Cons — Neo iDSD2’s Amp section is not powerful enough to drive inefficient headphones
– aptX Adaptive performance can be device dependent
– iPower X could be included in the packaging given the asking price
– Background hiss at the highest gain setting

INTRODUCTION

It is update season again, with iFi overhauling parts of its lineup. First up was the hip-dac 3, then the Diablo2 — and Neo iDSD2 arrived in tandem.

I reviewed the original Neo iDSD almost 3 years ago, and found it to be lacking in the amp section. The DAC performance was excellent, but the meek amp output held it back from being a universal recommendation. iFi has taken the sweet time to refine all “controversial” aspects of the original.

The amp section is noticeably improved with better power delivery into high impedance loads. Meanwhile, the noise issue with sensitive loads has been taken care of by the inclusion of IEMatch. Moreover, the general build and finish has become further refined, with a new UI and display, extra buttons on the front for easier control, and external app support for OTA updates and more.

Sounds like a winner so far, but then you look at the… upgraded price tag, which is almost $150 extra over the OG version, placing the Neo iDSD2 near the kilobuck range. In the days of measurement-topping budget gear, the Neo iDSD2 needs to have a few unique trick up its sleeve to justify the extra dough.

Note: the ratings given will be subjective to the price tier. IFi Audio was kind enough to send the Neo iDSD2 for evaluation.

IEMs and headphones used: Symphonium Crimson, Campfire Holocene, Sennheiser IE 900, Sennheiser HD 800, Hifiman HE-6se V2
Price, while reviewed: $900. Can be bought from Amazon.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

iFi Audio bundles practically everything you will need to get the Neo iDSD2 up and running. Aside from a 12V iPower V2 power adapter, you get a pair of RCA Cables, a USB cable, a handy remote control, and a stand to vertically orient the Neo IDSD2.

The only thing I’d change about the packaging is the supplied power adapter. The iPower X is noticeably “quieter” than the entry-level iPower adapter that’s bundled with the Neo iDSD2, and given the premium pricing, I’d have preferred the more “upscale” adapter.

BUILD QUALITY

The basic design language is similar to the OG Neo iDSD, with a sleek, sandblasted aluminum frame; a large, multi-functional rotary encoder placed in the center, while the display and the headphone outputs flank it on both sides.

One of the key elements of the design is the vertical orientation capability. With the supplied stand you can easily prop up the Neo iDSD2 on your desk, leaving horizontal space to place your speakers or other amps. There’s a built-in accelerometer as well that automatically rotates the display.

The central rotary encoder stands out with its knurled finish and excellent tactile feedback. There is still some wobble when you try to press it inwards. Frankly, only way to avoid that would be to use a more complex setup where the outer ring and the inner “button” needs to be separated. iFi tried to keep things simpler here I guess.

The buttons have been improved from the OG Neo iDSD it seems, with a more defined feedback and less wobble than before. They are still a bit stiff so the remote is better for most operations. Do note that you have to aim the remote directly at the Neo iDSD, otherwise the infrared signals are not picked up well.

The sides now have an opaque acrylic “cut-out” for better RF signal transparency, which should improve BT reception and transmission performance. Another readily noticeable aspect over the first version is the weight of the unit, which feels more substantial. The OG Neo iDSD feels somewhat hollow and less rigid in comparison.

Overall, excellent build quality and industrial design, as expected from iFi.

INPUTS AND OUTPUTS

The Neo iDSD2 does not skimp on the input options at all. In fact, there are a few surprises here.

First of all, you have the power input that accepts 9V to 15V AC-DC adapters. The USB 3.0 type-B port is there, alongside the coax and optical inputs. Then there is a 10 MHz external clock input (via BNC) which is somewhat rare in the under USD$1000 range of sources. On paper, it should provide even better jitter performance when combined with an external clock.

Lastly, there are the analog/pre-amp line-outs in the form of both single-ended RCA and balanced 4-pin XLR. Strangely enough, there is only a single-ended 3.5mm line-in and not the usual 4.4mm analog input that iFi tends to have in their amps.

It’s a strange omission given the amp section is marketed as fully balanced internally, so there needs to be an additional single-ended to balanced conversion in the signal path if iDSD2 is used in amp only mode.

The headphone outs are all placed in front, with both 6.35mm single-ended and 4.4mm balanced outputs available. They have auto “IEMatch” enabled at the lowest gain setting, taking care of hiss with sensitive IEMs.

TECH SPECS AND INTERNALS

Let’s get the spec sheet out of the way first:

The iFi Neo iDSD2 uses a Burr-Brown chip as per tradition. The BT5.4 is one of the highlights of the product and has both LDAC and the newest aptX Lossless codec support.

iFi also uses a new proprietary PureWave topology where they go for a dual-mono setup with shorter signal paths than their previous designs. The default firmware is GTO-enabled by default. I am happy to see that iFi has brought back the xBass and xSpace features, both of which work exceptionally well here.

The internal components are all high quality as expected: TDK/Murata caps, FET-based switching to mute those annoying “pops” you encounter on some DAC/Amps, and native MQA full-rendering support. I confirmed the latter by setting up Tidal on Windows in exclusive mode and playing MQA Master files, which were seamlessly handled by the Neo iDSD2 (indicated by displaying MQA on the display). At this juncture I should mention that it’s advised to install the iFi Neo iDSD driver package if you’re on Windows (Mac version coming soon). You can get it here.

The Bluetooth performance in LDAC was excellent. I did not notice any dropouts and not much fidelity was lost over wired USB connection. However, aptX support was a bit iffy with Samsung phones, likely due to Samsung’s somewhat poor implementation of the codec over other manufacturers.

One last note regarding amp specifications: the power rated is likely “peak” power, as I do not find the balanced output to provide 620mW of current into a 600 ohms load. The very high rated current delivery into lower impedance loads (max of 5.5W into 32 ohms) also did not really translate to real world usage, as certain planar magnetic headphones needed the 3rd gain setting to be driven properly. iFi’s FAQ section is also somewhat vague about the exact methodology used.

Speaking of gain, there are 4 different gain levels, with the first one being for sensitive IEMs, the second and third one for most headphones and IEMs out there, and the last one for very difficult to drive loads. The last gain level has audible hiss with even somewhat sensitive IEMs and headphones, so caution is advised while using that one.

IFI NEO IDSD2 SOUND CHARACTERISTICS

It’s always difficult to describe the sound of a source in isolation because, well, you are going to use it with a pair of IEMs, headphones, or speakers in the end, which have their own “coloration”. Moreover, the additional effects like xBass, xSpace, and even the IEMatch can affect the sound somewhat.

Nonetheless, I would describe the general tuning of the Neo iDSD2 as neutral with a hint of warmth. Notes are slightly rounded off, resulting in a softer presentation that works well with somewhat “edgier” sounding headphones and IEMs. Staging is not intimate or claustrophobic, rather the instruments are naturally spread apart.

The filters have subtle sonic changes, but in the end I preferred the DXD filter for the most part which is a sort of “oversampling” filter that sounds engaging with my Tidal library. You can also try the Bitperfect filter for a slightly different flavor.

PAIRING NOTES

Sennheiser HD 800

The Sennheiser HD 800 are extremely “amp-picky”, with the wrong pairing often verging on unlistenable as the treble peak tends to be too distracting. Fortunately, the Neo iDSD2 displays no such issues, with the HD 800 showing their usual transparency without veering into “analytical” or “sterile” territory.

The xBass switch helps here as well, since the HD 800 has a linear bass response with sub-bass roll-off. The driver performance is still one of the best around, so pushing the sub-bass a bit with the xBass does not hurt performance and fidelity at all. The xSpace makes things too airy for me, however.

In general, the Neo iDSD2’s amp section pairs well with high impedance dynamic driver headphones, so if you primarily plan to drive such headphones, this one is a great fit.

Hifiman HE-6se V2

The Hifiman HE-6se V2 proved to be a difficult challenge for the Neo iDSD2. These notoriously difficult to power headphones have a sensitivity of about 83 dB/mW at 50 ohms of impedance. Some even use speaker amps to drive these, which is bordering on the absurd.

Even at the highest gain level, the HE-6se V2 do not show the bass slam and macrodynamics they are capable of displaying. The volume got loud enough for me, but the subtler details felt missing.

The modern Hifiman planars like the Arya or the Ananda tend to fare much better, however, as they have relatively efficient drivers. The Arya Stealth especially was phenomenal on the Neo iDSD2, so try to audition them together if possible.

Campfire Audio Holocene

The Campfire Holocene magnify the slightest amount of source hiss and as such, most desktop amps are a no-go to drive them. The auto IEMatch and the dedicated low-gain IEM mode on the Neo IDSD2 comes to the rescue. There is no noticeable hiss with the Holocene, and the FR did not skew noticeably.

On the other, the Symphonium Crimson are another pair of difficult to drive IEMs, with an astoundingly low 6 ohms of impedance and a sensitivity of only 84dB/mW. These factors combine to somewhat “choke” the amp section of the Neo IDSD2 which is not designed to handle such low impedance loads it seems.

The Crimson, just like the aforementioned HE-6se V2, are anomalies, so it’s not an inherent “con” if an amp is not designed around their specific needs. As a reviewer, I yearn for that true “all-in-one” solution though, and it’s always a bit of a letdown when that doesn’t happen. Ah well.

CONCLUDING REMARKS

The Neo iDSD2 is still unique in the market, three years after the first version came out. I cannot think of another DAC-Amp combo with such a sleek design and rich connectivity options. The amp section is much improved over the first version, and the already excellent DAC section makes this sequel a great upgrade all around.

The market has not sat still in the meanwhile, with the likes of Topping DX7 Pro+ offering higher output power, better “measurements”, and a cheaper price tag. The Neo iDSD2 have the latest BT codec and version to offer, alongside handy extras like xBass, xSpace, IEMatch, a nicer display, and an analog line-in for amp-only usage.

Most of all, the Neo IDSD2 got the looks and the vertical orientation may be preferred by those with small desk space. All these considered, I can recommend the Neo iDSD2 for desk usage if space is a premium and you need an all-in-one solution with exceptional BT connectivity. Just keep in mind that this is not an amp you use with power hungry planars, as there are other options for that particular use case.

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Cons — Truthear Zero Red have fingerprint-magnet shells
– Not the most dynamic or exciting presentation
– Could be more resolving in the treble region

INTRODUCTION

The Truthear X Crinacle Zero: Red (that’s one mouthful of a name) were announced back in May 2023, during the High End Munich show. While there are copious hints of irony in announcing a pair of budget IEMs in a show literally called “High End”, there was no shortage of hype even before that.

Crinacle’s original vision was to tune the Red closer to his own “ideal” target curve, and apart from a welcome dosage of extra bass, they do hit that mark. The Zero Red also “fix” some of the issues and criticisms that the Harman target has been subjected to in the yesteryear (including the criticisms from the tuner, Crinacle, himself).

I reviewed the original Zero (Zero: Blue?) more than a year ago and found them somewhat uninspiring. Given that they were tuned after the (purportedly flawed) Harman target, the Zero Red should be a logical upgrade as they address the issues of said target. Moreover, the Red act as a showcase of Crinacle’s ideal target and should be an accessible entry to the tuner/reviewer’s preferred tuning.

But that was nine months ago. Now in February 2024, there is a lot less smoke and the influencer-induced hype machine has long run out of fuel. Time to see if the Zero Red have managed to survive the test of… time.

A benchmark pair of IEMs should, after all.

Note: the ratings given will be subjective to the price tier. Shenzhenaudio was kind enough to send the Zero Red for evaluation.

Sources used: Questyle CMA 12 Master
Price, while reviewed: $55. Can be bought from Shenzhenaudio.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

Decent stock cable – check. Half-decent stock eartips – check. PU leather carrying pouch that offers minimal protection – check.

Cringe waifu on the packaging – check. Oh wait.

Nonetheless, the stock accessories are the same as the OG Zero other than the 10ohm impedance adapter that’s now included in the box. It’s a pretty rare thing and I welcome the addition.

This adapter should increase the sub-bass by a few dBs due to the way the crossover is designed. You can further increase the sub-bass with higher impedance adapters but the driver would probably bottom out at that point.

BUILD QUALITY

These are basically the Truthear Zero with a red faceplate. I have to say that the red faceplate looks better than the blue one of the predecessors. Another change is the size of the vent which is now larger than the original version and should allow for greater airflow.

The 2-pin connector is recessed, thankfully. The crossover circuit can also be seen near the connectors through the translucent shell.

While the build is generally good, the shells are smudge prone and slippery. So keep a cleaning cloth handy.

COMFORT, ISOLATION, AND FIT

Fit and comfort is excellent, so is the isolation.

SOURCE AND EARTIPS

The Zero Red are fairly easy to drive, though the addition of inline impedance (via the supplied adapter) will need more voltage from the source side. Even then, it’s not a big deal and should be handled by most dongles in the market.

The stock eartips are good enough to get you going though I am not a fan of the somewhat stiff stem. Third party tips offer even better seal and comfort but the sound signature did not change much.

DRIVER SETUP

The dual dynamic driver setup of the first version of Zero makes a reappearance with subtle improvements.

The distortion figures of the 10mm bass driver are better, which is a much needed upgrade. The 7.8mm midrange and treble driver seems to be unchanged from the first version.

ZERO RED TONALITY AND TECHNICALITIES

If I had to describe the Zero Red’s tuning in one word, it would be: safe. Balanced would be another descriptor, even though the muted treble can throw off said “balance”.

Crinacle decided to go for a less dramatic bass shelf, while adding a touch of warmth to the lower-mids by starting the bass rise from 300 Hz downward. As a result, the transition between the upper-bass and lower-midrange is not as drastic as the OG Zero and sounds far more coherent. If you want more bass, there is always the impedance adapter. However, I did not like the extra bass as it cast a haze over the lower-mids.

