At-a-glance Card

Full Device Card

Test setup

Transports: Samsung smartphone and tablet, two different Windows 10 laptops, Sony NW-A55 DAP – Stock silicon eartips – 16/24bit-44.1/192KHz tracks

Physicals

Build

Sirius Pro TWS’ carry & battery recharge case is very, very nice design-wise, both in terms of aesthetics and of phyisical conception. The shell is fully metallic, with a sort of “unlockable cage” on the upper side safely keeping the buds down in their recharge position. The design follows a very well calibrated cyberpunk style, clearly clinging at such theme lovers but staying a small but decisive step “not too far” on that path, resulting in an item that can still stafely be taken out during an informal business meeting for example.

The metal case is complemented by fancy LED lighting – up to the user selecting their color by cycle-clicking on a button at the bottom, or disabling (!) them – and it’s very uncommon “open-body” shape indeed doubles as a bottlecap opener. Again: strong styles aesthetics design involved, but always with an eye at not really “overexceeding”, the result being still possibly compatible with the taste of an old somewhat conservative old european sole like myself for example. YMMV, needless to say.

I couldn’t devine what material are Sirius Pro TWS’ bud housings themselves made of – the manufacturer talks about zinc-alloy. Whatever, they are apparently very solid, and IPX5 certified which means they can bear moderate watering (like rain, or of course sweat) – no submersion or big water splashes tho so remember that when going to the beach or so.

Sliding the buds out of the battery case gets some… creativity, at least the first times you try. Their backsides are conic shaped and short, and they are almost impossible to safely grab with a fingertip pinch to pull them out both due to their shape & size and to the magnetic force applied between them and the case. The trick at least for me is to start pinching on the case (!) right below where the buds start emerging from it, and pull up while letting fingertips slide on the structure: this way they come out easilly and aergonomically as (I suppose) intended.

Access to the battery case is regulated by a metal “gate” which besides being aestheticall in-line with the overall style also serves the function of keeping the two buds safely into their case when pocketing them, and last but not least ensuring their bottomside contacts do fully match those on the receptacles, to initiate recharging when the buds are homed.

Fit

Sirius Pro TWS bud shells are very reasonably lightweight and their shape is quite anatomical. They fit easily into my ears but be warned: they need to be orientated the “right” way. Simply put, you have to make sure the “octopus legs” are pointing towards your lobe, and this for two reasons: one to get the best fit of course and two to avoid the mic hole being occluded. This is also properly mentioned on the manual (RTFM, FFS! )

Nozzles are oval shaped (à la Ikko OH1S, to give an idea) so are the bundled eartips. I must say this is one of those rare occasions where stock tips are perfect for the job. Caveat: it may be not so simple finding third party spares.

Comfort

Once properly fitted I found Sirius Pro TWS very comfy, also for prolonged usage timeframes – both listening and/or office calls. I presume this is another achievement coming from all the industrial design attention which was obviously applied to this project and product.

Tapping once on more on the housings allows the user to issue the usual commands e.g. track fwd, track backwards, play, pause, answer call, reject call, etc. Tunneling voice commands to Android assistant is also supported.

Connectivity and battery

Sirius Pro TWS support Bluetooth 5.2, but sadly only SBC and AAC codecs. No aptX, no LDAC. So forget hi-res audio in the first place with them, although as I will report more below that’s not their worse audio drawback.

Pairing with all the transports I tried them with was straightforward, no annoying bad surprises. Long-clicking the button at the bottom of the batterycase resets all BT pairing by the way.

The buds themselves turn ON when take off the battery case, and OFF when put back in. After pairing the two to a given source, they can be used together or one at a time as preferred – just leaving one of the two inside the case.

The battery-case on its turn has a USB-C port for recharging of course.

The small batteries inside the buds offer up to 4 hours of operation time, and the case can fully recharge them for 3 times, up to a theoretical autonomy of 16 hours. But : earbuds take 1.5/2h to recharge ! So if you imagine to use them continually until they are fully discharged you will have to bear a quite sizeable downtime every 3.5/4h. In more practical terms you can expect to use Sirius Pro TWS for more than a full working day (including even long commuting time) for calls, and for listening to music during free time, as long as you take them off into their case for a while every now and then to restore some juice up.

Sound analysis

As all TWS earphones/headphones, Sirius Pro of course carry their own small DAC-AMP which is in charge of analog reconstruction starting from the digital stream received via BT. Barred a few very high end (and expensive) cases, the overwhelming majority of budget-priced TWS drivers carry quite basic-quality DAC-AMP circuitry, from which of course we can’t reasonably expect top sonic results.

Sirius Pro TWS are no exception. Simply put, they offer some pleasant music rendering experience when evaluated under “non-audiophile” standards, while – like most of their peers – they fall way behind critical listening / audiophile quality standards offered by even more modestly priced wired options.

Sirius Pro TWS also carry some DSP capabilities offering the user 3 pre-set audio modes – Music, Gaming and Movie – each offering a different overall presentation which the user can switch onto on the fly by simply tapping on the buds’ housings.

Music Mode

Music Mode is probably the zero-DSP mode, i.e. the situation where I am direct listening to the unaltered Sirius Pro DAC voicing.

Tonality on Music Mode is V shaped, on a warm, dark-ish timbre.

Bass range is moderately extended, sub bass is hinted but does not deliver proper rumble. Midbass is pushed up, and too much proactive for acoustic music where it comes accross almost booming. May be liked by EDM and other non-acoustic music lovers.

Mids are evidently recessed and seriously overshadowed by the midbass. Highmids are also quite timid so even on female vocal prominent tracks the ryhtm section steals the scene to the leader. Trebles are inoffensive and unshrilling, at least that, but (quite coherently with the rest of the presentation) they clearly lack air thereby not succeeding in properly “counterbalancing” the overall experience.

Technicalities are very basic. Soundstage is intimate, with just a bit of depth. Imaging is hampered by the midbass. Microdynamics are nowhere near audiophile ballparks.

Gaming Mode

Gaming mode evidently expands the soundstage, a distributes imaging better on the X axis at least.

Midbass gets less invasive which makes at least female vocals come up more natural.

Movie Mode

Movie mode delivers a stage similar to the gaming one, and stretches (so to say) bass similarly too, so midbass is also less invasive, which is good of course.

The less good part is that mids are pushed forward and end up quite artificial from the sound fidelity perspective. Good for watching movies (as intended!), not for listening to folk singers nor jazz or most pop stuff of course.

Latency

Latency is very modest, and simply put it does not get in the way any seriously when watching movies. And that’s good.

While gaming… well, it depends on gaming levels. I expect an hardcore FPS gamer to underline the ever so slight delay Sirius Pro TWS deliver, but then again that individual would probably not choose a similar pair of TWS buds for his most engaging plays anyway.

Calls

I could quite successfully use Sirius Pro TWS for business calls, and I was very positively surprised by that.

As previously mentioned, it’s crucial to appropriately orientate the housings into the ears to get the best fit and properly expose the mic’s hole (again: RTFM). When that is taken care of, mic quality and Environment Noise Cancellation (ENC) is above decent at the very least – not comparable with professional vertical products of course, but way beyond usable.

On calls I ended up preferring Sirius Pro TWS on Gaming mode in terms of vocal quality.

Specifications (declared)

Considerations & conclusions

TWS earphones are no doubt a huge technical challenge in terms of achieving true audiophile results, comparable with wired alternatives.

Firstly, there ain’t such thing as “lossless BT communication” so that is an apriori negative bias no matter what technology or competence goes into the buds themselves.

Even more importantly, by definition TWS earphones must carry their own DAC-AMP. Think to how much did you spend for your DAC and your AMP, and/or for your DAP, add the cost of your preferred IEMs, then compare that with the budget you are investing into a pair of TWS IEMs : this will give you a rough measure of the expectations you may reasonably set in terms of output quality from TWS buds.

Indeed, it’s even worse than that: earbuds are small. The smaller the size, the more complicated (and sometimes impossible) it is to fit truly high quality DAC and especially AMP technology in.

With all the above in mind, looking at their asked price Gravastar Sirius Pro TWS are a wonderful piece of industrial design in terms of construction, ergonomics, features set and not least aesthetics (although carrying a definitely sided style at that). On the flip side they evidently lag behind in terms of pure hires sound reproduction quality – which I quite simply rate “no audiophile grade” – and make themselves more appreciated as a multipurpose music, office calls, gaming, movie watching audio gadget instead.

The Sirius Pro TWS set I assessed have been provided free of charge by Gravastar Europe, to whom my thanks goes for the consideration and the trust. They can be purchased from Gravastar web site, here. 16% off with discount code AUDIOREVIEWS.

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The post Gravastar Sirius Pro TWS Review – Wonderfully Industrial appeared first on Audio Reviews.

Cons — Steep app learning curve to take advantage of all features; no storage bag; buttons could be marked better.

Executive Summary

Introduction

I have yet to find another company that has so much customer satisfaction and loyalty as Qudelix. Long before I even thought about the Qudelix-5K , happy customers were all over me inquiring whether I had checked out this device.

And once I finally “gave in” to peer pressure, I learnt that there is probably hardly another company with so much pride in their products, so much detail in optimizing functionality and documentation thereof, and such a responsive and enthusiastic customer service. And yes, I needed their customer service as I didn’t know much about Bluetooth at the time – now I know everything…almost.

Qudelix are an audio-system engineering company that develop and produce affordable high-end audio in the Republic of Korea – which is a high-cost market. It is therefore astonishing that they can offer their gear at attractive prices. They offer the 5K USB DAC, the QX-over earphones to go with the 5K, and the T71 gaming USB DAC.

Key Specifications

Physicals

The environmentally sustainable packaging – a plain cardboard box (dimensions 91 x 55 x 55 mm; QX-Over comes in a box of the same dimensions) – contains the quickstart user manual. In the box are the 5K and two 120 mm cables (USB-C to USB-A and USB-C to USB-C).

The actual Qudelix-5K itself a rectangular plastic box with a metal shirt clip at approximately the size/dimensions of a 9V battery…(52.8 x 26.7 x 15.6 mm including clip – at a weight of 25 g). The enclosure hosts two double multi-function buttons, a USB-C port, and two headphone sockets (3.5 mm single ended and 2.5 mm balanced.

Technology

ES9219C Headphone SoC

The Qudelix-5K DAC/amp deploys a ES9219C Headphone system on chip or “SoC“ [see also ESS specs sheet]. Earlier versions of the 5K hosted the ES9018p SoC until it was discontinued by ESS Technology. Qudelix prefer to refer to the SoC as IC (integrated circuit).

