Cons — Rose-gold accents on the Hidizs MM2 cable might be a turn off
– Lower-midrange recession
– Upper-midrange sounds strained on treble and neutral filters
– Steep treble roll-off post 7kHz.
– Needs to be priced lower to be competitive

INTRODUCTION

Before proceeding with the review, I should clarity that this review is an extension of Jürgen’s take on the Hidizs MM2. As such, I’ll just breeze through the usual build quality/packaging sections and go straight for the sound analysis.

Hidizs’s latest IEM release are the MM2 and they feature a hybrid setup with 10.2mm dynamic driver for bass and mids + 6mm magnetostatic driver for the treble. This combo is often seen on more budget-tier IEMs so Hidizs need to differentiate their product somehow. Turns out, they opted for a tuning system based on removable screws on the back of the IEMs.

Let’s see if the tuning system alone is enough to make the Hidizs Mermaid MM2 an worthy contender in the <USD $100 IEMs space.

Note: the ratings given will be subjective to the price tier. Hidizs sent the MM2 for evaluation.

Sources used: Lotoo PAW 6000, Sony NW-A55
Price, while reviewed: $80. Can be bought from Hidizs’ Official Website.

PHYSICAL THINGS AND USABILITY

ACCESSORIES

Both the stock cable and the carrying case deserve a mention here, since they are some of the best you can find in the packaging of IEMs under USD $100. The stock cable is supple, doesn’t tangle easily, and looks great. The carrying case is somewhat over-engineered yet maintains a muted outlook. Rather unexpected for a pair of budget IEMs.

BUILD QUALITY, FIT, COMFORT

I agree with Jürgen regarding the build quality, fit, and comfort. His review also went through the mechanism of the tuning filters (which are rear-mounted instead of being front-mounted) so check that one out for further details.

I should note that I prefer the rear-mounted filter system as opposed to nozzle or tip mounted ones since they are more cumbersome to swap. Also it’s need stating that the passive noise isolation is below average, as the rear-vents allow noise inside. No driver-flex was noticed which is a plus.

HIDIZS MERMAID MM2 TONALITY AND TECHNICALITIES

The general sound signature of the MM2 can be described as variations of “V-shaped” tuning with varying degrees of bass and lower-treble depending upon the choice of rear-filter.

I think the bass response is the star of the show here with punchy mid-bass and good amount of rumble in the sub-bass region. The slam is also above-average so these drivers are moving good amount of air.

The issue arises in the lower-mids region where, with the stock and bass filter mids sound too recessed, resulting in distant male vocals, snare hits etc. The aggressive pinna gain around 2.5kHz compounds this further with high-pitched or soaring vocals sounding strained, as can be heard on Alexisonfire’s This Could Be Anywhere in the World. The male vocals do gain a bit of thickness with the bass filter but then again the large amount of mid-bass drowns out the subtle articulations of voice, resulting in a lack of resolution.

Treble peaks around 4kHz and then goes for a steep decline from 7kHz onward. This robs off the airiness of cymbals and hi-hats, resulting in a muted presentation devoid of shimmer and resonances. The magnetostatic driver is supposedly aiding the treble response and whereas some magnetostatic timbre can be heard, the sheer extension is lacking. Treble overall is not bad, it is just unremarkable.

What is remarkable though is the staging performance of the Hidizs MM2. Stage is wide, with instruments often being placed outside your ears in binaural tracks, e.g. Amber Rubarth’s Strive. Stage depth also seems above-average though that is mostly attributable to the lower-mids recession. Imaging was above-average though lacked the precision of some of their peers. Instrument separation is above average but is often let down by the overshadowing bass.

Jürgen mentioned the timbre to be somewhat plasticky and unnatural. I wouldn’t call the timbre plasticky myself but it definitely lacks some of the richness one would expect from a natural-sounding setup.

SELECT COMPARISONS

vs Dunu Titan S

Dunu’s budget model of the refreshed Titan series have 11mm dynamic drivers with LCP diaphragm. Dunu went for a more neutral-bright tuning with the Titan S and the driver is also faster than the MM2 during transients. Due to the upper-mid and treble focus, the bass on the Titan S doesn’t have as much authority as the MM2 bass.

One area where the Titan S surpasses the MM2 is sheer resolution, with the Titan S being more revealing of mastering flaws and also having better imaging. Staging is not as wide and tall as the MM2, however, neither is the macrodynamic punch as evident.

Given the similar price, the Titan S offer great value for those who are after a neutral-ish pair of IEMs. The Hidizs MM2 will cater more to those who prefer a mainstream or V-shaped tuning, or those who find the Titan S to be overly bright.

CONCLUDING REMARKS

The IEM market is the most ruthless in the under USD $100 segment as new models pop up almost daily. Hidizs MM2 stand out with great accessories and a filter-system that is quite unique, while offering various levels of bass.

Unfortunately, the mids and treble frequencies are somewhat off in terms of tuning and that mars the experience. The treble roll-off hurts the sense of resolution the most, something one would expect from IEMs at this range.

I do think the Hidizs MM2 would offer better value had they been priced somewhat lower, and just like Jürgen I’d also assume $20 -30 lower retail price based on sound alone. The accessories are quality however, so maybe you are paying the extra for those goodies.

MY VERDICT

3.25/5

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The post Hidizs MM2 Review (2) – Yet Another Budget Contender 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!

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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

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

Cons — Outdated Bluetooth 4.1; short battery life; no onboard storage for key files, no (more) radio; no case (available).

Executive Summary

The Hidizs AP80 Pro-X is a versatile and enjoyable dap with a proven SoC sound that probably offers excellent value at its $180 price tag.

Introduction

Hidizs is an up and coming company out of China that recently scored hits with their S9, S3 Pro and particularly their S9 Pro dongle DAC/amps. The latter is one of the most popular dongles in the overcrowded $100-150 class. My review made it into the upper third of our Top 20 most read reviews of 2021. Hidizs also focus on portable music players, bluetooth receivers, and earphones, such as the MS1 Rainbow. The AP80 Pro-X is their latest DAP.

Specifications

The ouput impedance is < 1 ohm…

Differences between Hidizs AP80 Pro and Pro-X

Compared with AP80 PRO using the final unfold (4X) of an MQA file, AP80 PRO X will use MQA technology for the final unfold (8X) of an MQA file.

The AP80 Pro-X is the update of the AP80 Pro. The main tech difference between the two is the chipset. The AP80 deploys two ESS ES9218P SoCs (introduced in late 2016; “System on Chip”), and the AP80 Pro-X features two ESS ES9219C SoCs (introduced in late 2019).

Both all-in-one DAC/amp chips have effectively the same specs, but the ES2919C features hardware-level MQA decoding and it has a lower battery consumption at standby/no load.

This results in essentially the same performance specifications between AP80 Pro and AP80 Pro-X with channel separation as apparent exemption. Hidizs lists a much improved channel separation for the AP80 Pro-X model. Upon further inspection, the AP80 Pro-X’s better value stems from a measurement at no load, whereas the AP80 Pro’s number was generated under load.

And since channel separation decreases with load, these two numbers cannot be compared. But even the AP80 Pro’s “worse number” is still very good. I speculate both models’ channel separation are identical.

Functional difference is a lack of radio and protective case, and a different shape in the AP80 Pro-X (the AP80 Pro’s case does not fit).

Not changed between models have operating system, buttons/potentiometer, and Samsung touchscreen.

In summary, although I have not auditioned the AP80 Pro, I do not expect any (significant) sonic differences between the two. In fact, there should not be any major difference between any model using these SoCs, as the engineer cannot manipulate the software (in contrast to a dedicated DAC chip). In other words, the sound is entirely made by ESS and not by Hidizs or whoever put their name on the dap.

Design, Build quality

Physical Things and Usability

IN THE BOX…

• Type-C cable
• Type-C to Type-C OTG cable
• User manual
• 2 Screen protectors
• Warranty card

The design is an aluminum chassis sandwiched between two sheets of glass. Not sure whether I did it right, but I used one of the screen protectors in the front, and the other in the back :). The square shape is a bit odd to get used to, and the small size is traded for battery size.

The Samsung screen is responsive and of good resolution. The buttons are precise and the Japanese ALPS potentiometer is suspended. The overall build is very good. The AP80 Pro-X does not come with a protective shell, and there is currently no after-market one available.

Functionality and Operation

What it does

• plays music through single-ended and balanced headphone circuits
• works as wired DAC with computer and cellphones
• features bi-directional Bluetooth 4.1
• offers unique sound adjustments through “MSEB”
• accepts micro SD card up to 512 mB
• updates its music library blistering fast
• lets you read ebooks
• counts your footsteps (pedometer)

What it does not

• play single-ended and balanced circuits simultaneously
• does not feature the latest Bluetooth standard
• have radio function anymore (lost with chip upgrade from AP80 Pro model)
• has no accessible onboard storage for key files
• have the greatest battery life between charges
• no case available (at the time of writing)

Handling, Software, operating system/user interface, sound settings, connection options and modes, internals, pairing/Bluetooth, updating the library…fast or slow…

Hidizs AP80 Pro-X Quickguide

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HiBy 3.0 OS

HiBy is a company that produces their own daps, but they started out as software designers. Their OS 3.0 is therefore a mature product that I learnt intuitively and quickly by trial and error. No manual needed.

Compared to other OS, the HIBy has a few special features, such as pedometer and ebook reader. Two-directional Bluetooth may be more common. It can also be used as DAC with your computer or phone/tablet.

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

Amplification and Battery Consumption

Hidizs states 6-8 hrs playtime balanced and 8-11 h single ended, with a 40-day standby. That’s not great considering the iPod Classic’s 36 h playtime and is a function of the AP80 Pro-X’s small form factor (which does not leave space for a larger battery). But you are compensated with a fast 1h recharging.

Most of my power-hungry headphones are single-ended and the AP80 Pro-X had plenty of juice left with the 150 ohm Sennheiser HD 25. The single-ended output also handles the demanding planar-magnetic KBEAR TRI3 Pro with ease so that the more powerful balanced circuit probably plays any iem you throw at it.

DAC Use with Computer

Using the AP80 Pro-X as a “dongle DAC” with my MacBook Air worked very well, too. Particularly, the balanced circuit provides lots of power. When connected, the AP80 Pro-X’s battery is charging during use. Sound quality wise, it corresponds to a $120-150 dongle such as the Hidizs S9 Pro (I actually prefer the AP80 Pro-X’s sound). I was pleasantly surprised overall.

As dac compared to Cobalt: Cobalt sounds more natural with more depth/more 3D….and bassier WITH BETTER SEPARATION…and dynamics…HIDIZS SOUNDS FLATTER, less separation…much less depth…much less 3D..not even with bigger headroom…but AP80 is more powerful…

Sound

Equipment used: Sennheiser HD 25, KBEAR TRI3 Pro, Final E3000, IKKO OH10.

The AP80 Pro-X has its sound dictated by its prefabricated SoC. It will sound very similar to other devices using the same all-in-one chip. The presentation is neutral without being analytical or edgy. Nothing is boosted, which results in great midrange clarity. Staging is wide with good depth resulting in a decent headroom even with the single-ended circuit. Dynamics is great, the image is vivid. It also has good intimacy.

The single-ended output is good, but the balanced circuit is the star providing superb clarity and headroom…and a truly impressive listening experience. The clarity is adherent to the lack of USB noise in a dap – compared to a phone full of non-audio components. I find the overall sound better than that of my iPhone SE (1st gen.) with the Hidizs S9 Pro dongle.

Amazing what you get for $180 compared to iems at this price.

Hidizs recommends headphones/earphones between 8 and 200 ohm to be used with the AP80 Pro-X. It harmonizes perfectly well with the 150 ohm Sennheiser HD 25 (single ended circuit, high gain) doing justice to the headphone’s punchiness and dynamics. Lots of headroom.

Stepping over the upper limit with the 300 ohm Sennheiser HD 600, the headphone lost is smoothness and richness and became edgy sounding, while still playing loud enough.

Hidizs AP80 Pro-X Compared

Two candidates for comparison are the $109 Shanling M0 and the $220 Sony NW-A55.

The Shanling M0 features the same SoC as the original Hidizs AP80 Pro and sounds very similar to the “single-ended” AP80 Pro-X, too (I don’t have MQA). The Pro-X has bigger staging and more intimacy. But its balanced circuit with its much bigger headroom and dynamics removed any doubt and puts the Shanling to shame.

The Sony NW-A55 only features a single-ended circuit and sounds somewhat smoother and richer in the midrange, in comparison to the more brittle AP Pro-X. And it has a far superior battery life of >>20h owing to its larger size/bigger battery. The Sony can also be customized with Mr. Walkman firmware tailor the sound to the user’s particular taste.

Concluding Remarks

The Hidizs AP80 Pro-X is a versatile and competent dap with proven technology that provides me with lots of pleasure. Particularly its balanced circuit is impressive. As a DAC, it probably beats most budget dongles imo – including the Hidizs S9 Pro. The AP 80 Pro-X sits well in its price category – you probably cannot do better below $200 – which is a sweet spot for many.

Until next time…keep on listening!

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Summary

These two single-chip dongles (Bolt: ESS9281 Pro, UA1: ESS9218 Pro) are superficially similar but quite different sounding. The Bolt can be summarized as clean and midrange-focused, the UA1 as bass- and upper-mid-emphasized (more “Harman”). Which is preferred will depend on the transducers they’re paired with as well as the tastes (and budget) of the listener.

For this comparison I listened with JVC HA-FDX1 single DD & Ultimate Ears UE900S quad BA earphones to 16/44.1 FLAC files played via USB Audio Player Pro from a Nokia 4.2 Android phone. The Bolt is currently $110, the UA1 $45. For details on physical things, specs, etc., see Jürgen’s individual reviews here and here.

Helm Bolt

In summary, the Bolt’s tonal/timbral package is warm in the bass and more clean & precise in the upper mids & treble. With some material, these contrasting characters make it seem a bit disconnected top to bottom. While having good weight in the bass, bass & sub-bass can come across as a bit boomy, un-defined (one-note) & soft, particularly with the source-picky JVC HA-FDX1. 

With the UE900S, though, the tendency for softness in the bass goes away and the rounder character benefits the otherwise lean BA bass notes. Treble is extended but not overemphasized; ‘sweet’ would be the old-school audiophool term. The clean nature of the mids and highs gives a very good sense of instrument separation and imaging. 

Overall I found the Bolt to be very good with UE900S – they sound ‘cleaner’ than from other SE dongles I’ve tried them with and the tonal balance benefits their lean-in-the-bass, low-in-the-upper mids, tizzy-up-top character.

Shanling UA1

First impression of the UA1 is of good top-to-bottom integration and good resolution, with dynamics that are more consistent in character across the range. The top end is well defined but well controlled, not splashy. There’s good bass: with HA-FDX1, sub-bass definition & extension are certainly there, both better than with the Bolt.

However, the UA1’s upper mids are a bit nasal/honky/shouty, particularly with the FDX1s which are a bit elevated there. With those ‘phones the UA1 is more balanced at the extremes than the Helm, but a bit tonally and timbrally off in the mids.

With the UE900S, the bass remains good but the upper mids & treble come off as overexaggerated, sibilant and a bit hashy compared to the Bolt. Cable games might help this, but I’m not optimistic.

Matching

Comparing these two dongles with these two earphones shows the importance of synergy: the Helm is a much better driver for the UE900S than the UA1 is. The sweeter treble of the Helm helps balance the 900s’ overdone highs, and although the 900s’ dipped upper mids would ostensibly seem a better fit with the UA1’s tendency for shoutiness, they actually seem cleaner and better balanced there with the Bolt. The Bolt’s softer, rounder bass isn’t a problem, as it makes the 900s sound a bit more natural. With the FDX1s, however, the Bolt gives a very soft sub-bass compared to the UA1. Conversely, while the bass of the UA1 matches the FDX1s better, its Harmanish tonality does their upper mids no favours.

It’s tempting to attribute differences in the bass, in particular, to differences in output power.  According to Audio Science Review’s measurements, the Bolt clips at 60 mW into 32 Ohms and about 56 mW into 16 Ohms (HA-FDX1 impedance). Shanling specifies the UA1’s power output as 80 mW into 32 Ohms. The difference between the two dongles isn’t large and I doubt it tells the whole story, because the DragonFly Black is very anemic at 18 mW into 32 Ohms yet the HA-FDX1s don’t lose the definition in the sub-bass when fed from the Black to the extent that they do from the Bolt (warmth of the Black’s signature aside). I conclude that with these dongles, transducer synergy is ‘a thing’.

Other Quick Comparisons

Audioquest Dragonfly Black: pleasant warm emphasis (more than the Bolt), but everything softened and resolution lost (blurred, even a bit scratchy or fuzzy in the highs) compared to the Bolt and UA1. Would view as smooth if not by comparison. Smooth (but not soft) in the bass & lower mids; relaxing with the FDX1s.

Apple dongle: softer than DragonFly Black throughout, not as warm though.

EarMen Sparrow single-ended output: Bolt has better macrodynamics, more and cleaner treble, and is more resolving. UA1 has better note definition (resolution). Sparrow balanced output bests both in dynamics & resolution.

Ifi iDSD Nano BL SE (unfair comparison because: not a dongle, battery powered, 200 mW @ 16 Ohms, significantly more expensive; but included here for completeness because I compared it): darker tonal balance, timbre across the range more integrated, balance between dynamic swings & transient speed more even (maybe a little on the slow side compared to the ESS sound, but to me more natural because of that; organic). S-Balanced is a notable step up over SE in ‘cleanliness’.

Conclusion

It was interesting to hear such different sonic characters from these superficially similar dongles. I hesitate to recommend one over the other as transducer synergy, based on my admittedly limited trials, seems to be important. In general terms, I’d suggest that the Shanling UA1 might be the better match if you have ‘phones that are known to be demanding in the bass; and the Helm Bolt might be the better if you have ‘phones you find at the edge of your tolerance in the upper mids.

Disclaimer

These two dongles were sent to Jürgen for review by Helm Audio and Shanling, who we thank for the opportunity to hear them.

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• Small and light, good build.
• 3 modes for more versatility – music, gaming and movie modes.
• Innovative detachable magnetic cable system.
• Plug and playable, compatible with desktops/laptops, apple and android phones (there is an option to get Lightning versus USB C connectors).
• Very low output impedance, suitable for low impedance IEMs. No hiss.
• Neutralish, with a slight bass boost to add some fun.
• Volume controller.