The midrange itself is ruler-flat until 1 kHz and then goes for a pinna gain for approximately 8dB. This tuning choice strikes a good balance between male and female vocals. Other than baritone vocals, everything sounded correct.

Strings have good heft without sounding too dampened, grand pianos show their characteristic down-stroke “thock”, and distortion guitars are brought forward without becoming overbearing. However, such safe can often verge towards “boring” for some. I did not find it to be the case, but if you are into super-forward female vocals, the Zero Red might be tad laid-back.

Finally, the treble is somewhat muted and there is a noticeable lack of response around 10kHz. This kills off the sparkle and airiness, but on the plus side you avoid fatigue and distortion. My assumption is that the treble driver is not adept at handling high frequencies (ironic, given it’s supposed to do exactly that), but given the budget pricing I’m willing to cut some slack here.

Soundstage and imaging are about average, in the context of IEMs in this range of course. Certain peers offer a wider sense of stage or more precise imaging, but the Zero Red won’t sound claustrophobic. Rather it’s not the most accurate in placing instruments at ordinal orientations. Macrodynamic punch is pretty good but microdynamics are lacking, with subtle shifts in volume levels being imperceptible at times.

SELECT COMPARISONS

vs TruthEar Zero

The OG Zero and the Zero Red are primarily differentiated by their tuning choices. The predecessor had a more drastic sub-bass shelf that practically hollowed out the mid-bass and somewhat butchered male vocals. In that aspect, the Zero Red are wholesale improvements. The bass driver is also better on the newer version, resulting in better texture in the bass region.

Frankly, for the improvements in the bass and mids alone, I would consider the previous Zero “outdated” vs the newest revision. The mids of the OG just sounded unnatural to my ears and the Red fixes that one big “con”.

vs Final E3000

The Final E3000 have long been a mainstay in our Wall of Excellence as the IEMs to get around USD$50. The fixed cable is a huge con, however, so the Zero Red is already a step ahead in terms of build quality. Comfort and isolation go in E3000’s direction due to their seamless, bullet-style fit and exceptional passive noise cancellation.

When it comes to the sound, these IEMs take different routes in order to achieve a “fatigue-free” tuning. Final E3000 go for more pronounced mid-bass and rolls off at the sub-bass past 40kHz. The pinna gain is even more reserved, while there is more response in the treble region, albeit upper-treble is similarly rolled-off.

The Zero Red have superior midrange clarity and sub-bass rumble, at the cost of mid-bass body (snare hits are more satisfying on the E3000) and less sense of stage-width and depth (can be attributed to the more reserved upper-mids on the Final IEMs). Imaging is also better on the E3000.

Do the Zero Red replace the E3000 for me, then? Not really. I still prefer the timbre on the E3000, and the more spacious presentation is more engaging to my ears. The Zero Red is more of a sidegrade – swapping spaciousness for a more forward midrange. If the treble on the Zero Red had more sparkle I would probably be swayed in the other direction, but that’s not the case, not yet.

CONCLUDING REMARKS

The raison d’etre for the Zero Red is to improve upon their predecessors, while establishing themselves as the new “budget benchmark”. They clear the first hurdle pretty easily (not that it was too high a bar). It’s the second part where things get tricky.

There is a new “budget benchmark” every week now, and the technical inferiority of the Zero Red keep them from fetching that particular crown. For me, the Zero Red are more of a showcase of what Crinacle’s ideal tuning is about, and I look forward to his upcoming releases where he will get to use better drivers to achieve a similar target, perhaps with superior treble sparkle and extension.

To wrap up this review with a familiar “ranking” methodology:
Tone Grade: A
Technical Grade: C
Overall Grade: B
Value: 1 star

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Cons — The Truthear Nova have thin-sounding lower-mids
– Upper-midrange glare in tracks with low sub-bass
– BA timbre
– Microdynamics are not so evident

INTRODUCTION

Truthear has garnered a certain cult following, thanks to a fairly “solid” series of IEMs, albeit all of them in the <USD$100 range. The brand’s latest release, Nova, aim to change the strictly “budget” outlook of the brand. At $150, the Nova are the most expensive product Truthear has released so far.

With higher price comes loftier expectations. Time to see how well the Nova can manage that weight.

Note: the ratings given will be subjective to the price tier. Heartfelt thanks to Shenzhenaudio for sending the Truthear Nova in for evaluation.

Sources used: Cayin RU7, Questyle CMA Twelve Master
Price, while reviewed: $150. Can be bought from Shenzhenaudio.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

Truthear remains true to its “waifu art” packaging. You can even order an acrylic cutout of the “waifu” during the purchase process. Well, I am not the intended audience for this but I guess there is a demand out there for such “perks”.

The packaging is quite large but there is a lot of wasted space for the sake of a more appealing arrangement of the accessories. I mean, one can easily just bundle the tips in small zip-lock bags, but I digress.

Other than the silicone and foam tips, you also get a PU leather carry case that doesn’t offer a lot of protection but looks cool nonetheless. The stock cable has a visually striking black and blue color scheme, but the length is longer than your standard 1.2m cables, resulting in a more cumbersome experience while walking around.

BUILD QUALITY

The Nova have similar glossy, slippery, and fingerprint-attracting black shells as the Truthear Zero. Other than the faceplate design, the overall aesthetics have many similarities with the budget model.

This is somewhat perplexing as I assumed Truthear would go for a more premium build or at least a different finish for the resin shell. Nonetheless, “premium” is not a word I can associate with the Nova’s overall build. It’s serviceable, decent even – but not something noteworthy.

There are three different sound-bores, with each of them channeling sound from separate driver arrays. The 2-pin port is, thankfully, recessed and there are 4 vents on the side to alleviate pressure and also allow the dynamic driver to have additional air to move around.

COMFORT, ISOLATION, AND FIT

Despite the nozzle being on the thicker side, the Nova have very good fit and comfort. Isolation is good with the supplied foam tips, but not class-leading.

SOURCE AND EARTIPS

At a sensitivity of 108 dB/mW into 15 ohms, the Truthear Nova are fairly easy to drive. Do note that the crossover circuit is prone to impedance mismatch, so a source with low output impedance is recommended. For this review, I used stock tips and cable, and the Cayin RU7 dongle.

DRIVER SETUP

The Nova utilize a 1DD + 4BA setup, with the DD being in charge of the sub-bass and the mid-bass, while the BA drivers handle the mids and highs. The BA drivers are dual-BAs, so they occupy less space inside the shells. Each driver has a separate acoustic tube/wave-guide attached to channel the sound into the bores.

Finally, there are dampers placed in the nozzle for attenuating resonant frequencies and aberrant peaks. A fairly competent driver setup and kudos to Truthear for nailing down the basics and then some.

TONALITY AND TECHNICALITIES

The Truthear Nova are Harman-neutral (2019 V2), apart from some subtle deviations. They are perhaps the most “true Harman” IEMs you can get under USD$200, so if you love Harman tuning and religiously abide by it – skip the rest of the review and grab a pair right now.

For those who have their reservations about Harman – there is more to the story than meets the eye.

The tell-tale sub-bass shelf is here to stay, with a sudden rise from about 300Hz downward. Understandably, the upper-mids need to be pushed upward to counter-balance the sub-bass dominance and to ensure that vocals have enough clarity and forwardness.

I strongly believe that a pair of IEMs’ bass response is only as good as the driver allows it to be. With a subpar or under-performing driver, the bass will lack authority, slam, and texture. No amount of EQ shenanigans can compensate for high distortion characteristics. Fortunately, the Nova have a pretty decent dynamic driver for the “woofer”.

Bass has good slam and rumble and doesn’t break up or distort even at higher volumes. Bass texture is lacking, but some of that can be attributed to the mid-bass thinness which is a point of contention about the Harman target itself. Either way, bass is satisfyingly deep and punchy for the most part, and can provide the “macrodynamism” one expects from sudden bass drops, for example.

The lower-mids can come across as “thin” at times, especially if you are accustomed to the sound of certain old speakers, or reference headphones like Sennheiser HD 650. Baritone vocals lack the heft while snare hits can sound anemic, lacking in density.

Upper-mids, meanwhile, take the center stage with female vocals being noticeably more forward than the male vocals. This forwardness can be engaging if there is enough bass in the recording to balance things out. In acoustic tracks with low or no sub-bass , the balance gets skewed towards the upper-midrange instead, resulting in shout and shrillness. if your library rarely consists of such tracks, this should not be an issue. Otherwise, take note.

The treble is quite dark past 7kHz. There is a steep roll-off with not much upper-treble to add air into the mix. Treble can at times exhibit BA timbre, with cymbals and hi-hats lacking the note weight one expects. Due to the lack of airiness, cymbals abruptly stop “ringing” and the decay is unnaturally fast. This also limits the perceived “wideness” of the soundstage, even though the Nova do not sound closed-in.

Imaging is precise, with only ordinal directions being somewhat difficult to pinpoint. Instrument separation is another strong area of the Nova, as even in busy tracks it is easy to figure things out individually.

Microdynamics (subtle shifts in volume) are not so evident on the Truthear Nova, resulting in somewhat of a flat representation of music.

SELECT COMPARISONS

Truthear Nova vs Simgot EM6L

Simgot EM6L are noticeably cheaper than the Truthear Nova and come with a less flashy design and arguably worse accessories. Comfort is similar on both, while isolation is slightly better on the Simgot IEMs. Ironically, both these IEMs share the same driver configuration: 1DD + 4BA, though Simgot utilizes a smaller 8mm dynamic driver compared to the 10mm driver on Nova.

As for the sound, EM6L also closely follow the Harman 2019 V2 with a distinct deviation near the mid-bass where Simgot decided to fill up the “suck-out” around 250Hz. This noticeably improves male vocals and the rendition of percussion instruments. Upper treble is slightly more pronounced on the EM6L compared to the Nova (and Harman IE target), resulting in better perceived airiness, albeit the differences are minimal.

Imaging is about similar on both of these IEMs, though EM6L render microdynamics more convincingly.

In the end, I prefer the EM6L overall, not only because it offers similar performance for significantly less, but also because the tuning “fixes” aligns them closer to my preferences.

CONCLUDING REMARKS

The Truthear Nova are competent IEMs. Tonal preferences aside, there are no glaring flaws in the overall package, be it technicalities or build/accessories. It’s just that the competition is offering the same, if not more, for less. And that’s where things get tricky.

The current IEM market is a race to the bottom: a frenzied hustle to give the customers the “best” for the “least”. Truthear built its reputation based on that very mission statement but competition has not only caught up, rather they’ve turned the whole game on its head by driving prices down further.

So, while the Nova indeed hit their target: a mid-tier Harman-abiding pair of IEMs with decent technicalities, they find themselves late to the party. Unless you are really afraid of mid-bass, there are better options out there. But if it’s Harman you want in its pure, unadulterated form – the Nova will have your back.

MY VERDICT

3.5/5

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Cons — Acefast T8 have somewhat uncontrolled bass response
– V-shaped tuning might not appeal purists
– Too much sub-bass adds haze to mids
– No Active Noise Cancellation
– No higher bitrate codec support
– No app support

INTRODUCTION

I primarily associate Acefast with its range of high quality chargers and power banks. So when the brand approached me to try the T8, perhaps the highest “specced” TWS IEMs in the current lineup, I was a bit on the fence. One look at the design had me hooked, however, as the Acefast T8 have a distinct design language that sets them apart.

A good design is only as good as the sound, so let’s see what tuning decisions Acefast took, and how those have shaped the final product.

Note: the ratings given will be subjective to the price tier. Acefast was generous enough to send me the T8 for review.

Sources used: Pixel 4 XL
Price, while reviewed: 60 euros. Can be bought from Amazon.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The packaging of the Acefast T8 is as “radiant” as the IEMs themselves. Inside, you get the basics (eartips, type-C cable, carrying case with the IEMs inside) and a silicone “bumper” for the case. The silicone case offers basic protection from drops and scratches.

BUILD QUALITY

The transparent shell, the under-glow of the LEDs, the sense of depth underneath the battery indicators, and the playful colors – all of them coalesce to form a striking first impression.

Given the transparent nature of the shell, it’s no surprise that the Acefast T8 is entirely made out of polycarbonate (or plastic, in more colloquial term). I dropped the buds accidentally a few times and there were no scratches or dents on the shell so the overall build is fairly sturdy.

The back of the IEMs house the vent and mic, while the stem has a capacitive touch layer on top. There is another microphone on the inner side that aids in noise cancellation when making calls. Note that this is not a mic for Active Noise Cancellation that blocks you from outside noise.

The earbuds are secured in the case via strong magnets and won’t fall out even when vigorously shaken. Overall, excellent build quality and the unique aesthetics set the Acefast T8 apart from the competition.

COMFORT, ISOLATION, AND FIT

The comfort is excellent as the earbuds sit firmly in the ears, once you have picked the right eartips that is. I found that the stock eartips were a bit on the “thin” side when worn, so I had to go a size larger than usual for the best seal and stability.

SOURCE AND EARTIPS

I used the Acefast T8 with Pixel 4XL and the stock eartips.

DRIVER SETUP

Acefast T8 utilize a dual-dynamic driver setup where one 10mm driver is in charge of the bass and another 6mm driver produces the upper-mids and high frequencies. The drivers are arranged coaxially and I assume that there is some frequency-overlap between them (so no fully isolated “frequency bands” for each driver).

TONALITY AND TECHNICALITIES

The Acefast T8 have a bass-boosted, V-shaped tuning. One look at the graph and you know that bass dominates the scene, especially sub-bass frequencies.

Due to this over-emphasis of sub-bass, the lower-mids sound somewhat hazy and undefined. Male vocals can sound a bit drowned out, with subtle articulations being lost. Female vocals are less up-front than your usual Harman affair, but on the flip-side, high-pitched vocals sound smoothed out and lush. No shout or shrillness here which is a plus.