SoC means that the ES90219C is a closed system that incorporates the DAC and headphone amp on the same chip. The sound is therefore pretty much prefabricated and devices with this SoC all sound rather similar. This is in contrast to individual DAC chips (on other devices), which do not tell you anything about sound as it mostly depends on the custom-designed output stages. Qudelix’s added software aims to access all features of the ES90219C.

Bluetooth 5.0

The Qualcomm QCC5124 SoC used is an energy-efficient Bluetooth DAC/amp that supports all the latest audio codecs including the Sony LDAC topping the data transmission rates. The codecs deployed has to match the one used by the source device. The QCC5124 SoC can process both Bluetooth and USB signals. When the Qudelix app is enabled (see below) iOS devices and 5K pair automatically.

In summary, we have two independent SoCs, the QCC5124 and the ES9219C. The incoming Bluetooth signal is decoded but bypasses the Qualcomm’s DAC – and outputs it to the higher-quality external ESS9219C DAC/amp.

Functionality and Operation

Overview

What the 5K does:

• works as wireless receiver supporting all the latest Bluetooth codecs
• as USB DAC/amp, the 5K supports 96 kHz/24 bit USB audio streaming, works with Windows, Mac OS, and Linux – and connects via USB-C to android phones
• functionality and sound can be highly customized via a phone/tablet app or Google Chrome extension
• plays hi res music from my Sony dap via LDAC
• can simultaneously be charged and streamed to from computer while being controlled from phone via Bluetooth
• Bluetooth connects automatically to iPhone (when app is connected)
• sound can be adapted to personal taste with 8 DAC filters
• features graphic and parametric equalizers, including presets for many of the most widespread models
• offers powerful output with two gain levels (1 Vrms and 2 Vrms)
• features a built-in high-sensitivity microphone for phone calls
• automatic firmware update

What it does not:

• decode MQA
• have a display
• come with a protective case

Buttons & App/Chrome Browser Extension

The Qudelix-5K has a two multifunction double-buttons (red and blue if illuminated) that control Bluetooth connectivity, onboard volume, and song transport (start/stop/back/forth). They are not marked (one of them has a ridge for touch recognition…but you have to remember which one it is…it is the blue one).

There is also a free mobile app (Android/iOS) and a Google Chrome browser extension for remotely monitoring and adjusting/changing performance/parameters. Both have the same functionalities. The Qudelix mobile app works over Bluetooth link only. The Qudelix PC Chrome app works over USB link only.

In detail, you can monitor device and system internals such as the kind of connection, Firmware, even warranty. You can power the device off, pair with peripherals, do resets, access the user manual, and get in contact with customer support and the Qudelix discussion forum.

You can monitor the battery including all stats and set charge levels as well as power modes. You can even set the button functionalities including turning on and off the button’s LEDs and enable multi-point pairing if desired. The charger function can be turned off in the app, which is necessary for USB operation with iPhone – as Apple only allows 100 mA current draw (but why would you want to do that?).

You can prioritize USB vs. Bluetooth, further monitor input parameters (bit rate, sample rate, RMS levels etc.), the active Bluetooth codecs/USB DAC functions, and set the microphone functionality. You can adjust volume on both host device and 5K.

And you can adjust the DAC/amp bit selecting output power (1 or 2 VRMS) and output quality (Standard/Performance) as a way to manage battery consumption. You can set the output mode to auto, balanced, single ended (unbalanced), or QX-over (the proprietary iems). You can even swap L and R channels…handy, when testing earphone balance.

Finally, the ESS9219C SoC lets you choose between 8 digital filters (best start with “minimum phase fast/small rolloff”). The QX-over has its own extra tweakability in the app.

Last but not least, there is a choice of parametric and graphic 10-band equalizers with 10 programmable presets. The app also provides access to a user-maintained public database with auto eq presets for all popular earphone models…hundreds of choices.

In summary, the app is a nerd’s paradise. You find a complete operational overview here.

Power Consumption/Battery Life

The Qudelix-5K hosts a 500 mAh lithium polymer battery. At a rate of 200 mAh, it is fully charged in 2.5 hrs. The battery discharge time varies with codec, sample rate, power profile, output mode as well as earphone/headphone sensitivity and output volume level.

Depending on combinations of these factors, battery life is between 6 and 18 hours. Check here for a detailed breakdown.

Amplification

Single-ended and balanced outputs features 80 mW and 240 mW per channel, respectively. Each of the circuits has two modes (or gains). Single ended features 1V_RMS mode for “normal” iems around 32 ohm. 2_VRMS mode drives low-sensitivity iems and headphones.

The balanced circuit offers more powerful 2V_RMS and 4V_RMS modes. All these modes are user selectable.

Full-sized headphones obviously prefer the more powerful balanced circuit, however, balanced cables for them are hard to find – and if so, they are not swappable between headphones, as there is no connection standard. Paradoxically, cables of easier-to-drive iems adhere to two standards (MMCX and 0.78 mm, 2 pin) and balanced cables are readily and cheaply available for them.

In real life, the 5K’s single ended circuit drives my 150 ohm Sennheiser HD 25 with ease, but the 300 ohm Sennheiser HD 600 bring it close to its knees. The balance circuit played any iem thrown at it – and more.

Wrong world!

Sound

The Qudelix-5K is primarily designed as a Bluetooth receiver for on the go. Hence functionality is above audiophile fine tuning. The ES9219C SoC with DAC and amp delivers a prefabricated sonic signature as it is impossible to manipulate the amp part other than through unleashing the functionality via custom software. Therefore, all devices with this SoC will sound similar.

That said the Qudelix-5K features a neutral sound with a tad of warmth added. The big difference between USB and Bluetooth sound is that Bluetooth sacrifices some dynamics and depth.

Extension is decent at both ends, there is nothing scratchy or strident, note weight is very good, note definition is ok. My overall impression is…middle of the road…not the most audiophile but more than workable – and enjoyable. Imaging, resolution, clarity, staging are all good and even great for the price. Headroom with the balanced circuit is excellent.

Considering the ambient sounds one is exposed to on the road, the 5K’s musical presentation is more than adequate and actually quite delightful – even more so when combined with the functionality.

So what do you get in a $250 DAC/amp such as the Questyle M15? First, no Bluetooth…but better midrange clarity, more “zing”, more intimacy, better note definition, a better organized stage…and a bigger battery drain on your phone.

Both kinds of devices clearly serve different purposes. One for the soft sofa at home and the other for the hard seat on the bus.

QX-Over Earphones

The $29 QX-Over earphones are another one of Qudelix’s technical specialties – they only fit the 5K and T71. The iems feature two 8 mm dynamic drivers and utilize the 5K’s active crossover as part of its 4-channel DAC/amp and DSP for optimal sound quality.

The QX-Over therefore features a double plug that is inserted simultaneously into the 2.5 mm and 3.5 mm sockets. Using the stock tips is required to unleash the intended sound signature.

The QX-Over have a safe, V-shaped, slightly warm tuning with a huge headroom and great staging (obviously the result of the proprietary crossover technology). Again, no audiophile delicatesse, but a decent burger fare: an unpretentious souped-up mainstream iem that is optimized for the 5K.

They have tight enough bass with a good sub-bass extension generating a healthy rumble. Vocals are not too recessed, they are a bit on the lean side but still have enough body. There can be the occasional shoutiness. Treble extension is not the greatest and high notes can be a bit subtle.

The OX-Over are quite quirky in terms of dynamics and clarity is also good. Seriously, although quite middle-of-the-road, the QX-Over completely do the job outside of the house (in…errmm..the middle of the road). Even inside: I danced around my kitchen with them while unloading the dishwasher. I definitely recommend this experience as an add-one to the 5K.

Comparison to FiiO BTR5

The $129 FiiO BTR5 features the same ES919C SoC as the 5K, and both presumably sound very similar. Qudelix released a comparison pdf (that is in need of minor updating).

The main differences between the two devices, apart from price, are weight (BTR is much heavier), battery life (5K much better), native resolution (BTR up to 32 bit/384 kHz), and app/Chrome extension (5K much more customizable). Qudelix 5K has a resolution of up to 24 bit/96 kHz (just like the AudioQuest DragonFly Cobalt), which covers 95% of all audio files).

Another huge difference is the customer support. FiiO have never replied to any message of us at audioreviews.org authors whereas Qudelix have a short turnaround time with dedicated support.

Concluding Remarks

The Qudelix-5K is probably one of the most mature products on the market and bears zero risk to the buyer. No wonder it enjoys an excellent customer satisfaction.

One of my personal highlights is that it turned my Sony NW-A55 dap into a balanced player.

Apart from great sound and functionality, the free tweaking/monitoring app is a great teaching medium. Sure, the 5K can’t compete with $300 competitors, but it is still good enough to be used even with premium earphones – and it is simply perfect for use on the road.

Oh, and I highly recommend ordering the QX-Over earphones as add-on.

I am going to recommend the Qudelix-5K for induction to our Wall of Excellence.

Until next time…keep on listening!

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Disclaimer

The Qudelix-5K was provided by the company for review upon my request – and the QX-Over showed up as a surprise. And I thank them for that as well as for answering all my questions patiently and in every detail.

You can get the 5K and QX-Over from amazon and directly from Qudelix Store.

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The post Qudelix-5K Bluetooth DAC/amp With QX-Over Earphones Review – Highest Pragmatism appeared first on Audio Reviews.

INTRO

For those not familiar with the Drop Grell TWS1X, Grell was founded by one of Sennheiser’s top designers Axel Grell so there are high expectations from those aware of the association. For the rest they might be unaware of the wonderful products Sennheiser has created throughout the years.

If you peruse their about page it reads just like any other direct to consumer breakout brand forked out of a legendary following, promises of high quality parts, cutting edge tech, but with a direct to consumer pricing model.

Ever been in one of those relationships that you do not know how to describe and default to the cliche- It’s complicated? That is how I feel about the Drop Grell TWS1X. The sound is another wonderfully tuned Harman profile with lower bass boost absent of midrange bleed, a mild treble plateau that gradually fades with good technical abilities and features that sport a working ANC feature set.

