails the SD2 in dynamic slam and high-end detail, but sounds a tad smoother and has a similarly wide soundstage and much of the same forward, energetic character.

Ultimately, even when the effects of my Tequila binge have subsided, the SD2 earns a thumbs up—it’s a very big-sounding piece which throws off a lot of sonic information. 

Disclaimer: per past practice the SD2 was sent to us unsolicited by Hidisz. You can buy one here: https://www.hidizs.net/products/hidizs-sd2-hifi-type-c-to-3-5mm-adapter-dongle-dac. It’s your money, after all.

Specifications Hidizs SD2

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The post Hidizs SD2 Hifi Type-C to 3.5mm Dongle DAC Review – Of Gods, Generals And Agave appeared first on Music For The Masses.

The $4.99 CAD/$ 3.99 USD/3.99 € IKEA HAVSKÅL is a set of two USB-cable weights (one black, one yellow that help keeping your equipment on your desk or other flat surfaces. I purchased it from IKEA Calgary.

I like accessories that add functionality to my equipment without breaking the bank. IKEA, who stand for pragmatic design like not other company, does not only offer furniture, but also electronics such as batteries, chargers, digital cables, and even speakers and a record player.

I own tons of USB cables which not only cause clutter, but that also dangle down from the table, the charger or computer is resting on. If you are unlucky, the phone of DAP at the end of it will be dragged down by the cable…and could be damaged. Or you pull on the phone and rip the attached computer off the table. Not good.

What is needed to avoid such mishap is a weight between, let’s say the source computer and the charging phone.

The Havskål comes to the rescue: it consists of two halves that are being held together by magnets. It is mainly made of rubber so that it won’d damage the floor when being dropped. Most important is its generous weight of 90 g, which stabilizes the anchor on its surface.

Specifications Havskål

The USB cable is being placed in the grooves between the halves. The diameter is big enough for “normal” USB cables…I can also fit my AudioQuest ones in there without problem. But if you want to use it for other, fancier, fatter cables, you are out of luck. After all, the cable has to sit tight in there.

While the Havskål works well, it may be a bit big and chunky for some. I’d like to see versions for 2 and 3 cables in the future. Some more exciting colours would also help. The Havskål is certainly rugged and functional, but it looks a bit cheap. Oh, and Havskål is Swedish and translates as “Sea Shell”.

Said it before: simple things can make a big difference.

Until next time…keep on listening!

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DISCLAIMER

Our generic standard disclaimer.

The post IKEA HAVSKÅL 2-Piece USB Anchor Review – All Aboard appeared first on Music For The Masses.

The $60 ddHiFi M120A is a well-made, haptically, and optically very appealing earphone cable with a great jewelry effect that is sadly only available as single-ended with a 3.5 mm plug.

The M120A cable was supplied by ddHiFi for my review…and I thank them for that. You can get it from the DD Official Store.

Arrgh, I was talked again into analyzing an earphone cable that came piggyback with the ddHiFi Janus3 earphone. I don’t like doing this as such reviews give a reviewer a bad name. Why? Because every single cable reviewed “sounds better”, frequently “instantaneously better” than any stock cable or competitor it is compared to.

There is no doubt that analog cables contribute to sonic differences, although they may “measure the same”. No surprise here either as there is no physical correlation between impedance and capacitance on one hand, and soundstage, note definition etc. on the other.

Another problem with testing cables is the reviewers’ expectation bias, fueled by the lack of memory between re-cabling the test earphones. My memory is certainly insufficient and A/B-ing on the push of a button is not possible. There was only one analyst, the revered B9Scrambler, who never included sonic characterizations or comparisons in his reviews.

Even if such were real, they would only apply to that particular test setup and would not be universally valid.

ddHifi are a Chinese company that specialize on audio accessories (with a few exceptions such as the Janus earphone line). Their products are imaginative, practical and of high quality. If you want to get a cross section of their gear, check our reviews of their products. The M120A analyzed here is an earphone cable that comes optionally with MMCX or 2-pin connectors, and a 3.5 mm plug (no balanced version available).

The specs need some explanation:

• CTIA standard refers to the plug with the microphone connector on the sleeve end, which works with all modern smartphones.
• Litz refers to the internal cable structure; it is a special type of multistrand cable designed to reduce skin and proximity effect losses in conducturs below 1 MHz.
• AWG is the short for American Wire Gauge and relates to the wire diameter.
• OCC characterizes the wire material and stands for “Ohno Continuous Casting”. It refers to a method of copper refining developed and patented by Professor Ohno of the Chiba Institute of Technology in Japan. The process results in essentially oxygen free pure copper, which has ultra-low impedance that results in rapid signal transmission. And the lack of impurities makes the material corrosion resistant.

The cable is built extremely well with sturdy metal connectors on both ends. It feels rigid and minimizes noise transmission. The jacket is of rather hard polycarbonate and is dirt and water repellent. What I find most appealing is the fact that this cable lacks memory wires…it can be worn over and under ear. Strange that nobody else has had this great idea before. The cable is thin, almost spindly, and light, which contributes to its comfort.

I chose the 0.78 mm two-pin connectors over the MMXX. The two-pin connectors have a universal fit, which includes recessed sockets in earpieces.

When it came to testing this cable, it was initially catching dust. I could not be, pardon, arsed, to tell you how good or bad it sounded. But one fine evening, I ripped the CEMA RX series cable off my LETSHUOER EJ07M iems, and plugged the M120A in. First: it really upgrades these >$600 in terms of haptic and appearance. Second, the M120A is haptically a pleasure. And third, I liked listening to it.

Using the iPhone SE (1st gen.) with the AudioQuest DragonFly Cobalt, my latest “Deutsche Grammophon” classical music acquisitions sounded full and balanced. Whether this is better than the CEMA cable is completely irrelevant for you, everybody has to test a cable with their own equipment. All I can say is that I really like using this cable, and that I am positively surprised.

If you want to test this or any other cable for your yourself, please consider these points:

1. Cables can make a sonic difference, mainly with multi-driver earphones
2. This difference possibly relates to impedance, wire material, and wire structure
3. Impedance differences may in some cases be large enough to result in different sound volumes and can also alter the earphone’s frequency response; such changes in the frequency response can be calculated
4. Cables may not make any difference with some earphones
5. Listeners often mistake volume increase due to lower impedance for sonic improvement
6. The sonic differences between cables are largely independent of price
7. If sonic differences between cables exist, they are not universally valid but only relate to that particular earphone and the cables used in that particular comparison
8. Eartips are the cheaper alternative to achieve a different sound
9. Expensive upgrade cables may sound worse with your favourite earphone than stock cable
10. One may be better off spending the upgrade cable’s price on better earphones

And what does the mic sound like? Here my test recording:

In summary, the M120A works for me. It sits at the upper end of what I cheapskate have spent on an earphone cable in the past. I am just sad that a balanced version does not exist.

Until next time…keep on listening!

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Gallery ddHiFi M120A

Disclaimer

Our generic standard disclaimer.

The post ddHiFi M120A Earphone Cable With Mic Review – Sexy Hexy appeared first on Music For The Masses.

BEGIN HERE

SIVGA Nightingale launched at the same time as the Kefine Klanar a planar based IEM from another mother. SIVGA has been around in the circles for quite some time with my experience seeing them mentioned as great options for over-ears “budget” busters.

Their signature wood ear cups carry through a vast majority of their lineup. The Sivga Nightingale is no exception with wood representation on the faceplate. A unique tuning that dares to be a different creation highlighting a bullish tight midbass, a dark and chesty midrange, finished with a pointed exacting treble.

Given that Sigva sent me both the Nightingale and the Kefine Klanar, and the diameter of the diaphragm has the same dimension it is easy to hypothesize  they are most likely sourcing the same planar driver.

How they tuned them is entirely different and it is abundantly clear these are two separate earphones for sure. The premium price tag of $229 plants them firmly in the upper level of what I classify mid-level IEMs, it is a direct competitor the 7Hz Timeless at that price.

SOUND

Sigva Nightingale makes the upper bass lower midrange the focus of the show, with at times exuding a tunnel or highly reverberant spacious representation. I would not call it bass bleed because the whole lower end is lifted and thunderous, a combo of mildly boomy and boxy that just doesn’t stop.

Subass is available, but it slowly fades out while the snappier 60-100Hz band exudes more confidence and sets the pace. Transients are speedy and clean when you dig through the muddle. Vocals sound chesty, colored, opaque at times. Since the pinna gain is fairly flat, it is absent the usual forwardness and has a natural laidback posture.

Shimmering treble dominates the treble region, but it is clear and articulated with plenty of air. Its a bit magnified as it comes really forward in the mix. While it might be unnatural to have it brought so prominently focused in the mix, it does not sound sibilant or tizzy at all. If you like super clean and articulate cymbals this will not disappoint. It bests the Timeless in treble production even with the Timeless over highlighting it.

Technically, the saturated low to mid region weighs down the highly articulate nature of the treble. The Sivga Nightingale is an odd bird in that respect because everything feels quick and nimble except the low to mids. The Sivga Nightingale sounds wide and closed in, but depth in staging is good. Timbre is ruined only through the low-mid. I am having flashbacks to Brainwavz B400 tuning? I also think it might close to Pioneer CH3 turning, or perhaps something from Final Audio.