The lower-treble emphasis is mostly unnoticeable due to the bass boost, but can be felt in tracks with sparse bass or mostly vocals and string instruments. Treble has a metallic sheen in those instances at the expense of clarity. This peak is needed though to cut-through some of the sub-bass haze, so keeping this region down while pushing the bass high will make the T8 sound even darker.

Upper-treble is mostly muted, as the trailing-edge of cymbal hits and hi-hats tend to disappear abruptly. Soundstage is surprisingly “open” in its presentation, with stage depth and width being fairly impressive for a pair of budget TWS IEMs. Imaging is not as well-defined. Spatial cues are often difficult to pinpoint in the stage.

Macrodynamic punch is pretty good as strong bass-lines and sudden bass drops are further accentuated. Microdynamics (subtle shifts in volume) are not as evident as the strong sub-bass tends to throw off these subtle details.

SELECT COMPARISONS

vs Soundpeats Engine4

Soundpeats Engine4 are priced similarly to the Acefast T8 and have a very different design. While the T8 adopt the half in-ear look, the Engine4 are the traditional bullet-style in-ears. The build and design are far more enticing on the Acefast T8 as the Soundpeats IEMs have a fairly generic design. Battery life is also superior on T8.

When it comes to the sound, Engine4 have a more neutral tuning profile. The sub-bass boost is controlled, while the lower-treble has some dips in it to reduce sibilance and recording artifacts.

Moreover, thanks to the app support on the Engine4, you can tune the sound even further. The T8 do have better battery life, and the bassy tuning can be fun to listen to when on the go. Soundstage is also better on the T8 while Engine4 have better imaging.

Oh, and the Engine4 have ANC (doesn’t work much) and full-fledged app support.

My personal tuning preferences align more with the Engine4. Acefast T8 is a bit too “mainstream” for my tastes, but I found them to be fairly decent for commute and casual listening.

Quality of life features

So, let’s talk about all the non-sound stuff that we have left out so far.

• Battery life is very good, with the buds not draining much charge when put in the case.
• Mic performance is excellent. In crowded areas, the voice can come through somewhat compressed, but speech intelligibility is unaffected.
• There is no app support on the Acefast T8 which is a huge bummer
• The controls cannot be remapped but stock controls work fairly well, as long as you keep your hands dry (those touch sensors go bonkers with water on them).

CONCLUDING REMARKS

Acefast has nailed the design and overall aesthetics of the T8. That being said, the tuning needs some extra work. A more controlled and even-handed bass response would automatically fix many of my issues with the T8.

For the next release, I hope that the overall quantity of the sub-bass is reduced and the lower-treble is further reigned in. App support would be a great bonus, so would be the inclusion of ANC.

The Acefast T8 enter a crowded market but manage to stand out thanks to their design. Some more refinement in the tuning would make them a solid contender for the “best under USD$100” bracket. Until then, if you find the T8 on a good deal and mostly care about the sub-bass, they can very well be your next purchase.

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DISCLAIMER

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

The post Acefast T8 Review – Stunning Looks, Mainstream Sound appeared first on Music For The Masses.

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

INTRODUCTION

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

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

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

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

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

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

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

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

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

BUILD QUALITY

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

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

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

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

COMFORT, ISOLATION, AND FIT

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

SOURCE AND EARTIPS

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

DRIVER SETUP

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

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

TONALITY AND TECHNICALITIES

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

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

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

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

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

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

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

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

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

SELECT COMPARISONS

vs Kiwi Ears Orchestra Lite

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

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

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

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

CONCLUDING REMARKS

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

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

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

MY VERDICT

4.25/5

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DISCLAIMER

Get it from Hisenior Store

Our generic standard disclaimer.

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

The post Hisenior Okavango Review – Tuning Switches That Work appeared first on Music For The Masses.

Cons — The Quintet can exhibit some incoherence during the transition from mids to treble
– Mid-bass texture could be better
– Lower-mids get veiled by the sub-bass
– Slight “zing” in the upper-treble

INTRODUCTION

A few months back, I reviewed the Kiwi Ears Orchestra Lite. They seemed to have a safe, no-frills tuning that veered towards “too smooth” at times.

Nonetheless, what stood out about them was the driver configuration given the price point. Similar themes re-appear with the Kiwi Ears Quintet that sport a quad-hybrid (also known as Quadbrid) setup for midrange pricing. In recent years, such driver setup has been exclusive to the TOTL or kilobuck IEMs, so the Quintet have already won the spec-sheet war.

Sound quality is not proportional to the driver count though, so the Quintet have a lot to live up to if they want to carve a spot in this hyper-competitive market.

Note: Thanks to Linsoul for sending the Kiwi Ears Quintet for evaluation.

Sources used: Questyle CMA Twelve Master, Cayin RU7
Price, while reviewed: $220. Can be bought from Linsoul.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The packaging is minimal, while the accessories are fairly good. The stock tips were good enough for me, and the stock cable seems fine so I assume a replacement will not be essential. The sheathing is a bit on the stiffer side but it also adds some durability, so a fair trade-off.

BUILD QUALITY

Kiwi Ears opts for a pseudo-custom shell design, with 3D-printed resin on the inner shell while a metal faceplate adorns the outer part. There are two vents beside the (flush) 2-pin port. The nozzle is on the thicker side, so third-party eartips might need some compatibility check.

Overall, a no-frills design that’s practical without being a highlight.

COMFORT, ISOLATION, AND FIT

Despite the thicker-than-average nozzle, the Quintet are comfortable for me even during long listening sessions. I did not notice any driver flex. Isolation is average, likely due to the dual vents.

SOURCE AND EARTIPS

For this review, I used the stock narrow-bore eartips and the stock cable. Cayin RU7 was used as the source while on-the-go, and the Questyle CMA Twelve Master was the source when using on the desk.

KIWI EARS QUINTET DRIVER SETUP

Driver configuration is perhaps the most interesting aspect of the Quintet. They have a grand total of five drivers (apt model naming) of four different types: 1 DD (DLC-coated diaphragm), 2 BAs (dual-BA configuration), 1 micro-planar, and 1 piezo-electric bone-conduction (BC) driver.

The BC driver is placed atop the dynamic driver, whereas the other four drivers are placed in various parts of the shell. There is also a damper in front of the Knowles driver to keep resonances in check.

All in all, a very interesting driver configuration and perhaps the Quintet are only “quadbrid” IEMs under the USD$300 mark.

TONALITY AND TECHNICALITIES

The tuning of the Kiwi Ears Quintet is close to that of the Harman 2019 target, but with a subjectively better bass shelf and more extended treble.

Kiwi Ears’ take on the Harman target has its perks: the mid-bass is not as “hollow”, resulting in superior and more realistic rendition of percussive hits. Moreover, the added brilliance in the upper-treble makes the perceived stage wider, due to the added airiness, alongside increasing resolved details.

All is not fine, however, as the sub-bass is still too overzealous at times and can cast a shade over the lower-midrange, making male vocals sound hazy and lacking articulation in bassy tracks.

Moreover, the upper-mids are pulled back lower than the sub-bass shelf, resulting in certain female vocals being pushed back in the mix. This might be a boon for those who prefer their vocals pulled back and are allergic to shout. On the other hand, those looking for every minute detail in vocals and string instruments will be left wanting.

I found the treble tuning right up my alley. There is a distinct change in timbre when moving from the mid-treble to upper-treble, as the piezo driver adds a distinct “sheen” to the trailing end of notes in hi-hats and cymbal hits. However, I found the coloration mostly inoffensive and the added sense of air and resolution far outweighed the con of incoherence for me.

Finally, staging is better than average, while imaging was mostly accurate despite having some issues in locating instruments that are placed in ordinal directions. Microdynamics could be better to further highlight subtle shifts in volume, while macrodynamic punch is well rendered.

SELECT COMPARISONS

The Sennheiser IE 200 are single dynamic driver IEMs, and so loses immediately in terms of driver count. Also, the stock accessories are plain better on the Quintet.

However, the IE 200 gain back points due to their more natural timbre and excellent coherency. I also found the bass and mids to be better tuned on the IE 200, with bass notes having superior texture.

In the end, the choice is between a more natural and balanced midrange and bass tuning (IE 200) vs a more resolving pair of IEMs with better treble extension (Quintet). The listener’s preferences will determine the ultimate winner.

CONCLUDING REMARKS

For me, the Quintet are the most well-rounded product Kiwi Ears has launched so far. While the Orchestra Lite had their merit, and the budget IEMs are competitively priced and mostly well-tuned, they all lack the “X-factor” that makes a product stand out.

The Quintet have that X-factor in the form of class-leading upper-treble extension. They also significantly lower the barrier of entry for a pair of quadbrid IEMs.

These days, most releases fall by the wayside, failing to capture even the slightest attention and ending up as flavor-of-the-month at best. The KiwiEars Quintet are genuinely interesting for a change, and I can wholeheartedly recommend them to anyone pining for good treble and an otherwise inoffensive tuning.

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DISCLAIMER

Get it from Linsoul

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The post Kiwi Ears Quintet Review – Lowering The Barrier appeared first on Music For The Masses.

Cons — Questyle M15 drains the host’s battery when in high gain
– Somewhat narrow staging
– Unforgiving nature might not suit the bright or peaky IEMs
– Slight upper-midrange glare when driven from phones
– No volume or playback controls
– Prone to RF interference

INTRODUCTION

Had I been a YouTube reviewer, I would have littered a ton of “fire” emojis across this review title. The thumbnail would allude to something akin to “shut-up and buy it”, while a somewhat disturbing image of my agape face would round-up the level of bewilderment and bemusement that the M15 has evoked.

Sadly, in the written form, I am but slave to the words.

Questyle M15 is the flagship dongle in the brand’s lineup, and overall, perhaps the best dongle one can buy. Sadly, such sweeping generalizations do not favor anyone, and everything is reliant upon context.

So, this review is to contextualize the reasons why the Questyle M15 might be the best dongle ever, or why it may not be the right dongle for certain use-cases. Read on.

Note: the ratings given will be subjective to the price tier. Thanks to Questyle for sending the M15 for evaluation.

Price, while reviewed: $250. Can be bought from Questyle’s Official Website.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The packaging is minimal, while the accessories are basic. You get a type-C to type-C cable by default. For Apple users, the lightning cable is sold as a separate bundle for USD$20 premium. There is also a nice leather case that you can purchase separately.

BUILD QUALITY

Questyle opts for a CNC-milled aluminum chassis with a see-through acrylic window for the M15’s design. It’s a simple yet effective design decision to go for a see-through top, as it makes the M15 stand out without going overboard. Questyle is not new to this, as many of its desktop products offer an acrylic top for those so inclined.

In terms of inputs and outputs, things are decidedly simple. The type-C port allows USB connection while the 3.5mm and 4.4mm jacks offer unbalanced and balanced connections respectively. The balanced output sounds markedly better as an aside, but that is the case for nearly every dongle that offers a balanced output.

There is a button on the side for gain control, and that’s about it. No volume or playback buttons are there which might be an issue for some. There are two LEDs on the PCB that shines through the acrylic, one for gain level and another is the file type indicator.

Overall, a very simple yet elegant design that panders to my inner-geek thanks to that PCB that’s been laid bare.

HANDLING

At 61.8mm X 27.2mm X 12mm dimensions, the M15 is not the most innocuous of dongles in terms of size. However, I find it to be fairly practical on the desk and the low 25g of weight makes carrying it around easy enough. Even after prolonged usage, the M15 does not get hot which is another plus.

QUESTYLE M15 INTERNALS

Questyle has a knack for making pretty PCBs. Even the desktop DAC or amps have exceptionally clean PCB layout, and the M15 is no exception. Thanks to the acrylic window, all of it is in plain view. Apart from the ES9281AC DAC chip and the aforementioned status LEDs, you can also see the two SIP (system-in-package) current mode amp modules. Each module handles one channel.

There is also a TOREX power management unit that keeps the M15 inactive when no music is playing. In terms of specs, you get a really respectable 0.0003% THD and <-130dB SNR. Then you notice the output power specs and things just do not add up. A measly 22mW into 300ohms? Surely that cannot be right?

In terms of the actual “sound pressure” produced, that indeed seems to be misleading. The M15 can drive most dynamic driver headphones and nearly every single IEMs out there. Only issue is that for best performance, you need to use a laptop as the source. The higher current from the USB ports enable greater dynamic swings.

Speaking of dynamic swings, the SE out can have almost 2Vrms voltage swing from the single-ended out, and about 3.8Vrms from the balanced out. You can connect the M15 to a pair of powered monitors in a pinch and use it as a DAC/pre-amp combo. Just make sure to put the volume at max on the DAC side.

All in all, respectable measured performance, except for the amp specifications which do not really add up to real world experience.

TONALITY AND TECHNICALITIES

As always, it’s difficult to simply talk about the “tonality” of a source gear rather than specific pairing notes. That being said, the M15 has certain “characteristics” that shine through no matter which IEMs or headphones you connect on the other end.

The first thing you notice is the resolution, and how easily the M15 delineates between instruments. Rest assured, the amount of perceived details on the M15 eclipses any other dongle under USD$300. Minute details are pushed to the forefront, making it easier to analyze and dissect tracks. If it’s resolution and precision you want, M15 is practically peerless.

Such hyper-realistic rendition comes at the cost of two things: spatial qualities, and a tendency to be ruthless with poorly mastered tracks or bright/shouty gear. The M15 is unforgiving, though the lack of “etchiness” in the treble and upper-mids make it a potent option for borderline bright IEMs and headphones. The staging won’t be engulfing or stretched outwards, like it can be on some of M15’s peers.

Dynamics are good in terms of macrodynamic punch, though microdynamics are not as evident as they are on certain desktop sources (or even Questyle’s higher-tier DAPs).

