Cons — Piercing upper midrange needs modification, stock tips useless, ordinary sound (the thumpy bass kills the fun); unimaginative design; pointless tuning filters (only one yields an acceptable sound); not sure whether they are their money’s worth.

Executive Summary

Introduction

Shenzhen company NiceHCK has accompanied this blog before it even existed. Loomis and I first discussed their iems over on Head-Fi – we both treasured the legendary $12 NiceHCK Bro model. One enthusiastic Head-Fier compared the NiceHCK N3 with the Campfire Andromeda (nah…), but Loomis nevertheless added it to his 2019 favourites.

NiceHCK have made themselves a name mainly with budget earbuds and quality earphone cables in all price categories. Their earphones, on the other hand, have been hit and miss, mainly because of poor tuning, but most of them have at least been interesting.

Their recent two midprice models are still in their catalogue at the time of this review: the $119 NX7 Mk3 with 4 BA + 2 DD + 1 piezo with exchangeable screw-on tuning nozzles (and exchangeable faceplates) and the $239 Lofty with their Beryllium-coated dynamic driver. The first had a piezo working against the other drivers and the second was overly ordinarily U-shaped for its price tag.

Their latest NiceHCK M5 sport 4 BA + 1 DD and 3 exchangeable tuning valves, which are actually back vents. We’ve seen this recently in the Hidizs MM2.

Specifications

Physical Things and Usability

In the box are the earpieces with three tuning vents (grey:balanced/red: mid-treble/blue: basshead), screwdriver (!!!), 2 sets of eartips (S/M/L), silver-plated high-purity copper cable, a pleather storage case, and the paperwork.

The shells consist of 3D printed German resin shells with aluminum alloy faceplates added. They are small and ergonomic, with good fit and comfort. Nevertheless is the design somewhat boring and home made to me. Isolation depends on eartips used. It is mediocre with the SpinFit CP145.

The included monster screwdriver is somewhat comical and you have to have a quiet hand not to scratch the faceplates during vent change.

Tonality and Technicalities

The NiceHCK M5 offers 3 different sonic signatures, depending on tuning filter used: super bassy, warm-bright, and neutral-bright. The blue bassy filter yields a horribly vulgar sound and is largely omitted here. The grey “normal” filter creates an ordinary middle-of-the-road sound, and the red “treble” filter introduces harshness by the dialled down bass.

None of these signatures is tolerable to me without further modification: I taped 90% of the nozzle mesh off with 3M micropore tape, as so often with Shenzhen earphones in the past. This reduces the over-energized upper midrange, it rounds the sharp edges to some extent and adds volume to the midrange. Without, the midrange is breathy, thin, and strident.

Grey “normal” Filters

This yields a middle-of-the road sound that could not be more unexciting to the educated ear. Bass is very well extended but thumpy and somewhat fuzzy. It lacks definition and finesse. A bass we know from cheap iems. The thick bass dominates the whole presentation. Wonder what dynamic driver there’s in it.

The bass bleeds into the lower midrange, which is attenuated by the upper midrange energy. The micropore tape does a good job in removing midrange harshness. The M5 sounds smoother in the lower midrange than the modded Rose Qt-9 mk2s, though voices are honky and boxed in.

Lower treble is rolling off in panic and gets re-energized at around 9 kHz. This moves higher notes back and adds some tizziness…

The soundstage is relatively narrow but has good depth. Timbre is just ordinary and a turnoff for the educated listener – particularly at this price. The M5 sounds…cheap.

The other technicalities are ok. Midrange resolution is good, midrange note definition is good, too. Note weight is lean in the midrange. Spatial cues is decent as long as there is not much bass in the music.

Red “neutral” Filters

Reduces bass quantity without improving bass quality. This moves the midrange forward and adds harshness to the image while removing warmth – it becomes overpixelated, like an early-generation digital photo. Notes are very edgy. Bass is now thumpy in the background and anemic, vocals are strident, despite the micropore tape.

But midrange clarity, articulation, and transparency are greatly improved in my perception (but in my perception only), stage widens but becomes shallower. Still, bass and midrange don’t fit together. My ears can handle this sharpness only for a few minutes.

Blue “bassy” Filters

Horribly overdone thumpy bass. Just like your steak dinner drowned in barbecue sauce. Vulgar!

Concluding Remarks

The NiceHCK M5 are no outright bad earphones. They are pleasing to the lesser educated ear and therefore may be a good choice for the novice with well-filled pockets. But the over-energetic upper mids require user modding with micropore tape, and the stock tips are useless.

Of the exchangeable tuning filters, the “normal” ones creates an ordinary sound and the red ones with reduced bass a harsh sound. And the humongous screwdriver for installing them is outright ridiculous.

In summary, the M5 sound “middle of the road” (a rather narrow road that is) but don’t do anything above average nor do they look or feel special. The M5 cannot compete with their peers such as Moondrop KATO. Their tuning, particularly in the midrange, is yesteryear.

I don’t think NiceHCK understand how to market the capitalist part of the world. Just sticking some drivers into a shell while ignoring the competition is not good enough. The M5 are simply nothing special, they lack finesse, are uninspiring, and they are not competitive at $179.

Until next time…keep on listening!

Gallery

The post NiceHCK M5 Review – Ordinary Life appeared first on Audio Reviews.

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

Executive Summary

Introduction

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

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

Specifications

Physical Things and Usability

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

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

Tonality and Technicalities

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

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

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

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

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

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

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

Concluding Remarks

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

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

Until next time…keep on listening!

The post Tripowin Leá Review – Sisyphus Revisited appeared first on Audio Reviews.

Cons — Deserves a tad more upper midrange and treble extension for a wider stage and more sparkle; not the fastest driver; limited applicability of third-party eartips.

Executive Summary

Introduction

IKKO is a Chinese manufacturer that has initially delighted us with their very few however innovative <$200 earphones (and accessories). Their first iem, the IKKO OH1 stood out by its metallic, unconventional shells with a great haptic. The “masterfully jazzy” well-dosed V-shaped IKKO OH10 made it onto our Wall of Excellence. They excel by their superb imaging and staging – and offer a sniff into the premium segment at a mid-tier price.

The – in contrast to the OH10 – brighter tuned IKKO OH1S is a highly underrated marvel, possibly because many influencers had their listening experience guided by the frequency response graph. The OH2 is physically very similar to the OH2. It appears that IKKO wants to appease those customers with there OH2 who found the OH1S too spicy. Will it work?

IKKO are currently expanding their product range into dongles such as the IKKO Zerda ITM01, microphones (for YouTubers), small speakers, and other desktop accessories.

Specifications

:

Physical Things and Usability

In the box are the earpieces, the cable, a set of IKKO I-Planet foam tips, a set of oval silicone tips, a storage wallet, an IKKO pin, an MMCX tool for safely disconnecting cable and earpieces, and the paperwork.

Just like the OH1S, IKKO OH2’s shells are premium built with mostly aluminum alloy and some resin, and they feature one of the companyʼs trademarks: oval nozzles, which help forming any eartip into the cross-sectional shape of your ear canals.

The shells are rather small and light compared to the OH10, they look and feel great, sit firmly in my ears and are very comfortable. The small size of the earpieces is certainly a huge asset. Isolation is not the greatest for me.

I find the haptic and ergonomics premium: 10/10.

I really like the included cable (same as with OH1S): spindly, wiry, light. Coated with hard pvc, it has the right stiffness for me and is not rubbery at all. Great in the days where cables are increasingly becoming ropes pulling our ears down. Less is more, also in this case.

Tonality and Technicalities

IKKO have tuned the OH2 differently from their other popular models. It is not V-shaped like the OH10 – and it is not as treble extended as the OH1S, although both share the relatively flat frequency response up to 1.5 kHz. As in so many cases, the OH2’s frequency response graph is literally misleading as it leads speculations into the wrong direction.

From a helicopter perspective, the IKKO OH2 is somewhat dry and slightly warm sounding iem. For me, the included IKKO I-Planet foam tips worked best. But foams in combination with my ears always generate a rather dry bass.

And it is rather dry indeed. Sub-bass extension is good, there is plenty of rumble down there, and there is no boomy mid-bass peak. Nevertheless could the bass be tighter – and it probably is with a different tips/ears combination. I’d call the bass typical for mid-price single dynamic-driver iems, but nothing special. It is certainly not the fastest around and can be somewhat blunt in some recordings.

The vocals have very good weight and decent definition, they are not set back, which is an asset at this price tag. There is a small congestion from the hesitant upper midrange (pinna gain is <10 dB) which compresses male and female voices a bit. A tad more energy at around 2 kHz would make them wider and airier. Higher piano and violin notes lack sparkle.

The top rolloff starts already in the upper midrange but becomes dramatic at above 5 kHz. Treble extension is audibly lacking and compromises stage width and overall sparkle/air.

And whilst stage is narrow, it has a good height and depth. Imaging and spatial cues are good and resolution, separation, and layering are average. The OH2’s biggest sonic assets are its note weight and its very natural timbre.

IKKO OH2 Compared

The $79 Hidizs MM2 with their exchangeable out vents are more versatile and may have slightly better imaging and staging (more headroom), but I find the OH2 have a better organic reproduction , note weight, and cohesion. Instant wow effect vs. slowly growing likability! I also prefer the OH2’s smaller earpieces for their small design and premium haptic whereas the light yet bulky MM2 shells are reminiscent of the budget KZ fare. I’d say the OH2 appeal more to the older, mature crowd (like me) and the MM2 preferably to teenagers.

The $79 Moondrop Aria, viewed as the dynamic-driver standard below $100, is much faster, brighter, and leaner than the OH2. It is technically cleaner with a better defined low end, a better extended treble, and more width. But it also has an upper midrange glare that may be unpleasant for some. The OH2 is less analytical, warmer, deeper, but also thicker in its performance, it has more “soul” and is more engaging to me. The Moondrop may be the “better” earphone, but the OH2 is more enjoyable to me.