Cons

• Gets slightly warm.
• Volume may jump when switching between modes – best to mute device/lower volume first.

Executive Summary

The IKKO Zerda ITM01 is a swiss army knife of the budget dongle DAC/AMP arena. It has a music, gaming and movie mode, making it quite versatile. It also has volume controls and boasts a very innovative magnetic cable system. There is good power on tap, yet this set can still drive low impedance type IEMs because of its low output impedance.

Specifications

• DAC uses ESS’s high-performance ESS9298 chip
• PCM supports up to 16Bit/384kHz
• DSD supports up to DoP128
• Adopts ikko’s custom anti-interference magnet thread connection method
• SNR: 118dB@32Ω (A-weight)
• Frequency response range: 20Hz-40kHz (-0.5dB)
• Output impedance: <0.8Ω
• Adaptation impedance: adaptive 16ohm – 600ohm
• Output level: 2V @ 32Ω (125mW @ 32Ω)
• Distortion: < 0.001%
• Decoding ability: Simulation (multiple sound optimizations)
• Size: 58x22x11mm
• Output: 3.5 mm
• Tested at $59 USD

Accessories

• 1x Ikko ITM01 Dongle
• 1x USB A cable
• 1x Type C or lightning cable (you can choose either option at order).

The USB A cable is very long, so no worries of a too short cable limiting your usage. In fact I found it too long and dangly, and had to tie up the cable when using it with my laptop. This cable is cloth braided and there is an included faux leather strap to tie the USB A cable.

A second cable is included, this is either a Lightning or USB Type C connector, depending on which one you choose at ordering. Well that depends if you are of the Apple or Android persuasion, but this cable is very much shorter.

These 2 included cables feature a very nifty and innovative magnetic connector to attach the cable to the DAC/AMP device. The magnetic end of the cable locks on easily and can be used in either direction; this may lessen wear and tear for frequent cable changing.

Contrary to the impressions that a magnetic connector can cause an easy dislodgement of the cable from the DAC/AMP, it is actually not easy to remove this magnetic clamp once the cable is inside, and I had no issues with dislodging the cable on the go.

This cable is unfortunately proprietary. I do appreciate that this DAC/AMP dongle’s cable is detachable, as a non-detachable one may be a point of failure down the line. In this current year of 2021, it is really not excusable to have a non-detachable cable for these dongles (unless we are talking about an ultra-budget set), as a non-detachable cable is one awkward yank away from being a white elephant.

Build

The ITM01 is made of plastic, but is sturdy yet light. As mentioned above, the detachable cable definitely should prolong its lifespan.

Measuring in at 58 x 22 x 11 mm, this set can easily fit into a jeans pocket on the go.

This set has a 3.5 mm output (single ended) and has no balanced option.

Functionality

The IKKO Zerda ITM01 is a plug and play set, and is compatible with desktops/laptops, apple and android phones (depending on the cable type you order), without any need to install drivers.

Disclaimer: I am not an Apple fanboy and do not own any Apple products, so I opted for the USB C version and tested this set on Android phones and a Windows laptop. Please check with others who have bought the Lightning version if they have any issues with Apple products.

The volume buttons work as advertised on the IKKO Zerda ITM01, they can be pressed down with a satisfactory click. I appreciate that the volume steps in the ITM01 are quite fine, unlike the Tempotec Sonata HD Pro, which have huge volume levels in between each volume step.

Pressing the middle button once (short press) pauses or starts the music. This middle button also controls the mode if pressed for 3 seconds: music (yellow LED), movie (blue LED) and game mode (purple LED).

Technical Aspects

The IKKO Zerda ITM01 can support PCM up to 16Bit/384kHz and DSD up to DoP128.

I did not note any RF interference when putting the IKKO Zerda ITM01 through its paces. Neither did I hear any hiss nor clicking with changing tracks midway. There is a bit of a clicking noise however, when changing modes.

On the music mode (yellow LED), the IKKO Zerda ITM01 essentially is neutralish with a slight bass boost. This keeps it from sounding sterile and adds a little bit of fun to the equation. The background is pitch dark with highly sensitive IEMs.

In fact with the advertised <0.8Ω output impedance, this set is perfect for multi driver low impedance IEMs (rule of eights in audiophile teachings). I’ve tried some 9ish ohm low output impedance sets like the Audiosense T800 and TRI Starsea on this DAC/AMP without any issues.

With very high impedance earbuds and cans eg ~ 300 ohms, the IKKO Zerda ITM01 faired well and could drive such gear adequately. When paired with some power hungry IEMs, eg KBEAR BElieve/Final E3000 (low sensitivity) and TRI I3 (planar tribid), these all sounded good, with a lot more headroom to spare.

On the movie mode (blue LED), the soundstage was compressed a tinge, with a boost in the upper mids region, giving more clarity to voices. This gave a spherical blob of soundstage with the head as the reference point, and there was some loss in instrument separation.

I didn’t get a “surround sound” vibe with this mode though. The volume cap is also much higher here than on the music mode, and the volume levels may jump from the music mode when playing an equivalent track (so beware).

On the gaming mode (purple LED), the soundstage became unnaturally wide (it may not be suited for music listening as such), but this might aid in placement of gun shots and footsteps, especially for FPS players. Instrument separation does take a hit compared to the music mode.

Likewise, the volume cap here is also much more than on the music mode, and the volume can also jump suddenly compared to the music mode, while on the same test track.

Hence, when changing modes to the gaming/movie mode, as they have a different volume level/cap, my advise is to mute the volume of your device and put the source (eg phone/laptop) volume to zero, and slowly increase incrementally, in case of any sudden jumps in volume between the modes.

The IKKO Zerda ITM01 does get a bit warm with prolonged usage, but I’ve definitely had other dongle DAC/AMPs that go much hotter.

Comparisons

Compared to the Tempotec Sonata HD Pro, the ITM01 has about comparable sound quality, but the ITM01 is more fun sounding in view of a bass boost, compared to the rather neutral Sonata HD Pro; the Sonata HD Pro can sound a bit more boring as such.

The Sonata HD Pro also has weaker driving power, and can’t drive some more demanding gear, eg 300 ohm cans. Having said that, there are some mods (eg BHD firmware mod, or using a 3.5 mm to 3.5 mm adapter) to get the Sonata HD Pro to output more juice, but the volume steps on the Sonata HD Pro are also bigger, so fine tuning volume levels on the Sonata HD Pro isn’t as reliable.

Compared to the E1DA 9038D, the ITM01 has poorer soundstage and technicalities, but that is not surprising considering the E1DA 9038D is around double the price (the 9038D is not better by twice for sure).

Driving power on both sets are good for a single-ended dongle, but the E1DA 9038D drains more battery and gets noticeably warmer. The E1DA 9038D is also very neutral and may sound more boring and analytical than the ITM01.

Conclusions

The IKKO Zerda ITM01 is a swiss army knife of the budget dongle DAC/AMP arena. It has a music, gaming and movie mode, making it quite versatile. It also has volume controls and boasts a very innovative magnetic cable system. There is good power on tap, yet this set can still drive low impedance type IEMs because of its low output impedance.

This DAC/AMP dongle (on the music mode) features a neutral signature with some slight bass boost to add a bit of fun to the music. Soundwise, the ITM01 definitely holds its own at the budget segment, and at $59 USD, has really quite good price to performance ratio. Recommended!

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Disclaimer

I would like to thank Rebecca from IKKO for providing this review unit. It can be purchased here: https://www.ikkoaudio.com/products/ikko-zerda-itm01-portable-audio-dac-detachable-magnetic-cable-adapter

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Cons — Upper-midrange glare.

Executive Summary

The Shanling UA1 is a well-built and organic sounding budget dongle that could be a bit tamer at the top end.

Introduction

I recently analyzed the Shanling UA2, a rich and warm sounding dongle-shaped DAC/amp that features single-ended and balanced outputs – possibly the best of its kind below $100.

The company had slit the the $45 UA1 as an encore in that package, which was Shanling’s first foray into the world of small DAC/amps. It joins an army of sub-$50 dongles that presently crowd the market – but with a distinct difference: Shanling is a brand name that is also established in the premium segment.

Let’s find out whether “noblesse obliges” also works for the budget domain.

Specifications

Physical Things and Usability

The box’s content is spartan: device, USB-C to USB-A adapter, and a manual. The enclosure is made of anodized aluminum, and the 3.5 mm headphone socket is reinforced with a gold-plated metal rim. There is a tiny LED status light by the socket. The haptic of the enclosure is top notch.

The fixed cable is made of high purity copper with cotton shielding against outside interference. The strain reliefs appear to be sturdy but a detachable cable would have been favourable.

Functionality and Operation

The Shanling UA1 is another entirely source operated/powered DAC/amp. It works plug’n’play with mobile devices and Mac OS, but requires a driver for Windows.

It is powered and operated from the source device and decodes Hi Res up to 32 bit/384 kHz and DSD 256. I have not found MQA decoding capability in the documentation.

Amplification and Power Consumption

I my 3h battery drain test of several dongles, the Dragonfly Black and Red had the lowest consumption on my iPhone 5S, the Shanling UA1 consumed about a third more, which placed it in the midfield. But it could have done far worse than that….see the detailed results. I would call the UA1’s battery consumption ok but not outstanding.

Power Consumption Test: Parameters and Raw Results

I tested the power consumption of several portable headphone amps connected to my iPhone 5S. The conditions were as identical as possible: 3 h test, volume calibrated to 85 dB  ± 0.5 dB white noise with Dayton microphone, no sim card, BT off, no other apps open; network on, 32 ohm Blon BL-03 iem, Genesis’s Supper’s Ready (from the Seconds Out album) played in an endless loop.

The iPhone’s battery was fully charged at the start of the test and the remaining charge was measured thereafter. The result is shown in the table below. Since the tests were performed at different times and considering the ongoing battery deterioration, the results have to be seen with a grain of salt.

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Sound

Equipment used: Macbook Air/iPhone SE first generation; Sennheiser HD 600 & HD 25; Sennheiser IE 400 PRO, JVC HA-FDX1, TRI I3 Pro.

The Shanling UA1 features the ESS ES9218P (dac + amp), a “System-on-Chip” (SoC) that leaves the audio engineer little room for tweaking, it comes down to mainly filtering. This means devices with this SoC will actually sound alike or very close.

The UA1 is close to neutral, but has a faint tone colour with a slightly boosted bass, but also with an elevated upper midrange/lower treble, which adds some grain to the top end top-end that can be fatiguing to some in the long run – and that’s the UA1’s only downside. There is a companion app for Android phones that allows filtering which may mitigate the issue, but it does not work with a computer or iPhone.

Presentation is leaner compared to a $100+ dongle, but not in a bad way. Staging is fine. Midrange is clear and clean, and resolution is pretty good. Nothing sterile or analytical. I also did not record any hiss.

It drives my 300 ohm Sennheiser HD 600 with some pain but any iems, including the power-hungry planar-magnetic TRI I3 Pro earphones with ease.

The $99 Helm Bolt and Shanling UA1have a very similar general sound signature (and even a very similar build; the Bolt decodes MQA, the Shanling does not). The Bolt has less bass, which is a tad tighter and cleaner, it sounds more open and the vocals are more up front because of it, and it is a bit more dynamic. The UA1 has more low-end rumble whereas the Bolt is more composed and “sweeter” at the top end. These differences are not earth shattering but the Bolt appears o be better balanced by more sophisticated filtering.

When going up the ladder, the $85 Shanling UA2 has a richer, bassier sound, better staging, better 3D rendering, more punch, and the corners are smoother.

Concluding Remarks

At $45, the Shanling UA1 is an impressive performer with a warm-bright, organic signature, good staging, dynamics, and resolution that does justice even to $200-300 iems (I have not tested any higher-priced ones as I don’t have any). The only polarizing feature may be its hot upper midrange/lower treble glare, other than that it plays one league higher than its price and comes close to the $99 Helm Bolt that shows a few better rounded corners. However, the Shanling’s lively top end will bring some life to iems with an early treble rolloff.

I am a particular fan of the great haptic and build of Shanling’s UA1 (and also the UA2) that compare even to the most expensive models.

Until next time…keep on listening!

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Disclaimer

The Shanling UA1 was included with the UA2 and ME80 in a review package from the manufacturer. I thank them for that. I sent the UA1 to Biodegraded for a second opinion.

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

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Cons — Smoothness and richness reduced in revised tuning; still lacks treble extension; still needs strong amplification.

Executive Summary

The TRI I3 Pro remains a unique sounding planar-magnetic earphone that now features more bass and upper midrange which results in improved transparency, clarity, liveliness, and dynamics, at the expense of richness and note weight.

Introduction

KBEAR released their original $169 TRI I3 in late 2019. It was the cheapest planar magnetic earphone on the market and received lots of attention. We analyzed it to death – here the takes by KopiOkaya, Baskingshark, and myself – and also addressed the pros and cons of planar-magnetic drivers.

The original was plagued by channel imbalance, lack of nozzle lips (any eartips were stuck in my ears after each use), the earpieces were “sumo sized” (Baskinghark), the cable did not harmonize sonically, and some say the tips didn’t either. All of these (except the eartips) have been addressed in the Pro model.

Regardless, the original’s sonic offerings were so appealing to the users that the model prevailed until recently – almost unheard of in this genre.

Specifications

Physical Things and Usability

In the box are the earpieces, 2 sets of eartips, cable, pleather pouch (known from Diamond and Believe models), cleaning cloth (!), cleaning brush, and paperwork.

The aluminium alloy earpieces, although shrunk by 26% compared to the original, are still not the smallest lightest but they are (still) very comfortable for me. Build and haptic are premium. The 5N OFC (oxygen-free copper) cable works sonically, has no microphonics, is pliable but a bit on the heavy side. Optically, it is nothing special. in terms of comfort, I had no problems listening through a double CD. Isolation remains average.

The grey stock eartips are fine for me, I cannot not find any better alternatives after some tip rolling. Amplification is required for the I3 Pro to shine, and the more the better. Regular dongles were ok, but the EarMen TR-amp worked best in releasing the sonic details.

Physical Differences between TRI I3 Pro and TRI I3

As you can see from the 2 photos, the shell size has been reduced in volume by 26% (the number is from the product page) without changing shape. You further recognize the nozzle lip added to the Pro.

Tonality and Technicalities

Equipment used: MacBook Air + EarMen TR-amp. Hidizs S9 Pro, Earstudio HUD100, AudioQuest Dragonfly Redw. JitterBug FMJ, AudioQuest DragonFly Cobalt, Astell & Kern PEE51; grey stock eartips. Worked best with the most powerful TR-amp.

KBEAR have addressed a few concerns about their original I3 but kept the principal sonic character. The changes are rather tonal nuances of the original packed into smaller shells.

The I3 Pro is still a warm (but to a lesser extent) iem with that special planar-magnetic timbre that is so different from the rest of the competition – a unique feature of this earphone.

As you can see from a graph comparison, the I3 Pro received boosts at the low end and in the upper midrange, which pronounces the original model’s U-shape. But instead of the vocals being pushed back, they are actually moved forward. This means that the upper midrange wins the balance game over the low end.

In the big picture, the TRI Pro has become brighter, faster (at least perceived so), more dynamic, but also a bit leaner however cleaner in the midrange.

Although the low end has been boosted (and the pinna gain is still at an acceptable 11 dB), it is somewhat compensated for by the elevate upper midrange so that the bass perception is only marginally stronger compared to the original. It is still a bit on the slow side as it is typical for planar-magnetic drivers. It ain’t fuzzy but could be tighter. Because of the changes in the mid frequencies, the bass appears faster than it probably is. Extension into sub-bass is average.

The lower midrange has moved forward and lost a bit of richness and weight. It is leaner, brighter, and more forward. This is probably the biggest sonic difference to the original. And I am not sure it is better for everybody, but it makes for more midrange clarity and dynamics. And it leaves the impression of more sparkle and bite but the Pro is also more prone to be fatiguing to some.

Treble has essentially remained the same. The rolloff is too early at the expense of sparkle and air. That’s probably the reason for raising the upper midrange. 

Soundstage has been deepened because of the increased U-shape which makes for improved spatial cues and transparency. The stage has become more three dimensional. Co-blogger Larry records a loss of width, he claims the more forward presentation (I add: increased depth) gives the impression of a narrower stage. One could say, the original I3’s stage is flatter and wider. I find the increased three-dimensionality an improvement, but such perception may vary individually.

The technicalities also remain mostly the same, that is average. Instrument separation, resolution are all good but not outstanding. Midrange clarity and air as well as dynamics have been improved.

Since the I3 Pro is so unique, it is pointless comparing it to other models in this price segment. Take it or leave it.

Concluding Remarks

The TRI I3 Pro is an upgrade over the 2019 original in many respects and a sidegrade in others. 

Upgraded were the size of shells and therefore comfort, added nozzle lips, included cleaning cloth…and the price, too :). Sound has become brighter, livelier, more transparent, and more dynamic, but the at the cost of richness and note weight, and it digs into that famous ChiFi peak, at least marginally.

Nevertheless, the TRI I3 Pro remains a completely different beast because of its unique sonic appeal, and therefore competitive, even at the upgraded price. Sadly, I observe such raises throughout the ChiFi community, lately.

When starting comparing original and Pro version, I first favoured the former. But with increasing A/B-ing, I find the Pro version better as livelier sounding. The IE3 Pro is still one of the lowest priced planar-magnetic iems on the market and should remain an audio enthusiasts’ favourite.

Until next time…keep on listening!

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All Our 304 Earphone and Earbud Reviews (with Links)

Disclaimer

The TRI I3 Pro were provided from KBEAR for my review and I thank them for that.

Get the TRI I3 Pro from KBEAR Official Store

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Comfortable, light, good build.
Neutralish sound – doesn’t colour frequencies, and potrays the connected IEM as it is.
Excellent sound quality.
Good battery life.
Modular system to allow MMCX and 2 pin options for IEMs.
Strong and easy BT connectivity and range. No dropouts for BT.
Has a mic to take calls.
Volume controller.

Cons:

No LDAC or aptX LL/HD
No charging case.
Hisses with highly sensitive IEMs.
No water proofing.

EXECUTIVE SUMMARY

The NiceHCK HB2 is a bluetooth wireless adapter that has a modular MMCX/2 pin connector, this increases pairing options for detachable IEMs. It has great sound quality, good battery life and excellent connectivity.