Finally, the power output is ample for practically any IEMs out there. When connected to a laptop or desktop, the M15 is too powerful for most IEMs, in fact. I routinely found myself lowering the gain and/or lowering the volume on the desktop side. This is still not enough for power hungry monsters like Hifiman’s HE-6, for example, so for the pesky planars, you still need a more substantial setup.

PAIRING NOTES

I’ll try to keep this section short and sweet.

IEMs that paired well with the M15: most of them, but highlights include Sennheiser IE 900/200/300, SoftEars Turii, Final E3000/A5000/E4000, JVC FW1800/FW10000/FDX1, Campfire Holocene/Andromeda 2020/Solaris.

Headphones that paired well with the M15: not the absurdly power hungry planars, including the likes of HE-6 (and Susvara, by extension, though I fail to understand why anyone would try to run Susvaras off of a dongle), Sennheiser HD800S (too bright), and Beyers (same issues as the Senns). The HD650 had a good pairing though it lacked the liquid smoothness you get off of tubes or high output impedance sources.

Hifiman HE-400i and Arya sounded exceptional through the M15, and if you own the Arya Stealth (or even the newer Arya Organic), the M15 will be more than enough to do justice to their resolving prowess.

SELECT COMPARISONS

I have pitted the Questyle M15 against every single “hyped” or well-regarded dongle that has been released so far. None of them are as resolving, period.

Quloos MC01 gets close at the cost of sounding edgy in the treble and artificial throughout. Apogee Groove has better rendition (and sense) of space, but it sounds a bit veiled in the bass and treble comparatively. The Cayin RU6 are too smoothed out, while the Cayin RU7 opt for a more relaxed, engulfing, and timbrally-accurate presentation than going after raw details.

Lastly, the L&P dongles (W2 and W4) do better in terms of microdynamics but fall flat in every other aspect. The output power is lacking compared to the M15, and once again – not as resolving.

CONCLUDING REMARKS

I received the Questyle M15 back in November, 2022. At the time of writing this review (end of July, 2023) the M15 managed to ward off every single competition by the wayside.

It’s a remarkable achievement in the age of rapid-fire chi-fi releases, where even the parent brand makes its 6 months old “flagship” redundant by releasing something new and “improved”. The M15 is here to stay, and shall remain one of the best, if not the best DAC-Amp dongles out there for the foreseeable future.

The only caveat is the nature of the sound itself – it may become “information overload” for those accustomed to relaxed and laid-back tuning. With certain IEMs, the treble region can sound exaggerated and become bothersome in the long run.

These caveats apply to most, if not all products though, and the M15 achieves the one thing it set out to accomplish: the crown for the most “effortlessly resolving” DAC-Amp dongle out there. Questyle captured lightning in a bottle with the M15, and I hope the spark does not go out anytime soon.

MY VERDICT

4.5/5
THE dongle to beat.

Contact us!

DISCLAIMER

Get it from Questyle Shop.

Our generic standard disclaimer.

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

The post Questyle M15 Mobile DAC Review (3) – Dongle Par Excellence appeared first on Music For The Masses.

Cons — Mid-bass texture on the KZ D-Fi is lacking
– Upper-midrange glare
– Fairly strong mid-treble peak can get fatiguing
– Upper-treble extension is lacking
– Staging is average

INTRODUCTION

It’s been a while since I have last reviewed a pair of KZ IEMs. Almost three years, to be exact. I missed out on quite a few KZ models in that period but from a tuning perspective, they were mostly more of the same.

However, around the end of 2022, KZ began to churn out some interesting models in terms of tuning. That departure comes full-circle with the KZ D-Fi, which is aptly named in the sense that the tuning “defies” the typical KZ house-sound (V-shaped, in other words).

Now, this is not a radical departure for KZ and some of their “signature” sound characteristics still seep through the cracks. However, the 4-way switch is a novelty in the budget segment, and the dynamic driver promises performance beyond the price point.

That’s a promise I hear often, but very few manage to keep it. Can the D-Fi be the one to follow through?

Note: the ratings given will be subjective to the price tier. KZ provided the D-Fi for evaluation.

Sources used: Questyle CMA Twelve Master
Price, while reviewed: $33. Can be bought from KZ’s official store.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

KZ rarely focuses on the packaging and presentation and in the budget segment I applaud this move. I do wish that less plastic was used in the packaging for environmental reasons.

The stock accessories are good enough to get you going. The stock cable is an SPC affair that gets the job done. Stock tips are decent but tip-rolling may help in controlling the bass, for example.

BUILD QUALITY

Phenomenal, in one word. The metal shell is dense and I find the face-plate visually appealing. The review unit is the one with the tuning switches and I recommend getting this one because the price premium is absolutely worth it.

The switches are somewhat fiddly to operate with the fingernails, so KZ supplies a SIM-card tool to make the task easier. There is one vent on the face-plate and one on the inner-side of the IEMs. The 2-pin ports stick out of the shell – a choice I am not a fan of, but it is what it is.

COMFORT, ISOLATION, AND FIT

While the shells are shaped ergonomically, the added weight can be a bit of a bother for long listening sessions. Other than that, no qualms with the comfort. Isolation is above-average and becomes drastically better with foam tips.

SOURCE AND EARTIPS

The D-Fi are very easy to drive and on my desktop Questyle CMA Twelve Master, I “over-drove” them when using standard gain, so I had to use low gain while testing them.

DRIVER SETUP

KZ D-Fi have a 10mm single dynamic driver with the usual “dual-cavity”, “dual magnetic circuit” bonanzas. The driver performs well for the price, but the most interesting part for me is the Zobel network-based crossover-circuit. I do not recall seeing such tuning methods in any of the IEMs in the past… decade?

From what I can gather, the Zobel network is used to “attenuate” the frequencies by approx. 5 dB. When all the switches are down (default position), the entire FR remains same but things go “quieter”. Flicking each of the first three switches (in conjunction with the other one) adds 1dB of sub-bass boost from 50Hz downward.

When all four switches are engaged, the networks does not attenuate the frequencies anymore and you get a noticeable increase in loudness. A clever mechanism indeed. Keeping only switch four engaged, meanwhile, increases the loudness of the treble region by a couple dBs.

TONALITY AND TECHNICALITIES

KZ D-Fi have an upper-midrange forward tuning. The lower-mids still sound recessed but the focus on the upper-midrange is what you notice the most. The overall tuning is rather energetic.

Sub-bass rumble is strong and noticeable even around 25Hz. Mid-bass texture is lacking though, so snare hits do not quite have the timbral characteristics you’d expect.

The mids are affected by the upper-midrange glare. It does not seem too much at the graph at first, but the upper-mids can get intense in soaring female vocals or while playing certain guitar riffs. As a side-effect, male vocals can sound somewhat “hollow” in some tracks.

Upper treble lacks airiness. Treble is mostly there due to a noticeable 8kHz peak. Then the treble rolls off past 13kHz or so. Given the budget nature, I think this performance is acceptable despite the hit on perceived “resolution”.

Despite the treble roll-off, initially, there is some “wow factor” due to the hyper-energetic tuning. Things can get fatiguing though if you are sensitive to boosted upper-mids.

Stage is narrow. Imaging is good for the price though some of the peers do it better. Macrodynamic punch is strong, while mIcrodynamics are lacking.

SELECT COMPARISONS

It’s a bit difficult to make “Apples vs Apples” comparisons when it comes to the D-Fi because, let’s face it – there isn’t another option in this price range that has tuning switches.

Putting the novelty aside and only focusing on the sound quality, Final E1000 are better tuned across the board, even though they lack the bass rumble of the D-Fi, and the build is nowhere near as reassuring.

The BLON BL-05S, meanwhile, have a gaudy color scheme that hides the overall great sound, which is better than the D-Fi in terms of tonality and technicalities. They need changing the cable and tips, however, and the price tag can go well beyond USD$50 after that fact.

CONCLUDING REMARKS

KZ D-Fi are the odd ones out in the budget segment. The tuning is closer to the current “trends” of boosting the upper-midrange and dialing down the bass, while the tuning switches can be novel enough for many to warrant a purchase. I am not a fan of the shoutiness, nor the lack of mid-bass texture and warmth. Then again, the pricing is fairly competitive.

I do wish KZ further tones down the upper-mids in the next release, and perhaps focus on making the sound slightly warmer and more inviting. Once that happens, I may finally have found a pair of KZ IEMs that can stay in the collection for future comparisons.

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

INTRODUCTION TO TOPAZ

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

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

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

Please read on…

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

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

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

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

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

BUILD QUALITY

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

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

COMFORT, ISOLATION, AND FIT

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

SOURCE AND EARTIPS

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

DRIVER SETUP

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

TONALITY AND TECHNICALITIES

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

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

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

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

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

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

SELECT COMPARISONS

vs Dunu Kima

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

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

CONCLUDING REMARKS

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

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

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

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Cons — Hidizs MS5 have thick nozzles that can compromise comfort
– 4.4mm balanced cable is a separate purchase
– Need more venting to avoid pressure buildup
– Recessed lower-mids
– Mircodynamics are barely perceptible
– Tuning can be too “in-your-face” at times

INTRODUCTION

Hidizs is mostly known for the “source” products in its lineup, be it the dongles or the DAPs like AP80 Pro X. The IEMs released so far have been in the budget range and mostly tried to keep up with the competition rather than challenge them head-on.

The Hidizs MS5 aim to buck that trend. These are the most expensive IEMs Hidizs have ever produced. Heck, if memory serves right (and looking at their current lineup), the MS5 are the most expensive product Hidizs has ever launched.

This heightened price tag brings forth elevated expectations. Do the Hidizs MS5 showcase a performance that befits the price, or do they fall short of the high bar? Let’s find out.

Note: the ratings given will be subjective to the price tier. Hidizs was kind enough to send me the MS5 for evaluation.

Sources used: Questyle CMA Twelve Master.
Price, while reviewed: USD$400. Can be bought from Hidizs.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

Hidizs managed to make their flagship packaging look the part. While the box has no fancy layers like some manufacturers do, it is chock full of high quality accessories. You get the IEMs themselves, 9 pairs of eartips, two pairs of extra tuning filters, an 8-core cable, and a large carrying case.

The stock cable is very good – flexible/pliable and doesn’t tangle easily. It’s a single-crystal copper and silver-plated copper hybrid. The earhooks are on the stiffer side and I am not a fan of the strange design Hidizs picked for the 2-pin housing.

The stock tips form a good seal, and I found the balanced tips to go well with the stock tuning. The stem is hard though, so those with small ear canals might require tip-rolling for better comfort. The carrying case has ample room to fit the IEMs with the cable alongside the tuning filters. This makes the case too large to put in the pocket, however.

All in all, Hidizs did not skimp on the accessories, but I would have preferred the option to select 4.4mm balanced cable as “stock cable” during purchase. As of now it’s a separate accessory and this should not be the case.

BUILD QUALITY

The 3D-printed, UV-cured resin shells of the Orchestra Lite have good consistency and give a dense feeling in the hand. There are some refractions inside the shells though some may consider them a design element. Nonetheless, overall shell quality is similar to Moondrop’s Blessing2, if not at a slightly higher level.

The backplate evokes a sense of depth, though the artwork itself is somewhat generic. There are no vents on the shell, making this a completely sealed design.

The nozzle has three bores, one for each frequency band (bass, mids, treble). More on this later. Unfortunately, the large size makes it difficult to fit some tips.

Finally, the flush 2-pin ports complete the build tour (I prefer them recessed though). In short: Hidizs has managed to create a striking design that makes the MS5 instantly recognizable.

COMFORT, ISOLATION, AND FIT

Comfort is average due to the large nozzle size. Moreover, the singular vent is not enough to alleviate the pressure buildup, and a tight seal creates some discomfort. .

SOURCE AND EARTIPS

The Hidizs MS5 are very easy to power, a bit too easy some would say due to the ultra-low 5.3 ohms impedance. Reality is that these are source-picky IEMs. They demand a source with very low output impedance (below 0.5ohms) and the noise floor also has to be low to not pick up any hiss.

As for tips, I used the stock “balanced” tips and they provided adequate seal.

DRIVER SETUP

Hidizs goes for a five driver hybrid setup, with 1 dynamic driver + 4 balanced armature drivers arranged in a 3-way crossover design. The single DD (kevlar dome + silicone surround) and a Sonion 17A003 is in charge of the lows and lower-mids respectively, a and a pair of “composite” Sonion E50DT as super-tweeters for ultra-high frequencies.

There is also the “nozzle-based” tuning option where you can replace the stock nozzle with one of the supplied ones and they dampen (or increase) the treble, resulting in a heightened or lower sense of bass respectively. I ended up using the default balanced nozzle since the other two sounded too bloated (bass nozzle) or too brittle (treble nozzle).

TONALITY AND TECHNICALITIES

Hidizs MS5 have a highly energetic V-shaped tuning with some extra sizzle up top.

The most impressive aspect of the MS5 has to be the bass response. It’s fast, punchy, and slams hard. After a series of IEMs with disappointing bass, the MS5 buck that trend fairly well. However, the bass can get too fast at times, with some decaying notes being overshadowed by the leading edge of the next note. This also hurts bass texture a bit, missing some of that “organicness” associated with the best dynamic drivers out there. However, it’s a minor sacrifice to make for an otherwise excellent bass response.

Mids are a mixed bag. The lower mids have good body and density but sit behind the bass and treble in the mix. This results in a loss of “focus” when it comes to male vocals, and the transition from lower midrange to upper midrange is handled abruptly. There is some hollowness between 1.5-3kHz, which adds some chestiness to soaring male vocals.

The mids don’t sound overly shouty, shrill, or thin though, so there’s that. Acoustic guitars sound a bit blunted, with the low notes getting more focus. Guitar riffs are in the background when cymbals are also playing around the same volume but this helps in reigning in what could be “aggressiveness overload”.

