Reviews by Sunstealer | Headphone Reviews and Discussion - Head-Fi.org

@Hifiman

Many thanks to April @Hifiman for allowing me to be part of the UK tour. The Audivina was lent to me for two weeks.

About me: I actually do not own any headphones, only IEMs. This is despite me having a purely desktop set up. The main reason for this is due to my work; I use voice recognition almost all the time and this requires a pair of dedicated headphones. I can wear these round my neck and use IEMs but this becomes clunky when using large headphones. I only listen to music in my office whilst I'm working; I don't tend to listen to music out and about or whilst driving. The only exception to this would be when I travel by train.

Equipment: Windows laptop running Musicbee, FiiO K7, Ifi ZEN Amp.

Signature preference: I prefer a balanced or slightly warm signature with more than neutral bass. Sub bass over midbass. Quite sensitive to sibilance around 5 to 6 kHz.

Music: Level 42, 80s synthpop, Macroblank, Living Colour, Rez and 5th element soundtracks, 90s house, Robyn, Bjork, the Prodigy, Boards of Canada, STR4TA, Mono, St Etienne.

Accessories: comes with a tasteful carrying case and three cables, two single ended and one XLR balanced. Unfortunately my amps do not have an XLR connection and no converter was available, so I only used the single ended cables. These are nicely flexible and not excessively heavy. The one criticism I have is the laterality markings on the headphone end jacks: they are not contrasted and are very difficult to see, particularly in low light (my work necessitates near darkness).

Design: The colourway is neutral: an aluminium chassis with taupe leather and caramel wood. I do not feel that this was designed to be eye-catching but tasteful and restrained. Personally, I think that the colour of the wood is a little unnatural. The aluminium and leather headband has a solid adjustment mechanism.

Ergonomics: The cups themselves are bulky and project significantly from my head. I feel like a Cyberman! This bulkiness only becomes an issue if I turn my head too quickly, sometimes the cups slide around over my ears. Weight is approximately 500g but this does not feel excessive during use. I noticed that my ears would start to feel overheated after two or three hours use.

Isolation: I neither heard my dogs barking in the garden or my wife in the next room, so pretty good.

Other devices: I plugged the Audivina straight into my Oneplus 6 using Neutron player. There was accurate, neutral reproduction, but a significant lack of bass (compared to the desktop set up) and reduction in soundstage.

The Audivina is marketed as a neutral monitor and I agree with this. No one band is accentuated. On initial listening, treble felt brittle and glassy with occasional piercing percussion and piano. Now, I believe that burn-in is real for both transducers and brains. Given that these headphones were well used before I received them, I assume that any transducer burn-in has occurred. Therefore it is my brain that needs to get used to the sonic presentation.

After five or six hours I became comfortable with what I was hearing. Subbass is available but only when this has been mastered on the track rather than it being omnipresent. There is a touch of viscerality but I feel that more could be obtained - more on this later. There is a clear lack of midbass as evidenced by the overall tone: clear, dry and neutral. I struggled a little bit with female vocalists and was worried that Bjork would be too shrill, but this was more a function of the recording rather than her voice, i.e. I noticed it in her earlier work (e.g. Debut) which has a more dynamic vocal. Operatic vocals (Lucia de Lammermoor from the Fifth Element soundtrack) were uncomfortable to listen to. Certain styles of electric piano from 90s dance also felt piercing. Male vocals were dry and lacked a little body. I did appreciate the separation and clarity afforded by the neutral bass and became more and more comfortable with this as time went on. In particular The Prodigy and Mono became really interesting and different to listen to on a neutral monitor. A lot of Macroblank recordings (particularly JAMS) are quite warm and dark and I appreciated the resolution and clarity afforded by the Audivinas. Time’s Up by Living Colour became an exercise in guitar appreciation and expansive production values. In general, electric guitar became a real joy to listen to with these cans.

The soundstage is expanded and definitely out of head. Initially, I used the Fiio K7 by itself but felt that the extra power afforded by the Zen improved both the soundstage and depth and added a touch of warmth to the bass. It was really tempting to use the XBass function: when I did it showed me that the Audivinas were more than capable of a big sub and midbass response. This also had the unusual effect of feeling like the bass was uncoupled from the mids and treble and it started to sound like a hybrid BA/DD transducer! Some music benefitted from this but some did not. I started to feel guilty for enjoying the EQ and kept turning it off because I wanted to appreciate the Audivinas for what they were and not colour my interpretations.

Summary: I came to enjoy the neutral signature of the Audivinas, particularly the insights and detail it brought to music I had previously listened to with L- or U-shaped IEMs. This neutrality and clarity is double-edged as it can bring excessive sibilance to some recordings. I suspect there is a 5 to 6 kHz peak somewhere in the frequency response. The Audivinas respond nicely to EQ if that is your cup of tea.

@Sebastien Chiu

The DTC-500 was sent to me by DUNU after I reached out on its release. Many thanks to @Sebastien Chiu for facilitating this. I am not expected to return the product and this will not influence my opinion of it or DUNU in any way.

Starter:
OnePlus 6 & Neutron Player
ER2XR, 4.4mm balanced stock cable, Westone foam tips
TRI I3, 4.4mm balanced silver cable, foam tips
Playlist made up of MP3, FLAC and DSD256 tracks.

My Favourite Game:
The DTC-500 arrived in a black matchbox-style cardboard box with a USB C cable and USB A-C adaptor. An Apple Lightning cable was also sent to me and is available separately.
I really like the polygonal design of the DTC-500 - it reminds me of vector style arcade games like Battlezone and my favourite/only Matchbox car as a child - the Saab Sonnet III. I get the Cybertruck likeness but Musk doesn’t need any more publicity.

In the driver’s seat sits an ES 9038Q2M. There are 3.5mm and 4.4mm exhaust pipes and a USB C radiator intake. An angled glass windscreen protects a single LED that illuminates according to sample rate (white <48kHz, green >48kHz, orange DSD64 and magenta >DSD64). That’s it - real simple, like.

Erase-Rewind:

I listened to the whole of each track but specifically for the timed parts mentioned. I noticed a slight increase in separation and clarity with a tiny lean towards a more balanced tone using the balanced output so I stuck with that for testing.

