Instead of first impressions, we offer completely flavour-neutral optical treatments before following up with our exhaustive reviews of the products’ performances.

Current Photography

1. BQEYZ Autumn vs. BEQYZ Summer (Jürgen Kraus)
2. Hidizs MM2 (Jürgen Kraus)
3. IKKO OH2 vs. IKKO OH1S (Jürgen Kraus)

Vintage Photography (prior to March 2022)

1. AME Custom Argent Hybrid Electrostatic (Jürgen Kraus)
2. Anew X-One (Jürgen Kraus)
3. Blon BL-05 Beta (Jürgen Kraus)
4. Blon BL-05 Beta (Jürgen Kraus)
5. Blon BL-05 MKI & MKII (Jürgen Kraus)
6. BQEYZ Spring 1 (Jürgen Kraus)
7. BQEYZ Spring 2 (Durwood)
8. CCA CA16 (Durwood)
9. Drop + JVC HA-FXD1 (Jürgen Kraus)
10. Fidue A65/A66 (Jürgen Kraus)
11. FiiO FD1 (Jürgen Kraus)
12. FiiO FHs1 (Jürgen Kraus)
13. Hill Audio Altair • RA (Jürgen Kraus)
14. iBasso IT01 V2 (Jürgen Kraus)
15. Hilidac Atom Pro (Jürgen Kraus)
16. Ikko OH1 (Jürgen Kraus)
17. KBEAR Believe (Jürgen Kraus)
18. KBEAR Diamond (Jürgen Kraus)
19. KBEAR hi7 (Jürgen Kraus)
20. KBEAR KB04 (Jürgen Kraus)
21. KBEAR Lark (Jürgen Kraus)
22. Kinboofi MK4 (Jürgen Kraus)
23. KZ ASX (Jürgen Kraus)
24. KZ ZSN Pro (Slater)
25. Moondrop Crescent (Jürgen Kraus)
26. Moondrop Illumination (Jürgen Kraus)
27. Moondrop Kanas Pro Edition (Jürgen Kraus)
28. Moondrop SSP (Jürgen Kraus)
29. Moondrop SSR (Jürgen Kraus)
30. Moondrop Starfield (Jürgen Kraus)
31. NiceHCK Blocc 5N Litz UPOCC OCC Copper Earphone Cable
32. NiceHCK Litz 4N Pure Silver Earphone Cable (Jürgen Kraus)
33. NiceHCK NX7 (Jürgen Kraus)
34. NiceHCK NX7 Pro (Jürgen Kraus)
35. Queen of Audio Pink Lady (Jürgen Kraus)
36. Revonext QT5 (Slater)
37. SeeAudio Yume (Jürgen Kraus)
38. Senfer DT6 (Slater)
39. Sennheiser IE 300
40. Sennheiser IE 500 PRO
41. Shozy Form 1.1 and Shozy Form 1.4
42. Shozy Form 1.4 (Jürgen Kraus)
43. Shozy Rouge (Jürgen Kraus)
44. Simgot EM2 (Jürgen Kraus)
45. Simgot EN700 Pro (Slater)
46. Smabat ST-10 (Jürgen Kraus)
47. Tin Hifi T2 Plus (Jürgen Kraus)
48. Tin-Hifi T4 (Jürgen Kraus)
49. TRN-STM (Jürgen Kraus)
50. TRN V90 (Jürgen Kraus
51. TRN-VX (Jürgen Kraus)
52. Whizzer Kylin HE01 (Jürgen Kraus)

The post Photography appeared first on Audio Reviews.

Easy to drive with a mobile, although amping with a modest dongle better controls the slightly tubby midbass region and gives these a bit more crispness. Somewhat tip-sensitive, with narrower silicons giving ‘em a bit more subbass depth.

My more learned colleague describes the Tforce’s tuning as  “diffuse field near neutral” (I would have called it balanced), which isn’t to say it’s flat—there’s some added emphasis in the midrange which pushes vocals forward and provides for good clarity.

Coherent, in the manner of good single DDs, with clean instrument separation; tonality is slightly warm and pretty natural, without shrillness or artifacts, while resolution is likewise good though missing some low-level detail and subtleties in drumbeats and acoustic guitar strings.

Analyzed aspect-by-aspect, it’s hard to find fault with the Yuan Li—it’s a capable, professionally-executed phone. However, my visceral reaction is that it opts for safety over excitement—compared to peers like Moondrop Starfield or the Shozy 1.1/1.4, the Yuan Li lacks a bit of high end extension and  sizzle and come off not so much as dull but as unengaging.

The Yuan Li would make a good entry drug for someone looking to enter this IEM rabbit hole—it does very little wrong and much right. However, you’d hope that subsequent releases from its maker will amp up the PRAT.

Disclaimer: Borrowed from Durwood who received them free of charge from HifiGo which sells them on their website here and also on Amazon.

Contact us!

All Our 282 Earphone and Earbud Reviews (with Links)

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

The post Tforce Audio Yuan Li Review (2) – Do No Harm appeared first on Audio Reviews.

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

Executive Summary

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

Introduction

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

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

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

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

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

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

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

Specifications

Physical Things and Usability

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

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

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

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

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

Tonality and Technicalities

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

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

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

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

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

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

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

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

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

Moondrop KATO compared

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

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

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

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

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

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

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

Concluding Remarks

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

Until next time…keep on listening!

Contact us!

Disclaimer

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

Get the KATO from SHENZHENAUDIO.

Our generic standard disclaimer.

Gallery

The post Moondrop KATO Review – New Standard appeared first on Audio Reviews.

So this the part where all blogs tell you Tforce Audio is another one of those OEM/ODM companies in China that decided they should stamp their name on their own product. Sure why not, everyone else is doing that. Smart move to actually pick a name that makes sense to western customers and not just a keyboard mashup. There seemed to be some interest brewing for the Tforce Audio Yuan Li throughout the community of earphone users.

I thank Hifigo for providing this set to a fellow who had no idea what these entailed. This wholly balanced easy going set is a cheese and wine earphone, something that is very relaxing and pleasant to listen to after a busy day.

GOOD TRAITS

• Tuning, Tonality, Timbre
• Nice assortment of eartips

NEEDS IMPROVEMENT

• Bass is over-damped and needs amplification. I would like to see it tuned a little lower and with more freedom to articulate and provide slightly more definition.
• Plastic feeling cable, it does resist kinks pretty well though

COMFORT / ISOLATION

Isolation on the Tforce Audio Yuan Li is pretty decent slightly above average. Comfort is excellent for me even with the considerable heft of the shell weight. Not a lot of fiddling is required to make them sit correctly.

PACKAGE CONTENTS

Tforce Audio Yuan Li comes in a highly decorative box having that old world feel. Collectors will love it while people like me will repurpose or recycle it. The earphone case is reptilian skin-like leather inspiring a high class feel which is what they must have been going for. It follows the trend that bigger boxes inspire a more premium product lays waiting inside. Have to love marketing mind games, I am on to you.

The Tforce Audio Yuan Li itself is a trip down memory lane with throwbacks to the Moondrop Kanas Pro period. It’s chrome and uses a DLC coated dynamic driver. The shell is rounded and smooth, no sharp edges and is well assembled.

Cabling is of the twisted variety and has a stiff plastic feel, but it doesn’t tangle as easily as some others. The slider tends to stick to the cable, but that’s ok because then it stays in place where you put it.

Tforce Audio comes supplied with two sets of eartips. They got you covered with a balanced set which means a wider bore, and the bass tips which equates to narrow bore. Then there is the one set of foamies. I personally preferred the widebore, which is pretty much always.

SOUND

Sources: LG V30+ and Sony NW-A55 (mobile)/ Liquid Spark Dac + JDS Labs Atom (stationary)

The Tforce Audio Yuan Li tuning is a diffuse field near neutral with a warming bass lift. I will classify as completely neutral, but for others neutral equals rolled off bass. This just has flat bass in quantity and quality. Bass is heavily damped, smart phone users and even stand alone daps may struggle to really extract the bass from this set. They are more appreciated with amplification.

Tforce Audio manages to keep the bass controlled maybe a little constricted, but definitely not as slow like the Moondrop Kanas Pro. Carries notes well when amped, but a little too curt when using something like a smartphone. You will have to use the volume at a higher level to bring the bass to life. Lowest of the lows will not tickle your pickle, but it’s not chopped at the end either. Overall it is lays out some warmth without stepping out of bounds. Articulation could see some improvement.

Lower mids present vocals naturally and with a dark background. Pianos as well as guitars sound realistic too without sounding one dimensional. The Tforce Audio Yuan Li come off a little forward on the vocals. There is not a single hint of “added” sibilance just smooth as can be and nicely done. This is a western tuning, with a mild rise that avoids coming off shouty.

Treble on the Tforce Audio Yuan Li also follows suit remaining controlled with no sharpness except when needed for trumpets and sax. It doesn’t contain any fake airiness but also manages to sound fluid when presenting cymbals and flutes. It’s easy to hear the notes float avoiding any kind of dullness. No detection of any weird anomalies that mess with the timbre.

My only complaint again is that maybe it is too controlled, I would like to feel the cymbal crashes a little more but this is nitpicking. Overall Tforce Audio Yuan Li manages a well balanced treble that mates up with the slight warmth in the bass.

TECHNICALITIES

Timbre is nailed by the Tforce Audio Yuan Li, and coherency is not a problem either because it is a single dynamic. Spacing is handled well and congestion is not an issue. Enhanced width with only a minor drawback in depth. Resolution is what I expect in this price range, it does out-resolve the $50ish offerings and fits nicely in the $100-150 range, with some other multiple driver units sometimes besting it.

This might just be a function of the diffuse field tuning however when comparing other sets that place extra emphasis towards 5khz. If I had to give it a letter grade on technical merits perhaps a B-.

COMPARISON: Tforce Audio Yuan Li ($119) vs. Moondrop Kanas Pro ($179 discontinued)

I would have liked to compare to the Moondrop Starfield, but I stupidly misplaced them for eternity. So, the Moondrop Kanas Pro seems like a good stand in being a DLC driver earphone like the TForce Audio Yuan Li however being discontinued and nearly double in cost. I already mentioned the slightly more controlled/damped bass, the treble is a tad brighter on the Moondrop Kanas Pro while the Tforce Audio Yuan Li takes a relaxed path on treble so that it is not overbearing. This is the difference between a diffuse field peak and a Harman plateau. It really is not a huge difference between these two, I actually forgot which one I was listening to when trying to compare. The weight, the feel and the sound are very similar.

FINAL REMARKS

For a virgin product, the Tforce Audio Yuan Li is a force to be reckoned with. Honestly this comes real close to a cheaper Moondrop Kanas Pro with tightly damped bass. If you were sad to miss out on the Moondrop Kanas Pro or the Sony MH1C seriously consider picking these up. Let’s hope these are not a one hit wonder, and Tforce Audio can crank out some other options to satisfy other tunings. Pleasant vocals with a hint of warmth and sprinkle of sparkle treble, these hit the mark. The Tforce Audio Yuan Li is on my approved list.

SPECIFICATIONS

GRAPHS

• Left vs Right
• Tforce Yuan Li vs Moondrop Kanas Pro vs Sony MH1C

Contact us!

DISCLAIMER

These were provided free of charge by HifiGo which sells them on their website here and also on Amazon. There must have been a good sale on chrome plating, because my desk is starting to look like a scene from T2 with all this chrome laying around.

Our generic standard disclaimer.

About my measurements.

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

The post Tforce Audio Yuan Li Review (1) – Harmonious Doppelgänger appeared first on Audio Reviews.

SoundPEATS H1: Especially since the recent deluge of cheap dac/amp dongles, which has breathed new life into my innumerable wired IEMs, I’ve cooled off on TWS, which just don’t sound as good. That said, I still need TWS for work, gym, etc. and while my Samsung/Beats/Klipsch sets are undeniably utilitarian, I still seek that great-sounding TWS grail. 

Enter the $80 SoundPEATS H1, which caught my eye on the basis of its ergonomic shape, 10hr. battery and Knowles BA/DD array. Build quality is so-so at best—the plastic casings have visible seams and the charging case looks perilously fragile, although pairing is instantaneous and connectivity is good.

I don’t like touch controls generally, and the SoundPEATS H1’s are counterintuitive, if functional. Long-term comfort isn’t quite as good as the Galaxy Buds or Airpods Pro-type buds—there’s some heft to the headshells—but fit is extremely stable and provides for good passive isolation (note there’s no ANC, but correspondingly less battery drain and sonic compromises). Microphone and call quality is serviceable.

Soundwise, the SoundPEATS H1are as tip-dependent as you’ll encounter. With Comply foams, the H1 present an atypically rich, warm tonality and a bass-emphasized L-shaped signature. The low end is voluminous but somewhat thumpy, with noticeable bleed into the  mids, while high end  is smooth but rolled off and lacking some detail—you miss the snap of drum heads and cymbal hits—and you can hear a bit of incoherence between the DD and BA drivers.