Finally, we get to the treble which is the most polarizing aspect of the Hidizs MS5. It is noticeably elevated, putting cymbals and hi-hats in added focus. There is a lot of energy in the sound, which may get too much at times. Those who prefer high-energy tuning will find the MS5 right up their alley. It’s a bit too much for my tastes, however. Adding some dip around 6kHz via EQ helps in smoothing out the signature, so try that out if you want less fatigue in the tuning.

Soundstage is strange. It doesn’t sound cramped but the depth is not well rendered. Stage height is good though. Imaging is good when it comes to cardinal positioning, but center imaging suffers as things sound in your head instead of projected to the front..

Macrodynamic punch is very good, while microdynamics are lacking. General resolution is good even though most of it can be attributed to the extra-sizzly treble response.

SELECT COMPARISONS

vs Moondrop Blessing2 Dusk

Moondrop Blessing2 Dusk have been out in the market for a while and Moondrop recently released the updated model in Blessing3. As I have not heard the updated model, I’d mostly compare with the ageing B2 Dusk.

In terms of build and accessories, the MS5 win hands down. Comfort is a question mark on both of these IEMs. Isolation is slightly better on the MS5 though, and they sport the tuning mechanism even though it makes little difference to me.

As for the sound, the Blessing2 Dusk go for a more neutral, analytical tuning vs the bombastic, high energy MS5 tuning. The bass is noticeably faster and slams harder on the MS5, while the B2 Dusk opts for a nimbler, more lightweight bass response. This lighter bass rendition meshes well with the mids of the B2 Dusk which is slightly thinner/colder than the MS5 while being more upfront. Treble is not as aggressive on the B2 Dusk, sacrificing treble forwardness for airiness.

In the end, I find the B2 Dusk more suited for those who prefer a somewhat neutral tone without completely sacrificing bass punch. The mids are thinner but the rest of the frequencies are fairly balanced. The MS5 have a more colored presentation that works well with some genres (Pop, Rock, Hip-hop) while sounding too forward in fast-paced metal tracks.

CONCLUDING REMARKS

Hidizs broke the price barrier with the MS5, and their marketing push indicates that the brand has a lot riding on the success of the MS5.

I’d say the MS5 are living on the edge: a bit further and they become too aggressive, a few steps back and they become too unremarkable. It’s not the most comfortable position to be in, but the MS5 manage to toe the line.

There is no denying that Hidizs’ choice of tuning here will be polarizing, but that also means those who like such high energy presentation will find only the MS5 as a suitable purchase option. Only Sennheiser IE 300 offer a similar tuning in the <USD$500 bracket and they fall behind in terms of technicalities.

So the MS5 are not something I’d recommend as an all-rounder, rather they are for the moments when you need that extra dose of treble and bass. I expect more refinement on the tuning front, however, and I hope Hidizs controls the treble better in the next release to make their offerings more universally appealing.

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Cons — DO300 chassis is a fingerprint magnet
– Stage depth and microdynamics are lacking in comparison to higher end DACs
– Rotary encoder feels cheap
– Subpar playback of DSD files
– Too many similar options in SMSL’s own lineup

INTRODUCTION

SMSL has become immensely popular in recent years, thanks to the consistent delivery of well-measuring and well-specced source devices that match or undercut the competition in terms of many objective metrics.

The DO300 DAC is the latest in line of products that have a very impressive spec-sheet while the asking price is relatively modest. DO300 is also one of the first DACs to utilize the latest and greatest ESS Sabre ES9039MSPro chip, sporting class leading distortion figures and dynamic range. There is also numerous input and output options to mix and match with any system out there.

So, does the DO300 manage to harness the TOTL DAC chip inside to its full potential, or do they end up being another generic release? Let’s find out.

Note: the ratings given will be subjective to the price tier. Aoshida Audio was kind enough to provide me the DO300 for review.

Headphones and IEMs used: Sennheiser HD650, Hifiman HE-6se V2, Sennheiser IE 900

Price, while reviewed: $550. Can be bought from Aoshida Audio.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The packaging is a fairly basic cardboard box. Inside, you get the DO300 DAC itself, a power cable, an USB type-B to type-A cable, and a remote control. No batteries are included.

BUILD QUALITY

Build quality is good in general. The DO300 will not impress with its density or heft, but the CNC-milled aluminum chassis has smooth finish all around with a matte black paint-job. I am not a fan of the coating though, it catches fingerprint and grease all too readily.

The front panel is basically a large rotary encoder with a color LCD beside it to show the line-out gain, current phase, sampling rate, and input type. The LCD is not the best in terms of fidelity, with the contrast being lower than your typical smartphone. Then again, this is a mid-priced DAC and even higher tier ones employ far cheaper displays at times.

i do wish the LCD display showed a few more information, like the current selected filter, tone color enhancements etc. On a similar note, the rotary encoder is not my favorite. It has distinct steps but the feedback is somewhat mushy. There’s also some wobble to it when pressing down (to select an option, for example), which further cheapens the feeling.

As a result, I mostly operated the unit with the supplied remote control which makes it much easier to change the various tone colors, filters etc.

Now let’s move on the other ports on the back. You have the COAX/TOSLINK inputs, the usual USB input (type-B port), I2S, AES/EBU, and Bluetooth inputs. Outputs include both RCA (single-ended) and 3-pin XLRs (balanced).

SMSL basically put in every common input and output types in the market, so most users should not face an issue integrating this DAC into their chain, whether they’re running a small desk setup or a full-fledged stereo rig. I do wish the USB port was type-C because, well, type-C everything is the mantra nowadays (albeit type-B is more robust).

Some notes about the I2S input: I could not test it out due to the lack of such a device at my disposal. However, I shall receive the Cayin N7 soon, which has I2S out. I will update the sound section with impressions regarding I2S input if the difference is noticeable.

So, in essence: good build quality, with no visible imperfections or issues. The rotary encoder could be better though, and type-C input would be nice.

SPECIFICATIONS

The official specs are as follows:

The interesting part here is the ESS Sabre ES9039MSPro chipset. Apart from that mouthful of a name, this is a completely redesigned chipset, as per ESS’ claims. However, they have historically been opaque with their datasheets (with manufacturers or DIY-ers often having to sign NDAs before getting intricate details about the implementation).

Some forum discussions hint at the 9039MSPro being just a more power-efficient 9038, but it’s all speculations and hearsay for the time being.

As for the BT chipset, Qualcomm QCC5125 is utilized. It supports all mainstream codecs including several AptX variants and LDAC. The BT version is 5.0 which is “older” than the latest 5.2, but this should not be too big an issue. The rest of the components includes XMOS XU-316 USB chipset, SMSL’s self-developed system clock, a low-noise linear PSU (which works surprisingly well at suppressing ground hum and RF interference), and 11 dual op-amps.

Another plus is the automatic switching between any voltage range between 100V – 240V. This helps in avoiding the mess of mistakenly connecting the plug without switching the voltage selector and damaging components. So, while the internals are not the most beefed up and do not use many discrete components, the design is competent and should be fine for most use cases.

SMSL DO300 TONALITY AND TECHNICALITIES

I find describing the tonality of digital sources a futile exercise, as most of the characteristics depend on the pairing with various headphones and IEMs. Nonetheless, there are some commonalities between all pairings.

However, I consistently noticed some sonic characters on the DO300, even in blind testing. Basically: the DO300 has a noticeably harder hitting bass slam, and the stage is slightly cramped compared to my reference setup. Microdynamics is another area where the DO300 struggled, with subtle shifts in volume not being as apparent as they are on the LPGT.

Another gripe of mine is the playback of DSD files. Basically – if you listen to many DSD files, skip the DO300 altogether. The replay gain is too high, reducing dynamic range and robbing the DSD files of their nuances during playback. I have a few albums in DSD so overall it was not an issue but the few DSD64 and DSD128 tracks I tried with the DO300, things were not pretty.

Before proceeding further, a description of the test setup is in order. I used the Lotoo PAW Gold Touch (LPGT) + Cayin C9 as the reference system, and the SMSL DO300 is replaced as the DAC for the A/B test (LPGT would then act as the transport). The amp was left untouched, ensuring volume matched comparison.

One interesting feature the DO300 has is “phase inversion” where phase issues on the output side can be compensated for. I’d recommend keeping it turned off unless things sound “strange” (e.g. the center instruments or vocals sound strangely compressed).

PAIRING NOTES

IEMs

The Sennheiser IE 900 show noticeably harder-hitting bass when the DO300 is used as the DAC in the chain. The stage is also narrowed, and stage depth is reduced compared to the LPGT. This “effect” was consistent between tracks. The treble fortunately did not sound “etched” or “fatiguing”, so SMSL has improved upon one of my complaints in their previous offering – the M400.

SoftEars Turii also showed similar change in bass response. It also highlighted the lack of stage depth compared to the LPGT’s DAC section. Imaging seemed fine, though center-imaging is more convincing on the LPGT.

Headphones

The story continues with headphones. Sennheiser HD650 do not benefit from added bass slam as the driver is just incapable of reproducing such low notes, but the mid-bass tightened up slightly. I also tried out the “tube” tone color with the HD650, and while it emulated the soft bass bloom of tube amps, the mids were not as “colored” as they are on the Xduoo MT-601S with tube buffer, for example. An actual OTL amp like the Bottlehead Crack will display even more dramatic difference between SMSL’s emulated tube effect and the real thing.

Speakers

Finally, I used the SMSL DO300 with my desk rig and desk speakers (KEF LSX), with the Questyle CMA Twelve Master being a point of comparison. The KEFs have a low-frequency cut around 70Hz, so the change in bass was mostly imperceptible. The staging was noticeably different between the Questyle and the SMSL, however.

Basically, the Twelve Master had wider, deeper staging as the vocals sat a few inches further away in the presentation. It is not midrange recession, mind you, rather the center imaging and stage depth that is more up-front and “in-your-face” on the SMSL DAC.

COMPARISONS

vs SMSL M400

The M400 is one of the older SMSL DACs that I have tried. It’s one of the few DACs to run the now defunct AKM AK4499 chip (AKM’s past flagship) and offers similar settings to the newer DO300 including tone color and reconstruction filters.

The signature has noticeable differences, however. The DO300 is not as etched in the treble as the M400, and the M400 also tended to push upper-mids a bit too forward. The DO300 is a step up on that front. Staging and imaging are similar on both, but the bass slams harder on the DO300 (which seems to be a thing of this DAC at this point).

So, should existing M400 users upgrade? I think the DO300 is better, but the differences are subtle and a change of amp will have more profound effect. The bass and macrodynamic punch is definitely noticeable, so if you are into that, the DO300 can be an upgrade on that front.

CONCLUDING REMARKS

The DO300 is competent, no doubts about that. It measures well, has every input and output you may possibly want, and the BT support is the proverbial cherry on top (though I find BT audio lacking vs the usual wired affair and as such – ignore it unless absolutely necessary). The build is good and stock accessories are good enough to get you going.

Speaking of the sound, DO300’s bass reproduction is truly satisfying. If you like “slammy” bass – this won’t disappoint at all. Staging and imaging could be better, however, so could be the rendition of microdynamics. DSD files are played back with too high a gain, reducing DR in the process, so DSD collectors should skip this one

The big issue lies elsewhere – it’s about SMSL saturating its own lineup. There is the DO200 mk2, the D400ES, the D300 (with ROHM DAC), and even more upscale options in their VMV lineup of products. It gets dizzying, confusing, and the average consumer might even give up since there is no clear delineation between these products.

Nonetheless, if you are looking for a midrange DAC with most common inputs, some “sound shaping” via reconstruction filters and tone coloration/DSP options, and don’t care about DSD – then the DO300 is a good option. It’s overall better than the M400 it’s essentially replaced, though given SMSL’s rapid-fire release schedule, this one might get replaced soon anyway.

Despite that possibility, the DO300 gets a recommendation based on how solid an offering it is, all things considered.

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Cons — Kiwi Ears Orchestra Lite come with poor stock tips
– Thick nozzle can be an issue for some, alongside the ventless design
– Wooly, undefined bass
– Macrodynamic punch is severely lacking
– Lacking in energy and engagement factor

INTRODUCTION

Kiwi Ears had one of the “underground hits” of recent years in the form of Kiwi Ears Orchestra: a multi-BA offering that offered a smooth tuning and promised performance akin to the kilobuck mainstays.

While I never heard the original, the Kiwi Ears Orchestra Lite, the brand’s latest offering, landed at my doorstep recently. The paper specs are impressive, especially once you consider the price. The frequency response graph looks great on paper.

Let’s see how much of that paper spec translates into real world performance.

Note: the ratings given will be subjective to the price tier. Linsoul was kind enough to send me the Kiwi Ears Orchestra Lite for evaluation.

Sources used: Questyle QP2R, iFi Go Blu.
Price, while reviewed: $250. Can be bought from Linsoul.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The packaging is minimal but has all the necessary accessories.

The stock cable is very good – flexible/pliable and doesn’t tangle easily. The flexible ear-hooks are much better than those stiff, hard to manipulate ones you often find. Unfortunately, the stock tips are useless. There are 3 different kinds supplied, 3 pairs of each. Unfortunately none of them would provide a good seal and comfort.

In the end, I used Spinfit CP-100+ tips. The carrying case is good enough if a bit bland in design. Overall, apart from the tips, good accessories.

BUILD QUALITY

The 3D-printed, UV-cured resin shells of the Orchestra Lite have good consistency and give a dense feeling in the hand. There are some refractions inside the shells though some may consider them a design element. Nonetheless, overall shell quality is similar to Moondrop’s Blessing2, if not at a slightly higher level.

The backplate evokes a sense of depth, though the artwork itself is somewhat generic. There are no vents on the shell, making this a completely sealed design.