PHYSICAL ATTRIBUTES

Shell design of the Sigva Nightingale shares similar curves and shapes as the 7hz X Crinacle Salnotes planar. It fits smoothly and isolates well. The cable has an outer gummy texture and remains flexible, with an easy to use chin slider. The only connection option is 4.4mm balanced, 3.5mm users find yourself a dongle, consider a replacement cable, or look elsewhere.

The Sivga Nightingale ear-tip selection has a basic set of medium bore style, and then a more sticky smaller bore that resembles what comes with the Final Audio earphones. The smaller bore are of thicker material and harder to get on the nozzles of the Sigva Nightingale. The diameter might be slightly too small for the nozzle size, challenging me to change them out.

The attractive hard case is rather large , but fits the ear-tip carrying case with the earphones inside. The carbon fiber appearance cloth stitching sets it apart from generic cases with their brand name molded to it.

FINAL REMARKS

The Sigva Nightingale has all the ingredients to be great and it is in certain ways. I am happy to hear a different tuning because not everyone likes Harman, or diffuse, or neutral. Not everything needs to be the same. I like the Nightingale with caveats not worth repeating, but it’s not going to be for everyone. It only comes in 4.4mm balanced as well.

Disclaimer: Many thanks to Sigva for providing these free of charge for a no-nonsense review and without whispering in my ear.

Get it from these Stores:

amazon.com

https://www.aliexpress.us/item/3256805845717815.html

SPECIFICATIONS Sigva Nightingale

Style: In-ear
Driver type: 14.5mm Planar diaphragm
Frequency response: 20 Hz – 40K Hz
Sensitivity: 100 dB +/- 3 dB
Impedance: 16Ω+/-15%
Cable length: 1.2 M +/-0.2 M
Plug size: 4.4 mm
Weight: 15g

GRAPH

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DISCLAIMER

Our generic standard disclaimer.

About my measurements.

The post Sivga Nightingale Planar IEM Review – A Lonesome Walk Down A Dark Tunnel appeared first on Music For The Masses.

The $199 Moondrop DISCDREAM is a very-good sounding (trans)portable CD/SD-card player that drives even demanding headphones like my 300 ohm Sennheiser HD 600 well and also works as a DAC /amp for your computer. Whilst it features a dedicated line out, it sadly lacks digital outputs.

The Moondrop DISCDREAM was kindly supplied by SHENZHENAUDIO for my review – and I think them for that. You can purchase it here.

Introduction

The compact disc (CD) is a digital optical disc data storage format that was co-developed by Philips and Sony, and first released in Japan back in 1982. CDs were very expensive in the mid 1980s in my native West Germany — more than twice the cost of an LP (how times have changed!). My friends, professional classical musicians, were fascinated by the detail retrieval compared to analog sources at the time.

CDs buyers frequently purchased this digital format for experiencing the sound quality — and not necessarily for the content. I once ended up with a 1907 (!) recording by Enrique Caruso, which sounded…terrible.

When it comes to vinyl I had issues as, in Germany, customers could play records in stores, then put them back on the shelf. I frequently purchased “new” albums with fingerprints and scratches. The CD came to the rescue.

I started acquiring digital in 1988 and have accumulated >3000 CDs since. Thanks to the Apple Airport Express, I started ripping my CDs as early as 2003, but the physical copies remained…cluttering our house up. Ask my wife.

In the meantime, CD prices have come down considerably, whereas vinyl has skyrocketed during its recent comeback. Hipsters have embraced analog technology and vintage Hifi stores’ sales soar. And, in analog…y to the mid 1980s, just inversely, they purchase vinyl for the sound experience and not so much for the music.

How else would anybody fork out >$50 for an obscure Jethro Tull album or Fleetwood Mac’s Greatest Hits…when you can pick up CD versions in a thrift store for a couple of bucks? I also don’t see the need for purchasing post 1982 recordings that have been produced for digital media.

Been there, done that. It sometimes pays to be old. And as history repeats itself, hipsters are increasingly picking up CDs, whereas serious equipment reviewers like Steve Guttenberg have always relied on this medium. I belong to the latter and have never given up on CDs (while dusting off my old Thorens TD147 record player occasionally).

Was the race on for old vinyl, so has this hunt changed for original CD recordings, as many if not most recent remasters suffer from dynamic compression: sound great in your car stereo but not on your $$$$$ home system.

Today, decent, affordable CD players and transports have become rare, as not many companies produce drive mechanisms, possibly for the lack of customer demand. Strictly speaking, any moving medium has become obsolete with the advent of SSDs.

But since the world typically rotates in cycles, the CD is currently experiencing a comeback – and some manufacturers have discovered it: Shanling and SMSL have released HiFi CD Players recently.

Moondrop, the company out of my Chinese Alma Mater Chengdu, Sichuan, have expanded lately, from originally mainly earphones into headphones, dongle DACs, and now a portable CD Player. Their DISCDREAM is the product of Moondrop’s cooperation with a senior developer who had been involved in Sony’s Discman concept more than 30 years ago.

The company wanted to supply all these guys with a portable CD player, who cannot find a working vintage one, thereby integrating the latest technology such as modern DAC chips and amplification. The DISCDREAM also has functionalities the old Discmen lacked. It looks like this, bigger than the old portables:

In a companion article, I will compare old and new CD player generations.

Specifications Moondrop DISCDREAM

Physical Things

In the box are: the player, a USB-C charging cable and poster-sized manuals in English, Chinese, and Japanese…and the QC card.

The player’s shell is made of metal with a lid mainly of glass, which makes for an attractive visual effect watching the spinning CD. But it is also a fingerprint magnet and prone to scratching. Have your Windex ready. There are 4 rather grippy rubber feet on the bottom. A protective bag of soft fabric would have been good but is not included.

The design is reminiscent of the wall-mounted Nakamachi CD changers you found in 1990s record stores. I remember auditioining music with these at MusicPlex on Portage and Main in Winnipeg, MB, and at HMB on Catherine St. in Montreal, PQ.

Check the product page for further details.

Functionality and Operation

The DISCDREAM does

• play CDs and SACDs gaplessly
• play music from a micro SD card
• act as DAC and amp for a computer source [and for DAPs, too]
• feature a dedicated line out
• offer a 3..5 mm headphone jack

It does not

• have digital outputs
• rip CDs
• have a balanced circuit
• have Bluetooth capabilities
• have a remote

Interface

Front Panel

…features six buttons for the usual operation and also a crisp display.

See here for operational details

[collapse]

Side Panels

The right panel features an SC-card slot (for music), a dedicated line out, and a 3.5 mm headphone jack. The left panel is blank.

Back Panel

You find the on/off switch, a pinhead LED (green when charging), and a USB-C port for charging and connecting to a computer.

Playing Music from CD, SD Card, and PC

You can switch between these three different sources with the button next to the display.

Playing CDs is straight forward…you lift up the lid and mount your CD, just like on your record player…and push the start button. The drive starts swiftly and operates quietly. Track changes (forward-backward) are smooth. If you wish, you can leave the lid up, just like on your turntable.

Operating music from an SD card is a different story as the small display is much simpler than that of a DAP. The system ignores folder hierarchies and labels songs from 1 to X. You therefore can never be quite sure what song is playing and what album will be next. An error sign appears when the music organization on the SD card is too complex for the system to handle.

As to USB: works for my Mac with the included USB-C to USB-A cable. Since both DISCDREAM and current MacBooks use USB-C ports, I had to dig out an adapter. Unfortunately, the USB-C port is NOT a digital out – I tested it with an external DAC: it does not work.

Outside the specs: I also connected my iPhone and the Hidizs AP80 Pro-X DAP to the DISCDREAM’s USB-C port. As expected, iPhone “did not support this accessory” and the DAP worked well…but with a caveat: since the USB-C port is also used for charging, the DISCDREAM started “milking” the DAP.

Amplification and Power

The DISCDREAM has a volume scale up to 50 (check the specs above for detailed numbers). I run the 32 ohm Beyerdynamic Custom Pro at 7-8 and the hungry 300 ohm Sennheiser HD 600 on 19-20, at leisurely listening. On quiet recordings, and craving some oomph, I crank the dial just above 30 with the Senns. Plenty of power for most headphones.

Sound

The DISCDREAM sounds like a classic mid-tier CD player. Very clean, very good separation, very transparent image, very good resolution. Very “widescreen” with the HD 600. Excellent note definition with well rounded notes. I am surprised how good it sounds.

Let’s put it like that: I Iistened to Dire Straits’ “Brother ins Arms” album, the complete Freischütz opera by Carl M. von Weber, and Pink Floyd’s “Echoes”. Could not stop.

In an unfair but useful comparison, my $1300 Marantz SA8005 with integrated headphone amp sounds grittier, deeper, fuller, more organic, with more bass rumble, but it also has a narrower stage. The Moondrop sounds a bit more subtle, more polished, finer, and wider. But the differences are not earth shattering. I’d tie them in terms of overall technicalities.