SPECIFICATIONS

• Bluetooth version: Bluetooth 5.2 (Qualcomm QCC3040)
• Bluetooth coding: SBC, AAC, aptX
• Wireless range: 10 meters
• SNR: 59 dB
• Playtime: 13 hours
• Charging time: 1.5 hours
• Tested at $79 USD

ACCESSORIES

In addition to the BT adapter, it comes with:

1) Modular MMCX, 0.78mm 2 Pin and NX7 2 Pin types.

• This is the selling point of the NiceHCK HB2! It comes with a unique 3 types of detachable modules, where one can disconnect the module from the BT adapter, so one can use various IEM connector type housing with it – MMCX, 0.78mm 2 Pin and NX7 2 Pin types.
• The modular design is also good in that usually the connector area is the first point to fail after repeated wear and tear, so no biggie buying the detachable modules, rather than replacing the entire device.

2) USB-C charging cable

BUILD/COMFORT

The NiceHCK HB2 is very comfortable, light and ergonomic. I’ve even used it for 10 hour sessions and forgot it’s in use. The wire guides are flexible and they don’t impinge on the ears, even with a mask and spectacles on. The build quality is rather sturdy too.

The NiceHCK HB2 has no waterproofing mentioned in the specs unfortunately. But FWIW, I’ve used it in some slightly rainy conditions and even with gym and exercise for the past 3 weeks and there are no issues thus far, fingers crossed.

FUNCTION/CONNECTIVITY

Holding a long press on the back of the device turns it on. The left and right sides pair up automatically when turned on, and I had no issues with pairing it with multiple BT devices, all devices recognized the NiceHCK HB2 on the spot. Pressing the power button for 5 seconds conversely turns it off.

The buttons for the NiceHCK HB2 work as advertised:

Interestingly, only one side of the NiceHCK HB2 can be used independently without the need to turn on the other side. This can be an option for some who only want one side in the ear for calls, or say if the other side is being charged. One thing to nitpick is that the buttons are quite sensitive, and are located at the rear of the device, so they can be accidentally touched sometimes.

The NiceHCK HB2 has a mic and can take calls, with good sound quality for calls. I’ve tried it on a few online meetings with no complaints from the others in the conferences with regards to voice quality.

I also liked the volume controller on the NiceHCK HB2. In contrast, some BT adapters like the iBasso CF01 have no volume control on it, so if say one is far away from the BT device used to pair with it, one has to physically go over to the device to change the volume, unlike the NiceHCK HB2, which just requires a tap on the housing.

Connectivity is excellent on the NiceHCK HB2, I have not a single drop out whatsoever in the past 3 weeks that I’ve been using them. The BT range is about 10 meters or so, assuming no walls/obstructions are in the path.

The NiceHCK HB2 doesn’t come with a charging case unfortunately, but it takes around 1.5 hours to reach a full charge. Battery life is advertised at 13 hours, I think it is thereabouts ballpark from my testing, but as per most BT/wireless devices, that is expected to go down with repeated charging cycles, and it also depends on the volume one listens at and perhaps the file type (lossless versus lossy).

TECHNICAL ASPECTS

The NiceHCK HB2 uses the Qualcomm QCC3040 TWS chipset. It has BT 5.2 with support for aptX, SBC and AAC, but unfortunately doesn’t support LDAC or aptX LL/HD.

For the purposes of this review, I paired the NiceHCK HB2 with a range of 15 IEMs. From more power hungry sets like the TRI I3 (contains planars) and the KBEAR BElieve (low sensitivity beryllium driver), to some fussier low impedance/high sensitivity multi driver sets like the Audiosense T800 and TRI Starsea.

Pairings:

• Audiosense T800
• BLON BL-03
• BLON Cardinal
• iBasso CF01
• KBEAR BElieve
• Kinera BD005 Pro
• LZ A7
• Oriveti New Primacy
• Tanchjim Oxygen
• TFZ Tequila
• TRI I3
• TRI Starsea
• Westone 3 (MMCX modded)
• Westone W30
• Whizzer HE01

This device packs quite a lot of juice, and it could power the KBEAR BElieve and TRI I3 with headroom to spare. One thing I would have to nitpick, is that there is some hiss noted with high sensitivity type multi BA IEMs like those mentioned above.

One can mitigate the hiss to some extent by lowering the volume on the NiceHCK HB2, and just jacking up the volume from the BT device you are connected to. Generally the hiss also is not perceived when one is outdoors or when music starts playing anyway.

Dynamics are good on the NiceHCK HB2, there isn’t much loss of the subbass, which is a common occurance in TWS/BT sets. There is some loss of the higher treble, but when one uses BT and wireless stuff on the go and outside,

I think it is quite hard to really notice this. I really liked that the NiceHCK HB2 doesn’t colour the sound much, it just faithfully transmits the sound signature of the attached IEM. So far of the IEMs I’ve paired with it, they all sound the same in terms of general FR as the wired version of these IEMs, though of course wired gear in general tends to have better dynamics, microdetails and technical performance.

COMPARISONS

Even among wireless gear, I generally prefer BT adapters (like the TRN BT20S and TRN BT20), rather than TWS stuff, as I’d like to use my favourite detachable IEMs (with famililar sound signatures) on the go, and hence these BT adapters allow me to reuse the IEM. Plus I think that TWS buds are limited sooner or later by the BT tech or battery life (with repeat charges), so at least the IEM can be kept even if the TWS bud dies/gets outdated.

I’ve the TRN BT20 and TRN BT20S and the iBasso CF01 for these BT adapters. The NiceHCK HB2 sound better than these 3 in terms of sound quality/dynamics and also in terms of connectivity. The iBasso CF01 is more expensive, but comes with a charging case.

I’ve had a few drop outs with the iBasso CF01s and there is a shorter connection distance than the NiceHCK HB2. The iBasso CF01 also only features a MMCX non detachable connector, so that limits the IEM types that can be used with it. The iBasso CF01 has no volume controller as mentioned prior.

CONCLUSIONS

The NiceHCK HB2 is a bluetooth wireless adapter that has a modular MMCX/2 pin connector, this increases pairing options for detachable IEMs. It has great sound quality, good battery life and excellent connectivity.

If a charging case was added, this BT adapter would have been perfect, but as it is, I would recommend this set for those that want the convenience of a wireless connection on the go!

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DISCLAIMER

I bought the NiceHCK HB2 with a discount from the NiceHCK Aliexpress shop: https://www.aliexpress.com/item/1005002848089532.html.

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

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Cons — Recessed mmcx port on Sony IER-Z1R housing can be an issue for 3rd party cables
– Bulky housing gets uncomfortable and might not even fit
– Can deliver over-bearing bass at times
– Mids are lacklustre, average in terms of resolution and engagement factor
– Center-imaging isn’t class-leading
– Somewhat source-picky

INTRODUCTION

Sony needs no introduction.

I mean, you have used at least one of their products in your lifetime. Thus, let’s cut to the chase. The Sony IER-Z1R is their flagship (universal) in-ear monitor. Priced at $1700 retail, these are true top-of-the-line contenders in the IEM space and is looking for a place among the best of the best earphones around. 

Does the Sony IER-Z1R justify the hefty price-tag, or is it another underachiever? Let’s find out.

Note: the ratings given will be subjective to the price tier. My dear friend Syed lent me his personal unit.

Sources used:  Cowon Plenue R2, Sony NW-A55, Sony WM1A, A&K Kann Alpha
Price, while reviewed: $1700. Can be bought from Sony’s Official Website

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

An accessory set fit for a king, preceded by a regal unboxing experience. The IER-Z1R puts most flagship packaging to royal shame *cough* 64Audio *cough*. It’s a TOTL product through and through and Sony spent considerable time into the packaging and accessories. The jewelry box like assembly with sliding trays keep the various items into their own compartment. The stock cables are built well and is very ergonomic with no touch noise, but they are a tad too long for my liking. Does help when you connect the IEMs to desktop amps though. There are too many tips to count and you get an oversized box to store the IEMs with felt-lining inside. Overkill, impractical, but very cool.
5/5

BUILD QUALITY

The Sony IER-Z1R is built and sized like a tank. The zirconium alloy shells are absurdly large. Everything but the nozzle is super-sized, including the recess into which the mmcx port sits. As a result one must choose after-market cables carefully. Most third-party cables have a thinner mmcx stem that will be literally eaten up by the Z1R (thus I’d recommend the Sony stock cable or the kimber cable).

Back to the housing, the backplate has a perlage pattern often seen on luxury watches (a metal tip rotates on top of the metal plate to form such a pattern). The shape of the housing mirrors the shape of the inner acoustic cavity (more on this later) and thus have a unique design rarely seen elsewhere. The top of the IEM houses the color-coded channel markings, where I can see something that resembles a vent. Other than that, no other vents or asymmetries in the housing.

The design stands out and draws attention, as is customary for Sony’s signature line of gear.
5/5

COMFORT, ISOLATION, AND FIT

Comfort = horrible. Fit = atrocious. Isolation = above average (when pushed deep into the canals, basically how these IEMs are supposed to be worn). Wearing the Sony IER-Z1R for any length of time is a challenge and will definitely be the deal-breaker for most people. Auditioning the IEM before purchasing is strongly advised. 
1/5

SOURCE AND EARTIPS

The best source for the Sony IER-Z1R is Sony’s own WM1A Walkman DAP. People often talk about “synergy” between source and IEM, and very few pairings showcase such synergy. I myself tried the Z1R mostly with the Cowon Plenue R2 during review, however, and used the stock Sony Hybrid tips. Later on I tried it with the WM1A and that did improve upon my issues with the mids. If you are planning to get an IER-Z1R, the WM1A/WM1Z DAPs are recommended.

DRIVER SETUP

The Sony IER-Z1R has a triple-driver hybrid setup, with two dynamic drivers in charge of bass/mids and upper-treble, and one BA driver in charge of the treble. 

The largest driver in this array is the 12mm bass/midrange driver that has a Magnesium dome with Aluminium-coated LCP surround. This ensures better pistonic motion and a very high excursion. The excursion is further aided by a resonance chamber and tube structure in the back of the driver. All of these results in the signature hard-hitting, dense bass of the Sony IER-Z1R.

The upper-treble tweeter also has a very interesting design. It’s a 5mm micro-dynamic driver with Al-coated LCP diaphragm and offers up to 100KHz response — a figure that’s inaudible by all humans but aces the numbers game. In practical use, the 5mm driver has very fast transients and offers the timbral accuracy of a dynamic driver instead of the artificial BA timbre or the fleeting, lightweight nature of EST tweeters.

Lost in all these is the miniscule side-firing BA treble driver that mostly handles lower and mid-treble. It’s a Sony proprietary T-shaped armature pin and has better timbre and slightly slower decay than typical Knowles BA drivers.

Sony doesn’t just stop here, rather they place these drivers in a coaxial orientation in a 3D-printed magnesium alloy chamber. The material choice is to reduce resonant frequencies and also the unique design results in a straight sound path for each driver, thus avoiding the usual cross-over tubes. Very fascinating driver setup all in all, but it’d all be for naught if the sound quality isn’t up to the mark. Fortunately, that’s not the case at all.

TONALITY AND TECHNICALITIES

The Sony IER-Z1R has a V-shaped sound signature, but that’s a reductionist statement to say the least. The IER-Z1R lives and breathes bass. The sub-bass sets the foundation of the entire sonic delivery and boy oh boy if this ain’t the best bass response in an earphone on this forsaken planet. I’ve heard IEMs with even more emphasized bass or faster bass, but the delightfully textured bass on the Z1R is second to none when it comes to providing the sense of rhythm. The slam, the slightly extended decay (unlike the super-fast BA bass), the subterranean reach of the sub-bass — it’s the whole package. The mid-bass is no slouch either (unlike the DF-tuned IEMs around) and snare hits/pedals have superb definition/body. Macrodynamics are some of the best I’ve ever heard. If you’re a bass-head, this is your endgame (as long as your ears are large enough).

The other aspect of the IER-Z1R that is apparent right away is the sense of space it portrays. The stage width is as good as many full-size open-backs. The stage depth is remarkable, and coupled with precise imaging you truly get that out-of-the-head experience. The one aspect where it falls short of the likes of, say, Hifiman Ananda in terms of staging is the stage height. This is where the large drivers on full-size headphones flex their muscles. 

Despite the bass focus the treble on the IER-Z1R is… perfect. It has adequate sparkle and air without veering into the “bright” zone. Cymbal decays are well-extended and even in sections with super-fast cymbal hits the notes don’t smear into each other. Transient response overall is excellent. There is a slight peak around 5.5KHz but that never became a bother for me personally. This is where insertion depth comes into play because with a less-than-adequate insertion the treble becomes splashy. If I had to nitpick about the treble response it would be the slightly soft leading edge of notes. This rounded nature of upper-frequency notes help in avoiding listening fatigue but can take away the rawness of crash cymbals. Nonetheless, Sony has made a good trade-off IMO and the treble is nearly as good as it gets in the TOTL range.

Unfortunately, Sony focused a bit too much on the bass and treble and the midrange played second-fiddle to both. The mids here are just about okay I’d say. Male vocals sound somewhat muffled and female vocals, despite having more focus than male vocals, are robbed off of the emotion that certain IEMs in this price are capable of displaying. Also instrument separation and microdynamics weren’t as great as I hoped it would be, partly due to the recessed lower midrange. String instruments lacked the bite and their undertones were often muddied by the bass. Mid-range performance is definitely the weakest link in the IER-Z1R signature and that’s disappointing given the stellar bass and treble.

To summarize: if you like V-shaped sound signature and aren’t too bothered about the subtleties of vocals — this is it, this is the IEM to end all V-shaped IEMs. 

Bass: 5/5
Midrange: 3.5/5
Treble: 5/5
Staging: 5/5
Imaging/Separation: 4.5/5
Dynamics/Speed: 4/5

SELECT COMPARISONS

vs Campfire Andromeda ($1000): The tuning of the Andromeda and the Z1R couldn’t be more different. Whereas Campfire Audio went for a relatively balanced tuning for the Andromeda 2020, Sony is proud of their bass driver and tuned the Z1R with sub-bass focus in mind. Bass is where these two IEMs differ the most. Andromeda 2020 has typical fast BA bass that’s nimble without being punchy. The Sony IER-Z1R’s bass is slower but makes up for that with slam and punch and sub-bass that rattles inside your eardrums.

Midrange is where the Sony pulls back a bit whereas the Andro 2020 (in contrast to the Andro 2019) gains some presence. Vocals are more prominent on the Andro 2020 and midrange in general is better executed, I’d say. String instruments esp shine on the Andromeda. 

As for the treble, the Campfire Andromeda 2020 has really well-executed treble that’s smooth, non-fatiguing, and well-extended but pales in comparison to the treble on the IER-Z1R. Cymbal hits have a presence and crunch that’s just missing on the Andromeda 2020. 

In terms of soundstage/imaging, the former goes to the IER-Z1R whereas the Andro 2020 has slightly better center-imaging than the IER-Z1R but similar cardinal/ordinal imaging otherwise. 

If you want visceral bass punch and some of the best treble under $2000, the Sony IER-Z1R shall be your pick. However, the Andro 2020 has a more balanced tuning and acts as a complimentary tuning to the IER-Z1R’s exciting delivery. Comfort is also much better on the Campfire Andromeda, so there’s that.

vs Final A8000 ($2000): The Final A8000 is their current single-DD flagship and sports a pure Be diaphragm driver. While the A8000 has north-of-neutral sub-bass rise, it pales in comparison to the level of mid-bass thump that the Sony IER-Z1R provides. However, the A8000 bass is faster and will cater well to those who prefer a nimble bass presentation. 

In terms of midrange, I prefer the A8000’s vocals by a margin over the IER-Z1R. Final knows how to tune the midrange and the vocals/string instruments are as articulate as they can be on the A8000. Every subtle nuance is highlighted including vocalists breathing in/out. Timbre is another strong point here with the metallic tinge of steel strings being evident against the more natural, softer tone of nylon strings. 

The treble region is where the Sony IER-Z1R pulls ahead with no sharp 6KHz peak (A8000’s biggest downside) and more extended upper-treble. This leads to an even wider soundstage (though A8000 has very good stage width). Imaging is about even on both with center-imaging being slightly less accurate on both IEMs. Overall resolution is about similar on both, with the more resolving A8000 midrange being counter-balanced by the smoother yet better extended treble on the IER-Z1R.

Between these two, I’d pick the IER-Z1R if you can get a fit and don’t bother too much about midrange. However, the A8000 is a great choice if you prefer well-realized vocals/string instruments, a faster bass response, and don’t mind the 6KHz peak/willing to tune it via PEQ.

vs 64Audio U12t ($2000): Finally, Goliath vs Goliath. The 64Audio U12t is one of the best IEMs available around the $2000 mark and is one of the best all-BA IEMs out there. By swapping the APEX modules you can also increase the bass response in them (M20 offers a bit more bass). This comparison is made with the M20 module. 

The U12t has perhaps the best BA bass out there, and it’s quite a feat indeed. However, it can’t out-muscle the physical grunt of the Sony IER-Z1R’s bass response. The mids are better tuned on the U12t, as is a theme in this comparison. The treble is where we find interesting differences. The U12t goes for a smoother treble presentation with rounded notes, whereas the IER-Z1R has a more immediate sense of attack that gives cymbal hits/hi-hats a really nice bite. I think depending on taste you might prefer one over the other, I myself find the Z1R’s treble response more appealing.

Soundstage is wider and taller on the IER-Z1R but stage depth is about par on the U12t. Imaging is tad more precise on the U12t, though these are marginal differences. Where I found more palpable was the difference in coherence. U12t, despite the 12 drivers, sounded more coherent than the IER-Z1R. Also a slight note about build/accessories: Sony IER-Z1R is quite a bit ahead on those aspects.

In conclusion, if you want a smoother, laid-back listen with great all-round performance, the 64Audio U12t will serve you really well. For those who need more excitement and fun-factor, the Sony IER-Z1R shall be on the top of your list.

CONCLUDING REMARKS

In hindsight, it’s quite easy to review and recommend the Sony IER-Z1R. If someone wants the best bass available in an IEM, they should definitely try the IER-Z1R. It’s an unabashedly fun, colored tuning that works well across various genres. 

The big elephant in the room: the fit. Without a deep, snug fit you’d have a hard time finding what makes the IER-Z1R so special, making it rather necessary to trial these beforehand. 

If you can get a fit, and if you love bass — the Sony IER-Z1R is a no-brainer really. I am yet to find something that tops it as the bass-head endgame, and if you know that’s what you want and got the right-sized ears — get ready for some brain-rattling.