Disclaimer: Thanks go out to Drop sending a free pair and for trusting me to review these as a first time product for Audioreviews. I hope they are not too let down by my critique, but we also need to be honest to readers-no sides taken. Price as tested $200. Tested with Firmware version 2.8.0

GOOD TRAITS

• Harman Sound Profile
• Small Wireless Charging case, also USB-C
• Case Charge level indicator
• Transparency Mode
• ANC/NAR mode works well
• IPX4 Splash Proof

NEEDS IMPROVEMENT

• Manual not descriptive enough a quick start guide with universal pictures, but no manual to describe the features or SoundID.
• Fast Battery drain during storage
• Fitment-short nozzle stem
• Awkward pairing issues, sometimes only one connects if you put the wrong side in first.
• Storage orientation is opposite (Left earpiece on the right, Right earpiece on the left)

MODES

There are essentially 4 modes of operation

1. Normal (Transparency Off, ANC Off)
2. Transparency On
3. ANC ON
4. ANC ON + NAR ON

ANC, NAR and Transparent modes are not explained in the manual other than how to switch them on/off
Transparent is fairly obvious for an experienced user, but not a novice.
ANC=Automatic Noise Cancellation
NAR=Noise Annoyance Reduction (Not much information on what this does)
Switching between the modes is weird. Sometimes it says ANC on/off, other times it says NAR on/off with a 1 sec hold.
Pop noise when turning ANC mode ON.

COMFORT / CONTROLS

I don’t own a lot of wireless IEM’s because I have trouble keeping them in place. My only other pair is the wonderfully fabulous Sony WF-1000XM3, but even those I struggle with to keep them in place. I prefer something that locks in place in my ears.

So this is a bias I have and wanted to point out the Drop Grell TWS1X does not make this better. The stems are short, the ear wings don’t seem to help, and therefore I had to resort to using foam eartips which was still not enough to keep them in place if in moving around situations.

The controls on the Drop Grell TWS1X are divided amongst both sides so that volume (right side) and track changes (left side) are not confused with each other. In addition to that, Play/Pause on the right, and ANC/Transparency single taps are on the left. Upon inserting them into your ears, there is not much area to grip and I found myself cycling through modes as I inserted them or activating Google Search.

The responsiveness of the touch sensor was about equivalent to the Sony WF-1000XM3, however there were times I wish they would pause sooner. I had seen discussion that there is some delay to prevent unwanted commands from occurring.

Note: Firmware updates for the Drop Grell TWS1X are done through the SoundID app, which also allows a user to apply a personal EQ to earphones in their database, which is quite large. It appears to be similar to an app called Neutralizer. The SoundID app is a Sonarworks product, and not specific to the Drop Grell TWS1X.

PACKAGE CONTENTS

• Charging case with Wireless Charging
• USB-A to USB-C charging cable
• 3 pairs of silicone eartips (S, M, L)
• 2 pairs of foam eartips (M, L)
• 3 pairs of wingtips (various fits)

SOUND

Ok having moved past the hiccups with operation, the sound of the Drop Grell TWS1X is quite enjoyable. With modern music the bass blooms in the bottom end, yet I sense some compression action occurring most likely from the built in amplifier. With music that does not utilize the lower octaves, it comes of sounding balanced and tighter.

Activating the ANC mode adds even more echoing bass boost which again is fairly typical of ANC earphones that are designed to cancel out constant noise signals typically centered throughout the bass region and lower midrange.

Airplanes, public transport and lawn mowers are typical good uses. Since the boost is focused purely towards the bottom octaves, they avoid bleeding into the lower midrange.

Midrange is set forward, with a very intimate dry sound. Treble has good presence keeping things lively and delicate at the same time. Peaks and such are well controlled, for me the treble is the star of the tuning.

If I had to nitpick perhaps it could use a sprinkle of more airiness. Strings, flutes and cymbals are very natural sounding. If ANC is active and the NAR is turned on, I pick up some boost in the treble as well but it could all depend on what the ANC is trying to cancel out too. The NAR is sort of a mystery.

TECHNICALITIES

Timbre is fairly close to natural, the Drop Grell TWS1X favors width over depth, imaging is excellent and spacing is clearly delineated. Height information is mostly maintained on a level plane, with average lift. Volume is limited on these, occasionally I would catch them quickly ramping the volume down when activating the ANC as if they could play louder if allowed.

Transparency mode is useful in an office setting, or possibly in an active usage scenario, however as mentioned before I could not get them to stay in place with even a simple walking exercise.

The microphones are very sensitive so they pick up wind noise and whispers sound unsettling loud. You could potentially ASMR yourself using the transparency mode. I would like to see if this could be simmered down with future firmware updates maybe?

COMPARISON

Sony WF-1000XM3 (Discontinued street prices $50-150)

While both the Drop Grell TWS1X and the Sony WF-1000XM3 both utilize apps to control and EQ, the Sony requires the app to control the earphone settings. There is no way to access some of the features without the app.

The Drop Grell TWS1X on the other hand allows you to cycle through the different listening modes on the earphones themselves. The WF-1000XM3 is fully customize-able for the transparency mode though.

The Drop Grell TWS1X sounds more balanced than the V signature of the WF-1000XM3. Mids sound recessed on the Sony after listening to the Grell. The Grell also has a more rounded treble that allows many instruments to shine as opposed to the one note treble feel of the Sony.

The Drop Grell TWS1X has wireless charging while the Sony does not (winner TWS1X), but then fails on battery drain just from sitting around (winner 1000XM3). This seems like a toss up, except its more of a nuisance to grab a pair of dead earphones then be inconvenienced by having to plug them in to charge.

There is one final thing to note, when I bought my Sony I did some research that technically the battery can be replaced if you are handy. I don’t know if the Drop Grell TWS1X battery can be accessed without destroying the earphones. I might just be a nerd in this regard to worry about such silly things, but something to think about in our throw away society.

COMPLETION

Most of my concerns (and others) for the Drop Grell TWS1X appear to be the user experience, so if you can overlook the functionality quirks they are a wonderfully sounding set with nice features comparable to the Sony WF-1000XM3.

I know they are trying real hard to work through peoples’ concerns on head-fi and Drop so that is a glass half full half empty scenario. They are receptive to solving people problems, but it would be nice if there were no bugginess in the first place, I am referring to the single side pairing conundrum.

My two biggest gotchas are fitment and battery drain. Nothing more frustrating than having to charge them once a week even if not using them. However my biggest disappointment is that I cannot use them in more active situations.

This is the most frustrating part for me because the sound tuning is excellent and the ANC passed my lawn mower test. So if you plan to use them in a stationary situation that requires ANC or even just wireless usage, and don’t care much about the battery drain these are a wonderful set of wireless ANC IEMS.

SPECIFICATIONS

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DISCLAIMER

Get it direct from DROP.

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About my measurements.

The post Drop Grell TWS1X Review – Ambition Meet Frustration appeared first on Audio Reviews.

So the Mifo would really have to sound good to justify the tariff, in which regard the Mifo are decidedly a mixed bag. Signature is generally mid-centric, with limited extension at both extremes (there’s some subbass thump, but midbass is conspicuously lacking in depth and quantity), with a narrow stage that tends to place the performers towards the center. Timbre is slightly anemic but quite accurate—guitars and voices are well-articulated and there’s no high-end sharpness or glare.

But (and this is a big but), the output on the Mifo is wholly inadequate—you need to max out the volume to get any sort of presence, and even then these lack snap and energy. Much cheaper buds like Lypertek Tevi or Soundpeats H1 sound a little more processed, but are otherwise more impactful, louder and far more engaging, while a comparably-priced mainstream piece like the Galaxy Buds isn’t necessarily better tonally, but has much better bass quality, much more high end detail and far superior UI.

TBH, I don’t get who Mifo is targeting with the S—they’re too pricey for kids, too feature-less for technophiles and, despite the pleasing tonality, are neither tuned for consumers nor for audiophiles. It does seem that Mifo’s prior releases have garnered some praise, and I’d hope that future iterations enhance the bass, widen the soundstage and, above all, crank up the volume. For now, though, these are a hard pass.

Disclaimer: sent free for review purposes by Mifo.

Product Page: Mifo S

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Bluetooth & TWS

Mifo S

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The central gimmick of the MW50+ is interchangeable, magnetic on-ear/over-ear pads, which are extremely easy to swap out. As others have noted, however, the over-ear pads tend to come loose and, other than providing slightly better isolation, don’t sound as good as the on-ear pads, which enhance the bass presence and  expand soundstage. (My impressions below are based on the on-ear setup).

The MW50+ are undeniably purty leather-and-metal things, with nary a scrap of plastic in sight. Fit is secure and long-term comfort pretty good, although they do have some clamping force and feel somewhat heavier than their specified 205g weight. Battery life of 16hrs. is well below the norm, but connectivity and range are solid. There’s no app or ANC, though I found these adequate for gym use. The dimunitive control buttons are extremely hard to find and use.

Soundwise, the MW50+ immediately register as a bass-boosted reverse-L, with a warm thick tonality, a very wide soundstage and good stereo imaging—it’s a surprisingly party-hearty, consumer tuning which makes no pretense of accuracy. Low end is voluminous if not super-deep and just barely avoids sounding boomy or bleeding into the full-sounding mids.  High end rolls off fairly early but avoids stridency or coarsness –these miss some microdetail and drums sound slightly veiled.  Timbre isn’t the most lifelike—everything sounds a little juiced up—but fairly analog, especially in wired mode.

The bass remains the Achilles heel of the MW50+–it’s actually pretty well sculpted, but there’s just too much of it, which gives an incoherence to the proceedings—these tend to sound more like a big sub w/small satellites than an integrated full range speaker. The MW50+ sound richer and better than the Apple or Bose 700 over-ears, but substantially trail the better-integrated $350 Sony XM4, which also has vastly better UI and tech.

Likewise, the AKG N60 (originally $249 but widely available for $60) are better-tuned and cleaner sounding, with more tonal accuracy and less intrusive low end, while my trusty Status Audio BT One (which feel like a cheap plastic knockoff compared to the elegant, lavishly built MW50+) sound less refined and resolving at the high end but otherwise hold up pretty well for $99. For all their flaws, at the $129 ticket I’m not unhappy with the MW50+–they have a certain toe-tapping quality and rock unapologetically.

However, I’m sure I’d be more dismissive if they didn’t look so luxurious or if I’d paid the list price. Not a purist set, but fashionistas will enjoy

Non-Disclaimer: bought them myself. Product page: Master & Dynamic

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Bluetooth & TWS

12

MW50+ Wireless Bluetooth Headphones

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At-a-glance Card

Features and description

Externals

The Go Blu is a minuscle device, approximately the size of a 9V battery but much lighter in weight (just 26g).

It carries an on-off button, an options button, and a volume knob which also has a button as its central part.

Phone outs, and a status LED are on the top side of the device. On the bottom there is the USB-C port, the microphone hole, the power LED, and a futher pin hole for hard reset.