With the included silicons, sound changes radically to somewhat bright and balanced, with toned-down but much tighter bass and considerably more detailed and sparkly (if at times metallic-sounding) high end and  rich forward-sounding mids.

I preferred this signature, which was more coherent overall, although bassheads and techno people might find it lacking in midbass punch. In either formulation, soundstage is holographic, with good height and depth, and stereo separation and imaging are very impressive.

Purely from the standpoint of audio quality, I rate the SoundPEATS H1 a notch under the Cambridge Melomania and Sony XM3, which have a more natural, less-synthetic sounding tonality. However, I find myself more inclined to reach for the H1 over any of the aforesaid—the H1 is louder and more energetic than the rather-reserved Cambridge and fits better and (at least with silicons) presents more  high end sparkle and a more enveloping stage than the Sony.  

All that said, the SoundPEATS H1 still sound like Bluetooth–comparably priced wired sets, e.g. KBEar Diamond or Moondrop Starfield, present a more accurate, less-compressed and quieter reproduction of the source.

Given what I’ll use ‘em for, however, the SoundPEATS check a lot of boxes for me—great battery, affordable, loud, very good-fitting and gym-friendly. That sonically they  don’t transcend the “good for wireless” label isn’t really a criticism—they’re as good as you’ll find for the modest fare.

Recommended.

Specifications

Contact us!

Bluetooth

Disclaimer

I bought the SoundPEATS H1 myself.

Our generic standard disclaimer.

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

Gallery

The post SoundPEATS H1 Review – Closer To God appeared first on Audio Reviews.

I confess to being more stoked than usual to receive the latest from Blon, whose surprisingly refined, $30 BL03 has fully lived up to its massive hype and whose $42 BL05, while something of a sidegrade, also had its considerable virtues.

Enter the Blon A8 Prometheus, whose flamboyant design and $85 price tag suggest a company teeming with moxie. Its  metallic, open-holed shells (consisting of  14 irregular sides around a sealed cavity containing the single DD driver) looks like something out of the Terminator’s eye socket.

I have serious doubts if the open design actually has any sonic benefit, but it is certainly creative as hell. Packaging is minimal, and the burlap case is sorta useless, but the stock silver cable looks and feels premium.  I did find the Prometheus to be lighter and substantially more comfortable than its egg-shaped predecessors, although isolation is still sub-par and a lot of outside noise will intrude.  

At 32ohm/115db, the Blon A8 Prometheus seems like it would be pretty efficient, and it does get very loud with just a mobile. However, it improves considerably with amping, with better coherence and, in particular, more articulate reproduction of drums and percussion. The difference is so significant that I would not recommend these without an amp (I used the Cozoy Takt-C dac/amp for my observations below).

Unlike the Harman-tuned, generally polite and warm-sounding BL-03, the Blon A8 Prometheus opts for a bold, bright W-shaped  sound—forward and energetic, with added  (over)emphasis on the 5-10 kHz midrange area. Note texture is noticeably thicker than its predecessors and soundstage is wide, if somewhat low-ceilinged.  

Performers are well-separated, fairly accurately placed on stage and there’s an uncongested, airy quality to the presentation. They do have a bit of a clinical quality, in the sense that your ears get drawn to the prominent mid-frequencies rather than to a seamless whole, though overall clarity is excellent.

The Blon A8 Prometheus surprises with its bass quality—tight, well-sculpted and wholly free from bloom and bleed, with adequate but not massive  subbass throb. Mids are very forward and full—female  vox in particular sound forceful but also overamplified and  a tad shouty.  

Note 1: switching from stock silicon tips to foams does attenuate the midrange glare, but makes the bass boomy. I got the best results with Symbio W (silicone/foam) hybrid tips, which better controlled the low end. 

Note 2: these might adapt well to micropore taping or other nozzle mods; EQ would also help, though I’m generally too lazy to EQ.

Treble is crisp and very detailed but not especially smooth; some sharpness is presented on piano keys but drums have nice snap and sparkle. 

Timbral quality is the polarizing factor here. Compared to the cheaper BL-03, the Blon A8 Prometheus (seemingly by design) go for a more vivid,  amped-up tonality which works better for rock and techno and less well for acoustic fare—these sound more like an $85 hybrid than a DD.

While a palpably exciting listen, you don’t transcend the feeling you’re hearing a digital recording as opposed to a live performance Competitors at its pricepoint like the Tin T4 and Moondrop Starfield sound less digital and colored, especially at the high end, while the KBear Diamond is smoother, more cohesive and  more “live” sounding.

However, the Blon A8 Prometheus has tighter bass than the above, presents more microdetail and sounds “larger” and more expansive overall.  Moving up in price class to something like the Shozy Rouge or Simgot EN700 buys you better coherence and staging and more accurate reproduction, although rockheads may still prefer the gutsier presentation of the Prometheus.

So should you buy it? On its musical merits, it’s not audiophile-accurate but is still a lot of earphone for the money. Ultimately, though, it is as ear jewelry that Blon really scores and I would not be surprised if they sell tons of these to the fashionistas among us.  Kudos to them for designing something really different.

DISCLAIMER

These were provided to me gratis for review purposes by keephifi. I’ll pass ‘em on to the notoriously style-conscious Durwood for his opinion. 

Get the A8 from KeepHifi

Our generic standard disclaimer.

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

Contact us!

The post BLON A8 Prometheus Review (1) – Bring On the Bling, Beeyotch appeared first on Audio Reviews.

Shiny aluminum casing looks premium, and the color-changing LED (which indicates bitrate) is a neat gimmick. Its rated output power of 30mW/16ohm, 7mW/600ohm seems modest on paper, but in practice it had considerably more oomph than my unamped LG V50 (in high impedance mode) and drove my 150ohm buds adequately, although it showed better bass control on lower-impedance phones. As with most such devices, it runs a bit warm, but power draw is surprisingly low (my LG was still at 94% after an hour of use).

Unlike neutral-sounding peers like the Cozoy Takt-C, the Atom 2 imparts a definite tonal signature—a warm, formal presentation which tends to thicken notes, enhance midrange presence and take some of the edge off the high end. This works well with brighter IEMs and source material, but does have a tendency to blur some detail—cymbal hits and vocal nuances sound smoothed out and less crisp.

Overall effect is to impart richness, especially in the midrange and to widen the soundstage. A leaner phone like the NiceHCK NX7 or Tin T4 seemed to benefit from the pairing, with more overall oomph and a warmer, less clinical sound, while fuller-sounding pieces like the Moondrop Starfield or the Shozy 1.4 sounded better sans the Atom, with better detail and more instrument separation. 

The Atom’s tonality is actually  quite similar to the Tempotec Sonata, a $50  dongle much praised by Jürgen—both have a forward, beefy sound which imparts a slight warmth, although the Atom comes across as the less grainy and more refined of the two. The $109 Hidizs S9  shares the Atom’s aggressive nature, but is brighter and more detailed; the S9 also sounds more powerful and is better-suited to less efficient phones. 

Overall, the Atom 2  is something like auditory Tabasco—it enlivens dull-sounding IEMs while somewhat masking the nuances of more lively ones. It’s a quality piece, and registers as good value, though you’ll need to be careful with pairing and devotees of transparency will look elsewhere. 

Contact us!

DISCLAIMER

This unit was sent to me for review by hilidac, whose website is accessible here: https://www.hilidac.com/product-page/atom-pro

Our generic standard disclaimer.

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

The post Audirect Atom 2 Amp/DAC Review – Hot Sauce For Head-Fi Habitues appeared first on Audio Reviews.

Cons — Availability of Spinfit tips can be a bit spotty
– Some experimentation required

INTRODUCTION

Third-party eartips are one of those things that you end up with a large collection of as you fall deeper into audiophilia. The reason is quite simple: universal earphones (i.e. non-custom IEMs) require fiddling with the tips more often than not. Moreover, eartips are just about the cheapest (and often most reproducible) way of tuning an earphone. So we all end up with boxes of eartips of our own, sooner or later.

Spinfit have been making eartips for a while now, and their claim-to-fame is the name-sake “swivel” mechanism that rotates the top of the inner-stem. This in turn helps to achieve a deeper, more secure seal as the top of the tip (along with the sound-tube) literally bends to get closer to the inner-ear.

In this round-up, we shall explore how well this mechanism works across a variety of IEMs. Models to be evaluated: Spinfit CP-100, CP-100+, CP-145, CP-145 (medical-grade silicone), CP-240, CP-360, CP-500, and the CP-800. The only two in-production models that I don’t have with me are the CP-155 (I don’t have a large-nozzle IEM at the moment) and the Airpod-specific CP-1025 (I don’t have an Airpod). With that out of the way, let’s head right in.

Note: The Spinfit CP-100 and the CP-500 are units I purchased myself. Rest were sent in by Spinfits themselves for evaluation. A huge shout-out to them. You can check out there entire catalogue of eartips here.

GENERAL BUILD QUALITY

All of the Spinfit eartips share some similarities in terms of build. They have a colored stem and the outer material is medical/food grade silicone. Each tips also has a depression/joint around the top of the internal sound bore. This joint allows the top of the tip to swivel 360 degrees around inside the ear-canal and (ideally) move past the bends in the ear-canal.

In all cases the internal stem is made of a stiffer material than the eartips themselves, though the stiffness varies depending on model. Now, let’s get into the details of individual models. For a more thorough look into the various dimensions of the tips themselves, please check out co-blogger Jürgen’s take on the Spinfit eartips.

SINGLE-FLANGE SPINFIT EARTIPS

CP-100/CP-100+

The Spinfit CP-100 is probably the most popular Spinfit eartips around. They are also the most widely available one. The original CP-100 model had a fairly stiff, color-coded stem (with color changing upon size) and the outer material was also fairly stiff. This model suited a number of IEMs especially those with a shallow nozzle (e.g. Dunu Luna, pictured below). The CP-100 was pretty much a utilitarian eartip, as in it would suit most models without affecting the FR too much or causing discomfort. I personally found the surface of the tip to be somewhat itchy after long-term use, and the stiffer outer layer didn’t have the best grip with the inner-ear wall.

Thus, we enter the Spinfit CP-100+. The new variant (which shall be released on Amazon soon) addresses my key complaint with the original CP-100: the stiffness and feel of the silicone. The new material is more supple and grips better. Most of all: the itchiness after long sessions is gone completely. In terms of ergonomics, this renders the CP-100 irrelevant.

Some suggested pairings for these tips: Moondrop Aria, Moondrop Starfield, Dunu Luna, Meze 12 Classics V2, Shozy Form 1.1, BLON BL-03/BL-05S

CP-145/CP-145 (refresh)

These are currently my favorite Spinfit tips. They are the most comfortable in Spinfit’s lineup along with the CP-100+ and pairs well with most IEMs with the given nozzle size (~4.5mm). Usually the bass seem to get tighter with these tips on and in some IEMs I’ve also experienced a perceived expansion of soundstage. The older CP-145 has a more supple, grippier texture on the outside whereas the new, medical-grade silicone version has a more coarse texture and has slightly worse seal. The choice between older and the newer CP-145 isn’t as straightforward as they both perform very similarly and are equally comfortable. Whichever you get, however, you shall find them stellar.

Some suggested pairings for these tips: Moondrop Blessing2/Aria/Starfield, 64Audio U12t, Final A8000, Dunu Luna, Reecho Insects Awaken

CP-360

The Spinfit CP-360 are specialist eartips meant to be used with TWS earphones. If you’re having trouble getting a fit with the stock tips that came with your earbud, give these a shot. The flange material is soft silicone and it’s very comfortable to wear due to the nozzle material not being too stiff. Isolation is also top-notch. Generally a good tip to have in your collection if you are into TWS earphones.

Some suggested pairings for these tips: Samsung Galaxy Buds/Buds Plus/Buds Pro, FIIL T1XS, Lypertek Tevi

CP-500

The most interesting offering in Spinfit’s entire lineup has to be the CP-500. It has a larger bore diameter (~5.5mm) and is meant for large nozzle IEMs that require a wide bore to work best. However, I have found them to work on slightly smaller bore IEMs too. I purchased the CP-500 initially to use with the Final E5000 (as stock E-type black tips have too much mid-bass). The CP-500 was the only tip available at that time for final’s E-series IEMs thus I pulled the trigger. Ironically, I ended up using the CP-500 on IEMs other than the Final E-type, most notably Dunu Zen and the IMR R1 Zenith. The CP-500 with Dunu Zen, specifically, have an incredible pairing that elevates the (already great) Zen to new heights. The difference between the Zen + CP-500 and other tips were far too noticeable.

That preamble aside, the CP-500 has a soft flange along with a similarly soft bore. The flange also has a somewhat oily texture to it, resulting in a fit that’s not the most secure and requires a bit of a deeper insertion. It’s a very comfortable eartip but isolation is worse than the CP-100/145/360. This is an eartip I’d recommend if you’re someone who’s into “tip-rolling” (as in, experimenting with various eartips). The CP-500 provides interesting results with many IEMs.