The main question may be how the OH2 compares to the $159 IKKO OH1S? Well the OH1S may be brighter but they benefit from their treble extension, which results in a wider stage and better imaging. They provide more headroom. They also have better note definition and resolution. I’d say the price difference is justified – and I, quite frankly, prefer the OH1S as they are the better iem.

Concluding Remarks

IKKO iems are totally underrated in the internet’s echo chambers that cultivate herd mentality pushing überhyped yet short-lived products to promote compulsive buying habits. IKKO iems have a long shelf live for a reason.

The IKKO OH2 are the mellow alternative to all these brightish <$100 earphones such as the Moondrop Aria. They impress by their haptic and accessories, which are essentially identical to the OH1S at twice the price. They further have a decent tonality with an intimate midrange and an organic timbre.

The OH2 will appeal to the more mature budget “audiophile”, who cares about substance rather than gimmicks.

To give you my personal perspective: I really like the OH2 a lot – and not only for their sound but also for their handling (the importance of which for daily use is typically undervalued in reviews). But then again, I could say the same about the OH1S and OH10.

Until next time…keep on listening!

The post IKKO OH2 Review – A Purist’s Daydream appeared first on Audio Reviews.

Cons — Stock tips too small for some ear canals.

Executive Summary

Introduction

Another $20 piston-shaped single dynamic-driver iem? Don’t we have enough of these? No fancy faceplate, no detachable cable, no ear hooks? The cool kids have already stopped reading this. But, wait! These are good, so good that even a guy like me who has seen it all uses them. You better read on.

Astrotec’s parent company dedicated to acoustic research was established 20 years ago, the current branding exists since 2011. Their first earbuds and earphones were released in 2012. You may have heard of their Lyra earbuds and the Delphinus series iems. The brand is better known in China were it is regarded as belonging to the 10 best domestic earphone brands.

Vesna is the poetic word for spring in some eastern European countries. And, yes, spring is coming (in Canada) as I write this. So, no coincidence that this earphone is released in…yes you guessed it. Let’s see whether the Vesnas keep what I promise.

Specifications

Physical Things and Usability

In the box are the earphone with fixed cable, a set of eartips (S/M/L), storage bag, a USB-C dongle, and the paperwork. The dongle does not work with any Mac device (iPhone of MacBook) and appears to be designed for Android and Windows devices.

There is also a version with 2-pin detachable cable available, the Vesna EVO version.

The earpieces are well made of “airplane-grade aluminum alloy” and feature a prominent nozzle lip to keep the eartips in place. They feel substantial between my fingers and not budget like. The diaphragm used is Japanese LCP (liquid crystal polymer). The cable is spindly, not rubbery, and without microphonics — and therefore good for me.

The comfort/fit of the cylindrical earpieces is as good as expected, as this shape is not (much) in contact with the concha. Isolation is not great. The 30 Ω Vesna work well with my iPhone SE (1st gen.).

Tonality and Technicalities

The Vesna have a warm, (relatively) rich signature with a realistic attack and an overall surprising sonic quality. Sure, they are still budget earphones but their overall cohesion is pretty good and they are attractive and engaging to my ears/brain.

No, the bass does not dip particularly deep – its merely ok – but it is as tight as my wallet. Not the biggest rumble down there and the slam may a bit on the polite side. No midbass hump, no sub-bass hump. The bass is agile and warm. Best actor in a supporting role. Not bad at all.

Vocals are the big surprise…they are intimate, articulate, have decent note weight and the notes are well defined and rounded, too. Exceptional quality at this price point. Yes, you can turn the music up and the voices remain smooth and are not stabbing you in the chest…or rather eardrums. A huge asset. Typically, budget iems are lean and piercing in the midrange, these are not. Therefore, no shoutiness either. Hurrah!

Treble is non intrusive. Cymbals may sound metallic and energetic, but they still keep some subtlety. Extension into the lower treble is very good but resolution is not the greatest.

Stage is reasonably wide, not very deep, and also not too high. Imaging and spatial cues are outstanding for its class, attack is delightful: no harshness, nimble, very pleasant on my ears. Separation, layering, and resolution are also very good for the class. I would like to repeat: note weight and note definition both stick out. Timbre is also great: everything sounds natural.

Looking back, the combination of a warm signature, a speedy, non-syrupy bass, and smooth, silky vocals creates an overall very pleasant listening experience for me.

Astrotec Vesna Compared

The Vesna is the best <$30 iem I have heard in a long time – and they may be a valid successor to the discontinued Moondrop Crescent. The similar looking Venture Electronics Bonus IE is way too sub-bassy in comparison, and therefore blunter sounding at its low end, although it also has an overall organic timbre.

The $25 Tripowin Leá lacks dynamics, and cohesion in comparison, though it has a more impressive build with detachable cable. It is harsher and aggressive sounding in the midrange.

The Vesna, I say it again, can be turned up to the hilt without sounding piercing or aggressive.

Concluding Remarks

Well, another $20 earphone withe non-detachable cable and piston-shaped earpieces. But hey, this one is more cohesive than any of its siblings I have tested (through its flatter tuning). It does essentially nothing wrong, not even remotely. On the contrary, it is an engaging, enjoyable listen for me, even with much higher-priced iems in my drawer. The Vesna’s will go in my glove department for use at the supermarket.

Until next time…keep on listening!

Contact us!

All Our 302 Earphone and Earbud Reviews (with Links)

Disclaimer

The Vesna was provided unsolicited by Astrotec – and I thank them for that.

Get the Vesna directly from Astrotec or their from Astrotec Official Store.

Our generic standard disclaimer.

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

The post Astrotec Vesna Review (1) – Best In Class? appeared first on Audio Reviews.

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

Executive Summary

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

Introduction

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

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

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

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

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

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

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

Specifications Hidiz MM2

Physical Things and Usability

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

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

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

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

Tonality and Technicalities

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

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

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

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

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

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

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

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

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

Concluding Remarks

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

Until next time…keep on listening!

The post Hidizs MM2 Review (1) – Screw The Tuners appeared first on Audio Reviews.

Cons — V-shape; heavy earpieces, shoddy cable.

Executive Summary

Introduction

The OH10 “Obsidian” has been hanging on our Wall of Excellence for a while, mainly triggered by Alberto, who had written a glowing review. He characterizes the OH10 sensibly and exhaustively so that there is not much room for things to add.

I have tested the OH10 for 1/2 year with endless source combinations.

IKKO is a company that has excelled through excellent builds and a rather small quality rooster of iems (and lately other products), each of which has had a rather long shelf live. The company obviously designs sustainable quality, which is not easy to find in the Shenzhen environment.

The OKKO OH1, their first offering, may have been a bit bright for my taste, but it stuck out from the field because of its sturdy metal build and the unusual shape of their earpieces. It was recently superseded by the smaller OH1S, which is highly underrated because of anti-hype by the usual YouTube screamers. The OH10 was introduced between the two models. It has been on the market for a while, and it is still as relevant as on its first day.

Specifications

Physical Things and Usability

Please relieve me for once from describing the photo showing the content. Yes, the cable is crap and I use Final E tips.

The metal earpieces are super heavy and relatively big – and probably more suited for home use, but their haptic is great. The nozzles are long enough. Fit is good, comfort depends on how much I move, and isolation is average.

Tonality and Technicalities

I was for the longest time in the belief the OH10 featured a crisp single dynamic driver…but it is rather a 1+1 (dynamic driver and balanced armature driver) constellation…which speaks for its cohesion. Both drivers obviously harmonize well with each other.

To give you the helicopter perspective: the OH10 excels by its fantastic bass slam and its excellent imaging. The price paid is recessed vocals and treble extension.

OK, ’nuff said already. Now you know what Alberto and I think of the OH10.

Co-blogger Kazi gave his snappy account on Facebook:

• Unique shell design and very dense shell material. 
• Too heavy for some, myself included. I find them to weigh down on my ears after a while.
• Isolation is lacking.
• Sub-bass is excellent. Punchy, agile, with good amount of rumble.
• Mid-bass is slightly thinner than expected but got good texture. 
• Vocals are recessed. Not gonna set the world alight with midrange performance.
• Upper-midrange can feel peaky at times. I found them to be too up-front on some hard rock tracks. 
• Treble is inoffensive, decent amount of sparkle but lacks the extension and air of upper-tier stuff. 
• Good staging, not as wide or deep as E5000 but fairly balanced across all three axes. 
• Imaging is decent, did not stand out to be as much as, say, the Falcon Pro. 

IKKO OH10 Compared

People keep asking for comparisons with the IKKO OH1S “Gems”, which is redundant as both sound totally different. The OH1S is more forward and brighter, and one cannot replace the other. That’s why companies run different models simultaneously…duh!

More interesting appears to be a comparison between the OH10 and the Unique Melody 3DT with its three dynamic drivers. As you can see, both have largely overlapping frequency responses. But I have to disappoint you again as both iems sound completely different. The UM 3DT is much more analytical and less engaging than the OH10.

But what this tells us the limitations of frequency response graphs for characterizing the sound of iems.

Concluding Remarks

The IKKO OH10 gives $$$ conscious audio enthusiasts access to premium quality at a mid-tear price. With its excellent imaging, it plays in the league with the big, expensive boys…not on top, but well above the bottom.

What you sacrifice is comfort through the large and heavy earpieces and some vocals intimacy through the V-shape. But the OH10 does full justice to high-quality sources way above a phone.

It is for good reason a standard staple on our Wall of Excellence…and will remain there for a long time…and im my collection. Kudos to IKKO for demonstrating sustainability in the short-lived world of Shenzhen consumerism.

Until next time…keep on listening!

Contact us!

All Our 316 Earphone and Earbud Reviews (with Links)

Disclaimer

The Ikko Gems OH1S were provided by Ikko for my review and I thank them for that. I also thank Alberto and Kazi for discussion.

Get the Ikko Gems OH1s from ikkoaudio.com

Gallery

The post IKKO OH10 Review (2) – On Our Wall Of Excellence appeared first on Audio Reviews.

Cons — Strangely implemented EST causes narrow soundstage; deserves more accessories.