The accessories package is quite limited: GO Blu comes with just a short USB-A/USB-C cable and a soft carry pouch. No USB-C/USB-C cable, let alone Apple cable are included, nor – oddly enough – a shirt clip is bundled inside the box.

Internals

Unlike so many competitive alternatives on the market, GO Blu is not designed around one of those “single chip does it all” items, but is rather a fully articulated dac-amp device, with separate communication, dac and amp sections, just “miniaturised” to fit an extremely small and lightweight footprint.

Connectivity is assigned to Qualcomm’s QCC5100 chip, the latest or one of the latest releases in its class by the wireless techology leader. The DAC section is centered on a 32-bit Cirrus CS43131 chip, sided by a separate hi quality precision clock. The amp section follows a full dual-mono design, and exploits some iFi proprietary technology called “Direct Drive” whereby they avoid using output coupling capacitors to get an even cleaner result on even other conditions.

Input specs are quite limited in terms of accepted formats: just PCM and only until 24bit / 96KHz. No higher res PCM. No native DSD. No MQA. The meta-message by iFi is quite evident here: focus on doing less, at higher quality.

Output specs (find them all here) are quite impressive: up to 5.6V @ 600ohm load on balanced output (half of that on single ended) and a promising 245mW @ 32ohm load on the opposite end (always on BE). Output impedance is below 1 ohm on both ports.

There’s a 6dB gain which is applied “automatically” as volume goes up – read more under Volume Control, here below.

The on-board battery while small features 450mAh capacity, and offered me – based on my typically low-ish playback volume, and always top-rank digital resolution – around 9-10 hours of operation.

Input

GO Blu is mainly conceived as a BT DAC-AMP device, and BT performance is in facts ace both in terms of features and results. The pairing process is straightforward and I had no problem with any of my owned devices (phones, computers).

GO Blu supports BT 5.1, and a whopping array of different codecs including AAC, AptX (Adaptive, HD and Low Latency), LDAC and LHDC/HWA. The LDAC/96 implementation in particular is very solid and – when paired to another known-good-LDAC capable device – I was able to get at least 10 meters away on open path, or 7-8 meters with 2 walls in the middle, with zero dropouts.

The USB-C port on the bottom of GO Blu main body can be also used as a digital input. Again, connectivity proved straightforward both when attached to my PC (directly, and via the Nano iUSB) or to my Android devices – on which I use 3rd party sw players e.g. UAPP and Roon.

Didn’t try Apple ecosystem devices, which are declared as fully supported nonetheless.

Existing connectivity type will take priority: if GO Blu is connected somewhere via BT, a subsequently established USB connection will “not to work” – and similarly, if I have GO Blu on BT pairing mode, but not yet BT-connected to anything, plugging it into a USB data source will kill the BT pairing process, which will not resume for as long as the USB link stays on.

Finally, GO Blu has a very good working microphone on its bottom, which is straightforwardly used for calls and phone assistant interaction. The mic quality is above average at the very least, and Qualcomm’s built-in ANC works a charm: I could use it as an office tool for a while with great satisfaction.

When using GO Blu as a bi-way communication device, short-pressing once on the volume knob’s central button answers the incoming call. Long-pressing ends the call, or activates the phone assistant.

Output

GO Blu comes with two phone output alternatives: a Balanced 4.4mm option and a 3.5mm Single Ended (S-Balanced, actually). The former is by all means the one to go for whenever possible – more on this later.

Neither is configurable as a pure Line Out.

Volume and gain control

The volume knob is apparently well designed and feels solid and precise. iFi is particularly proud on the Swiss tech they added on that, I got no competence to confirm or dismiss but a fact is I couldnt appreciate any audible volume unbalance above 2% or something, and I did witness supersmooth and cracklefree operation for my entire (long!) assessment period.

On the GO Blu iFi chose to integrate gain control within the volume knob excursion – they call it “automatic gain”. In a nutshell, GO Blu is offering low gain until 60% volume level, then it quickly applies a +6dB gain from there on.

In general, I’m not a high gain fan to say the least: the higher the gain, the higher the compression especially on budget (read: sub-multibuck) class devices. High gain to me can and should be used with high impedance loads only, and that’s why I don’t particularly mind having a classical separate “gain switch” for that.

On the other hand I do see the point iFi designers are making on seamlessly integrating gain and volume controls, clinging at non-specialistic users who will simply not want to care on learning why and how they should or should not engage High Gain, and just want a device that “does it right, automatically”.

What makes the equation solve correctly in GO Blu case is that that little device delivers a whopping high level of current already at low volume marks. Which means that most if not all mid & low impedance devices I connected to GO Blu went nicely loud and dynamic (!) already at moderate (way sub 50%) volume levels, thus never needing to engage the High Gain mode. Plugging my HD600 required a deeper volume knob excursion, and -correctly- ended up into +6dB gain territory. Good job!

Other features

Software and Firmware

Like all iFi devices GO Blu allows for easy user-operated firmware flashing. In this specific case, operations can exclusively carried out from an Anroid host though, so be aware!

There’s currently only one GO Blu firmware version available, released last January 2022 – which must be flashed in should the device come with an earlier version as previous one(s) were, frankly, buggy as hell.

On the other hand, iFi offers no host software to remote-control / remote-configure GO Blu. Nothing in the line of what E1DA does for 9038x, or Fiio for BTRx, etc is available. Too bad.

Alternative reconstruction filters

GO Blu firmware includes a sort of “easter-egg”, allowing the user to switch onto an alternative DAC reconstruction filter by following an undocumented button-pressing sequence.

To access such feature one needs to turn on and connect Go Blu (BT or wired, doesn’t matter), then triple-short-press the Power Button. At this point, single short-pressing the Options button (the one below the Volume knob) will toggle between two DAC filter alternatives:

• Minimum phase filter (upper LED turns Purple)
• Standard filter (upper LED turns Green)

The setting is saved, and will resist powering the GO Blu down.

XBASS and XSPACE

On the GO Blu too iFi added two of their most appreciated “extras”, namely XBASS and XSPACE.

Both implemented on the time domain – i.e. on the already calculated analog output coming off the DAC – for superior quality results, XBASS is a bass/sub-bass enhancer, i.e. a filter enhancing all bass frequencies without impacting on the rest of the presentation, while XSPACE is a crossfeed filter, i.e. a system whereby, vulgarly speaking, “a bit” of the left channel sound will be hearable on your right channel too, and viceversa, which brings the headphone/earphone listening experience closer to that of full size speakers of course.

Both are great to have – especially on such a modest budget device – and being a late-50ies / 60ies acoustic jazz lover I’m especially fond of XSPACE, which “magically” compensates on many of those early stereo hard-panned masters with John Coltrane “fully stuck to the left”, for example, making them even more enjoyable.

To activate XBASS and/or XSPACE all it takes is to cycle-press the options button on the right side of the device, just below the volume knob. 1 press = XBASS, 2 presses = XSPACE, 3 presses = both, 4 presses = reset to none. The options led on top, near the 4.4 port, will light of a different color accordingly.

Sound

GO Blu sounds seriously well.

The presentation range is very well extended both down low and up high, notes have very good body accross the board, and a particular mention is deserved by bass being very controlled. Highmids come accross a tad too evident, on the other end. Trebles are way airier than one may expect from such a small – therefore necessarily hw-limited – device. Perhaps most importantly, instrument separation and microdynamics are nothing short of outstanding.

Comparing by memory (I sold my unit quite some months ago) with an overall similar-featured device, GO Blu sounds significantly better than Fiio BTR5 for example : definitely cleaner, more extended, more macro and micro-dynamical.

Comparing instead with a different-featured but similarly priced device by the same manufacturer, GO Blu’s presentation is not the same as Hip-Dac – the latter is warmer down low, and less hot up high – although the “general sound quality” impression I can get from either is definitely on the same league.

As for probably 95% of sub-1K$ devices I auditioned to date, on Go Blu too single-ended output delivers much lesser quality than the balanced option next to it.  Simply put, I would recommend Go Blu for Balanced only – and skip it if your main drivers are all single-ended and you don’t want to (or can!) plan on swapping cables.

Some caveats now.

One: In spite of a quite low output impedance (below 1 ohm), GO Blu’s Balanced output produces significant hiss on very low impedance + high sensitivity loads (Andromeda and such).

Two: GO Blu’s USB connection does and will charge the battery while playing, when connected to a host providing power on the VBUS wire. As a consequence, USB-connecting GO Blu directly to my PC produces audibly worse (closer, more compressed, less dynamical) output compared to connecting it through my Nano iUSB3, or to a battery-powered pure transport (eg a Tempotec V1).

Some educational pairings

Final E3000

I would call this an unreal pair in terms of amping authority, if it weren’t for the fact that E3000’s fixed cabling forces me into the Single Ended option on the GO Blu, and sadly it shows. With that being said, GO Blu’s amping module makes E3000 open up and sing quite well, so much as to make the pair an incredibly good “compromise option” e.g. when adopting GO Blu as a BT device and mid-fi digital sources e.g Spotify or similar.

Final E5000

Not the best pair in the world at all for those but waaaay better than so many alternatives. E5000 is the empyric proof, if one is ever needed, of how vivid current GO Blu outputs already at very low volume positions, making E5000’s bass not “melting” into a too dark presentation as on most other lowcost stuff I heard it on. Very well done here.

Sennheiser HD600

GO Blu drives HD600 with great authority powerwise, even from the single ended out which is the sole I could test as I don’t care putting a balanced cable on my HD600, Groove pair being endgame for those at my place. GO Blu’s “automatic gain” works greatly here.

Considerations & conclusions

The main thing about GO Blu is that, quite simply, it sounds surprisingly good – especially so via its Balanced Ended output, which is the part I would recommend it for anytime really.

This little kid impressed me quite a lot for its very good DAC reconstruction quality, its more than decently clean amping stage, its capacity to drive low impedance and high impedance loads equally well, and the incredible life it delivers to most of my drivers.

Weren’t this enough add supersolid BT 5.1 (!) connectivity, XBASS and (to me, especially) XSPACE, and great performance for office calls, too.

What else can one want? The man on the road would probably, and justly, respond “nothing, just take my money now”.

I’m an old grumpy fellow so I always go around looking for flipsides, and GO Blu does have a few of course too:  Single Ended output quality is rather unimpressive for one; output power although good is not enough for planars and such; Balanced output hisses off on very low impedance loads; well… that’s it really.

Also due to some unwanted external interferences I got in the past months, I took my sweet time assessing this device and I feel I need to particularly thank iFi Audio for the patience they had after supplying my loaner review unit back last december already!