Happy Cycling | Boards of Canada - from 5:06, percussion and bass synth
Waters Deep | Bent - from 4:45 bass line, female vocals and higher register synth
Man (Live at the NEC) | Level 42 - from 2:20, Allan Holdsworth guitar solo
Play Me (Live at Reading 2001) | Level 42 - from 3:57, bass guitar solo, electronic bass
Two Solitudes (album version | Level 42 - from 2:42, acoustic guitar solo
Peace Bird | Genius of Time - from 2:38 grinding sub-bass refrain then 4:40 sub-bass line, percussion
On a Clear Day | The Peddlers - from 1:00 strings and harp

Travelling with Charley:

ER2XR: There is a vertically compressed soundstage with moderate width - as expected. Percussion and guitars sound fizzy, crunchy but grainy, particularly on lower fidelity tracks. There is good bass control and detail but it lacks a little depth. Moderate instrument separation. I notice that strings are a little pushed back in the mix compared to what I experience with other sources.

TRI I3: Although the I3 retains its warm mild U-shape FR it feels a little hazy and width-compressed. The soundstage isn’t especially deep and I notice the sound becomes congested with complex tracks with lots going on, for example Man by Level 42. Male voices are flat and edgy, guitars sound boxy.

Deuce:

I feel that the DTC-500 gives a good account of itself, by itself. Only when I listen to other dongles do I hear how the DTC-500 is different. That isn't to say the differences are huge but they are noticeable. What I'm trying to say is that in isolation, the DTC-500 sounds perfectly fine. Soundstage and resolution are par for the price bracket and there is good control of the registers provided the track isn’t too busy. The overall tone is one of dry, mild warmth but the timbre has some harshness that reduces as the sampling rate increases i.e. DSD sounded more faithful compared to a 320kbps MP3 of the same track. The dongle did get rather warm with DSD but it remained tolerable.

Marvel Hill:

I don’t have any other dongles in this price bracket, the closest I have is the Ovidius B1, roughly £50 more in RRP. Connection eccentricities and lower sampling rate ceiling aside, the B1 has a smaller soundstage but a sweeter, cleaner sound more akin to the Questyle M15. From memory, the Fiio BTR5 V1 is warmer, thicker and struggled to power my I3 sufficiently.

After All:

The design and simplicity of this device, coupled with a good dose of balanced power, make this a contender for your wallet however careful transducer and sample rate matching is required to get the best from the DTC-500.

@Questyle

The M15 was sent to me by Questyle after I reached out about another product. Many thanks to @Questyle for facilitating this. I am not expected to return the product and this will not influence my opinion of it or Questyle in any way.

It’s in Our Hands:
OnePlus 6 & Neutron Player
ER2XR, 4.4mm balanced stock cable, Westone foam tips
TRI I3, 4.4mm balanced silver cable, foam tips
Playlist made up of MP3, FLAC and DSD256 tracks.

Unravel:
The M15 arrived in a black matchbox-style cardboard box, USB C cable, USB A-C cable and a brief diagrammatic manual. A green leather case was included and fits very snugly. So well that I cannot remove the M15 at all! I’m sure it would come out if required but would take a bit of gentle persuasion. The glass top shows off the circuitry and 2 status LEDs for sample rate and gain. There is a hardware gain switch on the side.

Playlist:
I listened to the whole of each track but specifically for the timed parts mentioned. I used the balanced output in low gain.

Happy Cycling | Boards of Canada - from 5:06, percussion and bass synth
Waters Deep | Bent - from 4:45 bass line, female vocals and higher register synth
Man (Live at the NEC) | Level 42 - from 2:20, Allan Holdsworth guitar solo
Play Me (Live at Reading 2001) | Level 42 from 3:57, bass guitar solo, electronic bass
Two Solitudes (album version | Level 42 - from 2:42, acoustic guitar solo
Peace Bird | Genius of Time - from 2:38 grinding sub-bass refrain then 4:40 sub-bass line, percussion
On a Clear Day | The Peddlers - from 1:00 strings and harp

Desired Constellation:
ER2XR: There is an extended sub bass (not something the ER2XR is particularly known for) with a surprising but very welcome touch of viscerality. Percussion is clean, not splashy or sibilant which can be an issue if the source or recording is neutral or bright. Male and females voices are natural, if a little thin. Similarly, guitars and keyboards are tonally correct but lacking slightly in body. I did not feel that there was a particular emphasis in any register and the M15 was showing me what the ER2XR could do. With silicone tips I noticed a cleaner sound with less bass warmth.

TRI I3: This has a mild U-shape FR and the M15 allowed it to shine. The soundstage is wide (a valuable property of the I3) with clarity, focus and separation. Again, the sound was clean and slightly warm, with visceral sub bass, smooth vocals and extended treble. In essence, exactly what the TRI I3 should sound like.

Mutual Core:
I hope that you get a sense of where I’m pitching the M15 in terms of sound. I feel it is balanced, detailed and natural. The music I listen to sounds faithful, uncoloured and tonally correct. The transducers I used gave an accurate account of themselves with nothing added to or subtracted by the M15.

Holographic Entrypoint:
For comparison, I fired up my Cayin RU6, a completely different beastie. Balanced output, low gain, non oversampling mode. The hardware volume buttons are a very welcome feature. The RU6 soundstage is far wider than the M15 with a warmer, darker tilt to the sound. That isn’t to say that it isn’t detailed, just differently so. Notes are fuller, sweeter and just…beautiful to listen to. The analogue bass of the BoC track is a great example. I notice smoother transients with some loss of attack and bite to guitars and synths. Vocals are smooth and warm as you might expect. The registers just have…a density and weight that is difficult to describe but so joyous to experience. The RU6 is equally superb but in a totally different way. I use it at my desk and took it to Canjam as a cross-reference. This is like a full-bodied stovetop coffee from Brazil.

Generous Palmstroke:
The M15 is a fresh, clean and natural sounding device that shows you the best of your earphones. I used it on my desk and took it to the London Canjam as a representative source. I liken it to a fruity V60 pour-over coffee from Ethiopia.

The TK2, Meteor and GRACE-S were part of a European Tour and handed back to TRI at the end. I have no affiliation with TRI/KBEAR and am not obliged to be positive about their products.

Equipment used:
Oneplus 6 running Neutron Player
TRI TK2
TRI Meteor
Balanced cables:TRI 8w silver, KBEAR Through 4w SPC and GRACE-S hybrid SPC cables. I used my own selection of tips.

Music Artists:
Mike Lindup
Kylie Minogue
Perfume
Pogo
Todd Terje
Ministry of Sound
Level 42
Tame Impala
Childish Gambino
My Bloody Valentine
The Cardigans

The Meteors are semi-custom shaped dual hybrid IEMs with a beryllium-plated DD and a single Knowles BA. There are separate sound tubes for each. The connectors are flush 2-pin. I found the nozzles a little short and needed triple flange silicones to get a good fit and seal.