The nozzle has three bores, one for each frequency band (bass, mids, treble). More on this later. Unfortunately, the large size makes it difficult to fit some tips.

Finally, the recessed 2-pin ports complete the build tour. I think given the budget constraints, Kiwi Ears managed a good job here.

COMFORT, ISOLATION, AND FIT

Comfort is average due to the large nozzle size. Moreover, the ventless design creates some pneumatic pressure in the ear canal, resulting in added awkwardness. I’d recommend trying out the Orchestra Lite in person before purchase if possible to see if they fit your ears.

SOURCE AND EARTIPS

The Kiwi Ears Orchestra Lite are very easy to power, and should be driven well by most dongles. I used Spinfit CP-100+ tips, as the stock tips had poor seal and were a challenge to put on the thick nozzle.

DRIVER SETUP

Driver count on the Orchestra Lite is mighty impressive. A total of eight BA drivers are placed inside with triple crossover design. Two Knowles ‘sealed’ woofers with dampers in front take care of the bass, while four “custom BA” drivers take care of the mids, and two more of those take care of the highs.

Kiwi Ears went for a triple-tube design and all tubes have dampers in the sound path. You can also see the crossover board on the side. All in all, competent driver setup and the coherency should not be too big of an issue due to similar drivers being used across the board.

TONALITY AND TECHNICALITIES

Kiwi Ears Orchestra Lite have a smooth, relaxing “U”-shaped signature with somewhat darkened treble response.

The two Knowles woofers unfortunately do not sound that impressive. Bass lacks slam and authority. Bass notes almost feel “wooly”. Reverb is unusually slow (try Nariyeh Thanei by Siamese Youth to get a feel for that).

Mids, fortunately, fare much better. They sound good for the most part and avoid shout, even though at high volumes the shoutiness can creep through (as the bass does not have body and impact, upper mids become more prominent). String instruments have a slightly softer leading edge, which avoids some BA timbre at the cost of crispness.

Finally, we get to the treble which is inoffensive without being spectacular. The bass tuning is a bit too safe at times, lacking excitement and engagement. Guitar riffs lack energy, while cymbals and hi-hats sound over-dampened. Upper-treble is also almost absent, so resonances and decays are lost.

Soundstage is not spectacular but manages to sound fairly “open” without being congested. Imaging is good, falling slightly short of class leaders like the Blessing2 or Oxygen. Separation is also good and comparable to the best performers in this range.

Macrodynamic punch is severely lacking. Sudden bass drops feel hollow. Microdynamics are not so evident either.

SELECT COMPARISONS

vs AFUL Performer5

The AFUL Performer5 sport a hybrid design, with a single dynamic driver taking care of the lows and the mids and highs being handled by BA drivers.

I find the Performer5 to be more comfortable due to better pressure relief and less obtrusive nozzle design. The stock accessories are good on the Performer5 but I am not too keen on the stock cable. Your mileage may vary.

As for the sound, the Performer5 have slightly better bass response, though the dynamic driver is underwhelming in terms of slam and punch as well. Mids are similarly tuned on both but female vocals are more intimate and have better articulation on the Orchestra Lite.

The treble is where the Performer5 edge out the Orchestra Lite with better engagement and extension up top. However, staging and imaging are overall superior on the Orchestra Lite.

So in the end, the bass and treble performance are superior on the Performer5 and that alone should make the decision easier for many. However, those who need a more relaxing presentation with a better sense of atmosphere (due to superior staging and imaging) might find the Orchestra Lite more appealing. Just keep in mind that they would not excite you as much.

CONCLUDING REMARKS

Overall, the Kiwi Ears Orchestra Lite are not technical powerhouses. The bass definitely does not live up to expectations and might be the deal-breaker for some. Some EQ makes things better, but the fundamental issues (lack of slam and body) remains.

While the mids are tuned well and the sound has a certain calmness that might appeal to those who do not like infusion of energy, it might be too polite, too safe, and too smooth.

So, the Orchestra Lite are suitable for a niche audience with niche tuning preferences. I would highly recommend an audition to see if these fit your tastes before making a purchase since, for me, they are just bland, lacking in life and verve.

Ah well.

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Cons — Dunu Kima does not have the fastest bass
– Treble lacks air
– Not the most resolving IEMs in this price
– Instrument separation could be better
– Difficult to stand out amidst strong competitors

INTRODUCTION

Dunu has been busy lately, trying to fill-up the price segment gaps in its lineup. The Dunu Titan S have been very well-received and offer a clarity-focused tuning that is fairly unique in the sub-USD$100 market.

Enter Dunu Kima, the slightly more expensive brethren of the Titan S that head towards the opposite direction. Whereas clarity was the name of the game for the predecessor, the Kima relies on warmth and organicness to differentiate themselves.

Is the change in tuning the only trick that the Kima can pull up their sleeves, or are there deeper changes that lie beneath? Let’s find out.

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

Sources used: Questyle CMA Twelve Master, Lotoo PAW 6000
Price, while reviewed: $109. Can be bought from Dunu’s Official Website.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

Dunu has finally moved to the… err, dark side and has embraced the waifu art for the packaging of the Kima. In fact, there is a little subplot about “Criz Faction” and why the maiden on the cover is gathering the protectors of the… yeah it doesn’t work for me. I’d rather have the metal-themed cover of the Titan S thank you.

When it comes to accessories, fortunately Dunu delivers, as has become the norm. The stock cable is silver-plated copper and has excellent ergonomics. The tip collection is very good as well, with both the S&S tips (boosts vocals) and the Candy tips (more balanced across the spectrum) supplied. The carrying case is also very good, offering adequate protection and room inside.

BUILD QUALITY

The CNC-milled zinc-alloy shell is a two-piece design and offers excellent rigidity. The model name and “Criz Faction” insignia are laser-etched onto the faceplate. Dunu opts for 2-pin connectors here, with the socket being recessed into the housing, offering better strain-relief than the exposed sockets.

There are two vents on the inner side. One near the channel marking (with special airflow control mechanism) and another near the nozzle. Overall, excellent build quality, even though it’s expected nowadays.

COMFORT, ISOLATION, AND FIT

Comfort is excellent, with the Dunu Kima aiding a snug, reliable fit. Isolation is average due to the two vents.

SOURCE AND EARTIPS

The Dunu Kima are fairly easy to drive, with most budget dongles being enough. However, they seemed to scale with higher-tier sources, though not to the extent where investing into a dedicated source makes sense. I used the Candy Tips for this review.

DRIVER SETUP

Dunu opts for a 10mm DLC (Diamond-like Carbon) coated dynamic driver for the Kima. This is apparently a newer generation of the driver that has an improved voice coil. A competent driver that aligns well with the price bracket without breaking new grounds.

TONALITY AND TECHNICALITIES

Dunu Kima have a warm, smooth tuning that focuses more on the timbre than absolute clarity.

What is most noticeable on the Kima is the density of notes. This is not very common in chi-fi nowadays where the “mid-bass bad” tuning philosophy has managed to butcher lower-midrange tonality in general, but the Kima is a welcome departure. The bass has good slam and sense of rhythm, the sub-bass rumble is present witout being overwhelming or hazy, and the driver is capable enough to keep the bass under control in most tracks.

Where tne Kima struggle is fast bass sections of double-pedals in heavy tracks like Lamb of God’s Ruin. Notes tend to blend into each other, blurring the outlines of each hit of the pedal or snare. Bass texture is good but not class-leading.

The lower-mids are warm, inviting, lush – the very essence of a laid-back tuning. The Kima never get fatiguing or shouty. This comes at the cost of clarity and those preferring utmost vocal forwardness might feel disappointed. Baritone vocals sound dense and grand, so do piano pieces and the occasional slow jazz. Strings could do with more bite, however, and guitar riffs lack the energy at times.

Finally, we get to the treble which is inoffensive without being spectacular. There is some upper-treble emphasis around 12kHz but that’s about it. Cymbals and hi-hats sound a bit dampened, opting for smoothness at the cost of raw resolution.

Soundstage has good depth, but the width and height are about average. Imaging is good, falling slightly short of class leaders (more on this below). Macrodynamic punch is decent, but microdynamics are where the Dunu Kima excel. Subtle gradations in volume are discernible and this makes the whole presentation feel more organic.

SELECT COMPARISONS

vs Tin T4 Plus

Tin T4 Plus are similarly warm-tilted in terms of tuning, but has a more recessed midrange and more emphasis in the treble region.

The issue with the T4 Plus lies in the technical department. The staging is wider than the Kima but not as deep. They sound less refined in the mids, and the more present treble is offset by poorer imaging and slightly worse dynamics. I think the Dunu Kima showcase a better execution of the “warm, inoffensive” tuning than the T4 Plus.

vs Dunu Titan S

Ironically, the most formidable opponent to the Kima come from within the family – Dunu Titan S. The clarity and imaging of the Titan S are a tier above the Kima, and the bass also seem faster.

However, the Titan S can sound too sterile at times, and the midrange shoutiness can be a bother – two issues the Dunu Kima avoid. I also find the Kima to have better build and accessories in general.

If it’s clarity you are after, the Titan S are better options. For those preferring warmth and easier listneing, the Dunu Kima are more suitable.

CONCLUDING REMARKS

The Dunu Kima are competent in terms of tuning, come with excellent accesories, have a great build, and the price is not too absurd.

Sadly, the market has become so saturated that it’s difficult to stand out by being “good enough”. You have to go the extra mile or offer something unique – two aspects that are sorely missing in most recent releases. The Kima are no exceptions. They are a sidegrade to the existing Titan S. A different tuning, but not a product that shifts the paradigm.

Thankfully, the Kima are pleasing to listen to, so even though they do not excite, they do not offend either. If you found the Titan S to be too sterile and clinical, give the Kima a shot. Their warmth might just convince you.

MY VERDICT

4/5
Good, but not an upgrade over their predecessors.

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

INTRODUCTION

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

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

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

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

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

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

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

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

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

BUILD QUALITY

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

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

COMFORT, ISOLATION, AND FIT

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

SOURCE AND EARTIPS

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

DRIVER SETUP

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

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

TONALITY AND TECHNICALITIES

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

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

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

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

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

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

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

CONCLUDING REMARKS

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

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

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

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

MY VERDICT

3.75/5

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Cons — Soundpeats Opera05 are bulky and not the most stable in the ear
– Thin mids
– Splashy treble
– EQ profiles are not the most versatile

INTRODUCTION

Soundpeats has a range of TWS offerings in the budget realm with varying degrees of popularity. The Opera05 and Opera03 are two of their latest releases, and for a change, they are doing the sale over at Kickstarter.

I received the Opera05 for review, and they appear to be the top model in Soundpeats’ lineup. The design is flashy and the spec-sheet looks good on paper. So, do the sound live up to the presentation, and especially that price tag?

Let’s find out.

Note: the ratings given will be subjective to the price tier. Soundpeats sent the Opera05 for evaluation.

Sources used: Pixel 4 XL
Price, while reviewed: USD$99 (USD$70 for kickstarter early-bird backers). Can be bought from Kickstarter.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The included accessories are the usual affair for TWS IEMs: a charging case, 3 pairs of eartips, and a USB type-C charging cable.

BUILD QUALITY

The charge case has a matte black finish with a glossy gold accent around the top hinge. There is a type-C port on the back for charging, alongside a button on the left side that displays current battery levels.

As for the IEMs themselves, they are rather substantial in size. The 12mm driver takes up a lot of space, and the electronics needed to perform ANC/Transparency mode functions require their own place.

As such, Soundpeats opts for a two-piece design with the Opera05 – the front matte part before the “crease” houses the 12mm dynamic driver and dual BA tweeters, whereas the glossy part holds the microphones, PCB, crossover board etc. This way, Soundpeats avoids the issue where the drivers cannot move a lot of air due to a lack of space around the driver chamber.

The face-plate is glossy, and catches attention due to the color scheme. It also houses the touch panel (more on this later). The top and bottom of the face-plate houses two microphones. Meanwhile, the driver housing part of the unit has a solitary vent. Soundpeats still manages to certify the Opera05 with IPX4 rating, which means minor splashes are fine, while dust and ingress protection is absent.

An odd thing about the build is the oval-shaped nozzle that Soundpeats seem to use on many of their models. This particular shape seems like a strange choice to me. On paper, it’s shaped like the ear canal, but I am doubtful about the proclaimed improvements. All it does is provide an awkward seal in the ears. Fortunately, most aftermarket TWS tips worked fine (e.g. Spinfit CP-360).

COMFORT, ISOLATION, AND FIT

Soundpeats’ dual-chamber design works well in terms of isolating the driver housing from the remaining electronics. Unfortunately, it creates a new problem – size. The Opera05 might be a challenge for those with smaller ears. I did not face such issues, by the by.

Isolation is above-average without ANC. With ANC turned on, it’s great. You only hear some high frequency noises, while most of the low-frequency noises are filtered out. Thus, good at drowning out engine noise, not so much when it comes to voices around you.

BATTERY LIFE

Battery life has been decent for me under LDAC codec (ANC on) with about 5 hours of continuous use, and an additional 20 hours or so with the carrying case. As such, I needed to charge the case about once a week.

CONNECTIVITY

Both LDAC and SBC codecs are supported, but sound quality is noticeably better on the LDAC codec with less compression in the bass regions. Bluetooth 5.2 offered rock solid connectivity with zero dropouts when connected to my Pixel 4 XL for hours.

DRIVER SETUP

Soundpeats Opera05 sport a hybrid driver configuration, with a 12mm biodynamic driver handling the bass and mids, and a dual-BA tweeter handling the treble. The BA driver is definitely working here as intended since there is a strong BA timbre in the highs. Moreover, there seems to be no damping in front of the BA nozzle, and both drivers are co-axially arranged.

SOUNDPEATS OPERA05 TONALITY AND TECHNICALITIES

The general sound signature of the Opera05 can be described as: bass-head-approved V-shaped, with spicy treble.

