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.

The TC01A and TC01C USB adapters were provided by ddHiFi for my analysis…and use. And I thank them for that. You get them from DD Official Store for $8.99 each or $15.99 for the couple.

What? An adapter review? Another one? Does anybody care? Sure, I love adapters, but I never intended to write one about the TC01A and TC01C. When I was asked to analyze the Janus3 earphone, I inquired whether I could try these out. I have purchased quite a few of USB-A to USB-C adapters (in both directions) since Apple changed their USB notebook ports from A to C.

I purchased a few cheepos and a couple of UGREENs. UGREEN is a reliable brand. But there was one problem I could not resolve: getting a tight, stable connection between my Hidizs AP80 Pro-X DAP and the USB-C to USB-A adapter. Most did not work because of the DAP’s leather case, and they also did not fit firmly without. I often had my music interrupted when the connection got loose. Annoying.

On top of that, I am operating amps and headphones with variable 3.5 mm and 4.4 mm sockets and plugs, and also purchased adapters between these two circuits. Relying on cheap no-name adapters from aliexpress caused more harm than good. Independent of sonic issues, some of these did not fit properly and I often had only one channel working.

The TC01A and TC01C are pricey – $16 USD for the pair – but they work. I now get a snug fit on my DAP and the thick leather case ain’t a problem for the connection either. Haptically, they are head and shoulders above their competition. And they are the only ones with gold-plated contacts.

What about the sound? Will probably make no difference. But that’s not really my concern. I want a reliable connection. And it looks good, too.

These are definitely the highest quality USB adapters in my collection.

Sometimes, simple things an make a big difference.

Until next time…keep on listening!

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DISCLAIMER

Our generic standard disclaimer.

The post ddHiFi TC01A and TC01C USB Adapters Review 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.

I have 3 units to test within my quite articulated home setup, and verify if / which sonic improvements are determined by the presence of one, or more, JitterBug FMJ units in line with and/or in parallel to my various DAC connections.

JitterBug FMJ retails in EU for € 69,00 and can be purchased from multiple sources, including Amazon. The manufacturer’s official information page is here.

At-a-glance Card

Introduction

I know it very well: there’s a thick population of “non-believers” who apriori refuse the whole concept of USB filtering.

Sole thing I can say about and to them is: fair enough ! If you are one of that lot I recommend you stop here, don’t go forward reading this article as I guarantee you won’t like it so why bother.

Some others are instead very confused about the topic.

Not about AudioQuest’s JitterBug FMJ per se, actually, or not yet about it, insofar as they “stop much before”, not having clear which “noise” are we talking about that a device like JitterBug FMJ (and others, in the same category) is supposed to do something with.

To all of them I dedicated the introduction to a past article of mine reviewing IFI’s Nano iUSB 3.0 filtered power supply, which I spun off into a separate post some time ago precisely to conveniently back-link to it from within other review articles (like this one), without dumbly “re-pasting” the whole thing again and again.

Long story (too) short: there’s of course no way nor need to “improve” on digital data quality. There’s however point, and need, to avoid that data depletes during transport, and/or that transport media (cables) “trojan-ride” spurious signals, together with legit data, which may, and will, perturbate the DAC’s activity.

General description and features

JitterBug FMJ looks like, and has the size of, a common USB-key drive. It’s in facts a sort of “passthrough” thingie: on one end is a USB-A male plug, on the opposite end a USB-A female connector.

The chassis is metallic, studied to protect the inside from nearfield RF interference. The female USB port is protected by a removable “cap” make of rubber mixed with carbon – that, too, aiming at tackling RF interference. Both such features (metal chassis and backport cap) are indeed inherent to this new “FMJ” version and were not present in the original JitterBug. FMJ standing in facts for “Full Metal Jacket”.

Finally, the ciruitry on the PCB inside the case is aiming at removing in-line RF interference, such as that generated (or transmitted) by pretty much any digital device e.g. a computer, a TV, an audio player, etc.

You can see JitterBug FMJ as a filter reducing / eliminating any signal coming out of a USB port which is distant from the working frequencies required by the digital data which are solely supposed to be managed by that port.

As a consequence the DAC will receive “just what it’s supposed to get”, with no, or at least much less “other spurious stuff”.

Of course electrical impurities might not be there in the first place in some case, or, they may be filtered/rejected by some circuitry built into the DAC device itself, and in these cases adding a Jitterbug FMJ may be simply… useless.

Another case where a JitterBug FMJ may be only partially or not-at-all beneficial, is of course when spurious signals and interference are picked up downstream of its location.

So in general JitterBug FMJ (and all other similar equipment) is not – as it cannot be – a guaranteed hit, nor a guaranteed complete solution.

As in all or at least most things audio, a try is needed to know if and how much it benefits each particular setup.

How to use it (in the manufacturer’s intention)

Quite simply, Jitterbug FMJ is intended to be plugged into a USB port on a music player host (a pc, a mac or a linux box). Then, the USB cable leading to an external DAC or DAC/AMP will be plugged onto JitterBug FMJ’s female connector.

There’s no driver to install, no options to set. Just plug it in and leave it there.

The removable rubber cap covering JitterBug FMJ’s female port is supposed to be put back in place when no USB cable is connected. That’s because the carbon mixed into the rubber material helps acting as an anti-RF shield.

Always according to AudioQuest there’s also another way to use JitterBug FMJ: install 2 of them in parallel on the same host machine, plugging them onto two different USB ports (partaking to the same internal USB hub).

Onto one of the two JitterBug FMJ the USB cable going to the DAC is supposed to be plugged. The other JitterBug FMJ will just stay passively there, with the back rubber cap installed, and may (or may not) add a further level of intereference removal from the USB line.

OK, but does JitterBug FMJ actually work ?

Simply put: yes, and well, too.

First things first, I tried Jitterbug FMJ at its main intended usage scenario: plugged in-line between a host and a USB DAC or DAC-AMP.

I tried this on all 4 different hosts I normally use (also) for audio application, which are

• an aging MacBook Pro 2012 reourposed into acting exclusively as a Roon server
• a Lenovo Y520 laptop with Windows 10 which is my main general purpose work platform, including Roon Remoting, and gaming
• a BananaPi M2+ box with Debian Linux acting exclusively as a Roon Bridge, and
• a RaspberryPi 4 with Dietpi Linux (a well packaged Debian distro) also exclusively acting as a Roon bridge.

DACs (DAC/AMPs) connected to those include my Questyle CMA400i, the Earmen ST-AMP unit I’m reviewing, and the main “dongles” I own, which include Apogee Groove, E1DA’s PowerDAC 2.1, 9038D and 9038SG3, Questyle M15 and AudioQuest’s own DragonFly Cobalt. Oh, and a Chord Mojo, too, every now and then.

“Dongles” (i.e. host-powered) devices are by definition those exposed at the highest risk of “inheriting” host perturbance carried over via digital interconnects, that’s why I expect JitterBug FMJ’s effect to be most evident on them.

I also expect JitterBug FMJ to be more beneficial on devices plugged onto my Y520 laptop, and less so when the host is one of the raspberries (you should know the rationales of such expectation if you know this stuff at the technological level, or if you read my article referenced above).

Long story short: JitterBug FMJ does work, i.e. it did deliver a sound improvement, in all my different install positions.

The effect on final sound has been more evident, at times totally obvious, in some cases, and more subtle in others.

I can hear improvement on two main areas: better, more rounded up, fuller notes and darker background. Both these improvements together also result in a better sense of macrodynamics (imaging), which, depending on musical genre, also improves on rhythm perception.

Expectedly, out of all my gear the device for which the improvement is most subtle (yet still audible) is Questyle CMA-400i, no matter the host it is connected to.

Again very expectedly, the cases where Jitterbug FMJ’s improvement is obvious are those involving dongles (all of them – yes, including AudioQuest’s own Dragonfly Cobalt), connected to all my hosts, and maximally when connected to my Y520 “gaming” laptop.

Of course I also tried the other manufacturer-suggested use case, which is that of adding a second JitterBug FMJ in parallel to a first one, connected to a free USB port on the same host transport as the one onto which a USB DAC is connected.

This time my experience is not positive. Not negative either, actually, but I could not perceive any “further” improvement over the one obtained by the first unit – the one just plugged in-line between the host and the DAC. This happens on any one of my hosts, be them the small ARM SBC’s or the “noisy” gaming laptop.

Comparisons

iFi iSilencer+ (€ 59)

iSilencer is marketed as a device pursuing totally similar aims as JitterBug FMJ, so we can see it as iFi’s direct alternative to it. I had the opportunity to test a (few of) iSilencer unit(s), and I must say that, unlike Jitterbug FMJ, they did not hit the spot in my case.

Sadly, in my environment iSilencer wasn’t merely transparent (read: useless) but actually made sound worse: it fundamentally makes tones brighter, depressing mids and bass, reducing stage depth and making imaging worse.

iFi iPurifier 3 (€ 129/149)

iPurifier 3 is another device falling in the general “digital signal filters” category, but instead of removing carry-over electrical noise it focuses on signal timing – which is something on which JitterBug FMJ is only “consequently” involved.

I will soon release a piece about iPurifier3 but long story short: (in my setup) it does work. I’ve in particular been using it in-between one of my ARM-based Roon bridges and the Questyle CMA-400i desktop DAC-AMP, and it carried an audible improvement in terms of better treble notes definition, and perceivable better room size definition.

What’s even more interesting is that iPurifier 3 synergises positively with JitterBug FMJ: if I plug JitterBug FMJ on the ARM’s USB port, and iPurifier 3 on CMA-400i’s USB input port, I get both improvements at the same time. Very nice!

Conclusions

To me, JitterBug FMJ works – and very well so. It makes now standard part of my home setup, and I see no downsides to its adoption as an in-line USB channel filter, also considering its quite modest price tag.

A great thank you goes to AudioQuest for providing me with 2 more units (in addition to the one I earlier had already personally purchased) to allow me for extensive testing in multiple configurations.

Thanks a bunch to coblogger Kazi for the nice title image, too.

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MACK’S ThermaFit Soft Foam Ear Plugs are barrel-shaped noise stoppers that work well for my large ear canals in terms of comfort, fit, and effectiveness. They are also well suited for Flents Quiet Please users who cannot handle their new formula.

I thank Mack’s for supplying their ThermaFit for my review upon my request – after I could not purchase them at a reasonable price in Canada.

Introduction

Noise is unwanted sound. Noise annoys as the Manchester punk outfit Buzzcocks sang in the late 1970s. My three closest neighbours have an air conditioner, one of them also a hot tub. The guy across the street runs 2-stroke engines 12 month a year, for gardening in the summer and snow clearing in the winter. It is buzzing at any time of the day in and around my house, and sadly also during the night. To add insult to injury, my wife developed snoring recently.

Sadly, I am very sensitive to noise. As a classically trained (but failed) musician, hearing training was part of my education. This hard-acquired sensitivity is backfiring now. The city does not help as their bylaws do not factor in many environmental noises and the resulting vibrations. The choices are moving, educating the neighbours…or dampen the sound by insulating my ear canals.

That’s what the old Greeks did with beeswax, wool, cotton etc. whatever worked. But it was a German guy, Max Negwer, as late as 1907, who produced the first commercial ear plugs “Ohropax” (ear peace), mainly made of wax. Classical musician (another one) Ray Benner and his wife Cecilia purchased Mckeon Products in 1962. The company sold only Mack’s moldable clay ear plugs, named after the company founder. The couple subsequently invented the moldable silicone ear plug, saving swimmers from ear infection.

Memory foam ear plugs followed in 1972, marketed by the Cabot Safety company. They are made from either polyvinyl chloride (PVC) or polyurethane. The disposable ear plugs were born and quickly occupied the drugstores. Memory foam is the most comfortable, optimally moulding, and best sound absorbing material to this date.

Today, many people rely on ear protection for sleep. Some have been subscribing to ear plugs for decades. Others need protection on job sites. For all of us, companies like Mack’s offer a broad range of ear plugs for all ear shapes and noise reduction levels.

Ear plugs come in different shapes, mainly conical/tapered or cylindrical/barrel shaped. I am only concerned with the barrel shaped ones as only these fit my large ear canals, namely Mack’s ThermaFit.

Until recently, the US market featured two memory foam darlings, the Flents Quiet Please and the Mack’s ThermaFit. In Canada, only the Flents were readily available. Recently, Flents changed suppliers and completely switched the product around: different shape, different comfort and fit, and different materials with different physical properties. Long-term subscribers went mad: they reported skin rash, lack of insulation, lack of hold etc. they felt deceived and betrayed.

Mack’s ThermaFit ear plugs come to the rescue. They are very similar to the original Flents Quiet Please. In this article we will have a good look at these.

Specifications MACK’s ThermaFit Soft Foam Earplugs

What makes a good Ear Plug?

People need ear plugs for all sorts of situations and environments, as discussed above. The plugs have to insulate properly (duh!!!) but also provide good comfort, fit, and breathability. They should be skin friendly and not trigger allergies. Important is their ability for long-term use. Many people have subscriptions with the supplier and have used the same product for decades. Product continuity means reliability and is therefore of utmost importance.

The Mack’s ThermaFit tick all these boxes.

How do the Mack’s ThermaFit perform?

Mack’s ThermaFit are made of porous PVC, in the USA. You can see that the ThermaFit are more porous than its competitors (discontinued Flents Quiet Please and 3M Classic), which makes for increased comfort (less surface area in ear canal) and less sweating through better breathing. Less sweating also means that the ThermaFit don’t fall out easily.

I find the Mack’s in-ear tension very soothing. They are shorter than the 3M Classic, and hence you can lay optimally on the side with them. The longer 3Ms are more for job sites in my opinion, and the Mack’s better suited for sleep.

As to sound reduction: varies with insertion depth…the deeper the better. Upon inserting the ear plug, make sure you roll/squeeze them properly, then raise the ear with the other hand while pulling it back from the head: back and up! This ensures the perfect seal.

Rating is rating, and any ear plugs rated at 29 dB insulate the same…there may be slight variations depending on the noise frequency to be blocked and on the fit in the individual ear canals.

None of these works perfectly against a 110 dB leaf blower (obviously not, at 29 dB NRR), they just may round the edges somewhat. For 100% results, you may have to add a noise cancelling headphone like the Bose QC35. I tested the combination of the Mack’s with the older Bose QC15, which reduced my neighbour’s aggressive 2-stroke weed wacker noise to zero.

Are the Mack’s ThermaFit an adequate Replacement for the Flents Quiet Please?

Strictly yes. You cannot put a newspaper between the discontinued Flents and the Mack’s. The Mack’s have better porosity, but the dimensions are essentially the same.

Concluding Remarks

Mack’s ThermaFit ear plugs are as good as it gets for me. They are my new preference for overnight use. I wished they would be more easily available in Canada, too.

Have a good and healthy sleep!

Until next time…quietly yours…and keep on listening!

The post MACK’S ThermaFit Soft Foam Ear Plugs Review 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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Disclaimer

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

Our generic standard disclaimer.

About my measurements.

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

Gallery

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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 ddHiFi Carrying Case C100 is a spacious earphone storage with two compartments that features the materials and workmanship of its big brothers C2022 and C2023.

Introduction

ddHiFi are a Chinese company that offer a range of high-quality tech accessories, even earphones and little headphone DAC/amps. They also feature a line of storage devices for our personal Hifi devices. They first introduced the C-2020 case in…well the name gives the year away…followed by two carrying cases with shoulder strap, the C2022 and C2023.

The 2022/2023 models and the C100 are essentially identical in materials and workmanship, but they differ in shape and internal layout. The much smaller C100 also obviously serves a different purpose, as it is designed to hold earphones and accessories such as cable, eartips, and dongles…or any small items.

Specifications

Physicalities and Functionality

The C100 carrying case is largely made of double-strand nylon on the outside, with cowhide leather at the top and a hardshell bottom at the bottom. Both top and bottom are internally padded to protect the gear from damage when the case is dropped.

The case features two compartments, a thin upper and a roomy lower one. The slim upper compartment is laid out with internal mesh pockets at the top and bottom. It is designed to hold small, flat items such as eartips, dongles, adapters, and iems.

The lower compartment is rather spacious and padded all around. It holds the bulkier items. A divider, attached with velcro (and therefore removable) subdivides the interior space flexibly into four parts. You can probably squeeze 4 pairs of iems in there, provided the cables are not too bulky.

Concluding Remarks

The ddHiFi C100 is a spacious, well shock-protected, flexible, attractive high-quality earphone case that follows the footsteps of its bigger C2022 and C2023 brothers. It is unique enough not having to fear competition. At $26 it is also a good deal.

Until next time…keep on listening!

Disclaimer

I thank ddHifi for providing this case for review. I always have fun analyzing “difficult” items.

Get the C100 carrying case from ddHifi.

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The post ddHiFi C100 Earphone Case Review – A Big Big Mac appeared first on Music For The Masses.

The ddHiFi Carrying Case C2023 is yet another well-made textile-leather carrying case for your personal audio gear.

The ddHiFi C2023 was provided by the company upon my request – and I thank them for that. You can get it for $57 from ddHiFi.

Introduction

ddHiFi are a Chinese company that impressed us with high-quality adapters, cables, earphones, dongles, and other accessories – which promoted them collectively to our Wall of Excellence. The company started adding a series of bags and cases 3 years ago with the C2020, a storage wallet for headphone DACs, amps, and other accessories. The C2020 is useful for travel and lives mostly inside a bag or suitcase. The subsequent C2022 was a true on-the-go shoulder bag with the dimensions of a small camera bag.

The new C2023 is another compact shoulder bag with different dimensions and functionality compared to the C2022. It is not an upgrade or replacement but rather a parallel development and a complementary design.

Specifications

Physicalities

The C2023 carrying case, like the C2022, is largely made of double-strand nylon on the outside, with cowhide leather at the bottom and in the front. Critical areas of the bag are padded with sponge material.

The inner lining is of polyester. It comes with a shoulder strap that is also made of sturdy nylon and adjustable in length. It is plenty long for a 6 ft/180 cm guy like me. The straps are of very good quality and so are the zippers.

Features and Functionality

The ddHifi C2023 case is a rather tall and slim bag that can be worn in different ways along the body. Since its compartmentalization is impossible to photograph, I present its layout schematically.

• Green: zippered and padded front pouch for small items: iems, change, bus passes etc.
• Red: the padded main compartment for your DAP, DAC, phone or similar. It features two interior pockets and a keychain.
• Black: a back pouch that can be expanded via a zipper (compare to some carry-on luggage for air travel). It is open towards the top. The pouch can hold a 0.5 l water bottle or a small umbrella, for example.

How to wear

Wear the C2023 like shown in the two images below or without a shoulder strap…just attach it with a carabiner to your belt or backpack. The bag features lots of hooks and D-rings for various configurations.

Comparison C2023 and C2022

C2023 and C2022 differ in shape and functionality, but not in materials. The C2022 is noticeably stubbier and thicker, the C2023 is taller and slimmer. With its 4 compartments, the C2022 holds more gear, but the C2023 holds taller devices – and it sits just better along the body….I find the C2023 ergonomically more appealing.

The C2023 also features some improvements such as the advanced shoulder strap.

When actually using the C2023 bag on a daily basis, I find it more comfortable than the C2022. I also like the idea of the expandable pouch. The C2022 may be not as ergonomic, but it holds more gear.

Concluding Remarks

ddHiFi extends their line of high-quality storage devices with the C2023. Although it serves a slightly different purpose than the bulkier, roomier C2022, I find the smaller but taller C2023 more comfortable to wear. From a material or quality perspective, both are identical. In the end, both bags complement each other.

Until next time…keep on listening!

Disclaimer

I thank ddHifi for providing this case for review. I always have fun analyzing “difficult” items.

Get the C2023 from ddHifi.

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The post ddHiFi C2023 Carrying Case Review – I Want You appeared first on Music For The Masses.

The ddHiFi MFi09S is a 10/50 cm long Lightning to USB-C cable claimed to make an obvious sonic difference. This article also generally addresses the contentious issue of sound improvement by digital cables.

Introduction

ddHiFi have been one of the most innovative companies for portable audio. They produce functional, imaginative, high quality accessories, from bags, through cables to adapters, and even a couple of earphones. Their latest endeavour is the Nyx series of audiophile digital cables, which are all share the same wire material and insulation: a USB-B to USB-A, a USB-C to USB-C, a Ligthning to USB-A and a Lightning to USB-C for connecting iPhones to a DAC.

Therefore, today we are…no, that was already last week. And its only me once again. Therefore, in this article, I examine the ddHifi MFi09S Lightning to USB-C, mainly for its sonic capabilities. There are many crying “snake oil” now (and pull out some questionable measurements in their support), but whining is one thing, and listening is another. As we will see, the situation is not as black and white as it seems.

This article also has another purpose: to summarize our current knowledge of digital data transfer in layman’s terms. Although this is presented rather compact, you may want to re-visite this article for the occasional refresher.

Specifications MFi9S

Physical Things/Technology

You have seen the materials used in the specs above. Power line and data line are made with different wires that are well shielded against each other. The connectors are rather large, therefore easy to grip, and they are very rugged. These plugs fit even the smallest phone case. The cable as such feels substantial but it is a bit stiff, which works better for the shorter 10 cm version. You find technical details on ddHiFi’s USB-data cables product page. Overall, this cable is haptically and visually very attractive.

The MFi09’s lightning connector features a decoding chip which draws a small current from the phone. I did not test this one specifically, but all other non-Apple lightning cables previously in my hands have the same power consumption, as tested here.

Company Claims

ddHifi claims that the MFi09S offers a “noticeable sound quality improvement“. They fail to specify over what the improvement would be (maybe their own MFi06 cable?, but it appears obvious that it must be any other such cable.

Physical Theory

Noise and Timing

So what sonic improvement (over what?) can we expect in a digital cable? After all, it transports zeros and ones, right (which are transmitted as voltage fluctuations)? Actually, it carries data and power in two separate lines.

Principally, there is lots of “digital crap” coming out of a phone: jitter (timing errors) and noise. That’s because a phone is not a dedicated music player. I has no proper audio clock and lots of other functionalities that require different electrical components, which are cramped in a small case and affect the outgoing digital signal negatively, mainly by electromagnetic interference (EMI), radio frequency interference (RFI), and timing errors (jitter). In some cases, interference is caused by the client DAC, as demonstrated on the example of the EarMen Sparrow by Biodegraded. And noise can also be produced inside the cable (through poor insulation).

What’s in a Digital Cable?

Fact is, there is no difference in incoming vs. received data between expensive and budget cables, bits are bits, and the result is “bit perfect” in every case. So, no sonic difference, right? Stop, we have to examine what’s in a bit: jitter, timing, and noise. Jitter and timing can be measured (and corrected for by re-clocking), which leaves us with noise. It is a bit of an unlucky choice of words, I’d call it impurities superimposed on the digital signal which may (or not) degenerate the sound.

A metallic digital cable is principally a conductor that also transports pre-existing noise (it cannot distinguish between the good and bad things in the data stream) but it is also an “antenna” for near-ambient RFI/EMI, and it generates its own stray/spare magnetic and electrical fields (when carrying a constant current).

So what can go wrong during digital data transfer? When signal voltage is transported, the host and the cable may pick up stray signals in addition to the intended one…just like dirt being added to the bathwater. In addition, host, cable, and client can be on different “electrical” ground levels. Third, interferences during transport may generate time delays.

Timing errors need filtering by decrappifiers such as the ifi Nano iUSB 3.0 and re-clocking, typically not done in the phone host but in the DAC client at the other end of the digital cable. EMI can be minimized or avoided by the use of high-quality, well-shielded electronic components in the phone – and by a good digital cable.

In a well-designed cable, data line and power lines are separated and well shielded from each other (and from outside electromagnetic interference from, let’s say, power supplies), and it is twisted to minimize the contact areas between the two. Material also plays a role for data integrity: for example, in networks, fibre optic cables are not susceptible to EMI, copper is. EMI is important not only for the design of cables, but also for the electronics and the circuit board.

In summary, noise contamination happens in the source and/or during transport through the digital cable. The old rule “garbage in, garbage out” is also valid for digital data. If the data stream leaving the phone is compromised, the cable cannot fix it. All it can do is not let it further deteriorate. It cannot reclock or filter, and therefore not correct for the phone’s EMI/RFI and/or jitter.