I have a problem with the box. It is massive: far, far in excess for what is included (which is enough). There are a selection of silicone earpieces, cleaning brush, cloth and a leatherstyle magnetic case. All very good for the price point but still, no need for the huge amount of packaging.

The GRACE-S is a 2 core dual hybrid silver plated cable which is thick but soft. There are moulded ear guides as I suspect it wouldn’t stay over your ears without them. A drawback, in my ears, is this creates excess torque on the earpieces and becomes painful over time. Bear this in mind if you decide to buy.

There is a midbass focus which is initially enjoyable but is too prominent long term. Whilst there is technical competence and density within that bass section it is to the detriment of the other registers.

The mids and treble are restrained but sweet. No sibilance or harshness. It sounds like the Meteor has its collar buttoned up too tight! They sound slightly disconnected from the bass, doing their own thing to the side whilst that bass is in your face. Whilst there is resolution and separation, I kept wishing for more air, energy and well, fun.

Swapping the GRACE-S for the Through 4w SPC removed the mid bass excess but flattened the soundstage and removed some of the separation. The silver 8w sounded harsh, compressed and even flatter than the Through. A custom copper cable lent the Meteor a mushy haze over the entire soundscape. I couldn’t find a cable to suit the Meteor, unfortunately.

The Meteor is polite. Too polite, I think to be considered as a contender for the price bracket. Tonally it is inoffensive but it sounds veiled and overly smooth.

The TK2 marks a new direction for TRI/KBEAR, their first piece of hardware in collaboration with KAEI.

The TK2 and Meteor were part of a European Tour and handed back to TRI at the end. I have no affiliation with TRI/KBEAR and am not obliged to be positive about their products.

This is a portable, battery powered device with enough juice (5000mAh) for at least 7-8 hours continuous use. It’s hefty in the hand at 280g, for reference my Oneplus 6 weighs 175g. There are separate inputs for charging and USB C input and a switch for line out/phones out. A complete selection of 3.5mm single ended and 2.5mm/4.4mm balanced outputs. There are green LED indicators for sampling frequency and power at the bottom front edge of the device. A nice, hefty brass analogue volume pot has appropriate weight and an initial dead zone until about 9 o’clock. In my use, I never had to push it past 11-12 o’clock. The mirror finish is nice but as usual, prone to smears and marks. A case is recommended. No effective battery status indicator, only power which is a shame. Due to my setup, the indicator was facing away from me so I never got any notice that the battery was about to die. During my time with the TK2, I used it as a desktop device only.

The TK2 is neatly packaged with OTG cables, rubber bands and a cleaning cloth.

Equipment used:
Oneplus 6 running Neutron Player
TRI I3
TRI Meteor
Etymotic ER2XR
Balanced cables, 8w silver, KBEAR Through 4w SPC and GRACE-S hybrid SPC cables.
I used my own selection of tips - foams for the I3 and ER2XR, triple flange silicone for the Meteor.

Overall there is a balanced sound with no emphasis on a particular part of the spectrum. What you get is what the transducer is capable of. The balanced output is energetic, powerful and has depth and breadth. The grip on the music was impressive and the power hungry I3 and Meteor responded in kind.
The best synergy was with the TRI I3 and an 8w silver balanced cable. The warm U-shaped I3 has a slightly loose subbass and benefitted from the TK2’s clean input. Separation, imaging and timbre was spot on with this partnership.
The Meteor and GRACE-S was a mixed bag. The midbass focus overshadows the polite mids and treble. Whilst there is technical competence within that bass section, it is too prominent for long term enjoyment. The mids and treble are sweet but restrained. Overall smooth but not particularly insightful.
The ER2XR was beautifully clear and analytical but sounded a little etched and dry, particularly with MP3 tracks. Swapping my 8w silver cable for the standard balanced SPC brought a little warmth back to the sound and made for more comfortable listening.

Overall, the TK2 is a great offering from TRI/KAEI and is worth considering if you are in the market for a quasi-portable or desktop solution. It will show you what your transducers can and can’t do!

Good honest review and a pleasure to read! There is much to like and there are quirks which can be disappointing, battery meter and weight if used as a portable DAC/Amp, but what I thought was very good is the sound quality.

Agreed. I did keep comparing the sound to the Zen DAC in my mind. I prefer that and the desktop form factor.

@iFi audio

IFi ZEN DAC&CAN 6XX Signature stack

The ZEN stack was loaned to me by Ifi on request. Many thanks to Karina and Sebastien @iFi audio for facilitating this.

Take a Look:
OnePlus 6 & Neutron Player
Zen Signature stack, Ifi 4.4mm balanced interconnect, 2x Ifi iPower X power supplies
Ifi Zen DAC, other 5V DC USB power supplies
Custom 4W copper Litz 4.4mm interconnect
Ifi IEMatch 2.5mm
Sennheiser HD58X, balanced silver cable
Audio Technica MSR7b, stock cables
Lime Ears Pneuma, stock single ended PW audio and custom balanced copper cables
TRI I3, balanced silver cable
Playlist made up of MP3, FLAC and DSD256 tracks.

Running in the family:
The stack arrives in a combo box comprising of separate boxes for the DAC, CAN and interconnect. The stack follows the asymmetrical ovoid ZEN range design language but in a tasteful inky dark blue colourway which is both an improvement and contrast to the rather brutalist aluminium grey standard ZEN models. The casing finish is simultaneously smooth and rough to the touch, creating an unpleasant sensation through my fingertips. I have noticed this with other products both from Ifi and elsewhere. Clearly it is subjective but I find I cannot touch the casing for too long. The chamfered rotary volume pots have a smooth and pleasantly weighty action to them. Minute adjustments are possible with the touch of a finger.
The selector buttons on the front of the CAN have a slight wobble but this is the case for all ZEN models. It doesn’t really detract from the experience. All of the buttons apart from power have a tiny white LED next to them to indicate what has been selected. These are quite dim and are difficult to read, even in a dark room (which is where I do most of my listening). I realised this is because they are not in my direct horizontal line of sight. The Signature DAC is a standalone DAC only; the amp stage has been stripped out compared to the standard DAC.
I used both iPower Xs for the majority of the review period then swapped these out for various other power supplies for comparison - see the section marked “Turn it on”.