Executive Summary

The LETSHUOER EJ07M is a very enjoyable neutrally-tuned vivid performer with an added bass boost.

Introduction

LETSHUOER are a Shenzhen company specializing in OEM. They are having a current hit with the $149 planar magnetic LETSHUOERS12. The LETSHUOER EJ07M are the company’s current flagship iem and improved version of their very first iem, the $850 EJ07.

Whilst I am always critical with newcomers skipping elementary school and taking shortcuts, the EJ07M is a good pair. I found it first non descript, but it slowly grew on me. And it grew quite big. It is an earphone more on the lean side without being sterile.

Specifications

Physical Things and Usability

In the box is…actually not much for an iem of this price: the earpieces, an occ copper cable, 2 sets of silicone eartips (S/M/L), a little box with foams, a cleaning brush, a metal case, and the paper work. Just like the S12, the EJ07M features rather small earpieces, which provide for a good and comfortable fit (for me). They are made of aviation aluminum alloy with fancy, one-of-a-kind faceplates. The company claims they block up to 26 dB of ambient noise. Their low impedance makes them easily drivable.

I found the earpieces’s haptic and form factor great, but the isolation was only soso for me. The cable’s wire structure may be of great purity/quality, there is no microphonics, however the overall jewellery effect is rather small.

LETSHUOER’s translucent standard stock tips worked well for me.

Tonality and Technicalities

Equipment used: Sony NW-A55; Macbook Air + AudioQuest DragonFly Cobalt or Earstudio HUD100 (high gain); white stock tips.

The EJ07M is tuned in a gentle U-shape, with a bottom-end emphasis on sub-bass, a moderate pinna gain, and an early treble rolloff. It is essentially neutral with a sub-bass boost. The graph resembles “the personal target curve of the season” of many reviewers (we at www.audioreviews.org don’t have such a thing), which excludes disturbing peaks and other unpleasant surprises. Its presentation is on the lean but never analytical side.

Sub-bass extension is decent (and the rumble can be a bit fuzzy), mid-bass is focused/, slightly lean with a crisp attack and fast decay, much faster than expected from a single-dynamic driver. It has a good kick and tactility. There is no mid-bass hump that pounds unpleasantly against my eardrums.

Transition to the neutral lower midrange is smooth and without bleed because the low-end boost is so far below that it does not affect vocals and instruments (crisp piano), which have very concise note definition and energy. They are not overly rich but never thin and also not recessed (vocals can be intimate), and the corners can be somewhat sharp. The midrange is very clean and clear and there is no shoutiness (although we are getting close). All this makes for great speech intelligibility.

Treble rolloff starting at 4 kHz narrows the soundstage and limits sheen. This is surprising as you would expect outstanding extension from an electrostatic driver, as perfectly demonstrated in the Vision Ears Elysium, for example. High notes are very subtle and back. A very sparse use of the EST.

Soundstage has good depth but the aforementioned limited width. Dynamics is very good, there is plenty of impact in the attack. The music is more moving back and forth than sideways. Spatial cues is very good. Lean notes make for lots of space between instruments on a crowded stage and great midrange clarity. Transients are generally fast, particularly at the recessed top end. Resolution is very good!

In summary, the “edgy” EJ07M is well rounded (sic!) and does nothing wrong.

LETSHUOER EJ07M Compared

The $150 magnetic planar LETSHUOER S12 iem plays bassier, has a wider but shallower stage, a tad warmer, and therefore less neutral. The EJ07M offers better vocals rendering, better (micro-) dynamics, and similar resolution.

The more organic $600 single DD Oriolus Isabellae plays thicker, richer, softer, and more relaxed, lagging behind in resolution and crispness and energy in favour of timbre and a soothing temperature.

Compared to the warmer, bassier $699 Dunu Zen single DD, the EJ07M lacks depth and body and plays swifter and more brittle. The Zen has a pronounced upper midrange glare and an earlier treble rolloff.

Concluding Remarks

The LETSHUOER EJ07M excels by doing well in all departments, though not achieving the highest possible score in each of them. It delivers a swift, neutral sound with a boosted sub-bass and technicalities in line with its peers. Nevertheless is its main competition internal, as the excellent $150 LETSHUOER S12 is not far behind in most aspects.

Until next time…keep on listening!

Contact us!

All Our 316 Earphone and Earbud Reviews (with Links)

Disclaimer

The EJ07M were provided by LETSHUOER and I thank them for that.

Get the LETSHUOER EJ07M from letshuoer.net.

Our generic standard disclaimer.

The post LETSHUOER EJ07M Tribrid Review – Dreimal Gut appeared first on Audio Reviews.

Cons — Lean and somewhat bright in the vocals department; top-end transients a bit fast.

Executive Summary

The LETSHUOER S12 is a well executed planar magnetic iem with all the traits adherent to this technology (low distortion, tight bass response, easy to drive, better sense of imaging, deeper stage, great bass extension).

Introduction

Planar magnetic headphones are popular because of their characteristic sound, but they have been traditionally overpriced and underperforming. They have therefore largely enjoyed a life in the shade.

That until a YouTuber started a hype putting the $220 7Hz Timeless ahead of its $1000 siblings, which attracted the attention of bargain hunters. Whilst this was a bit of a deception (the “other” $200 competition was not mentioned), it started a vivid and fruitful discussion all over the forums.

LETSHUOER (formerly known as Shuoer), a company from Shenzhen, China, jumped quickly on that bandwagon and released their S12 at $50-70 lower than the Timeless. They are mainly an OEM manufacturer who came on the scene with their ambitious $850 EJ07 that received a rather lukewarm reception by analysts (it was updated to the much improved EJ07M, which I am currently analyzing). LETSHUOER also did not impress with their budget fare such as the Shuoer Tape.

To take it away, the LETSHUOER S12 is a very good iem and a keeper for me. But can it prevail against the pricier 7Hz Timeless? You may be surprised…

Planar Magnetic Drivers – What do We expect?

The main purpose of a planar magnetic driver was to optimize bass response. In the earlier days, planar magnetic headphones reached down to 20 Hz whereas dynamic drivers only to 50 Hz. On the other hand, a dynamic driver has more punch and slam.

This has changed as slam in the planar magnetics has improved. Further advantages of planar magnetic drivers are: low distortion, tight bass response, easy to drive, better sense of imaging, deeper stage, and great bass extension.

LETSHUOER S12 Specifications

Physical Things and Usability

In the box are the earpieces, a silver-plated monocrystalline copper cable, 2 sets of LETSHUOER’s standard eartips (S/M/L), a container with foams, a much too small carrying case, and the usual paperwork.

The earpieces are of CNC machined aluminium, their build is rock solid. And they are relatively small, a characteristic also of the EJ07M. Small usually means comfortable, and that’s certainly the case here. Fit is also good for me – much better than the 7Hz Timeless with their larger “footprint”. The translucent stock eartips work well for me, but the seal is average for me (but also better than the Timeless).

The cable is somewhat unusual as it has a rather thick PVC coating, reminiscent of my mum’s clothlines. Well, it is not quite as thick but has a comparable tension/stiffness – and that without being heavy. It is funky to me, I quite like it. And it shows minimal microphonics when wiggled. The storage case is small so that I have not yet tried to squeeze the assembly into it.

In summary, the overall haptic is great and everything works right out of the box.

Sonic Characterization of the 7Hz Timeless

Equipment used: MacBook Air, Khadas Tone2 Pro/4.4 mm BAL & 3.5 mm SE or Earstudio HUD 100/high gain + JitterBug FMJ + ifi Audio iPower X; 4.4 mm stock cable with or without Cayin 4.4 mm to 3.5 mm adapter; Shuoer S12 stock eartips (translucent ones…the loaner came without eartips).

The 7Hz Timeless has been discussed in all details by the usual protagonists, including our own. Find the reviews of Alberto here and Durwood there, and Kazi’s elsewhere. And I have the Timeless on private loan while writing this.

The big schtick in the discussion, as mentioned before, is that planar magnetic iems have been underperforming and overpriced in the past and the 7Hz Timeless constitutes a much better value. At $220, a sweet spot for many, it has to prevail against an army of other models crammed in there. And, to give it away, I think the price is adequate but not sensationally low.

The 7Hz Timeless is all about bass. While it still lacks slam for many (a feature of planar magnetics) there is much bass. The extension is great, but mid-bass can be a bit much for me. It is soft, fuzzy, and occasionally boomy, and pounds mercilessly against my eardrums. I find this overwhelming and tiresome, but that’s subjective. Many may actually like that. For my personal taste, the midbass lacks composure, tightness, and spice.

Replacing the Shuoer S12’s stock ears tips with the JVC Spiral Dots took mitigated the “problem” to some extent, but did not entirely eliminate it.

Mid-bass appears to be up front on the soundstage in some tracks and covers up the whole image like a curtain, which makes for a shallow stage. And it provides for a very abrupt transition into the lower midrange up to bright, female voices. The lower midrange is naturally rather lean (another feature of planar magnetics) and vocals can be partially masked by the bass. Because of the lean and bright nature of the midrange, there can be shoutiness in some tracks.

But even in bass-less tracks vocals lack body and richness although they are articulate, very well sculptured, and natural. There is some brightness in female vocals, but they are “more lean than bright”. There is very good midrange clarity. All of these appear to be the result of the planar magnetic driver’s low distortion.

Treble is another mixed bag. Extension is great, treble resolution is good, upper transients are fast to oversharpened (“tizziness”), there is good air but also the occasional metallic sheen to it.

Technicalities are great. Timbre is ok, resolution and separation are good. Please check the big body of reviews for further details.

LETSHUOER S12 Tonality and Technicalities

Equipment used: Questyle QP1R on med. gain, Sony NW-A55; MacBook Air with Apogee Groove, AudioQuest DragonFly Cobalt, Khadas Tone2 Pro/4.4 mm BAL & 3.5 mm SE or Earstudio HUD 100/high gain + JitterBug FMJ + ifi Audio iPower X; stock cable or CEMA 6N OCC + OCC silver-plated 2.5 mm balance cable with or without the ddHiFi DJ44A adapter; stock eartips (translucent ones).