Some suggested pairings for these tips: Final E4000/E5000/E1000, Dunu Zen (best pairing for me), JVC FX-700, JVC FW-10000

CP-800

The Spinfit CP-800 is a specialized eartip meant for using exclusively with narrow-bore IEMs like the Shure, Etymotic ones. In case of Etymotic ER2XR this provides an interesting alternative to the stock triple/double-flange tips. The CP-800 has about the same bass and midrange rendition so those who find the stock triple/dual flange tips on Etymotics intrusive might find the CP-800 far more comfortable. I would recommend going for a smaller size than what you usually use with these tips (so if you usually need M, go for S). A size smaller will help with deeper fit. Sadly on the ER2XR at least, the CP-800 makes the treble roll-off earlier than the dual/triple flange tips. If you need more treble sparkle, the CP-800 might let you down on those IEMs. Shure IEMs like SE-215 worked just as well as the Shure Olive tips, however, with slightly improved fit.

Some suggested pairings for these tips: Etymotic ER2XR/ER4XR, Shure SE215/SE846.

DOUBLE-FLANGE SPINFIT EARTIPS

CP-240

The Spinfit CP-240 is their only dual-flange offering. Usually dual-flange tips offer a deeper seal along with improved isolation. The CP-240, however, is a strange case. Due to the larger gap between the swiveling part on top and the second flange below, the seal breaks inside the ear canal and may lead to a loss of isolation. Moreover, the bass response lightens up a lot as a result. This might help if you want to tone the bass down on some IEMs but for me this particular tip didn’t really have a permanent place on any of the IEMs I’ve tried them on. The CP-240 also comes with adapters that you can slot inside the bore to reduce bore size and use narrow-bore IEMs like Etymotic/Westone/Shure.

Some suggested pairings for these tips: Westone, Shure, Etymotic IEMs with adapter, Meze 12 Classics V2 without adapter.

CONCLUDING REMARKS

Writing about eartips can be confusing since it’s such a personal thing after all. This article is not meant to be taken as an absolute guide, rather a primer into what you might expect from the several Spinfit offerings. In the end, I can only speak from my personal experience along with the feedback I’ve gathered over time from other experienced users.

The Spinfit offerings are a must-have if you’re into collecting IEMs and love to experiment with several eartips. If I had to choose one SpinFit eartip among the 8 reviewed here, I would pick the CP-100+. It’s going to be widely available soon, it improves upon the original CP-100, and most of all it pairs well with most of the IEMs out there barring those with thin nozzles. Similarly, the CP-145 is a great choice and improves the comfort and sonic performance of many IEMs I’ve tried them on.

Among the rest, the CP-360 should be in your stable if you’re into TWS earphones, they are one of the few TWS-specific eartip after all. The CP-500 is a specialist eartip that can be unpredictable, and being the widest-bore tip in Spinfit’s lineup offers something unique. Finally, the CP-240 is something I couldn’t find a use for and the CP-800 didn’t perform as well as the tips it’s supposed to replace (for me). So these two don’t excite me as much.

Thus, I’ve covered most of Spinfit’s mainstream offerings. In the future I plan to make an entire post/thread where the eartips of all major manufacturers (along with a few obscure) ones will be covered. Let’s see how that one goes.

MY VERDICT

CP-100+/CP-145: Highly Recommended
CP-360/CP-500: Recommended

Contact us!

DISCLAIMER

SpinFit Eartips can be found on Amazon.

Our generic standard disclaimer.

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

The post Spinfit Eartips Roundup: A Comprehensive Comparison Between 8 Variants appeared first on Audio Reviews.

Cons — Stock cable forms kinks, gets tangled in pocket
– Somewhat soft transients
– Treble lacks sparkle, rolls-off early
– Soundstage depth/imaging is average
– Lower-mids can sound a bit recessed

INTRODUCTION

Moondrop needs no introduction nowadays after being one of the most consistent manufacturers out there in terms of releases and their adherence to hitting “target curves”, or a specific frequency-response in other words.

The Moondrop Aria 2 (2021) is their latest release that, on paper, succeeds their age-old model, the Aria (which had a shell similar to their now discontinued Crescent). Confusing naming schemes aside, the Aria refresh is nothing like the old model with a very different shell design along with a detachable cable (whereas the previous model had a fixed cable). Moreover, it seems to compete directly with their own Starfield and might even retire the old model given its lower price tag.

Let’s see if the new Aria 2 is a worthy refresh, and if it can carve itself a spot in the ultra-competitive budget segment.

Note: the ratings given will be subjective to the price tier. Nappoler Hu from HiFiGo was kind enough to send me the Moondrop Aria 2 for evaluation.

Sources used: Questyle CMA-400i, Sony NW-A55 (MrWalkman modded), LG G7
Price, while reviewed: $80. Can be bought from HiFiGo.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The packaging, in usual Moondrop fashion, has an anime box-art. Other than that the accessories are mostly standard: a cloth-braided cable, 6 pairs of eartips, a small carry case, a pair of tweezers to replace the nozzle filters, and some spare nozzle filters. While the tips and case works fine, I’m a bit annoyed with the stock cable. Now, it’s an upgrade over Starfield’s noodle-like cable but the ergonomics are poor and it gets tangled very easily. The sheathing is also stiff and forms kinks very easily. I’d recommend an upgrade cable if budget permits.
4/5

BUILD QUALITY

The build quality is excellent with an aluminium alloy housing. The matte black paintjob has a soft-touch finish and the rose-gold pattern on top adds a bit of character to the shells. There are two vents on the inner-side to alleviate pressure. The 2-pin ports are recessed which is great for long-term durability. Finally, the nozzle doesn’t have any lips to secure the tips but it does grip the tips better this time around (unlike the Starfield nozzles where tips would slip out). The paintjob also seems more durable than the Starfield one (which chipped off easily) but time will tell. So far so good.
5/5

COMFORT AND ISOLATION

Due to its snug-fit and lightweight nature, the Aria has very good wearing comfort. Isolation is above-average too and with the right tips you can drown out quite a bit of outside noise.
4.5/5

SOURCE AND EARTIPS

For the purpose of this review, I primarily used the Questyle CMA-400i and LG G7 as sources. The Aria 2 runs well on most sources, though with better sources it does seem to scale. I’ve found it to pair the best with Questyle CMA-400i but then again it’s a desk setup and costs quite a bit. On a budget, the LG G7 worked just fine, with the Sony NW-A55 providing a very dynamic and engaging presentation.

The stock tips are fine but I opted for Spinfit CP-145 as it seemed to slightly widen the stage without sacrificing on the tonality/technicalities.

DRIVER SETUP

Aria 2 opts for a 10mm LCP (Liquid-Crystal Polymer) along with an N52 magnet system. The voice coil is just 35 micron thick and there’s also a brass cavity on the back to reduce resonance. Finally, the high frequency waveguide disperses high-frequency waves to reduce resonance peaks. LCP diaphragms have been used in legendary single-DDs like the Sony EX-1000, though in that case the diaphragm size was much larger (16mm) and the diaphragm stiffness also reportedly higher. However, given the price constraint at play here (1/6th of the EX-1000ST) it’s great to see LCP diaphragm here instead of the more mainstream CNT, Ti/Be-plated PET, or DLC diaphragms (though the latter costs more usually).

One interesting tidbit: Moondrop recommends 100hrs of burning to ensure that the drivers are in “optimal” condition. They even provide some burn-in instructions in the user-manual (comes in the box). I usually don’t bother with IEM user-guides but this one time I’m glad I read it. Whether or not you’re a believer in burn-in, it’s interesting to see that Moondrop is recommending this as they’re usually very focused on measurements and such (burn-in usually doesn’t show up in FR graphs). I decided to follow the guidelines and burned-in for ~60 hours or so before forming my impressions. It doesn’t hurt after all.

TONALITY AND TECHNICALITIES

The Aria 2 has a warm, upper-mid centric presentation that has some similarities with the Harman In-ear target curve. Fortunately, the upper-mids aren’t as pronounced as the Harman IE target and the mid-bass has more body, resulting in a more even and natural transition from sub-bass to upper-bass and lower-mids subsequently.

The standout feature on this one has to be the bass response which, IMO, is one of the best under $100. The bass reaches all the way down to 20Hz and provides excellent rumble. Best of all: it doesn’t slope right away as it moves into the mid-bass unlike some recent IEM releases that gives rise to what I call “2.1 subwoofer effect” (you feel that the sub-bass is detached from the rest of the frequency). As a result, the bass frequencies are all well-portrayed and the sub-bass focus sounds tastefully done. Snare hits are authoritative, double-pedals have a full-bodied nature to them, and most of all male vocals don’t sound thinned-out. Bass texture is great, and bass speed is above-average.

As we move into the lower-mids, it does some warmth from the mid-bass bump but this is where I encounter my first issue with the Aria 2. The male vocals sound somewhat distant, although they’re perfectly intelligible. The finer articulations (vocalists inhaling/exhaling, subtle shifts in the delivery) are not as well portrayed as a result. Female vocals are much better portrayed however though again the lower-ranges suffer from recession. On the plus side, these are excellent when it comes to rendering acoustic guitars. The leading edge of guitars sound crisp while having a certain heft to them. Distortion guitars are not as well portrayed however due to less energy around the 4KHz region, but this also helps in reducing listening fatigue so there’s that.

Finally, the treble, and there’s not much to say here. It’s inoffensive without being boring. The treble rolls off fast post 11KHz and doesn’t really offer a lot of sparkle or air. Cymbal hits sound somewhat muted and the resonance after the hit is absent. There’s a slight peak ~10KHz in the official graph which seems more like driver resonance and didn’t really bother me during listening sessions. I should also add a note about the timbre which is very natural here and doesn’t suffer from the artificiality of the typical BA drivers (and even some metal-coated PET diaphragms).

Dynamics are quite good, especially macrodynamics are class-leading. Micro-dynamic shifts (gradual changes in volumes) are portrayed fairly well though some of the competition does that better. Staging is good overall in terms of width/height, though stage depth is lacking vs the higher-tier IEMs. Imaging is not as precise as I find on competing IEMs so I’d say it’s about average for the price bracket. Separation is good, however, owing to faster transients of the LCP diaphragm, though I do find the leading edge of notes to be somewhat soft which robs some instruments off of their excitement/engagement factor. The better transients also aids in complex tracks though the treble does seem to get drowned out in that case.

Overall, I find the Aria 2 to have a very versatile sound profile that works well across a variety of genres. The presentation is dynamic with a very natural timbre and excellent rendition of acoustic guitars/percussion instruments. Due to the wide stage, instruments aren’t congested and separation is very good as well. However, the male vocals might sound recessed, the imaging isn’t as precise as I hoped it to be, and stage depth/treble extension is lacking. Given its budget nature though, I’m willing to forgive a lot of that.

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

SELECT COMPARISONS

vs Moondrop Starfield ($109): The Starfield received mostly rave reviews upon launch, though I myself found it very average on all fronts apart from the mid-range (vocals, to be specific). It was kind of a one-trick pony and I didn’t find the trick to be entertaining enough to warrant a super-positive review. I’d not discuss differences in build/accessories here as they are mostly similar (though Aria 2 cable is better).

The Aria 2 fixes most of my issues with the Starfield. The bass is much tighter with faster transients, acoustic guitars and percussion instruments don’t sound as “mushy” anymore, and the treble actually has some life in them. The stage is also wider and taller on the Aria 2, though stage-depth is similar on both (as in average). They measure similarly on FR but during listening the difference these technical upgrades are very noticeable. The one area where the Starfield trounces the Aria 2 is the vocal performance with Starfield having a more up-front/engaging vocal delivery. That’s about it though, and I’d pick the Aria 2 over the (more expensive) Starfield 11 out of 10 times.

vs Final E3000 ($50): The Final E3000 has long been one of my favorites under $100 and the Aria 2 has challenged it well for that throne. In terms of build quality, Aria 2 gets brownie points for having a detachable cable (though the supplied cable is far worse than E3000 stock cable). Both are very comfortable IEMs and offer good isolation.

The sound profile is quite different between them. The E3000 is a laid-back sounding IEM with warm, thick notes and an uncanny ability to separate the vocals from the rest of the instruments. In fact the biggest difference between the E3000 and the Aria 2 is how the former projects a wide, deep soundstage. Vocals are also more lush on the E3000, though they are even more recessed than the Aria 2. In terms of bass response, the Aria 2 is more sub-bass focused whereas the Final E3000 has mid-bass focus. Thus, the snare-hits/double-pedals sound even more substantial on the E3000 whereas Aria 2 can reproduce bass rumble better. Treble is about similar on both though the E3000 has slightly better sparkle and energy in the leading edge of cymbal hits. Imaging is also better on the E3000, though it falls behind the Aria 2 in complex tracks due to slower driver. Finally, microdynamics are superior on the E3000 with the Aria 2 having better macrodynamics.