Are you hearing (what I hear?):
The sound from the stack is very much the house Ifi sound: balanced, musical and fun. This is my experience with several of Ifi’s other products. The main difference I hear is one of perceived warmth of tone. The Neo IDSD, to my recall, sounds a little cooler and more transparent than the stack whereas the Micro BL is warmer. The Ifi interconnect is a big beast, with very bulky connectors which are strangely weightless in the hand. There are 8 strands of what I interpret to be silver-plated copper (after deconstructing the marketing speak "OFHC continuous cast copper silver matrix”). I had a few problems with signal loss on rotating the jacks, even after careful cleaning, so swapped it out for my own 4 wire copper interconnect. No sonic change was heard with this or another SPC interconnect that I have. I could not hear any significant qualitative difference between the unbalanced RCA outputs and the balanced output, which to me shows the quality of both.

Physical Presence:
The HD6XX and Space settings have been specifically designed for the HD6XX but I figured they would do for the HD58X. I was pleasantly surprised with the HD6XX button - it adds a subbass kick, not a blanket bass warming but a focused pulse giving heft to kick drums particularly. I found it to be a useful option with brighter 80s synth pop and also with more modern music, e.g. Childish Gambino, Hotline Miami OST with the proviso that there is an intimation of subbass rather than a true presence. Certainly the setting moves the HD58X towards being a more useful all rounder (although by no means perfect).

The Xspace setting by itself sounded shrill and edgy. I would skip over this setting and activate both which sounded more integrated and synergistic. I did notice that I would often switch both on, listen for a while then switch them off and listen for longer. That’s not to say the enhancements weren’t euphonic, I just liked the way the HD58X sounded by themselves without any augmentation.

HD58X (Powermatch 12dB)
This is my first set of Senn overears. I must admit I wasn’t blown away by the soundstage focused into 3 regions to the front and sides (“3 blob sound”) with a lack of subbass and air. This was the case using the stock single ended cable through the single ended output but once I swapped this out for a balanced cable the blobs filled in and on earlier recordings (Level 42, 80 synth pop) the midrange and vocal performance really started to shine. I could clearly pick out Mark King’s ghost slaps, Phil Gould’s hi-hat runs and Boon Gould’s guitar fills. It even made the True Colours album easier to listen to (for me it sounds a lot drier and metallic than other Level 42 albums).

AT MSR7b (Powermatch 0-6dB)
There was some waterfall hiss which did not detract significantly from the music. These U-shaped phones were a surprise. Using other DAC/amps (e.g Fiio BTR5) there is plenty of bass and a warm musical tone. With the stack I didn’t really get much bass and needed to switch on the HD6XX function to get anything out of them. The treble was verging on harsh which again was a surprise. Not a good pairing, in my view.

Lime Ears Pneuma (IEMatch Ultra, bass switch off)
These mild U-shape hybrids sounded incredible with a balanced copper cable. Deep, focused bass, non-recessed mids and an articulate, sweet and airy treble. Great with the standard Zen DAC or stack. IEMatch was needed with both for best results. I didn’t need to use either the HD6XX or XSpace settings as the Pneuma has its own bass switch and the XSpace setting didn’t change the sound at all.

TRI I3 (IEmatch High or Powermatch 0dB):
These smooth U shaped tribrids do benefit from some power and here they present a warm tone with slightly flabby bass, even with a silver cable. No need for HD6XX or Xspace as the I3 has plenty at both ends already. From memory, the synergy with the NEO IDSD is far better than warmer members of the Ifi stable.

Turn it on:
The stack comes boxed with iPower X supplies and an Ifi interconnect. The interconnect is bundled “free” compared to the separate cost of the DAC, CAN and interconnect. Comparing the cost of the vanilla DAC and the Signature, there is a £120 difference (£130 versus £250). This extra cost is made up of new external and upgraded internal components and power supply. The difference between the 2 CANs is £80 with the same presumption. I can buy into the concept of upgraded internal components but I wasn’t sure how much of a difference the power supply would make so I experimented. I had 2 other USB power supplies, one from a Raspberry Pi (5V 2.5A) and my Oneplus USB block (5V 4A). I used an unbranded 5V 2A USB-DC cable.

Powering the stack with iPower Xs resulted in the least ground hum, that’s not in dispute. Using a mixture of iPower and other PSUs, there was least hum when the iPower was connected to the DAC. When powering using both the other 2 PSUs, there was more hum but whenever I plugged in my USB A OTG cable all hum disappeared. For all power supplies. So what use is the iPower if all the hum stops when connecting my source?

Two Solitudes:
I wanted to find out whether the upgraded components resulted in an audible improvement. I used the Pneuma and HD58X for this test. Compared to the standard DAC on phone power, there is a small but definite improvement in layering and depth to the soundstage when running off 5V DC power. Changing up to the iPower X didn’t improve that by any degree I could ascertain. Regardless of power supply, adding the Can Signature improved the bass focus and solidity. Swapping out the standard DAC for the Signature DAC did not result in any improvement in resolution or separation but I noticed a touch more warmth compared to the standard DAC.

Why are you leaving?
The ZEN Signature stack isn’t being disingenuous: it is explicitly designed and marketed to address some of the sonic deficiencies within the HD6 range. It definitely does that with grace and aplomb but I was equally as interested to discover if it could work for a range of transducers. I think the Signature stack does work for other IEMs (with an IEMatch) and headphones but careful matching is required for synergy. Like any other system, I suppose.

Judging by my experiments with the standard DAC, other power supplies and interconnects, the Signature models and stack combination package do not offer a significant sonic upgrade to the standard Zen stack. Admittedly I do not have a standard ZEN CAN to hand but I do not feel that it would make a significant enough difference to my opinion as it stands. Alternatively, the Signature stack without the added power supplies at a lower price could be a more attractive offering but I understand the marketing behind the decision to include them. I feel that the interconnect is overvalued and equal performance is obtainable elsewhere at a third of the price.

It’s Over:
If all you have are Sennheiser HD6 headphones and you have arrived at a place of serenity with that, the Signature stack is a holistic setup that works very well. If cost is a factor in your decision, a standard ZEN stack would be more than up to the task.

Thanks

Thanks for the excellent review!

Just bought these and look forward to hearing them with my HD6XX when they arrive.
Thanks again for the excellent review!

Received these components recently and have been using the Zen Dac Signature and Zen Can HD6XX with my Sennheiser HD6XX. I find them to be an excellent sonic match!

The NEO was loaned to me as part of a review tour. It will be sent on after my time with it.

Materials:

iMac 2017 & Pine Player
OnePlus 6 & Neutron Player
Ifi NEO DSD + iPower mains adaptor.
Ifi iDSD Micro Black Label
TakStar Pro82 + Earmax 2.5mm balanced cable
TRI I3 + TRN T3
Campfire Audio Solaris OG + Penon OS849
KBEAR Lark + Moon Audio Silver Dragon
Sony MH750

Playlist made up of MP3, FLAC and DSD256 tracks.