My 23 year-old TOTL Panasonic SL-CT780 portable player also manages the HD 600 (to my surprise). It sounds narrower, duller, and is technically much less refined than the DISCDREAM, particularly in terms of imaging, resolution, and upper extension.

Last but not least did I compare the DISCDREAM by itself vs. plugged into the EarMen CH-Amp. Again, the differences were not huge (unless you are in dire need for excess power). The CH-Amp delivered a slightly more relaxed, deeper image, the Moondrop’s built-in amp was a bit more forward. This means that the DISCDREAM is a mature device by itself.

Real-Life Use

The DISCDREAM is kind of an oddball in that it is of desktop size (with a footprint even larger than the EarMen stack) but comes with a battery and no digital out for connecting it to a DAC. On the other hand, it is too large for use on the bus or when walking downtown. Call it transportable rather than portable. And no-one would carry their CDs to a hotel room either.

So yes, you can use it with your phone’s 5V power supply (or the ifi iPowerX or Allo Nirvana) and you can plug it into an amp, if necessary, but this defies its purpose.

For me, it comes down to use within the house, being on the sofa or in bed. The DISCDREAM is kind of its own movable desktop stack. Finally…as I really hate my desk.

Concluding Remarks

The Moondrop DISCREAM fills a niché occupied by mainly older listeners who are still sitting on their prehistoric CD collection – and hipsters who are newly discovering this medium. It plays my CDs satisfyingly well, and does justice even to demanding headphones. I finally pick up these stashes again after having ignored them for the last 30 years. A very engaging listening experience that is also optically appealing…when the disc spins.

What a very good idea you had, Moondrop.

Until next time…keep on listening!

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The post Moondrop DISCDREAM Review – Discotheque appeared first on Music For The Masses.

Cons — Nozzle is on the thicker side
– Treble can exhibit BA timbre
– Stock cable could be better
– Needs to be paired with a warm-ish source for best results

INTRODUCTION

Hisenior audio has been in the industry for years, mostly catering to the custom monitor market. While I have always wanted to try one of its IEMs, I never got around to it, until the release of Okavango that is.

The driver configuration of the Okavango is quite comprehensive for their price tag: 1 Bio-cellulose DD + 6 BA drivers with true 4-way crossover are nothing to scoff at. Add to that the tuning switches and things certainly look interesting to say the least.

This isn’t a numbers game though, so the driver count barely matters as long as the sound is competitive. At the asking price, there are several well-established competitors, which leaves little room for mistake on Hisenior’s part. No pressure, I guess.

Note: the ratings given will be subjective to the price tier. I purchased the Okavango and Whitewhale cable at a discount.

Sources used: Cayin RU7, Lotoo PAW Gold Touch, Questyle CMA Twelve Master
Price, while reviewed: $300. Can be bought from Hisenior’s official website.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The highlight of the packaging is definitely the Pelican-like hard-shell carry case. The case is waterproof, crush-proof, and has lined mesh pockets along with foam padding. I’d pay $50 for a case like this and here you get one for free. Not bad at all.

The stock cable is less of a standout. It’s a generic cloth-braided cable. I also purchased the WhiteWhale cable in 4.4mm termination. This is a great cable in terms of ergonomics and overall aesthetics. The 6N SP-OCC material is radiates a certain sheen that catches the eye.

There are also 10 pairs of tips inside the package. I ended up using Spinfit CP-100+ for this review, but the stock tips were pretty decent as well. Finally, you get a SIM-card tool for engaging the switches, and a cleaning brush.

BUILD QUALITY

Okavango use a pseudo-custom resin shell. The faceplate design and even the shell color can be customized on the Okavango Custom-design variant, at a price-premium. I liked the look of the stock shell and just invested the extra bucks into the cable.

The faceplate seems to be stabilized wood on the upper portion. On the side, there are the tuning switches and a large vent to alleviate pressure buildup and allow airflow into the chamber for the dynamic driver.

The nozzle is on the thicker side, though I did not find it to be uncomfortable. There is a metal mesh on top of the nozzle but underneath it should be individual sound bores. The switches are rather small and needs a small, pointy object to be engaged. I ended up using the tip of a ballpoint pen most of the times.

Overall, the typically “solid” build quality one should expect at the asking price.

COMFORT, ISOLATION, AND FIT

Comfort is fairly good on the Okavango, other than the nozzle which can feel substantial when worn, albeit it was not uncomfortable for me. Isolation is above average with silicone tips and good with foam tips.

SOURCE AND EARTIPS

I primarily used the Okavango with the Cayin RU7 that helped with the BA timbre in the highs. The Okavango are not power hungry at all and should be easily driven by most dongles in the market.

DRIVER SETUP

The Hisenior Okavango are 7-driver hybrids, with a four way crossover splitting the driver setup into low, mids, highs, and ultra-highs. The single DD is used for bass frequencies only, whereas the rest of the frequencies are handled by the 6BA drivers. Hisenior does not divulge further information about specific driver types used in construction.

Moreover, there are two tuning switches, resulting in four different combination of the switches (00, 01, 10, 11). These switches can noticeably alter the overall presentation.

TONALITY AND TECHNICALITIES

As the Okavango have four different tuning choices, It is hard to generalize the sound signature. However, all the tunings are somewhat V-shaped, and the degree of the “steepness” of the curve on either side depends on the tuning mode selected.

Many dynamic + BA hybrids tend to focus less on the performance of the BA driver which results in a slow bass that is highly incoherent against the rest of the (ultra-fast) BA driver array.

Hisenior mostly solves this issue by choosing a dynamic driver with fast transients, so bass notes do not linger or lag behind even in relatively complex tracks. Moreover, there is a physicality to the bass that further enhances the sense of engagement, as can be heard on John Mayer’s Clarity. Mid-bass texture is well-rendered, with heavy snare hits having adequate body.

Mids are tuned in a crowd-pleasing manner. None of the tuning modes offer much upper-midrange prominence, resulting in a slightly laid-back, smooth vocal rendition. Male vocals can sound recessed in bass-heavy tracks, Acoustic guitars and strings do not lose the sharpness of the leading edge, neither do heavy guitar riffs, thanks to the peak near 4kHz.

This peak alone would be problematic if the treble rolled-off from thereon, but the mid-treble peak around 7kHz balances out the forwardness in lower-treble. However, this leads to the tuning coming across as “analytical” in certain source pairings and switch configurations. The bass configuration (first switch up, second one down) aids in this regard and mellows out the signature considerably.

One notable issue is the dry BA timbre that hi-hats or cymbal hits can exhibit. Pairing to a slightly warmer source like Cayin RU7 takes care of the issue to a degree, but the “brittleness” of treble notes remain. I guess it’s one of those concessions you have to make at this price point.

Staging is the widest in the brightest configuration, while imaging is also the most precise when treble mode is engaged. The other three modes either narrow the stage, or add some haziness to the staging. Considering the competition, the staging and imaging on the Okavango range from above-average (bass config) to very good (bright config).

Macrodynamics are rendered exceptionally well, with sudden bass drops or orchestral rises having the “drama” you expect. Microdynamics or subtle shifts in volume are less obvious, which seems to be a case for most hybrid IEMs that I’ve come across.

Overall, really competent tuning and good technicalities result in IEMs that stand out amidst a sea of competition.

SELECT COMPARISONS

vs Kiwi Ears Orchestra Lite

The Kiwi Ears Orchestra Lite are priced slightly lower than the Okavango and have an all-BA setup, with 8 BA drivers taking care of everything. Build is similar between both, but the Orchestra Lite go for a transparent inner-shell which looks better IMO.

Comfort is similar on both, while isolation is better on Orchestra Lite.

When it comes to sound, the Okavango have far superior bass response, there really is no contest here. Bass slam, depth, mid-bass texture – all put the vented BAs on the Orchestra Lite to shame. Mids are slightly smoother on the Orchestra Lite, so is the treble. Okavango have more focus in mid and lower-treble while the upper-treble airiness can be better than the Orchestra Lite in the treble configuration.

Staging is wider on the Okavango, while imaging is similar between both. Dynamics are also superior on the Hisenior IEMs, resulting in a near slam-dunk of the Okavango over the Orchestra Lite.

CONCLUDING REMARKS

Hisenior quietly released one of the best hybrid IEMs around the USD $300 mark. The tuning switches work well, all four tunings have their place depending on one’s playlist and mood, and the general build and finish is as competitive as anything in this price range.

If I had to improve something, it would be the overall timbre. The timbral mismatch between the bass and treble is quite noticeable.

Then again, if all those things happened, the Okavango would likely be priced considerably higher. There is always a catch after all.

MY VERDICT

4.25/5

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In any event, the Pro2 Bone looks and feels a great deal like their prior Runner Pro and Runner Caller, with the same tiny, difficult-to-access controls, although the Pro2 adopts Bluetooth 5.3 for better connectivity and increases the battery life from a subpar 4-6 h to a more competitive 8 hrs. Curiously, the Pro2 lacks a microphone, which makes it unusable for calls and limits its utility. There is an MP3 mode which allows you to shed your phone and listen to stored files.