One thing to note is the amping requirements which is higher on the E3000. Aria 2 is far easier to drive. All this makes the Aria 2 an easier pick for those who want more balance across the spectrum and don’t want to invest in a source. If you have a good source, however, the Final E3000 is still a very unique offering and will be right up your alley if you want a non-fatiguing, laid-back yet impressively wide presentation.

vs BLON BL-05S ($40): This is a comparison that many requested due to the BL-05S punching way above its price-tag in terms of technicalities. Let’s get into it, then.

In terms of build, the Aria 2 wins simply because of a more agreeable color, though I’m lately finding the BL-05S less of a turn-off. The stock accessories are also super-terrible on the BLONs so Moondrop gets an easy win here. Comfort/isolation is also better on the Aria 2.

Now, let’s get into the sound. The BL-05S has more focus on clarity with a more prominent upper-mids presence. The bass suffers on the BL-05S as a result with the Aria 2 having a superior bass response. In fact, the improvement in bass alone warrants an upgrade to the Aria 2 if you’re using BL-05S and need more “thump” in the lows. In the mids, I find the BL-05S to be better for female vocals and electric guitars. Treble also has more sparkle on the BL-05S though cymbals can sound a bit splashy at times on the BL-05S (which the Aria 2 avoids). Timbre is better on the Aria 2, so is soundstage width and height and the overall dynamics. Stage depth and imaging, however, is better on the BL-05S, so is the separation (surprisingly so).

It’s quite ironic that the BL-05S, despite being half as costly, is besting the Aria 2 in a few technical aspects (mainly imaging and separation). However, I find the Aria 2 an easier listen with far superior comfort/isolation and of course: bass. I can also see many getting both these IEMs to cover all bases (Aria 2 when you need a more smooth listen, BL-05S for the metal/rock sessions).

CONCLUDING REMARKS

The Moondrop Aria 2 is a wholesale upgrade over the Moondrop Starfield, despite the apparent similarity in the FR graph. I was very disappointed with the Starfield so the Aria comes as a form of redemption for the budget Moondrop offerings, among which I’ve only like the Crescent so far (and they don’t even make them anymore).

For me, the Aria 2 is now a default recommendation in the $100 range and renders many of its peers/predecessors irrelevant, if not unremarkable. It doesn’t excel in many technical aspects but as an all-round package it is very hard to beat. The stock accessories are good enough to get you going, the bass response is fantastic, the mids sound just right (albeit the lower-mids recession can sound a bit odd), and the treble is inoffensive for the most part aiding in long-term listening. Add to that good dynamics, separation, and stage width, and we’ve a new winner.

Well done, Moondrop, and I hope you guys keep it up.

MY VERDICT

4.25/5

A worthy upgrade to the Moondrop Starfield, and one of the best IEMs under $100.

Contact us!

DISCLAIMER

Get it from HiFiGo

Our generic standard disclaimer.

PHOTOGRAPHY

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

The post Moondrop Aria 2 Review (2) – The Big “Little” Upgrade appeared first on Audio Reviews.

Cons — Audirect Beam 2SE gets warm during operation
– Could do with a volume button
– Amp isn’t as powerful as other options in the price bracket
– Power consumption is above average

INTRODUCTION

The disappearance of the 3.5mm jack from the mobile phones was rapidly followed by the emergence of “DAC/Amp dongles”, and the Audirect Beam 2SE is yet another contender for the DAC/Amp of your choice award under the $100 price bracket.

My first encounter with Audirect was their original HiliDAC Beam which sounded great but was a bit large in size. I missed out on trying the original Beam 2, but fortunately could try out this Beam 2SE which is a slightly cut-down version of the HiliDAC 2S and comes with a single-ended output only. It’s not a bad thing though since in this price-range I don’t see too many dual-mono DAC configurations (thus the balanced out will mostly be not as good as fully balanced setups). There are some who does offer a balanced out but they also have poor single-ended output so buyers are forced to get aftermarket balanced cable.

The competition is stiff, so let’s see how far can the Audirect Beam 2SE stand out from the crowd.

Note: the ratings given will be subjective to the price tier. Nappoler Hu of HiFiGo was kind enough to send me the Audirect Beam 2SE for evaluation.

Earphones/Headphones used: Dunu studio SA6/Dunu Zen, Final E3000, Moondrop Starfield, Koss Porta Pro X, Sennheiser HD650
Price, while reviewed: $90. Can be bought from HiFiGo.

PACKAGING AND ACCESSORIES

The accessories are exactly what one would expect at this price-point: a lightning to USB-C cable, a USB-C to USB-C cable, and a type-C to type-A adapter (for connecting to the PC). The cables are of good quality and seems robust enough to last a while. No complaints.
4.5/5

BUILD QUALITY

Audirect Beam 2SE has a solid build. The side-rails seems to be an aluminium alloy and has a chrome-like finish to it. Two sheets of tempered glass is sandwiched between the rails. Underneath the top glass sheet there is an LED below the Audirect logo that glows in different colors based on audio format/bitrate, e.g. it glows magenta when playing MQA files on Tidal. On the left hand side of the device there is a solitary button which acts as a gain switch (low/medium/high gain) and the LED above the buttons glows in green (low), orange (med), or red (high) depending on gain level. Personally I’d have preferred a volume rocker too which seems to be an oversight.

On the bottom of the device there is the type-C port and that’s about it. Solid, minimalist design that checks most of the boxes (barring volume control).
4.5/5

ERGONOMICS AND PORTABILITY

The Audirect Beam 2SE is very compact and thus it’s easy to carry around while attached to the phone. The weight is higher than the likes of Apple dongle but it’s not a big deal IMO. The big issue with the Beam 2SE, unfortunately, is how hot it gets during operation. It’s not that it’ll leave blisters on your palm but the heat will surely be very uncomfortable in hot summer days. On the flipside, you can use the Beam 2SE as a hand-warmer during winter so perhaps it’s not all bad.
4/5

TECHNICAL SPECS AND COMPATIBILITY

Let’s get the official specs outta the way first:

DAC chip: ES9281C PRO with HyperStream II Quad DAC Technology.
Clock: Two ultra-low femtosecond phase crystal oscillators.
MQA level: Decoding.
PCM Decoding: 32Bit/384kHz.
DSD Decoding: DSD128.
Output Impedance: <1Ω.
Output Power: ≥115mW(16Ω), ≥120mW(32Ω), ≥6.8mW(600Ω).
Frequency response: 20Hz -40kHz (-0.18dB)
THD+N: 0.0003%.
Dynamic Range: 118dB.
SNR: 118dB.

Regarding DAC chip implementation, Audirect seems to have opted for the built-in amp circuit instead of any custom op-amp solution. The Sabre DAC is also an 8-channel one where the output of each 4 channels are combined to reduce noise (thus the Quad-DAC moniker). Suffices to say that these are not exactly “true” quad-DAC, as in there aren’t 4 actual ES9218 Pro chipsets inside. However, the performance gains are measurable indeed and can be seen in the very good SNR and THD+N values (for a product of its class).

In terms of device compatibility, the Audirect Beam 2SE is excellent. It was practically plug and play with every device I’ve tried it on. On the iPhone SE it was recognized right away and could render MQA files right out of the Tidal app (the front LED glows purple). On Android it’s a bit more involved as you’d require something like USB Audio Player Pro (paid app) or Hiby Music (free app) to get bitperfect playback and unlock full volume of the device. On Windows it was again very simple and I could select the Audirect beam 2SE from within the desktop Tidal client and it was rendering MQA files without a fuss. Same applied to Linux (my distro: Pop! OS) though I didn’t try Tidal playback on it (Tidal support on Linux is spotty to say the least).

DAC/AMP PERFORMANCE

Audirect Beam 2SE goes for a fairly analytical presentation. It’s not overly sterile but there is definitely a lack of warmth in the bass and mids. This is not unlike most other ES9218 implementations though Audirect Beam 2SE sounds less sterile than, say, something like the Shanling Q1 or the LG G7. The treble has a hard leading edge which results in somewhat metallic presentation, and I am personally not a fan of this aspect of the Beam 2SE. However, this can be said for nearly every single dongle under $100 barring the Apple dongle (which has its own set of issues) that I’ve tried thus far, so I won’t hold the Beam 2SE too culpable.

In terms of staging/imaging, you don’t get the depth or instrument placement that some higher tier DACs are capable of. For the price range though the staging is a bit wider than average, though depth is just about what you’d expect. Instrument separation wasn’t that impressive either and I suspect dongles with balanced out and dual DACs (in dual-mono config) will do a better job in terms of separation (simply because of size constraints).

What did surprise me (and positively so) was the dynamism on offer. Audirect Beam 2SE has a fairly dynamic presentation for a dongle in its price-class and this is an area where it’s clearly better than many of its peers.

The amp section is above average. It drove nearly all of my IEMs rather well barring Final E5000. The Final E3000, Moondrop Starfield and such warm-sounding IEMs paired really well with the Audirect Beam 2SE. Unfortunately I can’t say the same when it comes to more “neutral” IEMs. Thus, both the Etymotic ER2XR and Final FI-BA-SS sounded more sterile than usual. in terms of high impedance loads, I won’t recommend using anything above 150ohms. E.g. the Sennheiser HD650 sounded poor out of the Beam 2SE with a noticeable lack of bass depth and very lacklustre treble extension. For such headphones and power-hungry planars I’d always recommend a desk setup.

A little note about hiss: the Beam 2SE didn’t hiss with the two sensitive IEMs I’ve got in collection: Final Fi-BA-SS and Dunu Zen when powered from the phones. However when connected to my desktop PC there was some electrical hum which I believe was due to some ground loop between my PC and the Beam 2SE. On my laptop there was less hiss but the playback wasn’t as noise-free as it was on the phones.

In the end, the Audirect Beam 2SE is fairly competitive in terms of sound, and the MQA rendering feature might sway potential buyers. However, I can’t call it outstanding in terms of sonic performance.
4/5

POWER CONSUMPTION

The Audirect Beam 2SE isn’t a frugal device in terms of power consumption. It drains noticeably more power than the Apple dongle esp at high gain. Thus for on-the-go usage I’d recommend not going over medium gain. Unfortunately I can’t provide exact mW figures due to not having a measuring device at hand, but I will get such a device for future tests.
3.5/5

SELECT COMPARISONS

vs Apple dongle ($10): The Apple dongle is the de-facto standard of dongle DAC/Amps, for me at least. It’s cheap, it measures well, and the sound signature is fairly balanced. The big difference between the Apple dongle and the Beam 2SE is the output power with the Beam 2SE being able to get harder to drive IEMs and headphones noticeably louder. Also there is no MQA certification or gain switching on the Apple dongle. It does have a less “glary” sound signature and also is quite forgiving of hiss and such. Moreover, it’s very power-efficient so your phone won’t be as juiced out. In terms of bang-for-buck, it’s hard to beat the Apple dongle, but the build quality is horrible and Beam 2SE will outlast it by a long shot.

vs LG G7 ($250): This is my everyday phone and also kinda portable player. The LG phone has an older gen ESS DAC chip inside but also comes with MQA certification. However, LG doesn’t allow you to switch gain so you’re left with sub-par output levels on <50 ohm impedance loads. In terms of sound, the LG G7 has a more sterile sound. The dynamics are also better on the Beam 2SE, so is stage depth (LG G7 and their other offerings have a very two-dimensional presentation). I could find some merit in buying the Beam 2SE despite having an LG “audiophile” phone if you need a presentation with deeper staging and better dynamics/punch. However, there are some features missing on the dongle that the LG phones provide, namely reconstruction filter selection, some DSP effects, and a half-decent EQ.

vs Audioquest Dragonfly Black ($99): The Dragonfly Black is a product that I’m not a very big fan of. I find it to have middling output power and the presentation has a “fuzziness” to it, as in, the notes sound overly rounded. I think this can be helpful to tame some bright IEMs but often the resolved detail just feel lacking. The staging isn’t also anything to write home about. I think the Beam 2SE is a superior product overall, be it build quality, connectivity, output power, or overall sonic improvement.

vs E1DA PowerDAC V2 ($60): The E1DA PowerDAC V2, despite the mouthful name, is a very capable device. It has gobs of output power (0.5W into 32ohms), has an excellent companion app, and provides a balanced output. However, it gets extremely hot during operation and isn’t really suitable for connecting to a phone. I put this comparison here though in case someone is willing to use the Beam 2SE as a laptop DAC/Amp, and in that case the PowerDAC V2 provides a more powerful, albeit less versatile alternative.

CONCLUSION

The Audirect Beam 2SE provides a solid, if uninspiring performance, and that’s it in a nutshell. It will be an improvement over your phone’s DAC chip in terms of power output and stage depth/dynamics, and it will be competitive among the other options in its own price class. In terms of absolute sound quality it’s not gonna beat the budget desk systems out there. However, given the portability of the device, MQA rendering ability (for those who value it), and above-average output power from the single-ended out I can definitely see it as a viable option in the <$100 price bracket.