It arrives in a box of understated quality with the various accoutrements packed in 3 boxes underneath. I used the supplied cables for power and USB sourcing and my own coax to 3.5mm cable to hook up an external amp. The NEO styling is a departure from the current Ifi portfolio, more akin to full size audio hardware. It has a more modern industrial design look about it.

The Neo is the size and weight of a thick paperback book. The powder-coated finish is simultaneously smooth and rough to the touch, creating an uncomfortable sensation through my fingertips. Like touching a fork to a dental filling, it feels disagreeably electric. The edges of the front gaps within the partly recessed space for the large off-centre dial are very sharp. The dial itself has a nice stepped action, in stark contrast to the analogue rotary pots used for the majority of the Ifi line up. The display is clear, functional and non-intrusive if required.

A slim remote is supplied but with a noticeable omission - no power button. Instead of 2 buttons to move up and down through the source selection, surely one could be used to cycle the inputs and leave 1 spare for power?

The 2 buttons on the front are small and rather wobbly but have a positive push action. The lefthand button cycles thorough the inputs; when selecting Bluetooth a British lady informs you firmly but non-judgementally that it is enabled. She also tells you which codec is active. Nice. Pairing occurs without a problem to my 2 sources, LDAC on the phone and SBC on the iMac. The connection is stable, as long as you have the antenna screwed in.

I used the USB input primarily as I found the sound quality from Bluetooth to be rather thin and lacking in bass texture when compared to a wired connection, which is to be expected. In isolation the bluetooth sound and performance is good and without any obvious fault.

So, how does it sound?

With all of my transducers, the sound is balanced and crisp. There is no particular bias towards bass or treble. Note weight is just on the thin side but separation, attack, decay and transients are presented holistically, as a well-integrated package. The NEO allows the nature of the transducer to shine - The I3 is a smooth U shape with a superb midrange; the Lark is a neutral hybrid that scales well, the Solaris balanced and tonally sweet and the Pro82 resolving but musical. Detail is excellent with the balanced output. The single ended output is rather muddy and closed in. I didn’t use it for long.

Outputting the DAC through the rear coax into the 3.5mm input of the Micro BL, I heard warmth akin to the NEO SE output but with greater depth and slightly better separation. If I had a balanced amp I’m sure this would have sounded phenomenal. My preference was for the balanced NEO output unless the tracks were particularly bright. Having said that, the TakStars sounded richer and slightly warmer with bass and soundstage depth that wasn’t present through the NEO alone, presumably because of the increased power available.

There was some hiss from the Solaris on the balanced output, as expected but this did not detract from the sound. The Solaris sounded closed in and dull through the BL, even on the Ultra IEmatch setting.

Is the NEO for you, I hear you ask?

Well, think of it like this.

You know when something or someone fulfils a purpose with unruffled competence, proficiency and professionalism? When you use an object or ask a person to do something and you know you are getting exactly what you want? That’s the NEO. A Lexus in terms of design, performance and function, if you will. It’s not exciting per se but when you want balanced handling and a mature, composed sound the NEO provides.

But….not everyone wants a luxo-barge Lexus with bells and whistles. There are other models within the range or different brands that will fulfil your desires. That’s part of your journey, right?

I like the Neo’s interpretation and presentation of my music but it needs more power to be a standout offering. I would choose the NEO not as a standalone DAC/Amp solution but as the transparent part of a signal chain that involves a balanced amp.

Thanks!

There are other models within the range or different brands that will fulfil your desires.

Could you name any others same price, quality and with balanced scheme?

To be honest, I don't have experience of any other similar gear. I think reading the other reviews might help you out there.

Many thanks to Ifi Audio for the opportunity to review this unit as part of a tour.

Unboxing and Contents

The hip-dac (HD) comes in an understated but tasteful little box which is about the size of a small multipack box of cereal. The shape echoes a hip flask (hence the name). The HD itself is about the same width as my Oneplus 6 (OP6) and ⅔rds the length. I can strap it to my OP6 but the volume knob just obscures the fingerprint sensor on the back. Inside the box are a slim manual and various cables - a USB A-C OTG cable, male USB A-C and male to female USB A. 4 embossed adhesive rubber feet are also included - a nice touch.

Design

The body is a cool shade of metallic deep ocean blue. This matches very nicely with my universal Encores. It is a little slippery but these things always are. On the back are the type C charging and male type A input ports. There is an error in the manual: there is no facility for USB power, unfortunately. The HD is internal battery powered only. The manual also states to power on the HD before connecting to a phone to prevent phone battery drainage. Charging from flat takes about 3 hours, as indicated by the charging LED. This is below the USB C port and impossible to see when a cable is plugged in. It should be above it!

There are 2 buttons on the front fascia - one for Powermatch (allowing the HD to match impedance and sensitivity) and XBass. Powermatch is recommended for headphones. It made my IEMs louder but increased the volume pot sensitivity, making it harder to control. I didn’t feel that it changed the sound itself. Xbass switches in an analogue circuit that adds a low shelf filter in the sub bass and bass bands. This worked really well with my neutral Encores. I didn’t bother with the Tux5 as it has plenty of intrinsic low end response.

The volume pot has a pleasing, weighty feel to it but for me had a very sensitive spot around 11 o’clock that jumped from comfortable to loud with only a tiny adjustment. Surrounding the volume knob are 2 LEDs which indicate the audio format according to frequency. I used MP3, FLAC and DSD256.

There are 4.4mm balanced and 3.5mm single-ended outputs. The latter incorporates Ifi’s S-balance technology, which allows for a balanced signal through conventional unbalanced 3.5mm cables: “A dedicated negative wire per channel all the way to each channel’s amplifier’s star-ground makes sure there is no crosstalk between the channels. This also reduces the noise and distortion inherent in a traditional balanced setup.”

Hardware
OnePlus 6 with Neutron player
iBasso DX220, AMP8EX, Neutron via Android
Noble Encore, Noble Tux5 with 4.4mm Electro Acousti hybrid 8W, Noble copper 8W cables. 3.5mm-4.4mm 8W adaptor.

AMP8EX

I used Neutron via Android to access the transport aspect of the DX228 but there were pops and clicks throughout track playback with occasional timing distortion. I gather that this is a known issue with the DX220. What I could hear felt a little more resolved but there is probably some inherent selection bias on my part. The DX220 wasn’t really designed for this anyway, I just wanted to see if it worked.