The LETSHUOER S12 carries most of the characteristics expected from a planar magnetic driver: low distortion resoling in good clarity, tight bass, deep bass extension, easy to drive, good staging…but, but but…

The S12’s bass is tight while digging deep. Midbass is well composed and focused, notes are not as rounded and soft (as in the Timeless), there is a crisp attack…and that’s the biggest different to the Timeless. A smaller but better focused kick.

This may have a few reasons, for example, the different housing shapes and the Timeless’ bigger contact area inside the concha (“bigger in-ear resonance”) and also the S12’s relatively higher frequency response above 2 kHz (which itself may be related to the housings).

The S12’s better mid-bass composure may trigger a chain effect in that the midrange is not masked and therefore clearer. Its transition from bass to lower midrange is much smoother compared the abrupt change in the Timeless…which results in a much more cohesive, balanced sound…which is the dealmaker/breaker for me.

Female voice remain articulate and lean, but are more forward and intimate, and a tad brighter, livelier, and spicier than in the Timeless. Vocals have a perceived higher energy in the S12, which plays them softer and therefore with lesser note definition. They are more prone to sibilance and shoutiness with unfavourable sources in the S12, but this has not been a problem for me.

Treble is also a mixed bad with the S12. Whilst extension and resolution are great, the transients are a bit fast up there and occasionally also yield that metallic sheen (“tizziness”) as in the Timeless.

As to technicalities. Staging is rather average, but tall, and reasonably deep (much deeper than in the Timeless). I find the staging adequate. Timbre is ok but benefits from a warm source such as the DragonFly Cobalt or Apogee Groove. Separation and instrument placement are ok. Resolution is absolutely superb and dwarves the Timeless’.

The Timeless, overall, sound a bit darker and less dynamic, more laid back but less composed than the more forward S12, which runs more into danger of being shouty. S12’s attack is crisper, Timeless have the softer transients. Note weight in the midrange is about even and could be better in both models.

When compared to a photo, the Timeless is more blurred and the S12 is sharper…but some may find the S12 overpixelated.

In summary, the S12 has the better composed bass, crisper attack, deeper stage, and better resolution than the Timeless. Everything is tighter in the S2. Compared to a car’s suspension, the Timeless is a comfortable SUV and the S12 is a sporty BMW.

In the end, it comes down to personal taste: pick your poison!

LETSHUOER S12 Driver = 7Hz Timeless Driver?

There are voices that speculate that both models have the same planar magnetic driver. After all, both models graph identically up to 2 kHz, and the differences above are just minor variations, possibly caused by the different housings. And some of the sonically perceived differences can be the product of the interactions between housings and our conchas.

We have also insider information that points to this as well as indirect evidence from upper harmonics measurements. Apparently, this OEM driver has been catching dust on the market for quite some time.

LETSHUOER, upon my request, are evasive and dwell on numbers: the Timeless has a 14.2 mm, the S12 a 14.8 mm driver – so they are different. Or one is a variation of the other? Stop, it all depends how (accurately) you measure them (e.g. front, back…).

The question is why nobody wants to admit to it? The answer is easy: to keep peaceful coexistence of companies as one could sue the other for “copycatting”. This could be a huge issue if one company’s model costs $$ and the competitor’s model (with the same driver) costs $$$$. Examples exist but are not widely publicized to protect the lucrative “kilobuck” markets.

So, unless somebody has cracked both models open, the driver question will be shrouded in mystery. At least for you :).

More LETSHUOER S12 Comparisons

We are in for some surprises. The S12 killed my beloved Final E5000 with my Questyle QP1R reference dap in these aspects: staging, transparency, really good transients, and upper extension. I hope I just had a bad morning when testing these two. The Final has a narrower stage lesser upper extension, less clarity…but more bass quantity.

The KBEAR TRI I3 Pro Pro is less cohesive than the S12 with a narrower stage, lesser resolution, and less midrange clarity. The I3 Pro is less balanced. Resolution is much better in the S12, which also has the crisper attack with more pizazz.

The Moondrop KATO offers a narrower stage because of early treble rolloff. It is slimmer in the bass and the upper midrange but still comes across as not less shouty. It also lacks richness in the lower midrange, a full orchestra’s crescendo comes across as somewhat lean in comparison. The S12 excels in resolution. It is much more bass dominated without overbearing midbass. Higher notes in horn sections as not as incisive as in the Kato, which is a bit scratchy in the upper mids in comparison.

The $600 LETSHUOER EJ07M shows better carved out vocals, is less bassy, has a narrower and deeper soundstage, better dynamics, and better resolution. Its presentation is lean(er) but never on the analytical side.

Concluding Remarks

I absolutely love the LETSHUOER S12. It is reasonably priced and I have yet to find a competitor in this price category that sounds as good. I also prefer the LETSHUOER S12 over the Timeless for five main reasons: better fit, tighter bass, deeper stage, better resolution, and a lower price.

LETSHUOER, ey! Never judge a book by its covers.

Until next time…keep on listening!

Contact us!

All Our 302 Earphone and Earbud Reviews (with Links)

Disclaimer

The LETSHUOER S12 was sent to me unsolicited by the company. The 7Hz Timeless wass on private loan from Super Best Audio Friend Rockwell. A huge thanks to both. At the time of publication, this S12 specimen was on a “West of Centre” Canadian tour to Rockwell and co-blogger Biodegraded. You may find their impressions over at SBAF.

Get the Shuoer S12 from letsshuoer.net

Our generic standard disclaimer.

The post LETSHUOER S12 Review – Compared to 7Hz Timeless appeared first on Audio Reviews.

Cons — None.

Executive Summary

The ddHiFi MFi06 and TC03 are digital cables that are well conducting, well insulated, built rugged and priced right. And they add optical appeal to our devices.

Introduction

ddHiFi have been favourites of our blog for quite some time. They produce very well designed, functional AND optically appealing audio accessories and even earphones.

I have tested their TC25i and TC28i adapters, their Carrying Case C-2020 as well as their Janus E2020A and Janus E2020B earphones. And I purchased a few of their audio adapters. For their accessories, the whole company is attached to our Wall of Excellence.

In this article, I am analyzing the MFi06 and TC03, two USB cables in the broadest sense. Both have a USB-C connector on one and, the MFi06 has a lightning plug on the other, and the TC03 a micro USB plug.

And all USB cables are equal, right? Zeros and ones transfer the sound, the stock cable is as good as the snake oil ones at $$$.

Erm, stop. Not always. The signal carried by the cable is not only zeros and ones (which are actually transmitted as voltage fluctuations), there may be some noise riding along the lines that affects sound quality. Two kinds of noise exist, “Electromagentic Interference” (EMI) and “Radio-Frequency Interference” (RFI).

If the data line is not effectively shielded, nearby electrical components (e.g., switching power supplies, other fluctuating electrical/magnetic fields from computer circuitry) can contribute to EMI that might pollute the USB data.”

Running power and data lines (from a phone or computer) through a single USB cable can cause additional interference and exacerbate the issue. Decrapifiers such as the AudioQuest JitterBug FMJ act as filters to reduce such pollution, but a “good” USB cable adds to this effect, too.

“Good” does not refer to the wire (that’s where the snake oil is) but to the insulation of the power and data lines against each other. In other words, a quality cable does not add anything, it makes sure that nothing is taken away from the signal quality.

A well-known example of the positive effects of insulation is the EarMen Sparrow dongle, that, when operated with a phone, can show strong interference in the shape of intermittent buzzing and clicking (subsides when switching the phone function off). The culprit is the stock cable, and a good third-party cable strongly reduces (but might not completely eliminate) the problem.

One measure of the shielding effectiveness of different cables, the resistance of shield terminations, was investigated in this thread.

Good-quality, well-shielded USB cables do not have to be expensive. USB audio pioneer Gordon Rankin reported very poor $$$ USB cables to me. It is all about the cable’s design, not the price.

ddHiFi are a company that offer a large range of imaginative, well designed, and well built accessories….and even a couple of earphones.

Physical Things

Both cables are 8 cm long. Wire material is high-purity silver-plated OCC copper.

Four strands of separately insulated wire serve as conductor. The inner insulation is teflon. The outer insulation is thermoplastic polyurethane imported from Germany. The aluminum alloy connector are cased in stainless steel to minimize external interference.

Thermoplastic polyurethane (TPU) is any of a class of polyurethane plastics with many properties, including elasticity, transparency, and resistance to oil, grease, and abrasion. Technically, they are thermoplastic elastomers consisting of linear segmented block copolymers composed of hard and soft segments.

As it appears, these cables are technically sound. They feature good conductors and sufficient internal and external insulation. Sonically, they are indistinguishable from the OEOTG cable and one other brand of which I could not identify (see photo at the bottom of this article).

Haptically, the MFi06 and TC03 are vastly superior over the typical stock cables and the Apple Camera Adapter. The connectors feel rugged, the cable is flexible and the shiny, pearly white TPU is dirt and grease resistant.

And, let’s face it, these cables also add a jewelry effect to our gear. Yep, they don’t just feel good between the fingers, they also look good.

All good so far, only one worry remains: the MFi06’s battery consumption.

MFi06’s Battery Consumption

The MFi06’s lightning connector features a decoding chip which draws current from the phone. The question is how much it contributes to the phone’s battery drain.

I measured battery consumption of different dongles (AudioQuest DragonFly Red, Shanling UA2 single ended, Hidisz S9 Pro single ended) with the Apple Camera Adapter vs. the MFi06. I then repeated these tests with two other Lightning to USB-C cables (OEOTG and an unknown brand) for comparison purposes. All tests were performed under identical conditions. The absolute values are meaningless, what is important are the relative values.

.

Results:

1) The Apple Camera Adapter has by far the lowest power consumption.

2) In my 3 h tests, the 3rd-party MFi chip in the ddHiFi MFi06 cable consumed between 130 and 220 mAh (23%-36%) more (for my specific test parameters) than the one in the Apple Camera Adapter.