4/5

Contact us!

DISCLAIMER

The Beam 2SE was provided by HiFiGo for my review. Thank you very much.

Get the Audirect Beam 2SE from HiFiGo

Our generic standard disclaimer.

PHOTOGRAPHY

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

The post Hilidac Audirect Beam 2SE Review – New Contender appeared first on Audio Reviews.

Cons — BA timbre; deserves more depth; big earpieces.

Executive Summary

The Moondrop x crinacle Blessing2:Dusk is a well-tuned, well-resolving earphone that is probably leading in its class.

Introduction

Well here we are again, in Chengdu, city of my fond memories, where Moondrop has risen high above “Chi-Fi” average. Chengdu is the capital of China’s mighty Sichuan province, known for its spicy however tasty foods – and for its panda bears….well, among others.

Moondrop have always pulled something special out of their hat, and much of it sounded a bit spicy, too. But despite the fact, that some of their models exceeded my personal hotness preference, I have always treasured them as something out of the ordinary. Many of my reviewed earphones I gave away, but not a single Moondrop.

I most recently analyzed the Moondrop Illumination, an $800 single dynamic-driver earphone, that could have made higher waves in the west with a bit less spice. And the original Blessing 2 were probably a similar case. So Moondrop brought Singaporian (gr)aficionado Corin Ako alias Crinacle on board to file a few corners off the Blessing 2. And, to take it away, he fully delivered on that purpose. But the attentive reader should also be aware that the iem was not designed by the tuner – who does not take any responsibilities for Moondrop’s “sins”.

Specifications

Drivers: 1DD (10 mm) +4BA (Treble unit: Knowles SWFK, Midrange unit: Softears D-MID-A)
Impedance: 22 Ω
Sensitivity: 117 dB/mW
Frequency Range: 20 – 20,000 Hz
Cable/Connector: 2-pin
Tested at: $330
Product page:
Purchase Link: SHENZENAUDIO

Physical Things And Usability

Tonality And Technicalities

Equipment used: MacBook Air, iPhone SE (1st gen.), iPod Classic; Audioquest Dragonfly Cobalt.

The Moondrop X crinacle Blessing2:Dusk is a well-tuned non-fatiguing (!!!), neutral sounding earphone that is driven easily with virtually anything. It comes with a classic BA timbre but is probably technically superior over most earphones in its price category. It features a well textured, subtle bass with natural dynamics on top of a well-extended bottom end. I find the low-end superb in its dryness and lack of mid bass bloat. But the dose is moderate and it may not be for bass lovers. There is a tinge of warmth that elevates it above sterile. Let’s call the low end pragmatic.

Want to see a FR graph? Try the original: https://crinacle.com/2020/12/06/behind-the-scenes-moondrop-x-crinacle-blessing2dusk/ The nozzles are quite thick so that I could not get my standard eartips for measurements over them.

The transition to the midrange is not the smoothest which is a design artifact. Vocals are in the Moondrop tradition of being neutral, lean, and atmospheric, supporting a clear and transparent midrange. The fact that the upper midrange is dialled back (Crinacle’s handwriting) compared to other Moondrop models adds a bit more body and volume to the vocals, however they could still be a bit richer for my taste. But, most importantly, Crinacle prevented the looming icepick.

Treble, in typical Moondrop style, rolls off early, but the extension is just fine. And, typically BA, it sounds a bit “technical”…which justifies the early rolloff.

Bringing this together: Holistically, the Blessing2:Dusk has that crystal clear glassy midrange sound that is nicely transparent but not realistic. This is an issue inherent to this type of earphone/driver…it is part of the design.

Staging is very good horizontally and vertically, but could be deeper. Then again, Blessing2:Dusk shines in terms of definition and separation. A very articulate presentation….and that’s where its money’s in.

I find that the Blessing 2:Dusk handle synthetically produced sounds as in techno and industrial particularly well, but are less suited for rock, jazz, and orchestral.

In comparison to the Blessing 2:Dusk, the more expensive single dynamic-driver Moondrop Illumination sound much more organic, albeit a bit too bright for my gusto – and they are technically less capable. In the $300-$350 segment, the single DD Sennheiser IE300 and IE400 PRO don’t offer the Blessing 2: Dusk’s clarity and separation, but a more organic, coherent, less distorting sound in much smaller shells.

The Tuning?

Just as we want it. It would have been informative to have had the original Blessing 2 to compare to. But from my experience with Moondrop’s in-house tuning, it is kind of obvious what Crinacle did: first he made sure that the mid-bass was not bloated and second he toned down the upper midrange to avoid shoutiness, that is hardness and aggression in the middle frequencies. I am actually surprised that he did not boost the mid bass more, as I know from the JVC HA-FDX1 tuning filter discussion that he likes more bass than I do. Well done, Crinacle.

“You can always tune an earphone, but you can’t tuna fish – Unknown

—

---

Moondrop have been somewhat notorious for their shoutiness so that I had already proposed an upper-midrange-muffling reversible tape mod for the Moondrop Starfield and the Moondrop SSR [links bring you to the respective modding sections]. Thanks to Crinacle’s tuning, this is not necessary for this model. I suggest a similar sonic modification for the Moondrop Illumination. But, hey, as it looks, Moondrop have considered these suggestions in their recent Aria model.

Discussion: How Important Is Timbre?

Timbre (“measure of the naturalness of sound”) is strangely enough generally not included in a device’s tonality assessment but rather in “technicalities”. This is odd as many “audiophiles” sacrifice technicalities such as separation and layering for timbre. One appears to exclude the other.

Crinacle places the original Blessing 2 into the “kilobuck” category and ranks them as “Tone Grade S“, the highest of is ranking list. From my limited experienced with pricey iems, I would not disagree. The Blessing 2:Dusk as the modified younger brother (it is fair to assume that Crinacle would not rank these any lower than the original) do remind me of the $1300 AME Custom Argent in their über-midrange transparency. And that’s what you probably get elsewhere in BA-land for $1000.

The question is: how important is natural sound reproduction considering that BA timbre sounds only realistic with, let’s say, Kraftwerk’s “We are the Robots”.

Take the rustic Canadian BTO song “Four Wheel Drive”, for example. Randy Bachman’s raunchy Gretsch rhythm guitar powering custom-made Garnet amps (the famous “Winnipeg Sound”) loses much of its its meat/substance and visceral character in the glassy, crystal clear network and distortion of any BA drivers. The “Winnipeg Sound” simply retains its character better even with cheap Koss Porta-Pros.

Or take a Chopin Cello Sonata, where you seriously wonder what power supply the Cello is connected with to the mains. Again, the cello sounds more realistic with a cheap dynamic driver. Most BAs/hybrids are the sonic equivalent of overpixelated photos: sharp but unrealistic.

This begs the general question of how timbre should be graded?

Concluding Remarks

Despite the BA timbre (which is part of the game), it was a pleasure listening to the Blessing2:Dusk for a couple of weeks. I don’t think there is a technically better earphone at this price.

Until next time…keep on listening!

Contact us!

Disclaimers

I held the Blessing2: Dusk for two weeks as part of a tour initiated by Crinacle, before sending them on to the next reviewer, who is our very own Biodegraded. Also check out his review…coming soon.

Get the Moondrop x Crinacle Blessing2:Dusk from SHENZENAUDIO.

Our generic standard disclaimer.

About my measurements.

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

The post Moondrop x Crinacle Blessing2:Dusk Review (1) – Big Heart Of Glass appeared first on Audio Reviews.

Cons — 10 kHz driver resonance peak introduces some hardness at higher volumes.

Executive Summary

The Moondrop Aria is a cohesive sounding single dynamic-driver (“DD”) earphone with a good timbre and excellent technical competence that may suffer slightly from a treble peak. It is a “substantial sidegrade up” from the “slower” Starfield at a lower price.

Introduction

I claim to know a bit about Moondrop single-dynamic-driver earphones. Following their trends from with the Harman-target-tuned Kanas Pro Edition (KPE) and Crescent, through the slightly bass-reduced Starfield variety, to the near-diffuse-field tuned SSR and SSP, I recently ended with the premium Illumination. To be continued.

This is not Moondrop’s first Aria model. The previous one has the same cylindrical shells as the Crescent, and both went somewhat under the radar and were discontinued, prematurely (imo). The $30 Crescent was undermining Moondrop’s own marketing by being competition to their $180 KPE. Yes, it was that good. Will the “new” Aria, which has absolutely nothing in common with the “old” one, also be able to compete with Moondrop’s higher-priced models?

The “new” Aria is Moondrop’s first ~$100 model in over a year. It follows the Starfield by frequency response, which is broadly a bass-reduced Harman target – now with a treble boost. Sound wise both follow the same scheme with the Aria being more cohesive and “disciplined” to my ears. It differs from the lower-priced SSR/SSP by its reduced hotness and better staging.

The similarities between the Starfield and the Aria have been recorded by many reviewers. While this does not come as a surprise, there are distinct differences and – spoiler alert – I prefer the Moondrop Aria for many reasons, from haptic and ergonomics to sound. I actually like it A LOT.

Specifications

Physical Things and Usability

Yes, the Moondrop Aria also offers improved ergonomics. The earpieces have shrunk compared to its older $100-200 single-DD siblings, at least on the outside: the faceplates have become flat so that they sit flush with the ears, the “cherries” don’t stick out as far anymore. Fit and comfort are as good as before and isolation is ok.

The textile cable has no mentionable microphonics and feels as smooth and attractive between the fingers as the earpieces themselves with their matte metal finish. The homogenous presentation is rounded off by the nifty box – could have been a bit more roomy. I take it, Moondrop’s target keyword for the Aria was “compact”…from storage through appearance to sound.

Tonality and Technicalities

Equipment used: MacBook Air/iPhone SE (1st gen.) + AudioQuest DragonFly Cobalt; iPod Classic (6th gen.) with Helm DB12 THX mobile amp.

The elephant first: from my holistic view, the Moondrop Aria is a single DD with a tight bottom and a well extended top end, the synergy of which results in a very articulate presentation with extremely good cohesion. The midrange definition further benefits from a 10 kHz driver resonance peak that also introduces some hardness. Nevertheless is the Moondrop Aria a sonic delight that works well with a phone but also does justice to more expensive days/amps.

Don’t tell us it’s got a long trunk, fat legs, and rough brown skin. Tell us instead it’s an elephant!” – RON FROM MEXICO CITY

Sure, the the Moondrop Aria broadly follows the Starfield in its tuning. Apart from some tiny differences at the low end and a slightly reduced upper midrange, the Moondrop Aria features the aforementioned prominent driver resonance peak at 10 kHz, which is clearly audible. But quantities tell us only half the story…let’s focus on the sonic qualities.

Frequency Response Diagrams of Moondrop Aria and Moondrop Starfield

[collapse]

Whereas many claim there is not much of a difference between Starfield and Aria, the devil is in the small details…which ad up to a snowball effect, at least to my ears. According to the manufacturer, the Moondrop Aria, with its new liquid crystal polymer (“LCP”) diaphragm promises to deliver “excellent transient response and high resolution sound details”, and this is actually true in my opinion. So, what you expect is that the LCP diaphragm should have a better distortion characteristic for low frequencies.

And yes, that’s what I hear. The bass is articulate and well textured, no hint of fuzz or boom, fast bass sections do not get smeared. The well extended low end is well controlled and composed, it fits in like a brick in the wall. One could compare it to a tight sportscar suspension. It was its bass boom the Starfield had been criticized for.

The bottom shelf has consequences for the transition to the lower midrange, the Achilles heel of previous models. It is seamless. In some previous Moondrop DDs, a soft, voluptuous bass led into a lean, neutral vocals department, which did not harmonize at all. In the Aria, bass and vocals are from the same mold. And while the midrange remains neutral and well sculptured in the Moondrop Aria, the less distorting/less smearing bass brings it out better and this also results in midrange clarity and transparency. The upper midrange was kept pretty much the same as in the Starfield – which avoids shoutiness – but only by a hair.

Another difference to previous <$200 Moondrop single DDs is a better treble extension, which also introduces a driver-diaphragm resonance peak at around 10 kHz. This adds some crispness to the overall presentation, but also some hardness at higher volumes. But since it contributes to midrange clarity also, moderate volumes benefit from this resonance.

Adding all this up not only translates to a very articulate, accurate presentation, it also contributes to a reasonably wide (but not the most expansive) and tall soundstage, with a good depth, great spatial cues, as well as a really good definition, separation, and, most of all, to an outstanding note definition and cohesion across the frequency spectrum. Very good technicalities. All this makes for a great listen independent of the Moondrop Aria’s modest price.