Oneplus 6

The Encore and Tux5 are sensitive IEMs; using a 4.4mm balanced cable there is a moderate and mild amount of waterfall hiss respectively when there is no playback. This disappears when a track is played but reappears in quiet sections of any given track. When using the S-balance socket and a 3.5-4.4mm adaptor the noise disappeared. I preferred the S-balance mode as there was less background noise and distortion. The technology works!

The HD itself sounds transparent: I don’t get any particular colouration or timbre change with either IEM (apart from the Xbass with the Encore). This is what one wants, right? I heard greater separation, resolution and control regardless of music input.

Conclusion

The hip-dac is a great little device that is a perfect addition to a smartphone transport. The wide selection of audio formats, outputs and understated but high quality design are huge plus points. This is a prime contender if you want to take a large step forward in audio appreciation without having to buy a separate DAP.

Many thanks to the HiFiMAN Team for allowing me this opportunity. The Ananda BT was a loan unit as part of a tour.

This is my first pair of wireless circumaural phones. I have had wired Beyerdynamics, NADs and Shures in the past then transitioned exclusively to wired IEMs. I saw this as a chance to see if the grass is greener.

My use case is primarily at a desk, whilst I am working in my office. I’m the only occupant, so I’m not worried about open-backs. It did make Voice Recognition dictation (a large part of my job) a little difficult as the VR headset would pick up the sound leakage. I also tried them driving top down (an interesting but bass-lite experience) and outside, walking the dog.

Unboxing and Contents

A firm rubberised and micro-textured case opens to display the headphones in their glory. They seem imposing and heavy. I look and feel like a Cyberman when I wear them. They actually aren’t that heavy (460g) but picking them up reveals a sense of fragility that I wasn’t expecting.

Included are 2 USB cables (A-C and C-C), a 3.5mm microphone dongle and a manual.

Design and Fit

The cups and grilles are plastic, the forks and headband aluminium. There must have been a trade-off with the materials and overall weight but I found myself being seriously careful with putting them on a desk or even taking them on and off.

Fitment is 2-way, with cups swivelling to accommodate the sides of your face. Adjusting the headband was stiff and felt very delicate. I was always waiting to hear a snap.

Wearing big cans again took a little time to get used to but the ‘phones quickly became part of me, in terms of fit and comfort. I only really noticed them after maybe 3 hours, due to pressure from the pad along the mandibular ramus / parotid.

Operation

The interface on the underside of the left cup is simple - a button to charge when connected via a USB C socket, a multifunction button with LED indicator and a 3.5mm microphone socket. The Ananda connected first time to my DX228 and OnePlus 6 (OP6) with no issues whatsoever.

Developer options revealed an LDAC 32bit / 96kHz codec @660kbps. Interestingly the HiFiMAN website states a maximum of 24 bits. The 990kbps setting resulted in immediate and persistent stuttering with no useful output. Reading between the lines from a HiFiMAN email about this, I suspect that the DX220 SoC isn’t quite powerful enough for 990kbps. That said, my OP6 should be but I lost interest at this point.

I installed the HiFiMAN app for LHDC but the codec wasn’t available on my phone so it stuck with LDAC. I tried to update the firmware but the downloadable was Windows only. What about Mac OS users? HiFiMAN confirmed that the update was Windows only and that Mac users “need to find a Windows system.” Really?

BT was stable line-of-sight to 10 metres or so. There was drop out with 2 walls and 1 floor of separation.

The USB socket is flush with the cup so there is some protrusion of the cable when plugged in. That feels a little dangerous. Ideally it should be fully recessed to allow the entire plug to sit flush.

I don’t have large hands but even my little finger tended to cover the LED light when pressed. I probably got around 10 hours wireless operation on a full charge.

Hardware

iBasso DX228EX, OnePlus 6. Neutron Player installed on both with the exact same settings for playback. I used a generic OTG dongle for USB wired connection. I played a mixture of MP3, FLAC and DSD256.

Sound

The Anandas play plenty loud for me - I noticed that they were much louder on BT (67) than USB (90).

As you would expect, the DX228 had superior resolution, clarity and a blacker background. Vocals were projected front and centre compared to either side for the OP6. There was also a deeper and richer bass, which I hadn’t normally associated with the DX. OTG USB connection was instant (must enable OTG in System settings first, connect the Anandas to the OTG then the whole cable to the phone). I preferred the wired signature over the BT, with the signature sounding smoother and less grainy. This reflects the increased sample rate over USB (192kHz). Misses the point of the Anandas though!

Overall, the Anandas have a balanced sound with a touch of treble lift, probably as a consequence of the planar drivers. There was good quality sub and midbass, but not an overly large quantity. There is a little thump when called for with no detriment to the other registers. I added a low shelf filter to warm the sound a little bit, with good results.

The mids are musical, resolving and simply correct. I can’t think of a better way to describe them! Male and female vocals are treated with equal respect and care. I noticed piano (Jamie Cullum) and guitars (Kings X, Rodrigo & Gabriela) were particularly well represented.

The treble is crystal clear and detailed, an intrinsic function of the driver morphology. I reckon some tinnitus is developing as I found a few recordings a little piercing in the 5K and 8K bands which required a little parametric adjustment.

Soundstage was above average but not particularly wide, I would say just out of head. Everything felt like I was in the middle of the stage, or perhaps front row, rather than in the middle of the stalls. The outstanding feature for me was the separation. I could clearly distinguish multiple separate voice parts within Bjork’s Icelandic choir accompanying her on ‘Unison’. I heard previously hidden subtle keyboard and guitar refrains on an otherwise very familiar Level 42 live album.

Conclusion

I don’t know whether they represent value for money but I do like the Anandas and what they do. I would prefer them to be built more solidly though. They work well with my sources, proffer a musical and detailed sonic panorama and are comfortable for a good while. I heard better results with better sources. Axiomatic, I know. That isn’t to say that a mobile phone won’t give you a great experience that belies the Ananda’s wireless nature; it’s just that the better the source, the greater your enjoyment and appreciation of these solidly performing cans. This is what they deserve.

Unboxing and Contents

Jade Audio is a subsidiary brand of Fiio. The EA3 is their first foray into the low-price segment of the IEM market. It comes in a choice of translucent black or blue colourways with an angled 2 pin 3.5mm 4 core silver-plated copper Litz (spelt Leeds on the EA3 FAQ?) unbalanced cable. The case is soft but useable. There is a selection of sized silicone tips for bass or balanced sound.