3) All three tested 3rd-party cables appear to have the same MFi chip (approx. same battery consumption with Shanling UA2).

4) Battery consumption of the ddHiFi MFi06 cable varies vastly between dongles. It is much lower for the DragonFly Red that consumes by far the least battery with the Apple Camera Adapter.

In summary, the MFi06’s power consumption is acceptable for today’s ever increasing phone battery capacities.

Concluding Remarks

The ddHiFi TC03 and MFi cables do what they are supposed to do: they work as promised while adding appeal to our devices. And they don’t break our piggy banks.

Until next time…keep on listening!

Contact us!

Disclaimer

THE MFi06 and TC03 cables were supplied by the ddHiFi for my review – and I thank them for that.

Get them from the DD Official Store

Our generic standard disclaimer.

About my measurements.

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

Gallery

The post ddHiFi MFi06 and TC03 Digital Cables Review – Unplugged appeared first on Audio Reviews.

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

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

We are currently experimenting with generic advertisements to recover our operating cost (Paypal does not work at all)…any money raised will go back into the blog. We remain non commercial.

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

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

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

We thank

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

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

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

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

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

Alberto Pittaluga…Bologna, ITALY

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

IEMS

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

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

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

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

Headphones

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

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

Earbuds

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

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

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

DAC/AMPs

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

DAPs

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

DAC/AMP Dongles

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

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

Biodegraded…Vancouver, CANADA

Doesn’t have anything to report this year.

Durwood…Chicago, USA

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

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

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

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

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

Jürgen Kraus…Calgary, CANADA

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

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

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

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

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

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

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

In summary, I learnt a lot in 2021…

My Take Home this Year

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

Kazi Mahbub Mutakabbir…Munich, GERMANY

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

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

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

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

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

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

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

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

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

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

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

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

KopiOkaya…SINGAPORE

Too many lists…I focus on eartips…

Best EARTIPS of 2021

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

Loomis Johnson…Chicago, USA

Gear of the Year (and other Favorite Things)

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

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

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

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

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

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

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

And This Was The Previous Year:

The post Gear Of The Year 2021 – Our Personal Favourites appeared first on Audio Reviews.

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

Summary

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

Sonics and Comparisons

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

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

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

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

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

Non-Sound Stuff

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

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

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

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

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

More Comparisons & Conclusion

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

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

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

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Disclaimer

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

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The post EarMen Sparrow Dongle DAC/Amp – Brief Second Opinion appeared first on Audio Reviews.

Cons — Sound could be more organic; relatively high output impedance; high battery drain, does not work with iOS devices; fixed cable; no basic accessories (e.g. USB-C to USB-A adapter).

Executive Summary

The Astell & Kern PEE51 is a dual-chip dongle dac that excels through its articulation, but its high current drain limits its portability.

Introduction

Ever since Gordon Rankin invented the phone-compatible dongle dac back in 2016 that turned even the cheapest phone into a decent digital audio player, many companies have jumped onto this bandwagon. Rankin’s original idea was a small device in the shape of a USB thumb drive without its own battery that was powered by its source, be it a phone or a computer.

The benefit was obviously both improved sound quality and increased output power. Downside of these early dongles was lack of compatibility with current-hungry, low-impedance headphones/earphones.

In recent years, phones as well as their batteries have grown in size and capacity so that most newer “dongles” draw more current, which works better with low-sensitivity iems and “bigger” headphones. This also benefits computer users, who are more concerned with amplification power than battery drain.

A big problem remains, however, in that Apple limits their devices’ current draw to 100 mA to protect battery life, which creates an incompatibility with many modern dongles.

Astell & Kern, a renowned Korean manufacturer of premium digital analog players, address music lovers with their PEE51 dongle that do not wish to carry a second device (a “dap”) in their pocket. And they decided on a technology that relies on high current draw, which does not work with Apple devices.

Specifications

Physical Things

In the box is just the dongle. Its housing and that of the the USB-C connector are made of solid metal. The braided, silver-plated, copper-shielded cable is fixed and can therefore not be exchanged/replaced. The overall haptic is very robust. The dac features a dual chipset for improved separation and crosstalk. What is not included is an adapter for connecting to a standard USB-A socket.

Functionality, Operation, Compatibility

The PEE51 does…

• work with Windows/Mac computers or Android sources with computer and Android phone
• consume a lot of battery

The PEE51 does not…

• contain a battery and draws its current from the source
• contain onboard controls…is operated from the source
• work with iOS devices
• connect to the standard USB USB-A socket (needs adapter)
• work well with 300 ohm headphones
• work well with sensitive earphones <16 ohm

The Astell & Kern PEE51 is operated from the source. A white LED on top of the case near the 3.5 mm headphone socket indicates its activity. The dongle is compatible with Windows and Mac computers, and most Android devices, but not with iOS devices. You find compatibility details on the product page.

Amplification and Power Consumption

As explained above, there are principally two end members of dongles. Such that draw little current and such that draw…erm…much. Both have their pros and cons. Little draw means limited power and sound quality but battery preservation. Good for the road. The AudioQuest DragonFlys are classic examples.

If output power has highest priority for you, go for the “battery hogs”. Better for home, ok with big Android-phone batteries. I had addressed the issue in this tech article. The Astell & Kern belongs principally to this group as it draws >100 mA. This explains the PEE51’s incompatiliby with iPhones and iPads.

But not all of the PEE551’s current goes into perceived amplification power. The 2 Vrms output power (without load) is rather average in this dongle class. Adding the relatively large output impedance of 2 ohm (the competition is <1 ohm) and the necessity to power a dual chipset make the PEE51 play quieter than other 2 Vrms dongles in my testing. It also experienced its limit when driving the 300 ohm Sennheiser headphones. It principally worked but lacked the “bite” of more powerful devices such as the Apogee Groove.

The 2 ohm output impedance may add hiss to iems with an impedance below 16 ohm (“1/8 rule”).

1/8 Rule: output impedance should not exceed 1/8th of the nominal impedance of the headphones.

Sound

Equipment used: Macbook Air + Sennheiser HD 600 | JVC HA-FDX1 | Final Audio E3000

The Astell & Kern PEE51 is a near-neutral, marginally warm dongle. It is fairly linear with a minimally boosted and rather dry and crisp bass. Midrange is clear and transparent. Vocals have a crisp attack without sharpness or grain, and they are a bit back. With the problematic HD 600, it lacks treble extension.

What makes the PEE51 stick out of the broad body of midprice dongles is its good articulation and note definition, which carries the handwriting of the dual chipset (that should improve separation and crosstalk).

The stage as a decent depth but only average width. I find the PEE51 deserves a bit more air and more ease, it always appears to work hard. Timbre is acceptable but not as organic as the DragonFly Cobalt’s (at twice the price). I also have to run the PEE51 at rather high volumes compared to the other dongles used.

Since any battery-less dongle is of limited sound quality, and considering the market being flooded with $100-200 devices, the PEE51 is sonically best characterized through comparisons with the competition.

Spoiler alert: these differences are only nuances. These dongles are rather close together.

The $129 EarMen Eagle sounds warmer through more bass, and more organic, and has a flatter and wider image. It has more air but lags in midrange articulation. Vocals are more intimate in the Eagle and it plays louder.

The $100 Earstudio HUD 100 MkII on high gain works much better with the Sennheiser HD 600. It has way more power and pizazz, and offers a bigger headroom. With iems on low gain, the HUD100 shows a different face as it does not have the PEE51’s crispness in the attack – and also not its depth. But it also plays louder.

The $104 Hidizs S9 Pro similar in neutrality to the PEE51, but is fuzzier in the bass and and not as resolving in the midrange. It offers a second, balanced, more powerful circuit (which I did not test in this comparison).

In terms of applicability, the HUD 100 is the most versatile as it works with all devices and even 300 ohm headphones well. The Eagle has the smallest power draw and therefore works best with iOS devices. The S9 Pro works will all, although it has a very high power draw – and is technically the worst imo. The Astell & Kern PEE51 is the technically best but has limited applications. Pick your poison.

Concluding Remarks

The Astell & Kern PEE51 is a quality dongle from a well respected manufacturer. It fits value wise and performance wise into the broad body of midprice dongles. Since none of these is perfect and suited for all applications, the listener has the torment of choice, which one to pick.

The PEE51 is optimized for hi res listening best with an android phone (with a huge battery) or a computer.

Until next time…keep on listening!

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Disclaimer

This loaner of the Astell & Kern PEE51 was provided by the company – and had been returned at the time of publication of this article.

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

The post Astell & Kern PEE51 USB-C Dual DAC Cable Review – Articulation appeared first on Audio Reviews.

Cons — Spicy upper midrange, sounds thin, lacks body; not for loud listening.

Executive Summary

The Monk Go impresses most by its $5 price tag. It actually has decent resolution and technical merits but its complete lack of body and brightish midrange make them only useful for listening at very low volumes.

Introduction

I am not an earbuds person – and explicitly had asked to spare me from reviewing any more of them. This was ignored, so, hey, here are my reflections.

I had donated most of my own earbuds to a school in India and only kept the créme de la créme of these bass-less little plastic rascals.

The Monk Go is the cheapest of them all, and it is the challenger against the likes of the mighty Sennheiser MX 560 (purchased in 2008), the original Apple earbuds (from 2001), the Moondrop Shiro Yuki, and the HungryPanda HP560, a custom design by the late HungryPanda. 

It was Sennheiser that invented this type of headphone. At their peak, after the invention of the ipod and before the smartphone, earbuds roamed the world like dinosaurs, but Sennheiser cancelled most of their models when the better sealing in-ear monitors became widespread.

One of Venture Electronics’s focuses is earbuds in a range between $5 and $200. The $5 Monk (and later the Monk Plus) became famous as one of the most affordable earbuds on the market.

Strangely enough, their upscale models have impedances of up to 300 ohm (like the Sennheiser HD 600 series) and require strong amplification, best a desktop setup.  This is in strong contrast to Sennheiser’s original idea as the small form factor stands for portability. A strange paradox.