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SuperEQ S1 ANC TWS Headphones

Very large and  very garish-looking (with the addled slogan “Be Free Be Young” embossed on the headband), the Beats-inspired SuperEQ S1 are nonetheless well-built, light, and comfortable. Pairing was instantaneous and connectivity good; the physical control buttons are well-placed and easy to master.

ANC on these is, at least from the standpoint of noise-cancellation, quite impressive—especially since the large pleather pads seal very tightly, virtually no outside noise intrudes. Feature set is otherwise pretty basic—micro-USB charging,  Bluetooth 5.0, no AptX, no app—but battery life is very good.

With ANC enabled the S1 sound is noticeably compressed—a bright artificial-sounding V-shape with deep boomy bass, a conspicuous midrange dip and rolled-off, billowy high end.

Disabling ANC improves matters markedly—low end is still thumpy but better etched, while midrange sounds warmer, fuller, and more dynamic, and treble is more extended and detailed.

Tonality is still somewhat synthetic and drums lack some snap (these are, after all, $50 phones), but they actually work well for movies and podcasts, with a physicality and fullness that keeps you engaged. In practice, the passive isolation on these is so good that I felt no need to use the ANC.

The S1 surprise in a couple of regards. First, soundstage is impressively wide and enveloping, with good height, almost like an open-back wired set. Secondly, their wooly bass notwithstanding, stereo imaging and instrument placement are accurate, and complex arrangements are well sorted-out.  

Frankly, the S1 aren’t sonically far off from the far pricier Beats Studio, which have tighter low end but an otherwise similarly expansive stage and metallic timbre.

The S1 won’t appease audiophiles and their aesthetic seems purposely designed to alienate anyone older than 13. That said, they have their sonic virtues and, as a knockabout set will get you through the lawnmowing as well as anything.

SuperEQ Q2 Pro ANC TWS Earbuds

The SuperEQ Q2 Pro buds sport the more modern Bluetooth 5.2 codec, as well as ANC; however noise-cancelling is compromised by their large bulbous shape, which provides for less-than-optimal comfort and seal. I found the touch controls unresponsive and frustrating (there’s no volume control) and connection to my phone was fitful.

Soundwise, the Q2 Pro present an energetic L-shape with massive, subwoofer-style bass which packs plenty of visceral punch but lacks tautness and, at least, on less-heavy genres, is over-emphaiszed.

Midrange is full-bodied and very clear, while treble (in contrast to the over-ears) is crisp, with considerable extension and sparkle; percussion is unexpectedly  well-reproduced and subtle microdetails are present (note that as with the S1, the Q2 sounded less compressed and more revealing with ANC off).

Soundstage is within-your-head, with limited height but pretty good imaging; instruments are cleanly separated. Tonality is somewhat aggressive and ballsy—these lack the aliveness of pricier Sennheiser or Cambridge, and can be exhausting, but the Q2 work well for techno and hiphoppy fare, with a real toe-tapping quality.

Purely on their musical merits, I’d rate these on a par with my previous <$50 go-to, the Fiil T1XS, which has a similarly thumpy low end but good clarity and energetic presentation, although pricier pieces like the Lypertek Tevi and Status Between Pro have better-tamed bass and more overall refinement.

Despite their overdone megabass, both the S1 and Q2 sound better than their cut-rate price point would suggest and most non-critical listeners will find these more than adequate. 

If pushed to buy just one, I’d probably opt for the S1, which has less natural timbre than the buds, but better controls and UI. In any event, neither of these are the expected generic junk — SuperEQ is off to a solid start and I’d fully expect future iterations to be even better.

Visit the SuperEQ store on amazon.com.

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Bluetooth & TWS

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Ergo, when my Powerbeats Pro bit the dust, and Status offered a $99 Black Friday deal on the (nominally $149) Between Pro, I succumbed.

Oddly shaped, with a large rectangular stem, the Between Pro have some heft but are more comfortable than expected, while the physical control buttons are responsive and accessible without adjusting the buds. There’s no app or ANC but passive isolation with the large tips and rubber wings is very good and 12-hour battery life is SOTA.  

The case, however, is really badly designed—the charging port is at the bottom and the buds are inserted vertically, which (unless you have nails like LaToya Jackson) makes them extremely difficult to remove.

The Between Pro’s big selling point for audio obsessives, is its triple driver (2 DD/1BA) array which, on paper at least, promises better high frequency reproduction than the typical (single DD) TWS norm. Instead, the Pro offers a more balanced, mid-focused signature which pushes vocals forward but has limited highend extension.

Timbre is slightly warmer than neutral and notes have good but not exaggerated body. Subbass is visceral and has surprising depth; midbass isn’t the most sculpted but avoids excess bloom/bleed, while treble isn’t as detailed as, say, the Klipsch T5, but quite natural sounding.

Technicalities are generally very good—transients are quick, imaging and stereo separation is precise—and soundstage is well-rounded, albeit somewhat narrow and inside-your-head. Where these trail price peers like Cambridge Melomania and Senn 400BT is overall coherence—there’s an occasional sense of listening to separate drivers for different frequencies, rather than a seamless whole.

Overall, though these avoid the artificial tonality of most of its ilk, especially at the high end; drums and percussion are reproduced accurately and voices are full and clear.

Absent a lot of tech features, and burdened by a few ergonomic quirks, the Between Pro seemed a tad overpriced at their original SRP, especially since you can get comparably-equipped, good-sounding buds like SoundPEATS H1 or Lypertek Tev Z3 for around $80. Like its over-ear brethren, however, the Between Pro are a professionally executed product that should please the masses.

Non-disclaimer: bought ‘em on sale

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Bluetooth & TWS

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Square, protruding buds are light but large size may compromise comfort for some; passive isolation is only fair but call quality is good. As with most such mainstream products, volume seems limited, and these CX 400BT need to be cranked near the max.

Tip sensitive—foams enhance bass but deaden the high end while biflanges or narrow bore silicons show more detail at the expense of subbass depth. Accompanying app is minimalist but functional.  Touch controls work better than most.

At least from memory, the CX 400BT sound a great deal like the MTW II—warm, somewhat laid-back and  L-shaped with a bit of midbass boost. Soundstage is fairly narrow and is somewhat limited in height but imaging and layering are outstanding—you can place the position of each performer precisely. Very coherent; subbass has pretty good depth and rumble while midbass isn’t super-sculpted but avoids bloom.  

Treble isn’t as detailed or sparkly as class-leaders like the Klipsch T5 II—there’s some smoothing of the highest frequencies—but these avoid sterility and do a good job with lower-quality files. The Cambridge Melomania has more midrange presence and sounds truer-to-source, though the CX-= 400BT has cleaner stereo spread and otherwise shares the Melomania’s  mellow, analogue tonality—you can listen for hours without fatigue. 

Ultimately, the CX 400BT occupy a strange place in the middle of the TWS universe—they’re  not particularly well-designed or featured and aren’t optimal for the gym or the subway, while cheaper favorites like the Soundpeats H1 have a more energetic, fist-pumping (albeit less natural-sounding) presentation.

However, Sennheiser does know how to tune an IEM, and if you’re going to use them indoors and sound quality is your priority, the CX 400BT outguns mainstream peers like Sony/Samsung/Beats.

Non-disclaimer: bought ‘em “Renewed” on Amazon for $69, which registers as a good buy.

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Bluetooth & TWS

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Intro

OneOdio is located in Hong Kong and sent both the Pro C and Pro 10 models for review. To start I picked the OneOdio Pro C (Y80B) being the more interesting wireless bluetooth model since Tesla believed in a world without wires.

While they do not sport ANC, wireless seems to be the more important feature everyday users want. Borrowing inspiration from the Audio Technica swivel DJ folding concept, they claim to be for all types of listeners. Quite lofty goals. The OneOdio Pro C wireless are relatively inexpensive amongst peers and enjoyable as well for mainstream modern music.

Disclaimer: OneOdio approached Audioreviews for reviewing the Pro C. I happily obliged due to the fact young ones are notorious for destroying headphones. They can be purchased in the usual places such as Aliexpress, Amazon, including their very own store page here. Pricing at the time of review is $45.

Good Traits

Physical Attributes

Build quality of OneOdio Pro C (Y80B) reminds me of a pair of Koss DJ headphones someone might receive as a service award of obedient loyalty. Lightweight plastic isn’t always a bad thing if the purpose is to keep it from becoming annoyingly heavy attached to your melon of matter.

The pads are medium/firm, but the outer material soft and pliable, I was expecting something harder and more plastic to be honest. They are not deep so the tops of my ears touch the inside of the clearly marked Left and Right inner mesh.

Inner diameter for a 50mm style over-ears headphone is also on the small side. Since I wear glasses, the pads are bit too hard to seal unless I remove my glasses. I actually prefer them with a little leakage of sound though as it balanced the lower end enough.

The headband sizing appears to be smaller than I am used to, larger heads beware. I had them extended 50% whereas normally 0-25% is my normal extension on other common models like the Marantz MPH2. The detent plate is made of metal and provides a solid click in position.

I noticed the headband is flatter than my more rounded Marantz MPH2, so it exerts some pressure in two spots on the tops of my head. Swivel and hinges make it more compact and DJ friendly.

It comes with a micro USB cord and 3.5mm 4 pole TRRS mic cable in case the 1500mAh battery dies. It boasts a whopping 80 hr play time meaning it could be weeks before recharging required for occasional usage.

Bluetooth connection is solid and provides expected range before cutting out. I was able to walk more than 30ft away and it continued to play with only minor stuttering. I did a quick video test as well with movie watching and did not detect any kind of lag.

The processor must be rather close to the magnet of the right driver because when nothing is playing you can hear a faint transmission chirping if you really listen closely. Less demanding listeners would probably not pick up on this though so I consider it a non-issue.

Controls

Buttons presses on the OneOdio Pro C are found on the right ear cup, with the up positioned higher for easy orientation, the middle mute/power/pairing button is slightly recessed so not to be confused with the other two, and the lower volume button placed at the lowest location.

Quick presses change the volume, while a long hold of up or down changes the track. The volume control is independent of the source volume.

Package Contents

Carrying Bag

USB charging cord, charger not included

Built in 1500mAh battery

TRRS 4 pole cable with mic to 3.5mm detachable interlocking cable

Sound

The OneOdio Pro C provides ample bass output with good reach into lower registers that was engaging. The elevation is not basshead levels and it also avoids muddiness with only minor warmth into the midrange. With proper seal it is rather punchy, with a loss of seal from my glasses it balances out a bit and I find them more enjoyable.