Therefore, if the source emits a noisy signal, even the best cable makes no difference, but a bad cable further deteriorates the signal. If the host signal is clean, cables may make a difference. A dedicated music player may generate a cleaner data stream than a computer or a phone.

What Others say

The Audiophiliac Steve Guttenberg compared “fancy” optical and coaxial cables with generic, low-cost ones. He recorded substantial sonic differences between the expensive and the generic ones. Steve is a reputable analyst: was he dreaming and putting his good reputation at stake? In contrast, no test of Lighting cables has been conducted yet. Actually, I did test a few in my analysis of the ddHifi MFiS06…and found no obvious difference.

Self-acclaimed “objectivists” claim digital data don’t make a difference. This is based on measurements that do not reflect the quality of the data stream – and no physical connection between them and sound is established. And because the measurement setups are as arbitrary as the interpretation of the results, there is nothing objective about them. Nada. Zilch.

To add insult to injury, such protagonists typically don’t bother testing the gear with their ears they lecture the rest of us about. As we know already from earphones: graphs are insufficient for characterizing the sound of a device. And nothing is objective anyway.

Being opinionated is not being objective!

Whatever the theory tells us is one thing, listening is another. What’s important in the end is sound and not opinion. I have written all of the above before any listening test of the MFi09S cable.

Sonic Effects of Noise

I have experienced and described the effects of EMI and RFI (as well as switching noise, but not jitter) on the example of power supplies, for example the Burson Super Charger or the Allo Nirvana & Shanti and ifi Audio Power X. Contamination muddles the sound, it loses clarity and transparency. In the Burson case, I have no desire to go back to the stock power supply, the difference in the amp’s sonic performance was that huge.

Listening

We have learnt that the ddHifi MFi09S Lightning to USB-C cable is just one piece in the noise puzzle, sandwiched between a potentially noisy phone and a USB noise filter and a reclocker. That’s when the less imaginative audio linguist pulls out the phrase “your mileage will vary”. It is not a black and white affair. If the signal incoming from the phone is clean (just switch the Wifi and cell connection off), all a poor cable can do is deteriorate the signal, whereas a good cable has a high data integrity.

Round 1: iPhone SE (1st gen.) with different Lightning Cables

For my testing, I connected my iPhone SE (1st gen.) to the Questyle M15 DAC/amp with different lightning cables:

• ddHiFi MFi09S
• ddHiFi MFi06
• ifi Audio
• makeshift lightning cable 1: TC28i adapter with USB-C charging cable
• makeshift lightning cable 2: Apple camera adapter with USB cable

I then listened with the Moondrop Katos the Final E5000s. If there is a sonic difference between these cables, it is not obvious…and therefore negligible. In order to remove all doubt, I moved on to round 2.

Round 2: iPhone SE (1st gen.) vs. Hidizs AP80 Pro-X DAP

I listened with the Moondrop Kato’s to the following two setups:

• iPhone connected to the Questyle M15 via ddHiFi MFi09S cable
• Hidizs AP80 Pro-X DAP connected to the Questyle M15 via a generic UGREEN USB-C charging cable

Phone and DAP served as transports only – but both use different music softwares. The Hidizs setup sounds obviously better: richer, deeper, cleaner, with better dynamics and more headroom. I speculate the cleaner data stream and/or the different encoding from the dedicated (and therefore less noisy) player make the difference, but not the cable. The paradox is that a technically superior cable may not matter at all in many cases because of the other sound-influencing factors.

In the two test rounds, I toggled the phones cellular connection, Bluetooth, and Wifi on and off in all possible combinations, which also made no sonic difference.

Round 3: iPhone into Marantz SA8005 with different Lightning Cables

To put the lid on the pot, I played the iPhone through the Marantz SA8005 SACD player into the home stereo – and listened with the Sennheiser HD25 headphone with its integrated headphone amp. The MFi09S did not work at all, neither did the ifi Audio OTG cable – the iPhone was not recognized by the Marantz. Only the Apple Lightning cable, an MFI-certified Startech USB cable, and even a cheaper MFI-certified UGREEN charge cable worked. And no, there was no audible difference either.

Reasoning is the fact that the Marantz, like a Mac computer, requires a bi-directional power line (with charging functionality) to communicate with the phone. OTG cables generally do not offer that.

Interpretation

All cables tested “sound” the same. They appear to be reasonably well shielded against EMI/RFI and the metallic wire material used makes no sonic difference but rather other factors such as the source (software, noise) in the phone’s case.

In other words, the MFi09S is overkill for my applications. It may be as good as intended but cannot show its qualities in my setups. It would make a difference if the client DAC was emitting EMI/RFI, but this is a special case. The other fact to consider is that a DAP without network/general computing capabilities sounds better than a phone, even with a budget cable.

Although the MFi09S makes no sonic difference in my tests, it is still not snake oil!

Concluding Remarks

Whether a digital cable makes a sonic difference depends mainly on the data quality of the host. If my phone emits a noisy signal, even the best cable is wasted on it. On the other hand, even the cleanest signal can be contaminated by a poorly designed cable.

ddHiFi’s series of “audiphile” digital cables connects computers, daps, and phones to client DACs. Phones typically produce the noisiest data stream. The fact that I don’t hear a difference in sound quality between the MFi9S and other lightning cables may lie in the problematic phone source. An “audiophile cable” may simply be overkill for this job.

In summary, the lack of “obvious sonic improvement” as claimed by ddHiFi may not reflect on the cable – such a general claim is simply not tenable as such “improvement” (rather call it “lack of deterioration”) would depend on many other factors, too.

But just as with earphones cables, the MFi9S is a haptically substantial, well-handling, durable cable with quality connectors that also adds a visual “jewelry” effect to your OTG setup. Unless you are keen on the overpriced, white, easily fraying Apple equivalents…And there is still ddHiFi’s lower-priced MFi6 cable.

UPDATE 2023-01-03: I also tested the USB-C version of this cable, the ddHiFi TC09BC, and it does make a difference in my test setup. And there is a good explanation why…

Until next time…keep on listening!

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Disclaimer

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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Gallery

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INTRO

The Oppo PM-3 pads and headband are notorious for flaking off even without use. The bonded leather is of terrible quality. I do not have a good handle on how to replace the headband or what to replace it with, so I just bought a zipper neoprene style headband to cover that. The following is a how-to guide and short review of the replacement pads. I performed this mod a year ago during the pandemic and the YDYBZB pads still seem to be holding up well.

None of my links earn me or Audioreviews.org an affiliate kickback. They are merely links to the products I used.

SUGGESTED TOOLS

• Plastic pry tool (or a butter knife) Plastic is preferred since it is softer and will no mark up the headphones. The butter knife should work too, but no guarantees it will not leave marks on the headphones.
• Small flat bladed screw driver or similar used to scrape and pry glue off or separate the pad.

REPLACEMENT PARTS

• Headband LTYIVABHTTW ($11)
• Brainwaves Sony Replacement Leather Pads–I did not think these fit the original aesthetic but some people use them ($29)-Option 1 (OK)
• YDYBZB Sheepskin leather replacement pads for Oppo PM-1,2,3 ($22)-Option 2 (Better)

PART ONE-PAD BRACKET REMOVAL

First step is to detach the pad retainer bracket off the Oppo PM-3 headphones. There are 6 clips that hold it onto the headphones. Using a blunt plastic tool (preferred as it it should not leave any marks) or a butter knife, carefully insert where the pad meets silver portion of the headphones between the clip sections so as not to break off any clips. Some of the other pictures show where the clips are located.

You can either use a prying lever motion, or a twisting method. I used a twisting motion with the blunt pry tool so that it un-clips without gouging or breaking clips.

PART TWO – PAD REMOVAL

Once the bracket it is off, there are two steps to remove the pads without destruction. If you don’t care then of course cutting and ripping off is an option. I prefer not to add to the destruction and I could technically re-use the pads later for comparison sake.

Using a small flat bladed screw driver, scrape or lift the pad edge that is glued to the backside of the retaining bracket. Slowly work your way around the edge of the pad until fully unglued.

Next, using the same blunt pry tool or butter knife, slide it on the inside of the pad between the filter and bracket and work it around the edge of the bracket to release the ear pad filter from the bracket. It is lightly glued to the bracket in six places as seen below in the photo.

PART THREE – PAD ATTACHMENT

Now onto the next step of attaching the new pads. I choose to use the YDYBZB brand pads because they were closer to the original size however still thicker (~1/16″ or 1.5mm) and felt more premium than the Brainwaves ones in both padding and texture.

The Brainwaves also had a wrinkled appearance that is found along the stitching similar to the Sony’s, but not the Oppo PM-3. The filter of the YDYBZB appears thicker but still relatively close to the original while the Brainwaves was easily thicker having two layers of cloth plus foam. I figured it would not alter the sound too much using the YDYBZB branded pads.

Slowly stretch the lip of the pad over the backside of the bracket. You might need to use the blunt pry tool to aid in stretching it over and use it to rotate around the bracket stretching it out and getting it over the edge. No need to re-glue it in my opinion.

Once it is in position, all that is left is to reattach the pad bracket back onto the head phones. It can be a bit tricky but I recommend slipping the top clips in first, then press firmly on the opposite bottom side to snap it back in to the two bottom clips.

Once those two clips are attached, press firmly along the left and right side edges working your way around to re-attach the remaining 2 side clips with a satisfyingly snapping sound.

SOUND CONCLUSION

So does it change the sound of the Oppo PM-3? Perhaps in a minor way because they are obviously thicker. There is less midrange enhancement, a little minor loss in bass punch and some upper treble softening. They sound a bit more open now, less closed in.

The advantage is that you should not feel the rim of the driver touching your ear for better comfort and of course no more leather flaking onto your ear. The YDYBZB pads are an excellent option for renewing the degraded Oppo PM-3 pads.

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Current-hungry DACs drain our DAP/Android Devices fast – and Apple’s current-draw limit frequently just results in an error message. The solution is an external power bank – which is easy in the DAP/Android case, but still problematic with iOS devices. Here’ s how to do it…with the E1DA splitter (2 kinds) and the Apple Camera Adapter.

This article is based on discussions with Alberto and I thank him for his insights…which have cost me lots of sweat in the meantime. Gordon Rankin or Wavelength Audio pointed the Apple restrictions out to me. I purchased all these cables myself. My testing refers to extreme cases. The E1DA splitters work as advertised as they are optimized for their own products.

Introduction

Dongles are little DAC/amps that draw their operating current from the host, which is either a computer, phone, DAP, or tablet. They have the advantage that they do not subscribe to planned obsolescence as they do not rely on an internal battery that dictates their life span. And they are small because of it. That’s why I like them.

There are principally two kinds of dongles, such that limit current draw to preserve the host’s battery, and such that…don’t (I wrote about this here). The first are limited in their performance, and the second drain the host (too) fast. Remember the 36 hours we got out of our iPod Classics?

Apple adds the “fun fact” of limiting current draw to 100 mA for most of their iOS devices. Reason is their fear of dissatisfied customers falsely claiming battery failure on warranty when their phones’s batteries drain “too fast”. If we connect our dongle with a current draw exceeding 100 mA, we get no music but a cryptic error message instead. Not good.

There are exceptions, when the iOS device is fooled to believe the draw is below 100 mA…by means of fudging the descriptor table in the software (according to Gordon Rankin of Wavelength Audio). Hidizs S9 Pro and ifi Go Bar (both around 140 mA), for example, appear to get around the restrictions, as both work with my iPhone SE (1st gen.), Astell & Kern’s PEE51 does not.

Luckily, some third-party Lightning cables exist that trick the iPhone to believe the current draw is lower than 100 mA…which is only a short-term solution, as it does not stop the battery from draining fast. E1DA have published a useful spreadsheet that tells you which Lightning cables work with which iPhones with their 9038SG3 and 9038D DACs (which draw above 130 mA).

Android devices and most DAPs are more forgiving – and work even with the biggest current w**res (excuse my Italian). But not for long in each case before you have to hook your device back up to the charger.

Therefore, in order not to run out of juice prematurely – and to entice Apple devices to play through our monster dongles – we need to use an external power source to drive those – and the readiness of the host to accept them.

The theory is simple: just separate power line and data line in the cable connecting host and dongle. As a result, the dongle draws its power from an external 5V power bank (or out of our 5V wall charger), and its data (“music”) from the phone/DAP/tablet. Computers are exempt in our discussion as they always provide enough power to any dongle (USB 2 up to 500 mA).

Stop! The theory may be easy for Android devices/DAPS, but things can be way more complicated for iOS devices, when the 100 mA current-draw limit needs to be circumvented.

What we need for DAPs/Android devices is a splitter cable (with separate data line and power line), an external battery, and the music host. This also works for iOS devices with <100 mA draw, but the Apple Camera Adapter is needed for anything higher. And that’s not all: you also need an MFI-certified USB-A (or USB-C) Lightning charging cable to make it work. Let’s test all possible cases.

DAPs/Android Devices with external Battery and E1DA Splitter

The easy case first to warm you up for things to come. What we need:

• Music source
• $4.99 E1DA USB-C to USB-C splitter cable
• Power bank
• Dongle (here the current hungry, 280 mA consuming, very powerful Apogee Groove…with micro USB to USB-C adapter
• Headphone

We plug it all in – and it works. The source device is not charged during music play and the Groove receives the required current from the power bank. Easy peasy!

iOS Devices with external Battery and E1DA Splitter vs. Apple Camera Adapter

1. Dongles with a Current Draw <100 mA (or a Software Manipulation pretending it is <100 mA) –> E1DA Splitter and Apple Camera Adapter work

Well, that’s smooth when the connected dongle draws less than 100 mA as it essentially works like the DAPs/Android device above. It just need a different E1DA USB-C to Lightning splitter cable that sets you back $19.99. Just in the case above, your iOS device is not being charged during operation.

2. Dongles with a Current Draw >100 mA (and without Software Manipulation pretending it is <100 mA) –> only Apple Camera Adapter works, E1DA Splitter does not

In this case, the E1DA USB-C to Lightning cable does not work. All you get is an error message. The power bank fuels the Groove properly, but there is no chip telling the iPhone it does actually not have to supply power to the Groove. Hence the iPhone reacts as it would without power bank: it does not want to do it. Thank you, Apple.

We still can drive the Groove but need different equipment to do so. Please fasten your seat belt! We need the following ingredients:

• iOS device
• $49 Apple Lightning to USB 3 Camera Adapter
• Power bank
• MFI-certifed Lightning charge cable
• Dongle (here again the current hungry, 280 mA consuming, very powerful Apogee Groove)
• Micro USB to USB-A cable
• Headphone

This works beautifully. The power bank funnels current into the Apple Camera Adapter with its controller chip that informs the iPhone that it does not have to supply current to the Groove. And the Groove draws its power from the power bank, which is controlled by the iPhone. On top of that, the iPhone charges while playing.

But there is still another hurdle: the charging cable has to be MFI certified to be able to communicate with the Apple Camera Adapter’s controller chip. Lightning cables by Amazon (Basics), Apple, IKEA, Startech and UGreen worked in my tests, OTG cables by ifi Audio, ddHiFi, and OE Audio did not (they are unidirectional “the wrong way” and not designed for charging). No power through the latter – and the well known error message appears on my iPhone. Bummer!

Concluding Remarks

Driving dongles with DAPS/Android devices and power bank using the E1DA USB-C to USB-C splitter cable works universally.

In contrast, iPhones (tested with SE 1st gen. and 13) do not like to draw zero current when they are not told to do so by a controller chip. As it appears, the Apple Camera Adapter draws some current from the iPhone but also from the power bank. E1DA’s USB-C to Lightning splitter works different from Apple’s Camera Adapter as it talks to the dongle and not to the iPhones’s power management. Therefore, iPhone does not charge while being connected to the E1DA splitter.

And I wished E1DA added a chip (as in Apple’s Camera Adapter) to make their Lightning splitter universally usable (Apple apparently makes this impossible for audio designers without an MFI license – and E1DA are probably not an accredited MFI contract manufacturer). E1DA’s USB-C to Lightning splitter is therefore of limited use for third-party dongles – but it works as intended with E1DA’s own DACs. This cable is not MFI certified.

As a rule of thumb, E1DA’s USB-C to Lightning splitter will only work with dongles that iPhone believes are drawing less than 100 mA current. And Apple’s Camera Adapter only works with MFI-certified charge cables. Nothing is perfect.

Until next time…keep on listening!

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The post Driving Power-Hungry Dongles With DAPs/Android Devices and iPhone (E1DA Splitter and Apple Camera Adapter Review) appeared first on Music For The Masses.

Introduction

Burson are a company out of Melbourne, Australia, which are well known and liked for their innovative opamps, DACs, amps, DAC/amps combos. I have analyzed the Burson Funk and the V6 Vivid & V6 Classic opamps.

Their DACs and amps come with their proprietary Maximum Current Power Supply “MCPS” , an ultrafast switching power supply that minimizes noise riding on the signal – and it lowers resistance and speeds up performance.

With the Super Charger, Burson are going a step further in reducing DC noise which and therefore increasing the signal-to-noise ratio. This should improve (micro-)dynamics and sonic detail. The company claims that the Super Charger doubles the the charging frequency to power capacitors inside the audio amplifier, which results in a more impactful sound with a bigger and deeper soundstage.

I tested this, but before I report my results, let’s first talk about the power-supply technology and common issues with mains power.

Power Supplies and Noise

Power supplies are highly underrated components and frequently put in the snake oil corner. That’s partly because they are external somewhere on the floor or optically unspectacular as “wall warts”…but mainly as they – strictly speaking – do not contribute anything to the sound of a device.

What? Surprised? On the contrary, good power supplies serve the purpose of preserving the signal from deterioration through…NOISE. Therefore, sound is “passively” improved by preservation and not by addition.

Three kinds of noise exist that can contaminate and deteriorate the audio signal: electromagnetic interference (RMI), radio-frequency (RFI) interference, and switching noise (which is usually just above the human hearing threshold). RMI and RFI may be transmitted by both USB ports and external power supplies.

What we call noise are not discrete sounds but impurities superimposed on the signal, like dirt mixed in our bathwater. Dirty bathwater does not clean well, and an impure signal compromises sound quality. I speculate that lack of understanding of “noise” in this context contributes to the snake-oil dogma with some listeners.

The electricity that comes out of our mains contains RMI and RFI, the amount of which depends on our living environment. It will be worse in a dense city environment than in the sparsely populated countryside.

All electronic circuits work at low voltage/direct current whereas the grid provides high voltage/alternative current.

A power supply is a transformer that connects the AC grid with the low voltage circuit of a device, let’s say a DAC or amp. There are two kinds of power supplies, switching mode power supplies (SMPS) and linear power supplies (LPS). Both kinds principally work with our audio devices.

A good-quality LPS contains a big transformer which makes them bulky, but it has a great price to performance ratio. The power supplies that come with our phones or notebook computers are SMPS. These are generally more compact and cheaper than LPS but noisier – unless sophisticated filtering is used. Basic SMPS will deteriorate the audio signal but a high-quality SMPS is superior to an LPS.

In an SMPS, the incoming AC is first converted to DC by a rectifier, followed by a filter, and then sent to a transformer. An integrated circuit switches voltage on and off at a very high frequency. An SMPS only needs a small transformer as the flow-through currents are generally small. The resulting DC is not very clean as the voltage is not as stable as with a good LPS. But the small devices travel well to hotel rooms (think Apple’s tiny 5V iPhone charger).

In their Super Charger, Burson tackle specifically the switching noise by raising the switching frequency higher above the human hearing threshold. Simple and clever? But, will it work?

USB Noise

I described USB noise in my analyses of the Allo Nirvana and Allo Shanti 5V power supplies review:

“Another cause of noise/signal deterioration is our streamer/computer/phone source. The various computer internals are inherently noisy. If our DAC is powered through the USB port, the computer delivers both noisy power and a poorly timed data stream (“jitter”) caused by RMI and FMI, through VBUS and data line, respectively, to the DAC.

Both jitter and noisy power contribute to the deterioration of the audio signal. And if both are transferred into the DAC via an inferior USB cable, there is additional interference between power and data lines…which exacerbates the problem. That’s why you need a well-made, well-shielded, well-isolating USB cable, too.

Using an external PS or a battery eliminates the VBUS problem. When testing the “purity” of the Super Charger (as well as for everyday use), I eliminated the USB noise altogether by using a quasi noise-less source.”

OK, let’s have a look at the Super Charger.

Compatiblity

The Super Charger 3/5A is compatible with almost all current Burson DACs and amps…but also with third-party devices, if they fulfill the specs below.

To find out its compatibility with other products, please follow the steps below:

• Is your current PSU 24Volt with the same amp or less? (eg 3A or less)
• Does it have a 2.5mm DC barrel plug?
• Does it have a centre positive polarity?

If the answer is YES to all three, then the Super Charger is compatible.

Physicals

In the box is the device and three slide-in adapters to fit all power outlets around the world. The design is a simple wall wart without button of switches. Its case is made of some kind of polyethylene (“hard plastic”) like most other such devices. A white LED indicates it is connected to the mains.

The Super Charger is slim (leaves space for adjacent power supplies) but sticks out quite a bit – which should not matter too much as it is likely hidden somewhere behind your desk (the stock power supply is on your desk). The chord – against claims in the blogosphere – is NOT detachable (I asked Burson), although the connector rotates.

What Changes are expected?

Improvements depend on the noise contamination. No noise, no improvement. Noise is not only introduced by the ac grid but also by the other electrical components in the chain such as computers and phones. In the worst-case scenario, the benefits of the power supply to the amplifier may be levelled by the other components so that the net improvement is…zero. I experience such as case during the ifi Audio iPower X testing when using a computer as source. We also have to consider permanent fluctuations of the ac grid according to usage and location.

Testimonies of the benefits of power supplies by audioreviews.org writers range from a “cleaner signal, better details, better transients” to improved stereo image and bass, better vocals quality” on the blogosphere. Co-blogger Biodegraded, reports better textured and more extended bass and a quieter background throughout in his headphone amp with the ifi Audio iPower. KopiOkaya owns and tested several LPS and also reports differences in dynamics. Some cheap PS sound “uninspired” in his analyses. Co-Blogger Kazi Mahbub Mutakabbir tested the ifi Audio Zen Can and had to purchase an iPower X to get the sonic results he expected from it.

Test Setup

For my listening test, I used a low-noise source, one that does not suffer from contamination from non-audio components (computer of phone), and one that does not rely on a power supply connected to the mains. I therefore deployed the Questyle QP1R dap, that runs on constant power/current supplied by its built-in battery. It also has a dedicated line-out. This source obviously avoids USB noise and mains noise. The Super Charger was attached to the Burson Funk via an AudioQuest Golden Gate 3.5 mm to 2 RCA interconnect.

My complete test setup was:

• Source: Questyle QP1R dap
• AudioQuest Golden Gate 3.5 mm to 2 RCA Interconnects
• Super Charger 3/5A connected to Burson Funk amp.

Test Results

Wowsa! I was stunned! The sonic difference between the stock power supply and the Super Charger is substantial (in my setup). We are not talking nuances, the whole sonic character changes quite a bit…and to the better. Burson claims better detail and better dynamics…which is true. My impressions – from the first minute – have been: much better transparency, much better note definition, better accentuation. Imaging is improved, there was much better control and organization, which I first recorded in the bass. In summary, the signal is much cleaner and crisper, and more true to a Class A amp than with the stock power supply.

The stock power supply delivers a less orderly, much less controlled sound that I first detected on the more loose low end.

I am actually really surprised that the difference is so big. Quite frankly, I enjoy the sound with the Super Charger so much more that I don’t want to go back to the stock supply.

Value: should I…?

The question is: is it worth purchasing the Super Charger as it is not quite cheap? Answer: it depends! First, how much is its acquisition relative to the amp (and the DAC) you use it with? The more expensive the amp, the more worth is it to invest in a good power supply. At $2500, the Super Charger is only a 10% cost addition (how much did you pay for your rubber phone case?).

Second, how “clean” is your chain of electronic devices? If you have a noisy computer or phone and a DAC with a cheap power supply in front of your amp, the Super Charger may not make much or any difference. After all, the golden rule is: garbage in, garbage out.