Test tracks:

https://tidal.com/browse/playlist/04350ebe-1582-4785-9984-ff050d80d2b7

MY VERDICT

4.5/5

Highly Recommended if you want the ultimate bass-head IEM.

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DISCLAIMER

The unit was on loan from a friend.

Our generic standard disclaimer.

SONY IER-Z1R PHOTOGRAPHY

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Unique midcentric tuning (rare in budget CHIFI).
Good accessories.
Excellent isolation.
Good timbre for a pure BA set.
Laid back, non fatiguing tuning.
Fast and clean midbass.
Good technicalities.
Easy to drive.
Will make an affordable budget stage monitor.
2 pin connector, better lifespan than MMCX in general.

Cons

Subbass and higher treble roll off.
Insertion depth affects the sound and comfort a lot -> varying impressions as such.
2D soundstage (wide soundstage but sounstage depth/height below average).
Lack of edge definition/bite – may be pro or con depending on personal preference.

EXECUTIVE SUMMARY

The KBEAR Neon is a unique midcentric set, featuring good timbre, isolation and technicalities. It does have a subbass and higher treble roll off as per most single BA sets, but otherwise is a recommendation for vocal and mid lovers. There’s not many single BA or midcentric sets at the budget CHIFI segment, so this is a refreshing tuning for vocal and acoustic genres.

SPECIFICATIONS

• Driver configuration: Knowles 29689 full frequency Balanced Armature driver
• Frequency response: 20 Hz – 20kHz
• Impedance: 14Ω
• Sensitivity: 105dB
• Cable: 2 pin
• Tested at $49.99 USD

ACCESSORIES

Other than the IEM, the KBEAR Neon packaging comes with:

• Foam tips – 1 pair
• Silicone ear tips – 3 pairs (S/M/L)
• Carry case
• 4 core 4N copper silver plated cable – well braided, non tangly. Slight microphonics, but perfectly usable sonic wise.

Accessories wise, quite good for the price, I’ve seen worse in pricier IEMs, cough cough TRN VX. Everything is rather usable OOTB here, so no need to mess with getting aftermarket tips or cables, which can add to costs (looking at you BLON BL-03).

For the purposes of this review, the stock tips and stock cables were used, so as not to change the sound signature with aftermarket gear.

BUILD/COMFORT

The KBEAR Neon is a bullet shaped IEM following the legacy of the Etymotics housing, and is meant to be worn cable down. The housing is light and each earpiece weighs in at an amazing 2.3 grams.

Do note that insertion depth of the KBEAR Neon makes a humongous difference in the perceived sound, and also for comfort. This may also account for the different impressions that various consumers/reviewers will find with this set. With a shallower insertion, the KBEAR Neon’s bass is rather anemic, vocals are in the background and the soundstage becomes wider. With a deeper insertion of the KBEAR neon, the bass and upper treble are boosted and the sound seems better for me, things don’t sound so hollow or distant. One might need to try smaller sized eartips (either stock or aftermarket) to get a deeper fit, so it is not a case of using the usual sized tips you are familiar with on other IEMs.

Of course this is a YMMV situation as we have different ear anatomies and comfort levels for deep insertion IEMs. Though even with a deeper insertion on the KBEAR Neon, I find the comfort is acceptable for me, it isn’t as “violating” or deep fitting as the Etymotics series IEMs. For comparisons, I couldn’t use the Etys for more than a few minutes due to ear discomfort and ear abrasions (though granted the Etys had one of the best passive isolation in a non custom IEM and they did sound good). I’ve managed to use the KBEAR Neon for a few hours with the deep insertion method, without much issues.

As per most cable down IEMs, there are some microphonics, but this can be mitigated to some extent by using a shirt clip. Another tip I learnt in this journey, is that some folks use cable down IEMs as over the ear IEMs to minimize microphonics, it does look weird but it gets the job done, though it might wear out the cable at the bent point over the ear, but detachable cables can be replaced anyways, so no biggie. 

I liked that the KBEAR Neon featured a 2 pin connector, I had my fair share of mishaps with MMCX type connectors after switching cables once too often.

The only issue about the 2 pin connector of the KBEAR Neon, is that one may inadvertently connect it in a reversed polarity, causing out of phase issues. The KBEAR Neon housing can be rotated, there’s a dot on the IEM to signify the orientation of the IEM housing, so just make sure both dots are facing up or both are facing down. As per convention, the red dot is meant for the right earpiece, left dot is meant for the left earpiece. I didn’t hear any difference when both dots were facing up versus both dots facing down, but according to KBEAR, the dots are officially meant to be both facing down:

Anyways, if the music is out of phase, it is pretty obvious, music seems to be coming from behind the head and sounds weird. Alternatively, just use some free online links to check if your IEM is in phase, eg https://www.youtube.com/watch?v=kUT6ZhFdLkA

If music is out of phase, just reverse one side’s housing and you should be back in phase.

ISOLATION

Isolation on the KBEAR Neon is excellent as per an unvented BA set. One of the better passive isolating IEMs I’ve tried so far.

DRIVABILITY

I tested the KBEAR Neon with a Khadas Tone Board -> Topping L30 amp, Sony NW A-55 DAP (DMP-A50 FEv2 Classic Mr Walkman Mod), smartphone, Shanling Q1 DAP, Tempotec Sonata HD Pro, ESS ES9280C PRO DAC/AMP, and a Khadas Tone Board -> Fiio A3 Amp.

The KBEAR Neon is easy to drive, no amping or heavy powered gear required. The Neon runs off practically any weak source. Though as usual amping can increase soundstage, microdetails and dynamics a tinge.

SOUND & TECHNICALITIES

The KBEAR Neon is a midcentric set. Tuning is towards laid back, especially when shallow insertion is used. As per most single BA (balanced armature) IEMs, there is a subbass and higher treble roll off, resulting in limitations in extension of the FR at both extreme ends. Thus, bassheads best look elsewhere for your subbass rumble, and trebleheads best look elsewhere for your sparkle and air. But the Neon’s midcentric tuning is very well done, there’s really no harshness or peaks in the tuning, it’s a very agreeable and smooth midcentric set.

Having said that, one must be aware that midcentric tunings are very niche, they shines in vocals and acoustics genres, but they are not the best for bass forward music genres, eg EDM. Nevertheless, there aren’t many single BA types or midcentric tuned sets in the budget CHIFI arena, so the KBEAR Neon is pretty unique in this aspect.

The KBEAR Neon’s midbass is neutral and the subbass rolls off very early, as per the single BA physics. What the Neon cedes in bass quantity, it aces in quality. The midbass is very fast and tight and textured. It is the literal definition of “Fast and Clean” bass, with no midbass bleed. Mids are the star here, being boosted, but not harsh or shouty. It is a very transparent mids that lets all the vocals and instruments shine through, midlovers and acoustic/vocal lovers will have a field day. There isn’t the harsh 2 – 4 kHz area that plagues a lot of budget CHIFI tuning, this is a non fatiguing set. Treble wise, there’s slight sibilance, but it is still considered a safe treble for me, yet retaining good microdetails, though it isn’t the most airy treble, as per the higher treble roll off in most single BA sets.

Note weight on the Neon is on the thinner side, but that allows the single BA to move quite fast without any dulled transients. Timbre is surprisingly good for a BA set, it won’t beat a well tuned single DD in the timbral accuracy department, but it is one of the better sets for timbral accuracy for a pure BA setup that I’ve tried. Timbral accuracy on the KBEAR neon definitely trumps the garden variety KZ in timbre for sure. Acoustic instruments and vocals sounded quite natural in timbre, with maybe only a slight “plastic” quality in stringed instruments.

On one side of the KBEAR Neon housing, one can see the Knowles 29689 BA serial number, so this set does use Knowles drivers. But of course driver brand and even driver count is secondary to tuning and implementation, as we can see that some TOTL sets (cough cough Campfire Solaris) use Bellsing BA drivers, and some purported Knowles sets don’t sound anything special. But the Knowles house signature does shine thru in the KBEAR Neon, featuring a well rounded note with good technicalities, without needing to boost the upper frequencies to cheat and get the details in. As per some Knowles BA sets, there is a slightly blunted edge definition/bite in notes, this may be a pro or con depending on your personnel preference.

On to technicalities. As this set is a deep insertion type IEM, as per some Etymotics, soundstage is kinda 2D. Soundstage width is good, but height and depth are below average. But what the Neon cedes in soundstage, it makes up for in good left/right imaging. I’d take a set with precise imaging and more intimate soundstage, over a set with big soundstage but fuzzy and nebulous imaging. Details and instrument separation are good for this price range, the KBEAR Neon doesn’t use the typical overly boosted upper mids/treble cheatcode that a lot of budget CHIFI use to boost clarity and give fake details. The Neon manages to get the details in without going to shouty territory, and yet being quite a chill laid back tuning that one can use for hours without fatigue. Think of a monitoring type sound signature with good details, in fact I think the KBEAR Neon can be a good entry level stage monitor due to its isolation, good fit and good technicalities.

COMPARISONS

Here are some comparisons with single BA types. As hybrids/multi BA and single DD IEMs have their own strengths and weaknesses compared to single BA types, they were left out of the comparisons. I apologize as I don’t have any Etymotics IEMs with me now to do A/B comparisons, I returned them some time ago as I couldn’t tolerate the deep “violating” fit, but suffice to say the KBEAR Neon is much more comfortable for me than the Etys series.

Westone UM1 (1BA) ($99 USD)

The Westone UM1 is a 1 BA set that is tuned warm neutralish (but with a treble roll off). The Westone UM1 comes in a conventional bean shaped design, that is worn over ears instead of cable down like the KBEAR Neon. The Westone UM1 has worse isolation.

The Westone UM1 has worse details, imaging, instrument separation and clarity and has a more compressed soundstage width. The Westone UM1 has worse timbral accuracy. Both sets have a subbass roll off as per most single BA types, but the Westone UM1’s bass has a slight midbass bleed and is not as tight/textured/speedy.

Acoustic Effect TRY-01 (1BA) ($130 USD)

The Acoustic Effect TRY-01 is a 1 BA bullet shaped Japanese set that is also worn cable down. It has a non detachable cable (this may be a dealbreaker for some) and also has poorer isolation. The Acoustic Effect TRY-01 has slightly better technicalities and soundstage depth/height, but is more than double the price. Subbass extension is slightly better on the Acoustic Effect TRY-01, though the KBEAR Neon comes with better accessories.

CONCLUSIONS

The KBEAR Neon is a unique midcentric set, featuring good timbre, isolation and technicalities. It does have a subbass and higher treble roll off as per most single BA sets, though there’s not many single BA or midcentric sets at the budget CHIFI segment, so this is a refreshing tuning for vocal and acoustic genres. The KBEAR Neon’s sound is also quite drastically affected by insertion depth, but even with deeper insertion, I don’t find it as ill fitting as the traditional Etymotics types.

I have an admission to make, I’m not a single BA fan. I’m a single DD (dynamic driver) guy for general music listening, as they tend to give better timbral accuracy and tonality/coherency at the budget/midfi CHIFI segment, when compared to BA sets. BA bass that isn’t vented (in general), tends to move less air and have less decay, thus resulting in a less natural bass sound than traditional DD bass. In addition to the higher treble and subbass roll off, single BA types may be weaker in technicalities, when compared to multi BA/hybrids, as expected of a single BA physics limitation. Even if I do use unvented pure BA type IEMs, I use them for stage monitoring exclusively, due to their better isolation (generally unvented) and better technicalities than DD types.

However, despite my biasedness against single BA sets, the KBEAR Neon is a set I think is a keeper, as it shines in vocals and acoustic genres and can also perhaps be a budget stage monitor for stage use. Anyways most of us in this hobby have a few pairs of IEMs lying about, to suit different sonic signatures and music genres, and I think for those who don’t have a midcentric set in your Pokemon collection, the KBEAR Neon is a worthwhile set to consider. Just be aware that midcentric tunings aren’t all rounder, but they will really shine at vocals and acoustic genres.

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You find an INDEX of all our earphone reviews HERE.

DISCLAIMER

I would like to thank KBEAR for providing this review unit. It can be gotten here: https://www.aliexpress.com/item/1005002637520309.html

Our generic standard disclaimer.

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

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Intrigued by the question I recently conceded myself a go at a couple of other Made-in-Japan models, one of which is what I’m talking about today: Intime Sora 2.

Intime Acoustic, a.k.a. Ozeid Co., a.k.a O2aid.com…

Intime Acoustic is a brand owned by Ozeid Co., Ltd., a quite young (2016-founded) Takasaki City (JPN) based company. Its main business is actually not manufacturing, but consulting.

The owner and key developer mr Yoshiyuki Watanabe has 35+ years of experience on devices and applications that use piezoelectric materials.

Rotate his company name “ozeid” (or even better its web domain name “o2aid”) by 180°. What do you read ?

That said, mr Watanabe also decided to deliver some of his competence in form of earphones, targeting young users – young like his children – aiming to convey (in his own words) “the good sound of Japan“.

Well I’m more the age of mr Watanabe than of his children, but this all is anyhow more and more intriguing, isn’t it ?

Key technologies

The model I got is called “Sora 2”, quite evidently the second generation of the model previously released under the name of “Sora”.

Similarly to other models in Intime lineup, Sora 2 is based on a dual-driver system including a 10mm dynamic driver, and a somewhat special ceramic tweeter taking care of the upper treble / top octave end.

A number of very interesting details are available regarding the technology inside Sora 2, let me summarise what the main claims are.

1 – “Vertical Super Tweeter”

Adopted on Intime’s TOTL Ti3 model – VST is made of some sort of special laminated ceramics, instead of the most commonly adopted titanium oxide.

Fundamentally, laminated ceramics is supposed to offer more controllable vibrations.

Conventional “super tweeters” are so-called as they reproduce sounds outside the audible range, but this Intime’s variation, thanks to the uncommon material selection in addition to their calibrations, has a different behaviour and reproduces overtones, effectively contributing to the highest-end part of the audible spectrum.

2 – Graphene coating

A graphene coating has been applied to the Dynamic Driver unit, which – always according to Intime – improves mid-high range frequencies reproduction power and definition.

3 – Stainless steel housings

Stainless steel has been adopted for the housings. Besides obvious robustness, the choice reportedly offers a significant impact on sound.

In general, the more solid & heavy a material is used, the better is unwanted extra vibrations suppression obtained on the housings, but at the expense of equally unwanted extra weight.

On Intime Sora 2 the adoption of stainless steel, the application of a heat treatment and a careful internal cavity shaping – according to Intime – turned into higher material rigidity, excellent vibration control, better sound transmission speed and – why not – scratch resistance too, all within a limited weight.

Well, weight is not feather-level in my books to be honest. I don’t have a subjective comfort problem with that, YMMV.

4 – HDSS

Another unique (patented, actually) technology adopted inside Sora 2, as much as inside Ti3 too, is called “HDSS” as in High Definition Sound Standard.

Its purpose is to suppress sound reflections inside the housing, resulting in cleaner output.

Some sound waves are commonly uncontrolledly reflected inside the housing, impacting onto the dynamic driver diaphragm, causing dissonance from the intended purpose. With HDSS technology, the sound inside the housings is more controlled and does not invest the diaphragm, allowing the dynamic driver to move only as a consequence to the signal source.

This – according to Intime – increases sound realism and decreases fatigue. It has a down side though: it tends to purge too much of the high frequencies off the dynamic driver vibration.

This is where a careful calibration between the resolution of the ceramic VST mentioned above and the mid-high range tuning of the graphene coated DD becomes vital, resulting in a bass with a solid outline, harmonious mid-high range and wide spatial expression – as in facts Insime Sora 2 does deliver, big time !

At-a-glance Card

Full Device Card

Test setup

Sony NW-A55 / Apogee Groove / Questyle QP1R – final E ML-size tips – Lossless 16/44.1 – 24/96 – 24/192 FLAC tracks.

Signature analysis

Technicalities

Physicals

Specifications (declared)

Comments and conclusions

Intime Sora 2 represent a very good piece of japanese audio engineering and craftmanship.

Although not partaking to the ultra-budget price segment, I find them inexpensive enough to make for a no-brainer recommendation for whoever is in search of a clean, natural-timbred, energetic and musical IEM which I find particularly well paired to jazz and acoustic genres alike.

Very simplistically put, I might position them as a less expensive alternative to final A3000, or as a similar-priced, similar-quality, clearer-presentation complement to final E3000, which is the quite obvious driver-to-beat on that price level for pop, rock, songwriters etc.

Disclaimers

My Intime Sora 2 unit is not a loaner for review purposes, but was indeed a direct purchase. You can find them here.

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This article also appeared on my personal audio blog, here.

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Cons — No balanced circuit; limited Hi Res decoding; pricey.

Executive Summary

The AudioQuest DragonFly Cobalt is a natural sounding miniature headphone amp (dac/pre-amp), that even drives power-hungry headphones. It is sourced and powered by phones or computers. For people who don’t want to compromise sound quality.

Introduction

First was the DragonFly, which It hit the market in 2012. I purchased its 2016 re-incarnation DragonFly Black v1.5 upon its release. The DragonFly was the first “thumbdrive” dac of its kind, and v1.5 was the first that worked with smartphones because of its low power drain. And whereas many other companies have copied AudioQuest’s pioneering ideas since, the Black (jointly with the DragonFly Red) still has the lowest battery consumption of all I have tested with my iPhone. See below.

The “Black” has been my go to since it is a workhorse that has accompanied me and my iPhones around the world, from Egypt to Brazil. What I like about the “Black” apart from its power management, is its small form factor, and, of course, its good sound.

AudioQuest added the more powerful DragonFly Red in 2016, and the DragonFly Cobalt in 2019. All DragonFlies all have male USB-A connectors that makes them the only dongles that are actually sticks (“thumbdrives”), when connected to a computer’s USB-A port.

Today, there are portable dac/amps like sand on the beach it seems. They start at below $20, and many of the cheaper ones are pure power-draining ornaments that add nothing to the iPhone’s sound. I tested quite a few of the better ones up to $200, including the DragonFly Red, and TL;DR, the DragonFly Cobalt is the by far best sounding of them all, albeit not the strongest amplifying one.