From here the vocals on the OneOdio Pro C provide a clear and concise rendition of male and female vocals, with the male vocals sounding a little tubby and females sounded full bodied. Treble is well balanced with the rest of the range with no offending peaks, I consider it on the softer side providing enough backup support to avoid them sounding dull. All in all, they are a V shaped signature.

Resolution is on par of something in the $50-100 class of over-ear headphones. I find them particularly wide sounding with good instrument spacing. Depth spacing gives the impression of swimming in the 5-6ft section of pools as compared to the 3ft kiddie side and the deep end for those more advanced swimmers.

Final Remarks

Material quality meets expectations for a $45 product, and sizing aside I particularly enjoyed using them around the house doing chores where a cabled headphone would typically snag on drawer pulls, door handles, etc.

Sonically they are close the Marantz MPH2 and similar ISK clones, but the OneOdio Pro C trade wireless bluetooth in exchange for a slightly improved bass control and midrange smoothness.

With end of the year celebrations coming up, these would make a great present for those looking for a gift that will not empty your wallet and introduce teenagers or even adults with smaller heads looking for a safe tuning for pop and rock music. As a bonus it appears you can register them and gain a 24 month warranty.

OneOdio Pro C Specifications

• 80hrs Playtime with 1500mAh battery
• 110+/-3db Sensitivity
• 32 ohms
• 50mm driver
• 4 pole TRRS to 3.5mm detachable cable

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

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Cons — Fit of the FIIL CC2 can be awkward
– Lack of noise isolation due to open acoustic design
– Sub-bass roll-off
– Midrange coloration may not suit everyone’s tastes
– Average resolution and dynamics

INTRODUCTION

FIIL has made a name for itself in the True Wireless and Wireless earphone/earbud/headphone space. They have a large collection of Bluetooth audio devices and most of them seem rather interesting in their respective price brackets.

The FIIL CC2 is an update to the original FIIL CC that was positioned as an Apple Airpods alternative. The half in-ear design and similarly open acoustic structure makes the CC2 rather different from the in-ear designs out there. The competition is strong in the True Wireless space, so let’s see how well the FIIL CC2 holds up.

The ratings given will be subjective to the price tier. FIIL was kind enough to send me the CC2 for evaluation.

Sources used: Google Pixel 6, iPhone SE

Price, while reviewed: $70. Can be bought from Amazon US.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

FIIL CC2 has a fairly compact packaging that covers the essentials. You get the earbuds themselves housed inside the carrying/charging case and a charging cable. Given the earbud style design, there is no need for silicone eartips, though I wish they had one of those silicone wings that helps better fit the earbuds.

The charging case, however, is fantastic. It’s a CNC-milled aluminium shell that houses an ABS plastic chamber (the chamber contains charging circuitry etc.). I love the design of the carrying case and it definitely stands out among the crowd.
4/5

BUILD QUALITY

The earbuds themselves are made out of plastic that has a metal-like finish in the stem and matte black driver housings. Each stem houses the battery and required wireless modules. At the bottom of each earpiece you will find two gold contact-points for charging and a mic. At the top, you get the status LED. At the side there is a dot that acts as a touch-input. Tapping it twice/thrice performs several operations (customizable in the app).

The earbuds are quite lightweight, though nothing feels flimsy or cheap. Solid build quality, overall, even if nothing extraordinary.
4/5

COMFORT, ISOLATION, AND FIT

The FIIL CC2 earbuds have an Apple Airpods “inspired” shape (also called half in-ears), though there are differences in curvature of the driver housing. For me it was fairly comfortable but after a while the hard plastic shell became distracting. The fit wasn’t the most secure for me as well, though my friends had a much better time and they could even go on a run with these in their ears.

So I guess the fit will vary but should be fine for most people (unless you have non-earbud friendly ears like mine). Isolation is almost non-existent, however, so don’t expect these to drown out traffic/commute noises.
3/5

SOURCE, CONNECTIVITY, AND BATTERY LIFE

I used my Pixel 6 and Sony NW-A55 for most of the critical listening. I also tried with an iPhone SE and my laptop. The FIIL CC2 worked fine with all of them. Battery life was very good for my use since I didn’t listen to them longer than an hour. Simply sliding the earbuds back in the case recharges them and with just a few minutes of charging I could go on for another hour or so.

The problem with the battery life is mostly down to the continuous playback time: it’s about 3 hours or so if you use them without putting them back in the charger. The charging case holds charge for ~18 hours which is very good and I needed to charge the case once a week. It’s only if you are using the earbuds consistently for more than 3 hours shall you run into problems with battery life.

As for connectivity: Bluetooth connection was fairly stable. I didn’t notice any lag or random dropouts from any of my devices (ranging from BT 4.0 to BT 5.2) You can also install the FIIL App and customize the presets/change EQ modes/assign gestures. Finally, a small note about call quality: the FIIL CC2 mic records sound better than the much more expensive Apple Airpods Max. I had no problem talking with others even in moderately noisy environment and calls sounded loud and clear.
4.5/5

DRIVER SETUP

The FIIL CC2 uses a 13.1mm single-dynamic driver with a Titanium-plated dome and PET surround. The acoustic structure itself is open and thus expands the soundstage beyond your head, at the expense of noise leakage and isolation.

TONALITY AND TECHNICALITIES

The general sound signature of the FIIL CC2 can be described as warm with a lower-treble tilt.

The most noticeable aspect of the sound is the sub-bass roll-off. You only hear sub-bass frequencies well from above 40Hz. The rumble factor is missing in action, though the moderately bumped up mid-bass does add some punch to the bass. Either way, the bass is not very textured is mostly tuned to give a sense of rhythm rather than cater to the bass afficionados.

Being very particular about bass myself, I was a bit disappointed but at least FIIL played within the limitation of the driver and acoustic structure rather than being overzealous with bass boost and add distortion.

Thanks to the mid-bass boost (which is fairly moderate and mostly thickens the lower-mids rather than cloud them) the vocals come through well even in some bass heavy mixes. However, there is some strange mid-range coloration going on. To my ears, the mid frequencies start to rise from 500Hz and then suddenly go down around 800Hz. Then it starts rising again from 1000Hz and peaks at 3.2KHz or so (to my ears).

So there is adequate pinna gain but the strange peaks between 500-1000Hz can make male vocals sound strangely colored and nasal at times. Female vocals were mostly fine and didn’t sound shouty to my ears. String instruments were decently portrayed though I think they could do with a bit more clarity (mostly due to the lower-mid tuning I guess).

As for the highs, the FIIL CC2 opt for a sizeable lower-treble peak at ~5.8KHz and then another mid-treble peak ~7KHz, after which the treble rolls off rather quickly post-10KHz. The 5-6KHz peak is definitely noticeable and brings cymbal hits forward and makes certain acoustic instruments sound metallic. It also makes some percussion instruments sound compressed. Overall, this treble peak isn’t too problematic (e.g. doesn’t introduce sibilance) but should definitely be EQ’ed down in the FIIL app IMO.

Lastly, the staging is rather open and definitely a neat trick of the FIIL CC2 due to its open acoustic design. Imaging is also better than average for the price range. Separation was good, but the overall resolution was rather average. Also note that the FIIL CC2 lacks in dynamics due to the sub-bass roll-off and lack of upper-treble.

Bass: 3/5
Mids: 4/5
Highs: 3/5
Soundstage/Imaging: 4.5/5
Speed/Dynamics: 3/5

SELECT COMPARISONS

vs Apple Airpods

The Apple Airpods are nearly 3x as much expensive and doesn’t come with as neat a carrying case as the FIIL CC2. However, if you’re an Apple user it will integrate seamlessly with all your Apple devices. For someone like me who only use an iPhone sporadically – this is not a selling point. So I’ll focus on comfort and sound aspect mostly.

The FIIL CC2 was more comfortable for me than the Airpods, though both lacked isolation. The FIIL CC2 app is also something the Airpods lack (and CC2 is more customizable as a result) but then again if you are getting Apple products you do not do a lot of customization either way. As for sound, the Airpods are noticeably worse than the FIIL CC2.

The bass is looser and distorts easily on the Airpods in bass heavy sections. In the mids, the FIIL CC2 resolves slightly better than the Airpods with better separation. The treble is rolled-off on both but the CC2 has the lower-treble peaks that gives a sense of enhanced clarity and presence of high notes. Staging is deeper on the CC2 though both has an out-of-your-head staging, just that the Airpods feel more congested due to the bass tuning. Imaging is more precise on the CC2 as well.

Overall, I find the FIIL CC2 to have noticeably better sound quality than the most popoular True-Wireless earbud on the planet.

CONCLUDING REMARKS

The FIIL CC2 is designed really well and has crossed off most of the checklist: good battery life, decent comfort, good call quality, above-average sound quality. The one area where it falls short is isolation but that’s an intended design decision.

However, based on sound quality alone, the FIIL CC2 will fall short of other wired earphones in the price range. Then again, that applies to even the most expensive wireless headphone out there.

So considering the limitations and the current state of the competition I can recommend the FIIL CC2 for someone who is looking at an Airpods alternative. It sounds better than the Airpods and while it lacks the seamless software integration of the Apple product, the companion app along with the large price gap makes the FIIL CC2 a good option.

MY VERDICT

4/5

A good Airpods alternative, though there are better sounding wired earphones out there.

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Nominally $149, though the street price is as low as $59, the Elevoc Clear are well-built, with high quality plastic buds and an especially durable-looking charging case. I don’t really like the stem-down Airpod-style design (which irrationally reminds me of Rudy Gulliani’s dripping hair dye), and the Elevoc Clear are heavier than some of their counterparts, though comfort is pretty good.

Touch controls are logically laid out and responsive (perhaps overly responsive, as you tend to hit them even with slight adjustment of the buds); however, there is no volume control on the buds, which is a conspicuous omission for this type of product.

Battery life of 5-6hrs. isn’t  special, but pairing is immediate and connectivity flawless. Especially since multiple tip choices assure a good seal, the ANC really is exceptional—only the lowest frequencies intrude. Likewise, call quality is as good as advertised—even in  heavy winds voices (incoming and outgoing) are crystal clear and background noise is filtered out very effectively.

As a music phone, however, the Elevoc Clear is curiously tuned—it has a syrupy, mid-focused tonality with slow transients and extremely  restricted HF range.  Low end is presented mostly as midbass, which doesn’t bleed but lacks depth and punch; mids are smooth and somewhat full-bodied but not very realistic-sounding, while high end lacks detail and extension, without a lot of  snap or sizzle.