Tonally, the Pro2 is similar to its predecessors—warm, smooth and quite natural sounding, with very limited highend extension. However, unlike the original Pro, which had almost no low end, the Pro2 has discernible midbass thump and presence, albeit somewhat boomy and slow.

Overall clarity is pretty good—these work well for podcasts—and instrument placement and separation is surprisingly accurate, although soundstage is narrow and two-dimensional. Most significantly, in contrast to its forbearers volume is adequate with these (note that positioning the headshells over (as opposed to next to) your tragus markedly increases the output and bass depth, although somewhat belies the phone’s non-intrusive purpose.

Detail and resolution cannot compare to in-ear TWS models, or even to open designs like the excellent Oladance or Galaxy Wireless Live, both of which present fuller, tighter bass and a much crisper, more extended high end—drums and percussion on the Pro2 sounds veiled and soft and electric guitars lack bite, but are free from sharpness.   

I’m not sure how you’d transcend the inherent limitations of the bone induction design—venting the headshells or adding more or bigger drivers would, I presume, compromise waterproofing and increase sound leakage or muck up the bone conduction technology.

That said, the Pro 2 has considerable appeal to its target no-penetration crowd—they’re comfortable and inoffensive-sounding, and I listened to them for four straight hours without feeling a need to take ‘em off. 

By its very nature, the Pro 2 is a practical device and not an audiophile product, and we’re probably the wrong guys to be reviewing them. Yet purely from the standpoint of sound, Naenka is subtly but clearly evolving— unlike past models they’re more than merely background music and they convey a certain organic quality that’ll get you through your next decathalon very pleasantly.  Keep up the good(ish) work.

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438 Reviews – A World Class Earphone Database

Naenka Runner Pro2 Bone Conduction Headphone

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The €199.00/$300 CAD Tangent CD II is an elegant looking, small CD Player that offers adequate sound but lacks standard features such as continuous playback or a display. Its enormous jitter makes it a poor transport as it does not work with all DACs.

I purchased the Tangent CD II at full price from Electronics For Less Canada.

Introduction

Tangent are a Danish audio company that had been established in 1996. They are known for their radios, loudspeakers, and Hifi components. Their designs follow these distinguished Scandinavian concepts we know from Bang & Olufsen or IKEA: simple and pragmatic, always with clear lines.

I purchased the Tangent CD II because I needed a small CD transport to work with a similarly sized desktop DAC/amp combo. After all, I have 3000-4000 CDs. Sure most of them have been ripped, but there is still the odd classical CD I had ignored in the past.

Specifications Tangent CD II

The most important specifications are not given (marked with “?”). When reading on, you may get an idea why.

Physicals, Functionality, and Operation

The Tangent CD II’s biggest asset is its small size: it is a square box, hardly exceeding the footprint of a CD. There is no display. The only indication that the player is on is a pinhead LED (white when on, red when on standby). The front panel is made of brushed steel with a row of buttons (with good mechanisms). the CDs are slot loaded, which works well. Good haptic and attractive design.

The back panel features the on/off switch, the power outlet, analog RCA line outs and S/PDIF (optical). A coaxial out is sadly missed.

The remote is a universal one to be also used for the company’s fitting amp and streamer. What is lacking is the ability to select ANY track on the CD…you are out of luck above #6 (!!!).

The drive is quiet during operation and responsive to the remote.

Listening/Sound

In my testing, I used the Tangent CD II as transport only and as full CD Player. The same music was used with all sources. I listened with the easily driven final Sonorous III headphones.

Setup I: CD II as Transport

I connected the Tangent CD II via its optical line out with the EarMen Tradutto and SMSL DO200 MK II DACs. The DACs were connected to the EarMen CH-Amp via balanced and RCA interconnects. In this setup, the CD II was used as a transport only — bypassing its own DAC. I compared the CD II with my iPhone connected via USB to the DACs.

Using the Tangent CD II as transport only worked with the Tradutto DAC. The CD II / SMSL DAC combo produced regular music dropouts every few seconds. I tried several Toslink cables — no difference. All alternative sources connected optically with the SMSL worked fine, hence the CD II must be the culprit. The problem is most likely timing errors (jitter) from the CD II.

The more expensive and technically more sophisticated Tradutto appears to have a rather high jitter tolerance. Tangent should have added a coaxial line out as it is less prone to jitter than optical.

Setup II: CD II as CD Player

I also wired the Tangent CD II directly into the CH-Amp via the RCA line outs, thereby bypassing the external DACs. In a comparison test, I replaced the CD II with a vintage Panasonic Portable CD Player (with a dedicated 3.5 mm line out).

Results/Interpretation

iPhone via USB vs. CD II via optical into external DAC: the USB signal was stronger/louder and richer. I had to turn the amp much higher up to get the same volume with the CD II. The CD II has more rounded notes (Toslink effect) and sounded flatter than iPhone/USB. The CD II’s sound quality was acceptable to my ears: nothing harsh sounding. But the CD II needed so much more amp power, which may become an issue with hungrier cans.

CD II through external Tradutto DAC revealed a better sound quality compared to using its own DAC. The CD II’s integrated DAC delivered the lowest signal volume of the testing.

Through its own DAC, the CD II played “better” than the Panasonic. Both had approximately the same low output volume level.

In summary, the iPhone transport via USB delivered the best results.

Criticism

Unfortunately, the Tangent CD II has severe technical and operational shortcomings. First, it does not work well as a CD transport because of its jitter — you may get dropouts in your DAC. Optical connections are prone to jitter, which could be mitigated by a coaxial output that the CD II lacks. I presume Tangent use cheap parts.

Another real bummer is the lack of continuous play: when listening to a Live album, you get gaps between tracks…which is really annoying….and, frankly, substandard.

Also amateurish is the limited functionality of the remote: you can only access tracks 1-6 directly. If you’d like to, for example, go to Variation #26 of J.S. Bach’s Goldberg Variations, you are out of luck. Sure, you can forward one by one, but the lack of a display makes your navigation much guesswork.

And then there is the low output level…

Summa summarum, it is no surprise that Tangent does not include the crucial specs in their manual.

Concluding Remarks

The Tangent CD II offers adequate performance as a CD Player, provided you listen to albums and don’t want to jump between tracks. As a CD transport, it is a tricky option as it may not work with all DACs because of its enormous timing errors through its optical line out. Several operational misses described above complete the list of plunders.

On the positive side, Its biggest assets are its attractive design and its small footprint.

I regret having purchased it as it simply does not do its job for me (as a CD transport) — and I find it overpriced. As it seems, it features the simplest technology available in an attractive box.

Tangent Danmark’s marketing obviously relies on the popularity of stylish Danish design in general and the potential customer may have subconsciously Bang & Olufsen in mind. But, under the hood, the CD II does not offer enough substance to warrant its purchase in my opinion as it lacks too many basics.

Until next time…keep on listening!

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The post Tangent CD II Review (1) – Jitter Assault appeared first on Music For The Masses.

The ddHiFi TC09BC is a well-made 50/100 cm long USB-C to USB-B Hifi Audio USB cable for connecting your computer to a DAC. Haptic and functionality are premium…and whether it sounds better than ??? (as claimed), well you have to read the whole article...

Introduction

I recently published an article on ddHiFi’s Mfi09S cable. It features a Lightning plug on one end, and a USB-C plug on the other, connecting an iOS device with a DAC. In my writeup I went way beyond my target – characterizing that cable – by reflecting on the general physics evolving around the question whether digital cables can make a sonic difference. After all, ddHiFi claim theirs do.

The answer is not that easy – and not as clear cut as you think. A cable is just one piece in the puzzle – and the best cable you can get is…no cable at all. But whilst there are incredible claims by some cable manufacturers, there are also wild couterclaims of “snake oil”. In reality, one cannot generalize, and the truth is somewhere in between.

I have no issues claiming that analog cables make a difference, that this is not expressed by any measurements (except perhaps impedance), and that there is no link between measurements and audible result by means of a physics equation. Such a link does not exist, although some opinionated claim it does because the measurements are “objective”. And at night it is darker than outside?

The discussion is getting even more polarized when it comes to digital cables. Proponents of the “snake oil” dismissal argue that digital cables only transport zeros and ones, hence there is no difference in quality (because it can’t happen), which also is a circular argument. That’s because none of these can tell you what the zeros and ones actually mean…which shifts the snake oil claims into the territory of the crazy company claims, that is urban myths.

If you belong to one side of the discussion, just enjoy that you save money. And if you belong to the other, enjoy the fact that you have something beautiful in your hands. But please, all of you, don’t lecture the rest of us.

Spoiler alert: bit perfect does not mean perfect data transmission, there can be contaminants in these bits. You better read my Mfi09S article. One thing for sure: a cable cannot improve sound as it cannot clean up a data stream. A cable can can only minimize deterioration of the signal. Whether that’s enough to justify its purchased is in the eye of the beholder.

The TC09BC belongs to the same series as the Mfi09S, both are technically identical, just the plugs are different. and the latter comes in shorter versions. This one is used to connect a computer with a DAC for transferring music (it can also be used as a printer cable, but only if you are a star lawyer, heart surgeon, or oligarch).