Some experts are of the opinion that an amplifier benefits more from clean power than a DAC. And they further claim that clean power contributes 70% to an amp’s sound quality. And when you compare the price of the Super Charger against a good linear power supply ($500 plus), it does not look that bad.

In the end, the pleasure you will get out of your power supply will define its value.

Concluding Remarks

To say it in simple terms: when used “properly”, the Super Charger changes the sound of your amplifier notably, to a point that surprised me. It upgrades my Burson Funk to a real Class A amp. I am just confused why Burson includes a – probably also pricey – stock power supply, which you then abandon for the Super Charger.

Wouldn’t it save cost and be better for the environment to give the buyer the choice of picking a power supply upon checkout? Which would bring the total buying price down.

In summary, the Burson Super Charger is for listeners who don’t want to make compromises and who are smart enough to implement it properly into their electronic chain.

Until next time…keep on listening!

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Disclaimer

The Burson Super Charger was supplied by Burson Audio for my review and I thank them for that. You can get it directly from the manufacturer.

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The post Burson Super Charger 3A Review – Superman’s Big Sister appeared first on Music For The Masses.

The ddHiFi Carrying Case C2022 is a well-made textile-leather carrying case for personal audio gear. It is roomy enough to hold a couple of daps or portable headphone amplifiers plus accessories.

Pros — Spacious, practical, attractive, great workmanship approved by a seamstress.

Cons — Buckles made of plastic (not metal); no shoulder pad.

Introduction

ddHifi have left a big impression on us in the past. The company sparkles with innovation with their adapters, cables, earphones, dongles, and other accessories. Anything they released is not only extremely useful but also optically and haptically of the highest quality. Any premium earphone that went through Calgary on a Head-Fi tour contained at least one ddHifi adapter. It is therefore no wonder that the company made it as a whole onto our Wall of Excellence.

I love storage. Being German by trade, I like to have my gear orderly stowed, but also quickly accessible. ddHifi’s C-2020 case fulfills all these requirements, but it is a tech organizer and a pure storage device, bulky and therefore best suited for travelling in our luggage.

The C2022 is a totally different design – inside and outside – to be worn on the go while playing music – if desired. It therefore has a different functionality. Both cases are complementary.

Let’s see what the C2022 case can do for us…

Specifications

Physicalities

The C2022 carrying case is largely made of double-strand nylon on the outside, with cowhide leather at the bottom and on the sides. The inner lining is of polyester. It comes with a shoulder strap that is also made of sturdy nylon and adjustable in length. It is plenty long for a 6 ft/180 cm guy like me. The velcro straps are of very good quality and so is the zipper.

I showed the C2022 to my sister-in-law who is a seamstress. She approved of the stitching and the ruggedness of the fabric. Not much I can add.

Functionality

The ddHifi C2022 case looks very much like a camera bag. Since its compartmentalization is impossible to photograph, I drew its layout schematically.

• Green: On the outside is a “frontal zipper pouch for small items” (iems, SD cards, batteries, adapters). Too small for iems.
• The main bag is divided into 3 compartments: slim front and rear pockets with double velcro straps (blue) for phone, dap, power bank, dongles etc.
• The middle pocket (red) is extremely roomy and offer storage even for the fattest Discman, Walkman, even a small desktop amp…the sky’s your limit.

There are several loops on the back and the sides for attaching shoulder strap, carabiners or similar and/or strapping the case to another device.

Let’s now have a look what this looks like in real life.

These plastic parts may be sturdy and light but I preferred the metal in the C-2020.

When actually using the C2022 bag on a daily basis, I found it interfering with my arms because of its depth. It sticks out from the body quite a bit. I’d prefer a different aspect ratio: wider and less deep, like a map case (and not so much like a camera bag). I’d also appreciate a shoulder pad for increased comfort considering you can load this bag up quite a bit. But maybe this shape is optimal for you. You can see that readily from the photos.

As to the price, I don’t find $50 particularly cheap, but it is all relative. A Van Nuys bag costs you three times as much. After all ddHifi use real leather. Nevertheless do I find the identically C-2020 bag a better value (with more metal and more leather).

Concluding Remarks

Well, schlepp your audio gear around while listening to it with this well-made, rugged, and practical ddHifi C2022 bag. I am taking it on an intercontinental trip to Europe this July. It may not be the cheapest solution, but when looking at a comparable Van Nuys, Coach, or Louis Vuitton, you may be out a multiple of what you pay for the C2022.

Until next time…keep on listening!

Disclaimer

I thank ddHifi for providing this case for review. I always have fun analyzing “difficult” items.

Get the C2022 carrying case from ddHifi.

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Cons — Build appears a bit flimsy; no dead cats for the lavalier mics included.

Executive Summary

Introduction

Vlogging, live streaming, and virtual meetings are becoming increasingly important. When two people are looking into the same camera, a microphone for each is needed. The Maono WM820 offers this functionality. The set features two clip-on transmitters with built-in microphone and a receiver connected to your computer, phone, or other broadcasting device.

The clip-ons also offer the option to connect an included lavalier microphone for improved sound quality or simply for convenience – as well as a headset for real-time monitoring. The transmission range of the sound is up to 50 m, but in any case can one move around the house safely without losing contact to the receiver.

The WM820 set looks awfully close to the Røde GO II set, but at less than half the price, appealing to the cost-conscious consumer.

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.

I am a big fan of good sounding microphones and have certain expectations. Spoiler alert, the WM820-A2 deliver, albeit they cannot be compared to radio-station microphones, just to state the obvious.

Specifications

Physicals

The WM820 set comes with all necessary accessories other than OTG adapters for phones. For example, you have to buy an Apple Audio Adapter for use with iPhone.

In the box…is a lot: 2 transmitters, 1 receiver, a charging cable with three USB-C connectors for simultaneous charging of all three units, a 3.5mm TRS Cable (for cameras), a 3.5mm TRRS Cable (for phones), 2 lavalier microphones, 3 dead cats for the transmitters, and the paperwork. And all that comes in a big pouch.

The receiver and the two transmitters feel a bit light and the plastic a bit flimsy, and I would not want to drop them onto a concrete sidewalk (to be fair, the same accounts for my iPhone). But being heavier would make them more difficult to wear around one’s collar. The pouch smells a bit like petroleum and the lavaliers and the other accessories are sturdy.

Functionality and Operation

The principal idea is to assign a “talking head” to each of the two transmitters, and to connect the receiver to a DSLR, smartphone/tablet, or computer so that the two people can have a recorded or streamed conversation with the outside world.

There is a 3.5 mm output jack on the Maono WM820’s receiver for this purpose. The transmitter features a 3.5 mm jack for connecting an external lavalier microphone (which bypasses the internal mic) as well as a 3.5 mm headphone jack for real-time monitoring.

Both receiver and transmitters feature three buttons on the side with various functionality. First, apart from ON/OFF, for Bluetooth pairing by simply holding button combinations down on both. Pairing has a memory: once done, you will not have to do it again. The receiver buttons allow to adjust the 22 dB gain in 2 dB steps of the incoming signal as monitored through a connected headset (also works for the mics).

Transmitters and receivers features a couple of LEDs on their front top, one as battery-level indicator and the other for Bluetooth connection status.

The set can be used indoors and outdoors. The receiver fits any standard camera shoe or phone rig as you see below. The company claims a 6 h battery life, which is more than sufficient. The build-in 350 mAh batteries are charged with a standard 5V USB charger (not included, but any phone charger or computer port will work). Charging time is 2 hours.

The microphones built into the transmitters follow a polar pattern and are (to some extent) omnidirectional with noise cancelling technology. Transmission distance is given as 50 m without physical obstruction such as walls. I tested this in the following video.

Sound Quality

When it comes to spoken word and speech intelligibility, I am fuzzy. First, I love talk radio and own several old-fashioned FM radios. Second, one of my first cousins and one of my nieces are voice actors. When listening to the “big” radio sound, you hear differences depending on the microphones used.

There is always a competition of richness against clarity, and the question is how well extended a voice is towards the top and bottom of the frequency spectrum. A microphone with little upper extension makes the voice sound boxed in and blunt, one without lower extension makes one sound tinny and analytical.

My wife and I tested the transmitters with both the built-in microphone and the added lavalier. According to specs, the lavaliers should yield a richer sound, but listen yourself to the sound of the video below.

So, what do you think? I did not change the default gain or process the sound. You get the raw data, just like somebody in a live stream or zoom call. I find the sound strikes the right balance between richness and clarity. And since you can attach any microphone to the transmitter you want, I also tried my Sony ECM-CS3, which sounded clearer, but also sterile and analytical. The Manao delivers the more natural sound with a bit or warmth added.

Concluding Remarks

The Maono WM820 is a well working and good sounding set…though I see a bit of “copycatting” as it comes optically very close to the Røde GO II (at more than twice the price). It may be a functional lower-priced alternative to the hobbyist like me, but the build is too light for professional use.

And since the company is big on influencers and affiliate programs, a built-in disclaimer: I/we don’t participate in any of that as we are not salesmen on a commission but product analysts. I just tested the set – and without any humour.

Until next time…keep on listening!

Disclaimer

The WM820 was provided unsolicited by Maono and I thank them for that.

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Gallery

The post 2-Person Wireless Mic MAONO WM820 Review – Talking Heads appeared first on Music For The Masses.

Once I “got” its purpose though I found it so usefeul, and so effective, that it became a fundamental part of my audio toolbox. Indeed I even own 2 units! In Europe they can be bought for € 59,00.

While the technical reasons behind IEMatch utility are quite tricky for a neophite, this article will try to share my experience in simple and practical terms. I will add references to some more technical material for those who feel keen (and prepared) to acquiring more in-depth information.

At-a-glance Card

Some common issues

Audible noise floor

Every audio amplifier produces some “noise”. The reasons for this are multiple but in maximum simplicity such noise mainly comes from the amp’s power circuits, and of course the higher the power the higher the noise to be tamed by the designers.

Low noise on high power amps is mainly obtained by adopting very sophisticated power circuits – which have the bad habit of being expensive and physically big. Which is why the cheaper & physically smaller an amplifier is, the more prone it fatally is to have an audible “Noise Floor”, and the more so if we long for a small and powerful amp.

The noise floor is like a sort of feeble “unwanted music” generated by the AMP itself. Not very sensible headphones will “not hear that”, that’s because the noise signal is feeble enough to not being able to move their drivers and produce sound. Sensible headphones / earphones, instead, will catch that and produce a sort of “background hiss”.

Such noise is indeed annoying but quite modest, and stays fundamentally unchanged when we raise the amp’s volume control. Unless the amp is really awfully engineered, it will in facts not amplify its base noise but only the signal received on its input. Which means that beyond a certain volume knob position our amp will make real music “loud enough” to overcome the Noise Floor level. However, the Noise Floor will stay as a background dirt polluting all notes, and will re-emerge on silent passages of course.

Excessive volume sensitivity

Suppose you own a very powerful Headphone amp, designed to muscularly feed your little-sensitive, power-hungry planar cans. Now suppose you plug your low impedance, supersensitive IEMs (a pair of CA Andromeda, for example?) onto that same amp. You’ll be forced to keep the volume knob very low, as already at 10, maybe 15% of its excursion your IEMs will start yelling unbearably loud.

And worse than that, you’ll notice that moving the volume knob by just a tiny angle makes Sound Pressure Level change quite substantially on your ears. The volume control gets “too sensitive”, in a sense.

This is of course bad for two reasons. One: you seriously risk to damage your hearing at anytime by inadvertedly turning the knob. Two: you can’t finetune SPL, as no matter how delicate you are on turning the knob, SPL varies by “too big steps” up or down.

Digital volume control quality

The overwhelming majority of the portable DAC/AMP systems out there have either no volume control, or a digital volume control. This is due to cost and size compression priorities of course.

As naming suggests, a “digital volume” control actionates upon the digital stream, i.e. on the 0’s and 1’s while and before they get into the DAC, while an “analog volume” control actionates upon the analog stream, i.e. on the result of the DAC’s job, just before it is sent to the headphones (or the speakers).

Opposite of the most common semanthics, from the sound quality standpoint “digital” volume control is in this case a “less quality” choice. You can find many online resources explaining why, at various technical depth levels. One good compromise between technicality and vulgarity is this article by iFi Audio if you wish.

Very synthetically said: the Dynamic Range is the range going from the feeblest audible note to the loudest audible note in a signal (a note). The wider the Dynamic Range, the more articulated, detailed and smoother the music is. Actionating upon a digital volume control means to move the loudest audible edge of the signal up or down. At 100% digital volume the edge is the highest allowed, so we’ll have the widest possible Dynamic Range. As we reduce the digital volume position, we lower the upper limit, consequently making the Dynamic Range smaller (“compressed”).

For completeness: an analog volume control operates on the DAC’s output, changing the signal overall amplitude, not its contents. Assuming the DAC operated at 100% digital volume, it will have carried its job out on the full available Dynamic Range, and the subsequent analog volume control is bound to operate on an “unhampered quality” analog wave. Perfect, or not? Sadly the world is not perfect, nor analog volume controls are: as any circuitry, they add noise! High quality (highly clean) analog volume controls require physically big and economically expensive components. This is why most mobile budget sources need to bend their necks on the digital volume quality compromise.

The (low) impedance riddle

I know by experience that this is a difficult topic for the non-technical amateur to grasp. There is of course a lot of ready-made resources online which you can tap to get various levels of technical information. I find this video by Hans Beekhuyzen quite nice for example.

Again, I’ll try to explain in even more vulgar terms here.

One of the electrical specifications attached to our headphones / IEMs is called “impedance”, and is measured in Ohms. 150 / 300 / 600 Ohms are “high” impedance values, typically found on overear headphones. 30 / 50 Ohm are medium impedance values, also typically found on overear headphones, often when equipped with so-called “planar” drivers. 20 / 16 / 12 / 8 are low or very low impedance values, typically found on IEM drivers.

Amplifiers (and DAC-AMPs too of course) also have an impedance feature, called “output impedance” in that case. For the sake of its output’s high quality, the lower the amp’s output impedance the better. 1 / 2 / 8 Ohm are to be considered relatively high values. 0,5 / 0,2 / 0,1 Ohm are decent values. Higher end systems carry values like 0,0[…]01 Ohm, to give you an idea.

As you may guess, designing distortion-free low output impedance amps is not a joke, it requires competence, additional physical circuitry, and more money. Which is why the mobile+lowcost devices market is flooded with non-superlow output impedance devices, and/or with devices speccing into low nominal output impedance values but delivering a sound quality which I wouldn’t write home about, and/or with devices accompanied by let’s say… not very accurate spec sheet figures.

Ok but why is this a riddle?

It is because – I won’t explain here technically why – there needs to be a certain minimum proportion between the amp’s output impedance and the headphone / IEM / speaker (called “loads”) own impedance.

By the way, when the proportion is mantioned the other way then how I just did ( load impedance divided by amp output impedance) then it goes by the name of “Damping Factor”. Just a name convention, the concept is always the same.

Some – probably the most competent and experienced – argue that the situation is not really black/white, the ideal minimum Damping Factor does not always need to be 8 according to them. They offer a range of potentially good values between 2.5 and 10, to be verified basically on a pair by pair basis.

Specific numbers apart, what’s important for us now is that when (let’s say) “a certain” minimum ratio is not respected, there will be some distortion in the frequency response of the headphones / IEMs. Typically, in the bass region (but not only).

So for example a 16ohm IEM connected to a 1ohm DAP is good (DF =16). A 12ohm IEM connected to the same DAP should be good too.

Or is it? Well… not always. (Told you it’s a riddle…)

Why? Because supplying enough current to low impedance IEMs is not a joke for mobile and/or cheap-design amplifiers – again, I won’t articulate on “why” here.

So, even when the Damping Factor is arithmetically OK, your amp may have a serious hard time “feeding” a very low impedance IEM, especially if that also carries a very low sensitivity. The very same amp would have a much less hard time getting a vivid amount of current flowing if – on equal low sensitivity – that IEM had a higher impedance. This is amongst the reasons why – in addition to output impedance – some AMP / DAC-AMP spec sheets also report a “minimum recommended / supported load impedance”.

Summarising: 1) make sure headphones / earphones have an average impedance “a few times higher” than that of the amp / dac-amp you want to connect them too; 2) make sure your IEM don’t undercut on your source’s minimum supported / recommended load impedance.

IEMatch description

IEMatch is a device aesthetically similar to one of those plug format adapters – those short cables used for example to connect a 2.5mm plugged earphone onto an amp’s 4.4mm output port. The difference is that there is some extra circuitry inside the housings.

Operatively, you plug its male connector onto the Amp, and you plug your headphones / IEMs onto the female connector.

Different versions of IEMatch are available to accomodate for 3.5 / 2.5 / 4.4mm plugs, but they also have some electrical differences. Let’s talk about those later not to lose focus on the main concepts, give me some rope here.

When it is plugged in by its male connector, IEMatch always presents the Amp with the same “load impedance” – being 16 Ohm – regardless of the actual impedance of the headphones / earphones plugged onto its female connector.

At the opposite end, IEMatch always presents the Headphones / Earphones connected onto its female connector with just two possible Output Impedance values – being either 1 or 2.5 Ohm, user-selectable by flipping the switch on the female connector barrel – regardless of the actual Output Impedance of the amp the opposite, male connector is plugged onto.

Thirdly, IEMatch also acts as an attenuator. In practice it acts as the opposite of an amplifier: it introduces a “negative gain”, it reduces (instead of enhancing) the strength of the analog signal passing through it. The attenuation is applied in the value of either 12 or 24dB, user-selectable by flipping the switch on the female connector barrel, the same used to select IEMatch’s Output Impedance.

As I mentioned above, iFi markets 3 different IEMatch versions, carrying some differences in these values but I’ll report and recap them all later on. For now let’s focus on the most common product version called IEMatch+.

The available choices on IEMatch+ are: 2.5 ohm output impedance and -12 dB attenuation (“High” setting), or 1 ohm output impedance and -24 dB attenuation (“Ultra” setting).

How it solves our problems

As it should be clear by the description here above, by plugging an IEMatch in between our AMP and our ‘Phones we get 3 fundamental “things”, at the same time:

1. “Fake” our AMP into believing our IEM has a 16 ohm impedance, whatever its real impedance is (even much lower!)
2. “Fake” our IEM into believing our AMP has either 2.5 or 1 ohm output impedance, whatever the real value at the AMP connector be
3. Again, “fake” our AMP into believeing our IEM is much less sensible then it actually is – so much so that on even power level output by the amp the resulting Sound Pressure Level onto our ears will be 12 or evel 24dB less loud

Clear until now? Good. Now let’s see how this contributes to solve or at least reduce our issues mentioned in the first section.

Noise floor cancelling

Recall: low impedance, high sensitivity IEMs are prone to make high power amp’s Noise Floor audible in form of a continued background hiss. This is because, for how feeble the noise signal is, it’s enough to move our supersensible IEM’s transducers.

Plug IEMatch in the middle. Its attenuation features practically mean that our IEMs will present a much lower sensitivity to the AMP than their real one. The feeble Noise Floor signal will basically be unable to “overcome” the extra “resistance” offered by IEMatch (even its lower -12dB setting is more than enough), and the hiss will not be audible anymore.

Smoother volume control

Recall: plugging low impedance, high sensitivity IEMs onto high powered AMPs designed to adequately cope with higher impedance and/or lower sensitivity cans results in being stuck at the lowest end of the amp’s volume excursion, and in excessive sensitivity vs volume control variations.

Plug IEMatch in the middle. Same as above, IEMatch will “present” a higher sensitivity to the amp. Unlike when the IEM is directly plugged onto the amp, now we will need to turn the amp’s volume knob quite a sweeter bit up in order to obtain “loud” sound off our IEMs. Even more importantly, now a tiny variation in the amp’s volume knob position will not result in a “big” SPL change anymore, but we’ll have a much “smoother”, more normal SPL control.

Reduced digital volume quality loss

Recall: digital volume controls – extremely common on mobile DAC-AMP / DAPs – can pass the original digital file full resolution along to the DAC only when set at 100% volume position. When operated at intermediate positions, as it happens during normal auditioning, they apriori cram the available Dynamic Range. Such depletion is the stronger the lower the volume is set at (i.e. the higher the pre-attenuation is applied to the digital data).

Put IEMatch in the middle. Again same as above, IEMatch will “drain” quite a lot of the power coming from the amp before it reaches our IEMs. Which means that to get the same Sound Pressure Level out (i.e. the same musical loudness into our ears) we will need to “turn the volume more up”, and being this a digital volume, the higher the volume position, the smaller quality loss we will have.

In other words: if you apply attenuation to the signal after the DAC job is done, you can afford not to apply the same attenuation to the digital signal before sending it to the DAC, thus better preserving the final result quality.

Clear till now? Good. Then let’s consider a couple of caveats.

Please note: 3dB attenuation corresponds to hearing music 50% less loud. So 12dB attenuation is a lot, and 24db is a huge lot!

So, first: there may be cases where your source has to work at 50% volume position or less when your IEM / HP is directly connected to it, but it will reveal to be not powerful enough to compensate even for IEMatch’s lower -12dB attenuation setting when we plug that in, and even pushing your source at 100% volume, you won’t have a satisfactory loudness coming out of your drivers. In such case well… too bad: IEMatch can’t help you.

Furthermore: suppose your source is not much overpowered vs your IEM / HPs, and IEMatch’s -12 dB attenuation setting makes it bring the volume control near its ideal, fullscale position, while still getting loud music and vivid dynamics out of the drivers. But… the -12dB attenuation requires the “High” setting which comes with a 2.5 ohm output impedance presented to your IEM / HPs. Should that be too high, for example because you are using a very low impedance IEM, then you might be forced to use IEMatch’s -24dB attenuation setting (“Ultra”), featuring a much lower 1 ohm output impedance. If, of course… your source doesn’t run out of juice now, like for the previous caveat case!

Impedance adaptation

Recall: you should always make sure your HP / IEM’s impedance is at least a few times (many say 8 times) bigger than your source’s output impedance – otherwise you will hear some unwanted tonal changes in the ouput. Furthermore, even when the “8X rule” is met, your HP / IEM’s impedance should not be lower than the lowest recommended impedance mentioned on the amp’s literature.

This means for example that you won’t likely get good sonic results by pairing a 12 ohm IEM with an amp offering 2 ohm output impedance. Nor by pairing the same 12 ohm IEM with an amplifier offering 0.5 ohm output impedance, but recommending loads above 16 ohm anyway.

Put IEMatch in the middle.

Firstly: the AMP from its own standpoint will “sense” 16 ohm on its output connector, and will effectively behave accordingly, even if our IEM is 12 ohm (or less). This will make the amp “work within the manufacturer’s recommended range”, which is of course a first fundamental good thing.

Secondly: whatever the actual AMP’s output impedance is, the IEM from its own standpoint will exclusively sense IEMatch’s output impedance, which is as low as 1 ohm – so perfectly viable in terms of damping factor even the IEM carries 8 ohm or less of internal impedance.

The same power-related caveat mentioned about the previous point applies of course: especially if we need to pair IEMs with 16 or less ohm impedance, we’ll need to operate IEMatch on its Ultra position, which “costs” -24dB attenuation. Our amp gotta be really powerful to be able to counter that.

IEMatch models

IEMatch is currently offered in 3 different variations.

(*) S-balanced is the name iFi assigned to a special wiring scheme which is at the same time full compliant with a single-ended connection, and with a balanced ended connection. Considering there are very few if any balanced architecture devices around equipped with 3.5mm TRRS ports, this feature in practice means that IEMatch+ can be paired with any regular Single Ended 3.5mm phone port, and that it will pass-through iFi’s S-Balanced connectivity when paired to most of iFi’s mobile AMP / DAC-AMPs.

While the difference between IEMatch+ and IEMatch 2.5 is only about Single Ended / Balanced cabling support, it’s worth noting that IEMatch 4.4 is not a mere pentaconn-plug variation of the 2.5 model, but it comes with different electrical data.

IEMatch 4.4 is intended to be used it with high(er) powered balanced-ended AMPs. The much higher (up to 50 ohm vs 16 ohm) impedance it presents to the source will force the AMP to work at a higher “volume” level, thus at a higher voltage.

On the flip side IEMatch 4.4 offers a minimum output impedance of 3.6 ohm (significantly higher then its siblings’ 1 ohm)

Questions and curiosities

Won’t a much cheaper impedance adapter be enough?