Soundstage is very narrow and constricted—the performers are pushed to the middle of the stage and stereo imaging is vague. The overall effect is inoffensive and not unpleasant—there’s no harshness or spiky frequencies , but for lack of a better term, these sound somewhat Bose-like in that there’s not a ton of low end or high end information—you get the contours of the music without the essence.  

Most notably, the volume level, which was more than adequate for calls, was low for music—you need to max these out to really hear them, which undermines their utility for gym, outdoors, etc. Seemingly, this tuning was a conscious choice, as if Elevoc’s target audience merely  want unobtrusive background listening in between their Zoom calls. To each his own.

If you need TWS for communication, the Elevoc Clear have their considerable merits—their call technology actually trumps Apple and Samsung at a cheaper price. However, as a musical instrument, these just don’t cut it and, especially with my declining hearing/sanity, would be a pass.

Disclaimer

We received the Clear unsolicited for review purposes from Elevoc. You can purchase them at indiegogo.

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Enter the $90 Lypertek Tevi Z3, which updates the uniformly-praised Tevi by adding Bluetooth 5.2 but allegedly sounds identical. Build is commensurate with price; while the large barrel-shaped buds protrude from your ears for a bit of the “Frankenstein’s bolts” effect, seal and comfort are good and despite the absence of ANC little outside noise intrudes.  Secure fit and IPX7 rating makes these gym-worthy. Connection is stable and the accompanying app provides for useful presets as well as custom EQ options (there’s also an unnatural-sounding “LDX” mode, which acts like the loudness button and gives more weight to the lower frequencies).

 Call and mic quality are serviceable. The fabric-covered charging case is a bit large for pocketability, but provides for a class-leading 70 hrs. of use, including 10 hrs. on the buds. The physical control buttons are a bit quirky and don’t always register the pushes.

In its default setting, the Z3 registers a bit bright and balanced, without emphasis on any particular frequency; they’re coherent and clean but a bit lean and uninvolving. Changing to the Rock or Pop preset (or cranking up the midbass and treble in the custom EQ) hugely enlivens these—low end becomes full-bodied, well-sculpted and mostly bloom-free, if lacking the deepest notes. Mids are likewise full-bodied and very clear, while treble is crisp and free from glare and digital artifacts but rolls off at the extremes. 

Tonality overall is good—the Z3 lacks the fullness and natural warmth of the Cambridge and doesn’t reproduce percussion quite as accurately, but likewise sounds less compressed and artificial than its cheaper rivals or even pricier Samsung/Apple. As with the Klipsch T5II, the Z3 can be quite unforgiving of poor recordings or lower-quality files (320kb Spotify sounds markedly worse than FLAC on Radio Paradise).  The T5II does present more high-end information and is more revealing, but the Z3 is more  live-sounding and energetic,  with more timbral body. The comparably priced Soundpeats likewise have more microdetail (as well as deeper bass) but have a  shoutier, occasionally piercing high end. At least from memory, I like the Z3 more than the cosmetically similar,  >$250 Sennheiser MTW2, which registered as just a little bit laid-back .

Where the Z3 really stand out is in soundstage size—they present an extremely wide (albeit somewhat low) stage which extends well beyond your ears and does a very good job of sorting out complex arrangements and orchestral passages. Stereo separation is precise and there’s a lot of air between performers. The overall effect is to make the Z3 sound like full-sized, open-back headphones—they have a fuller, richer sound than most of its peers and, of all the TWS I’ve heard, sound the least like TWS. They are also refreshingly loud—unlike the mainstream brands, which generally need to cranked to the max to rock sufficiently, the Z3 have plenty of oomph even at 50%.

I’ve little doubt there’s better TWS out there—I’m hearing raves about offerings from Nuratrue, Devialet, et. al.—but it remains an open question as to whether the differences are cost-effective. The Z3 are, ultimately, tough to criticize and something of a bellwether for the genre.

Non-Disclaimer: borrowed from a friend—I’ve been dodging his calls ever since

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Build quality is solid, but not premium. Despite the relatively compact, form-fitting earpieces, comfort isn’t as great as expected—you feel the balance of their weight outside the ear.

In contrast to the cool, compact Zippo-style charging case on the non-Sport T5, the waterproof case on the Sport is bulky and a bit of a pain to open, close and charge, although it does look as rugged as promised. Pairing is immediate but the Bluetooth has limited range and struggles through walls.

Call and mic quality are very good, with-class leading clarity. Unlike most of its price peers, there’s no ANC; however passive isolation is pretty good and the transparency mode actually works well. 8 hour battery is better than Sony/Samsung/Apple. Physical control buttons are reliable and control scheme is relatively logical, although I’d prefer mirrored controls on each earpiece.

The Klipsch app lacks some advanced features like control customization, multipoint pairing, etc., and the presets are odd-sounding; however the buds respond very well to the six band EQ.

The Klipsch T5 II present a bright, treble-focused signature across a fairly wide, low-ceilinged stage; instruments are cleanly-separated but imaging and layering are curious, with most of the musicians being placed towards the middle. Notes have leanish, crisp  texture and low-level detail is very good.

Unless unduly boosted in the app, low end is more restrained and tighter than expected; there’s no bleed or bloom into the higher frequencies but it can sound a bit dry. Mids are forward and punchy; male voices have a lot of presence (these are especially good with video and podcasts). Treble is extremely extended by TWS standards and little nuances like handclaps or tambourine jangles are well-captured, although the mid-treble can sound a bit peaky. 

Technicalities are otherwise very good on the T5 II—they’re coherent and highly resolving; transients are speedy and they can play loud without distortion. For all that, they can come off as a bit clinical—their atypical transparency makes bad recordings sound bad, and they lack the unforced naturalness of the warmer, smoother Cambridge Melomania or Sony XM3.  

Compared to my current workout set, the Powerbeats Pro, the Klipsch T5 II are more coherent, isolate much better, have better-controlled bass and even more high-end detail, while the Beats have a more holographic stage and better imaging.

As others have opined, the T5 II occupy something of a middle ground in the TWS universe, which is to say they lack some of the technical bells and whistles of other premium-priced models and (despite Klipsch’s venerable history) don’t have the audiophile headphone cachet of a Sennheiser or a Grado.

That said, these are the best TWS I’ve heard at this type of revealing, etched signature—they’re the Bluetooth equivalent of a Etymotic or Beyerdynamic. That I prefer a beefier, bassier sound shouldn’t discourage you more refined types from grabbing them, especially on deep discount.

Thanks for reading.

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Disclaimer

I bought the Klipsch T5 II myself.

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Pairing is simple but connectivity was initially unreliable—I experienced frequent dropouts or pauses which seem to have mysteriously abated. The accompanying app, which provides for numerous presets, EQ and touch control customization options, is fussy but will appeal to technogeeks.

Touch controls are particularly counter-intuitive (especially if you have multiple TWS, it’s impossible to remember which earpiece or how many taps controls what). 6 hour battery life is so-so in this day and age; there’s no ANC or AptX; passive isolation is good, but note below. 

TBH, I came within a whisker of returning these within an hour of receipt—they sounded bass-less and tinny when inserted in the normal, concha-conforming manner, and using the EQ and presets on the app had little audible benefit.

However, almost randomly I found that twisting the buds clockwise 180 degrees (so that they’re worn parallel to the ground) completely transformed their sound to a bright, full-sounding bass-heavy V-shape—it’s virtually like turning on a subwoofer. Note that this wearing style does somewhat compromise stability of fit and seal, although they are lightweight and I didn’t find them uncomfortable for longer sessions.

As optimally fit, the FIIL T1XS present a rich, energetic tonality with an intimate, two-dimensional soundstage but good stereo separation and imaging; despite the somewhat closed-in stage instruments are accurately placed without much congestion. Bass, especially subbass, is clearly the focus here—it’s deep and reasonably  tuneful but thumpy and slow in decay, with a valley the midbass region, which places vocals more into the background and emphasizes guitars and synths.

Mids are recessed but very clear, while high end is rolled off while retaining some sheen and sparkle—high hats and cymbals have a nice snap and transients are quick.  Some background noise is audible at lower volumes.

The FIIL TX1s tends to sound better overall than the sum of its parts—like a well-recorded cassette player it’s not highly resolving or detailed but has a pleasing analog tonality and is free from harshness and sibilance.

It sounds more exciting, louder and has more timbral body than mainstream players like the Galaxy Buds or Apple Earpods Pro, both of which have far better UI and call quality.

Stepping up to $80 raves like the Lypertek Tevi or Soundpeats H1 gets you a bigger stage and better imaging, more high end detail and the higher level of resolution you’d expect with the AptX codec, although bassheads may actually opt for the T1Xs.  Perhaps needless to say, good comparably-priced wired IEMs like the Blon or BQEYZ BQ3 sound much better but, of course, have wires.

Ultimately, the FIIl T1XS aren’t a giant killer, and the quirky controls and  ergonomics keep me recommending unreservedly.  That said, they are a <$50 TWS which sound better than other <$50 TWS I’ve heard and purely on their musical terms they have that certain inalienable something.

Specifications

• Bluetooth 5.0 with AAC codec
• IPX5 waterproof rating (rain and sweat resistant)
• 6 hours listening on a full charge
• Charging case can charge earpieces fully 3 times
• Comes with 4 sizes ear tips, 3 sizes sport-wings and USB-C cable
• Tested at $30-50
• Available from amaxzon etc.

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Disclaimer

I bought the T1XS myself.

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The post FIIL T1XS TWS Review – More Adventures In HiFi 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

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Disclaimer

I bought the SoundPEATS H1 myself.

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

Cons:

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

EXECUTIVE SUMMARY

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

SPECIFICATIONS

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

ACCESSORIES

In addition to the BT adapter, it comes with:

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

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

2) USB-C charging cable

BUILD/COMFORT

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

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

FUNCTION/CONNECTIVITY

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

The buttons for the NiceHCK HB2 work as advertised:

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

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

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

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

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

TECHNICAL ASPECTS

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

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

Pairings:

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

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

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

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

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

COMPARISONS

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

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

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

CONCLUSIONS

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

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

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DISCLAIMER

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

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Cons — The atrocious, hilariously horrible carrying case Airpods Max comes with (that you can’t avoid using)
– 9KHz peak with ANC on
– Sounds overly processed with noticeable BT compression
– No high bit-rate codec support
– Clamp can be uncomfortable, can feel heavy
– Call quality is mediocre, voice sounds muffled even in a quiet room
– Overpriced

INTRODUCTION

The moment Apple removed the headphone jack from its latest iPhone 7, it spelt doom for the headphone jack itself on all flagship devices. It’s incredible how something as innocuous as the 3.5mm jack became the bane of existence for Apple and how they called it “courageous”, but that rant is best delivered elsewhere. 