The bass on the Opera05 is strong. A bit too strong for their own good, as the bass on these has too much rumble at times due to the +12dB emphasis around the 40Hz region.

The good thing is that there is no mid-bass bleed, as the bass starts rising only after going below 200Hz. Sadly, this sudden bass-shelf results in thin lower-mids. The upper-mids are also boosted considerably, about 10dB, to retain the clarity in the voices.

These tuning choices favor female vocals more as those are put on the forefront, while male vocals take a back-seat. Vocal timbre is also not the most accurate, with things often veering towards shoutiness.

The other problematic part is the treble spikes around 6 and 8kHz. This gives rise to sibilance. The upper-treble is also boosted, resulting in fatigue. It initially sounds rather clear with surprising amount of bass but the novelty wears out quickly, as your own ears start wearing down due to the hyper-exciting sound signature.

The staging is above average, while imaging is below average. Macrodynamic punch is strong and shows good authority in sudden bass-drops, but macrodynamics are not well portrayed.

Overall, such “turn it up to 11” tuning is not for me but I guess there is a mainstream appeal for such a signature.

APP OVERVIEW

The Soundpeats app (Android/iOS) offers a better overview of the battery life, firmware upgrade, sound presets, controlling the level of ANC, and a basic 9-band EQ.

Unfortunately, trying to EQ the IEMs turn them into a dark, bassy mess. The moment you turn off one of the presets, all sense of clarity is lost and midrange honkiness appears. I believe the Opera05 are tuned with heavy DSP effects in work, so disabling them does more harm than good.

As a result of the heavy reliance on DSP, manual EQ-ing didn’t yield good results.

COMPARISON with Sony WF-1000XM3

Sony’s older flagships are still in production and has a similarly chunky profile as the Opera05. Sony goes for an elongated profile, with the carrying case being oversized. The carry/charge case is perhaps the biggest “offender” in the entire WF-1000XM3 package.

Comfort is slightly better on the Sonys, whereas isolation with ANC is almost similar. Mic performance was even slightly better on the Opera05.

As for the sound, Sony has a more boosted mid-bass region, but the sub-bass region is more under control. Sony’s default tuning profile is more geared towards smooth, relaxed listening, so treble is rolled-off noticeably. Reducing clear-bass by -2 and adding a bit of midrange and treble via the EQ, you can get a fairly balanced tuning out of them. The DSP effects work in conjunction with the EQ, unlike the Opera05.

So if the carry case is not a problem, the WF-1000XM3 can be a great alternative if you’re after a bassy sound signature under the USD$100 range. The Opera05 has the price-tag advantage now that they are on kickstarter early-bird pricing, but the value proposition becomes moot when MSRP is considered.

CONCLUDING REMARKS

The Soundpeats Opera05 are feature packed, and the ANC performance is solid. They look the part due to the high quality build, albeit their shape and size are not the most ideal for those who prefer a discreet profile.

It’s the sound that is polarizing, as I cannot agree with the spicy treble on offer here. The bass is also rather unnaturally boosted, even though it sounds fun with certain modern genres.

I think for their early-bird price, they offer a sound signature that will appeal to the mainstream “Beats” crowd. However, more balanced sounding options exist, so those looking for utmost fidelity will find better suited picks out there.

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Cons — The Gravastar Mars Pro is expensive
– Heavy for portable use
– Mono output unless you buy two of them
– Bass distorts at very high SPL
– Too much sub-bass boost drowns out the mids
– Treble lacks definition and clarity

INTRODUCTION

Gravastar comes up with the craziest of designs that look unlike anything on the market. It’s TWS IEMs, the Sirius Pro, stood out in terms of overall aesthetics which is more of a “love it or hate it” affair. I personally find the Gravastar offerings to be unique in their design language, and hope that the brand keeps doing their own thing.

The Mars Pro is Gravastar’s flagship bluetooth speakers, coming in at a premium price-tag which pits it against some established Bluetooth bookshelf speakers. However, the Mars Pro has the same ace up its sleeve – the unique design language. Nobody who glanced at it for the first time could tell that it was a speaker, which tells a lot about the intention of such a product.

Gravastar Mars Pro not only intends to be a conversation starter, it also tries to be a competent speaker in the process. Does it hit the mark, or is it all skin-deep? Let’s find out.

Note: the ratings given will be subjective to the price tier. Dunu was kind enough to send me the Luna as part of the Review Tour (thanks Tom!)

Price, while reviewed: $330. Can be bought from Gravastar’s Official Website.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The package itself is quite a looker. Inside, you get the speaker itself, a type-C to type-C cable for charging, and another type-C + aux cable. More on the last bit in the build section.

BUILD QUALITY

Now, where to start…

The Gravastar Mars Pro looks like an alien trooper, for the lack of a better description. Depending on the edition, you can get weapons and shield on the side of the speaker (Shark 14 version) or a set of half-broken horns (Aurochs). Really, it’s one bizareness after another, but they all somehow mesh into the overarching theme.

Onto the more material side of things, the chassis is hand-painted zinc-alloy for the most part. The attention to detail here is extraordinary, and I can’t quite recall such a feat on a product that’s not marketed as artisan or boutique. There are subtle bumps and damage marks on the chassis that feel real to the touch.

At the bottom, three adjustable feet (with integrated LEDs) provide the balance and act as a base upon which the speaker stands. You can fold and unfold the legs to set the speakers in various angles. Unfortunately, the feet only have three adjustable positions, so maneuverability is a bit compromised. There are rubber nubs underneath the feet for better grip.

At the front of the unit there is the speaker grille, which also houses a bunch of LED strips. The conical driver dome is entirely encased by a metal cage, which also protects it against external damage. The bass port is one the back but it’s exposed, which is the only weak-link in this otherwise bullet-proof build.

At the bottom there’s a type-C port that also doubles as aux-in via the supplied type-C+aux cable. At the top, there are three buttons for operating the unit, and a touch-sensitive volume bar.

One thing that’s not apparent at all from the pictures is the sheer heft of the unit: it’s about 1.5 kgs. Yes, you read that right: 1.5 kgs of metal put in a shell that’s about 18 cm in diameter. This makes for a very dense and hefty speaker that’s on par in terms of weight with much larger speakers.

However, I’m not gonna dock points for this simply because Gravastar made the Mars Pro to have such heft by the material choice alone. Thus, the Mars Pro is the best built Bluetooth speaker I’ve ever laid my eyes or hands on, bar none.

GENERAL OPERATION

General operation is fairly simple. There are three buttons on the back of the device. The center buttons acts as power button, and is flanked by the LED control button and the Bluetooth pairing button.

Pressing the LED button cycles through the RGB colors, whereas long pressing the power button turns the unit on or off. There is also a touch sensitive volume control bar on top that is only activated during playback. I have made a short video to demo the entire thing so please have a look below:

DRIVER SETUP

The only driver description we get from Gravastar’s site is that it is a “full-range subwoofer”. The exposed bass reflector on the back is suspended by a flexible material to allow better low-end control.

TONALITY AND TECHNICALITIES

The sound is where I am a bit disappointed in the Mars Pro. Sure, it gets loud, and sounds surprisingly full for a single speaker, but it’s all in… mono. For stereo playback, you need two of them, which makes the total cost go over USD$500. Ouch!

Judging them as a sole unit, the lack in sub-bass rumble is immediately obvious. Even far higher tier floor-standing speakers fall short here, so nothing against Gravastar. However, they decided to boost the bass despite the physically limited driver. This results in distortion in bass-heavy tracks when the volume is pushed very high.

The mids are recessed, and highs even more so. The rolled-off highs help in reducing fatigue, but it also imparts a sense of muddiness and mushiness across the spectrum. Imaging, staging is out of the equation as, well, it’s a mono speaker by itself. I did not have a second unit to judge those factors.

Dynamics are again mushy, with sudden bass drops getting compressed into a puddle of bass. Crescendos lack the upper octaves because, well, rolled off treble.

I think I wouldn’t mind the sound of the Mars Pro on a $50-$100 bluetooth speaker. But these are three times the price at least, so based on sound quality alone – not a good value. The likes of Sony SRS-XG300 costs lower while having a more controlled sound that’s more balanced across the spectrum.

CONCLUDING REMARKS

The Gravastar Mars Pro is one of the, if not the most unique Bluetooth portable speaker you can find around. It resonates with my geeky heart in terms of design and overall finish, and I have saved a spot for the Mars Pro on my table since getting the unit.

Unfortunately, too much attention was put into design and not a lot of it was spared for the sound. Given the asking price (which is magnified due to the unique chassis), one should and probably would expect better sound.

I hope Gravastar rethinks the tuning of the Mars Pro, lessens the bass a bit, and focuses on getting a more balanced sound across the spectrum rather than heavy, dense bass that clouds everything it touches.

The Gravastar Mars Pro only gets a recommendation if you need something to decorate your desktop or side-table and like the particular steam-punk aesthetics it is going for. If sound quality is the priority and nothing else – better look elsewhere.

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The post Gravastar Mars Pro Bluetooth Speakers Review – Form over Function appeared first on Music For The Masses.

Cons — Heavy, bulky design
– No line-in/amp-only function
– Picky about USB cables
– Not for very sensitive IEMs

INTRODUCTION

EarMen has made a name with its source gears, and the Angel is the flagship “portable” DAC-Amp offering in its lineup. This also happens to be the first Earmen product I’ll be reviewing, so there’s that.

From a market-positioning perspective, the Angel fills the niche of “portable powerhouse” DAC-Amps that have rather high output power, albeit in a less pocket-friendly manner compared to typical dongles. Usually the idea is to power inefficient planars and high impedance dynamic drivers while on-the-go, or perhaps to settle for a minimal setup that can be moved around in a pinch.

Does the Earmen Angel manage to carve a spot for itself, or is the first attempt at a powerhouse dongle a forgettable one? Let’s find out.

Note: the ratings given will be subjective to the price tier. Earmen was kind enough to provide me the Angel for review.

Headphones and IEMs used: Sennheiser HD650, Hifiman Arya Stealth, Hifiman HE-6se V2, Moondrop Venus, Dunu Zen, Final E5000

Price, while reviewed: $800. Can be bought from Earmen’s Official Store.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

I received the Angel without any retail package, since back then a retail package was not even designed yet. So please check other reviews over at head-fi for a proper visual depiction of the packaging and accessories.

BUILD QUALITY

Exceptional, in one word. The blue finish is unique and makes the Angel stand out from a myriad of similarly-toned devices. I imagine this colorway could be divisive, but I find it flashy while being tasteful. A very fine line that Earmen manages to tread well.

The entire build is a three piece construction, with the front and back “caps” being held by 4 screws. The middle shell is milled out of a single piece of aluminum. The front panel of the device has the output jacks (4.4mm and 3.5mm respectively), gain switch, pre-amp mode selector, LED indicator, and the rotary encoder.

The rotary encoder has very smooth feedback with precise “steps” that have the right amount of feedback. It also doubles as the power buttons, since pressing it down is how you turn on or off the device. There is a slight wobble to the wheel for this reason but it’s very common for wheels that can be pressed downwards.

The LED indicator flashes between alternating colors depending on the input selected, the sampling rate/format of the file etc. A more detailed description can be found in the following.

The back houses two USB type-C ports: one for charging, and one for data transmission. The separated inputs are great to avoid any potential interference between the power and data lines, but poses a new challenge: finding a USB type-C cable that works. I have 7 different USB type-C cables, all but one failed to connect the Angel to my PC.

Another oddity is the situation with fast chargers. Basically – the Angel do not charge at all with fast chargers. I tried three different fast chargers, two of them supported USB PD and another supported Quick-Charge 3.0. No dice. In the end, I got success by charging for a regular 5V-2A adapter which was excruciatingly slow.

Update: it turns out that Earmen recommends charging with 5V-2A chargers in the manual. So this limitation is by design.

Full recharge takes over 3 hours. Quite a long time, but the Angel holds charge really well. Standby drain is practically negligible. Moreover, the amp section does not even engage if no headphones are connected, so that’s another nifty power-saving feature.

Now let’s move on the other ports on the back. You have the COAX/TOSLINK input, and finally two line-out ports in balanced or single-ended flavor. A curious omission here is a line-in. That way it would be possible to use the Angel as an amp alone. But alas.

Overall, flagship-grade build quality with no qualms whatsoever regarding the workmanship.

USABILITY

The Angel is rather substantial in size. You can grab it in one hand, but stacking together with a phone, for example, is quite impractical. I find the Angel more suited as a sort of “transportable” device than something truly portable. The 340gm of weight definitely hints toward that direction.

Battery life has been within expectations for a device of its class. When powering the Sennheiser HD650 and Hifiman Arya SE, the Angel lasted me about 7 hours on a single charge. The 2x3000mAh battery pack does the job, though I suspect using IEMs will yield slightly better results. Nonetheless, expect to charge every other day if you are a frequent user.

Another nifty usability feature is how the rotary encoder works. It acts as a fully digital potentiometer for one, and the volume is automatically reset to zero every time you unplug something or turn the unit off.

As a result, the chances of accidentally blasting your ears with high volume becomes diminutive. It does make volume-matching and comparing between multiple IEMs/headphones a chore, but that’s something you don’t do every day.

The dial also works as pre-amp volume control when the line-out voltage is set to “pre-out” via the switch on the front. Setting it to “direct” turns on fixed-voltage line-out mode instead, which is useful when connecting external amps.

SPECIFICATIONS

Earmen does not specify the exact current at a specific load on their website. So I asked them for those figures and they told me that the output power of Angel is:

• Single-ended: 1.62W @32 Ohm
• Balanced: 2.25W @32 Ohm

The Sabre ES9038Q2M is used as the DAC chip, which is the highest end 2-channel Sabre DAC. The rest of the specs are as follows:

TONALITY AND TECHNICALITIES

I find describing the tonality of digital sources a futile exercise, as most of the characteristics depend on the pairing with various headphones and IEMs. Nonetheless, there are some commonalities between all pairings, and in general the Earmen Angel has a “Reference” tuning. Which is another speak for: they are neutral and does not really emphasize on any frequencies.