Moondrop Aria Compared

Back to the Starfield. Its slower low end and its reduced treble extension makes the whole sonic perception less crisp and cohesive. The differences become most obvious when listening to the whole frequency spectrum in context. It is the cohesion and the faster transients that make the Aria most appealing to my ears. The elephant, you remember…

Compared to the SSP/SSR, the Moondrop Aria is much less spicy and grainy, notes are better defined, and the ceiling on the stage is higher. The Aria sounds simply more homogenous, and is technically better, but you see/hear the handwriting from the SSP/SSR.

Frequency Response Diagrams of Moondrop Aria and Moondrop SSP

[collapse]

Another recent find is the Whizzer Kylin HE01. It is by no means worse than the Moondrop Aria, just different. And quite a bit.

Frequency Response Diagrams of Moondrop Aria and Whizzer Kylin HE01

[collapse]

Apart from it retro appearance and its resin build, the Whizzer is easier to drive and more on the fun side. It is exuberant, forward, with more and slightly looser bass, and very intimate vocals.  Moondrop Aria is more disciplined, controlled and composed, and more technical. 

If the Whizzer was the guy in the jeans outfit with a Volkswagen cabriolet on the beach, the Moondrop Aria is the chap in a suit with a mid-sized BMW in front of the opera house. I’d say the Whizzer works better with cheap electronics and you tickle out more of the Aria with a good dac-amp.

YouTube Video

Concluding Remarks

What makes Moondrop distinct from many of their competitors is that they invest in real R&D, that they continuously evolve their technologies, and that they always have some good ideas. And this progressive development shows.

The Moondrop Aria is a winner. It may look inconspicuous and generic on a first glance, but wait until you put them into your ears and switch the music on. Actually, only until you hold them in your hands…It is another step up in Moondrop’s single DD offerings below $200, and that at a lower price. I prefer it over the Starfield based on its cohesion and faster transients. And it likely even puts Moondrop’s KXXS to shame. What else do we want?

Until next time…keep on listening!

Contact us!

Disclaimer

The Moondrop Aria was supplied from Moondrop in Chengdu (but dispatched from Shenzenaudio), and I thank them for that.

Get the Moondrop Aria from the Moondrop Store

Our generic standard disclaimer.

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

Gallery

The post Moondrop Aria Review (1) – The Super Stars We Are appeared first on Audio Reviews.

Nozzle mesh screens sometimes look like a decorative piece or something just to keep the ear juice out. They can create problems though when they wick up too much moisture or modders decide to remove them completely. Below you can see up close images of various nozzle mesh screens serving a vital function – to dampen unwanted resonances. The screen openings themselves (number of holes + diameter of holes) can also factor into the tuning of the earphone, but this was not included as part of this investigation. Below are samples of certain earphones where nozzle screens were discussed in more than passing on certain forums, as well as a popular modder tool otherwise known by the name of micropore tape or paper tape.

KZ ZS3

It was quite the rage to remove these screens and I see why. Mine was actually two plastic screens stuck together. Was this a mistake or on purpose?

SONY MH755

Reviewed here. Modders like to remove the foam plug, but do not remove the black mesh screen. It tames the peaks at 2.8kHz and 5.3khz giving it almost a textbook Harman curve. Very much important noted by certain modders like Slater.

BQEYZ SPRING 1

Our takes on the Spring 1 here. Modders claimed by removing the screen it would get rid of the woolly bass. I removed mine and the quality of the bass did not change, but treble peaks were turned up giving the illusion of improved bass. The bass was just masked by the extra treble punch. Again, I do not recommend removing unless there wasn’t enough upper midrange in the stock tuning. I have heard that other BQEYZ models employ tuning filters directly on the BA units, so this might explain why the screen only has a minor impact.

MOONDROP KANAS PRO

We covered the KPE exhaustively here. Notorious for clogging with moisture in high humidity areas or sweaty ears, Moondrop eventually started selling replacement nozzle screens and included them in subsequent models like the Starfield. They have an interesting arrangement of a small rectangular area with extra damping coverage. Similar to using a partial piece of micropore tape. Again removing it introduces peakiness. Not recommended.

MICROPORE TAPE (3M NEXCARE PAPER TAPE)

Micropore tape has a very irregular pattern. Not much to say about it other than it doesn’t seem to target any specific frequency. All the other filters are uniform and tend to dampen certain frequencies. Useful as a butter knife, not a scalpel.

SUMMARY

So personally, I do not recommend removing nozzle mesh screens unless planning to replace or mod with something else. There might be exceptions such as pure balanced armature IEM’s that utilize resistance damper filter plugs on the end of the balanced armature itself. Therefore the nozzle screen is not like putting a screen door on a submarine, most appear to be used as resistive dampers to tame the frequency response. I’m not suggesting it is wrong to remove the filters, but be aware of the consequences. If there are other earphone modding materials you would like to see up close and personal, leave a comment below or feel free to get in touch with us and we will see what we can do to expand this article.

Contact us!

DISCLAIMER

Sometimes I stare blankly at walls.

Our generic standard disclaimer.

About my measurements.

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

The post Nozzle Screen Filter Impact on Frequency Response appeared first on Audio Reviews.

Cons — Very source AND volume dependent; rather bright and therefore aggressive sounding at higher volumes; shallow soundstage; music bleeds to bystanders; LACK OF TUNING FILTERS; haptically not much different from the company’s budget/mid tier offerings; mediocre accessories for its class; expensive.

EXECUTIVE SUMMARY

The Moondrop Illumination is a warm-bright single-dynamic-driver earphone that will please the purist but it can be aggressive sounding for many at higher volumes.

INTRODUCTION

I like single-dynamic drivers. In fact, I prefer them over hybrids. Yes, I sacrifice technical competence for natural sound. What good is it when a symphony sounds detailed but artificial?

Reviewers have to listen analytically for the review’s sake in the short preparation period, and there is a tendency for many to find ever new and unusual adjectives, fancy attributes, and flowery language to make themselves and their review stick out.

But apart from advances in prose one should also have the recreational listening experience in mind, looking ahead to the everyday use of the product beyond a review. How long will the appeal last? This long-term enjoyment, which defines the real value of a product, relies less on strict technical performance but on factors such as “sonic comfort”, for example. And that’s where dynamic-driver earphones are typically underrated.

I have been following Moondrop for the last few years observing their shift in tuning philosophy from Harman target towards diffuse-field neutral. Together, we steered our Spaceships and Super Spaceships (Pulse and Reference) through the odd Starfleld across the Milky Way. We are now reaching the outer edge of our galaxy, where we encounter some…erm…Illumination. And, while asking for forgiveness for my flat humour, I will describe this phenomenon as follows.

SPECIFICATIONS

Drivers: 11 mm dynamic
Impedance: 25 Ω @ 1 kHz
Sensitivity: 124 dB/Nrms @ 1kHz
Frequency Range: 20 – 20,000 Hz (IEC60318-4); 10-50000Hz (1/4Inch Free field Mic)
Cable/Connector: OCC copper with SPC shielding + replaceable plugs (2.5 mm single ended, 2.5 mm/4.4 mm balanced); 0.78 mm, 2 pin
Tested at: $799
Product Page/Purchase Link: Moondrop Official Store

PHYSICAL THINGS AND USABILITY

In the boox were the earpieces, the occ copper cable with replaceable plugs, airplane adapter, spare filters with tweezers, eartips, and a case.

The haptic of the earpieces is not much different from the discontinued $180 KPE or the current KXXS models…other than that the colour is golden and not silver. The silicone eartips are the same as in all other Moondrop models. Even the twisted cable is not out of the ordinary (it works). The only extravaganzas are that monstrous retail box and the Louis-Vuitton-grade carrying case. Overall, I am missing the “little luxury” expected from this price category.

The metal earpieces are reasonably small, not too heavy, they fit me well and are comfortable over longer sessions. The nozzles are long enough even for my problematically huge ear canals, and they don’t have a lip (but I never “lost” the eartips). Isolation is quite good for me…but not for my wife next to me (or the guy on the bus), as sound bleeds owing to the design. And I had to swap the stock eartips for the SpinFit CP145 to optimize seal.

The Moondrop Illumination are driven very easily.

TONALITY AND TECHNICALITIES

Follow these links for some background information:

My tonal preference and testing practice

My test tracks explained

Equipment used: MacBook Air alternating with Khadas Tone2 Pro (balanced circuit) and AudioQuest DragonFly Cobalt; ifi Audio Nano BL (IE Match).

The Moondrop Illumination follow the classic recent Moondrop tunings of being slightly warm towards the bottom end but bright-neutral in the midrange and with a relatively early rolloff towards the top end. In fact, the Moondrop SSP’s and Moondrop Illumination’s graphs track each other.

I tested using mainly two dac-amps which produced slightly different results and enjoyment levels with the MacBook Pro. It became clear early that the Illumination rely strongly on source and that a warm amp produces the best results.

The natural Khadas Tone2 Pro (“T2P”) produced great headroom and w i d e soundstage but a robotic, metallic, digital timbre and lots of harshness. The warmer Dragonfly Cobalt (“DFC”) eased that pain with a more organic, natural, bassier sound adding lightness/ease, overall body but a smaller soundstage (in all dimensional) with lesser technicalities. And the midrange still remained somewhat on the bright side, which is unpleasant for my ears at higher volumes. As a last resort, I rolled the warmest of all my possible dac-amps in: the ifi Audio Nano BL, but it did not make a huge difference to the DFC in terms of temperature.

In detail, bass of the Moondrop Illumination is relatively subdued (more so with the T2P, but clean, well textured, and well extended). It is slightly meatier with the DFC. Bass by itself is actually excellent.

The elegant, minimalistic bass moves the midrange into focus, which is shouty and harsh with the T2P at higher volume while yielding a nice transparency at lower volumes. The elevated upper midrange improves clarity and transparency, but it can hurt my ears.

Midrange is lean to varying degrees depending on dongle, but vocals and piano notes are intimate, well sculptured, well defined, and, yes, you heard it before, they can be sharp. I’d attach a smoother, less edgy midrange to a premium earphone.

Treble rolls off early, classic Moondrop, but any high note I hear has very good definition (for a single DD earphone). The T2P produces the treble in a robotic manner whereas the DFC introduces a more natural and therefore slower attack and decay. T2P’s cymbals sound metallic and overpixelated.

Soundstage is rather wide with the T2P’s balanced output but not very deep, independent of source, that’s what you expect from a moderate low end. Technicalities certainly lag behind multi-driver earphones, which is also no surprise. Separation, layering etc. are good but they did not blow me, the budget guy, out of my socks with the DFC, they were better with the T2P.

What is actually very well implemented is dynamics. Listening to a symphony, the impulse is very natural and so are attack and decay, and this also works very well for electronic music. Good balance in this department.

Also very good is the natural timbre, despite its bright spin. At low to moderate volumes, it ads that layer of silk and smoothness you want from a single dynamic driver. It is like adding a tube to your ears…

THE MOONDROP ILLUMINATION COMPARED

Yes, technicalities in the Moondrop Illumination are better than the Sennheiser IE 400 PRO or IE 300, those cannot compete in terms of clarity, definition, and refinement, but they are more cohesive sounding, at least at higher volumes. The Illumination, in turn, sound more open. You can turn the Sennheisers up without regret where the Moondrop Illumination start screaming.

The Moondrop Illumination are also technically better than the JVC HA-FDX1 with their wider stage and their cleaner sound across the frequency spectrum. The JVCs sound less refined in comparison.

The identically tuned Moondrop SSP sound a tinge more aggressive than the Illumination, have a smaller stage, and can’t compete with their timbre either – BUT BUT BUT, they come at 1/20th of the price. I like the Moondrop SSP for quiet listening sessions – but moving up to $800, expectations are naturally much higher.

In any case should you pair the Moondrop Illumination with a warm dac-amp. A neutral analytical dac-amp will make them sound too aggressive for many. I wished Moondrop had gone for a tuning similar to their excellent $30 Crescent, which were premium earphones with sloppy technical competence.

VALUE

OK, at $800 the Moondrop Illumination do not come cheap. They face much competition from multi-drivers in this segment, but none from any single-dynamic driver, other than perhaps the Beyerdynamic Xelento and the Dunu Zen…none of which I have tested (Zen loaner is on its way). And you can go up to $2000 in that category. Value above a certain price is perceived as – and we know that – diminishing return. In the end it depends on what type of buyer you are.

In the case of the Moondrop Illumination, you have to like a bright midrange in an otherwise warm sounding iem. I find it problematic that, at this price, you have to pair the Moondrop Illumination very carefully in order to make them sound decent (at least for ears like mine). They should work universally. And cable and eartips are rather basic for “premium”.

CONCLUDING REMARKS

The Moondrop Illumination appear to have been tuned for the Asian market with their boosted upper midrange. But depending on source and volume, you can actually get the pleasant dynamic-driver sound I expected from them. It is a good and bad earphone in one from my perspective.