This is a review of the Apple Airpods Max, Apple’s most expensive headphone, and one of the most expensive bluetooth headphones out there. If you are someone who is enamored (!) by the Apple ecosystem and also an audiophile, this review shall address your concerns regarding the tonal and technical proficiency of the Airpods Max.

If, however, you are someone who wants the latest trend, I think you can skip the rest of the review and just get the Airpods Max right away (the prices are dropping nowadays). It is definitely the most advanced Bluetooth headphone out there right now, and the competition will take a year to catch up at the very least. However, caveats apply, as always.

All relevant specs here.

Note: the ratings given will be subjective to the price tier. I bought the Airpods Max with my own funds.

Sources used: Apple iPhone 11, Apple iPhone SE, Google Pixel 4XL
Price, while reviewed: $550. Can be bought from Apple’s Web-store.

PHYSICAL THINGS AND USABILITY

PACKAGING AND ACCESSORIES

The Airpods Max come with the (now infamous) “Smart Case” and a lightning-to-USB-C cable. That’s about it. The “smart case” is the worst headphone case in existence and $5 Aliexpress cases with questionable design decisions are less useless.

This smart case is an absolute abomination in design (it looks like a silicone bra), the material choice (attracts gunk/dust and gets dirty real quickly) , the absolute lack of protection (doesn’t even cover the headband), and the absurd requirement for the Airpods to be kept in the cover to put them in deep sleep mode (they don’t turn off otherwise). Usability nightmare.
1/5

BUILD QUALITY

Premium, super-solid, futuristic — these are the operative words. The Airpods Max is built exceptionally well. It’s mostly anodized aluminium with some rubber and plastic parts. There is a curious lack of branding all around, no Apple logo/branding to be seen anywhere.

Let’s talk about the headband first since I find the headband design quite interesting. It’s a two-piece metal construction with the inner steel frame adding rigidity whereas the outer frame (rubber coated) houses the upper-portion of the headband (a fabric layer). The sliding mechanism for size-adjustment is also very solid, though I wish there were some markers for finer adjustments.

The earcups themselves are two chunks of aluminium and are packed with several mics, sensors, receivers, and buttons. This is the most sophisticated earcup design I’ve seen till now and is an impressive feat of engineering.

The right earcup has two buttons up top: the rotary dial (digital crown, as Apple says) that acts as both volume and playback control (press down to play/pause, press twice to skip), and a square button that toggles between Active Noise Cancellation (ANC) on/off. Lastly, The lightning port (ugh) is at the bottom for charging.

Opting for lightning instead of type-C is baffling, but I guess they thought of the ease of use for existing iPhone users. The left earcup is bereft of any controls but has an antenna cut-out for RF transparency.

What’s not immediately apparent but catches your attention once you look closer: the numerous microphone holes in both of the earcups. In fact, there are a total of nine microphones. Eight of these mics (two on the top and two of the bottom of each earcup) works for the ANC and the remaining one is used for voice pickup. Two of the eight ANC mics also help in voice pickup, and that rounds up the entire mic assembly.

Other than that there are other interesting design decisions. The earcups can rotate into a flat position for storage, and there is a spring-loaded swivel mechanism which I haven’t seen anywhere before (and a great design decision IMO).

The earcups attach/detach magnetically, and there’s an IR sensor inside each earcup (underneath the cutout in the earcup on the inner-side) that detects if you’ve worn the headphones or not (something that doesn’t work on Android/Windows for some reason).

A highly sophisticated build with premium materials. I guess I can’t really ask for more.
5/5

COMFORT, ISOLATION, AND FIT

The earpads have a cloth exterior with memory-foam inner. Unfortunately, the clamp force is a bit too high. Competing products like Sony 1000XM4 and the Bose QC35ii have superior wearing comfort, and that acts as a detriment.

The headband material is surprisingly comfortable though and distributes pressure evenly across the top of the head. It’s the clamp around your temples that is uncomfortable. The ~400gm weight is also noticeable while wearing.

As for noise isolation, the Active Noise-Cancellation here is class-leading indeed. You can only hear faint irregular noises, but most noises like hum of your laptop, the noisy bus engine are well taken care of.

I also like the transparency mode and found it fantastic during commute (as you can hear the surroundings while crossing the street, or trying to follow a conversation).
4/5

CONNECTIVITY

The BT reception is generally strong, but there were some connection drop issues with older iPhones that had BT 4.0. With BT 5.0 devices and the newer iPhones (that are compatible with the H1 chip) the connection was rock-solid. Pairing was also quite simple irrespective of OS/device.

The biggest downside here is the lack of any lossless codec as Apple is using the archaic AAC codec even in their flagship headphone. It’s a major shame and the BT compression is quite noticeable in many tracks. Call quality is also middling as the voice sounds somewhat muffled.
4.5/5

AIRPODS MAX DRIVER SETUP

Apple doesn’t tell much about the driver setup apart from that it’s 40mm. Looking at iFixit’s teardown I think it’s a PET diaphragm with a PVD metal plating (likely Titanium). The driver looks cool in a matte-black finish but that’s about it. I don’t think there’s much to write home about here (otherwise we wouldn’t hear the end of it in Apple’s promo materials).

TONALITY AND TECHNICALITIES

The Apple Airpods Max has a warm, slightly V-shaped (or U-shaped, as some say) sound that focuses more on the “fun” side of things rather than going for neutrality.

The bass response is definitely north of neutral with a sizeable sub-bass boost but the mid-bass is left untouched, resulting in a clean bass-response with no mid-bass bleed. Bass is fairly textured but lacks in definition and speed, partly due to the driver limitation and partly due to the BT compression that takes a toll on the bass region. 

The midrange is perhaps the best aspect of the Airpods Max. The recession in the lower mids tend to drown out male vocals in some tracks with lots of instrumentation, but that’s about my biggest complaint here.

The slight warmth in the lower-midrange coupled with lack of shoutiness in the upper-mids and generally correct tonality makes the Airpods Max good at reproducing both male/female vocals and string instruments. Acoustic guitars sound especially nice with crisp attack and a natural decay. 

The treble is where things start to get divisive. With the ANC on, there is a noticeable rise in the 9KHz peak and the treble becomes fatiguing. With ANC off, however, that issue is mostly mitigated, and in the transparency mode it is completely gone.

It’s ironic that a headphone that went through so much trouble for ANC sounds its worst with that feature turned on. If you are treble-sensitive and want/have the Airpods Max, I’d highly recommend keeping the ANC off/transparency mode on.

As for the rest: resolved detail is middling. This is about as resolving as the $65 Philips SHP9500 and I’m not exaggerating in the slightest. In busy tracks, the cymbals turn mushy and it’s hard to pick apart leading edge of notes.

The staging is fairly tall but lacks height and depth. Apple uses heavy DSP to give you a sense of space (esp when listening to songs with Dolby Atmos) but such tracks are rare and most of all: the DSP tricks sound artificial and lacks the natural stage expansion of an open-back headphone. However, compared to other BT headphones, the staging here is above-average indeed.

Finally, imaging is fairly accurate. Center-imaging suffers though, as is the case with most headphones. Dynamics are fairly good with the macrodynamic punch being delivered with authority (though the sub-bass emphasis can make snare hits and pedals sound a bit muted). Microdynamics are decent for a BT headphone but nothing to write home about.

Bass: 3.5/5
Mids: 4/5
Treble: 3/5
Imaging/Separation: 3.5/5
Staging: 3.5/5
Dynamics/Speed: 3/5

SELECT COMPARISONS

vs Sony 1000XM4 ($300): The Sony 1000XM4 is widely popular for a few good reasons: it’s very comfortable, it’s got the branding, and the sound signature is a bass-boosted V-shaped that many find “fun” to listen to. It’s also got LDAC support and good ANC.

However, the Airpods Max has better build and controls, and the ANC on them is superior. Also the sound has better midrange resolution and imaging. Almost twice-the-price better? I don’t think so, but hey – it’s Apple.

vs Bose QC35ii ($200-ish): The Bose QC35ii has been on the blocks for a long time and I find it to be a very enjoyable pair of BT headphones. The ANC is fantastic (nearly as good as the Airpods Max) and they are supremely comfortable to wear. The lightweight helps in carrying too.

The sound signature is more mid-bass focused than the Apple Airpods Max and tends to sound thicker in general with less treble presence. A non-fatiguing sound that’s middling in resolution but very inoffensive.

The Airpods Max, again, has superior build and ANC. However, the tonal profile is different enough to cater to different audiences. Moreover, the price is markedly lower on the Bose. It’s an inferior headphone to the Airpods Max no doubt, but for the price, it’s a very good performer.

CONCLUDING REMARKS

The Apple Airpods Max has stunning looks and perhaps the best balance of sound among wireless headphones around $500. There’s one BT headphone that’s superior in almost all aspects to the Airpods Max, the Hifiman Ananda BT, but it retails for twice as much ($1000) and is an open-back headphone. Plus, the design isn’t anywhere as cool.

In terms of raw sound quality and comparing against wired offerings, the Apple Airpods Max stand no chance. It’s slightly worse than the Philips SHP9500 and that tells it all. Sennheiser HD600/650 duo are on an entirely different dimension altogether, and the Hifiman Sundara/Beyerdynamic DT1990 are technically far more proficient. 

However, you don’t get the Airpods for sound quality. The entry level Airpods are about as resolving as $10 earbuds, and Millions of people bought them. The price point is a bit too high on the Airpods Max though and for non-audiophile, style-conscious consumers it might be a bit too high a premium to pay. 

If you are someone who loves the Apple “ecosystem” (though said ecosystem barely helps here) and got the budget for it, Airpods Max will probably earn you more style points than anything else out there. The sound without ANC is quite good and the easy to use control scheme can be refreshing.

Unfortunately, I can’t recommend the Apple Airpods Max to the regular audiophile as they are overpriced, over-designed, and under-performing. They look cool, but you can’t see them when worn. You can feel them though, and the high weight coupled with high clamp-force is not ideal. The sound quality is way below average and will be bested by certain wired headphones under $200.

If you really need a BT headphone, the Bose QC35ii will be an inoffensive, inexpensive option with good ANC as well and great comfort. The Airpods Max, meanwhile, belongs more in lifestyle photo-shoot than actual real-world use.

MY VERDICT

3/5

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