Specifications

Physical Things and Usability

The DragonFly Cobalt comes with the obligatory travel sheath and the “DragonTail”, a USB-C male to USB-A female adapter (“OTG cable”) to connect to Android devices and newer MacBooks (ever attempted to attach the tail of a dragon to a dragonfly? Works only in this case). The device is attractively lacquered with car varnish – and you may wax it occasionally to preserve its looks :). It feels really good in my hand…

Functionality and Operation

The plug’n’play AudioQuest DragonFly connects to your computer’s USB port (Windows, Mac) and, via “DragonTail” or Apple camera adapter to your Android/iOS device, respectively. It converts the digital signal to analog and amplifies it. The volume is controlled from the source device, which essentially acts as a pre-amp.

The DragonFly has no battery, which is good and bad. Good in that it will not fall victim to planned obsolescence and work for a long time. Bad in that it draws power from your phone and therefore shortens the period between charges.

The DragonFly Cobalt streams Tidal masters (MQA) and Qobuz, and works with all the non-audiophile streaming services such as Spotify, Bandcamp, Soundcloud etc. And it is firmware upgradeable.

The dragonfly-shaped LED is lit in different colours according to status or sample rate: red: (standby),  green (44.1kHz),  blue (48kHz), yellow (88.2mkHz),  light blue (96 kHz),  purple (MQA).

Apart from its use as a headphone amplifier, the DragonFly Cobalt can be used as a dac in combination with a dedicated (desktop) headphone amp. For this purpose, its volume should be cranked up to close to but not quite to 100% (100% which would cause distortion and ringing according to Archimago’s measurements). This worked well with my Schiit Magni 2U.

The downside of the driverless technology is that the microchip’s USB receiver limits resolution to 96kHz PCM on Hi Res audio…which is not that important as it only affects 5% of audio files. I personally do not have any such Hi Res files.

What distinguishes the DragonFly Cobalt from most dongles (including the other two DragonFlys) is its dac functionality including its sophisticated USB noise filtering (any computer or phone is a source of electromagnetic interferences that deteriorates the audio signal).

Yes, many more devices feature the same ESS ES9038Q2M dac chip (costs $12 or less when purchased in large amounts), and people WRONGLY go by chip and amplification power when selecting a dongle. This is inherent to the fact that most of these devices are sold by mail order, which excludes the possibility of trying them out first.

But it takes more than that to produce good sound and therefore to define value: it is the dac chip + dac implementation (including filtering) + analogue output stage of the dac + the amp design…many variables.

It is therefore not surprising that my four devices featuring the ESS ES9038Q2M dac chip, that is the Cobalt, Shanling UA2, the Khadas Tone2 Pro, and the EarMen TR-amp, all sound completely different.

As to noise suppression, the DragonFly Cobalt borrows some of the AudioQuest JitterBug’s filtering by deploying an “extremely low-noise power supply” and a single low-jitter clock that minimizes timing errors. This is claimed to result in optimal signal-to-noise ratios and to resolution. You find the nitty gritty technical details on the product page , in the manual and the DragonFly comparison sheet.

Amplification and Power Management

The DragonFly Cobalt has a nominal output of 2.1 V (like the DragonFly Red). This places the Cobalt into the midfield of the countless $100 to $300 headphone dac/amps. Hobbyist Archimago measured a slightly higher voltage of 2.23 V at an output impedance of 0.4 Ω. John Atkinson of Stereophile measured 2.16 V at 0.45 Ω.

This is enough power to drive my 300 Ω Sennheiser HD 600 headphone sourced by my MacBook Air (the DragonFly Black with 1.2 V output worked, too, but was reaching its limits).

I had mentioned that DragonFly series does not have an internal battery but draws power from the source. This is of little relevance for a computer, but important for mobile use with a phone.

Power Consumption Comparison: Parameters and Raw Results

I tested the power consumption of several portable headphone amps connected to my iPhone 5S. The conditions were as identical as possible: 3h test, volume calibrated to 85 dB  ± 0.5 dB white noise with Dayton microphone, no sim card, BT off, no other apps open; network on, 32 ohm Blon BL-03 iem, Genesis’s Supper’s Ready (from the Seconds Out album) played in an endless loop.

The iPhone’s battery was fully charged at the start of the test and the remaining charge was measured thereafter. The result is shown in the table below. Since the tests were performed at different times and considering the iPhone’s ongoing battery deterioration, the results have to be seen with a grain of salt.

[collapse]

In a 3h battery-drain test of several dongles with my iPhone 5S, the DragonFly Black and Red had the lowest consumption, the DragonFly Cobalt needed about a third more, which placed it in the midfield of my test candidates. But it could have done far worse than that….see the detailed results. I would call the Cobalt’s battery consumption ok but not outstanding. In this respect, the DragonFly Red is the winner….of all the more powerful models tested.

AudioQuest DragonFly Red USB DAC + Preamp + Headphone Amp Review – Still Lord Of The Flies?

Sound

Equipment used: Macbook Air/iphone SE first generation; Sennheiser HD 600 / HD 25, Triaudio TRI3, Shozy Form 1.4, Dunu Zen; Schiit Magni 2 Uber.

Upon plugging the DragonFly Cobalt into my Mac for the first time, it sounded instantly better to my ears than my familiar DragonFly Black and all the other dongles I had tested – actually MUCH better – and it has stayed like that since…which makes the Cobalt most appealing to my ears.

The Cobalt sounds more natural and analog, and therefore smoother than the rest…it has this sense of lightness, there are no corners. The smoothness and refinement is particularly evident at the top end where the DragonFly Red, for example, is more forward and edgier. The Cobalt’s presentation is linear without elevated bass or top end.

Another aspect the Cobalt excels in is micro- and macrodynamics. While a rock band or an orchestra delivers a good punch, the Cobalt distinguishes small details around a single instrument or the interplay between two, for example oboe and harpsichord. This works for both, electric rock music and classical music. It brought the best out of the $700 Dunu Zen earphone.

The sonic image was like an analog photo: atmospheric, with a good depth of field, never overpixelated or oversharpened.

In terms of headroom, I don’t find it inferior to the dongles with a second, balanced circuit such as the $200 EarMen Sparrow or the $85 Shanling UA2. So no reason to fiddle with different headphone cables – one problem less. I never had the impression I just had a little stick in my MacBook but a desktop sized integrated dac-amp. Using the Cobalt as a dac with the Schiit Magni amp worked well and underlined its sonic quality.

The Shanling UA2, in comparison has a less linear response with a boosted and bumpier sounding bass, and thinner mids lacking the Cobalt’s creamier texture, sense of lightness/relaxation, and great midrange clarity. It also features a more powerful balanced output. The Shanling UA2 is a severe power drain on your mobile device.

Value – It’s the Dac, Stupid

At $299, the DragonFly Cobalt does not come cheap compared to its competitors, but, does it, really? The Cobalt was initially marketed as a dac, at a time when most competition was company internal; and it is the dac where its money is. The dac is the “voice” (sound quality), and the amplification makes it louder (sound quantity). Louder does not mean a better sound. Garbage in, garbage out…you know that.

Audiophiles pay $$$$ for a good dac for their home system, and they may add sophisticated USB noise filtering and re-clockers that add more $$$$. The DragonFly Cobalt has a bit of each built in – the competition, including the DragonFly Red, does not – and it shows in terms of sound quality. So, what you get for your money is – duhhh – better sound quality.

Therefore, if you get satisfaction from not having made compromises to sound quality, the Cobalt is for you. If you get satisfaction from a bang for your buck, get the Red or something similar.

YouTube Video

Concluding Remarks

The DragonFly Cobalt is a “piece-of-mind” product. It has its price but you cannot go wrong as it offers the best compromise between sound quality, amplification, and power consumption. Its value is mainly defined by sound quality combined with its long-term usability (without consumable built-in battery). I have treasured my DragonFly Black for over 5 years now, and for good reasons. And it will not be different with the superior DragonFly Cobalt.

The lesson learnt from reviewing dongles in the last year is that there are large differences in sound quality at similar specs. And the Cobalt leads the pack.

Quite frankly, I had not expected the DragonFly Cobalt to sound this good. Considering its qualities, the Cobalt is my new standard for miniature portable dac/amps.

Until next time…keep on listening!

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Disclaimer

The DragonFly Cobalt was kindly provided by AudioQuest upon my request and I thank them for that.

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

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Above average technicalities for a sub $100 hybrid.
Textured and delicious bass.
Good accessories.
Above average timbre for a hybrid.
Easy to drive, but benefits from amping.

Cons:

May have an awkward fit.
Isolation is below average.
May be occasionally congested in soundstage.
Intended V shaped tuning, so not for mid lovers.

EXECUTIVE SUMMARY

In case you were not aware, Tingker is the sister company of Audiosense. Their newest release, the Tingker TK300, is a warm V shaped set that is an unashamed basshead IEM. The midbass and subbass is well textured and delicious, and is truly the star here. Those who are bass averse or want thick mids (a non V shaped set) best look for alternative options, but this set will be a basshead’s delight.

SPECIFICATIONS

• Driver configuration: 1 DD + 2 BA (9.7 mm titanium plated diaphragm + dual Knowles BA)
• Frequency response: 20 Hz – 22000Hz
• Impedance: 18 Ohms
• Sensitivity: 121dB/mW
• Cable: MMCX
• Tested at $99 USD
• Purchase link: Tingker Official Store

ACCESSORIES

Other than the IEM, the Tingker TK300 packaging comes with:

• SPC Cable – very well braided and usable. The earhooks are stiff though, and have a tendency to yank the cable out of the ear. I preferred an aftermarket cable with this set as such.
• Array of silicone and foam ear tips
• Faux leather pouch – you can mistake it for a campfire audio pouch from far away haha. The inside is lined with some furry lining to give a premium feel.

For the purposes of this review, the stock cable and tips were used.

BUILD/COMFORT

The Tingker TK300 has a very nice build and is made of metal. It is very light, though I did find it uncomfortable for longer listening sessions with the stock cables as they had too stiff earhooks. This tended to yank the IEM out of the ears. Though this is a YMMV situation, as we have different ear anatomies.

I didn’t find any driver flex for myself (but YMMV once more as this is somewhat dependent on ear anatomy and types of ear tips used).

The Tingker TK300 incorporates MMCX connectors, and frankly I’m not a fan of MMCX due to their longevity issues, especially with frequent cable changes, but the MMCX connector here seem to be of high quality, not the cheapish MMCX I’ve seen in some budget CHIFI, that spin too loosely like a windvane, or are so tight that u need a pliers to remove the cable. The MMCX clicks satisfyingly and doesn’t spin. FWIW, i’ve bought 5 other Audiosense IEMs (sister company of Tingker), and while they all use MMCX, their MMCX tends to be of better quality than most other CHIFI, I’ve not had any MMCX issues with this brand so far.

ISOLATION

Unfortunately, the Tingker TK300 has below average isolation. I wouldn’t recommend bringing it outdoors for subway/bus rides due to this, as hearing health may be affected if one tries to boost the volume to overcome a noisy environment.

DRIVABILITY

I tested the Tingker TK300 with a Khadas Tone Board -> Topping L30 amp, Sony NW A-55 DAP (DMP-A50 FEv2 Classic Mr Walkman Mod), smartphone, Shanling Q1 DAP, Tempotec Sonata HD Pro, ESS ES9280C PRO DAC/AMP, and a Khadas Tone Board -> Fiio A3 Amp. The Tingker TK300 is easy to drive, and amping is not generally required. Though amping can increase dynamics, soundstage and perhaps microdetails a tinge.

SOUND & TECHNICALITIES

The Tingker TK300 is a basshead, warm V shaped set. Make no mistake about it, for those who prefer a neutralish bass or are bass averse, please look for an alternative set. Mid lovers also best look elsewhere, due to the intended V shaped tuning.

Bass on the Tinkger TK300 descends rather linearly from midbass to subbass. The subbass extension is good, but I’ve heard a couple of other basshead sets that extend even deeper and have greater bass quantities. Bass on the TK300 is very textured with minimal bass bleed, this is not a one note boomy bass type that is common in budget CHIFI tuning. Timbre of bass is great. So bass lovers will really like this set.

Mids are recessed at the lower mids as per the V shaped tuning. Upper mids are boosted and are not overtly shouty, but it can be jarring or fatiguing with poorly recorded material or when used at louder volumes (Fletcher Munson curve). One thing to note too, is that the upper mids area is emphasized more when one is outdoors (due to the below average isolation on this set causing bass frequencies to be lost in a noisy environment), so the FR may vary depending on whether u use the Tingker TK300 at home or outdoors. As discussed, midlovers also best consider alternative IEMs as this is a deliberately tuned V shaped set, so there are some elements in the mids that may be obscured due to the tuning.

Treble in the lower treble continues from the boosted upper mids, but the upper treble is somewhat safe, so this is not a very airy set. Sibilance is mild. Highhats and cymbals do sound very natural, not the splashy types we see in some CHIFI.

Soundstage is wide, but depth and height are below average. Other technicalities like clarity, imaging details, instrument separation are above average for a sub $100 USD hybrid, but music can occasionally be congested due to the smaller soundstage depth/height.

In terms of timbral accuracy, the Tingker TK300 is above average for vocals and acoustic instruments, considering it has BA drivers inside. Thus it won’t beat some pure DD types in instrumental timbre per se, but it definitely beats the average KZ and TRN types in this area. The Tingker TK300 also has the typical Knowles BA timbre where notes are rounded and smoother, and ain’t as edgier as the typical Bellsing BA driver. This can be a pro or con depending on whether you want more edge definition/bite in the notes.

COMPARISONS

TRI Starsea (2 BA + 1 DD; $129 USD)

The TRI Starsea has 4 tuning switches to be anything from neutralish to U shaped to more V shaped. So when comparing here, I used the most V shaped (basshead switch) tuning to compare with the Tingker TK300. The TRI Starsea is more versatile as it has 3 other tuning options, but it isn’t as basshead as the Tingker TK300, even on the most bassy switch.

The TRI Starsea has better fit and isolation. The TRI Starsea also has better treble extension and is more airy. In terms of technicalities like soundstage, clarity, imaging, instrument separation, details, the TRI Starsea is better. The TRI Starsea has worse sibilance and also has lesser bass/subbass quantities even on the most bassy switch. The Tingker TK300 has a more textured and well defined bass. Timbre for acoustic instruments is also better on the Tinkger TK300.

The TRI Starsea has a very low impedance of around 9ish ohms, and as per the 1/8th impedance matching rule, it fairs better with sources with as lowest output impedance as possible, so it is more source picky than the Tingker TK300. Using higher output impedance sources may skew the frequency response of the TRI Starsea.

TRI I3 (1 DD + 1 planar + 1 BA; $169 USD)

The TRI I3 is more U shaped (less V shaped than the Tinkger TK300). The TRI I3 is heavier and bigger in shell size, and fitting may be an issue for some (in fact the TRI I3 is nicknamed the “ear potato” on Headfi). The TRI I3 is much harder to drive, in view of the planars inside, but once amped appropriately, the TRI I3 has a better 3D soundstage and a thicker more lucious mids than the V shaped Tingker TK300.

In terms of technicalities, they are about on par (other than soundstage, which the TRI I3 has one of the best soundstages at the $100ish USD price bracket when amped). Timbre is slightly better on the Tinkger TK300.

TFZ No. 3 (single DD; $109 USD)

I generally don’t like to compare hybrids (like the Tinkger TK300) versus single DD types like the TFZ No. 3, but since they are both V shaped basshead sets, and selling around the same price bracket, I thought I’d do a small comparison here. I was actually looking for a replacement basshead set for my TFZ No. 3 as while it had very nice bass quantities, the upper mids were too jarring for me at louder volumes, as per the Fletcher Munson curve. So I bought the Tingker TK300 on a blind buy at the last Aliexpress sale, and well, it has replaced the TFZ No. 3 as my go to basshead set!

The TFZ No. 3 is more V shaped and has bigger bass quantities and subbass extension. Though the midbass bleeds and isn’t as tight as on the Tingker TK300. The TFZ No. 3 also has a smaller soundstage and poorer technicalities. Timbre for acoustic instruments is worse on the TFZ No. 3. The TFZ No. 3 gets very hot in the upper mids with louder volumes (Flectcher Munson curve) as described above, and this area was a dealbreaker for me. The TFZ No. 3 has since been sold away.

CONCLUSIONS

The Tingker TK300 is a warm V shaped set that is an unashamed basshead IEM. The midbass and subbass is well textured and delicious, and is the star here. Those who are bass averse or mid lovers best look for alternative options, but this set will be a basshead’s delight. Technicalities and instrumental timbre are above average to good, though I had a bit of discomfort fit wise, when the stock cables were used, but this is a YMMV situation as we all have different ear anatomies. Soundstage is also not the biggest on the Tingker TK300, but it would be a good rec for those who are looking for a basshead V shaped tuning.

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DISCLAIMER

I bought the Tingker TK300 at my own expense during the January Aliexpress sale, with an early bird discount. It can be gotten here: https://www.aliexpress.com/item/1005002004192135.html

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Cons — No (affordable) linear power supply offered as add-on; learning curve; awkward operation with 2 hands; bluetooth module not yet implemented.

EXECUTIVE SUMMARY

The Khadas Tone2 Pro is an innovative miniature desktop dac with integrated headphone amplifier that offers a ton of functionality qualifying it as a competent “Jack of All Trades”.

INTRODUCTION

Khadas is a Shenzen company run by a team of audio enthusiasts. Their first release was the infamous “Toneboard”, a $99 dac/amp that came “naked” without housing. Much of the company’s inventory caters to electronics junkies with soldering skills.

DISTINCTIVE FEATURES OF THE KHADAS TONE2 PRO

The Khadas Ton2 ProPro is a miniature integrated dac-amp that works with Window and Mac computers as well as with Android and iOS devices. It shares certain features with traditional dongles such as the EarMen Sparrow or DragonFly Cobalt in that it is connected to a phone or computer via USB. But a dongle relies entirely on the power of its source and only outputs into 2.5 mm/3.5 mm/4.4 mm audio. The Khadas Tone2 Pro can be powered by its audio source or independently, and has more output options/possibilities than a dongle. It shows, however, less flexibility when connected to a phone because it needs an external power supply in this setup.