Simply put: no.

An “impedance adapter” is a simple resistor, which is plugged in series between two devices – typically a dac and an amp, or a preamp and an amp.

The most evident difference between a mere “impedance adapter” and an IEMatch is that the IA will present the same impedance on both its ends.

Some may be tempted to use impedance adapters (e.g.) when plugging a low impedance IEM onto a certain phone, or budget dongle, to “trick” the source into sensing a higher impedance load (IEM) connected, and “switch to high impedance mode” delivering more output power.
Or, to “cancel” the hiss on low impedance IEMs.
Or, to help an amp better cope with the power requirements of lower-than-minimum-supported-impedance IEMs (read above).

From the amp’s (i.e. the phone / dongle) standpoint that’ll be ok: using (say) a 32ohm IA the phone will sense a 32ohm load and will behave accordingly. E.g. it will switch to high(er) output voltage swing. So far so good.

From the IEM’s standpoint though, that’s far from OK – the IEM will now sense the IA’s value (in our example: 32ohm) as the source’s “output impedance” – which is a very high value.

In more technical words, the IA will screw the pair’s damping factor (read above), and this will be very hearable in terms of frequency response, the earphone presentation will be skewed.

If you want, the adjective “adapter” applied to a common “impedance adapter” turns out to be quite deceiving in the above scenarios

Won’t IEMatch actually make my damping factor worse?

If your amp has an output impedance below 1 ohm, then a IEMatch with its 1ohm (or more) impedance will surely reduce the damping factor. But on IEMatch typical applicative scenarios this very rarely if ever will be a problem – most times it will be an improvement.

First and foremost: while you need a certain “minimum” Damping Factor to avoid FR skewing, it is conversely NOT true that the higher the damping factor the better (I omit the explanation here).

Secondly let’s consider a classic example: a Campfire Andromeda (12 ohm impedance) connected to a sub-1ohm output impedance source. DF is above 12, good. Too bad the Andros are also extremely sensitive and pick up hissing from that amp.

Plug IEMatch in between. Output impedance will now be 1 ohm, so the DF will be “just” 12, which is nevertheless absolutely OK. And, we won’t have hissing (as explained above)

Considerations and conclusions

If we consider the situations where IEMatch makes itself useful we notice they all have to do with pairing low impedance and/or high sensitivity drivers (typically: IEMs – hence, evidently, the product’s name) with sources optimised for high(er) impedance and especially (much) low(er) sensitivity.

Looking at the consumer / pro-sumer audiophile market higher quality, higher powered amplifiers are typically optimised for pairing with high impedance dynamic drivers, or low impedance planar drivers – and plugging most of IEMs on them reveal a number of shortcomings, such as the ones we talked about today.

If we want to be true to ourselves, we should serenely acknowledge that each should be given its own: big cans require a certain “type” of source, IEMs work best on a different type.

So do we have to duplicate our stacks ? Maximalistically speaking: yes. And honestly speaking, I did – with great results !

For the less purist, IEMatch helps close the gap. And, it still proves useful in a number of situations to “double stackers” like myself.

A very final note: I recently came accross iFi’s Micro iDSD Signature, a really remarkable mobile DAC-AMP which I truly appreciated as I tried to outline on my piece about it.

I reckon that today’s article about IEMatch may make it even clearer why – amongst the multiple benefits offered by Micro iDSD Signature – the one that totally stunned me is its provision for an easily user-selectable “ECO” (read: reduced power) amplification mode. Micro iDSD Signature is the sole one device I encountered to date which offers uncompromised optimal amping for both cans and IEMs in the same product.

iFi offers such feature both on Micro iDSD Signature and Diablo. That’s such a logical and winning choice for mid/high end mobile devices like those ! Wish more quality manufacturers get involved on this soon…

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The post iFi IEMatch Review – Must Have appeared first on Music For The Masses.

Executive Summary

The $59 Allo Nirvana Switching Mode Power Supply (SMPS) and $159 Allo Shanti Dual Linear Power Supply (LPS) offer audible improvements over cheaper/stock power supplies and therefore remove a critical bottleneck in our device chain at a relatively low cost.

Introduction

Allo is a company out of Toulouse, France, that has designed and manufactured electronic devices for the last 20 years. Their products range from DIY Audio to Plug’n’Play devices. Allo are particularly famous for their network audio players and USB bridges. Their R&D, engineering team, and production facilities are located in Bangalore, India.

In this article, I analyze the Nirvana and the Shanti, Allo’s two relatively inexpensive 5V low-noise power supplies. I will compare their contrasting designs against each other and against their competitors. Power supplies are a generally highly underestimated component of any audiophile device. Good power supplies can cost $$$ and may have the size of a microwave. And yes, they make a big sonic difference simply by preserving the signal quality.

The Allo Nirvana is a standard staple with Raspberry Pi users for good reasons. It is frequently sold out here in Canada.

Let’s first talk about the power-supply technology and common issues with mains power.

Noise and Power Supplies

Three kinds of noise exist that can contaminate and deteriorate the audio signal: electromagnetic interference (RMI), radio-frequency (RFI) interference, and switching noise (which is usually high frequency between 500Khz and 2Ghz). By definition, interference originates from a source external to a signal path and produces undesired artifacts in the signal. RMI and RFI may be transmitted by both USB ports and external power supplies.

The electricity that comes out of our mains contains RMI and RFI, the amount of which depends on our living environment. It will be worse in a city apartment building than in a house in the country, and it may fluctuate with time of day.

All electronic circuits work at low voltage/direct current whereas the grid provides high voltage/alternative current.

A power supply is a transformer that connects the AC grid with the low voltage circuit of a device, let’s say a DAC or amp. There are two kinds of power supplies, switching mode power supplies (SMPS) and linear power supplies (LPS). Both kinds principally work with our audio devices.

In an LPS, this AC/DC conversion is done by rectifiers and capacitors and the grid voltage is transformed to a lower voltage by a transformer. The bigger the transformer the better. A voltage regulator makes sure that the power supply provides constant voltage to the DAC’s/amp’s logic boards.

In an SMPS, the incoming AC is first converted to DC by a rectifier, followed by a filter, and then sent to a transformer. An integrated circuit switches voltage on and off at a very high frequency. An SMPS only needs a small transformer as the flow-through currents are generally small. The resulting DC is not very clean as the voltage is not as stable as with a good LPS.

An LPS is typically less noisy than an SMPS (in the same price category) as it provides constant signal and voltage power (and no switching noise). Bigger transformers are generally better than smaller ones (although they may measure the same), and they can be very expensive (and bulky). Such big LPS are probably only economic for very expensive audio gear.

The power supplies that come with our phones or notebook computers are SMPS. These are generally more compact and cheaper than LPS but noisier – unless sophisticated filtering is used. Basic SMPS will deteriorate the audio signal.

In summary, a power supply is very important for (preserving) sound.

USB Noise

Another cause of noise/signal deterioration is our streamer/computer. The various computer internals are inherently noisy. If our DAC is powered through the USB port, the computer delivers both noisy power and a poorly timed data stream (“jitter”) caused by RMI and FMI, through VBUS and data line, respectively, to the DAC.

Both jitter and noisy power contribute to the deterioration of the audio signal. And if both are transferred into the DAC via an inferior USB cable, there is additional interference between power and data lines…which exacerbates the problem. That’s why you need a well-made, well-shielded, well-isolating USB cable, too.

Using an external LPS such as the Allo Nirvana or Allo Shanti for your DAC eliminates the VBUS problem.

OK, let’s have a look at the two Allo models.

Allo Nirvana Switching Mode Power Supply (SMPS)

In the box is the power supply with with 6 adapters.

The Nirvana is relatively small, as an SMPS does not need large transformer coils. Allo pride themselves of having minimized three different kinds of noise: differential noise between power line and ground (GND) in the audio band (0-20 kHz), common mode noise, and leakage current (which creates EMI).

Features of the Allo Nirvana

• Single output at 2.85A/5V
• Standard North American plug with 120V input
• No load is 5.2V, 2.85A 4.97 to 5.03V
• Includes multiple adaptors (see below)
• Product Page/Purchase Link: https://www.allo.com/sparky/nirvana-smps.html
• Tested at: $59 (with standard North American plug with 120V input)
• Download Manual: https://bit.ly/3Gzzo1C

On the front panel, there is a fixed DC output cable and a USB port. Both constitute a single shared output…either or… 6 adapters are included to connect essentially any 5V device. The switch on the right allows to have the 5V DC side ground earthed or floating (AC side is always earthed)

On its back panel are the fixed AC-input and an earth connector.

There is no on/off switch. Once plugged in, the Nirvana is always on, as indicated by a red LED inside the case (which is well visible through the three slots in the top).

Allo Nirvana and Allo Shanti come with the same accessories.

Allo Shanti Dual Linear Power Supply (LPS)

The Allo Nirvana is a dual linear power supply that relies on a large transformer and is therefore relatively – you guessed it – big. It powers two 5V devices, one with 1.2 A and another one with up to 3 A. The Shanti contains the same adapters as the Allo Nirvana (the set is unfortunately not doubled) plus a detachable power chord.

Features of the Allo Shanti

• Dual output (galvanically isolated) 5.2V 3A and 5.2V at 1.2A
• Power multiple devices (RPI 4, 3 + DAC, Katana, BOSS, or other)
• Independent filtering on each rail
• Super capacitors on the output
• Incredible low impedance / deep reservoir of electrons at the output of the PSU
• Includes multiple adaptors (see below)
• Product Page/Purchase Link: https://www.allo.com/sparky/shanti.html
• Tested at: $159

The front panel features the dual output (galvanically isolated) with two fixed DC output cables. In the back are an AC power input, on/of switch, earth connector and 115/230 V switch.

The earth connector in both Allo power supplies removes voltage potential between devices and therefore avoids hum and ground loops.

Test Setup

For my listening test, different power supplies were connected to the Khadas Tone2 Pro DAC/amp. A music source as noise free as possible is required to isolate the power supplies (and their noise) and to test them effectively. For this purpose, I selected the Marantz SA8005 SACD player as transport, which I connected to the Khadas via S/PDIF using a Blue Jeans coaxial cable. This setup obviously avoids USB noise.

My complete test setup was:

• Different 5V power supplies: Allo Nirvana & Shanti, $99 ifi Audio iPower X, $50 BRZHifi LPS, Apple SMPS (from 2012 iPad), generic $14 Baseus charger SMPS
• Source: Marantz SA8005 CD player
• Uncompressed signal from audio CD
• Integrated dac/amp 1: Khadas Tone2 Pro [S/PDIF input used]
• Receiving end: Sennheiser HD 600

I had already compared the iPower X with the BRZHiFi, Baseus, and Apple SMPS in the iPower review.

Test Results

Spoiler alert (jump over the rest of this paragraph if you don’t want to know the result yet): the Shanti contributes to the best sound in my test chain, followed closely by the Nirvana fighting for 2nd position with the iPower X. As already tested, the BRZHiFi cannot compete with the top trio and the Apple and Baseus are several leagues below the rest.

I started my test with the Apple as reference. I found the sound a bit congested, particularly at the low end (which was also muddy), and it lacked impact.

Switching to the apparent favourite (according to price), the Allo Shanti, I had this “Wow” experience. Holy macro was there a difference – and a huge one. No measurements required. If you cannot hear that, get the Apple one.

The overall image improved substantially with the Shanti, it became much cleaner and clearer. Separation improved dramatically and so did dynamics and impact. The bass was tightened up and the vocals became more alive and intimate. Everything was much better defined, controlled, organized, and dosed.

The Apple sounded muddled and uninspiring in comparison. The Shanti clearly added life to the Khadas. It was like the cleaners went through my house, polished things up and put everything back into place. Hey, this would be a nice present…

The Allo Nirvana kept up well with the Shanti. The sound may have slightly less impact and intimacy, but everything is equally well defined. The Shanti may have slightly better rounded edges and the Nirvana may deliver a slightly leaner and sharper image than the Shanti (with my particular setup). The overall differences between the two are small.

The Nirvana’s real competitor is the ifi Audio iPower X as both are SMPS. In my previous test, the iPower X had clearly beaten the BRZHiFi, Apple, and Baseus. And to my surprise, the iPower X is a bit muddier in the bass (and bassier) compared to the Nirvana’s better defined low end. Both have comparable dynamics and are “even steven” in the other departments…with my test setup. So, yes, you may prefer the “drier” sounding Nirvana over the iPower X – or not. Overall, there is barely a piece of paper between them.

As said, I had tested the BRZHiFi before. It is not bad but has less dynamics than the iPower X, and also lags in separation. The iPower X (and the two Allos) are more “engaging”. There is a big step between the top trio and this one.

I then switched to the Shanti again to confirm my perceptions…and yes, I instantly wanted to return the BRZHiFi to the dealer.

Last but not least, there is the generic Baseus. Its “sound” remained as thin, dull, uninspiring, and lifeless as in my previous test. If you want to save a buck, you save it on the wrong end here, as it affects the overall sound of your device chain – and rather negatively.

In conclusion of this test, Allo Shanti, Allo Nirvana, and iPower X are all decent, recommendable power supplies in my opinion. Whilst the differences between them are small with my test setup, they may be more substantial with “bigger” systems.

Quick Comparison between Allo Nirvana and Allo Shanti

Value

As to which ones to get. The Shanti offers the best “sound quality” by a hair, and is the one recommended for powering two devices. For a single device, you have the choice between the Nirvana and iPower X. Here it comes down to personal preference: light, small, plastic “wall wart” at $99 (travels better to your hotel room) or a larger but sturdier metal box at $59 (hides better under your desk). The iPower X lacks the Nirvana’s ground switch. Any of the three are superior over the $49 iPower wall wart and the BRZHiFi – and more than decent.

Concluding Remarks

Quality power supplies such as the Nirvana and Shanti keep what they promise – they do make an audible difference compared to a cheap one and remove critical bottlenecks in our audio chains. Results may vary with setup, location, and time of day (load on the local power grid). Allo are offering a couple of very useful and established niché products at fair prices.

Bottom line: the Allo Nirvana is the best bang for your buck. Period. And…yes, power supplies can be fun!

Until next time…keep on listening!

Contact us!

Disclaimer

The Allo Nirvana and Shanti power supplies were provided by Allo upon my request – and I thank them for that. The iPower X is on loan, and the others I have purchased myself. I also thank my co-bloggers and William “Wiljen Audiofool” Jennings for intense discussion of this topic.

Our generic standard disclaimer.

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

The post Allo Nirvana SMPS & Shanti LPS Review – Messieurs Propres appeared first on Music For The Masses.

This article has had 151,367 views as of 2023-12-28.

The eartips are listed in alphabetical order.

Latest Additions

March 2024 additions: SoundMAGIC Silicone Eartips (Pumpkin-shape), ICE CLEAR Earphone Plug, Azla SednaEarfit XELASTEC II, Azla SednaEarfit Max ASMR (Standard), Azla SednaEarfit Foamax (Standard), INfiter Variety Dot IE45 Short for TWS (Dow Corning silicone and graphene), INfiter Variety Dot IE45 Short for TWS (Dow Corning silicone), Nfiter Variety Dot IE45Pro Short for TWS (Black), Nfiter Variety Dot IE45Pro Short for TWS (Clear), INfiter WS38 for TWS (Clear white), INfiter WS43 for TWS (Clear blue).

February 2024 additions: Azla SednaEarfit ORIGIN for In-Ear Monitor & TWS, Jomo Audio ONYX Double Flanges Premium Silicone Eartips (For IEMs), Penon Audio Liqueur Silicone Eartips (Black), Penon Audio Liqueur Silicone Eartips (Orange).

January 2024 addition: Z Reviews Render Eartips.

Testing Parameters and Disclaimer

The following tests of silicone eartips are based on my evaluations and listening observations. All test are conducted in a quiet listening environment. Fit is ensured such that eartips are properly inserted and seated into the ear canal with good seal. I have to elaborate, your experiences may vary.

Associated equipment list: Sources – Luxury & Precision W4, Questyle M15 and Sony WM-A105. IEMs – 7Hz Timeless, 7Hz Salnotes Zero, 7Hz Sonus, Tanchjim Oxygen and Moondrop Blessing 2.

Disclaimer: All scores are subjected to change without notice. I may update or add new scores every few months when I acquire new eartips.

NOTE: I don’t have favorite eartips but if I want neutrality, SpinFits CP-145 is my first pick usually. For IEM tuning, I always use reversed KZ Starline, follow by stock eartips from the manufacturer. 

A

Acoustune AEX07

Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.50
Midrange: 5.00
Treble: 4.25
Soundstage: 3.75
Vocal presence: 4.00

For neutral tonality with emphasis in midrange. The AEX07 sounds closer to AET07a than AET07. Improved overall tonal texture and clarity over the latter. Note weight is is denser than AET07a however it sounds less congested than AET07. A good middle-ground between its two predecessors. My new favorite Acoustune eartip.

Purchased from MTMT Audio, Hong Kong.

Acoustune AET06
Bore size: double flange, regular
Stem length: extremely short
Feel: firm and sturdy
Bass: 5.0
Midrange: 5
Treble: 4
Soundstage: 3.75
Vocal presence: 5
Similar to AET08 in many ways but with an even tighter bass punch. Vocal is bodied and three-dimensional
Purchased from MTMT Audio, Hong Kong.

Acoustune AET06a (Enhanced comfort)
Bore size: double flange, regular
Stem length: extremely short
Feel: firm and pliable (slightly softer than AET06a)
Bass: 4.75
Midrange: 5
Treble: 4.25
Soundstage: 3.75
Vocal presence: 5
Virtually identical to AET06 with a hair bit cleaner and more sparkling upper-midrange and treble. Feels softer than AET06 thus less pressure inside the ears.
Purchased from MTMT Audio, Hong Kong.

Acoustune AET07
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.75
Midrange: 5
Treble: 4
Soundstage: 3.5
Vocal presence: 4
For neutral tonality with emphasis in midrange. Similar to SpinFit CP-145 in many ways but with better bass texture and vocal presence.
Purchased from Japan through a friend

Acoustune AET07a
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.75
Midrange: 5
Treble: 4
Soundstage: 3.5
Vocal presence: 4.25
Slight improvement over Acoustune AET07 in texture, detail, tonal purity and vocal clarity.
Purchased from MTMT Audio, Hong Kong

Acoustune AET08
Bore size: regular
Stem length: regular
Feel: firm and sturdy
Bass: 4.5
Midrange: 5
Treble: 3.5
Soundstage: 3.5
Vocal presence: 5
For vocal, midrange and solid bass
Purchased from Japan through a friend

Acoustune AEX07

Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.50
Midrange: 5.00
Treble: 4.25
Soundstage: 3.75
Vocal presence: 4.00

For neutral tonality with emphasis in midrange. The AEX07 sounds closer to AET07a than AET07. Improved overall tonal texture and clarity over the latter. Note weight is is denser than AET07a however it sounds less congested than AET07. A good middle-ground between its two predecessors. My new favorite Acoustune eartip.

Purchased from MTMT Audio, Hong Kong.

Acoustune AEX50

Bore size: wide
Stem length: regular 
Feel: soft and sturdy
Bass: 1.50
Midrange: 2.50
Treble: 4.25
Soundstage: 3.75
Vocal presence: 3.50

Acoustune AEX50

Bore size: wide
Stem length: regular 
Feel: soft and sturdy
Bass: 1.50
Midrange: 2.50
Treble: 4.25
Soundstage: 3.75
Vocal presence: 3.50

What was Acoustune thinking when they came out these?! 

These eartips are “directional” (meaning you must wear them in a certain way) and a pain in the butt to put on. You need lots of patience and time to get them to sit well inside the ears. Getting the proper “ear seal” is nearly impossible. There is literally zero isolation. The design adopts a WW2 helmet-like umbrella shape with double “wings” design. The wide wing is to face the inner-part of the entrance to the ear canal, and the narrow wing facing out (see attached photos). 

Unfortunately, I couldn’t get them to fit in my ears properly not matter how hard I tried. Although made of soft memory polymer, they become uncomfortable, irritating and warm inside my ears after a while.

Sound-wise, these eartips thin the sound so much that they make your TOTL IEMs sound like 1950s transistor radio. Everything sounds distant, lean and sibilance. 

Purchased from MTMT Audio, Hong Kong.

Acoustune AEX70
Bore size: regular
Stem length: regular
Feel: soft and pliable
Bass: 3.50
Midrange: 4.50
Treble: 4.25
Soundstage: 4.25
Vocal presence: 4.00

Another addition to the new Acoustune AEX family. To me, these sound the most open and airy among the AEX members. Tonality and note weight are lighter than AEX07, as well as the older AET07. Overall, the AEX70 sounds cleaner and clearer than both AEX07 and AET07.

Purchased from MTMT Audio, Hong Kong.

ADV Eartune Fidelity U Elliptical Silicone Eartips (horizontal fit)
Bore size: small (4mm)
Stem length: short
Feel: flexible, soft and pliable
Bass: 3.5
Midrange: 4
Treble: 3.5
Soundstage: 2.5
Vocal presence: 3.5
An interesting elliptical eartip which fits two ways and can affect sound. The not so interesting part is it projects a smaller soundstage and vocals get thrown backwards. In both fittings, I experienced quite significant treble roll-off and details lost. Isolation is NOT GOOD!
Sample from ADVSound, courtesy of co-blogger Baskingshark.

ADV Eartune Fidelity U Elliptical Silicone Eartips (vertical fit)
Bore size: small (4mm)
Stem length: short
Feel: flexible, soft and pliable
Bass: 3.0
Midrange: 3.5
Treble: 3.5
Soundstage: 2.5
Vocal presence: 3.5
An interesting elliptical eartip which fits two ways and can affect sound. The not so interesting part is it projects a smaller soundstage and vocals get thrown backwards. In both fittings, I experienced quite significant treble roll-off and details lost. Isolation is NOT GOOD!
Sample from ADVSound, courtesy of co-blogger Baskingshark.

AKG Anti-allergenic Sleeves for K3003
Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 4.25
Midrange: 5.0
Treble: 4
Soundstage: 3.75
Vocal presence: 5.0
Yes, it is called “anti-allergenic sleeves”. If you can find these at your local earphone stores, GET IT! These sound extremely close to Azla SednaEarFit XELASTEC but at half the cost. If you are not used to the grippiness or tackiness of the XELASTEC, AKG is the best alternative. Vocal is forward with very good dimension and ambience. 3D. Best of all it doesn’t affect bass and treble.
Purchase from a friend who bought from AKG outlet in Germany

ALPEX Hi-Unit HSE-A1000
Bore size: wide
Stem length: short
Feel: soft and pliable
Bass: 4.25
Midrange: 4.25
Treble: 4.50
Soundstage: 4.0
Vocal presence: 4.25
These wide bore eartips bear an uncanny resemblance to JVC Spiral Dot in look but they don’t sound alike. The HSE-A1000 is brighter, more open and livelier. Midrange has more sparkle and life. The bass is cleaner, tighter and more textured. Best of all, they cost only a fraction of the JVC. I am surprised how good these are. What a hidden gem!
Purchased from Amazon Japan

Audiosense S400 Soft Silicone Eartips
Bore size: regular
Stem length: short
Feel: flexible and firm
Bass: 4.25
Midrange: 5.0
Treble: 4.0
Soundstage: 4.0
Vocal presence: 4.5
Both Baskingshark and Vannak Pech are fans of this eartip. It adds “round-meatiness” (a.k.a smoothness and body) to the music without clouding the low-mids. Vocals can be a tad forward but still very pleasant. I would rank its sonic signatures between SpinFit CP-145 and Final Audio Type E eartips. Similar to SpinFits, it has a pivoting cap design.
Purchased from Audiosense Official Store on AliExpress

Audio-Technica FineFit ER-CKM55M
Bore size: small
Stem length: regular
Feel: soft and flrm
Bass: 4
Midrange: 4.5
Treble: 3.5
Soundstage: 3
Vocal presence: 4
Bassy eartips that accentuates on vocal. Soundstage is smaller than most tips.
Purchased from Stereo Electronics (Singapore)

Azla SednaEarFit Crystal (Standard)

Bore size: regular
Stem length: regular
Feel: soft, grippy and sticky
Bass: 3.5
Midrange: 5.0
Treble: 4.25
Soundstage: 4.0
Vocal presence: 5.0

Another pricey eartip offering from Azla. Feels just like XELASTEC. Both XELASTEC and Crystal excel in the midrange and vocals. Their most obvious differences are in the upper-mids and mid-bass range where Crystal adds a touch more instrument presence, separation and space. Mid-bass is cleaner and clearer than XELASTEC yet doesn’t sacrifice warmth and body. It is good to note that Crystal does not have the upper-midrange “ringing” that plagues XELASTEC.
Purchased from Amazon Japan

Azla SednaEarfit Crystal (for TWS)
Bore size: regular
Stem length: short
Feel: soft, grippy and sticky
Bass: 3.5
Midrange: 5.0
Treble: 4.25
Soundstage: 4.0
Vocal presence: 5.0

Another pricey eartip offering from Azla. Feels similar to XELASTEC but with a shallower in-ear fit. Both XELASTEC and Crystal excel in the midrange and vocals. Their most obvious differences are in the upper-mids and mid-bass range where Crystal adds a touch more instrument presence, separation and space. Mid-bass is cleaner and clearer than XELASTEC yet doesn’t sacrifice warmth and body. It is good to note that Crystal does not have the upper-midrange “ringing” that plagues XELASTEC. Can be used for both IEM and TWS.