The cable comes from ddHiFi, a company y that has been on our Wall of Excellence for their combination of ingenuity and quality.

Specifications ddHiFi TC09BC

Physical Things/Technology

The materials used are in the specs above. Power line and data line are made with different wires that are well shielded against each other. The USB-C connector is rather large, therefore easy to grip, and bother connectors are made of metal and very sturdy. Fit is very snug. You find technical details on ddHiFi’s USB-data cables product page. Overall, this cable is haptically and visually very attractive.

Price wise, the TC09BC is placed between AudioQuest’s Forest and Cinnamon models.

Company Claims

ddHifi claims that the TC09BC offers a “noticeable sound quality improvement“. They fail to specify over what the improvement would be, but it appears obvious that it must be any other such cable. I therefore compare the ddHiFi TC09BC with a well-regarded USB cable.

Physical Theory

I have discussed the theoretic benefits in great detail in my ddHiFi Mfi09S article, which you find repeated behind this spoiler. TL;DR: not all digital cables a equal although they may “sound” the same in some cases…well cables don’t have a sound per se…

Listening Test

Please have a good look at the equipment. I used three different DAPs as sources, the Hidizs and TempoTec connected to the DACs by alternating USB cables (1m ddHiFi TC09BC and 3 m Belkin Gold). The Questyle connected via optical was my reference. I played the same music on all three sources.

The Belkin Gold is a discontinued USB cable that used to be Stereophile’s reference before the fancy USB cables were introduced. Audio pioneer Gordon Rankin confirmed that it is a decent cable. Today, it trades 2nd hand for horrendous prices.

The Questyle/optical combo was my test standard (as it sounded best). I used it to A/B with the other two DAPS. With the Belkin, these Hidizs and TempoTec sounded less dynamic and more subdued compared to the Questyle — independent of the DAC used.

The ddHifi TC09B really made quite a difference — and to the better. Using it, the music sounded crisper with better transparency, which resulted in better resolution and accentuation, but it still could not beat the Questyle/optical combo. In comparison, the Belkin contributed to a less clear, less nuanced sound.

This was evident when flipping (A/B-ing) between USB and optical inputs (my testing standard), which saved me comparing the USB cables against each other from memory (which is inaccurate). The quality difference between optical and ddHiF was simply smaller than with the Belkin. This indirect testing worked well.

A cable (digital or analog) cannot improve sound, it can only minimize signal deterioration.

One has to interpret this with caution, as the sound differences may also rely on other factors such as cable length (maybe the Belkin was too long). Testing the lightning version of the ddHiFi cable, the MFi9S, a while ago, I found zero difference between USB cables. This may relate to the garble/noise, that comes out of the iPhone to begin with, since it has all sorts of clocked non-audio components (cellular, Wifi etc.) — whereas the DAPS are dedicated music players. After all, a cable cannot fix a contaminated signal, it can only minimize signal deterioration.

Concluding Remarks

If you think, USB cables make no difference, then either test them, or just get them from the dollar store — and save your money.

My analysis showed that the ddHiFi TC09BC is a good USB cable that does justice to a >$2000 desktop stack (plus source). With my setup, it does sound better than the popular Belkin Gold cable I tested it against — and I therefore still use it in this application. How it fares with other setups and against really pricey cables, I don’t know. But I would not lose much sleep over it either.

Until next time…keep on listening!

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THE MFi09S cable weather supplied by the ddHiFi for my review upon my request – and I thank them for that. I also thank Alberto for his input to this article.

Get them it from the DD Official Store

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About my measurements.

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The new version of the Flents PROTECHS Quiet Please Foam earplugs, advertised as “Now SOFTER for more comfort!”, has essentially nothing in common with the long-established, trusted version. They are problematic for many regulars and consumers should be warned. Fortunately, alternatives exist.

Introduction

Noise is unwanted sound. Noise annoys. We all have some kind of noise sensitivity, be it your neighbour’s leaf blower, lawnmower, or Harley Davidson, the snoring partner next to you, or the hot tub and air conditioner by your bedroom window. Some of us are exposed to industrial noise at work, for example at a construction site. Others are sensitive to loud concerts.

We have different options to minimize or block noise. For example, we can deploy noise-cancelling earphones and headphones, with or without music. But these need battery power and frequent recharges – and they may be bulky — and therefore useless for sleeping. The simplest way to achieve effective noise insulation is therefore achieved just by blocking the ear canals mechanically.

The old Greeks stuffed anything that fit into their ears: beeswax, wool, cotton etc. But it was not until 1907, when German company Ohropax (“ear peace”) released the first commercial earplugs, just in time for WWI. These were only moderately comfortable and it took until the 1960s for the first mouldable silicon earplugs to provide relief.

The designs further advanced with the invention of memory foam earplugs, which first appeared in 1972. Memory foam appears to be the most comfortable, optimally moulding, and best sound absorbing material to this date.

Flents adopted the memory foam idea in their Quiet Please earplugs, which had been produced unaltered back to at least the early 1980s, possibly earlier. The Quiet Please have attracted a huge following since then – and many people have relied on them for decades. The perfect product, it seemed. Made in USA.

But, recently, the company changed suppliers (now in Taiwan). While they kept name and colour of the product, the box now sports the banner “New SOFTER for more comfort!”

In reality, the product was swapped out completely: the new version has nothing in common in terms of dimensions and material properties. As a fallout, haptic, fit, comfort, and noise blocking capabilities have changed, resulting in dissatisfied regular customers.

In this article, I will summarize the problems, reported by others and experienced myself, and look at some alternatives.

Specifications Flents PROTECHS Quiet Please Earplugs

Switching Suppliers — Consequences For the Users

The original Flents Quiet Time earplugs, used by many regulars for decades, were made of porous memory foam. The earpieces were compressed and inserted into the ear canal where they expanded slowly to optimally fill them. Their porosity minimized the pressure against the ear canals (while maximizing noise blockage) and made them breathable. They felt comfortable to my ears. An excellent, very popular product. And rightly so.

Flents did not produce these earplugs themselves but relied on an external US supplier, which stopped producing them recently. The company chose a new supplier in Taiwan, which could have been a good choice. After all, the famous SpinFit silicone eartips for in-ear monitors come from there.

However changing the supplier also changed the complete earplug design: the new version under the old name is a completely different product. Regular subscribers feel betrayed and vented in their recent reviews on amazon.com and amazon.ca.

So what went wrong? Let’s have a good look.

When looking at the above images you recognize the following: the original Quiet Please were thicker, shorter, and more porous. The new version is slimmer, longer, and has this dense, greasy, slippery, waxy surface. They are certainly not the same!

What you don’t get from the photos is that the new version is much softer between your fingers, much harder in your ear canals, and it extends much faster. It is very difficult to insert them into my ears and achieve a decent seal. That stems partly from the slimmer shape and partly from the strangely soft consistency.

Once in, the new, denser Quiet Please have more pressure points, they don’t breathe, and they don’t seal properly. They irritate my ears and tend to fall out by themselves during sleep. In comparison, the originals are heavenly comfy and seal very well.

My observations are consistent with the current amazon reviews (September 2023). There, customers report a slick, greasy plastic feel and miss the original porous foam. They further complain about poor expansion capabilities, poor fit, lack of wearing comfort, and that they are falling out. According to many, the new version does not block noise effectively anymore.

But most of all users report dry and itchy ears, irritation, rashes, burning sensation, inflammation, and pain. O dear. I can confirm that these rubber moulds act like squeegees on my ear canals, particularly on hot, sweaty summer nights. Sore ears keeping us from sleeping at night – earplugs undermining their job? Not good.

Alternatives to Flents PROTECHS Quiet Please Earplugs

I tested Mack’s Thermafit Soft Foam Ear Plugs and 3M Classic. Both have approximately the same dimensions and very similar material properties to the original Quiet Please — and all, including the new version, have a 29 dB NRR. Both work very well for my ears in all aspects. I found Mack’s Thermafit very comfortable, optimally fitting, and well insulating. Could not be better.

Can’t say too much about my 3Ms as they are 9 years old and may have lost a bit of their inner tension and become somewhat brittle. They may have been designed primarily for jobsites. But the Mack’s cover the loss of the “old” Quiet Please seamlessly and completely as they have very similar dimensions and physical properties. It is no coincidence that Mack’s founders Ray and Cecilia Benner invented the mouldable silicone earplugs back in the early 1960s.

Concluding Remarks

The new version of the Flents PROTECHS Quiet Please is considered to be a dip in the mud by many – and could become a disaster for the company (if the faithful amazon.com and amazon.ca regulars have their way).

While currently still in denial, the company may have to find another supplier or at least resume production using the original recipe. Coca Cola is a textbook example of reversing such a glaring mistake with their oversugared “New Coke” back in 1985. Otherwise, their loyal customers will talk with their feet. In the meantime, the discerning users and disgruntled regulars may try Mack’s Thermafit, 3M Classic earplugs, or something similar. And perhaps do the Pepsi test.

I wish you a good night’s sleep!

Until next time…keep on listening!