There is a bit of “excitement” up top, which can be evident while pairing with some warm/laid-back gears, but it’s not overdone. The upper-mids/lower-treble show a hint of the infamous “Sabre glare”, though it’s not distracting and well under control. The staging was consistently wider than average. Rest of it is how it should be – uncolored, close to neutral.

PAIRING NOTES

IEMs

The Angel pairs well with moderately sensitive IEMs with 16ohms or higher impedance. Anything lower with high sensitivity, and you will notice some hiss. Anything lower with low sensitivity (ala Final E5000), you’ll notice that IEMs sound underpowered.

I noticed some hiss with the Campfire Holocene and Dunu Zen (when using Gain+ mode especially). Granted – this DAC-Amp is way overkill for those sensitive IEMs but certain products in this category manages to handle IEMs just as well. I find the Angel to be more geared towards headphone use than IEMs for this reason.

On the positive side, output impedance is lower than 1ohm, so you should not have issues with multi-BA or hybrid IEMs having their frequency response thrown off.

A surprise exception was the current crop of planar IEMs, which paired wonderfully. Dynamics were spot on, and the staging was somewhat widened (a weakness of most if not all planar magnetic IEMs in the current market, the non-Audeze ones that is).

Headphones

Powering headphones is where the Angel flexes its muscles, especially planar magnetic headphones that do not require absurd wattage.

I have tried a number of Hifiman planars with the Angel and apart from the HE-6se V2 (83dB/mW @ 50 ohms) – the rest of them were adequately powered. The pairing with Arya SE was something exceptional. Great bass slam, enveloping headstage, precise imaging, no harshness in treble – just wonderful all around. If you own an Arya SE – try the Angel.

Sennheiser’s high impedance dynamics were driven well too. The HD650 lacked the warmth and tactility that you get on an OTL tube amp, but it sounded as good as on any solid state amp. There is plenty of voltage swing here to fully power the drivers (usually HD650 and the likes require >= 6Vrms to sound their best, I will link to the calculations here if I can find them again).

A note about the Gain+ mode here: it adds some distortion to the sound which might be distracting esp on planars. I did not need to use the Gain+ mode that much but your mileage may vary. I’d recommend not using it until you absolutely need to.

Overall, if you are predominantly a headphone user, the Earmen Angel will be a fantastic source for most of them, unless all you own are the Hifiman Susvara, Abyss 1266, HEDDPHONE V2, or the likes. In which case – none of the portable sources can really help.

As standalone DAC

The DAC section is very competent and competes well with other desktop DACs in this range, e.g. SMSL M400. While those desktop DACs have more outputs and features like filter selection, the sonic differences are fairly minimal considering the massive difference in footprint. There’s also MQA decoding capabilities for those who believe in MQA.

As a result, I can see the Angel being a transportable all-in-one while on the go, and a nifty DAC connected to some powerful headphone amps when at home or desk. You may have to invest into some 4.4mm to XLR cables but the flexibility on offer is excellent.

COMPARISONS

vs iFi xDSD Gryphon

The iFi xDSD Gryphon has become one of the most popular portable DAC-Amps around. We reviewed it and found it to be a great all-rounder.

When it comes to build quality, both are exceptional. The Gryphon has a sleeker, more modern design, whereas the Angel has the subtlety of a muscle car. Poor car analogies aside, the weight difference between them is substantial, with the Gryphon being over 100gm lighter.

Despite the lighter weight, I don’t think Gryphon makes a suitable “stack” either, since the wide footprint makes it awkward to hold the phone and the Gryphon together. To aid in that, iFi has added Bluetooth DAC functionalities to Gryphon, which is absent on the Angel. Gryphon also has the ability to select different filters, and the on-screen display is a helpful addition.

The volume pot on the Gryphon is analog, vs the digital rotary encoder on the Angel. Gryphon also has hardware EQ functionalities which are fun to use.

The Angel has been on the backfoot until now, but it hits back with sheer output power. Planar magnetic and high impedance dynamics are far better driven on the Angel, with loads of headroom to spare. The DAC section is also better overall, with noticeably wider stage and better dynamics when connected to external amps.

The Gryphon pairs better with IEMs, and the IEMatch switch is another helpful addition. To summarize: for predominantly IEM usage and BT capabilities, the Gryphon is the better choice. For using as a standalone DAC and to power planars or high impedance dynamics – the Angel is a no-brainer.

CONCLUDING REMARKS

The summary kind of writes itself – if you are a predominantly headphone user, and need something to carry on the go or act as a solid DAC when on the desk, the Earmen Angel is one of the best options out there. The build is excellent, the usability features handy, and the price is rather competitive when you consider the overall market of such devices.

The biggest downside here is the slight hiss with sensitive IEMs, and the lack of a line-in which would allow DAP users to use the Angel as an amp. Given the target demography, these are not deal breakers, as when connected to external amps or full-size cans the Angel just shine.

I think that the Earmen Angel will gain a following over time, as devices of their class usually do. As such, I have no qualms to recommend the Angel for headphone users who need something portable.

MY VERDICT

4.25/5

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The post Earmen Angel Review – Future Cult Classics appeared first on Music For The Masses.

Cons — Ikko ITB03 has no carrying case in the box
– Fingerprint-magnet front
– Single-ended output is essentially useless
– Decent but not great battery life
– Slightly lacking in dynamics compared to certain wired alternatives
– No companion app, convoluted firmware upgrade process

INTRODUCTION

IKKO Audio has been slowly, but steadily growing into the audiophile scene over the past few years. The IKKO OH10 managed to snag a place in our Wall of Excellence, and enjoy a cult-following amidst those preferring well-tuned V-shaped signature.

As such, IKKO is now transitioning into portable source market, and the ITB03 (codenamed: Heimdallr) is its debut BT DAC/Amp offering. The competition is fairly stiff in this space, with the likes of Quedelix, Fiio, Shanling, and Radsone leading the pack.

Can the IKKO ITB03 stand out with its features and sonic performance, or will the first attempt be a forgettable one? Let’s find out.

Note: the ratings given will be subjective to the price tier. iKKO was kind enough to send me the ITB03 for evaluation.

Sources used: Pixel 4 XL
Price, while reviewed: USD$150. Can be purchased from IKKO’s official website.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The IKKO ITB03 doesn’t have a lot of extras in terms of accessories. You get three different cables: type-C to type-C, type-C to lightning, and a type-C to type-A cable. That’s about it. No carrying case in the package which is a bummer.

BUILD QUALITY

General build quality is good, as the ITB03 goes for the usual glass-and-metal sandwich design. The glass front and back attracks loads of fingerpirnts and smudges, so keep a microfiber cloth handy.

The right side of the device holds all the buttons. The volume up/down buttons are flanked by the enter/function key. At the bottom, there is the power on/off and menu key combo. More on this later. The left side hosts the microphone that can be used for phone calls.

The top of the device has the 4.4mm balanced and 3.5mm single-ended outputs. The single-ended output also acts as an optical output. At the bottom, there is a type-C port. On the top of the device there is a 64*128 px OLED display that shows some basic information. The back of the device houses the NFC chip for easier pairing.

Overall, the build quality is robust, and the OLED display adds a bit of flair in an otherwise utiliatrian design.

CONNECTIVITY AND FEATURES

As I am lazy to type out the specs, here’s a screenshot from IKKO Audio’s product page regarding output power and chipset specifications.

While the BT version is not the latest 5.2, 5.0 is absolutely fine as the improvements are mostly in power management. The ITB03 supports LDAC/APTX/APTHD on the bluetooth codec side, and can decode DSD as well as PCM upto 384kHz (not sure who’s using such high sample rate files though).

The biggest omission here is a companion app, which could have considerably increased usability of the device. iKKO could then stash some of the filter options and other settings into the app itself, along with allowing the use of basic or parametric EQ.

The ITB03 allows you to tweak certain aspects of the device, especially the sound. There are 4 different filters, and each alter the sound subtly but noticeably. Filters 1 to 4 are respectively: Sharp, Short-delay Sharp, Slow, Short-delay Slow. For this review, I stuck with Filter 1 (Sharp) for the most part.

You can also choose if the device should charge when connected as a USB device. There is Car Mode (turns on when connected to a power source, off when disconnected), brightness control at 6 levels, and four different “sound profiles”.

These sound profile offer various colorations, and they can feel heavy-handed at times, especially the “Movie mode” which adds some excitement into the sound by boosting bass, widening the stage, etc. The Music mode is default for wireless operation, while Game Mode allows driverless installation of the device to use with PCs.

However, the HiFi mode is meant for wired use exclusively, and unlocks high sample rate and bit-depth options using UAC 2.0 mode. Lastly, you can select gain level (low/high) from the menus, and that concludes the list of functions in the menus.

The ITB03 also allows upgrading the firmware. As of writing this review, version 2.0 of the firmware is out (it just got out like a couple days ago). However, I found the upgrade process overly convoluted, and I am fairly certain that less tech-savvy people will find the whole process very confusing. Another task that rests on iKKO’s hands.

Note: I will update the article accordingly once I have finished the firmware upgrade and used the ITB03 for a while.

HANDLING AND OPERATION

Carrying around the ITB03 is straightforward: put it into your pocket and just go about your day. iKKO has told me that a carrying case is in development, and I wish they also consider throwing in a shirt-clip there.

General usability is a mixed bag. First up: pressing on the power button for two seconds takes you into the menu, and pressing for longer (about 5 seconds) turns the unit off. Meanwhile, double pressing the function key opens up Google Assistant/Siri/Bixby, but single-pressing doesn’t seem to do anything.

From an UX perspective, I would’ve preferred single-pressing the function key to get into the menu, long-pressing it to get out of menu, and allowing the user to choose if they’d like the double-pressing to trigger assistant option.

Another issue I have is the placement of the volume buttons, which are above and below the function button. They also serve double-duty as skip forward/backward buttons (long-pressing them does that). While navigating through menus, it’s annoying to shift the thumb up and down constantly while avoiding pressing the function button.

Lastly, I am not a fan of the tactile feedback the buttons provide. They are too stiff, which is good to avoid mistakenly pressing them, but adds up to the chore.

BATTERY LIFE

IKKO ITB03 has a 650 mAh battery inside with 8 hours of advertised battery life. In practice, it lasted me a bit more than 7 hours in LDAC mode. Note that battery life will vary depending on several factors (codec used, gain level, IEMs or hedphones used etc.).

Recharge time is fairly long at 1.5 hours. So with regular use, you have to charge once every 2-3 days, which is about average for a product of this class. I wish iKKO put in some fast-charging mode or a beefier battery to distinguish its product, but alas.

TECH INSIDE

iKKO opted for a pair of AKM AK4377 DAC chips in a dual-mono configuration. This chipset is frugal, and often used in portable DAC/Amps since they offer fairly good performance in a compact format.

As for the op-amp, Ricore RT6863 has been used, which is another power efficient solution, albeit sound quality is not the most impressive. i expected iKKO to use 2 or these op-amps, one per DAC channel, but it appears that only 1 is being used, so I suppose that the built-in amp section of the AKM chips are also being used in conjunction with the dedicated Ricore op-amp.

SOUND QUALITY (OBJECTIVE)

The ITB03 has a warm-neutral, inoffensive signature. it pairs well with all types of IEMs, though the lack of macrodynamic punch might be a negative for those who need great bass slam and proper dynamics.

The biggest negative is the anemic output from the single-ended out, so I’d highly recommend going balanced if you plan on using the ITB03 as your daily driver.

Staging and imaging is not spectacular, but not bad either. The issue is stage depth, which is lacking compared to certain higher-end DAC-dongles. Fortunately, there is no noise or hiss, so even sensitive IEMs fare well.

SELECT COMPARISONS

ITB03 sounds smoother than the Fiio BTR5 in BT mode, and in wired mode it’s a bit less energetic in the upper-mids and treble while having a denser bass response. Shanling UP4 is slightly more aggressive sounding than both of them, but in the end, overall technicalities and dynamics are similar.

It’s splitting hairs between these three, but I personally like the design of ITB03 the most. Fiio BTR5 has the most powerful output, and the companion app is handy. It also has the OLED display as ITB03. UP4 is my least favorite one in this comparison, as I find the volume wheel somewhat finicky at times, and a lack of display makes operation cumbersome.

Battery life is better on the UP4 in single-DAC mode, though then you are sort of only half-using it. Overall, with a companion app, ITB03 would probably give the BTR5 harder competition. As of now, if you find the BTR5 more energetic and want something smoother, the ITB03 is a good option. Just know that you are stuck with the on-board functions.

CONCLUDING REMARKS

It’s often difficult to transition from one kind of manufacturer to another. So, for an IEM maker to focus on sources, there is always some hurdles involved, along with the trials and tribulations of a first-gen product.

iKKO nailed the overall aesthetics of the ITB03, and manages to provide a sound that’s on par with the competition while offering a different flavor of things. Unfortunately, the lack of an app and the generally confusing UX and operation bares the unpolished nature of a debut product.

Nonetheless, the iKKO ITB03 performs within the margin of expectations, but doesn’t exceed them. It’s utilitarian without being exciting. That remains the next big challenge for iKKO – to come up with a source product that blows past the competition. Once it manages to do so – color me intrigued.

MY VERDICT

3.5/5
A good first attempt with some rough edges.

Contact us!

DISCLAIMER

Get it from iKKO Official Store

Our generic standard disclaimer.

PHOTOGRAPHY

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

The post iKKO ITB03 Heimdallr Review – A Good First Attempt appeared first on Music For The Masses.