Purchased from MTMT Audio, Hong Kong

Azla SednaEarfit Foamax (Standard)
Bore size: wide bore with Waxguard.
Stem length: regular
Feel: medium density firmness and spongy

Bass: 4.50
Midrange: 5.00
Treble: 4.00
Soundstage: 3.50
Vocal presence: 5.00

I came across the SednaEarfit Foamax ear tips and was intrigued by users who claimed they were a superior alternative to the significantly more expensive Sony EP-NI1000M. If these claims hold true, Azla could have a major success on their hands.

In terms of sound quality, the SednaEarfit Foamax offers a crisper and clearer soundscape compared to the Sony. Vocals are more prominent and detailed, and the treble boasts a touch more vibrancy. However, the bass performance and soundstage are largely comparable between the two.

The SednaEarfit Foamax feels softer and plusher than the Sony, thanks to its slow rebound foam that regains its shape completely within 30 seconds. Additionally, the built-in mesh avoids causing any discomfort to the ear canal, unlike the Comply’s own Waxguard.

So, is the SednaEarfit Foamax better than the Sony EP-NI1000M? While I believe they offer a compelling alternative at a significantly lower price point, I personally favor the Sony’s more balanced sound signature. Nevertheless, considering they cost slightly more than half the price of the Sony, SednaEarfit Foamax is definitely worth considering.

Purchased from Amazon Japan

Azla SednaEarfit Max ASMR (Standard)
Bore size: narrow bore with Waxguard, short cap
Stem length: regular
Feel: firm and flexible

Bass: 4.50
Midrange: 4.50
Treble: 3.50
Soundstage: 3.25
Vocal presence: 5.00

This eartip, the narrow bore version of the SednaEarFit Max, offers a distinct variation within the family. Compared to its sibling, SednaEarFit Max ASMR tightens the sound, resulting in a smaller perceived soundstage. However, it compensates with a more precise and focused sonic image. Additionally, it delivers superior tonal density, improved textural clarity, and richer vocals. As the name suggests, vocals are emphasized and brought forward in the mix, creating a sense of intimacy. However, there is a trade-off in the form of reduced treble extension and a lack of high-frequency sparkle. This translates to a smoother and more natural but potentially less detailed listening experience overall.

Purchased from Amazon Japan

Azla SednaEarfit ORIGIN for In-Ear Monitor & TWS
Bore size: regular, tapered to a wide opening
Stem length: long
Feel: firm and flexible

Bass: 5.00
Midrange: 4.50
Treble: 3.50
Soundstage: 4.00
Vocal presence: 4.75

The ORIGIN eartips are, without a doubt, the most bass-forward I’ve ever encountered. But fear not, bassheads, because this is a good thing! They deliver a satisfying low-end rumble that’s surprisingly free from bloat and muddiness. While they might not pack the same punchy, dynamic punch as the Penon Audio Liqueur black eartips, the ORIGIN compensates with a smooth, fluid presentation for vocals, offering a truly captivating listening experience. However, there’s a catch. While the lower frequencies are a feast, the upper treble frequencies exhibit a slight roll-off, meaning they lack some sparkle and airiness. So, if you crave razor-sharp highs, these might not be your best bet. Overall, if you’re a bass aficionado who values smooth vocals, the ORIGIN eartips are definitely worth considering. They excel at creating a rich and immersive listening experience, but may not be the ideal choice for those seeking a more analytical or balanced sound signature. Perfect eartips pairing for Simgot IEMs especially with EA1000.

Purchased from Amazon Japan.

Azla Sedna EarFit (Regular)
Bore size: wide
Stem length: long
Feel: sturdy and very firm
Bass: 4
Midrange: 4.5
Treble: 4
Soundstage: 3.75
Vocal presence: 4.5
For long nozzle good midrange
Purchased from Amazon Japan

Azla SednaEarFit Short

Bore size: wide
Stem length: regular
Feel: sturdy and very firm
Bass: 3.75
Midrange: 4.50
Treble: 3.75
Soundstage: 3.75
Vocal presence: 4.50

Imagine the SednaEarFit Regular but with the stem chopped down a bit. These shorter SednaEarFits bring the music closer to your ears, making everything sound crisper, clearer and a bit more forward. They offer a similar experience to the SednaEarFit Light Short but with a delicate overall sound.

Purchased from Amazon Japan.

Azla Sedna EarFit (Light)
Bore size: wide
Stem length: long
Feel: sturdy and very firm
Bass: 3.75
Midrange: 4
Treble: 3.5
Soundstage: 3.75
Vocal presence: 4.25
A “lighter” version of the regular Sedna EarFit. More balanced-sounding overall.
Purchased from Amazon Japan

Azla SednaEarFit (Light) Short
Bore size: wide
Stem length: regular
Feel: sturdy and very firm
Bass: 3.75
Midrange: 4.25
Treble: 3.75
Soundstage: 3.75
Vocal presence: 4.5
A “short-stem” version of SednaEarFitLight. Both nozzles are brought closer to the eardrums thus enhancement in overall clarity and vocal presence, which means stereo image and presentation are slightly more forward.
Purchased from MTMT Audio, Hong Kong

Azla SednaEarFit Max (Standard)

Bore size: wide (with waxguard)
Stem length: regular
Feel: sturdy and firm

Bass: 4.50
Midrange: 3.50
Treble: 3.50
Soundstage: 3.00
Vocal presence: 3.50

Another highly-requested eartips from the audiophile community. However, just like its TWS sibling, these are not my favorite! First of all, their fitting is awful. It is too short for my ear canal. Second, I am not a fan of having waxguard inside the nozzle. And finally, why people like these are the main reasons for my dislikes. They introduce too much bass and mid-bass boost. The treble clarity and extension are suppressed and restricted. Vocals have a thick nasally undertone and are pushed forward. Overall, these present an average tonality that is surpassed by many cheaper eartips. If you haven’t purchased these, save your money. Azla SednaEarFit (Light) Short is better. It is another déjà vu moment for me with SednaEarfit Max series.

Purchased from Amazon, Singapore.

Azla SednaEarFit Max (for TWS)

Bore size: wide (with waxguard)
Stem length: regular
Feel: sturdy and firm
Bass: 4.50
Midrange: 3.50
Treble: 3.50
Soundstage: 3.00
Vocal presence: 4.00

I was “urged” to review these eartips and I can understand why so many people like it. However, these are not my favorite! First of all, their fitting is awful. It is too short for my ear canal. Second, I am not a fan of having waxguard inside the nozzle. And finally, why people like these are the main reasons for my dislikes. They introduce too much bass and mid-bass boost. The treble clarity and extension are suppressed as well. Vocals have a thick nasally undertone and are pushed forward. Overall, these present an average tonality that is surpassed by many cheaper eartips. If you haven’t purchased these, save your money. Azla SednaEarFit (Light) Short is better in my opinion.

Purchased from MTMT Audio, Hong Kong

Azla SednaEarFit Vivid Edition

Bore size: narrow 
Stem length: regular
Feel: sturdy and very firm
Bass: 4.25
Midrange: 4.50
Treble: 4.25
Soundstage: 3.75
Vocal presence: 4.75

At first glance, these look like colourful version of SednaEarFitLight Short. Upon close examination, they are very different in looks, feel and sound. SednaEarFit Vivid Edition feels softer and plusher. It has a narrower bore and sounds livelier than SednaEarFit Light Short. Bass is punchier, better texture and definition. Vocals sound cleaner, clearer and slightly forward. Upper-registers are brighter and slightly more extended than SednaEarFitLight Short. This eartips definitely deserve the “Vivid Edition” title. Not suitable for bright or shouty IEMs. 

Purchased from MTMT Audio, Hong Kong

Azla SednaEarFit XELASTEC
Bore size: regular
Stem length: regular
Feel: soft, grippy and sticky
Bass: 4.0
Midrange: 5.0
Treble: 3.75
Soundstage: 3.50
Vocal presence: 5.0

The most expensive eartip in my collection. Isolation is impeccable. If you love vocals, THIS IS IT! Vocal presence is extremely 3D. Best of all it doesn’t affect bass and treble. Projects soundstage a bit narrower than regular SednaEarFit.

Azla SednaEarfit XELASTEC II
Bore size: regular, with Waxguard
Stem length: regular
Feel: firm and grippy

Bass: 4.00
Midrange: 5.00
Treble: 4.00
Soundstage: 4.00
Vocal presence: 5.00

Compared to its predecessor, XELASTEC II offers a less sticky, dust-resistant surface. The flexible Waxguard improves the sound with smoother treble and reduced upper-midrange glare, all while preserving the core strengths of the original. For fans of the original XELASTEC who prefer a less sticky feel, XELASTEC II is the perfect choice.

Purchased from Amazon JP

B

BGVP A07 Eartips
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.75
Midrange: 5
Treble: 4
Soundstage: 3.5
Vocal presence: 4.25
Suspiciously similar to Acoustune AET07. Heck… It sounds closer to AET07a than AET07. Neutral tonality with emphasis in midrange and top-end sparkle. I find this eartip to have better bass texture, dynamics and vocal presence than SpinFit CP100 and CP145. The A07 is often labeled as “vocal” eartip for most stock tips offering.Purchased from BGVP Taobao store

BGVP A08 Eartips
Bore size: regular
Stem length: regular
Feel: firm and sturdy
Bass: 4.5
Midrange: 5
Treble: 3.5
Soundstage: 3.5
Vocal presence: 5
Suspiciously similar to Acoustune AET08, this eartip adds thickness to bass and midrange. However, unlike Acoustune AET08, I find it a speck bright. The A08 is often labeled as “bass” eartip for most stock tips offering.Purchased from BGVP Taobao store

BGVP Electric Blue “ArtMagic VG4” Silicone Vocal Eartip
Bore size: regular 
Stem length: regular
Feel: soft and flexible
Bass: 3.5
Midrange: 5.0
Treble: 4.25
Soundstage: 4.0
Vocal presence: 4.0This eartip comes stock with BGVP ArtMagic VG4, ArtMagic V12 and DH3, labeled under “vocal” eartip. Highly-praised by Singaporean audiophile Reza Emmanuel as his standard reference, I must say this eartip is extremely comfortable, literally fatigue-free for long listening sessions.

Sound is clean, tight and very well-textured. Bass and low-mids are detailed, punchy and dynamic. Midrange is clear with excellent separation. Upper-mids and treble are smooth and extended with good amount of air and spacial cues. Vocal position is ‘just nice” – that is neither too forward nor too laid-back. Soundstage is realistically wide without sounding too spread-out. Similar to SpinFit, this eartip comes with a pivoting umbrella/cap.
Specially-ordered from BGVP Taobao Official Store as they do not sell this eartip individually. 

BGVP E01 Eartips
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4
Looks identical to Final Audio Type E eartips it has a balanced sound that tames harshness. I find it lacks the smoothness of original Final Audio Type E eartips. This style of eartip is often labeled as “balance” eartip for most stock tips offering.Purchased from BGVP Taobao store

BGVP S01 Eartips
Bore size: Very wide with narrow opening
Stem length: regular
Feel: firm and sturdy
Bass: 3.25
Midrange: 5
Treble: 5
Soundstage: 3.0
Vocal presence: 3.0
A very interesting eartip with an exceptionally wide nozzle and narrow opening. Treble is vastly emphasize with a hint of bass and midrange. Works very well for dull-sounding earphones but make sure you can fit it 6.5mm diameter bore.
Purchased from BGVP Taobao store

BVGP W01 Eartips
Bore size: wide
Stem length: short and stubby
Feel: short and flexible
Bass: 4.0
Midrange: 4.25
Treble: 3.75
Soundstage: 3.75
Vocal presence: 4.5Short stem and wide bore brings nozzle closer to the eardrums thus enhancement in overall clarity and vocal presence, which means stereo image and presentation are slightly more forward. A slight boost in mid-bass is noticeable. 
Purchased from BGVP Taobao store

BGVP Y01 Eartips
Bore size: Very wide with narrow opening
Stem length: regular
Feel: firm and sturdy
Bass: 3.75
Midrange: 5
Treble: 5
Soundstage: 3.0
Vocal presence: 3.0
A very interesting eartip with an exceptionally wide nozzle and narrow opening. Similar to BGVP S01 but with a smidgen more bass. Works well for dull-sounding earphones but make sure you can fit it 6.5mm diameter bore.
Purchased from BGVP Taobao store

C

Canal Works CW Dual Nozzle (CWU-DECM)
Bore size: wide / short cap
Stem length: short
Feel: soft and pliable
Bass: 3.25
Midrange: 4.5
Treble: 4
Soundstage: 3.5
Vocal presence: 3.75
For neutral tonality with slight bass reduction and laid-back vocal compared to SpinFit CP-145. Otherwise both sound quite similar.
Purchased from Japan through a friend

Canal Works CW Dual Nozzle 《肉球》”Nikukyuu” (CWU-GDECM)

Bore size: wide / short cap
Stem length: short
Feel: soft and pliable
Bass: 3.50
Midrange: 4.50
Treble: 4.00
Soundstage: 3.50
Vocal presence: 3.75

This eartip is basically Canal Works CW-DECM with silicone “gel” infused to the inner-cavity of the cap. For neutral tonality with improved bass weight, otherwise both the “gel” and “non-gel” versions sound quite similar.

Purchased from Amazon, Japan

Canal Works CW Single Nozzle (CWU-ECM)
Bore size: small
Stem length: short
Feel: sturdy and firm
Bass: 4.25
Midrange: 5
Treble: 5
Soundstage: 4
Vocal presence: 4.25
Eerily similar to Radius Deep Mount but with slightly less vocal presence and less transparent. Not suitable for bright earphones.
Purchased from Japan through a friend

Canal Works CW Single Nozzle 《肉球》”Nikukyuu” (CWU-GECM)

Bore size: narrow
Stem length: short
Feel: sturdy and firm
Bass: 4.75
Midrange: 5.00
Treble: 5.00
Soundstage: 4.00
Vocal presence: 4.50

This eartip is basically Canal Works CWU-ECM with silicone “gel” infused to the inner-cavity of the cap. Improved bass and lower-midrange over the “non-gel” version. Not suitable for bright-sounding earphones.

Purchased from Amazon, Japan

Canyon Silikon-Eartips ET400 (Bass)
Bore size: wide
Stem length: short
Feel: soft and firm
Bass: 3.50
Midrange: 3.25
Treble: 4.0
Soundstage: 4.50
Vocal presence: 3.0
Canyon is a German company however these eartips are made in China. Interestingly, I find these eartips very pleasing, especially in staging. The ET400 is laid back yet retains imaging scale and focus very well. Although the packaging says “bass”, the ET400 isn’t bassy or rumbly. I would classify it as balanced with a touch of midrange warmth.
Purchased from Canyon Official Taobao Store.

CleanPiece Anti-bacteria Silicone Eartip
Bore size: narrow
Stem length: short
Feel: soft and flexible
Bass: 4.25
Midrange: 4.0
Treble: 3.0
Soundstage: 3.75
Vocal presence: 3.0
An interesting audiophile’s “sanitary” product from Japan, and made in Japan. How true is the anti-bacteria, anti-microbial and anti-virus properties I don’t know (it comes in a plastic “petri dish”) but I do know these eartips roll-off treble and thicken bass and mid-bass. You lose clarity but gain body and smoothness. Recommended for bright and harsh sounding IEMs.
Purchased from Amazon.jp

D

ddHiFi ST35 Silicone Eartips (Standard)

Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 4.75
Midrange: 5.00
Treble: 3.50
Soundstage: 3.50
Vocal presence: 5.00

A slightly more bassy version of Acoustune AET08. The ST35 has solid and punchy bass, full-bodied midrange and good vocal presence. Nonetheless, it has a slightly rolled-off treble. Similar to the AET08, soundstage and stereo imaging are average. Instruments and voices are tad front forward but non-offensive. It has a pivoting umbrella just like SpinFits. Comes in a nice plastic storage case with 3 pairs of your chosen size.

Purchased from ddHiFi Official Taobao Store

Divinus MOCHI TIP (for IEM/TWS)
Bore size: wide
Stem length: very short
Feel: soft, elastic and pliable
Bass: 3.50
Midrange: 5.00
Treble: 4.50
Soundstage: 5.00
Vocal presence: 4.50

These eartips have an extremely shallow fit due to their noticeably short stem. They produce a very midrange-forward sound with suppressed mid-bass and forward vocals. The soundstage is open and airy. They remind me of Moondrop Spring Tips with a sturdier cap and shorter stem. Vocals can sound sibilant and piercing when matched with bright earphones, so be very careful with your pairings.

Purchased from Audion Shopee Store (Indonesia)

Divinus Velvet Eartips (Standard)
Bore size: tapered, narrow to wide
Stem length: short
Feel: smooth and soft
Bass: 4.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.25
Vocal presence: 4.50

If you don’t look closely, this eartip looks almost identical to Radius Deep Mount. It has the Beefeater bearskin shape which is wide on top and narrow at the bottom. Quite a transparent sounding eartip I must say. Sounds brighter than Deep Mount with slightly less bass. Korean Radius Deep Mount? Not suitable piercing or lean sounding IEMs.

Purchased from e*earphone, Japan

Divinus Velvet Eartips (for TWS)
Bore size: wide
Stem length: very short
Feel: smooth and soft
Bass: 3.00.
Midrange: 5.00
Treble: 5.00
Soundstage: 3.50
Vocal presence: 5.00

A shorter version of standard Divinus Velvet Eartips with very noticeable bass and low-mids reduction. Comfortable but unsuitable for earphones or TWS with short nozzle.

Purchased from e*earphone, Japan.

Dunu Candy Eartips
Bore size: regular
Stem length: regular
Feel: soft and pliable
Bass: 3.25
Midrange: 4.00
Treble: 4.00
Soundstage: 4.50
Vocal presence: 3.50

I am neither impressed by its lightweight nor its relaxed presentation. Vocal is a tad too recessed for my liking. Nevertheless, stage is spacious and airy. Goes well with forward-sounding IEM.

Purchased from Dunu Official Taobao Store

Dunu S&S Eartips
Bore size: regular
Stem length: regular
Feel: rubbery and elastic
Bass: 4.00
Midrange: 4.50
Treble: 4.00
Soundstage: 5.00
Vocal presence: 4.00

The first time I tried these eartips was when I auditioned the Dunu Talos. The S&S eartips was part of their stock accessories. I immediately fell in love with these eartips. It presents clean yet balanced sound signature with a large soundstage, both width and depth, and good imaging. Perfect match for planar IEMs (these are attached permanently to my Timeless and Timeless AE). My only complain is they have an awkward fit and can be uncomfortable for some people. Comes in a plastic storage case with 3 pairs of your chosen size. Good stuff!

Purchased from Dunu Official Taobao Store

E

EarrBond Barreleye Blue 
Bore size: regular
Stem length: regular
Feel: soft with sturdy core
Bass: 3.5
Midrange: 4.25
Treble: 4.5
Soundstage: 4.5
Vocal presence: 4.0
Different from EarrBond New Hybrid series, Barreleye eartips use a sturdy silicone core which give an surprisingly good seal without the squishy feel of foam. Similar to the New Hybrid series, sound is laid back. Barreleye Blue has better clarity, instrument separation, treble extension, stage depth and layering than Barreleye Green and New Hybrid.

However due to its emphasis in the upper-midrange and treble regions, Barreleye Blue isn’t suitable for bright, sibilant or harsh sounding earphones. Group member Vannak Pech described the sound as if “when you apply contrast filter to your image…”.
Purchased from MTMT Audio (Hong Kong)

EarrBond Barreleye Green
Bore size: regular
Stem length: regular
Feel: soft with firm core
Bass: 4.0
Midrange: 4.0
Treble: 4.25
Soundstage: 4
Vocal presence: 4.5
Different from EarrBond New Hybrid series, Barreleye eartips use a firm silicone core which gives an surprisingly good seal without the squishy feel of foam. Similar to the New Hybrid series, sound is laid back. Barreleye Green adds body and bass punch but it lacks the clarity, instrument separation, treble extension, stage depth and layering of Barreleye Blue. 
Purchased from MTMT Audio (Hong Kong)

EarrBond EBT New Hybrid Design Eartips with Metal Core (CU) Copper

Bore size: regular, with copper insert
Stem length: regular
Feel: soft with semi-firm core

Bass: 4.25
Midrange: 4.00
Treble: 4.00
Soundstage: 4.25
Vocal presence: 4.25

At US$50 for two pairs (mimimum order quantity is 2 pairs), these hybrid eartips are one of the most expensive eartips in my collection. Equally as comfortable as original EarrBond EBT eartips and feels softer than Pentaconn COREIR Brass eartips. Isolation is exceptional. Are they worth US$25 a pair? Frankly, no! Performance is on par with silicone eartips such as Final Type E and Divinus Velvet. However, if you are looking for foam-level isolation with upper-midrange clarity, look no further. The difference between copper and stainless steel is copper eartips sound warmer and fuller. The vocals are more intimate also.

Safety concerns: Since the metal cores are inserted halfway into the nozzle. It may accidentally slipped out and leave inside the ear canal… Let’s say I am paranoid.

Purchased from MTMT Audio (Hong Kong)

EarrBond EBT New Hybrid Design Eartips with Metal Core (SS) Stainless Steel

Bore size: regular, with stainless steel insert
Stem length: regular
Feel: soft with semi-firm core

Bass: 4.00
Midrange: 4.25
Treble: 4.25
Soundstage: 4.25
Vocal presence: 4.50

At US$50 for two (mimimum order quantity is 2 pairs), these hybrid eartips are one of the most expensive eartips in my collection. Equally as comfortable as normal EarrBond EBT eartips and feels softer than Pentaconn COREIR Brass eartips. Isolation is exceptional. Are they worth US$25 a pair? Frankly, no! Performance is on par with silicone eartips such as Radius Deep Mount and Acoustune AET08. However, if you are looking for foam-level isolation with upper-midrange clarity, look no further. The difference between copper and stainless steel is the latter sounds brighter and has a more sparkly top-end. Vocal sounds livelier as well.

Safety concerns: Since the metal cores are inserted halfway into the nozzle. It may accidentally slip out and leave inside the ear canal… Let’s say I am paranoid

Purchased from MTMT Audio (Hong Kong)

EarrBond New Hybrid Design
Bore size: regular
Stem length: regular
Feel: soft and spongy
Bass: 3.5
Midrange: 4.25
Treble: 4
Soundstage: 4
Vocal presence: 3.25
EarrBond is softer and more squishy compared to other hybrid eartips, thus more comfortable for long-listening sessions. The moment you put them on, they simply disappear into your ear canals. Furthermore, they isolate well too. Sound-wise these are a bit too laid back for my taste. Also, I could detect some sibilance on a some female vocal tracks. In term of wearing comfort and isolation, this win hands down.
Purchased from MTMT Audio (Hong Kong)

Elecom Spare Ear Cap (EHP-CAP10)
Bore size: wide
Stem length: short
Feel: soft and flexible
Bass: 4
Midrange: 4.5
Treble: 4.5
Soundstage: 4.25
Vocal presence: 4.25
The brand Elecom is relatively unknown outside of Asia. These eartips surprised me with their exceptionally good sound and budget-friendly price. For ￥250 or US$2.50, you’ll get 4 pairs of eartips consist of X-Small, Small, Medium and Large sizes. Sound-wise, it is neutral tonality with emphasis in upper-bass and midrange regions (which adds body) as well as in vocals. I rank these higher than SpinFit CP-145 and on-par with Final Audio Type-E (black) eartips. Everybody should get these eartips if they ever come across it.
Purchased from Amazon.jp

Elecom Spare Ear Cap (EHP-CAP20)
Bore size: narrow
Stem length: regular
Feel: sturdy and firm

Bass: 4.50
Midrange: 4.75
Treble: 4.00
Soundstage: 4.00
Vocal presence: 4.50

I will like to thank Jeremy Phua for bringing this eartips to my attention. Japanese consumer electronics brand Elecom is relatively unknown outside of Asia. But even in Singapore (where I live), Elecom products are uncommon.