The Khadas Tone2 Pro’s distinctive features are:

• Unique encoder knob
• Flexible power supply options (source device or linear power supply)
• Balanced RCA connectors (cable available from Khadas; backwards compatible for connecting a single-ended headphone amp)
• Reversible S/PDIF coaxial input/output (for connecting a CD player or use as USB to coax converter)
• 4.4 mm balanced headphone socket (plus single-ended 3.5 mm socket)
• Add-on bluetooth module (still being developed)

SPECIFICATIONS

Khadas lists the Tone2 Pro’s full specs in every detail; they can be downloaded here. The most important ones are:

DAC chipset: ESS ES9038Q2M 32-Bit Stereo Mobile Audio DAC
Amplifier chipsets: I/V Stage: TI OPA1612 x2, LPF Stage: TI OPA1612 x2, Buffer Stage: RT6863D x3
Output Impedance: <0.3 Ω
SNR: 119-121 dB (depending on output)
Up to 32bit 384KHz sample rate, bit-perfect DSD512, and -118dB THD+N (line-out).
MQA decoding
Compatibility: Windows/Mac, Android, iOS

Maximum output, single-ended circuit (3.5 mm socket):

• 35.3 mW @ 150 Ω (2.0 Vrms)
• 125 mW @ 32 Ω (2.3 Vrms)
• 114 mW @ 16 Ω (1.35 Vrms)

Maximum output, balanced circuit (4.4 mm socket):

• 83 mW @ 300 Ω (5.0 Vrms)
• 167 mW @ 150 Ω (5.0 Vrms)
• 211 mW @ 32 Ω (2.6 Vrms)
• 123 mW @ 16 Ω (1.4 Vrms)

Full Specifications: https://dl.khadas.com/products/tone2/specs/Khadas_Tone2_Pro_Specs.pdf
Product Page: https://www.khadas.com/tone2pro
Purchase Links: hifigo or amazon
Tested at $199.90

PHYSICAL THINGS AND FUNCTIONALITY

In the box are the actual device, a USB-C to USB-C cable, and the manual. The very small Khadas Tone2 Pro ‘s enclosure and the encoder knob are made of aircraft grade aluminium, with a polycarbonate bottom cover on a soft silicone pad – in order not to scratch the underlying surface.

The manual is pretty confusing when it comes to setup with a computer (Mac is not mentioned at all but it worked just upon plugin), firmware update, and operation, but there are excellent videos available that offer all necessary solutions.

User Manual: https://dl.khadas.com/products/tone2/manual/tone2pro_user_manual.pdf

Firmware Upgrade: https://www.youtube.com/watch?v=qRswdL1HPZU

Balanced RCA: https://www.khadas.com/balanced-rca

Khadas Discussion Forum: https://forum.khadas.com

Khadas Facebook Group: https://www.facebook.com/khadas.official

CONNECTIVITY: THE SKY’S YOUR LIMIT

The Khadas Tone2 Pro offers a variety of connections – and therefore a variety of usages.

Inputs: USB-C (computer/phone/raspberry-type single-board computer), I2S (linear power supply, bluetooth module), coaxial (CD-player).

Outputs: 3.5 mm and .4 mm “balanced” headphone sockets (can be used simultaneously), balanced RCA (backward compatible), and the coaxial can be reversed with a firmware change.

INTRODUCING BALANCED RCA

Khadas developed “balanced” RCA connectors which they implemented in their Tone2 Pro. You can connect balanced RCA cables and stream to a balanced amp. While this is a great idea, such cables do not exist yet, and other manufacturers have yet to embrace the balanced RCA technology (but Kadhas sell you a $40 balanced RCA to XLR adapter). No third-party amp with balanced RCA connectors exists presently. Good that these connectors are backward compatible – you can use your old RCA cables.

However, balance amps exist and in order to connete them with the Tone2 Pro, Khadas are selling RCA to XLR adapter. Problem solved…for now. But other manufacturers will have to embrace the balanced RCA technology for the technology to survive.

THE CRAZY VOLUME KNOB IS ALSO A JOYSTICK

Khadas introduce a hybrid digital/analog volume control knob that works like both a normal rotary knob and joystick.

You can turn it like a standard volume knob but also push it sideways…but you need to hold the light device with the other hand during operation…awkward when it is sitting on an amp. Typically each two lateral pushes cycle you through the different modes from volume through track forward/backward, gain, input selection, and digital filter. Here the overview of all modes (from the user manual):

In each mode, you rotate the knob to change the functions as indicated in this graphic. Any setting is visualized by a colour combination in the RGB ring light at the base of the knob. While it is painful to read is, you just watch these two videos to get the details:

PRACTICAL USE OF THE KHADAS TONE2 PRO

In real life, you can use the Khadas Tone2 Pro as follows, for example:

CD player/streamer/computer/tablet/phone –> Khadas Tone2 Pro –> headphone

CD player/streamer/computer/tablet/phone –> Khadas Tone2 Pro –> headphone amp –> headphone

CD player/streamer/computer/table/phone –> Khadas Tone2 Pro –> stereo amp –> loudspeakers

To give you some idea: I first connected the Khadas Tone2 Pro to my computer via USB-C and also used the computer as power source. This was just fine for listening to iems and even the 300 ohm Sennheiser HD 600. I then added power by connecting the Schiit Magni 2 Uber headphone amp via RCA cables. The Khadas Tone2 Pro now served as pre-amp.

I then moved to my stereo system and connected the Khadas Tone2 Pro to my CD player via coaxial RCA. I also connected my phone to the Khadas Tone2 Pro’s USB-C port…and had two music input sources to choose from. I switched between the sources using the rotary function of the dial after having it set to “Input” mode….and listened to CDs with my Sennheiser HD 600 connected to the Khadas Tone2 Pro 3.5 mm socket. I now had to option to use the RCA out to connect the Khadas Tone2 Pro either to a headphone amp or to the stereo’s power amp.

Streaming music from your phone to the Khadas Tone2 Pro via Bluetooth would be an interesting asset. This functionality has not been implemented yet – a add-on Bluetooth module is presently being developed.

SUPPLIED POWER VS POWER SUPPLY

The Khadas Tone2 Pro is driven from the USB-port of your computer without problems. I was told that a notebook is an electrical firestorm and that there is some electrical noise associated with Mains power at 20, 60, and 180 Hz on laptop USB.

The Khadas Tone2 Pro features a second USB-C port (labelled I2S), designed for input from a Linear [Voltage] Power Supply (“LPS”). An LPS supplies a constant current, which minimizes electrical noise and generates ultra-clean signal-to-noise ratios. But I was warned that the “wrong” LPS could make the Khadas Tone2 Pro (and similare devices) “dull and uninspiring” sounding. When in use, I2S prioritizes the LPS over the USB source. Separating data flow and power, and supplying power from a “clean” LPS serves the purpose of improving sound quality. This is particularly important when the Khadas Tone2 Pro is used as dac. Any distortion/impurity in the signal will be exaggerated by the attached power amplifier.

And while an LPS may feed the Khadas Tone2 Pro with “clean” power, this also opens a can or worms.

First, an LPS is expensive. At a minimum, you spend 40% of the Khadas Tone2 Pro’s purchasing price – when you live in North America. In Europe, a quality LPS sets you back 120 EUR. And even if you convert your old microwave into an LPS, it takes $50 in parts. This is cost prohibitive.

Second, these LPS are bulky and heavy, which is contradicting the idea of the Khadas Tone2 Pro’s lightweight and small dimensions. This is less of an issue when don’t locate the LPS on your desk but use it as a kick plate underneath.

Third, the music coming out of the computer’s USB port will still carry impurities.

Khadas failed to design an affordable LPS as an add-on, which I consider a flaw considering all the good ideas that went into the Tone2 Pro. After all, the buyer wants a perfectly functional device out of the box.

So, what are the alternatives? After all, any dac or amp comes with its own power supply – and you don’t have to worry about it – and therefore not pay extra through your nose. I tested a $15 powerbank (stable power supply), Apple stock 5 V chargers for iPhone and ipad (all switched-mode power supplies but of good quality), and two low-noise power supplies provided by ifi Audio (for a separate review). The potential issue with switching currents is electrical noise being introduced to the signal.

First of all, all of the above principally powered the Khadas Tone2 Pro. So the question is whether LPSs are overkill. We will answer this question below.

SOUND IN DIFFERENT APPLICATIONS

My tonal preference and testing practice

My test tracks explained

Equipment used: MacBook Air, iPhone SE (first generation), Marantz SACD8005; Khadas Tone2 Pro, Schiit Magni 2U; KBEAR TRI I3, Shozy Form 1.4, Sennheiser HD 25 and HD 600; ddHifi adapters DJ35AG/DJ44AG; diverse power supplies (ifi Audio iPower & iPower X, Apple iPad 12 W switching power supply, Tzumi 10,000 mAh power bank); Snake Oil Taipan and Radio Shack RCA interconnects; Amazon basics coaxial RCA cable.

Setup 1: Khadas Tone2 Pro with MacBook Air and TRI3 and Shozy Form 1.4 earphones with DJ35AG/DJ44AG adapters

This test served the purpose of comparing the single-ended and balanced circuits using 2.5 mm balanced cables and the DJ35AG/DJ44AG adapters. I used the easily driven Shozy Form 1.4 and the harder-to-drive planar magnetic TRI3 earphones, both on low gain.

The balanced circuit was much superior over the single-ended one in that the sonic experience was much more three dimensional and atmospheric, with a much better spatial cues, more note weight…and it was simply louder. The technicalities were all quite good with one downside: the timbre was rather digital and a bit edgy for the cello sonatas I had started my test off with…and the sound was lively and crisp with rock music, though the bass could have been a bit meatier.

I mentioned it above: both outputs work simultaneously…two can listen.

Setup 2: MacBookAir with Khadas Tone2 Pro and Sennheiser HD 600 headphones

I could only test the “weaker” 3.5 mm single-ended output with the 300 Ω Sennheiser HD 600 headphones…and I was pushing the Khadas Tone2 PRO’s limits (on high gain). I achieved an astounding headroom considering this small device, although the dynamics stayed on the “polite” side. This combination principally worked, but it had reached its limit. I would not push any harder-to-drive headphones.

Setup 3: Marantz SACD8005 with Khadas Tone2 Pro and Sennheiser HD 600 headphone

This experiment served testing the coaxial input from the CD player with uncompressed music. I used a $12 CAD amazon basics coaxial cable that is surprisingly well made. The SACD has its own integrated headphone amplifier so I could A/B from the same source.

This combination sounded quite impressive with lots of headroom and transparency. In comparison, the integrated Marantz headphone amplifier (with unknown but probably high output impedance) sounded somewhat muffled with less extension.

Setup 4: MacBook Air with Khadas Pro into Schiit Magni 2 Uber and Sennheiser HD 600/HD25 headphones

In this setup, the Khadas Tone2 Pro was only used as a dac, with the Schiit as the amp. And it literally rocked. The punch returned to the Senns and so did naturalness. Yes, this combination sounded more natural than the Khadas’s integrated amplifier. Switching from the 300 Ω HD 600 to the 70 Ω HD 25 added some lightness and ease…but this probably has to do with the Schiit’s limited output rather than the T2 Pro.

I also played with cables and compared the sturdy Snake Oil Taipan interconnects (with their German Sommer wire) with some 20-year-old Radio Shack ones. And, compared to the Radio Shack ones, the Snake Oil added…no, not snake oil, but bass, as if a subwoofer had been added. Which one is better comes down to personal taste.

I then replaced the Khadas Tone2 Pro with the Dragonfly Cobalt as dac, which also sounded great but slightly less substantial. This probably lies in the quality of Khadas’s dedicated RCA outputs.

And what did the different power supplies contribute?

I tested the Khadas Pro with the different power supplies (ifi Audio iPower/iPower X, Apple iPad 12W switching supply, Tzumi power bank, Macbook’s USB power), musically sourced by the MacBook. Since the Khadas prioritizes the I2P port (it switches automatically when an external power source is connected), A/B-ing was easy.

What did I expect between Mac power and external power? From discussions and company advertisements/claims, the electric noises should should have been decreased – and the sonic impact should have increased with an external low-noise supply.

What differences did I hear? Absolutely none, zero, zilch. This relates to the Mac as the music source while using the Khadas as amp and as dac in combination with the Schiit amp. I would have expected this for integrated amp, but additionally amplifying the signal with the Schiit should also have further amplified the noise.

I also alternated the external power supplies when playing music from the Marantz SACD player…and could also not hear any differences between them. But I noticed an excellent clarity and headroom, which probably reflected the uncompressed nature of the music compared to the compressed formats on the Mac.

In the end, there were too many unknowns to allow for a conclusive answer on the LPS question other than that an external power supply likely does not make the world or a difference. The cheap compromise would be the power bank.

Talking to audio engineer Amir from Audio Science Reviews (who had also reviewed the Khadas Tone2 Pro), he told me that different power supplies can make a small measurable difference, which are not significant enough to justify their purchase. The Khadas Tone2 Pro’s performance is superb without.

I don’t object.

CONCLUDING REMARKS

The Khadas Tone2 Pro is not only a “Jack of all trades”, it is also a master of many. It incorporates a lot interesting concepts and innovations – and it works by itself or in combination with essentially anything. It has come a long way from the original “naked” Toneboard for the DIY person to this turnkey device that will provide users with lots of fun…after an initial learning curve. A unique product that is uniquely good.

Recommended.

Until next time…keep on listening!

Contact us!

You find an INDEX of all our dac/amp reviews HERE.

DISCLAIMER

The Khadas Tone2 Pro was kindly provided by hifigo for my review. Thank you very much.

You can get the Khadas Tone2 Pro from hifigo or amazon.

Our generic standard disclaimer.

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

GALLERY

The post Khadas Tone2 Pro Review – Impossible Is Nothing appeared first on Audio Reviews.

Cons — 2.5 mm balanced only/USB-C only limits connectivity on either end.

EXECUTIVE SUMMARY

The Tempotec Sonata BHD is a neutral, sleek, crisp, and transparent sounding 2.5 mm balanced dac/amp that offers a substantial sonic update over phone/computer dacs/amps when used with iems. One of my favourite products in 2021. A personal favourite.

NOTE

I did not test the Sonata BHD with headphones owing to the lack of a balanced cable. Considering its power, the Sonata BHD is much better suited for iems. I also did not test DSD and MQA, as I do not have the required subscriptions. And I think the Sonata BHD is more tailored towards mobile units than towards computers.

INTRODUCTION

Chinese manufacturer Tempotec made quite a dent with their Sonata HD Pro in 2019. At $40, it comes with all possible adapters and you can connect it to essentially everything: Android devices, Apple devices, and computers. Not bad at the price of essentially an Apple lightning adapter. Unsurprisingly, the Sonata HD Pro has been a favourite in terms of audioreviews.org blog views since, made it into my “Gear of the Year 2020“, and remains highly recommended.

The Tempotec Sonata HD Pro features a single-ended output, whereas, in the meantime, companies like Earmen offer two outputs in their Sparrow dongle: 3.5 mm single-ended, and 2.5 mm balanced. And while I thought “balanced” was just another gimmick, it is truly not: everything sounds bigger and clearer with balanced in a direct comparison. But the Earmen Sparrow comes at a price of $200. Tempotec responded to the market’s demand for “balanced” output with their Sonata BHD, a sleek and powerful dongle at $70.

To answer you burning questions right away: does the Sonata BHD sound better than the Sonata HD Pro? Yes, it does. Does it sound as good as the Earmen Sparrow? No, not quite, but it still sounds impressive.

THE IDEA OF BALANCED AUDIO

Balanced audio is a method of connecting audio equipment using balanced lines [Wikipedia]. Such lines reduce susceptibility to external noise caused by electromagnetic interference. This is particularly beneficial for recording studios, which use kilometres of lines. For our purpose of portable audio, reduced interference results in a clearer, cleaner signal. Headphonesty compared “balanced and unbalanced” audio connections in this article.

SPECIFICATIONS

Product Name: Sonata BHD
DAC Chip: Two CS43131
Output Impedance: NA
SNR: 129 dB
HP Out : 120MW/32ohms 20MW/600ohms
Level: 2VRMS
THD+N: -113dB
Crosstalk: greater than 118dB (32 ohms) *
PCM: up to 32bit/384kHz
DSD: to DSD256 (NATIVE) DSD128 (DOP)
Hiby Music APP: Support exclusive
PC: Exclusive ASIO driver
Volume control: independent hardware volume control
Purchase Link: Tempotec Official Store

Tested at: $66

PHYSICAL THINGS AND USABILITY

The Sonata BHD comes with a fixed USB-C cable, a USB-C female to USB-A adapter, and a pleather case. It does not feature the detachable cables of the Tempotec Sonata HD and is aiming to be connected to USB-C and USB-A devices such as Android phones, and Windows and Mac computers. It can be connected to iPhones/iPads using either the Apple camera adapter or the much sleeker ddHifi TC28i adapter. Therefore, adding a third-party adapter makes the Sonata BHD as versatile as the Sonata HD Pro with source devices.

In terms of dimensions, the Sonata BHD is slimmer and higher than most dongles. And like the Sonata HD Pro, the housing is made of metal with rather sharp corners. Tempotec increased the often criticized spacing between the two volume buttons compared to the Sonata HD Pro – what they have not addressed is the volume steps when pushing the buttons (which are identical to the source’s volume buttons). The button mechanism is exquisite and precise – with a great soft rebound – so that is is almost fun pushing them. All connections and connectors work precisely, too.

Internally, the Sonata BHD features the same chip as the Sonata HD Pro, however TWO of them (one for each line), which explains the price difference.

FUNCTIONALITY

The Tempotec Sonata BHD has no internal battery and is driven by the music source. This is great in that there is no planned obsolescence (the device will still work in, let’s say, 10 years), but it drains your mobile source faster. As to the drain rate, I did not explicitly test it – but battery consumption appeared to be within reason.

The Sonata BHD is plug ‘n’ play with phones and tablets, and it requires selecting the device in my Mac’s sound panel (probably similar in Windows).

When playing, the Sonata BHD relies on the source volume. I typically set the computer/phone volume at 80%, although I am not sure whether I can turn it up to 100% without (more) distortion. After removing the Sonata BHD from my phone, it recognizes the volume setting upon reconnecting.

AMPLIFICATION

There is a paradox: a balanced output is typically more powerful than a single-ended output – and iems, on average, require less power than headphones: however balanced cables for headphones are harder to get and more expensive than for earphones. As a rule of thumb, external amplification is needed for headphones/iems with an impedance above 50 Ω. While most headphones exceed this number, most iems run at 32 Ω or lower. Iems above 50 Ω typically feature electrostatic or piezoelectric drivers. I don’t have any balanced-headphone cables but could test the Sonata BHD with power-hungry iems such as the Vision Ears Elysium, Triaudio I3, and NiceHCK NX7 Mk3. And they were all driven very well by the Sonata BHD.