The Monk/Monk Plus also had a rather high impedance of 64 ohm, which made them pretty useless with smartphones. Extra amplification was required to drive these properly, which, to me, is cost prohibitive for a $5 earbud.

To everybody’s delight, VE recently released a 32 ohm version of the Monk, the Monk Go. As the name implies, this version is now finally for portable use. 

Specifications

Physical Things and Usability

The Monk Go comes in a baggie with no accessories. The additionally supplied $3 Ex Pack Lite contained the foams I used. The shells follow the classic Sennheiser design and are built well. The cable is basic but works just fine. The whole assembly is reasonably rugged.

Comfort, fit, and isolation are as with any earbud.

Tonality and Technicalities

Equipment used: iPhone SE; MacBook Air with Earstudio HU100 | VE Odyssey Pro; Monk go with foams.

The Monk Go (with foams) has two faces: one at low volume and the other one when played louder. This lies in its sonic characteristics: lack of bass, lack of overall body/richness, spicy upper midrange…but it also offers acceptable resolution, imaging, and timbre.

At low volumes, the overall sonic impression is ok as the elevated upper midrange and the lack of congestion (no bleeding bass!) create a decent image with good transparency and air.

When turning the volume up, the lean sound becomes nasal, hollow, and aggressive. You will not find many earbuds that sound thinner.

Monk Go Compared

Cheap earbuds appear to have a big following, so I compared the Monk Go with the $12 Moondrop Shiro Yuki, the discontinued $20 Sennheiser MX560, the discontinued original Apple buds, and a custom-made earbud.

The 32 ohm HungryPanda DIY model with its Fengru LCK 1596 15.4 mm driver is the by far richest sounding of the bunch. Second comes the Sennheiser MX 560, which still has way more body than the Monk Go.

The Yuki Shiro sounds even thinner than the Monk Go, just awful. Apple’s original 2001 earbuds lack treble extension which makes them sound thicker in the midrange than the Monk Go, but they lack in top end.

When ranking them, I’d put the HungryPanda before the Senns and the Apple. Monk Go come in fourth, and the Moondrop last.

The most positive about this comparison is that you are not able to purchase most of these cruelties anymore, with the exception of the Moondrop Shiro Yuki and the Monk Go. You are better off with the $7 KZ EDX if you crave low-fi (these are iems)…

Concluding Remarks

Monk Go may be a good deal at $5, but the sweet spot of many audio enthusiasts is way above that. A realistic pairing would be a $50 phone or a $30 dap – which are hard to come by. So, while getting good material value, these would go into most people’s drawer-of-no-return in no time.

I rather spend my money on something else, or save to go a bit higher.  I spent several hours listening to the Monk Go – and lost several hours of my life.

Until next time…keep on listening!

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Disclaimer

The Monk Go were provided unsolicited by Venture Electronics and I thank them for that.

Get The Monk Go HERE.

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The post Venture Electronics Monk Go Review – Emperor’s New Clothes appeared first on Audio Reviews.

Cons — Poor tuning leads to bright, harsh sound with thin note weight.

Executive Summary

The Tin Hifi T2 EVO is a mistuned evolution of the Tinaudio T2 that lacks in tonality but convinces in technicalities.

Introduction

Tin Hifi (then Tinaudio) appeared as a sensation on the scene in 2018. Their $50 T2 was a neutrally tuned iem built like a tank, a rarity within the sea of V-shaped tunings. Aficionados embraced it, vulgarists taped the front vent off to increase bass…shame on those :).

The company changed their name to Tin Hifi and continued releasing iems which were hit and miss…I remember a whole army of reviewers publishing their thoughts of a new release simultaneously upon the distributor’s command. These days are over, as a single YouTuber has a much bigger outreach.

To our all surprise, the T2 EVO shares design and build with the original T2, which gives you that retro feeling. Different are the driver, the smiley on the faceplate, and the shiny finish, as well as the cable’s metal strain relief. But the haptic remains essentially the same. 

Earpieces’ red-blue colour coding at the connector is reversed compared to the original T2 because T2 EVO is meant to be worn over-ear only (the EVO’s stock cable features earhooks).

Specifications

Physical Things and Usability

Just like the original T2, the T2 EVO’s accessories are spartan: storage sack, cable, two sets of the same silicone earpieces, a pair of foams, paperwork, and the earpieces. The shiny metal earpieces are as good as it gets in terms of build and haptic.

The connectors remains MMCX despite huge quality issues with Tin Hifi’s original T2 and also their T4. But, I noticed that these MMCX connectors sit VERY snug, so that I don’t expect any problems.

Fit is now exclusively over-ear as the stock cable features memory wire. Fit is good, comfort is ok, isolation is average. The stock tips were too small for me, SpinFit CP145 worked well. Owing to the low sensitivity, the T2 EVO loves amplification.

Tonality and Technicalities

Equipment used: Mabook Air + DragonFly Red/Earstudio Hud100 + JitterBug FMJ; SpinFit CP145 eartips.

TL;DR: the Tin Hifi T2 EVO is a technically competent neutralish earphone that falls completely short on its poor tuning which introduces a brightness too hot for most.

Boy, this earphone could be good. Really good. It has all the ingredients. Unfortunately, the company refuses to tune properly. A frequency response graph peaking between 4 and 5 kHz (in the human ear’s most sensitive area) and that shark fin at 15 kHz indicate an impending disaster.

What the upper midrange boost mainly does is adding midrange clarity. As an unwelcome side effect, it sharpens and attenuates vocals, which have a good note definition, but they are just too thin and sibilant. That’s where the original T2 are much better.

Bass in the EVO is reasonably tight but somewhat blunt (results vary with tips). Extension is good, but kick could be harder, culprit is lack of mid bass peak/the linear tuning. I’d call the low end rather ordinary but it is at least not overwhelming. Its bluntness removes some sparkle.

Vocals, although lean are rather realistically reproduced with reasonable intimacy. Midrange resolution is good as the lack of body leaves “a lot of space between notes”.

Treble rolloff starts in the upper midrange already, but it is revived by a shark fin peak at 15 kHz, which introduces fake resolution and clarity, air, and pain in the ears of younger listeners. Cymbals sound splashy.

Soundstage is not the widest or deepest (deep enough), but it is refreshingly tall. Timbre is very good, too.

Separation and layering are actually decent whilst dynamics is not the greatest. This iem could be very good wasn’t it for the tuning.

Tin Hifi T2 EVO modded

Covering the 90% of the screens with micropore tape reduces the glare and increases the perceived mid bass (by reducing the upper midrange). This also enriches male voices to some extent, but not enough to call it a perfect fix. As a downside, the bass becomes slower and boomier but staging improves. The micropore mod certainly improves things but still does not make you run to the store and buy the EVO.

Tin Hifi T2 EVO vs Tinaudio T2

The original Tinaudio T2 is easier to drive, it has a very similar basic signature, it is slightly less bassy and the vocals come out better. The T2 EVO is not a progress, tonally, but it is in terms of technicalities. The EVO offers wider staging, a more articulate note definition, it sounds sleeker whereas the original T2 is technically less refined but has better air.

Concluding Remarks

Tin Hifi got it totally wrong with the T2 EVO. Instead of presenting a true update of the classic T2, they bodged it by delivering an overcooked tuning that will be hurting the eardrums of most. Another lost opportunity. If you need to get a Tin Hifi budget earphone, stick to the decent T2 Plus. Or get an original T2 second hand, it is worth it.

Until next time…keep on listening!

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Disclaimer

The Tin Hifi T2 EVO was supplied unsolicited by NiceHCK and I thank them for that.

Get the Tin Hifi T2 EVO from NiceHCK Audio Store

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Cons — Bass could be tighter; heavy earpieces, crappy stock tips.

Executive Summary

The BIE Pro is a slightly warm single DD earphone with a middle-of-the-road tuning and great imaging that will please most listeners (including me).

Introduction

Venture Electronics is a company from northern China that covers the whole spectrum of portable audio products in all price categories. Their cheapest earbud retails at $5, and their most expensive amp at >$2500. The company and their products are strongly promoted on social media by their CEO and motivator “Wild Lee”, who recruits a cult following in the (anti)social media.

A $5 earbud, the “Monk”, put the company on the map a few years ago. I had ordered two of the original’s follow ups, the “Monk Plus” as well as the original $20 Bonus IE earphone. The BIE Pro discussed here is the development of the Bonus IE. You will find out whether the BIE Pro is worth the higher price as follows.

Specifications

Physical Things and Usability

In the box are the earpieces, 1 set of silicone eartips (S/M/L), a sturdy case, and VE’s own balanced DI copper cable with 4.4 mm plug, plus a rock-solid adapter (4.4 mm female to 3.5 mm). The piston-shaped earpieces are made of metal, they are reasonably light and they fit well. L and R are identical.

The cable is of unique quality in the budget realm: it features sturdy metal connectors…the main part before the Y-splitter is nylon coated, not too heavy and very pliable. The two strands after the Y-splitter are covered with transparent plastic displaying the copper wire. The cable can be purchased individually for $30 and makes up 40% of the BIE’s price.

Since there are no memory wires, the cable can be worn over or under ear. Comfort is good, no problems arose over longer listening periods. In summary, thehaptic of the earpieces and cables is very good.

The rather basic included silicone eartips don’t do it for me, I am using SpinFit CP145s. Other eartips recommended are Symbioses. With the CP145s, isolation is soso. Results may vary according to tips used.

The BIE works just fine with a phone but they benefit from quality amplification.

Tonality and Technicalities

Equipment used: MacBook Air, iPhone SE (1st gen.); EarMen Eagle, Earstudio HUD 100 with and without AudioQuest JitterBug FMJ; SpinFit CP145 eartips.

TL;DR: The Venture Electronics BIE Pro is a single DD earphone with a warm & sub-bassy middle-of-the-road sound signature that will appeal to most. It is similar to the original BIE but features major refinements that justify its higher price.

No, please don’t look at the graph, or rather, ignore the low end. What may look like a typical bass bomb is none at all. What you see is is a gentle “U” with a forward tilt towards the upper frequencies indicative of a warm sound. Nevertheless does the low end dominate the overall sound.