Some online rumours claimed that Tanchjim includes this as the stock eartips with some of their IEMs. I have the stock eartips from Tanchjim Tanya. After comparing both, my conclusions are they look “quite” similar but sound different.

Nonetheless, this eartip sounds energetic but balanced overall. My only gripe is that vocals can sound a bit strident and nasally. Not as refined as Acoustune AET07 or SpinFit CP-100.

Purchased from Amazon.jp

Eletech Baroque Luxury Hi-Fi Eartips

Bore size: wide
Stem length: short
Feel: smooth and soft

Bass: 3.75
Midrange: 5.00
Treble: 4.25
Soundstage: 4.50
Vocal presence: 4.75

These eartips are so soft and smooth, they feel like luxury! The texture is similar to Divinus Velvet eartips. They suppress the mid-bass and bring the midrange and upper midrange forward, making them perfect for warm or muddy sounding IEMs. The soundstage is wide, deep, and tall, giving a sense of space around every instrument and artist.

My only gripe is that the silicone material feels thin, which affects the ear seal and isolation.

Compared to Azla SednaEarFit (Light) Short eartips, the Azlas have better low-end punch, vocal clarity, and airiness. The Baroque eartips sound smoother overall.

Compared to Moondrop Spring Tips eartips, the Spring Tips have more vocal presence and are clearer and cleaner. However, the Baroque eartips sound more organic, have better tonal weight, and are less fatiguing.

Overall, the Baroque is a great addition to any eartip collection.

Purchased from Element Technology (Singapore)

Epro Horn-shaped Tips
Bore size: cone-shaped, tempered (4mm nozzle end, 5mm bell end)
Stem length: regular
Feel: soft and flexible
Bass: 4 25
Midrange: 4.5
Treble: 4
Soundstage: 3.75
Vocal presence: 4.25
Made of graphene and unlike most eartips, Epro has a cone-shaped tempered bore of 4mm at nozzle end to 5mm at the bell. It adds warmth, body and texture to vocals It tames harsh and peaky treble exceptionally well too. It DOESN’T roll-off highs and kills the air and ambient like some other foam tips. What I really enjoy about the Epro is that it adds a buttery smooth to the overall sound which make harsh-sounding earphones, such as the KZ ZS6, listenable again.
Purchased from Treoo Singapore

Epro Horn-shaped Tips (EP01)
Bore size: a cone-shaped tempered super widebore (5mm nozzle end, 8mm bell end)
Stem length: short
Feel: soft and flexible
Bass: 3.50
Midrange: 4.50
Treble: 4.25
Soundstage: 4.50
Vocal presence: 4.50

Epro Horn-shaped Tips EP01 has a cone-shaped tempered bore of 5mm at nozzle end to 8mm at the bell. These eartips have the widest bore I have seen. But unlike conventional wide bore eartips, which usually makes everything sound thin and clear, EP01 adds body and texture to the overall sound. Just like its sibling the EP00, these eartips tame sibilance and peaky treble exceptionally well. However, it DOESN’T roll-off highs and kills the air and ambience like some other foam tips. Epro EP01 adds smoothness to the overall sound which tames harsh-sounding earphones. The best eartips to have if you want clarity, smoothness and note weight at the same time.

Purchased from Amazon US.

Epro Horn-shaped Tips Truly Wireless (for TWS)
Bore size: cone-shaped, tempered (4mm nozzle end, 5mm bell end)
Stem length: Short
Feel: soft and flexible
Bass: 4.00
Midrange: 4.50
Treble: 4.25
Soundstage: 3.75
Vocal presence: 4.50
Made of graphene and unlike most eartips, Epro has a cone-shaped tempered bore of 4mm at nozzle end to 5mm at the bell. It adds warmth, body and texture to vocals, It tames harsh and peaky treble exceptionally well too. It DOESN’T roll-off highs and kills the air and ambient like some other foam tips. What I really enjoy about the Epro is that it adds a buttery smooth to the overall sound which make harsh-sounding earphones listenable again. This short nozzle version has more vocal presence and less mid-bass bloom than regular Epro Horn-shaped Tips.

Purchased from Treoo Singapore

EPZ Eartips (double flange)
Bore size: narrow
Stem length: very short
Feel: soft and pliable
Bass: 4.00
Midrange: 4.50
Treble: 4.50
Soundstage: 3.00
Vocal presence: 4.00

Do take note that these eartips fit smaller than normal (I am wearing Large instead of my usual Medium). Extremely short and narrow nozzle that I have tough time trying to put them on. Although double-flanged, they did not fit inside my ears properly. Nonetheless, a comfortable set of eartips if they fit you. I find the soundstage narrow and compressed.

Purchased from EPZ Taobao Store

EPZ Eartips (short cap)
Bore size: regular
Stem length: short
Feel: soft and pliable
Bass: 3.75
Midrange: 4.50
Treble: 4.50
Soundstage: 4.00
Vocal presence: 4.50

Do take note that these eartips fit smaller than normal (I am wearing Large instead of my usual Medium). Neutral tonality with a clean and clear overall presentation. My only gripe is the short cap which makes this eartip unsuitable for earphones with short nozzles.

Purchased from EPZ Taobao Store

F

FAudio “Vocal” Premium Silicone Earphone Tips
Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 3.25
Midrange: 4.75
Treble: 4
Soundstage: 4
Vocal presence: 5
Accentuates on vocal and midrange but it also makes sibilance more noticeable. My favorite vocal eartip is still the SednaEarFit XELASTEC.
Purchased from MTMT Audio, Hong Kong

FAudio “Instrument” Premium Silicone Earphone Tips
Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 5
Midrange: 4.75
Treble: 3.5
Soundstage: 4
Vocal presence: 4.25
Very punchy, fun, musical-sounding eartips. Sub-bass is exceptional. Vocal and mids are laid-back. Soundstage is average.
Purchased from MTMT Audio, Hong Kong

Fender SureSeal Tips
Bore size: tapered widebore
Stem length: short
Feel: soft, grippy and sticky
Bass: 4.25
Midrange: 4.0
Treble: 3.75
Soundstage: 3.75
Vocal presence: 4.5
Vastly similar to Azla SednaEarFit XELASTEC, Fender SureSeal offers a more laid-back presentation with balanced sound. Mid-bass is a tad fuller. Soundstage slightly wider than XELASTEC but imaging is less precise. SureSeal does not suffer from the upper-midrange ring that plagues XELASTEC especially with DD-based earphones. Expect dust-magnet. All thermoplastic elastomer eartips require regular washing and sanitizing to prevent ears infection.
Purchased from Amazon.jp.

Feaulle Latex H570 For General Earplugs
Bore size: wide
Stem length: regular
Feel: plush and grippy

Bass: 3.50
Midrange: 5.0
Treble: 5.0
Soundstage: 4.75
Vocal presence: 5.0

These “latex” eartips remind me of TRI Clarion. So, if you enjoy TRI Clarion, you will definitely love these. Overall tone is bright and lean. Vocals are sibilant but give very good enunciation. Stage and imaging are quite good. Resolves very well. Fit and comfort are good. These don’t feel sticky or attract dust like Azla SednaEarFit XELASTEC.

Purchased from Feaulle Taobao Store.

FiiO Silicone (Balanced Ear tips)
Stem length: regular
Feel: soft and flexible
Bass: 3.25
Midrange: 4
Treble: 3.5
Soundstage: 4
Vocal presence: 3.25
Nice sounding eartips with a toned down bass and treble.
Purchased from FiiO store on Taobao (Mainland China)

FiiO Silicone (Bass Eartips)
Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 4
Midrange: 3.5
Treble: 3.5
Soundstage: 3.5
Vocal presence: 4
This is similar to many stock tips like those from TRN.
Purchased from FiiO store on Taobao (Mainland China)

FiiO Silicone (Vocal Eartips)
Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 2.5
Midrange: 4.25
Treble: 4.25
Soundstage: 4.25
Vocal presence: 5
These tips cut bass drastically!
Purchased from FiiO store on Taobao (Mainland China)

Filter H270 TPE Eartips
Bore size: regular with grille
Stem length: short
Feel: soft and firm
Bass: 4.0
Midrange: 5.0
Treble: 4.5
Soundstage: 4.0
Vocal presence: 5.0

Is this US$7 per pair Chinese-made TPE eartip comparable to Azla SednaEarFits XELASTEC and Fender SureSeal? I am sorry to say the H270 eartip doesn’t feel and wear like a TPE eartip. Thus, I do suspect it isn’t made of TPE at all. Probably made of silicone at best. Nonetheless, H270 is a very lively-sounding eartip. Bass is quite punchy.

Sub-bass rumble is good. Midrange is crisp and clear. Treble extension is very good. Soundstage and imaging are good. If you can overlook the fact that this isn’t made of TPE like they claimed, this is a pretty decent eartip. In terms of sound, it is closer to SureSeal than XELASTEC. Both eartips have accentuated upper-mids and treble.
Purchased from Filter Taobao official store

Filter H370 Latex Eartips
Bore size: elliptical-shaped, regular with grille
Stem length: short
Feel: soft and firm
Bass: 2.0
Midrange: 3.75
Treble: 3.0
Soundstage: 3.0
Vocal presence: 3.5

This Chinese Filter H370 does remind me a bit of ADV Eartune Fidelity U Elliptical eartip but performs far worse… Yup, in my encyclopedia of eartips this one is pretty bad. First thing you will notice is how boomy and wooly the bass is. It is so bad that it bleeds into the mids. Upper treble is rolled-off, thus lacking a sense of space and openness. All-in-all, the H370 is a dark-sounding eartip with poor technicalities. Comfort-wise is quite good though. What a pity!
Purchased from Filter Taobao official store

Final Audio Type A
Bore size: narrow
Stem length: regular
Feel: soft and firm
Bass: 3.75
Midrange: 5
Treble: 4.0
Soundstage: 4. 8
Vocal presence: 4
Less common than Type E. Let’s call this Type E with a slightly boosted treble and thus lesser bass. As a whole it gives better clarity. The overall tonality remains quite balanced.
Purchased from Amazon.jp.

Final Audio Type B
Bore size: regular
Stem length: regular
Feel: soft and plush
Bass: 4.25
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4
Less common than Type E. Let’s call this Type E with a slightly boosted bass. Overall sound is more round robust as well. My favorite eartips for diffused-field oriented earphones
Purchased from Amazon.jp

Final Audio Type E
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4
For balance sound. Tame harsh earphones
Purchased from ConnectIT (Singapore)

Final Audio Type E (Clear, Clear/Red) 2020 Edition)
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 4.25
Soundstage: 4 25
Vocal presence: 4.5
Sounds cleaner, clearer, brighter and tighter bass than conventional black Final Audio Type E eartip. Improved vocal lucidity. Tonally more accurate as well.
Purchased from Amazon Japan

Final Audio Type E (Canjam Singapore 2023 Edition)
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4.00
Midrange: 5.00
Treble: 4.25
Soundstage: 4 25
Vocal presence: 4.50

It comes in various colours, as well as glow-in-the-dark green. Sounds cleaner, clearer, brighter, and tighter bass than conventional black Final Audio Type E eartip. Improved vocal lucidity. Tonally more accurate as well.

Raffled from Project Perfect Pte Ltd (DITA) booth at Canjam Singapore

Final Audio Type E (for TWS)
Bore size: wide
Stem length: short
Feel: soft and sturdy
Bass: 3.25
Midrange: 5.00
Treble: 4.75
Soundstage: 4.50
Vocal presence: 5.00

Quite the opposite of regular Final Type E eartips sonic-wise, These tips intensify upper-mids and treble, which unfortunately, introduces sibilance to female vocals and makes cymbals sound tinny. This can be unpleasant especially when used with bright earphones. Staging and ambience are better than regular Type E. Use with caution!

Purchased from Final Audio Official Taobao Store

Final Type E Silicon Eartips for True Wireless (clear)
Bore size: regular
Stem length: short
Feel: soft and pliable
Bass: 3.25
Midrange: 5
Treble: 5
Soundstage: 5
Vocal presence: 4
Overall, similar to Final Type E True Wireless (black) but with slightly less bass.
Purchased from MTMT Audio, Hong Kong

FiiO HS18 Silicone Ear Tips
Bore size: regular
Stem length: regular
Feel: soft and light
Bass: 4.50
Midrange: 5.00
Treble: 4.00
Soundstage: 4.50
Vocal presence: 4.50

The FiiO HS18 is extremely thin and I was afraid this might affect its seal and isolation… Well, I worried too much. The HS18 is soft, lightweight and comfortable. Seal and isolation are good. Neutral tonality with very “bouncy” bass. Midrange is smooth and laid-back. Treble is crisp and sparkly however its presence is not emphasized (which is a good thing in general). Soundstage is very open and airy. One of the better eartips I have tested in 2022. Yes, the FiiO HS18 can rival some of the pricier offerings from SpinFit, Acoustune and Azla. For the record, I hardly, almost rarely, praise a FiiO product.

Purchased from FiiO Taobao Official Store

I

ICE CLEAR Earphone Plug
Bore size: wide
Stem length: regular
Feel: grippy but firm
Bass: 3.25
Midrange: 5.00
Treble: 4.50
Soundstage: 5.00
Vocal presence: 5.00

These eartips, likely made by TPE (thermoplastic elastomer), offer surprising competition to the Azla SednaFit Crystal eartips. At only $10 for three pairs, they deliver performance that rivals the Crystal’s, with just a slight decrease in the emphasis of bass and sub-bass notes. However, the true strength of these TPE eartips lies in their exceptional clarity, resolution, and ability to create a wide soundstage. My one complaint is that the material feels a bit too rigid and produces a cracking noise whenever I move my jaw

Purchased from 德海基业数码专营店 (Dehaijiyeshuma) Taobao store

INfilter Variety Dot Ear Tip
Bore size: wide
Stem length: short
Feel: pliable and firm
Bass: 4.25
Midrange: 3.75
Treble: 3.00
Soundstage: 3.75
Vocal presence: 4.00

A JVC Spiral Dot clone but more bassy and a tad smoother. Midrange details are a little smeared, resolution lacking. Unfortunately, this still can’t replace the good ol’ Spiral Dot.

Purchased from Focus Audio Taobao Store

INfilter Variety Dot Pro Ear Tip
Bore size: wide
Stem length: short
Feel: pliable and firm
Bass: 4.25
Midrange: 4.00
Treble: 3.50
Soundstage: 3.75
Vocal presence: 4.00

A JVC Spiral Dot clone. Sounds almost identical to the Variety Dot but with cleaner and more open upper-registers. Personally, I will choose this over the original Variety Dot.

Purchased from Focus Audio Taobao Store

INfiter Variety Dot IE45 Short for TWS (Dow Corning silicone and graphene)
Bore size: wide with short cap
Stem length: very short
Feel: pliable and firm

Bass: 4.00
Midrange: 4.25
Treble: 4.00
Soundstage: 3.50
Vocal presence: 4.50

The Infiter IE45 eartips are designed primarily for True Wireless earbuds, but they can also be used with traditional In-Ear Monitors. They are known for their smooth, balanced sound signature that prioritizes clarity. The IE45 eartips deliver a smooth and balanced sound experience that is pleasing to the listener. They avoid harshness or excessive emphasis on any particular frequency range. These eartips prioritize clarity, ensuring that vocals and instruments are well-defined and easy to distinguish within the mix. The graphene-infused version of the IE45 eartips further enhances the smoothness and reduces listener fatigue. This is achieved through the unique properties of graphene, a material known for its excellent damping properties. The IE45 eartips offer good value for the price. They provide a significant improvement in sound quality for both TWS earbuds and IEMs, without breaking the bank.

Purchased from INfiter Taobao Store

INfiter Variety Dot IE45 Short for TWS (Dow Corning silicone)
Bore size: wide with short cap
Stem length: very short
Feel: pliable and firm

Bass: 4.00
Midrange: 4.00
Treble: 4.00
Soundstage: 4.50
Vocal presence: 4.50

Originally designed for True Wireless earbuds, the Infiter IE45 eartips are also compatible with In-Ear Monitors. Known for their smooth, balanced sound, these eartips prioritize clarity, making them ideal for listeners who prefer a clean and accurate listening experience. Vocals are clear and well-defined, making it easy to understand lyrics or dialogue. The smooth, non-harsh treble ensures a pleasant listening experience without any fatiguing sharpness. The Clear version offers an open and airy soundstage, creating a wider and more immersive listening experience. They provide a decent overall sound, with a focus on clarity and comfort, making them a suitable option for value-conscious listeners who prioritize comfort.

Purchased from INfiter Taobao Store

INfiter Variety Dot IE45Pro Short for TWS (Black)
Bore size: wide with short cap
Stem length: very short
Feel: pliable and firm

Bass: 3.25
Midrange: 4.20
Treble: 4.50
Soundstage: 4.50
Vocal presence: 5.00

Originally designed for True Wireless earbuds, the Infiter IE45Pro eartips can also be used with In-Ear Monitors. They are known for their smooth, balanced sound signature that prioritizes clarity, making them a good choice for listeners who prefer a clean and accurate listening experience. The Black version is made from a soft, comfortable material that allows for extended wear without fatigue. Vocals sound clear and well-defined, making it easy to understand the lyrics or dialogue in your audio. The treble is also smooth and free of harshness, ensuring a pleasant listening experience without any fatiguing sharpness. The soundstage offered by the Black version is open and airy, creating a wider and more immersive listening experience. They provide a decent overall sound experience with a focus on clarity and comfort, making them a suitable option for listeners who prioritize comfort and good value.

Purchased from INfiter Taobao Store

INfiter Variety Dot IE45Pro Short for TWS (Clear)
Bore size: wide with short cap
Stem length: very short
Feel: pliable and firm

Bass: 4.00
Midrange: 4.00
Treble: 3.75
Soundstage: 3.50
Vocal presence: 4.25

While primarily advertised for TWS earbuds, the Infiter IE45Pro eartips can also be used with traditional IEMs. They offer a smooth and balanced sound signature that prioritizes clarity. The Clear version delivers a smooth and non-fatiguing sound profile. However, certain listeners might find that vocals, especially female vocals, can take on a slightly nasal quality. The treble range lacks a bit of sparkle and vibrancy, which can make the sound feel a bit dull or veiled. The soundstage feels somewhat compressed, meaning the instruments may not seem as spacious or separated as with other eartips. Despite the mentioned limitations, IE45Pro Clear offers good value for the price. They provide a decent overall sound experience.

Purchased from INfiter Taobao Store

InFiter TPE Eartips (PT37-TWS)
Bore size: wide bore
Stem length: short
Feel: soft, grippy and sticky
Bass: 3.00
Midrange: 5.00
Treble: 4.25
Soundstage: 5.00
Vocal presence: 5.00

Although these are stated for TWS, they can be used on normal IEMs but with a caveat. This eartip is a fine example of why TWS eartips aren’t so appealing for high-fidelity use. Because of their short stem, many TWS eartips have the tendency to push vocals and upper midrange too forward, making them shouty. Sub-bass, bass and mid-bass take a back seat. Good match for muddy-sounding earphones. Do take note that TPE eartips are dust and dirt magnet. They will deform and lose its shape over time.

Purchased from InFiter Taobao Store.

InFiter TPE Eartips (PW-10)
Bore size: wide bore
Stem length: regular
Feel: soft, grippy and sticky
Bass: 4.00
Midrange: 5.00
Treble: 4.50
Soundstage: 4.00
Vocal presence: 5.00

A leaner-sounding version of Azla SednaEarFit XELASTEC. Bass is less impactful. However, midrange preserves most of the characteristics of XELASTEC. Soundstage seems wider and more open as well. Nonetheless finishing is nowhere close to Azla’s.

Purchased from InFiter Taobao Store.

InFiter TPE Eartips (PW-20)
Bore size: 7mm superwide bore
Stem length: regular
Feel: soft, grippy and sticky
Bass: 4.75
Midrange: 5.00
Treble: 4.25
Soundstage: 4.50
Vocal presence: 5.00

A clearer version of Azla SednaEarFit XELASTEC. You’ll get 70% of XELASTEC performance at a fraction of the cost. Is it worth a try? Sure… But take note these are TPE eartips (just like XELASTEC) thus they are dust and dirt magnet. They will deform and lose its shape over time. Finishing-wise not as beautiful and smooth as Azla’s. Great value for money if you don’t want to pay the XELASTEC price.

Purchased from InFiter Taobao Store

INfiter WS38 for TWS (Clear white)
Bore size: wide with short cap
Stem length: very short
Feel: thin and soft

Bass: 3.00
Midrange: 4.50
Treble: 5.00
Soundstage: 4.50
Vocal presence: 5.00

These eartips are constructed from very thin and soft silicone and unfortunately these contribute to a poor fit. They struggle to stay securely in place and are prone to flipping over during use, compromising both comfort and sound quality. The thin material significantly impacts the sound signature. The overall sound comes across as bright and lacking in body. Bass frequencies are noticeably suppressed, resulting in a weak and underwhelming low-end experience. The lack of “punch” and “noteweight” refers to the absence of impact and definition in the bass notes, leaving the sound overall thin and hollow. Not recommended.

Purchased from INfiter Taobao Store

INfiter WS43 for TWS (Clear blue)
Bore size: wide with short cap
Stem length: very short
Feel: thin and soft

Bass: 3.00
Midrange: 4.50
Treble: 5.00
Soundstage: 4.50
Vocal presence: 5.00

These eartips are identical to the INfiter W38 model but come in a light blue color. While constructed from soft, thin silicone for comfort, this material unfortunately contributes to a poor fit in the ear. They struggle to stay secure and tend to flip out during use, negatively impacting both comfort and sound quality. The thinness of the material also significantly impacts the sound signature. The overall sound becomes bright and lacks body, with noticeably suppressed bass frequencies. Overall, due to the poor fit and compromised sound quality, these eartips are not recommended.

Purchased from INfiter Taobao Store

Intime iReep 01
Bore size: wide (reversed cap)
Stem length: short
Feel: soft and pliable
Bass: 3.75
Midrange: 4.00
Treble: 4.00
Soundstage: 5.00
Vocal presence: 4.00

An incredibly unique eartip that resembles a whiskey barrel with the entire stem fully concealed within the reversed cap, which forms a dome. It is extremely comfortable, isolates and seals very well. Because sound is reflected into the dome, it has an echo (reverb) effect. This presents a wide soundstage with particularly good height and depth. Unfortunately, this echo effect causes vocals, female voices especially, to sound nasally and wheezy. As if the singer is singing with his or her nose pinched. Without a doubt, the iReep 01 is the most unusual eartip in my collection.

Purchased from e*earphone, Japan

J

Jomo Audio ONYX Double Flanges Premium Silicone Eartips (For IEMs)
Bore size: double flange, very wide
Stem length: extremely short
Feel: soft, thin, and springy

Bass: 3.00
Midrange: 4.25
Treble: 5.00
Soundstage: 5.00
Vocal presence: 5.00
Double-flange eartips with wide bores are a rarity. The Acoustune AET06 series is another example of such eartips that I’ve reviewed. In comparison, the ONYX double-flange eartips deliver a brighter, clearer, and more open sound signature. However, they also significantly reduce low and mid-bass frequencies, sacrificing dynamics in the process. While this is ideal for those seeking to reduce bass bloat or muddiness, it makes them less suitable for bright or lean-sounding IEMs. The thin flange material tends to curl upwards when removed from the ears.