The post Flents PROTECHS Quiet Please Foam Earplugs Review – New, Improved, And Unusable appeared first on Music For The Masses.

The $80 Moondrop Joker headphone was kindly provided by SHENZHENZAUDIO for my review – and I thank them for that. You can get them here.

Introduction

Moondrop, the ever rising Chengdu company have earned their stripes mainly with earphones since 2015, some of which are remarkable. They lately expanded their catalogue into TWS and portable DACs. Their most recently addition were headphones, one in the premium segment, and the other in the mid tier category. Their $200 Moondrop Void received rather unfavourable reviews, mainly because of its poor build and mushy sound.

The current $80 Moondrop Joker appears to be exactly the opposite of the Moondrop Void: an articulate, analytical sounding headphone tuned for monitoring. It is distinctly different from most of their competitor’s warmer tonalities. The Joker has been designed for its technicalities.

Specifications Moondrop Joker

Physical Things and Usability

In the box are the headphones with detachable cable, one 3.5 mm to 6.3 mm adapter, and the usual paperwork. The fabric-coated cable uses standard 3.5 mm connectors on all three ends and can be easily replaced – though there is no need to do so.

The headphone itself appears a bit rickety, as the earpieces tend to bang against the frame, though both are separated by a rubber pad. The design is plastic and rather light. The headband padding is soft but the fabric appears somewhat cheap. The around-ear pads are spacious even for my monster flabbers and offer good comfort. They can just be pulled off and replaced if needed. Clamp pressure is comfortable for my large head. Overall fit and wearing comfort is very good for me.

The Joker can be driven by a phone but benefits from amplification.

Tonality and Technicalities

The Moondrop Joker was designed for monitoring – as a production tool: it therefore has an analytical tilt with an elevated brilliance region, far away from the warmish sounding Sennheiser or Koss-Porta-Pro-type models. It offers excellent note definition and great spatial reconstruction but can sound a bit lean and “cool” with some sources.

The Joker excels in his technicalities: separation, layering, and note definition are very good, staging is three-dimensional. Imaging is also one of the strong points. Note weight (above sub bass) is on the lean side, probably somewhat sacrificed for the technicalities. The degree of richness varies with source with analog players and warm digital DAPs delivering the thickest sound. Note decay is actually quite realistic: the Joker passes the “cello test” and aligns itself well for even monitoring acoustic sets.

In summary, I’d characterize the sonic presentation as AAA: analytical, accurate, and articulate. Don’t forget, the Joker’s purpose is not casual recreational listening.

The prominent bass really benefits from the technicalities: it is impactful and as tight as my wallet with some sources and thicker/rubbery with others. But there is always a good rumble down there, which can ad warmth. The low-end focus is clearly on the sub bass. A solid foundation.

The mids are rather lean, but very nuanced and well sculptured. Midrange has decent clarity. Accuracy rules! With some sources and tracks, there can be a degree of harshness in the upper midrange.

Treble has a good presence and is well resolving. Let’s call it “sweet” as there is no graininess above the upper mids.

As you see, the Joker is a bit of a chameleon in that its signature varies a lot with source, which makes its sonic characterization difficult.

In comparison, the Koss Porta Pro is warmer with a mushier bass but has inferior technicalities, particularly its spatial reconstruction lags far behind. Different purpose, though. The Teufel Massive is a bass bomb in comparison, and the discontinued Sennheiser HD471 is warmer but also lags in terms of note definition. The Moondrop Joker appears to be lonely in its own class – and hard to compare.

Concluding Remarks

The Joker is Moondrop’s third headphone model, and the first below $100. It has been designed as a monitoring tool for DJs and studio engineers placing tonal accuracy and articulation over richness and “musicality”. It is not meant to be someone’ primary playback device. And it performs its job very well. The price is certainly right.

Comparing the Joker to $80 iem models, it probably beats most.

Goal achieved!

Until next time…keep on listening!

Contact us!

Disclaimer

Get the Moondrop Joker from SHENZHENAUDIO.

Our generic standard disclaimer.

About my measurements.

The post Moondrop Joker Review (1) – Remarkable Accuracy appeared first on Music For The Masses.

The CCA Duo is a dual dynamic-driver $40 iem characterized by excellent sub-bass extension, subdued mid bass but middling technicalities, and a good wearing comfort.

The CCA Duo were provided unsolicited by the company for my review. And I thank them for that. You can get them here.

Introduction

CCA is a sub-brand of Knowledge Zenith (“KZ”). The latter have been known to western customers since 2014, and have generated an incredible number of models since (I stopped counting at 50…which was a while ago). My co-bloggers have analyzed a few CCAs, the Duo is my first encounter with the brand.

Since KZ and their affiliate brands have been in the headlines all “storm in a teapot” lately for allegedly offering $1000 for a review, I was not one of the lucky ones, and have done this review for free – as all my previous ones, too. And because I don’t like having money, we also do not do affiliate links or even sell earphones – we remain entirely independent. The company claims that their low price stems from not handing out commissions to influencers. Here you go!

The CCA Duo is yet another dynamic driver in the budget realm with a dual magnetic cavity technology claiming to be superior over single DDs in terms of detail resolution. In the company’s own words the CCA Duo offers “unstoppable performance advantages” whereas I am unstoppable in analyzing the iem’s performance.

Specifications CCA Duo

Physical Things and Usability

In the box are the earpieces, a cable, 3 pairs of silicone eartips (S/M/L), one set of foam eartips, and the userguide.

Tonality and Technicalities

You’d expect a dual dynamic driver to be bass heavy, but the CCA Duo is more on the brightish side. Call it bright-neutral or bright-slightly warm. And that’s although the pinna gain between 1 and 2 kHz has been tamed to 10 dB (earlier KZs offered 13 dB). Add the very moderate mid bass and the only slightly elevated sub bass, hear the whole mix in context, and you arrive at this perception.

The Duo’s main distinguishing feature is its subdued mid bass. Rolling tips, I got the beefiest low end with the SpinFit CP145. Paradoxically, the Duo’s sub-bass extension is excellent (with TempoTec V6 only), it is one of the deepest reaching iems I have ever tested. This low end combination could be tighter as sub-bass is naturally fuzzier than mid bass it dominates. And it could have more kick and definition. Bass lines are generally somewhat rubbery and sloppy.

But the low end brings out vocals: they are rather natural and intimate, with decent richness. Note definition and resolution are middling in the midrange, but there is decent clarity. I’d like to hear better sculptured vocals.

The rolloff in the uppermost midrange and lower treble keeps the presentation away from shoutiness. The warm fuzzy bass and the more neutral midrange result in a lack of cohesion, accentuation, and fluidity to my ears. I find the recently analyzed $25 Moondrop Space Travel TWS much better in this department.

There is lots of upper treble energy. Cymbals are surprisingly present, crisp, and nuanced, but can also be tizzy. The upper treble energy adds quite a bit of liveliness and sparkle to the sound image.

Stage is wide with average depth (owing to the lack of mid bass). Spatial cues is quite good, imaging is not bad either. Separation is also good, layering is a bit on the shallow side. Attack and overall dynamics are also pretty decent.

In comparison, the highly hyped Truthear Zero x Crinacle: RED is on the bassier side with a more subdued, less forward midrange. It has more depth and cohesion than the Duo but also less sparkle. Two different types catering to different preferences.

Concluding Remarks

The CCA Duo is a dual-dynamic driver earphone with a decent sound that has no obvious flaws, but it also does not stick out of the large body of competitors. It biggest advantage, in my opinion, is its small and light earpieces that make for a comfortable wear. The manufacturer’s claim that the CCA Duo offers unstoppable performance advantages turn out to be a marketing gimmick.

Until next time…keep on listening!

The post CCA Duo Review (1) – Brighter Now appeared first on Music For The Masses.

The $25 Moondrop Space Travel are absolutely marvellously sounding TWS earphones, my find of the year. There is nothing on these that would indicate their low price.

Pros — Wonderful cohesion and fluidity, organic sound; superb comfort and fit for my ears; decent ANC, incredible value.

Cons — Relatively short battery life; not the loudest maximum volume.

The Moondrop Space Travel were kindly provided by SHENZHENZAUDIO for my review – and I thank them for that. You can get them here.

Introduction

Moondrop were once big into space – now they are back. Just like the USA. Since their takeoff from Chengdu, Sichuan, China, in 2015, they have travelled with Spaceships through Starfields to boldly go where no man has gone before. They experimented with diffuse field neutral and Harman Kardon, and recently appeared to have settled for their own interpretation of the latter, called VDSF (see below).

When I was a space cadet myself in Chengdu (yes, we had an office there), most of the Moondrop protagonists were children or teenagers.

Apart from alternating tuning trends in the “tonalities of the season”, Moondrop sometimes were their biggest competitor, even enemy. For example, their $30 Crescent rivalled their $180 Kanas Pro Edition back in 2019. Needless to say that the Crescent disappeared very quickly and mysteriously from the company’s catalogue. Faster than Yevgeny Prygozhin.

As history ALWAYS repeats itself, I hope the $25 Space Travel will stay in the market a bit longer. They are THAT GOOD. I don’t know the other Moondrop TWS models but am completely satisfied with this one. It could be the one for the lonely island for me (provided there will be enough chargers available).