The VE BIE has a very modest pinna gain of 8 dB between 1 and 2.5 kHz that tells us that it is fatigue-free for most (the mild 4-5 kHz spike may bother some).

OK, the low end with a 15 dB boost, does not do much harm as it peaks at 30-40 Hz region, well inside the sub-bass. That’s where it hurts least. Therefore no thumping midbass at all, in fact it could be more and punchier…and the sub-bass extension could be better, too.

That very low-seated, rather fuzzy kick adds a bit of bluntness and slowness to the image, so that the low end can be to some degree bouncy and rubbery. This does not make it bad, it is far from being outright slow, but it is also not the tightest or most layered. A bit sloppy.

You get fully re-imbursed for this in the lower midrange. Vocals reproduction and midrange definition and headroom are bordering on spectacular for its class. Very enjoyable. Voices are rich (!), forward and intimate despite the graph’s “U”shape. And that’s where you 70 bucks are.

The upper midrange is not fatiguing or thinning out the lower midrange. So, no icepick, however the treble rolloff at 5 kHz is a bit premature. Treble re-appars in a broad peak around 15 kHz. This pushes cymbals back (though they are reasonably well defined) and adds sparkle, air, and pseudo resolution to the image. Connecting the JitterBug FMJ adds depth and creates a fuller, richer sound.

Technically, the BIE Pro is a bit compromised by its lagging low end, as the midrange is more nimble and better resolving. Midrange clarity and note definition are very good. Stage is wide and reasonably deep and tall, which results in this spectacular headroom and great spatial cues for this class. Bass takes away from technical merit.

The other technicalities such as separation and layering are very good. Microdynamics (“the small things”) is better than macrodynamics. Listening to chamber music was quite delightful.

In comparison, the original Bonus IE has a much fuzzier bass that smears into the midrange. Vocals are leaner. The BIE Pro plays cleaner, richer, with better refinement and more finesse. It is more engaging to my senses.

Concluding Remarks

The Venture Electronics BIE Pro remind me of the (discontinued) $30 Moondrop Crescent: a premium earphone in hiding, just a bit short because of sloppy technicalities. You get a lot of sound (and cable) for your money.

Until next time…keep on listening!

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The BIE was supplied unsolicited by VE Electronics and I thank them for that.

Get it from their Aliexpress Store

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The post Venture Electronics BIE Pro Review – Sloppy Genius appeared first on Audio Reviews.

Cons — Included “Spring Tips” too small for big ear canals.

Executive Summary

The Moondrop KATO か と is a well-balanced, smooth sounding single DD earphone that sets a new standard in the $200 region.

Introduction

In the Japanese syllabary of Hiragana, か と stands for “ka to” or Kato, which is the 10th most Japanese surname. I struggled with these characters in my Japanese class at university during the mid 1990s…in order to end up in China later – many times. And yes, it was Chengdu, Sichuan, the home of Moondrop. C’est la vie. But we digress.

The 10 also stands for the number of Moondrop iems I have reviewed, following the company’s odyssey of tunings, always with micropore tape on standby to tame the iems’ upper midrange.

But, to my absolute delight, there is no more tape needed for the か と, pardon “KATO”. It is as smooth as silk. I said it weeks earlier in the SBAF forum, Moondrop are raising the <$200 bar with this model.

Now, before you pull the trigger on your order, please read on. The fact that this iem is astounding still does not mean everybody will love it. There are some strange listeners out there, after all.

The か と, erm…well…you know…is a further development of the $190 KXXS, which was a modification of the $190 KPE (Kanas Pro Edition). I don’t know the KXXS but found the KPE incoherent in that it was warm and thick at the low end and overly lean and neutral in the midrange. I did not like it.

The $110 Moondrop Starfield was said to be very similar sounding as the KXXS (although some disagree), but they are somewhat “loose” at the low end compared to the Kato.

The $90 Aria has recently rolled up the Moondrop field from underneath for being coherent, articulate, but it is also a bit peaky, which nevertheless made it my favourite Moondrop model so far…until now. Spoiler alert: the KATO is even better in that it is smoother and richer. Everything in the KATO is bigger compared to the leaner Aria. It is like a cappuccino with generous whipped cream vs. a strong cup of black tea.

Specifications

Physical Things and Usability

In the (rather big) box are the two earpieces, 2 sets of screw-on tuning nozzles (steel and brass), a carrying bag and a carrying case, a set of foams and a set of Moondrop’s own “Spring Tips”, the earphone cable, and the unavoidable paperwork. Generous!

The steel earpieces are virtually identical with the KPE’s and KXXS’ from the outside, but inside they host a new Ultra-Linear Technology driver for improved dynamics and resolution (info on product page). All these earpieces have the same comfortable fit.

The cable is bordering on spectacular – and you know I usually don’t care much about those. It is of medium weight and intermediate stiffness with fantastic haptic and no microphonics.

The in-house developed “Spring Eartips” also feel superb: they have a rather thin membrane and feel extremely grippy. Unfortunately, they are rather small so that even the largest pair does not fit my ear canals. In contrast, the foams are of generous sizes. And since foams generally do not do it for me, I have good results with the Final E tips (clear version). With those, isolation is ok.

The Moondrop KATO can be driven with a phone, but they get more life when amplified.

Tonality and Technicalities

Equipment used: Sony NW-A55, MacBook Air + Audioquest DragonFly Red/Earstudio HUD100/EarMen Eagle + AudioQuest JitterBug FMJ; steel and brass stock nozzles; Final E tips (clear version).

Sonically, the Moondrop KATO has no sharp corners or other sonic vulgarities, everything is well measured and well composed. To achieve this, low end and midrange have been dialled back compared to previous models.

Despite lesser quantity, the low end is digging deep down into the lowest frequencies with the bass climaxing at the transition to the sub-bass. This avoids a thumpy midbass. The low end is weighty with enough rumble, and the mid bass has a good punch, but both are well dosed and not overwhelming – and rather smooth and subtle. Decay is realistic and there is no bleed into the lower midrange. The bass adds some colour to the mix.

In contrast to its predecessors such as the KPE, the KATOs’s midrange also has some colour which harmonizes much better with the low end. The KATO’s midrange is fuller bodied with well rounded notes and a good weight but also offers great clarity, transparency, and spatial cues.

New is the lack of an upper midrange (and treble) peak which attenuated and sharpened vocals in the Starfield or, to a lesser extent, in the Aria. Nothing aggressive in the KATO. Hurrah, Moondrop finally did it and I can retire my micropore tape I used to stick onto so many Moondrop nozzles to tame the upper midrange.

Treble has better extension than (many) previous Moondrop single DD models but always remains sweet, composed, and well resolving, contibuting to KATO’s overall cohesion.

Staging and imaging are outstanding. Soundstage has good depth and height at average width. There is no congestion, great three-dimensionality, very good separation and layering. Transients are realistic, which adds to the smoothness.

I summary, the Moondrop KATO is one of (if not) the smoothest and most homogenous iems I have tested.

All of the above was determined with the steel nozzle. The brass nozzle adds body to the sound but also removes clarity. I therefore prefer the steel nozzle, which was also used for the comparisons below.

Moondrop KATO compared

Since Moondrop have pursued their VDSF target in their recent single DD models, their frequency responses are all rather similar – but not their sound. The biggest difference is probably between the KATO and the $800 Moondrop Illumination in that the latter has a much more boosted upper midrange, which made it somewhat shouty to my ears. I much prefer the much cheaper KATO.

In comparison, the Moondrop Aria has more bass and a prominent treble peak, which makes it overall more aggressive sounding. The Aria is also leaner, cooler, and edgier sounding with inferior imaging. So yes, the KATO is a worthy upgrade.

The Moondrop Starfield is looser and less measured across the frequency spectrum with earlier treble rolloff and a narrow stage. It is also behind the KATO in terms of technicalities and I even prefer the Aria over the Starfield.

The $250 single DD JVC HA-FDX1 (on our Wall of Exellence “WoE”) have been a very highly regarded standard staple for the last 2 years, mainly because of their rather accurate tonality at a very reasonable price. The JVCs are more neutral and crisper in their attack compared to the warmer, smoother and more immersive KATO, which lack the JVC’s upper midrange glare.

The JVCs have a flatter stage, the perfect bass, they are harder to drive, but they are tonally very accurate and are even cleaner sounding than the KATO. It is a bit silly to compare these as both are superb in their own way.

The IKKO OH10, also on our WoE, has a more pronounced V-shape than the KATO with a thicker, boomier, more impactful/more satisfying bass and more recessed leaner and sharper, that is more energetic midrange. This results in a huge soundstage. Again, the IKKO OH10 are a different beast and not exchangeable for the Kato.

Finally ddHiFi Janus2 (taped) is shouty and thinner (in the midrange) sounding than the KATO. It also has less bass. The Janus2 is not remotely as smooth and cohesive as the KATO.

Concluding Remarks

Moondrop finally got it 100% right. Their KATO is a super smooth performer with a superb overall presentation. It is technically and tonally good enough to please both analytical and recreational listeners. You cannot do better at this price, as simple as that. Just bo and guy it. What…?

Until next time…keep on listening!

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The KATO was kindly provided from Moondrop via their distributor Shenzhenaudio – and I thank them for that.

Get the KATO from SHENZHENAUDIO.

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Cons — Uninspiring bassy sound.

Executive Summary

The LZ A2 Pro offers a warm, bassy sonic signature but deserves more overall refinement.

Introduction

Lao Zhong Audio, better known as LZ Hifi Audio, is a Chinese company that specializes in in-ear monitors. Their versatile A7 model was highly acclaimed by reviewers and customers alike, and we are no exception.

The A2 Pro follows the tradition of the classic A2 series, now with a triple-driver hybrid configuration.

Specifications

Physical Things and Usability

In the box are the earpieces, the cable, two sets of eartips (S/M/L) in a nice plastic case, a metal storage box, and the paperwork. The earpieces are made of resin and are therefore light, however bulky, and reminiscent of the Shozy Form 1.4 and Unique Melody 3DT. The relatively short nozzles feature a lip.