Design and Fit

The EA3 is a hybrid design, consisting of single 13.6mm dynamic and Knowles 33518 balanced armature drivers. The polycarbonate shell is translucent and nicely finished with a raised 0.78mm 2 pin socket next to a small driver vent. The 5.8mm angled nozzle is aluminium with a tiny lip. The fit is very comfortable for my ear with minimal protrusion. I can actually put my voice dictation headset over the earpiece with minimal pressure on the external auditory meatus.

I tried the medium tips as well as generic foams, triflanges and biflange Spinfit CP240 – see picture. Overall I found the wide bore tips (foam or silicone) to provide a more accurate sound profile, maintaining an unadulterated sound but they also allowed the edgy treble to remain. The narrower bore tips accentuated the bass but also the piercing treble. Foams deepened the bass and warmed the midrange but the aggressive treble was unchanged. My preferred tip was the supplied red stem silicone (leftmost in picture below).

Hardware

The EA3s were a free unit from Jade Audio in return for my unbiased opinion. They were not required to be returned. I am not affiliated with Fiio or Jade Audio in any way.

iBasso DX220, Amp1Mk2, AMP8, High and Medium gain, filter 3, Mango OS
Electro Acousti hybrid 8W, Penon CS819 hybrid 8W, NiceHCK 16-3, FAAEAL 4N copper.
The units were burnt in for 100 hours before testing.

AMP8

The sub-bass is extended but only average in resolution and detail. There is minor loss of mid-bass ascending through the registers. The midrange is slightly recessed and compressed but not to a degree that is unpleasant. Male vocals feel natural and female vocals are a little grainy and occasionally shrill. Percussion is crisp with good attack but on some tracks it becomes aggressive. Soundstage is above average. Using the Mango OS EQ to moderate the 3.3k-16k bands removed the piercing quality but thankfully not all of the ambience.

AMP1Mk2

AMP1 is a midcentric module which I thought might help the V-shaped nature of the EA3. The sound is a little more comfortable than the AMP8 with a deep sub-bass, a nicely neutral midrange but unfortunately still piercing highs. I had to put the EQ back on.

Pairing Suggestions

The EA3 sounds better with a copper cable than a hybrid, indicating that a change in overall tonal balance and temperature is required for comfortable listening. The NiceHCK had greater resolution and control compared to the FAAEAL. The hybrids were fun to listen to for a short while, widening the soundstage but also accentuating the lows and highs. In all cases, EQ was needed to tame those aggressive, piercing highs. I also had to reduce the gain from high to medium to allow a more granular control of the volume and distortion. For the DX220, I preferred the more balanced sound of the Amp1Mk2.

Conclusion

A pleasing form factor, adequate accessories and manufacturing quality infrequently seen in this price bracket. What’s not to like? A piercing treble that can only be sufficiently attenuated via EQ. Personally I would prefer the hardware to shine unaided and unadulterated, but in this case, EQ was the only way to enjoy these ‘phones. If that is your modus operandi, all is well.

Unboxing and Contents

A paper sleeved bookcase box. Contains a nice leatherette case, a good quality 8 core 3.5mm 2 pin 0.78mm cable (I think it is silver-plated copper), a metal carded selection of “atmosphere” and “reference” silicone tips and a pair of wide bore foam tips. An exercise in economic yet luxurious packaging.

Design and Fit

The earpieces themselves are rather slippery matt black powdered aluminium. The styling is tasteful and restrained with gold detailing. The 2 pin sockets are flush. There are 2 vents on the medial surface. The tribrid design (single piezoelectric, BA and dynamic drivers) is harder than some to drive (43 Ohm) thus some smartphones may struggle to get the best out of these. I burnt them in for 100 hours and definitely heard a difference. I started with my trusty biflange CP240 Spinfits but found that the bass was attenuated, along with some mid-bass bleed and sharpening of the treble. Generic wide bore foams worked a treat and allowed the Spring 1 to shine. The earpieces fit my ears well and are not heavy or uncomfortable.

Hardware

iBasso DX220, AMP1Mk2, AMP8, High gain, filter 3, Mango OS
Effect Audio Ares 8W, Electro Acousti Cu/AgAu 8W, Fearless Audio 7N SPC 8W, NiceHCK 16-3, Noble 8W OCC.
The Spring 1, all hardware and cabling are my own.

AMP1Mk2

The best all-round cable was copper – balanced or unbalanced (apart from the Ares, see below). The sub-bass is controlled and full, with no mid-bass bleed. The mids are natural and neutral. Both female and male vocals have body and a great timbre. The treble is a treat – clear but never shrill or sibilant. A real joy to listen to – non-fatiguing, musical and lively. I found that the Ares was drier in tone, with less sub-bass but crucially the vocals felt a little nasal. The highs were crystal clear with beautiful separation and definition though. I suppose the Ares was partway between a copper and SPC cable in nature. This has been the case with most other IEMs I have tried (with the exception of the Empire Ears Studio Reference). The Fearless imparted neutrality with a little bass kick but overall a flatter, more reference sound. The stock SPC was tonally similar to the Fearless but with less definition and control. The hybrid widened the soundstage but overaccentuated the sub-bass to a point where it became loose and flabby. The mids and highs were sweetened and perhaps a little over soft.

AMP8

AMP8 has a wide soundstage and an energetic nature. Using the Ares and NiceHCK the mid-bass and vocals become more controlled and detailed but remain natural with the mids staying fairly neutral. Paradoxically there is a thickness to the sub-bass. The overall timbre is a little leaner and there is a crispness to the treble that is bordering on sizzly for some tracks. The Noble 8W has a remarkably natural timbre across the sound spectrum; there is body and power to the bass, slightly warm mids and vocals with sweetened but detailed highs. The hybrid works really well here, promoting a full and lush bass, juicy, detailed mids and vocals and transparent highs. The Fearless made the bass sturdy but far too boomy. The mids were hollowed and vocals felt a little thin. Overall a darker sound than pure copper but……

Grill Modification

I carefully removed the grill and baffle material with a needle and replaced it with a standard 5mm self-adhesive mesh grill. Immediately I noticed an improvement in the sound across all cables and AMP modules – clearer, more defined bass, mids and vocals were brought forward into balance, highs were tonally correct but were edging towards piercing with the exception of the Fearless with AMP1. This is a simple but effective adjustment that is crucial to unlocking the Spring 1s full capabilities.

Pairing Suggestions

The Ares was not a harmonious member of this particular triumvirate: too analytical and lean to be enjoyable in the long term.
AMP1: Without grill mod: Non-Ares copper. With grill mod: SPC (Fearless > stock)
AMP8: Without grill mod: Non-Ares copper or hybrid. With grill mod: hybrid.
A warmer source / cable is likely to favour the Spring 1.