Purchased from Let’s Go Audio Online Store, Hong Kong

JVC Spiral Dot (Regular)
Bore size: wide
Stem length: short
Feel: soft and pliable
Bass: 4
Midrange: 4
Treble: 3
Soundstage: 3.5
Vocal presence: 4
For balance sound. Tame harsh earphones
Purchased from Japan through a friend

JVC Spiral Dot SF (Short Flange / Shallow Fit)
Bore size: regular
Stem length: short (shallow fit)
Feel: soft and flexible
Bass: 3.5
Midrange: 5
Treble: 4.5
Soundstage: 4.5
Vocal presence: 4.25
These eartips are meant for true wireless earpieces. These have more bass and vocal presence than SpinFit CP-350 and CP-360. Comparable to Final Type E True Wireless (black) but sound less open and less treble extension.
Purchased from Amazon.jp

JVC Spiral Dot++ (EP-FX10)
Bore size: wide
Stem length: short
Feel: supple and grippy
Bass: 3.5
Midrange: 3.75
Treble: 3
Soundstage: 3.5
Vocal presence: 4
For balance sound. Tames harsh earphones. Cleaner but lesser bass and midrange compared to regular Spiral Dot. Very comfortable for long listening sessions.
Purchased from Amazon Japan

JVC/Victor EP-FX2 (Poor men’s Spiral Dot)
Bore size: wide
Stem length: short
Feel: soft and grippy
Bass: 3.5
Midrange: 4
Treble: 3
Soundstage: 3.5
Vocal presence: 4.25
You get 80% performance of Spiral Dot at 30% of its price. Comfortable for long listening. Good value for money.
Purchased from Amazon Japan

K

KB EAR 10 Silicone Eartips
Bore size: wide
Stem length: short
Feel: soft and flexible
Bass: 3.5
Midrange: 3.75
Treble: 3 5
Soundstage: 3.75
Vocal presence: 4
For balance sound. Tames bass-heavy earphones. Smooth tonality suitable for long listening sessions.Purchased from KB EAR Taobao store

KB EAR A07 Eartips
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.75
Midrange: 5
Treble: 4
Soundstage: 3.5
Vocal presence: 4.25
Suspiciously similar to Acoustune AET07. Heck… It sounds closer to AET07a than AET07. Neutral tonality with emphasis in midrange and top-end sparkle. I find this eartip to have better bass texture, dynamics and vocal presence than SpinFit CP100 and CP145. The A07 is often labeled as “vocal” eartip for most stock tips offering.Purchased from BGVP Taobao storePurchased from KB EAR Taobao store

KB EAR A08 Eartips
Bore size: regular
Stem length: regular
Feel: firm and sturdy
Bass: 4.5
Midrange: 5
Treble: 3.5
Soundstage: 3.5
Vocal presence: 5
Suspiciously similar to Acoustune AET08, this eartip adds thickness to bass and midrange. However, unlike Acoustune AET08, I find it a speck bright. The A08 is often labeled as “bass” eartip for most stock tips offering.
Purchased from KB EAR Taobao store

KB EAR “Columbia” Eartips
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4.5
This eartip is worthy of the title “Sony clone”. Sounds virtually identical to Sony EP-EX11M eartip, which my sensitive ears couldn’t tell them apart. For neutral tonality with slight treble roll-off.
Purchased from KB EAR Taobao store

KZ Starline
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.5
Midrange: 3.5
Treble: 4
Soundstage: 3
Vocal presence: 2.75
Purchased from KZ store on Taobao (Mainland China)

These stock KZ eartips come in two versions. The older version was included with KZ ZS3 and KZ ZS5, etc, were no longer available. They are softer and more pliable compare to current ones. Sound-wise, co-blogger Slater prefers the former. They give smoother midrange and cleaner treble. The ones tested here are the current/ new version.

KZ Starline (reverse)
Bore size: wide
Stem length: long
Feel: soft and grippy
Bass: 3.25
Midrange: 3.5
Treble: 5
Soundstage: 4*
Vocal presence: 3
For bright, clear and crisp sound
*soundstage has more depth and height than width
Purchased from KZ store on Taobao (Mainland China)

KZ Whirlwind Silicone Eartips
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 2.0
Midrange: 4.50
Treble: 4.25
Soundstage: 4.0
Vocal presence: 4.50
Similar to Tennmak Whirlwind, these eartips reduce bass and mid-bass significantly. Projects vocals forward with good presence.
Purchased from KZ Official Store on Taobao

L

LIZER LAB JIJUFIN Earpiece
Bore size: regular
Stem length: not applicable
Feel: sturdy and firm
Bass: 4.00
Midrange: 5.00
Treble: 4.75
Soundstage: 5.00
Vocal presence: 4.75

The most unique and unusual eartips in my entire collection. From the Land of the Rising Sun, LIZER LAB eartips feature a patented metal phase-plug which promise to “reposition” your music to sound as if music is coming from the front, rather than from inside and above your head. LIZER LAB claimed their eartips to give the listener an “out-of-head localization” concert and live performance experience. Is this snake oil or real? Does it works? My conclusion is it depends. The effects on some earphones are prominent while others are not as outstanding.

Nonetheless, vocal is extremely clean. Bass is slightly recessed (compared to conventional silicone eartips such has Final Audio Type E), nonetheless still sounds full and weighty. Treble extension is good. Soundstage and stereo imaging are exceptional. Pairs well with neutral-warm sounding earphones.

LIZER LAB JIJUFIN eartips don’t come cheap. A pair will set you back 3,880 Japanese Yen or around US$28. Nonetheless, it gives the listener a unique experience and definitely a conversation piece among audiophile friends.

Purchased from Amazon Japan

LIZER LAB JIJU-JET Earpiece
Bore size: regular
Stem length: not applicable
Feel: sturdy and firm
Bass: 3.50
Midrange: 5.00
Treble: 4.75
Soundstage: 5.00
Vocal presence: 4.75

The most unique and unusual eartips I have used. From Japan, LIZER LAB eartips feature a patented metal phase-plug which promise to “reposition” your music to sound as if music is coming from the front, rather than from inside and above your head. LIZER LAB advertised their eartips to give the listener an “out-of-head localization” concert and live performance experience. Is this snake oil? Does it works? My conclusion is it depends. The effects on some earphones are prominent, while some are not as outstanding.

Nonetheless, vocal is extremely clean. Bass is suppressed but not rolled-off. Treble extension is good. Soundstage and stereo imaging are the stars of the show. Compared to JIJUFIN, JIJU-JET sounds leaner and crispier. Dynamics and impact are snappier and sharper. Pairs well with dark-sounding earphones.

LIZER LAB JIJU-JET eartips don’t come cheap. A pair will set you back 3,680 Japanese Yen or around US$26. Nonetheless, it will give the listener a unique experience and definitely a conversation piece among audiophile friends.

Purchased from Amazon Japan

LIZER LAB JIJU-JET2 Earpiece
Bore size: regular
Stem length: not applicable
Feel: sturdy and firm
Bass: 3.50
Midrange: 5.00
Treble: 5.00
Soundstage: 5.00
Vocal presence: 5.00

The most unique and unusual eartips I have seen. From Japan, LIZER LAB eartips feature a patented metal phase-plug which promise to “reposition” your music to sound as if music is coming from the front, rather than from inside and above your head. LIZER LAB advertised their eartips to give the listener an “out-of-head localization” concert and live performance experience. Is this snake oil or real? Does it works? My conclusion is it depends. The effects on some earphones are prominent, while some are not as outstanding.

JIJU-JET2 is the revised version of original JIJU-JET. Vocal projection is brought forward creating a better 3D-effect on human voices. Soundstage has better depth and instruments have more breathing space around them. Similar to its predecessor, bass is suppressed but not rolled-off. Treble extension is excellent. However, I do notice a slight metallic timbre which makes female voices sound a tad cold and steely. Pairs well with dark-sounding earphones.

LIZER LAB JIJU-JET2 eartips don’t come cheap. A pair will set you back 3,780 Japanese Yen or around US$27. Nonetheless, it will give the listener a unique experience and definitely a conversation piece among audiophile friends.

Purchased from Amazon Japan

M

Marunana 七福神 silicone eartips
Bore size: narrow
Stem length: regular
Feel: soft and pliable
Bass: 4.25
Midrange: 5
Treble: 4
Soundstage: 4Vocal presence: 4.25
Marunana eartips is recommended by a friend who discovered it from a native Japanese audio enthusiast. These eartips are surprisingly affordable (880¥ for 12 pairs!). Great midrange texture and vocal presence. My only nitpick is they tend to cloud the mid-bass a little but it adds body to lean earphones.
Purchased from Amazon Japan

Moondrop Spring Tips
Bore size: wide
Stem length: short
Feel: soft with pliable stem
Bass: 2.50
Midrange: 5.0
Treble: 3.75
Soundstage: 3.50
Vocal presence: 5.0
These originally come stock with Moondrop KATO. First impression is how suppressed the bass and mid-bass are, which thins the overall note-weight and body. Midrange is textured with good details. Vocal is forward with very good presence.

Treble has good sparkle and crisp, however it lacks that last bit of extension and airiness. Great match for earphones with too much mid-bass or has bleeding mid-bass. The caps are too soft in my opinion. They flap over every time I remove them from my ears, which is very annoying.
Purchased from Moondrop Taobao Official Store

N

New Bee Olive Replacement Earbud Tips
Bore size: semi-wide
Stem length: regular
Feel: Firm and stiff
Bass: 4.25
Midrange: 5.00
Treble: 4.00
Soundstage: 4.00
Vocal presence: 5.00

These eartips rival most “vocal” eartips I have tried for under US$10. Very good bass punch and dynamics as well. My only gripe is they feel a bit too stiff for my ears.

Purchased from Yongse Taobao Official Store

NF Audio MS42 IEM Silicone Ear Tips
Bore size: regular
Stem length: regular
Feel: firm and supple
Bass: 4.00
Midrange: 4.50
Treble: 3.50
Soundstage: 3.50
Vocal presence: 3.75

These are probably the smoothest eartips I have tried. Its relaxed and delicate sound is neither harsh nor strident. Low-end has good body and punch. Midrange has that silky “tube-like” tonality. Upper-registers are fluid and gentle. Soundstage and imaging are average. Boy… It feels like I am having a head massage every time I listen to these. Very comfortable both in sound and in fitment. Highly recommended!

Purchased from NF Audio Official Taobao Store

Nostalgia Audio Extra Wide Bore XWB Eartips
Bore size: very wide
Stem length: short
Feel: flexible but firm

Bass: 4.00
Midrange: 5.00
Treble: 4.50
Soundstage: 4.50
Vocal presence: 4.00

Hailing from the vibrant city of Hong Kong, Nostalgia Audio is an IEM brand that has quietly carved its niche in the audiophile world. Their XWB eartips mark their debut in the realm of eartips, and let me tell you, these little wonders are a pure delight for any audio enthusiast seeking a touch of extra sparkle in their upper registers without compromising the depth and richness of the low end.

Compared to the Eletech Baroque eartips, the XWB eartips stand out with their sturdier and more substantial cap material, offering a sense of reassurance and durability. And when pitted against the Divinus Velvet eartips, the XWB eartips emerge victorious with their ability to inject a dash of extra zing into the treble, resulting in a livelier and more energetic listening experience.

In a world of eartips, the XWB eartips shine as a star of their own, offering a unique blend of clarity and vibrancy that elevates your music listening experience to new heights. If you’re seeking a touch of extra sparkle without sacrificing the fullness of your sound, the XWB eartips are your perfect companion.

Purchased from Super King (Hong Kong)

Nuarl Block Ear+ Antibacterial Silicon Earpiece
Bore size: wide (5mm)
Stem length: short
Feel: soft and pliable
Bass: 4.00
Midrange: 4.25
Treble: 4.50
Soundstage: 3.75
Vocal presence: 4.25

If you like the comfort of JVC Spiral Dot++, you will enjoy this. A crispier and more sparkly version of Spiral Dot++. Not suitable for bright-sounding earphones. Comes in multiple sizes of Small, Medium-small, Medium, and Large.

Purchased from Amazon Japan

Nuarl Block Ear+ 6 Antibacterial Silicon Earpiece (for 6mm bore)
Bore size: wide (6mm)
Stem length: short
Feel: soft and firm
Bass: 4.25
Midrange: 4.25
Treble: 4.00
Soundstage: 3.50
Vocal presence: 4.00

A firmer version of Nural Block Ear+. Slightly bass-boosted and mid-bass feels more thumpy than Nuarl Block Ear+. Smoother treble and more luscious midrange. Comes in multiple sizes of Small, Medium-small, Medium, and Large.

Purchased from Amazon Japan

Nuarl Block Ear+ 7 Antibacterial Silicon Earpiece (for 7mm bore)
Bore size: wide (7mm)
Stem length: short
Feel: soft and firm
Bass: 4.25
Midrange: 4.50
Treble: 4.00
Soundstage: 3.50
Vocal presence: 4.50

Same as Nural Block Ear+6 but with a 7mm bore diameter. The bigger opening presents a more forward midrange and vocals. Comes in multiple sizes of Small, Medium-small, Medium, and Large.

Purchased from Amazon Japan

O

Openaudio Studio 003 Earfits
Bore size: regular
Stem length: regular
Feel: very soft and rubbery
Bass: 3.00
Midrange: 4.25
Treble: 5.00
Soundstage: 4.00
Vocal presence: 4.50

Do take note that these eartips fit smaller than normal (I am wearing Large instead of my usual Medium). The “003” on the case does remind me of something that is also rubbery and made of latex. Nonetheless, this eartip has a clear and sparkly presentation especially in the upper-mids and treble. Bass and midbass are attenuated. Unsuitable for bright and lean sounding earphones.

Purchased from Openaudio Studio Taobao Store

Ostry OS100 Tuning Eartips (Blue)
Bore size: regular
Stem length: short
Feel: firm and sturdy
Bass: 3.75
Midrange: 5
Treble: 4
Soundstage: 3.25
Vocal presence: 3.5
Sounds 90% identical to SpinFit CP145 but with a touch more bass and narrower soundstage.
Purchased from Ostry Official Store on Taobao (Mainland China)

Ostry OS200 Tuning Eartips (Red)
Bore size: regular
Stem length: short
Feel: firm and sturdy
Bass: 4
Midrange: 5
Treble: 3.25
Soundstage: 3
Vocal presence: 3.5
Similar to Ostry OS100 but with a tad more bass and less crisp in the treble. Quite a balance-sounding eartip. Narrows soundstage.
Purchased from Ostry Official Store on Taobao (Mainland China)

Ostry OS300 Tuning Eartips (Black)
Bore size: regular
Stem length: short
Feel: firm and sturdy
Bass: 5
Midrange: 4.75
Treble: 2.5
Soundstage: 2.5
Vocal presence: 3.5
The most bass-heavy Ostry tuning eartips of all. Also rolls-off treble the most. It adds tightness and punchiness to the overall sound. However, I find them a bit too forward for my taste.
Purchased from Ostry Official Store on Taobao (Mainland China)

Ortofon silicone eartips
Bore size: regular
Stem length: regular
Feel: very soft and pliable
Bass: 2.5
Midrange: 5
Treble: 5
Soundstage: 4.5
Vocal presence: 4.25
For good midrange, best female vocal, tames bass and brightens treble
Purchased from Ortofon direct (Denmark)

P

Penon Audio Liqueur Silicone Eartips (Black)
Bore size: wide
Stem length: regular
Feel: grippy and rubbery

Bass: 4.00
Midrange: 4.50
Treble: 4.50
Soundstage: 4.50
Vocal presence: 4.00

Penon Audio Liqueur eartips stand out from typical TPE options like the SednaEarFit XELASTEC due to their dust and lint resistance. This unique property, stemming from their non-stickiness, makes them a practical choice. The Black version offers a cleaner, clearer, and brighter sound signature compared to the Orange version. However, it sacrifices some punchy bass in favor of increased clarity and transparency.

Purchased from Penon Audio Online Store

Penon Audio Liqueur Silicone Eartips (Orange)
Bore size: regular
Stem length: regular
Feel: grippy and rubbery

Bass: 4.75
Midrange: 4.00
Treble: 4.00
Soundstage: 4.00
Vocal presence: 3.50

Penon Audio Liqueur eartips stand out from typical TPE options like the SednaEarFit XELASTEC due to their dust and lint resistance. This unique property, stemming from their non-stickiness, makes them a practical choice.
In terms of sound presentation, these vibrant orange eartips deliver the most dynamic and punchy performance I’ve encountered thus far. The bass extension, elasticity, and textural detail are truly exceptional, exceeding any other eartips I’ve tried.

However, it’s important to note that vocal clarity and treble extension suffer slightly compared to the Black version of the Liqueur eartips. Despite this, the overall sound remains fun and engaging, making them a compelling option for listeners who prioritize bass impact and energy.

Purchased from Penon Audio Online Store

Pentaconn COREIR Nickel-plated Brass core Eartip (PTM01) 

Bore size: wide 
Stem length: long
Feel: firm, sturdy and gripy

Bass: 3.50
Midrange: 5.00
Treble: 5.00
Soundstage: 3.50
Vocal presence: 4.75

At 3,850 Japanese Yen (US$35) for 2 pairs of eartips, the COREIR is currently the second most expensive eartip in my collection right now (most expensive is the Sony EP-NI1000M). However, is it worth the high-price it is asking for? Personally, I say “no” and here are the reasons… 

I find the COREIR eartip only suitable for certain types of IEM, particularly those with a very warm, very fully low-end and a recessed midrange, such as the Acoustune HS1650.

When used on Harman-tuned IEMs such as the Tanchjim Oxygen, Salnotes Zero or TangZu Wan’er, the COREIR thins midbass, pushes the midrange and vocals a tad too forward to my liking. Also, occasionally it can sound shouty and nasally especially on female vocal tracks. 

Because of its forward presentation, I find the soundstage a bit narrow. Air and separation around the instruments isn’t as spacious  or as defined as I expected.

Comfort-wise, COREIR falls in between Moondrop Spring Tips and Azla SednaEarFit XELASTEC, although not as grippy as the latter. However, because of the brass core, having the correct fit is crucial… More than ordinary silicone eartips in fact. Just like many TPE eartips, these can heat up the inner-ear and cause discomfort. 

I was disappointed to be honest… But some of you may find good use with the COREIR. I know quite a few reviewers like it. 

Purchased from Fujiya-Avic, Japan. 

Q

Queen Lab Hybrid Silicone Memory
Bore size: wide
Stem length: short
Feel: sturdy and very firm
Bass: 3.5
Midrange: 5 
Treble: 4.25
Soundstage: 4
Vocal presence: 4 5
Exceptionally good vocal presentations for hybrid. Tighter bass and clearer midrange compared to Symbio W. My favorite hybrid eartip. 
Purchased from MTMT Audio (Hong Kong)

R

Radius Deep Mount
Bore size: small
Stem length: regular
Feel: sturdy and firm
Bass: 4.25
Midrange: 5
Treble: 5
Soundstage: 4
Vocal presence: 4.5
Just like the company’s slogan – Pure Comes True, Deep Mount is the most transparent of all eartips I have tested. Not suitable if your earphone is already bright.
Purchased from Bic Camera (Osaka, Japan)

Radius Deep Mount Clear (Antibacterial)
Bore size: small
Stem length: regular
Feel: sturdy and gripy

Bass: 4.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.25
Vocal presence: 4.75

Thank you Jeremy Phua for bringing this eartips to my attention. I didn’t notice Radius came out with a clear version of their ever popular Deep Mount until he mentioned it.

These sound a smidgen cleaner and clearer than the regular black version. Soundstage is a bit better. I could hear more air and separations around the vocals and every instruments.

Regardless of colours, Radius Deep Mount still remain as one of the most transparent eartips I have tested.

Purchased from Amazon.jp

Raptgo Adaptive Ear Tips

Bore size: regular
Stem length: regular
Feel: pliable and firm
Bass: 4.25
Midrange: 5.0
Treble: 4.0
Soundstage: 4.0
Vocal presence: 4.25

These eartips from Raptgo come with pivoting cap design similar to that in SpinFit. They add “round-meatiness” (a.k.a smoothness and body) to the music without clouding the lower-midrange. The vocals are forward but still very pleasant. I would rank its sonic signatures between SpinFit CP-145 and Final Audio Type E eartips. Same as Audiosense S400.

Purchased from Raptgo Official Taobao Store

RHA dual density silicone eartips
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 3.5
Midrange: 5
Treble: 4.5
Soundstage: 3.75
Vocal presence: 4.5
These eartips enhance details and stereo imaging extremely well. Tighten bass. Projects midrange and treble frequencies more than some eartips. Not recommended for bright earphones.
Purchased from RHA in UK

Rose Technics QT Series Eartips
Bore size: wide
Stem length: short
Feel: soft and pliable
Bass: 4.00
Midrange: 4.00
Treble: 4.50
Soundstage: 3.50
Vocal presence: 4.25

A very typical wide bore eartips. Nothing special or unique I find. It is a very comfortable set of eartips nonetheless.

Purchased from Rose Technics Taobao Official Store

S

Sennheiser Momentum Eartips
Bore size: regular with “sound beam”
Stem length: very short
Feel: soft and flexible
Bass: 4.5
Midrange: 5
Treble: 4.0
Soundstage: 3. 5
Vocal presence: 3.5
This is the stock eartip from Sennheiser Momentum series of earphones. It has a bold, thick and robust sound signature with buttery-smoooth upper-midrange and treble. Can sound overly warm and muddy when used on dark-sound earphones. Clarity, soundstage, imaging, and details are average.
Purchased from Sennheiser Singapore

Simphonio Diamond Earfit
Bore size: wide
Stem length: regular
Feel: soft and flexible
Bass: 2.50
Midrange: 5.0
Treble: 4.50
Soundstage: 5.0
Vocal presence: 5.0
This eartip has rhombus patterns stamped around the cap (or umbrella) thus the name “diamond” Earfit. This eartip bears some resemblance to Moondrop Spring Tip, however Diamond Earfit is a bit shorter height-wise. Vocal is forward with very good presence. Midrange and treble feels more open and livelier than Spring Tips. Just like Spring Tips, Diamond Earfit thins bass and mid-bass, reduces note-weight. Skip if you prefer bassier eartip.
Purchased from RoadRunner Taobao Store

Softears Liquid Silicone Ear TipsBore size: regular
Stem length: regular
Feel: soft and grippy
Bass: 3.0Midrange: 5.0Treble: 4.50Soundstage: 5.0Vocal presence: 5.0
Very pricey eartips from Softears. Appearance and texture feel just like SednaEarfit XELASTEC, although it says “Liquid Silicone”. Frankly, I have no clue what liquid silicone is other than those used in aesthetics surgery.

However, I find these eartips sound very much cleaner, clearer and airier than both XELASTEC and Crystal. Midrange and vocal presentation are outstanding. Softears Liquid Silicone does not have the upper-midrange “ringing” that plagues the original XELASTEC eartips. Unfortunately, these eartips attracts dirt and dust just like XELASTEC, so clean them regularly if you decide to try.
Purchased from Softears Taobao Official Store

SonicMemory Cup Tips
Bore size: cone-shaped, tempered (4mm nozzle end, 5mm bell end)
Stem length: short
Feel: medium soft and pliable
Bass: 3.5
Midrange: 4.25
Treble: 4.25
Soundstage: 4.0
Vocal presence: 3.75
An alternative to Epro Horn-shaped Tips. It has an overall softer yet balanced tonality. Bass not as impactful and robust. Vocals don’t stand out as much. Nonetheless, I do enjoy the “air” it gives to the sound. Also, these eartips present slightly wider soundstage and more spacious than Epro. Comes with antibacterial properties added, which is a good thing if you don’t have sensitive skin.
Purchased from SonicMemory Taobao Official Store

SonicMemory Fungus Tips
Bore size: regular
Stem length: regular
Feel: soft with a sturdy stem
Bass: 4.0
Midrange: 4.0
Treble: 4.0
Soundstage: 3.50
Vocal presence: 3.50
These eartips look like little pink champignon mushrooms thus the name “fungus” tips. A balanced-sounding eartip with emphasis in bass and low-midrange. Vocals sound slightly nasally and laid-back. Treble lacks air and extension. Soundstage is of average width. If you prefer an open and airy sound with wide-staging, do consider its sibling the SonicMemory Cup Tips. Infused with antibacterial properties.
Purchased from SonicMemory Official Store on Taobao

Sony Clear White
Bore size: regular
Stem length: regular
Feel: pliable and soft
Bass: 4.0
Midrange: 5.0
Treble: 3.5
Soundstage: 4.0
Vocal presence: 4.5
I consider the Clear White an improvement over Sony Triple Comfort. This enhances overall clarity and vocal presence without sounding overly bright or harsh. Top-end sounds more airy. Bass texture improved as well. My only gripe is it isn’t as smooth as I would prefer but this is a small trade off in my opinion.
Purchased from Amazon.jp

Sony EP-NI1000M Noise Isolation Earbud Tips

Bore size: regular
Stem length: regular
Feel: spongy and sturdy
Bass: 5.0
Midrange: 4. 5
Treble: 3.75
Soundstage: 4
Vocal presence: 5.0

This is the most expensive eartips in my collection as of October 2021. These tips retail for US$20 A PAIR! Yes, you hear that right… Two Hamiltons for a pair of eartips!