The hybrid earphone cable features 8 strands consisting of 4N oxygen-free copper “OFC” (99.99% pure) and silver-plated OFC cores. It has 2 pin/0.78 connectors and a 3.5 mm plug. The soft PVC outer material makes it extremely soft and pliable.

Despite the short nozzles, the earpieces fit me very well with the blue-stemmed stock tips. Comfort is great, isolation is not. The LZ A2 Pro is easily driven with a phone.

Tonality and Technicalities

Equipment used: MacBook Air; Earstudio HUD100, blue stock tips.

That graph tries to to tell us two things: a “healthy” bass and something weird going on in the midrange (and perhaps in the treble). When listening, that midrange peak is not of concern, at least not to the extent one would expect it.

But the low end dominates the sonic reproduction, although it is not outright basshead material (yet). Lots of rumble from a good extension, which helps characterizing the LZ A2 as a warm earphone. Unfortunately, the low end is a bit crude and uncontrolled for an iem at this price. Bass is punchy, rubbery, thumpy, and somewhat fuzzy, it deserves a bit more contorl/refinement and finesse. And it bleeds shamelessly up into the lower midrange.

This pushes male vocals back and cuts into midrange clarity and resolution. Note weight in the lower midrange is lean. Male and female voice sound somewhat “breathy”/overly airy and not very robust, in cases hollow and nasal. And they are steadily attacked by the low end. All this makes for a somewhat congested and hollow midrange. Bass and midrange appear as a single goo.

Treble is reasonably well extended, however that 8-9 kHz peak causes some weird tizziness.

Soundstage is deep but rather narrow caused by the dominant low end. I feel I am sitting in a tunnel. Dynamics is very powerful, there is a good heft. Timbre is somewhat off so that classical music sounds unrealistic.

Concluding Remarks

I wished I could sugarcoat this, but I can’t. We have experienced the LZ A2 Pro 100 times before. They are poorly tuned, overly bassy and unbalanced, and therefore uninspiring. You could get a much better earphone for cheaper, for example the Moondrop Aria at $80. A fancy faceplate is the only interesting feature of this earphone. In the overcrowded market, there are simply better options.

Until next time…keep on listening!

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Disclaimer

The LZ A2 Pro was supplied unsolicited by NiceHCK Audio Store for my review and I thank them for that.

Get the LZ A2 Pro from the NiceHCK Audio Store.

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

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Cons — Voices rather lean (easily fixable).

Executive Summary

The ddHifi Janus2 (model 2020B) is a moderately warm and technically very capable single DD earphone with a bright tilt in the midrange. It is sonically completely different from the Janus1 (2020A).

Introduction

In the previous article we had a look at ddHifi’s first earphone, the Janus (2020A or Janus1). This is my analysis of the Janus2 (2020B) which replaces it. As it appears, some early adopters of the 2020A may have decried a lack of sub-bass extension so that ddHifi modelled their follow-up according to some frequency response model curve (I speculate).

Janus1 sound(ed) great to me as the tuning is matching the driver. Other examples of great-sounding iems with “unusual” frequency responses are the Dunu Zen, the Final Audio E3000/E5000, and Meze RAI Solo, to name just a few. There are, on the other hand, iems that sound meh because they were squeezed into a model curve. The SeeAudio Yume comes to mind.

What this tells us is that quantity (“frequency responses”) does not always translate to quality (“sound”). In fact, it never really does, but some frequency responses may ring alarm bells.

One thing up front, the newly designed Janus2 has sonically little in common with the Janus1: it is bassier, brighter, and faster. Whether this means is it more balanced than the Janus1, we will work out as follows.

Optically, not much has changed, there is more steel (and less “transparency”) in the earpieces, but there is a new, “faster” driver with high-speed tweeter inside.

Specifications

Physical Things and Usability

In the box are the two earpieces, the C80A PU leather storage case ($25) with magnetic lock, the BC110A silver plated ofc cable with MMCX connectors ($46) and the C10A magnetic cable clip ($8), 2 sets of silicone eartips (red-stemmed “bass type” bulbous narrow-bores, and black-stemmed “treble type” short wide-bores), 10 MMCX hole dust covers, and the usual paperwork. As you see, you can purchase some of the included accessories individually, and they add up to almost $80.

The earpieces preserve the Janus1′ innovative shape and still feature the dual connectors (2 pin, 0.78 mm and MMCX).

The cable’s wires are a combination of OFC (oxygen-free copper, for grounding) and silver-plated OFC (for data transmission) that comes with MMCX connectors and a 3.5 mm plug. The MMCX connection is the tighest fitting I have experienced. Cable’s outer material is medium hard PVC, which gives the cable just the right elasticity and keeps it free from microphonics.

The cable is devoid of (constricting) earhooks so that the earpieces can be worn over and under ear. In summary, an excellent one.

The case is still stain and fading resistant, lined with microfibre, and with a magnetic lock, but the material is now PU leather, which is smoother than the Janus1’s cowhide leather (but lacks that natural smell).

The reversible magnetic cable clips is strong enough to hold the Janus2 on the fridge door (a first step to our Wall of Excellence?) and on my jacket.

And like the Janus1, the Janus2 are very comfortable whilst isolation is soso. The included wide-bores worked again best for me. With its higher sensitivity, the Janus2 is easier to drive than the Janus1.

As with the Janus1, the whole assembly, that is earpieces and cable, is extremely light and small, and fit in the smallest shirt pocket.

Tonality and Technicalities

Equipment used: MacBook Air, iPhone SE (1st gen.); AudioQuest Dragonfly Red/Earstudio HUD100 w. JitterBug FMJ, AudioQuest DragonFly Cobalt, EarMen Eagle; Astell & Kern PEE51; both sets of stock tips (red-stemmed “bass type” bulbous narrow-bore, and black-stemmed “treble type” short wide-bores); 200 hours of break in.

ddHifi have tuned the new 10 mm high-speed driver of the Janus2 completely differently compared to the original Janus1 by adding bass and upper midrange (for balance) but the treble (rolloff) remains approximately the same.

In the big picture, this results in a well-tempered DD sound, big staging, lushious spatial cues, good dynamics and excellent note definition, but a leaner midrange (compared to the Janus1) with grain at higher volumes and the occasional sibilance. In my testing, the Janus2 sounded best with a warm, organic source such as the two DragonFlys or the slightly cooler EarMen Eagle.

Sub-bass extension is (now) adequate, you get a good rumble at the low end, but it is still not record breaking deeply rooted. Mid bass is punchy and dynamic with a satisfying kick. There is good speed and texturing…it is on the faster side of the dynamic drivers I have tested. And yes, there are more than enough bass and impact, way more than in the Janus1.

Male and female are natural and well sculptured, with very good note definition and articulation, but they are also lean and frequently sharp, which can get fatiguing. A bit more body would have done them well. Read on…

That boosted upper midrange may help with the perceived technicalities and provide for a clean and transparent midrange, but it makes the lower midrange thin and breathy. And yes, the midrange is shouty at higher volumes and high violin notes can be grainy, but it is well resolving and clean at lower volumes. But…

As always with peaky iems, I put a strip of micropore tape over the nozzles (80-90% of the screens covered), which calms the upper midrange down (results vary between earphones). In this case, it removes most of the shoutiness and adds body to the vocals – and brings the bass out.

After this reversible fix, voices are not aggressive anymore and the richness of the vocals are now acceptable. Problem solved. ddHifi should have not boosted the 4-6 kHz that much, and they should have implemented the pinna gain between 1 and 2 kHz (instead of 3 kHz).

Note definition is very good across the midrange right into the well-resolving lower treble: high piano notes are well defined with cymbals, although somewhat back, are crisp. The recession in the lower midrange from 6 kHz progresses right into the upper midrange above 10 kHz which moves the vocals ahead of the high notes.

Some of the very high notes are tizzy, probably related to the 15 kHz spike, which definitely adds fake resolution, air, and sparkle to the midrange. The lower treble is largely similar to the Janus1’s, that is sweet and polite – and therefore pleasant on the ear.

Soundstage is rather wide with decent depth and height. Imagining, spatial cues, and 3D transparency are very good and so is separation. All better than in Janus1. The driver speed makes this possible and is also responsible for the excellent dynamics and attack. There is no smearing going on.

Timbre is organic with that bit of brightness added. Get yourself some micropore tape and make it darker…

Janus2 Compared

The $199 IKKO Gems OH1S 1 DD +1 BA has a much lesser bass and treble extension and is therefore less V-shaped. OH1S’s vocals are more forward and richer, but also with a tendency toward brightness.

The original Janus1 lacks the low-end extension, and vocals sound thicker owing to the more contained upper midrange. To me the Janus1 has a tad too little upper midrange and the Janus2 has too much. This also results in a narrower stage in the Janus1. The midrange of the Janus1 is somewhat reminiscent of the Sennheiser IE 500 PRO. It can also not compete with Janus2 in terms of dynamics.

The frequency responses of the Janus2 and the very well resolving NF NM2+ look similar, but the latter is much hotter in my perception – and way more analytical. Too hot to handle for me.

Concluding Remarks

ddHifi have produced a very good sophomore iem, but with a caveat: 2 steps forward and 1 step back. They implemented a faster dynamic driver and tuned it according a model curve as it seems. Out came a more dynamic, better resolving, better imaging, better staging iem (than Janus1 2020A).

However, the Janus2 falls short in the vocals department by an overdone upper midrange boost. Luckily, this can be fixed by very simple means. If ddHifi had tuned it slightly better, the Janus2 could be considered being fantastic.

If you own the Janus1, should you…? Erm…I don’t know but the Janus2 is a completely different beast.

The Janus2 is as innovative and classy as the rest of ddHifi’s offerings, it truly is a good sounding work of art and deserves a design award.

Until next time…keep on listening!

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The Janus2 was provided by ddHifi for my analysis. Thank you very much.

Get the ddHifi from the DD Official Store

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