I could not test the Sonata BHD with headphones – I don’t have one with a 2.5 mm cable – but was told it is not that powerful. I would therefore be careful with any headphone above an impedance of 70 Ω.

As to specs, the Sonata BHD delivers 120 mW into 32 Ω (and 20 mW into 600 Ω). This is twice as much as the original Sonata HD Pro offers.

TONALITY AND TECHNICALITIES

My tonal preference and testing practice

My test tracks explained

Equipment used: iPhone SE (1st generation) and MacBook Air; various earphones, mainly the Shozy Form 1.4.

The Tempotec Sonata BHD is a strictly neutral and sleek but never sterile or over-analytical sounding dac/amp that enhances the sound characteristics of the attached earphone/headphone. It is not only useful for running power-hungry earphone/headphones, it also improves the sound of easy-to-drive iems. Let’s take, for example, the excellent sounding, well reviewed Apple Audio Adapter that works well with my 16 Ω Shozy Form 1.4 iems. The Tempotec Sonata BHD simply adds midrange clarity and definition, opens up the soundstage, and increases headroom. And it adds pizaz to the sound…yep, it is rather punchy. These improvements over my phone are quite pronounced – and much bigger than with the Tempotec Sonata HD Pro.

Replacing the Tempotec HD Pro with the Tempotec Sonata BHD is like adding sour cream to your gravy: smoother, better balance, much bigger stage, better three-dimensionality, the sound is simply more appealing. Connecting my >50 Ω earphones added body, cleanliness, and smoothness on top of power.

WHO NEEDS THE SONATA BHD?

IMO, the Sonata BHD serves two specific purposes:

• Play power hungry iems (such with an impedance of > 50 ohm)
• Improve the sound quality of any iem, even at low volumes

First, there should be no problem playing a, let’s say, 70 Ω headphone such as the Sennheiser HD 25 with the Sonata, however it may be cost prohibitive to get a 2.5 mm balanced cable for headphones. Second, the Sonata BHD is not an ornament as so many other dongles. Any earphone sounds better on my iphone with the Sonata BHD compared to the Apple Audio Adapter or the ddHifi TC25i adapter (which is technically and sonically essentially identical with the Apple Audio Adapter). In comparison, the Sonata BHD adds clarity and definition, slims down the sound, and opens up the stage including headroom.

But I doubt that you will be able to drive full-sized 300 Ω cans with the Sonata BHD well.

TEMPOTEC SONATA BHD COMPARED

As said before, the Tempotec Sonata BHD upgrades the sound of the Apple Audio Adapter as well as their own Tempotec Sonata HD single-ended dongle. It does, however, not live up to the balanced circuit of the $200 EarMen Sparrow that excels in its more analog, fuller sound with an even better headroom. Nevertheless do I like both for their merits and one cannot replace the other. Similar to the different models in my earphone collection, both dongles hits different moods of the listener and I really enjoy them both very much.

CONCLUDING REMARKS

The Sonata BHD provides a huge sonic upgrade to your phone and is another winner from Tempotec. Is sounds better and is more powerful than their famous Sonata HD Pro, but is a bit more limited by its ootb connectivity. Adding a second dac chip has increased the price, which benefits the sound greatly. The Sonata BHD is not only good for amplification but also for improved the sound quality of easy-to-drive earphones and headphones. It is not an ornament as so many others. Once again, a superb device and great bang for your buck. As simple as that…I said it before.

Until next time…keep on listening!

Contact us!

DISCLAIMER

The Tempotec Sonata BHD dac/amp was provided by Tempotec upon my request. Thank you very much. You can buy it at the Tempotec Official Store.

Our generic standard disclaimer.

About my measurements.

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

PHOTOS..

The post Tempotec Sonata BHD Headphone Amplifier (Dual CS43131 Balanced Output) Review – Snakebite appeared first on Audio Reviews.

EXECUTIVE SUMMARY

The EarMen Sparrow is a $200 battery-less warm-neutral sounding dac/amp with dual output: single ended 3.5mm and the more powerful 2.5 mm balanced. It is class leading in terms of both power and sound quality. The EarMen Sparrow supports playback from iPhones, Android smartphones, MacOS and Windows computers. It also plays all 32bit/384kHz formats: PCM, DoP, DSD64, DSD128 and MQA. It is the best dongle I have come across (in the $200 category) and was on my personal favourite gear list of 2020.

INTRODUCTION

Do all dongles sound equal? Are most dongles just ornaments? Should we rather go for a desktop dac/amp instead to get more value for money? All of the above have been mentioned in discussions lately. For years I have had a single dongle dac/amp, the Audioquest Dragonfly Black. I mainly used it with my iPhone and life was good. Until…

To make this clear a priori: the EarMen Sparrow is the best-sounding dongle I have tested too far…but also the most expensive one. And it is not an ornament.

EarMen is a company registered in in the US, where most of its stakeholders are located – and from where they focus on the North American market. EarMen are a subdivision of premium audio gear producer Auris Audio. The production is in Krusavec, Serbia [video of production facilities]: Made in Europe.

SPECIFICATIONS

Dimensions: 42*22*8 mm

Purchase Link: EarMen Shop

PHYSICAL THINGS AND USABILITY

In the box is the EarMen Sparrow, the warranty card, and two cables: USB-C to USB-C, and USB-C to USB-A. This allows the Sparrow to connect to Android phones/tablets, and any Windows/Mac computer. It features the ESS Sabre ES9281PRO dac chip – which is well implemented.

The EarMen Sparrow also works with iOS devices but requires the Apple Camera Adapter, which adds to a “monster snake”. The $30 ddHifi TC28i adapter offers the same funcionality but cuts the snake’s length enormously.

The actual EarMen Sparrow is a sturdy and filigree CnC machined aluminium construction with top and bottom covered by glass…although I wished it had come with a sheath to protect it from being scratched.

In contrast to most other dongles does the EarMen Sparrow offers two different circuits and sockets: a single-ended output through a standard 3.5 mm socket and a balanced output through a 2.5 mm socket. Both outputs/sockets work simultaneously. And it is the balanced output that makes the EarMen Sparrow particularly attractive.

The logo is illuminated depending on input:

• White – Connected
• Green – PCM/DXD/DSD
• Magenta – MQA
• Red – Not Connected

THE IDEA OF BALANCED AUDIO 

Balanced audio is a method of connecting audio equipment using balanced lines [Wikipedia]. Such lines reduce susceptibility to external noise caused by electromagnetic interference. This is particularly beneficial for recording studios, which use kilometres of lines. For our purpose of portable audio, reduced interference results in a clearer, cleaner signal. Headphonesty compared “balanced and unbalanced” audio connections in this article. And yes, it works.

FUNCTIONALITY

The EarMen Sparrow contains no battery and is powered by the source device. It works plug ‘n’ play with computers, tablets, and phones (Windows/Mac/Android/iOS). And it requires adjusting the respective sound panel settings in Mac and Windows computers. Volume is controlled from the source device – there are no buttons on the EarMen Sparrow. It is as easy as that. The EarMen Sparrow decodes all 32bit/384kHz formats: PCM, DoP, DSD64, DSD128 and MQA. 

AMPLIFICATION

The EarMen Sparrow is one of the most powerful dongle dac/amps on the market according to AudioScienceReviews.com. Its 2.5 mm balanced output delivers 2.0 Vrms into 32 Ω and 4.0 Vrms into 600 Ω. This results in a power of 125 mW and 20 mW, respectively. The 3.5 mm single-ended output is 1.4 Vrms into 32 Ω and 2.0 Vrms into 600 Ω, which translates to 61 mW and 7 mW, respectively.

I don’t have a balanced cable for my 300 Ω Sennheiser HD 600 Pro, however the single-ended output drives them “ok”. The balanced circuit delivers enough power to drive the 70 Ω Sennheiser HD 25 on my Mac, which indicates that this is good enough for any iem. In fact, imo the EarMen Sparrow drives even the most power-hungry earphones very well with my Mac.

A bit of an enigma is the dependency of the EarMen Sparrow on my sources: it provides way more power when sourced by my Mac, but appears to be throttled by my iPhones 5s and SE (1st generation). I speculate this is caused by the Sparrow’s power consumption. Sound quality is not compromised and power-hungry earphones such as the TRI I3 are still driven sufficiently well. Newer phones and Android devices may not throttle the EarMen Sparrow’s power. The Sparrow, like most powerful dongles, appears to be a bit of a battery drain on phones.

UPDATE June 2021: Power Consumption Test: Parameters and Raw Results

I tested the power consumption of several portable headphone amps connected to my iPhone 5S. The conditions were as identical as possible: 3 h test, volume calibrated to 85 dB  ± 0.5 dB white noise with Dayton microphone, no sim card, BT off, no other apps open; network on, 32 ohm Blon BL-03 iem, Genesis’s Supper’s Ready (from the Seconds Out album) played in an endless loop.

The iPhone’s battery was fully charged at the start of the test and the remaining charge was measured thereafter. The result is shown in the table below. Since the tests were performed at different times and considering the ongoing battery deterioration, the results have to be seen with a grain of salt.

[collapse]

TONALITY AND TECHNICALITIES

My tonal preference and testing practice

My test tracks explained

The EarMen Sparrow is a neutral-warm sounding dac/amp (more neutral than warm), and therefore offers the best of both worlds. Whereas a warm dac/amp (such as ifi Audio products) harmonizes best with neutral earphones/headphones (e.g. JVC HA-FDX1, neutral amps (e.g. Earstudio HUD 100) pair best with warm iems (e.g. Sennheiser IE PRO series). Neutral amp with neutral iem may sound like metal on metal – and warm with warm may come across as thick and syrupy lacking clarity and transparency. The EarMen Sparrow appears to strike the right temperature balance to harmonize with most kinds of earphones. The other trait is its good extension in both directions and its full body and natural dynamics. The Sparrow has this quasi-analog sound.

And while the sound through the single-ended output is good, it is fantastic through the balanced output. The difference in sound quality is mindboggling (I A/B-ed a balanced cable between both sockets – with a 2.5 mm female to 3.5 mm male adapter for single ended). Apart from the power gain in the balanced circuit, headroom and clarity opens up substantially…the midrange comes out nicely…this worked even for the ~$3000 Vision Ears Elysium. After several months of using the EarMen Sparrow on my Mac, I conclude that the balanced output is as good as a desktop amp for iems – on a computer.

EARMEN SPARROW COMPARED

The neutral sounding $70 Tempotec Sonata BHD dac/amp with its balanced output is an impressive sounding device. The EarMen Sparrow, however, offers a richer, more analog sound, a larger headroom, and more power. It is also more versatile with its additional 3.5 mm single-ended output. The less powerful Sonata BHD has a leaner, sleeker but less creamy/soft/weighty sound with more clarity.

VALUE – IS THE EARMEN SPARROW FOR YOU?

Is the EarMen Sparrow worth its $200? Any answer has to be subjective. For people who regularly deal with >$300 earphones without blinking: yes, no questions asked. Simply makes them sound better.

For the rest of us: yes, but for any or all of these three specific purposes – from my perspective: for the balanced output that sets the EarMen Sparrow sonically and power wise apart from its competition. Second, it is best used with iems or less power-demanding headphones. And third, for use mainly with a computer, where the Sparrow flexes its muscles best.

CONCLUDING REMARKS

I have used the EarMen Sparrow for a few months now. It took me so long to publish my review because I didn’t know what to write – it just worked great for me, and I used it a lot for earphone testing. The Sparrow is the best sounding dongle I have listened to so far (up to $200), albeit also the most expensive.

What sets it apart from the competition are sound quality and power of its balanced circuit. I don’t think one needs anything “bigger” to drive earphones – it was good enough for the $3000 Vision Ears Elysium. And since it does not have a battery, there is no planned obsolescence – the Sparrow will last for a long long time.

It is the balanced output that makes the Sparrow fly high: first it opens up the headroom and then it makes it a most powerful dongle – ahead of the competition. The EarMen Sparrow is just a very fine dac/amp. One of my favourite devices of 2020…and likely 2021, also. Basta!

Until next time…keep on listening!

Contact us!

DISCLAIMER

The EarMen Sparrow was provided by EarMen upon my request. I thank them and also the audiofool who had established the contact. The audiofool has reviewed the Earmen Sparrow here.

You can purchase the EarMen Sparrow from the Earmen Shop.

Our generic standard disclaimer.

About my measurements.

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

PHOTOS…

The post EarMen Sparrow USB DAC + Preamp + Headphone Amp, Review – Super Trouper appeared first on Audio Reviews.

Gear of the Year: Just in time for Christmas we list our our personal favourites of 2020 – the portable audio we personally enjoyed most. Note, these are not necessarily the best, but the ones we…you got it. Therefore, these are highly personal, subjective listings. Please be aware we don’t offer reviews for everything we like/we list here (yet).

That Christmas tree on the right is a carryover from last year. It stood in the lobby of the Windsor hotel at the Copacabana in Rio de Janeiro…and it should be a symbolism for looking forward to travelling again. Viva Brazil!

Most of our reviews would have not been possible without our 2020 cooperating partners. We thank:

Acoustic Effect, ADV, Akoustyx, Apos Audio, Azla, Bill Barraugh/Audiotiers, Blon, Cozoy, CVJ, ddHifi, Dekoni, Dunu, EarMen, Earstudio, Hifigo, iBasso, ifi Audio, KBEAR, Keephifi, Moondrop, NiceHCK, Opa Audio Store, Sennheiser, Shenzhenaudio, Shozy, Smabat, Tempotec, Tronsmart, TRN, Vision Ears, V-Moda, Wooeasy Earphones Store, Yaxi, Don’tkillusifweforgotyoujustsendusanotandwefixit. 

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

Note: we do not make any money (or getting compensated by products) through the gear we review. No affiliate links, trackers etc. We keep the conflict-of-interest potential as low as possible by attempting to stay at arm’s length.

As to the popularity of our reviews with you, the reader: our top-viewed BLOG POSTS for 2020 were (click to go to the respective article):

1. Simplified Guide To Silicone Eartips (~13,000 views in early Dec 2020)
2. Tin Hifi T2 Plus Review
3. Blon Bl-03 Review
4. KZ ZSN Pro Review
5. Blon Bl-05 Beta Photography
6. Tempotec Sonata HD Pro Review
7. Moondrop SSR Review
8. Drop JVC HA-FDX1 Review
9. Apple Audio Adapter Review
10. Earphones Of The Year 2019
11. Sennheiser IE 500 PRO Review
12. Reversing Starlines Eartips
13. TRN V90 Review
14. Moondrop Starfield Review
15. Sony MH755 Review

Total Number of Blog Posts in 2020: 186

Facebook Group (est. 2020-01-01)| https://www.facebook.com/groups/audioreviews: >5200 members

YouTube subscriptions | https://www.youtube.com/c/audioreviews: 660

Our most-watched YouTube Video of 2020:

And yes, this blog grew and grew and grew in 2020. We are now 8 reviewers on 3 continents. Below are our personal favourites of 2020…

Baskingshark…Singapore

My 2020 favourites in the following categories are:

Earphones

$300 – 500 USD:
LZ A7. Provides a mind boggling 10 tuning configs (or more with aftermarket tuning nozzles). It has excellent technicalities, good fit, good isolation, and the best part that surprised me is that the LZ A7 has very natural timbre for a BA/piezo containing tribid (other than the higher treble frequencies handled by the piezo). Most folks would find an ideal sound signature with it, maybe except diehard bassheads. 

$200 – 300 USD:
Audiosense T800. It has good technicalities, is “fun sounding” and excellent isolation nearing 30 dB. Even though it contains a BA bass, it sounds like a DD bass due to a vented subwoofer. The T800 may be a bit on the bright side, so it isn’t the best option for treble sensitive folks, but you can use knowles filters, warm sources or eartips to tame the treble.

@ $100 – 200 USD:
TRI I3. Smooth, balanced, grand and coherent despite the weird 1 planar + 1 BA + 1 DD config. It needs amping though, the planars handling the mids are quite power hungry. It has one of the best soundstages at the $100ish region when amped, with sweet planar mids. Treble is safe, bordering on darkish, so maybe not for trebleheads.

KBEAR BElieve. “Bearly believable” for a full beryllium set at this price? The KBEAR BElieve sports a smooth and refined U shaped tuning, great technical chops in the mids and treble areas for a single DD. It has good timbre for acoustic instruments but is very hard to drive, as per the 98 dB sensitivity. It sounds muddy, congested and slow in the bass with a low powered source, but scales beautifully when optimally amped, so those that don’t intend to get an amp best look elsewhere. With power, the KBEAR BElieve does hit about 70% of the technical performance of the famed DUNU LUNA, at 10% of the price! 

@ Sub $100 USD:
HZSound Heart Mirror. Nice mirror like shells, as per its namesake, it is a neutralish bright set, excellent timbre for acoustic instruments. I like how it manages to get a forward upper mids without going into harsh or shouty territory, a very fine line to balance. The Heart Mirror has good transients and speed on the driver. Note weight is thin and soundstage is not the best though, and it needs amping to shine, sounds meh from a smartphone. Good set for vocal lovers and timbre lovers, but maybe not so all rounded due to the lack of bass, but it takes to EQ in the bass like a champ.

Favourite earbud for the year:
SMABAT ST105 Black Gold. Neutralish set with subbass and upper mids boost. If you have always looked down on earbuds for not having subbass, think again. The SMABAT ST10S Black Gold has the best subass quantity and extension I’ve ever heard in a bud. It has excellent technicalities, is MMCX
detachable and can be worn over ears or cable down. It needs amping though, as per the 150 ohm impedance. Not to be mixed up with the SMABAT ST10S Black Silver, which is tuned differently (and has lower impedance).

Best lucky bag/Fukubukuro/Mystery bag:
Urbanfun YBF-ISS014 – it is extremely exciting to see whether u get a beryllium vs “noble metal” driver. Or a working versus wonky mmcx. Even newer batches of the Urbanfun have been reported to have QC problems in the audio forums.The Urbanfun can be summed up in this statement by Forrest Gump: “My Mom Always Said Life Was Like A Box Of Urbanfuns. You Never Know What You’re Gonna Get.”

Best price to peformance joke IEM of the year:
TRN golden ears $14,750.00 USD IEM paired with $3400 USD xiaofan ortiz “king of the gods” cable. Mere mortals cannot hope to use these gear if not you’ll be struck down by lightning! I hope the Bellsing BAs inside are also made of gold!