Specifications Moondrop Space Travel

Physicals and Operation

In the box are:

• Space Travel * 1
• Charging Cable * 1
• User Manual * 1
• Product Card * 1
• Earphone tips * 3 pairs (S/M/L)

The case is made of solid, hard polycarbonate and looks futuristic, like the love child of a pencil sharpener and a water flosser. A bit awkward in one’s pocket but a great looking accessory to any desk. The earpieces (without their antennas) are rather small and have an excellent fit on my ears: super comfortable with a great seal. Stock eartips work well. Haptic of both earpieces and cable is great. No hint that this set is only $25.

Operation is intuitive when you have used TWS earphones before: different taps and clicks operate next/last song, play/pause, turnoff/off voice assistant and ANC. This works smoothly. You can customize these gestures with the free Moondrop Link app…see below.

The voice assistant is actually quite cool: a snoddy young girl’s (or waifu’s?) voice advising the listener in a sometimes funny way. May cause repeated chuckles and good mood.

What you cannot do with tapping is adjusting the volume. This needs to be done on your music source. Speaking of volume: Space Travel’s maximum volume is not as high as that of its more expensive competitors such as the 199€ Earsonics AERØ or the $150 final ZE3000, but it is loud enough for “normal” listening.

Bluetooth Functionality

The Moondrop Space Travel features Bluetooth 5.3 and actually really operates over a distance of 10 m, unobstructed, as claimed. I tested it. Bluetooth operation is very smooth. When alternating between the Space Travel and the final ZE3000, the iPhone recognizes each model automatically. No fiddling with the setting necessary.

Active Noise Cancelling

It works, and surprisingly well as long as you do not expect wonders. The Moondrop Space Travel’s ANC filters out static noise such as remote traffic, wind in trees, or a fridge sound quite effectively. It does not do much for dynamically changing noises such cars passing by or the traffic helicopter above you. The use can choose between noise cancelling, regular, and transparency mode.

Battery

That’s where more expensive models leave the Moondrop Space Travel in the dust. You get max. 4 hours of uninterrupted listening out of them, not quite enough for most international air travel out of Canada. Recharging takes approximately one hour. The case allows three re-charges to a total of 12 hours. It is re-charged within 1.5 hours.

The free Moondrop Link App

I downloaded the free Moondrop Link app from Apple’s App Store. A Google version is also available. The app works for a series of Moondrop devices such as TWS iems and dongles, and serves the purpose of fine-tuning them.

For the Moondrop Space Travel, the Link app allows for two things: first, customizing operational gestures (“Custom Touch”) such as play, pause, next song, ANC on/off etc.

Second, the user can adjust the tonality with a choice of “Reference, Basshead, and Monitor”. The difference between the three is the bass perception. Monitoring has the flattest bass for the most neutral sound.

I mainly use “Reference” in the middle as it is closest to the Harman Target (with a bit of bass rumble). If you are on a noisy train or bus, you may choose “Basshead” in order to support the ANC in suppressing the ambient noise.

Once selected, the Space Travel memorizes the setting.

Tonality and Technicalities

The sound of the Moondrop Space Travel is absolutely superb. This may be a blanket statement but that’s how I perceive it. I have used the Space Travel around the clock (or moon?) since its arrival. Its natural sound rivals my $150 final ZE3000 TWS gold standard. Surprised?

With three selectable tuning configurations you can tweak the Moondrop Space Travel’s tonality to your liking. All three hover around Moondrop’s Virtual Diffuse Sound Field (“VDSF”) target, their interpretation of ideal sonic quantities across the frequency spectrum. The VDSF (and therefore the Space Travel) avoids annoying peaks and is broadly similar to the Harman target.

The “Reference” tuning comes closest to the VDSF target, The “Monitor” shifts the experience somewhat towards neutral. Basshead is not as extreme as it sounds and can polish some flat old recordings up quite a bit.

Bass is in all cases reasonably tight with natural decay — and with good control and decent attack. Mids are a tad on the lean side (but only a tad), and they excel in note definition and articulation. Midrange resolution and clarity are very good.

The interplay of bass and mids makes for excellent spatial cues. You get a real room feeling. And since the upper mids are well controlled there is absolutely no shoutiness. Gone are the days of the piercing Moondrop SSR and the likes of. Treble is safe and well rounded by Bluetooth’s own limitations.

The Space Travel sound wonderfully cohesive, fluid, natural, and relaxed, but with great dynamics nevertheless. Staging is wide with reasonable depth, separation and layering are unbelievably good considering its price. Even microdynamics is surprisingly good.

It is the whole composition that is so enticing to my ears.

In comparison, the superb $150 final ZE3000 are somewhat richer sounding and play louder. But the Space Travel have better articulation (!!!). The ZE3000 also play longer before recharging but have much bigger earpieces.

The 199€ Earsonics AERØ may be built more rugged but have some degree of unpleasant harshness compared to the Space Travel.

None of these pricier competitors offers ANC.

A word on the microphone’s recording quality: pretty good, my voice comes across quite clear in an echoey environment (over hardwood floors):

Concluding Remarks

Since Chinese budget iems have first flooded the western markets some 5 to 7 years ago, consumers have been “holygrailing” to find that $$$ iem at a bargain price. But these killer deals never materialized. This resulted in hoarding for many jumping from one model to the next in short order like Tarzan from tree to tree. It has been a bottomless barrel – and an expensive one cumulatively.

Not quite sure whether the Moondrop Space Travel will satisfy this clientele 100% either, but they are Wall of Excellence material in my opinion. They offer a natural, cohesive listening experience that is nothing less than irresistible to my ears. Greatness independent of price.

My find of the year! It is as simple as that. Why pay more? Get them before they are being pulled – again.

Until next time…keep on listening!

The post Moondrop Space Travel TWS Review (1) – Reaching New Galaxies appeared first on Music For The Masses.

If nothing else, SMSL packs a ton of features into the DO400—a high quality DAC (ES9039MSPRO chip with w/MQA decoding), digital preamp, high powered headphone amp and LDAC/AptX Bluetooth streaming. Aesthetics, UI and build are standard SMSL, albeit with a slightly revised display window which shows input source, sampling rate, etc.

Connectivity is impressive, with balanced and unbalanced outs, and a panoply of digital inputs. Curiously, there are no analog inputs, which limits the sources you can pair it with. Stepped volume control is very sensitive and, as previously, the single control knob on the face is very intuitive and user-friendly.

I road-tested the DO400 with an old Sony ES CD player and my desktop PC; I also used it as a preamp with my trusty Parasound HCA power amp as well as SMSL’s pocketbook-sized, Class D A300. I tested its headphone section with the 300 Ohm Sennheiser 650, the 60 Ohm Koss KSC75 and a gamut of sensitive (16-32 Ohm) IEMs, including the fantastic new BGVP DM9.

As a DAC, the DO400 epitomizes SMSL’s house sound—wide soundstage, prominent, well-controlled bass, a forward, driving midrange and very crisp, detailed high end. Notes are weightier than on SMSL’s cheaper offerings like the SMSL SU-6 or C100, although compared to SMSL’s fantastic, comparably priced SMSL SU-9 the DO400 sounds slightly brighter and less-smoothed over; there’s an analytical quality to the treble end which gives a hyper-pixilated sheen to piano keys and cymbal hits.

Tonality is nonetheless quite live-sounding, if occasionally exhausting. Like the SU-9, the various sound colors and DSD filters have a very subtle effect (more pronounced through the headphone section), though technoids will enjoy. 

Background is dead quiet and instrument separation is very clean. Largely because of these qualities, it’s really excellent as a preamp—transparent yet energetic, with considerable presence and drive even at lower volume.  It sounds like an expensive piece. (Note that Bluetooth sounds fine, though not transcendent; esp. when contrasted to the hi-res and even CD material I used for testing, I felt little urge to return to it).

I compared the DO400’s  DAC to my audio chum’s Chord Mojo  ($500ish), which has a similarly dynamic, open-sounding presentation. The Mojo sounds somewhat bassier and fuller, perhaps truer to source, but doesn’t present some the very fine detail you’ll hear on the SMSL. Sonically, we could not pick a clear winner between the two (the Mojo being better matched to heavy rock and the SMSL to subtler fare), though the SMSL has much superior UI and more functions.

As a headphone amp, the DO400 is characterized by its power, clarity, and precise instrument separation—every note is cleanly articulated and there’s no bunching of performers. There is a bit of unnatural adrenalized quality to the presentation—drums in particular have a loud, hyped-up quality even on quieter passages.

This effect is, predictably, less of a factor on less sensitive phones—the Senn HD 650 (which can sound lethargic without sufficient power) took on a palpably physical, toe-tapping presence while the cheap, tough-to-drive Koss presented much better bass control and sounded bigger-than-usual.

More efficient phones, however, tended to lose some composure, especially at the low end—the BGVP DM9, which are meticulously sculpted and accurate through my mobile and a dongle, sounded overdriven and billowy through the DO400 even without the HPA mode engaged.