I am surprised that Moondrop, with their outer-space vision, did not equip this model with tuning filters (as the aforementioned JVCs and even some $10 iems such as the KZ ED9) to appeal to a universal, not to say a galactic audience….and to generate a broader market appeal. Adding brightness to the usual technical limitations of a dynamic driver, the Illumination will probably have a tough stand against their hybrid competition.

For me, these Moondrop Illumination mainly work well for naturally generated sounds/acoustic instruments.

But that should not keep you from having a good look at them if you do like this kind of tuning.

And while I just mailed this unit to the Super* Review YouTube channel for “further processing”, I am eagerly awaiting the Moondrop Dusk Crinacle from audiodiscourse.com. That’s great and that’s how it should be.

Until next time…keep on listening!

Contact us!

DISCLAIMER

The Moondrop Illumination were provided on loan by Moondrop up my request. And I thank them for that. Following my review, I sent them on to Super* Review, a popular YouTube channel.

Get the Illumination from Moondrop Official Store

Our generic standard disclaimer.

About my measurements.

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

Measurements

The post Moondrop Illumination Review – Good And Bad…But Not Ugly appeared first on Audio Reviews.

Unlike most of the biased media today competing for viewers in a echo chamber of their desired audience, there were ways to achieve neutral viewpoints in 2020. Earphones are hardly earth shattering topics, but they are providing us hopefully with some nice relaxation time in the age of exceptional abnormality. Sometimes there are multiple ways to reach a neutral-ish signature. The Ibasso IT00, Tin Hifi T2 Plus, and Moondrop Starfield all meet my criteria for neutral-ish, but each deciding to highlight a particular range of the frequency band. Ibasso’s trick is bass, TinHifi T2 Plus was midrange, and Moondrop Starfield highlighted a nicely done non-offensive treble. Since these have all been reviewed to death and are all highly recommended for approximate $100 or less choices, I thought it would be interesting to summarize them and highlight the differences.

Ibasso IT00 ($69-79) Bassy neutral

The bottom third of the frequency spectrum dominates this neutralish signature, with a flattened top end. I wouldn’t call this bass bleed because the whole lower midrange is very full as well. Painted with a broad brush, the bass tends to linger into the midrange giving bass hits a bathroom decay while the top end comes in feeling more living room decay. Cymbal hits and such are soft as if being struck by chopsticks, missing some visceral impact. In other words most of the space or atmosphere comes from down low. Mids are pleasant and clear, but a little recessed to prevent it from sounding too in your face. Guitars and pianos have stage presence, but the rest gets a little lost. Male vocals sound very full, and female vocals have a singing in the shower essence. The Ibasso is easily driven, but with more volume comes stronger bass. Timbre is nice with the only coloration coming in through the lower midrange.

Staging feels a tad crowded ok for girl and guitar, but bigger band stuff are all competing for attention. One of the biggest annoyances is the driver flex due to the thin diaphragm of the driver which makes it easy to drive. It’s hard to know if this leads to long term issues or not, but something I find very annoying. Fit is traditional universal, very lightweight due to the plastic shell. Two different sets of tips- black and white, the white ones have a thicker stem at the base which adds more controlled bass, while the black ones give the feeling of less bass impact. The Ibasso IT00 seems like a middle ground between the IT01 and the IT01s as far as the tuning goes. I have to wonder if they just installed a thinner screen filter to allow the lower treble to accentuate the experience. If I had the newer IT01 with removed screens, it would be an interesting experiment.

Tin Hifi T2 Plus ($40-59) Mid-centric Neutral

Closest to neutral pleasing mid-centric while adding a splash of bass. The more abstract astronomically themed appearance of the bunch, the Tin Hifi T2 Plus channels alien spaceship to finally give us a comfortable Tin Hifi model. The slippery little suckers pop right in broadcasting immediately focused vocals, while the here one minute gone the next bass is masked by the midrange focus on this set. The Tin Hifi T2 Plus bass is fuller than the Moondrop Starfield that has a lower bass impression making the Starfield sound a little thin in comparison. The bass and treble are only there as backup support to the sweet candy middle on the Tin Hifi T2 Plus. It really highlights the layering present in the Tin Hifi T2 Plus while at the same time exposing the Ibasso IT00’s rather arid mid-section. I think Tin Hifi’s holographic midrange however tops the bottom fullness of the Ibasso if trying to compare their strengths. Bass is gentle with a slight roll off on the lowest octave giving bass notes good weight, but not enough gogo juice to tickle, making the bass heard but not felt. The treble is signature Tin Hifi, but without the typical sibilance found in the other T2/T3 models. Where the Moondrop Starfield starts to drop in treble output the Tin Hifi T2 Plus rises slightly to a final peak coming off a little sharper than the Starfield. Sharper and slightly agitated treble lead to brassy crescendos. Snares pop while cymbals tingle. Less constipated sounding than the IT00, The Tin Hifi T2 Plus lets loose in the lower treble to help give the midrange extra clarity. The Tin Hifi T2 plus has a wider stage footprint than the IT00 and more depth as well. In terms of driveablity from a mobile device, both require nothing extra with the IT00 edging out all three in terms of sensitivity.

Moondrop Starfield ($95-109) Neutral slighty bright

The Moondrop Starfield is second kid to the Kanas Pro/KXXS. It lacks the finer things in life the first child received and may get the hand me downs (same shell, less premium cable), but it also gained the wisdom of their parents to tweak the path forward. The Moondrop Starfield’s bass is snappier than the the Tin Hifi T2 Plus, and unlike the Ibasso IT00 the bass was painted with a finer brush focusing more on 100hz and below only. Cymbals and snares have almost equal emphasis with snares still lightly edging out cymbal crashes. Both the Tin Hifi T2 Plus and the Ibasso IT00 seemed a little scared to take on the presence region, and this is the standout region of the Moondrop Starfield. It sounds more mature, less grungy, no constipation. The vocal midrange is more soft spoken than the slightly honky Tin Hifi T2 Plus, but not as boring sounding as the Ibasso IT00. As we follow the midrange down to the depths of the bass region we have a nice level playing field with the bass coming in only at the end. The bass kind of floats by itself which allows it to add grunt only to lower bass. You don’t get the same guitar grunge from the Ibasso IT00, again a little more mature. Cellos and bass have less of a boxy feel, which allows for a less tiring sound. Moondrop Starfield’s soundstaging feels more distant allowing everything to pull away from your headspace. They all seem to have different staging, with the Ibasso IT00 recessed, the Tin Hifi T2 Plus forward, and the Moondrop Starfield fairly even. I like what Moondrop has achieved with the treble on the Starfield over the Kanas Pro, that has a slight timbre off-ness in the upper treble.

OUTRO

So there is no right or wrong here, only what is preferred and all good contenders for something vanilla. If these were ice cream sundaes, the Ibasso IT00 is covered in hot fudge (bass), the Tin Hifi T2 Plus is hold the nuts and go easy on the fudge, and the Moondrop Starfield is drizzled with a hint of fudge and topped with whipped cream (sweeter treble). Since I already owned the Ibasso IT01 and the Moondrop Kanas Pro, the Ibasso IT00 and Starfield are minor changes. Personally the Tin Hifi T2 is the interesting one to own out of these three, giving it a ranking of nice to have neutralish IEM.

GRAPHS

• Ibasso IT00 Stock vs Filter removed
• Tinhifi T2 Plus Left vs Right
• Moondrop Starfield Left Vs Right (a little troubling this particular set has a level mismatch in the bass.)
• IT00, T2 Plus, Moondrop Starfield

Contact us!

DISCLAIMER

Nothing to disclose here.

Our generic standard disclaimer.

About my measurements.

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

The post Ibasso IT00, Tin Hifi T2 Plus, Moondrop Starfield – Neutral DMZ for 2020/2021 appeared first on Audio Reviews.

As with the Kanas and KXXS, the Starfield goes for the Harman target, which emphasizes midbass and upper mids, and presents a warm, energetic signature with meaty note texture. However, although possessing decent depth and rumble, the Starfield tones down the low-end quantity, which gives these a more coherent presentation; like the Kanas Pro the bass isn’t the fastest and some smudging into the mids is discernable, but the overall effect is very live-sounding. Mids are aggressive, with a lot of presence and drive, while treble is smooth and wholly free of stridency, with a gentle roll-off around  8k or so. The Starfield doesn’t aspire to the hyper-revealing detail and precision of good BAs, and cymbals and percussion may lack some crispness. However, these have an inalienable lushness and silkiness; they’re the polar opposite of clinical.

Soundstage here is wide and deep; probably because of the slightly loose bass imaging isn’t class-leading, though these remain uncongested, with good air between performers.  Tonality isn’t free from coloration (“syrupy” comes to mind), and it’s not the most resolving, but is wholly non-fatiguiging and very musical. More expensive recent DDs like the NF NM+ and the KBear Believe image better,  present more nuance and sparkle and have quicker transients, but lack the realism of Starfield; the NM+ and Believe sound over-processed and metallic in comparison. The Starfield also cuts the similarly-priced Tin T4 by a good margin, with a richer timbre and a less spiky treble.

The Starfield isn’t a purist’s earphone; it won’t satisfy detail junkies or bassheads and isn’t as technically accomplished as some peers. However, it’s the kind of piece that simply sounds better than the sum of its parts and, at least for me, is tough to beat at this bracket. Highly recommended.

SPECIFICATIONS

Model: Starfield
Driver Unit: CNT carbon nano tube diaphragm-10 mm dual cavity dynamic driver
Sensitivity: 122 dB/Vrms (@1kHz)
Impedance: 32Ω ± 15 %(@1 kHz)
Frequency Response: 10 Hz – 36 kHz(free-field 1/4 inch MIC, -3dB)
Effective frequency response: 20 Hz – 20 kHz
Cable: 24 AWG Litz 4N OFC cable
Pin: 2pin 0.78mm
Tested at: $109
Link: Aliepress Moondrop Official Store

DISCLAIMER

Forwarded from Jürgen who had received it from Moondrop in Chengdu. Thank you very much.

Product Link: MOONDROP Official Store

Manufacturer’s Website: Moondrop Co.

Our generic standard disclaimer.

About my measurements.

Our generic standard disclaimer.

About my measurements.

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

Contact us!

The post Moondrop Starfield Review (2) – Another Country Heard From appeared first on Audio Reviews.

Cons — Bass could be more textured; optics not for everybody.

EXECUTIVE SUMMARY

The Whizzer Kylin HE01 is a well designed, well accessorized, warm and fluid sounding single DD earphone with a fast driver that provides hard beats, and excellent midrange and treble articulation and definition. I treasure the Whizzer Kylin HE01’s fluid, cohesive presentation. A personal favourite.

INTRODUCTION

As a reviewer, you are are often frustrated when a whole batch of iems supplied for review are uninspiring. Then, there are these models which “are good for their price”, which still may not give one much inspiration in the long run, considering you have better iems in your collection or memory. But there is the rare iem that is appealing and enjoyable independent of price. The Shozy Form 1.4 was one of these rare examples for me, and the Whizzer Kylin HE01 is another one. Yes, the Whizzer Kylin is that …good. I used them in all combinations, be it just with a phone up to the Earmen Tr-amp.

SPECIFICATIONS

Drivers: high magnetic circuit metal composite moving coil
Impedance: 18 Ω
Sensitivity: 112 dB/mW…easy to drive
Frequency Range: 15 – 40,000 Hz
Cable/Connector: 5N OFC oxygen-free copper
Tested at: $80
Company Page: http://www.whizzer-tec.com
Product Page/Purchase Link: Whizzer Official Store

PHYSICAL THINGS AND USABILITY

The Whizzer Kylin HE01 is generously accessorized. The earpieces come in a padded metal box, two sets of silicone eartips (“reference” and “vocals”) are included as well as a cleaning tool and the “literature”. The 5N OFC oxygen-free copper cable is tightly braided, has metal connectors and a chin slider, and exhibits zero microphonic. High quality.

The earpieces are made of of metal and resin and appear sturdy. They are ergonomically very good with LONG nozzles that go deep enough into my teutonic ear canals. Fit and comfort are very good for me, isolation is ok, too, depending on eartips used.

The appearance is marketed as retro look…but I am not sure what era. My not-so-young wife (don’t tell her…) associates it with “little old ladies”. But, the shells are refreshingly different from the repetitive (and often oversized) standard designs – one has to fall in love with them for that reason alone – and I somewhat did (again, please don’t tell her…).

Yes, the Whizzer Kylin HE01 works fine out of the box. Bonus!

And it can be driven easily even by the weakest source.

TONALITY AND TECHNICALITIES

Follow these links for some background information:

My tonal preference and testing practice

My test tracks explained

Equipment used: iPhone SE (1st generation) with and without Earmen Sparrow/Audioquest Dragonfly Black; MacBook Air with EarMen Sparrow or EarMen TR-amp; stock cable, both sets of stock eartips.