Biodegraded…Vancouver, Canada

Sorry, from me you get stuff that mostly hasn’t been reviewed. In no particular order; and most aren’t new this year.

Digital transports:
Pi2Design Pi2AES (+ Raspberry Pi)
For streaming (via wifi or Ethernet cable) digital music from your computer, you could go cheap and crap like a Chromecast or Airport, brutally expensive like an all-in-one streamer from Naim or PS Audio, or this $US 149 HAT for a Raspberry Pi which will produce excellent quality AES or S/PDIF digital audio to feed into your audiophile DAC. DIY aesthetic & philosophy, audiophile quality, fantastic convenience once you figure out how to set it up (variety of OS solutions, some better than others).

Amps/Preamps:
Ifi Audio Zen Phono RIAA phono preamp
$US 149 for excellent resolution and transients and the ability to work with a wide range of cartridges. Might benefit from an improved power supply such as Ifi’s own iPower, but my jury remains out on that. Audioreviews summary here.

Amp accessories:
GE JAN 5670W vacuum tube
Cheap and widely available true new-old-stock military-surplus tube that works really well as a 6DJ8/6922 preamp tube substitute (great in the Schiit Vali 2).  Nice tight lows, smooth but detailed mids, sparkly highs. 6922 to 5670 adapter required to translate the I/O pin pattern so nothing blows up.

Headphone accessories:
Yaxi pads for Porta Pro / KSC75 / PX-100
Tastefully boost bass and treble while (on the Kosses) lowering the prominent 5kHz peak. And they’re comfortable! Audioreviews summary here.

IEMs:
Drop/JVC HA-FDX1
Champion single-dynamic earphone with great DD timbre and almost BA-fast transients. Slightly boosted in the uppermost mids, heavy in the ears, intermittent availability, but huge bang-for-buck. Audioreviews summaries here and here (note that Loomis isn’t their greatest fan).

Headphones:
Fostex T50RP Mk3 with cheap angled pads and other mods
Closed or semi-open (depending on how much you stuff the cups) planar magnetic phones that with a little effort (see eg here for ideas) can be made both neutral and extended while retaining deep bass and technicalities. Need amp power to perform.

Players:
USB Audio Player Pro
Gets better with every update. Neutron is more configurable, but unnecessarily so. Put this on your Android phone, plug in a USB DAC/amp, and enjoy great lossless sound quality on the go. Equalizer plugins available. Android only though.

Durwood…Chicago, USA

CCA this year might as well been a lump of coal, it’s only two letters shy of selling your soul. If you want to talk to your boring Uncle Bob, (no offense Bob’s of the world) get yourself an iBasso IT00 or Tin Hifi T2 Plus you knob. Your uncle Bob is the guy who has lots of interesting things to say, but leaves you wondering what did you just listen to today. My only favorites this year were TRN STM who is the punk that your family doesn’t like to talk about and the Shozy Rouge as your killer looking date that likes to party but not shout. Waiting to see if Shozy Form 1.4 is in good form, only thing I decided to buy during the holiday sales storm. BQEYZ Spring 2 was a nice lively upgrade to the BQEYZ Spring 1, but fix that bass man, maybe take some lessons from the Nicehck NX7 Daniel son. Some of my friends from last year are still good folks to have around, Sony MH755, BLON BL03 for sleeping, and TinHifi T4 (I just wish you would hang in my ear longer than a few minutes of sound). Simgot EN700 is a carry over as well. I like a mild V if you can see.

Jürgen Kraus…Calgary, Canada

Blon BL-05s: These are very articulate playing single DDs also appeal to me through their hideous colour. Probably my most used items of the year (together with the JVCs and Shozy Form 1.4 below). Following the footsteps of the popular Blon Bl-03 – the Blon Bl-05s disappeared fast in the big black hole of anti-hype. And for a good reason: they look like the Bl-05, smell like the Bl-05, measure like the Bl-05, but the Bl-05 had been thrown on the market prematurely, and they sucked. The more distinguished audience may have realized that Bl-05 and Bl-05s have different drivers and sound completely different.

Drop JVC HA-FDX01: Hailed as arguably the best single DD on the market until Dunu Luna and Final Audio A8000 took over, this labour of love was originally only available 665 times….which has extended to above 2000 by now while the price dropped to $200. Carryover from 2019. Still my best earphones because of their organic timbre and great resolution.

TRI I3: Planar magnetic. Something totally different. Big and bold sounding yet soothing. Nothing offensive, nothing dull.

Sennheiser IE 400 PRO ($349): The best of their PRO series. Classic Sennheiser quality midrange. Super ergonomics. Nobody will dislike this one.

Shozy Form 1.4 ($199): The Shozy team somehow got their tuning 100% right. The Form 1.4 simply sound appealing to my ears…warm and fuzzy.

Guilty Pleasure: I pull the $70 FiiO FD1 out for the road: nice’n’punchy.

Vision Ears Elysium in the Endgame category. At 2500 EUR hand made by elfs and some Rhine mermaids in Cologne, out of reach for longer than a week (borrowed). Produce vocals better than real life but also melts credit cards. Cymbals as crisp as Swedish bread…

Perversions and Subversions: the Moondrop Spaceship at $20 beats the Moondrop SSR and SSP…less accurate but the better “junk food” for my ears. Moondrop have a history of undercutting their own mid-tier earphones with their budget offerings…we remember the $30 Crescent and the $180 KPE.

Inasmile Cable Protector: Discovery of the year. 20 cents that protect my fraying Apple cables from total breakage.

I still use the Koss PortaPro headphones with Yaxi earpads for video conferencing and listening when I need comfort around my ears. Also great are the Koss KSC75. Grab all of them when you can, they are affordable standard staples. And my standard full-sized cans are still the Sennheiser HD 600.

Tempotec Sonata HD Pro dac/amp dongle ($40): comes at the price of an adapter – but with all possible adapters to connect this little rascal to anything, including iPhones. Good enough to drive any iem. The very best dongles are the $199 EarMen Sparrow run on their balanced output, and the $120 Earstudio HUD100. In terms of larger portable dacs/amps (with integrated battery), I like the $199 ifi Audio Nano BL, the $149 ifi Audio hip-dac, and the $249 EarMen TR-amp. And I don’t think I need a bigger desktop amp.

Question mark of the year: The KBEAR Believe with their Japan sourced Beryllium drivers were too cheap to be true…which was underlined by some competing cheater Be-less Beryllium earphones and doubt seeded by the Dunu competitor. Hey, but the Luna have that Chi-Fi peak…

Personal Disappointment of the year: the continuing Chi-Fi peak between 2 and 4 kHz that kills western eardrums…TRN are leading the charge…the TRN BA8 cuts steel like butter.

Kazi Mahbub Mutakabbir…Munich, Germany

I’ve tried and reviewed more stuff this year than ever, and part of it (actually, most of it) is due to the awful home-arrest that we’ve all succumbed too. Hope things get normal soon, sigh.

IEMs: 

Final E500 ($20): This otherwise “cheap/beater” IEM does one thing better than *anything* under $100 – binaural tracks and gaming. At least it did so until its brethren VR3000 came out, but I’m yet to hear that and that’s got a 4x price tag attached to it. People call the Sony MH755 the best value IEMs, for me it’s the Final E500.

Dunu Studio SA6 ($550): This is a great all-rounder IEM. Great bass for an all-BA IEM, the lower-mids are full and organic whereas upper-mids tread the fine line between forwardness and shoutiness. The treble has good amount of sparkle and air. Great design and accessory pack. Really, hard to pick a fault.

Honorable mentions: Final E5000, Samsung Galaxy Buds, Moondrop Blessing 2, Sony IER-M9, Final FI-BA-SS, Dunu Luna

Headphones:

Koss PortaPro X + Yaxi Pads ($40): Just buy one. Don’t be stingy. Thank me later. 

Sennheiser HD650 ($300): The once and forever king. The HD6XX esp is a no-brainer. Scales better than any headphone I’ve tried.

Honorable Mentions: Hifiman Sundara, Focal Clear, Final D8000

DAPs:

Sony NW-A55 ($200): If your primary need is to run efficient IEMs, look no further. Great ergonomics, actually usable UI, good display, fantastic battery life, and then there’s the MrWalkman mod to turn it even more awesome. The only “budget” DAP I recommend. 

Questyle QP1R ($600): Questyle made the QP1R 6 years ago. It’s still one of the best DAPs out there when it comes to overall dynamics.

Honorable mentions: Cowon Plenue V, iBasso DX160, Sony ZX300

Desktop sources:

YULONG Canary II ($230): One of the best budget all-in-ones I’ve come across. Criminally underrated too which is a royal shame.

Questyle CMA-400i ($800): The all-in-one system I ended up with after countless trials and tribulations. Perfectly aligned to my tastes.

Honorable Mentions: iFi Zen Can, Headamp GSX-Mini

And that’s a wrap. Hopefully 2021 brings us better times.

KopiOkaya…Singapore

This year there are 8 of us, thus there are more choices for our readers to choose from.

This year also marked the year of COVID-19…. Meaning, people are staying home longer and more often, thus they can listen to their gears on desktop systems other than portable music players and phones. Fortunately, desktop gears are much better and more affordable now.

Desktop DACs:

Denafrips Ares II (US$700): I don’t own one but my friend do. If you like natural, organic sound with a huge, deep, tall soundstage and don’t mind its higher price tag, look no further… This is it! 

Topping E30 (US$130): A nice warm-neutral DAC. It doesn’t sound as natural, as organic or has a huge soundstage like the Ares II but it offers great audio at an affordable price.

Note: Extremely sensitive to the quality of power supply used. Make sure you power it with something decent like the iFi iPower X.

Desktop Amps:

Yulong Canary II (US$250): This is actually a DAC/Amp with a Class A amplification stage. It posseses a warm-neutral sound signature with lots of low-end drive thanks to the Class A topography. Very good value and performance consider this is both a DAC and an amp! 

Topping L30 (US$140): My current reference amp… If you have noticed, so far I don’t have any balanced amp in my list. When I tune earphones, I never tune them in balanced, simply because if it sounds good in single-ended, it should sound even better in balanced… Well, this is usually the case! The L30 is great (for me) because it has a gain REDUCTION switch for IEMs with high sensitivity… Not many headphone amps have such feature. This is a very neutral, clean and transparent amp that doesn’t colour the sound of the source. That’s all I ask for when tuning earphones.

Portable DAC-Amps:

FiiO BTR5 / Shanling UP4 / EarStudio ES100 MK2 / Qudelix 5K (US$120 or less): I don’t want to decide which is better. To me, each has its pros and cons but my point is… acceptable Bluetooth quality listening is finally here! Almost everybody owns a smartphone these days, so why not use it as a music player? Some of you despise this idea but c’mon… A TOTL DAP still runs slower than my $150 Android phone operating on Android 10.

Earphones:

Etymotic ER4XR (US$350): My reference for tuning hybrid earphones. If you are familiar with Etys you should know their earphones have a near-neutral Diffuse Field Target tuning. The “XR” version has slightly more bass. 

Etymotic ER2XR (US$100): Similar to the ER4XR except this uses a single dynamic instead of balanced armature, thus my reference when I tune dynamic earphones. The ER2XR has more natural timbre and punchier bass than ER4XR. You can forget about Moondrop SSR/SSP if you plan to buy one. This is better.

Note: Etymotic earphones are to be worn deep inside the ear canals touching the bone… #Etyheads call “deep insertion”. This can cause discomfort to first time Etymotic users but you will get used to it eventually… I used to hate it but I am OK with it now.

Headphones:

Singapore is too damn warm for headphones, unless using air-conditioning while listening to music… Sorry, I am too cheap for that. Electricity is expensive here.

Loomis Johnson…Chicago, USA

TRN STM–$20 wunderkind is not, as Durwood aptly states, a purist’s earphone, and it veers towards sounding over-pixilated and artificial. However, it has that certain toe-tapping rightness that keeps me reaching for it over much pricier “audiophile-tuned” pieces. Did I mention it’s $20?

KBEAR Diamond—you can spend a lot more and get a bigger stage or a richer timbre, but this smooth, highly-resolving single DD is awfully refined for the price, with class-leading coherence and premium aesthetics and build.

Cambridge Melomania TWS—they don’t have ANC, EQ customizability or the bells and whistles of their Apple/Samsung peers, and microphone is sub-standard. However, they sound damn good for wireless buds—and are surprisingly good value at <$99. 9 hour battery life a plus.

Honorable Mentions: Shozy Rouge, Shuoer Tape.

Slater…Cincinnati, USA

Slater is short for “See Ya Later”…and you will see him later…

And This Was The Previous Year:

The post Gear Of The Year – Our Personal 2020 Favourites appeared first on Audio Reviews.

Cons — Needs amplification; lacks treble extension; not the best detail resolution; stock cable and eartips don’t harmonize with the earpieces; most eartips get stuck in my ear canals.

EXECUTIVE SUMMARY

The KBEAR TRI I3 is a big and smooth sounding, never fatiguing magnetic planar earphone that impresses by its gigantic soundstage, healthy note weight, and natural vocals reproduction. Needs lots of power to shine and falls a bit short of its technical abilities.

INTRODUCTION

Much has been said about the KBEAR TRI I3 earphone. It was released in Q3 of 2019 and has survived until now – Q4 of 2020 – which is quite uncommon for a Chi-Fi product. When I was offered a review unit in November 2019, I thankfully declined, expecting the KBEAR TRI I3 being a screamer with an unnatural sound. A young company being able to properly incorporate a magnetic planar driver? Not likely!

Well, sometimes it can be just right to be wrong. After having heard good things about the KBEAR TRI I3, the company sent me a review unit upon my request. Luckily, I had not fallen out of grace. And to let you know right away, the KBEAR TRI I3 not only belongs to my top three earphones of 2020 so far, it blew me out of my shoes upon the first listening…and does so every time I plug it in.

PLANAR MAGNETIC?

The purpose of a planar magnetic driver is optimizing bass response. In the earlier days, planar magnetic headphones reached down to 20 Hz whereas dynamic drivers only to 50 Hz. This has changed now. On the other hand, a dynamic driver has more punch and slam. The dynamic drivers have a cone- or dome-shaped diaphragm, whereas planar means, yes, keep your dog on the leash, it means flat. The triple driver setup (I3!!!) is a bit odd as the rather large 8mm dynamic driver will probably reach down from the midrange quite a bit in order to support the planar sibling. The balanced armature driver takes care of the upper frequencies.

SPECIFICATIONS

Drivers: 1* 100 mm planar magnetic flat diaphragm + composite 8mm dynamic driver + balanced armature driver
Impedance: 15 Ω
Sensitivity: 103 dB/mW [needs amplification]
Frequency Range: 20 – 40,000 Hz
Cable/Connector: 2-pin 0.78 mm (an earlier version used MMCX)
Tested at: $149
Product Page/Purchase Link: KBEAR Official Store

PHYSICAL THINGS AND USABILITY

In the box are the earpieces, an occ copper cable, lots of eartips (none of which fit me) and foams (kill the sparkle for me), a velvety bag and the paperwork.

The metallic earpieces are rather large and heavy, but they fit surprisingly well and are comfortable for me. Isolation is average. Weirdly enough, most eartips popped off the nozzle instantly or decided to stay in my ear upon pulling the earphone – every single time. I finally found the Final E series eartips to stay on, provide a good seal, and access the sound properly.

Co-blogger KopiOkaya found a sonic flaw in the occ cable (“mid-bass bloat adding haze” in combination with this type of earphone…see here) so that I followed his advice and attached this <$20 NiceHCK pure silver cable right away. The KBEAR TRI I3 needs an amp to develop its full potential, it works on a phone but sounds rather dull and uninspiring.

TONALITY AND TECHNICALITIES

My tonal preference and testing practice

My test tracks explained

Equipment used: MacBook Air & EarMen TR-amp, $20 4N pure silver cable, Final E series tips.

The KBEAR TRI I3 excels by its gigantic soundstage, its wonderful midrange, and its “pleasant” sound. Another characteristic is its early treble rolloff which cuts into clarity, as well as a bass that does not have the biggest punch. So yes, when using a reasonably juicy amp, your reward is SUPERSIZE….the tallest stage there is…probably only to be found in premium models.

OK, bass slam is typically magnetic planar: not the strongest but somewhat realistic – and a bit fuzzy. Could be tighter and a bit more articulate, but it is not soft or muddy either. Extension is good. I’d say the bass is of average quality, and, with the silver cable, does not smear into the lower midrange.

Vocals are just great: full, lush, and big. Lots of note weight. One of the best vocals reproductions I have heard in an iem. And that’s where your $150 is. Now you can stop reading. Upper midrange is relatively safe leaving the vocals smooth and agreeable.

Treble rolls off early which limits sparkle, air, and resolution. There is certainly some extension missing.

Midrange transparency, clarity, and resolution are also not the greatest, possibly as there is some energy from the 3-4 kHz region missing. Timbre is (maybe not natural but) very pleasant, however separation, layering, detail resolution etc. are average.

In summary, the KBEAR TRi I3 are overachievers in some departments but average in others. Luckily, none of the misses are tragic and never compromise listening enjoyment…and the positive traits outweigh the negative ones by far.

The similarly priced but more filigree sounding KBEAR Believe with their pure Beryllium diaphragm have a wider but less deep and tall soundstage, they are generally better resolving in the midrange an treble however have less body in the vocals department. The bolde, bigger sounding KBEAR TRI I3 have a fuzzier and stronger sub-bass however not the Believe’s mid-bass boom so that the I3’s bass is leaner more soothing.

CONCLUDING REMARKS

A mid-price Chifi-Earphone that is not fatiguing and that has weighty vocals and a huge stage? Here it is. The KBEAR TRI I3 is a very good earphone with the biggest headroom I have experienced in any mid-price Chi-Fi earphone. And IT IS DIFFERENT from most of the other mid-term fare offered. OOTB it is somewhat messy and it needs some TLC to show its strength. Cable and eartips need to be replaced…and you need a neutral, dynamic amp to bring the KBEAR TRI I3 fully to life. Once this has been done, the KBEAR TRI I3 is pure pleasure and provides for long, fatigue-free, enjoyable listening sessions. Made it on my “Gear of the Year 2020” list.

Until next time…keep on listening!

Contact us!

You find an INDEX of all our earphone reviews HERE.

DISCLAIMER

The TRI I3 earphone was provided by KBEAR upon my request, and I thank them for that.

Get the KBEAR TRI I3 from the KBEAR Official Store.

Our generic standard disclaimer.

About my measurements.

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

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