In contrast, my cheaper headphone amps like the (tube) Aune T1 and the Pro-Ject Head Box presented significantly less detail, a thinner note presentation and a narrower stage, but were actually a better match for the DM9—warmer and more coherent, with less unruly bass, However, the DO400 has a noticeably quieter background–the difference is like being live in the studio vs. listening to a vinyl rig. 

So the DO400 is not a paragon of neutrality, and as a headphone amp it pairs better with higher impedance headphones. It does however have a lot of that elusive PRAT and is a clear step above SMSL’s very credible entry level DACs; especially considering its preamp functionality, registers as a lot of machine for the money. Another winner for the relentless SMSL machine.

Disclaimer: This unit was provided to me by Aoshida for review purposes and can be purchased here (tested at $499):

https://aoshida-audio.com/products/smsl-do400

I have passed this on to Durwood for his (generally better-informed) take; what he does with it is entirely up to him.

Specifications SMSL DO400

Contact us!

The post SMSL DO400 DAC And Headphone Amplifier Review (1) – Will The Circle Be Unbroken? appeared first on Music For The Masses.

The $89 LETSHUOER DZ4 is a safely tuned triple-dynamic driver earphone with bass-enhancing passive radiator that offers a relaxed listening experience but paradoxically falls short on midbass impact, dynamics, and sparkle.

Introduction

LETSHUOER are a very ambitious established in 2016 by a group of experienced “geeks” around a former Panasonic engineer. They have been very transparent to us since one of their reps lives in Vancouver, Canada. In fact, our own Biodegraded has met him personally to exchange gear.

I once wrote a rather non-descript review of the non-descript $625 EJ07M iem. The EJ07M was simply not wowing me. But, it always did well in comparison with the competitors…and is one of my go-tos to this day.

The DZ4 shares many features with the EJ07, but the question is whether it performs similarly well.

Specifications LETSHUOER DZ4

The LETSHUOER DZ4 was provided by the company for my review – and I thank them for that. You can get them from LETSHUOER.

Physical Things and Usability

In the box are the earpieces, 2 sets of silicone eartips, cable with 0.78 mm connectors and 3.5 mm plug, metal storage box and paperwork. The 3-D printed earpieces of CNC-milled anodized aluminum share the shape with their big EJ07M brother, which is one of my standard go-to iems. They fit my ears well and are very comfortable.

The wider white “balanced” eartips work best for me (same as with the EJ07M), but the don’t isolate well. The big difference between the black and white tips is their form factor. The black “vocal” ones simply don’t fit my ear canals well.

The DZ4 feature a few technical gimmicks such as a 6 mm passive radiator aiming to increase bass response. “Passive” refers to that this part is purely mechanical and not connected to a current. It is essentially a woofer and very similar to a bass reflex design.

The robust cable is of high quality build.

Tonality and Technicalities

The LETSHUOER DZ4 offers another Harman Target style tuning with a slightly attenuated lower midrange and a recessed lower treble relative to the 2019 original. It comes across as lacking bass response. Safe but somewhat unexciting.

Yep, midbass kick and impact are somewhat missing which benefits the midrange transparency. I always have the feeling to insert the earpieces deeper into my ear canals to get more punch. Unsuccessfully.

The bass shelf is reduced compared to many peers, it lacks bite and heft, although it digs deep. A rather polite attack for my liking. While the bass quantity is missing, the quality is not the best either: it lacks tightness and definition and dribbles along in the background

Emphasis is on the sub-bass lowest octaves, which makes the vocals stick out. Although they are not the most forward and robust either, they are “free standing” in that it they are not overrun by the bass. Voices are reasonably well presented and quite natural. They are relaxed with rounded corners and could be a bit edgier and better defined, and they can sound hollow. Midrange continues the low end’s polite tradition. Upper midrange is well behaved, there is no shoutiness.

Low end and midrange collectively produce a goo that could be much better defined.

Treble kind of follows suit. It is tame and lacks energy and air…but it is safe. Cymbals are somewhat hidden.

Soundstage is of reasonable width, depth is missing, imaging is not great, neither are separation and layering. Dynamics are lacking. Timbre is as organic as you expect from a single dynamic driver and probably its biggest tonal asset. The DZ4’s technicalities are dead middling.

In comparison, the Whizzer HE 10 is way more dynamic because of its punchy bass which is overly dominant. The Truthear x Crinacle Zero: RED has much better note definition and an interesting take on the low end, and the Moondrop Aria still trumps all of the above based on its superior note definition and resolution.

Concluding Remarks

The LETSHUOER DZ4 is undoubtedly a technically very interesting and sophisticated earphone design. Sonically, it is yet another average single-dynamic driver iem in the sub-$100 category. Harman-tuned minus some bass and treble with middling technicalities. Safe and sound. It is somewhere between heaven and earth and cannot throw the Moondrop Aria off our Wall of Excellence.

Until next time…keep on listening!

The post LETSHUOER DZ4 Review – Energize Me appeared first on Music For The Masses.

I haven’t heard the earlier iteration of the AO200MKII (which sports the same dual Infeon MA12070 chips but is rated at only 50w/ch). I did, however, review the A300 (review here), which uses only one chip but has equal power and, unlike the AO200MKII, can be bridged to mono.

I tested the AO200MKII as an integrated with both  my efficient Energy Connoisseur C-1 or my inefficient (87db) Revel M-20 speakers  using an Oppo 105 universal player or my Dell PC as a source. I also compared to my current desktop power amp, an old, Curl-designed Parasound HCA, which is rated at 75w/ch but has particularly strong high-current delivery.

The AO200MKII had plenty of volume and headroom, and maintained composure even with the notoriously current-hungry Revels. Subjectively, it sounded more powerful than the similarly-spec’d A300 (though more restrained than the Parasound)—the engine on this little thing is impressive. 

The preamp section on the AO200MKII sounds clean, without the background noise of cheaper units, and it images very well, with good instrument separation and a nice rounded stage.  However, as with the A300 its tone was somewhat colored– lacking in body and warmth, particularly in the midrange, while high end sounded very detailed but a tad digital-bright. (Note that toying with the numerous EQ and tone control features on the AO200MKII does significantly enhance or attenuate the different frequencies, but doesn’t radically change its lean, brightish timbral quality).

Swapping in the Oppo or a Schiit passive as a preamp (using the AO200MKII as a stereo amp)  improved the presentation—notes sounded thicker and treble seemed smoother and better-resolved, although it wasn’t a night-and-day difference. Most folks would be more-than-contented with just the SMSL.

Bass is the standout here—its low end is deep, agile and fast, without bloom or thumpiness. It doesn’t have as much quantity as the Parasound’s, but actually sounded less billowy and better-suited for jazz and complex arrangements. Acoustic bass and low guitar notes in particular have a sculpted quality which reveals previously-unheard nuances.

The AO200MKII doesn’t sound quite as engaging at low volumes as my conventional A/B amps, but neither is it anemic (note further that the AO200MKII has an “SDP” setting—sort of a loudness control—which does fatten the bottom at lower volumes but sounds a tad artificial and somewhat veils the rest).

Unlike the A300, the AO200MKII sports balanced inputs, which is supposed to reduce distortion from signal transmission—I did hear a small but discernable improvement (mostly in the form of slightly fuller-sounding output) when I compared the balanced vs. RCA outputs on my Oppo 105 universal player. It’s a nice bonus feature.

As a Bluetooth streamer (AAC/SBC only), it’s okay—output is undistorted, but compressed/flat and Bluetoothy; by comparison the Bluetooth on the ($450) SMSL SU-9 sounds much more dimensional and full-bodied. The AO200MKII’s  USB DAC is likewise more-than- serviceable, if not necessarily a step up from the stock soundcard on my PC—SMSL’s cheap and excellent C100 sounded more energetic and detailed with the same source.

Not wishing to add more boxes (which would undermine the whole size advantage of the AO200MKII I randomly plugged my Audirect Atom dongle (review here) into the chain. Big improvement—the Atom imparted some warmth and brawniness to the proceedings, which tamed the slightly sharp edges of the unadorned AO200MKII.

The AO200MKII isn’t an audiophile tool—you can obviously spend a grand or so on say, a Musical Fidelity or Rega integrated-with-DAC and get a higher level of resolution. As a value proposition, though, the SMSL is unrivalled—for $250 you get a more-than-passable pre, a dead-quiet backdrop and enough juice to power your big passive speakers, while add-ons like the aforesaid dongle provide a cheap upgrade path. That it all comes in such a tiny package is all the more impressive. Well done and highly recommended within its price parmeters, especially if desk space is at a premium.

The AO200MKII was provided to us as a review sample by Aoshida:

Amazon US: https://www.amazon.com/dp/B0CCVBZS9R
Aoshida official website: https://aoshida-audio.com/products/smsl-ao200-mkii

Other than asking us to provide the above purchase links, Aoshida (in addition to providing us with free stuff to review) have never requested any editorial favors or made other unseemly demands. We like Aoshida.

Contact us!

The post SMSL AO200MKII Power Amplifier 160W*2 Review – Tiny Dancer In My Hand appeared first on Music For The Masses.