To give you the “helicopter view” up front: the Whizzer Kylin HE01 is a warm and (mostly) clean sounding single (and nimble) dynamic-driver iem with a natural timbre. Its strong points are the midrange, upper treble, and technicalities.

That slightly elevated bass is very well extended but could be more layered and articulate. It is not wooly or thumpy, and it provides a good kick, but it also may be perceived as borderline boomy. You have heard this type of bass over and over before. I am sure, tip rolling may modify the low end, however I was testing with the stock tips. Nevertheless, while the bass i technically not the greatest, its slight boost can be fun and it provides a solid base for the midrange.

But where things become interesting is from the lower midrange up: vocals are very articulate for a DD, they are only marginally recessed with medium note weight, and are well sculptured with a good note definition. This results in good midrange clarity and transparency – and really good detail resolution and separation. The bass does not affect the midrange. Also, that pinna gain of 12 dB at 3 kHz is reasonable and provides the right energy to voices. No shoutiness. The midrange is not neutral as in Moondrop or Tin Hifi iems but a tinge warm, which makes it particularly appealing to me.

The drop-off starts in the upper midrange and continues through the lower treble, which explains the lack of shoutiness but it also removes a bit of sheen from the midrange/vocals and subdues high sustainers such as cymbals and string instruments. Treble resolution is also very good. The highest notes are hit with accuracy and minimal smearing.

That midrange clarity plays into a very wide soundstage with average depth. But the music really plays outside your head. As said before, technicalities are very good, delivering just the right punch/dynamics. I appreciate the fluidity of the sonic presentation. Needless to say that speech intelligibility is excellent, too.

As to the included “reference” and “vocals” silicone tips. Although the main difference, according to the graphs, lies in the upper midrange, my listening perception focuses on the low end: the reference tips increase the bass. This is not surprising as the human ear hears the frequency spectrum in its full context….and it had been demonstrated well with the three filters of the JVC HA-FDX1.

WHIZZER KYLIN HE01 COMPARED

Let me be subjective for once. I much prefer the Whizzer Kylin HE01 over the Moondrop Starfield and TinHifi T4. Both Starfield and T4 are less cohesive and fluid. In the midrange they are much thinner, sharper, and hollower than the Whizzer Kylin HE01. These two are classic cases of “earphones good for the price…” as they lack compared to more expensive iems. The Whizzer Kylin HE01 sounded enjoyable even when compared to the very good Moondrop Illumination…albeit not as good. My ears can’t read price tags and they really like the Whizzer Kylin HE01 a lot.

But let’s continue the “slaughter”. The KBEAR Diamond, in comparison, sound much thicker in the bass and thinner in the midrange…I wonder who helped tuning them :).

The Tin Hifi T2 also don’t match the liveliness of the Whizzer Kylin HE01 and can’t keep up with midrange and treble resolution.

The best of this rest is still the Blon Bl-05s, which have a somewhat glaring upper midrange but similar midrange articulation….and substandard accessories.

In summary, the Whizzer Kylin HE01 is the most cohesive, articulate, and engaging iem of the lot to me. My pick. And I would not have expected this, quite frankly. A pleasant surprise indeed. And – for once everything works just fine ootb…but I am repeating myself.

You find reviews of all of the iems mentioned above here.

CONCLUDING REMARKS

The Whizzer Kylin HE01 is an enjoyable, fluid sounding single DD earphone that strikes the balance between fun (“bass”) and audiophile (“midrange and treble”). And it is comfortable, all of which qualifies it as a daily driver. The company has implemented a few technical, ergonomic, and optical ideas that make this earphone distinct from its competition.

The biggest appeal/non-appeal and potential selling point may be the rose-gold optics. For those who like the Whizzer Kylin HE01’s appearance a lot, there is no reason to stop you from getting it – as this iem has not real weak points and holds up very well against its peers.

I have to admit (secretly), that I quite enjoy this earphone, mainly for its nice punch/dynamics and its comfort/fit. The Whizzer Kylin HE01 is a great find for me.

Until next time…keep on listening!

Contact us!

DISCLAIMER

The Whizzer Kylin HE01 was provided unsolicited from Whizzer and I thank them for that.

Get the Whizzer Kylin HE01 from Whizzer Official Store

Our generic standard disclaimer.

About my measurements.

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

RAW DATA…

The post Whizzer Kylin HE01 Review (1) – The Whizzard appeared first on Audio Reviews.

Pros — Very good build quality
– Sub-bass can be fun with some genres and tracks
– Fairly wide soundstage and above-average instrument separation

Cons — Too much bass bloat
– Nozzle is a bit thicker than ideal
– Poor stock cable
– Dark and bassy tuning will be rather divisive

INTRODUCTION

Cat Ear is a new brand from Shenzhen who has gone for a rather feline-themed branding. The Mia (meow?) is their first IEM (and the only one so far in their lineup) and at $99 retail faces stiff competition from both the lower and higher priced segments.

Usually newcomers in the market try to generate hype by some sort of novel driver setup or offering absurdly good value-for-money on paper at least. Cat Ear has a similar trick up their sleeve: cryogenic treatment. Apparently both the drivers and the cable/connectors have gone through -196C cryogenic treatment, a process that includes treating the materials in <-190C temperatures which improves wear resistance and removes residual stress. 

All that sounds quite complicated and fancy, but does that improve anything on the sound front? Let’s find out.

Note: the ratings given will be subjective to the price tier. Nappoler Hu of HifiGo was kind enough to send the Cat Ear Mia as a review unit. Disclaimer.

Sources used: Sony NW-A55, Cowon Plenue V, LG G7, Cayin N3 Pro

Price (while reviewed): $80

PHYSICAL THINGS AND USABILITY

IN THE BOX…

You get 6 pairs of eartips of two different kinds. I went for the slightly stiffer pink-stemmed tips. You also get a Cat Ear sticker (!), some extra rubber rings for blocking the vent near the mmcx stem, a serviceable carrying pouch, and of course the cable. 

Ah, the cable, the worst thing in the accessory pack. It’s got a very grippy coating that catches on to jacket zippers very easily. To make matters worse: it’s incredibly tangle-prone and microphonic. The build quality is decent to be honest but the ergonomics are all over the place. Moreover there’s the uneven braiding of the cable itself that looks very janky from up close. The cable alone makes the accessory pack a disappointment and that’s a shame. 
3/5

APPEARANCE, HAPTIC, AND BUILD QUALITY

The Cat Ear Mia is a bullet-shaped IEM.The entire housing including the nozzles is made of anodized aluminium. The back portion has a striking red color and is beveled from the rest of the housing, creating a rather unique design. The channel markings are in large font at the bottom of the housing, with a vent-hole next to them. The IEMs have mmcx terminations and by default there is a little rubber ring between the mmcx port and the cable joint. This apparently blocks another small vent and increases bass quantity, but I personally would recommend removing this ring because otherwise the bass is uncontrolled and bleeds into mids.

Overall, a no-frills yet solid build with subtle design hints that sets it apart from its peers. 
4.5/5

ERGONOMICS, COMFORT, ISOLATION, AND FIT

The nozzle is thicker than I prefer so the IEMs can slide out at times, thus not the most comfortable/unfussy fit out there. I think the stubby nozzle can make it more difficult for people with small canals. Isolation is average. 
3.5/5

TECH INSIDE

The Cat Ear Mia is a single-dynamic IEM with an 8mm PET diaphragm driver inside. Given the recent rage of Beryllium coated drivers the old PET diaphragm might seem a bit… lacklustre. Nonetheless, the proof is in the sound. 

SOUND

The Cat Ear Mia is a bass-forward IEM and can be called “L-shaped” in terms of frequency response skewness. The bass takes the center stage, female vocals sit right behind whereas male vocals and treble is at a distance. 

The following impressions were made with the stock clear tips and stock cable. Listening mostly done on LG G7/Sony NW-A55. The rubber ring was removed.

Lows: With the aforementioned rubber-ring installed the bass becomes too muddy to have any definition whatsoever. Removing it results in a bloomy mid-bass and an overzealous sub-bass, but at least it’s listenable now. The bass lacks texture and just can’t keep up with fast basslines, with bass notes often bleeding into one another. Some basshead might like this presentation but I think the bass on the Cat Ear Mia is too distracting to be enjoyable across a range of genres. Nonetheless, it can get fun with some pop and rock songs so there’s that. Snare hits are also extra-juicy which is a guilty pleasure of mine.
3/5

Mids: The midrange on the Cat Ear Mia isn’t as bad as you’d expect from the graph. Lower mids sound recessed but male vocals do come through for the most part. Female vocals get more focus in comparison. Vocals do sound somewhat nasal and don’t have the correct tonality, which I suspect is a result of a too early rise into the upper-mids. You do get used to it pretty quickly. Strings come through pretty well, however the leading edge of notes lack bite and energy. Overall timbre is colored and not really what I’d refer to as “natural”. Resolved detail is average, it won’t get anywhere as detailed as the resolution champs in this price bracket.
3.5/5

Treble: The treble takes a nose-dive after 5KHz, resulting in a total lack of air and rather muted cymbal strikes and hi-hats. This dark-ish tuning would work well had the bass not been so boosted which results in a sensation of lower-res playback. Probably not what you’d expect when you’re spending $80 in the current market.

What little of treble is there is pretty inoffensive, but it’s just the bare minimum and IEMs at 1/3rd the price of the Cat Ear Mia does considerably better. A shame. 
3/5

Soundstage: Soundstage is surprisingly wide given the imposing bass and lack of air in the treble region. It has just about average depth but the width allows good left/right separation and can make songs sound quite engaging. 
4/5

Imaging: Imaging is average, mostly left/right. Instrument separation is, again, better than you’d expect given the signature. It won’t make you feel like you’re inside a 3D blob of sound, but very few in this price segment will. 
3/5

Bang-for-buck: The Cat Ear Mia is built well and has a mainstream tuning. However, the accessory pack isn’t the best, the bass is just too much and overall technical performance is below par, if not way below par. It does have the coherence of a single-dynamic but even the timbre couldn’t become a redeeming factor. The one thing that acts as a saving grace for the Mia: it can be a fun listen with certain genres (rock/pop) and has a pretty laid back tuning that can be a plus for the treble-averse.
2.5/5

Source and Amping: The Cat Ear Mia doesn’t have a lot of amp demands at 105dB/mW sensitivity. It ran pretty well from the LG G7. I did like it most out of the Cayin N3 Pro (with tube mode engaged) but most dongles will do an adequate job.

SELECT COMPARISONS

vs Final E3000 ($60): Given that both the Final E3000 and the Cat Ear Mia are bullet-shaped IEMs a comparison between them is rather apt. The E3000 also opts for a dark and bassy tuning but rolls off in the sub-bass region instead of the major boost that Cat Ear Mia offers. The midrange is also tuned differently with more laid back midrange tuning in the E3000 whereas Mia has a bit more aggression in the upper-mids especially. The treble has better extension in the Final E3000, and in turn the Final E3000 also trounces the Cat Ear Mia in terms of soundstage and imaging/instrument separation. The E3000 does lack a detachable cable — its Achilles Heel according to many.

For my money — I’d probably get the E3000 though if it’s dark and bassy that I want. If you need more sub-bass focus then the Cat Ear Mia can be a more attractive option.

vs Moondrop Starfield ($109): The Moondrop Starfield also has a warm tuning but it is more of a mid-focused tuning. The Starfield is a great option for those who need up-front vocals, in stark contrast to the Cat Ear Mia. Soundstage and imaging is better on the Cat Ear Mia, however. And the Starfield comes with an even worse cable so there’s that.

vs Final E4000 ($129): The Final E4000 “fixes” the lack of sub-bass on the E3000 and can be considered a wholesale upgrade in most technical aspects (soundstage/imaging/separation). The E4000 also has a detachable cable. So far so good. 

However, the amp demands are kind of overkill for such a budget device. Most phones and portable DAC/Amp dongles won’t be able to exert the full performance of the E4000. For that, you’d need a good portable amp or DAP, in stark contrast to the Cat Ear Mia.

CONCLUDING REMARKS

For a debut product, Cat Ear could’ve done far worse. However, I do wish they did quite a bit better. As of now the Cat Ear Mia is average, if not overpriced. Current price is actually $20 lower than the $100 launch price but still — it’s getting outpaced by all its peers. 

Cat Ear has nailed the industrial design (even though ergonomics need a bit more work), now I hope they focus more on the tuning side of things, and slightly better accessories won’t hurt either.

As for the Mia: I can’t wholeheartedly recommend it, alas. 

MY VERDICT

Overall Rating: 3.5/5

I find it overpriced given the performance on display

Our rating scheme explained

Contact us!

DISCLAIMER

HifiGo Store was kind enough to send the Cat Ear Mia as a review unit.

Set provided by and available for purchase from Hifigo.

Our generic standard disclaimer.

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

PHOTOGRAPHY

The post Cat Ear Mia Review (3) – Better Luck Next Time appeared first on Audio Reviews.