Deemed to be a replacement for Sony Triple Comfort (EP-TC50), these are eartips with an attitude. They sound like silicone but seal and isolate like a good pair of foam tips. Extremely comfortable and stable fit.

Are they better than XELASTEC? All I can say is both are very different. If you are always a “foam person”, the EP-NI1000 sounds more lively and open than, say, Comply or Dekoni.

Heard from a friend that these eartips don’t last long, so it is better to keep them dry and away from heat. Purchased from Amazon, Japan

Sony Spare Earbuds EP-EX10A / EP-EX11

Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4.5

Neutral tonality with warm mid-bass and slight treble roll-off. Midrange is smooth and laid-back. Ideal choice for bright and lean sounding earphones.
Purchased from ConnectIT (Singapore)

Sony Triple Comfort
Bore size: regular
Stem length: regular
Feel: spongy and sturdy
Bass: 5
Midrange: 4
Treble: 3.25
Soundstage: 4
Vocal presence: 4.25
For similar to Sony Hybrids but with boosted bass
Purchased from Bic Camera (Osaka, Japan)

Sony Hybrid (discontinued)
Bore size: regular
Stem length: regular
Feel: soft and sturdy
Bass: 4
Midrange: 5
Treble: 3.75
Soundstage: 4
Vocal presence: 4.5
For neutral tonality with treble roll-off
Purchased from ConnectIT (Singapore)

SoundMAGIC Silicone Eartips (Bowl-shape)
Bore size: wide
Stem length: short
Feel: firm and supple
Bass: 4.00
Midrange: 4.50
Treble: 4.00
Soundstage: 4.00
Vocal presence: 4.25

These wide-bore eartips unlike many do not introduce and add glare or brightness. They remind me of JVC Spiral Dot but with a slightly more forward vocal presentation and wider staging. Good stuff if you love JVC Spirial Dot but hate its high price.

Purchased from SoundMAGIC Official Taobao Store

SoundMAGIC Silicone Eartips (For Sports)
Bore size: wide
Stem length: short
Feel: firm and supple
Bass: 2.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.50
Vocal presence: 4.00

Similar to TFZ “Pumpkin”, these eartips are shaped like jack-o’-lanterns. They suppress bass and sub-bass like nobody’s business. Their “enhanced” upper-midrange and treble are the two main reasons why people would buy them. Then again, these look more like Halloween novelty items than proper audio products. The soundstage is open and airy but lacks depth and dimension. Great eartips to sabotage your basshead friend.

Purchased from SoundMAGIC Official Taobao Store

SoundMAGIC Silicone Eartips (Bullet-shape)
Bore size: very narrow
Stem length: short
Feel: firm and supple
Bass: 3.00
Midrange: 3.00
Treble: 3.50
Soundstage: 3.50
Vocal presence: 3.50

Very mediocre eartips. They congest bass and low-midrange so much, making the lower-registers sound murky and blurry. On a positive note, they feel comfortable and seal well in my ears.

Purchased from SoundMAGIC Official Taobao Store

SoundMAGIC Silicone Eartips (Pumpkin-shape)
Bore size: wide
Stem length: regular
Feel: soft and pliable

Bass: 2.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.50
Vocal presence: 4.50

These pumpkin-shaped eartips dramatically reduce bass and sub-bass frequencies. Their emphasis on upper-midrange and treble frequencies is the primary selling point. While their unique design might suggest a novelty item, they offer a surprisingly open and airy soundstage, though lacking some depth. Overall, their sound transparency is excellent.

Purchased from SoundMAGIC Official Taobao Store

SPEAR Labs nFORM XTR SERIES 500
Bore size: regular
Stem length: regular
Feel: spongy and sturdy
Bass: 4.5
Midrange: 4.5
Treble: 3.25
Soundstage: 3.75
Vocal presence: 4.25
An alternative to Sony Hybrids (EP-TC50M). Compared to the Sony, nFORM has a clearer and tighter bass, with forward midrange. Human voice can sound nasally (a common problem with foam-based eartips). Soundstage is narrow and stereo imaging less distinctive and precise. Nonetheless, nFORM is extremely comfortable for long listening sessions. Suitable for bright and lean sounding earphones.
Purchased from MTMT Audio, Hong Kong

SpinFit CP100
Bore size: regular
Stem length: regular
Feel: soft and flexible
Bass: 3.5
Midrange: 5
Treble: 4
Soundstage: 4
Vocal presence: 3.25
For neutral tonality with emphasis in midrange.
Purchased from Stereo Electronics (Singapore)

SpinFit CP100+
Bore size: regular
Stem length: regular
Feel: soft and flexible
Bass: 3.5
Midrange: 5.0
Treble: 3.75
Soundstage: 4.0
Vocal presence: 3.75
Slight improvement over the original CP-100 especially in the midrange and upper-midrange. However, I feel the top-end is less airy than CP-100. Bass also lacks a bit of punch and dynamics. The “plus” addendum probably comes from the better portrayal of the human voice. True enough, vocals sound slightly more forward and crispier.

Imaging, focusing, instrument and vocal separation definitely improved over its predecessor. Personally, CP-145 is still my most favourite SpinFit.
Purchased from Amazon.sg (Singapore)

SpinFit CP145
Bore size: regular
Stem length: regular
Feel: soft and flexible
Bass: 3.5
Midrange: 5
Treble: 4
Soundstage: 4
Vocal presence: 3.5
For neutral tonality with emphasis in midrange and vocal
Purchased from ConnectIT (Singapore)

SpinFit CP155
Bore size: regular
Stem length: long
Feel: soft and flexible
Bass: 4
Midrange: 5
Treble: 4
Soundstage: 3.5
Vocal presence: 4.25
1 mm longer than CP-100 and CP-145, the additional length and bullet-shaped caps of the CP-155 allow deeper insertion to bring more bass and fuller vocal. 
Purchased from ConnectIT (Singapore)

SpinFit CP220
Bore size: regular
Stem length: regular (double flange)
Feel: sturdy and firm
Bass: 4
Midrange: 5
Treble: 4.5
Soundstage: 4
Vocal presence: 4
For neutral tonality with emphasis in bass, midrange and vocal. For clarity and bigger soundstage, choose CP-240.
Purchased from ConnectIT (Singapore)

SpinFit CP240
Bore size: regular
Stem length: regular (double flange)
Feel: soft and sturdy
Bass: 3.75
Midrange: 5
Treble: 5
Soundstage: 4.5
Vocal presence: 4
Exceptional clarity with good treble extension. Soundstage is one of the biggest I have heard. Vocal presentation is forward. Can get sibilant when matched with bright earphones.
Purchased from Stereo Electronics (Singapore)

SpinFit CP350
Bore size: regular
Stem length: short (shallow fit)
Feel: soft and flexible
Bass: 2.0
Midrange: 5
Treble: 5
Soundstage: 4
Vocal presence: 3.5
These eartips are originally meant for TWS wireless earpieces but a friend of mine suggested they are very good at cutting down bass and midbass. Indeed, these are the “Diffuse Field Target-equivalent” of eartips. They clean up the bass.

Reduces mid-bass bloat or muddiness. Upper-midrange is sparkly and treble extension is one of the best I have heard among universal eartips. Vocal is forward with good clarity. NOTE: SpinFit CP-350 has a very shallow fit. Make sure the earphone nozzle length is at least 5mm in order to fit securely.
Purchased from Stereo Electronics (Singapore)

SpinFit CP360
Bore size: regular
Stem length: short
Feel: soft and flexible
Bass: 3.0
Midrange: 5
Treble: 4.75
Soundstage: 4
Vocal presence’ 5
These eartips are meant for true wireless earpieces. If you find SpinFit CP-350 too short, this one fits between regular CP-145 and CP-350. Bass and low-mids are stronger than CP-350. Vocal is forward with good clarity.
Purchased from ConnectIT (Singapore)

SpinFit CP500
Bore size: regular
Stem length: regular
Feel: soft and flexible
Bass: 4.25
Midrange: 5
Treble: 4
Soundstage: 4
Vocal presence: 4.0
A lesser known SpinFit model. CP-500 gives tighter, punchier bass, better vocal presentation than the popular (and common) CP-100 and CP-145. May add sibilance and harshness to bright-sounding earphonesPurchased from MTMT Audio (Hong Kong)

SpinFit OMNI
Bore size: tampered, narrow to wide
Stem length: regular, with dual layered core design
Feel: soft and flexible
Bass: 3.50
Midrange: 5.00
Treble: 4.50
Soundstage: 4.25
Vocal presence: 5.00
SpinFit OMNI is the direct successor to the CP-360, with a longer nozzle stem and the distinction of being the first SpinFit product to offer “in-between” sizes, which are common among eartip brands such as JVC Spiral Dot and Azla SednaEarFit.

Compared to the CP-360, the OMNI delivers a thumpier bass response with heavier note weight, forward vocals with good clarity, and treble extension that is slightly less pronounced.

Compared to the W1, the OMNI has a shallower fit and does not provide as good of an ear seal. The low end of the W1 is also more substantial. However, the OMNI offers better vocal clarity, cleaner and crispier highs, and a slightly deeper soundstage.

TAKE NOTE: OMNI will not fit nozzle diameter larger than 5.5mm.

Purchased from Amazon (Singapore)

SpinFit W1
Bore size: regular
Stem length: regular
Feel: soft and grippy

Bass: 3.75
Midrange: 5.0
Treble: 4.50
Soundstage: 4.75
Vocal presence: 4.50

The SpinFit W1 is probably the most anticipated silicone eartip release from the Taiwanese company in recent years, and they certainly deliver. If you like Azla SednaEarFit XELASTEC but dislike its “dust magnet” and tacky properties, SpinFit has answered your prayers with the W1. A hybrid between XELASTEC and Moondrop Spring Tips, SpinFit W1 gives superb clarity, improves soundstage and stereo imaging and cleans up bass and mid-bass. However, I find it unsuitable for bright or harsh-sounding earphones. May exaggerates metallic timbre if and when implemented incorrectly.

Purchased from Amazon US.

Symbio Orange Peel
Bore size: regular
Stem length: short
Feel: sturdy and very firm
Bass: 4
Midrange: 3
Treble: 4.25
Soundstage: 4.25
Vocal presence: 3.5
Good midrange. Punchier bass, better treble extension and more open-sounding compare to Symbio W.
Purchased from Symbio direct (Hungary)

Symbio W
Bore size: regular
Stem length: short
Feel: sturdy and very firm
Bass: 3.25
Midrange: 4.75
Treble: 3 75
Soundstage: 4
Vocal presence: 3.5
For good midrange, slight treble roll-off
Purchased from Symbio direct (Hungary)

Symbio Eartips Wa
Bore size: regular
Stem length: short
Feel: sturdy and firm
Bass: 3.25
Midrange: 4.75
Treble: 3 75
Soundstage: 4.00
Vocal presence: 3.50

This is Symbio W with a softer stem. Because of this, I feel that Symbio Wa doesn’t put as much pressure in the ear can thus slightly more comfortable than other oranges. Sonic-wise, both are similar.

Purchased from Symbio direct (Hungary)

Symbio Eartips Wn
Bore size: regular
Stem length: short
Feel: sturdy and very firm
Bass: 3.25
Midrange: 4.75
Treble: 4.00
Soundstage: 4.00
Vocal presence: 3.75

Barely 1mm taller than Symbio W, the Wn sounds a bit more vocal forward otherwise it is identical to the W in every aspect.

Purchased from Symbio direct (Hungary)

T

Tanchjim T-APB Air Pressure Balance Silicone Eartips T300T (Treble Enhancing)
Bore size: wide
Stem length: regular
Feel: sturdy and firm
Bass: 4.5
Midrange: 4.5
Treble: 4.5 
Soundstage: 3.75
Vocal presence: 4What’s is T-APB? Simply put it, a hexagonal-shaped internal wall of the nozzle that Tanchjim claims “enhance the comfortness (is there such a word?) by evenly balancing the air pressure inside the ear canal, thus to prevent swelling of the ear canal caused by prolonged use of earphone”

… Marketing aside, the T300T (Treble Enhancing) eartip does pushes some high frequency through but it causes the entire bass spectrum and low-mids to “muddle up”, resulting in a loss of texture and low-end details. Does not go well with “thick-sounding” IEMs but good match for leaner-sounding ones BUT be very careful as it might brighten sound too much. 
Purchased from Hifigo

Tanchjim T-APB Air Pressure Balance Silicone Eartips T300B (Bass Enhancing)
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 4.0
Midrange: 4.5
Treble: 4
Soundstage: 4
Vocal presence: 3.75What’s is T-APB? Simply put it, a hexagonal-shaped internal wall of the nozzle that Tanchjim claims “enhance the comfortness (is there such a word?) by evenly balancing the air pressure inside the ear canal, thus to prevent swelling of the ear canal caused by prolonged use of earphone”

… Marketing aside, the T300T (Treble Enhancing) eartip is surprisingly neutral despite the “Treble Enhancing” name tag. I find the vocal slightly laid-back and lower-mids a tad muffled. Otherwise, a good choice for IEMs with diffused-field tuning, such as those from Tanchjim and Moondrop.
Purchased from Hifigo

TangZu Tang Sancai (唐三彩) Advanced Eartips (Wide Bore)

Bore size: extra wide
Stem length: regular
Feel: firm and pliable

Bass: 3.75
Midrange: 5.00
Treble: 4.50
Soundstage: 4.75
Vocal presence: 4.50

Tang Sancai (唐三彩), known as “Tang Dynasty three-color ware,” refers to a type of glazed ceramic pottery that originated in China during the Tang Dynasty (618-907 AD). The term “Sancai” (三彩) translates to “three colors” in Chinese, which refers to the typical color palette used in this type of pottery. Characterized by its distinctive tricolor glaze, Tang Sancai pottery consists of a combination of yellow, green, blue, and white colors, which explains why these eartips come in yellow (Small), green (Medium), and blue (Large).

These eartips are upper midrange forward with a sense of clarity and space, without sacrificing tonal weight. I prefer this to Tang Sancai balanced eartips. Compared to my reference – the SpinFit CP-145, Tang Sancai wide bore sounds cleaner, clearer and has more texture. Treble extension is much better, providing more space around the instruments.

Compared to the crowd favorite – TRI Clarion, Tang Sancai wide bore sounds less open and not as crisp. Soundstage is a tinge narrower as well. However, it has a heavier note weight than Clarion.

The final comparison is with Moondrop Spring Tips. Here is where both eartips share more similarities. Both eartips are upper-mid forward but Tang Sancai wide bore sounds a tad smoother and less sibilant. It also seals better in my ears but fit is subjective.

Do take note that my audiophile buddy broke one of his Tang Sancai wide bore eartips while trying them the first time. Be very careful when swapping tips.

Purchased from Angelears AliExpress Store.

TangZu Tang Sancai (唐三彩) Advanced Eartips (Balanced)

Bore size: wide
Stem length: regular
Feel: firm and pliable
Bass: 4.50
Midrange: 5.00
Treble: 4.00
Soundstage: 3.50
Vocal presence: 4.50

Tang Sancai (唐三彩), known as “Tang Dynasty three-color ware,” refers to a type of glazed ceramic pottery that originated in China during the Tang Dynasty (618-907 AD). The term “Sancai” (三彩) translates to “three colors” in Chinese, which refers to the typical color palette used in this type of pottery. Characterized by its distinctive tricolor glaze, Tang Sancai pottery consists of a combination of yellow, green, blue, and white colors, which explains why these eartips come in yellow (Small), green (Medium), and blue (Large).

These eartips are vocal forward, full-bodied, and bass-heavy, with an average soundstage projection and a slight top-end congestion. Compared to my usual reference, the SpinFit CP-145, Tang Sancai sounds bassier, more robust, and fuller. Vocals are pushed forward with a bit of nasal undertone, especially on husky female vocals, such as Patricia Barber. Treble extension is much better on the CP-145, providing more space for instruments to breathe.

When compared to Acoustune AET07 and its 07 variants, both eartips become more similar. However, to my ears, AET07 sounds cleaner and clearer. On the other hand, Tang Sancai sounds bolder, with thumpier bass and smoother overall sound.

The last comparison is with Final Audio Type-E. To me, Final Type-E is like a glass of smooth, rich, and creamy oak-aged whiskey. Tang Sancai’s full-bodied presentation can’t match Type-E’s. However, Tang Sancai excels in vocal projection, has slightly better treble extension, and delivers a snappier mid-bass thump. In terms of soundstage, Final Type-E is better but not by much.

Purchased from Angelears AliExpress Store.

Tennmak Whirlwind
Bore size: regular
Stem length: regular
Feel: sturdy and firm
Bass: 2
Midrange: 4.5
Treble: 4.25
Soundstage: 4
Vocal presence: 4.5
Reduces bass and mid-bass significantly. Let vocal shines through.
Purchased from Tennmak Store on AliExpress

TFZ “Pumpkin” Silicone Ear Tips
Bore size: wide
Stem length: regular
Feel: soft and pliable
Bass: 2.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.50
Vocal presence: 4.50

Shaped like a white pumpkin, these eartips suppress bass and sub-bass like nobody’s business. Their “enhanced” upper-midrange and treble are the two main reasons why people would buy them. Then again, these look more like Halloween novelty items than proper audio products. Soundstage is open and airy but lacks depth. Overall, sound transparency is surprisingly good. Great eartips to sabotage your basshead friend.

Purchased from TFZ Taobao Official Store

TRI Clarion
Bore size: wide
Stem length: regular
Feel: soft and pliable
Bass: 3.00
Midrange: 4.50
Treble: 5.00
Soundstage: 5.00
Vocal presence: 5.00

These are probably the most sibilant eartips I have tested so far thus avoid using them on earphones that sound bright and tizzy. These eartips reduce mid-bass and sub-bass to the point whereby there is very little bass rumble. Vocals are pushed forward. Of all the traits, what impresses me most is the huge soundstage they project.

Purchased from KB EAR / TRI AliExpress Official Store

TRN Silicone Eartips
Bore size: regular
Stem length: regular
Feel: flexible with firm stem
Bass: 3.5
Midrange: 3.25
Treble: 3.0
Soundstage: 2.50
Vocal presence: 3.0
Listening to these eartips is like having a thick veil covers the entire frequency spectrum. They simply muffle sound! Bass is clumpy, lacks texture and details. Midrange and upper-registers cover by a layer of haze. Vocal is lackluster and lifeless. Staging is flat and narrow. Imagining is fuzzy. One of the worst eartips I have tested so far.
Purchased from TRN Official Store on AliExpress

TRN T-Ear Tips

Bore size: regular
Stem length: very short
Feel: soft and pliable
Bass: 3.75
Midrange: 4.50
Treble: 4.50
Soundstage: 4.75
Vocal presence: 5.00

These onion-shaped eartips fit smaller and shorter than, say, SpinFit. Overall tonality is upper-midrange and treble emphasis, with a hint of boosted bass. Vocal presence is good but forward and sibilant, so be careful when pairing with bright-sounding IEMs. Soundstage is spacious with good depth and height.

Review sample from TRN.

U

Unique Melody Liquid Silicone Ear Tips (Standard)
Bore size: wide bore
Stem length: extremely short
Feel: soft and grippy
Bass: 3.00
Midrange: 5.00
Treble: 5.00
Soundstage: 5.00
Vocal presence: 5.00

Made of the same transparent liquid silicone material as Softears UC eartips but at a lower cost. I find these tulip-shaped eartips sound clean, clear and airy. Midrange, vocal presentation, and soundstage are outstanding. Bass and mid-bass are on the lean side. Unfortunately, these eartips attract dirt and dust, so clean them regularly if you use them frequently.

WARNING: Due to its EXTREMELY short stem, DO NOT use earphones with short nozzle.

Purchased from Unique Melody Official Store

Unique Melody Liquid Silicone Ear Tips (Vented)
Bore size: wide bore
Stem length: extremely short
Feel: soft and grippy
Bass: 0.00
Midrange: 5.00
Treble: 5.00
Soundstage: 5.00
Vocal presence: 5.00 (SHOUTY!!!)

It isn’t a typo error. The bass score is 0.00, meaning ZERO bass. Vented means no seal. Without a good ear-seal, bass disappears. There is no noise isolation as well. Other than vent holes on the cap, it is the same eartip as standard Unique Melody Liquid Silicone Ear Tips with SHOUTY upper registers!

WARNING: Due to its EXTREMELY short stem, DO NOT use earphones with short nozzle.

Purchased from Unique Melody Official Store

Whizzer Easytips ET100 (natural)

Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 3.75
Midrange: 4.0
Treble: 4.0
Soundstage: 4.5
Vocal presence: 3.5

W

A very interesting eartip that looks like a toilet plunger. The shape may be odd but the sound isn’t. Balanced, clean and clear tonality that is neither too bright nor too bassy. Seals and isolates well too.
Purchased from OperaFactory Taobao Official Store

Whizzer Easytips SS20 (soundstage)

Bore size: wide
Stem length: regular
Feel: soft and pliable
Bass: 3.5
Midrange: 4.25
Treble: 4.25
Soundstage: 5.0
Vocal presence: 3.5

As the title implies, this eartip improves soundstage, and this isn’t a gimmick. It really adds dimension to sound, giving it a more spacious presentation.
Purchased from OperaFactory Taobao Official Store

Whizzer Easytips VC20 (vocal)

Bore size: regular
Stem length: regular
Feel: soft and firm
Bass: 4.0
Midrange: 3.75
Treble: 4.0
Soundstage: 2.5
Vocal presence: 2.5

Not very good. This eartip clouds midrange and boosts low-mid a bit too much for my taste. Resolution is poor as well. Everything just sounds stuffy and dull. Perfect for bright-sounding IEMs though.
Purchased from OperaFactory Taobao Official Store

Z

ZhuAudio (竹林鸟) Bamboo Rhyme (竹韵) Latex Bamboo Tips
Bore size: wide
Stem length: regular
Feel: plush and grippy
Bass: 4.00
Midrange: 5.00
Treble: 5.00
Soundstage: 4.75
Vocal presence: 5.00

These latex eartips remind me of FEAULLE H570 latex eartips but cost a fraction less and come in 3 size-pairs per box. Overall tonality is bright and lively. Bass is girthier than H570 with a good thump. Vocals are sibilant but give particularly good enunciation. Stage and imaging are quite good. Resolves nuances very well. Fit and comfort are good. These don’t feel sticky or attract dust like Azla SednaEarFit XELASTEC.

Purchased from ZhuAudio Taobao Store.

Z Reviews Render Eartips
Bore size: wide
Stem length: short
Feel: soft and spongy

Bass: 4.75
Midrange: 4.00
Treble: 4.00
Soundstage: 4.00
Vocal presence: 4.50

Zeo’s Render hybrid eartips offer a compelling combination of comfort and exceptional isolation, surpassing the softness of Symbio W tips. Their bass performance takes center stage, delivering a punchy and satisfying low-end without the mid-bass bloat common in many foam eartips. In terms of sound signature, they closely resemble the very expensive Sony EP-N1000M, albeit with a slight compromise in upper-midrange clarity. Compared to Zeo’s other favorite, the Dekoni Bulletz foam tips, the Render eartips offer a significant boost in clarity, vocal presence, and bass impact.

Purchased from HiFiGo Online Store.

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