Conclusion

The Spring 1 is a good earpiece at this price point and I feel that it has the technical ability and quality to punch above its weight. However, it is a shame that the stock grill/baffle muffles the bass and removing it makes the treble borderline shrill. Somewhere in-between would be ideal. I hope BQEYZ spend a little more time tuning the next tribrid because what they have done here shows real promise. Careful partnering, tip choice and grill modification are required for the Spring 1 to realise its potential: it falls just shy of greatness.

did someone looked at the grill on spring2 to check if they removed the mesh ?

Unboxing and Contents

A sleek gloss black box with a bold Noble logo and the model name. Inside, there is a Pelican 1010 case in a matching gloss black. In addition, there are the usual Noble rubber bands, various pairs of silicone and foam tips, the earpieces themselves and a liveried black and white 8 core copper cable which can be specified as single ended or balanced (for an extra charge).

Design and Fit

The earpieces themselves are rather unassuming – smaller than say, a pair of Empire Ears universals with the Noble logo on the left faceplate and the Wizard moniker on the right. They fit very well for me and soon disappear from my awareness. There is a small port at the apex of each earpiece. The serial numbers are in red and blue for right and left respectively which is a nice touch. The nozzle is steel with a flange and grille. Behind this I can see 2 asymmetrical ports. The 0.78mm 2 pin ports are recessed - some right angle 2 pin cables may not insert deeply enough.

The cable is an 8-core round braid in black and white with formed earguides. The connectors, splitter and jack are gunmetal grey. After the split, the left wires are black and the right are white. Again, a harmonic design that echoes the model name. I await further detail concerning the materials and construction of this cable from Noble.

I used the supplied foam tips and my own Spinfit CP240 biflange and generic large triflange silicone tips. I removed the earguide heatshrink as it would not allow a comfortable fit for me.

Hardware

iBasso DX220, AMP1Mk2, AMP8, High gain, filter 3, Mango OS
Cayin N6ii HdB, sharp roll-off, DSD Wide AA/FIR3, A01 and T01 modules, Cayin player
Effect Audio Ares 8W, Electro Acousti (EAC) Cu/AgAu 8W, Fearless Audio 7N SPC 8W

The DX220 and the Tux5 themselves are mine. They are not review samples or loans. The N6ii and modules were loan units on a review Tour.

DX228 Sound

Across the 4 cables I used, the sound profile is most definitely V-shaped; a profound sub-bass, recessed mids and a clear treble. Male voices are a little thin and female voices lack a roundedness as a result. The stock cable exchanges note texture for note depth across the frequency range – it is deep, warm, pleasant and rhythmic, if a little laidback. I get the feeling much more is possible. The Ares tilts and flattens the response around a midrange fulcrum – there is reduced sub-bass but a welcome increase in mid bass and overall note texture. The mids are less recessed, the highs clearer but not shrill. Overall there is increased definition and separation. The EAC exaggerated the V-profile to a point where it just became weird – deep but unfocused bass, separated mids and warm highs. The SPC is a surprisingly harmonious partner – overall the timbre is more neutral but there is still real weight to the bass, a crisp snap to the percussion and transients with a more natural sounding, if still slightly recessed midrange. There is a slightly wider soundstage than the stock cable.

DX221 Sound:

The AMP1 has a more midcentric sound which I thought might leaven the V shaped profile of the Tux5 (TuxV?). The sound became relatively balanced across all the cables I tried but still preserving the different colourations. The exception was the hybrid, which performed really well and was a combination of the bass of the stock with the details and clarity of the Ares.
The sound also became more evenly toned, without the extremes of sub-bass that can overwhelm the rest of the spectrum. Voices became warmer and more natural. I prefer this over AMP8, which is unusual as AMP8 is my daily driver (until my AMP8EX arrives, anyway).

N6ii Sound

The A01 module gave a slightly warmer sound overall – still allowing the cable rolling to affect the sound profile but with an enjoyably smooth veneer. Bass is subterranean when called for and possesses a visceral kick. The highs remain clear and natural. There is excellent separation and definition across the frequency range.
The T01 module was a little more mid focused with a wider soundstage; the sub-bass is still mightily present but more focused and quicker than the A01.

Pairing Suggestions

DX220: AMP1 with any cable according to your preference for sub-bass, extension or detail.
N6ii: Stock cable – preserves the rich bass and sweet treble.

Conclusion

The Tux5 is a clean-shaven brute dressed in a dinner jacket. The N6ii is a good fit with either the stock or T01 modules. I was a little concerned with the 2-trick pony impression of the AMP8 pairing as I couldn’t match a cable to find the exact sound I wanted.

I felt menaced by this brooding lout. Once AMP1 was plugged in it was a different story – the sound became more even but retained power and detail. My lapels were dropped and smoothed off. All was well. Brothers in arms, our journey continues.

If you are looking for a more balanced sound signature, the katana, savant II and the savanna provide that.

@FullCircle

Hi @FullCircle,
What’s main difference between katana, savant II and the savanna?

Katana has more sub bass
Savannah pretty much has zero bass response.

Katana has aluminum housing

Many thanks to Cayin for supplying this loan unit and modules for review. This was then returned to Cayin at the end of the Tour.

Contents, Design and Operation:

A weighty book-style case with the solid matt black player on one side. On the other side, underneath the manual is a gloss black leather case with red stitch detailing, a USB A – C cable and a 4.4-2.5mm balanced adapter. The player itself is heavy but reassuringly dense. It feels like it’s been made to last (I’m looking at you, N5ii). All the ports/sockets are metal and the combined power / volume pot is ergonomic. I like the feel of this player but it sits a little heavy in my pocket. One for the desk, it seems.

This is a modular player and comes with the A01 module as standard. The T01 module was also supplied for review. The modules unlock from the chassis via 2 T05 Torx screws at the upper back edge of the player. The module then pulls out. The T01 came in a box with a supplied screwdriver. Thoughtfully, both modules have the same output ports on the top – balanced 4.4, unbalanced 3.5 and line out 3.5. At the bottom sits the digital out and USB C ports. On the left-hand side is the microSD port. This is exposed through the case for access. Beneath the multifunction pot on the right are 3 buttons for play/pause and track select.

The Cayin powers up quickly and moves through the barely skinned Android software at a pace — thanks to the Snapdragon 425 SoC, which is used in mid-range mobile phones and very well suited to the task. I turned off all the graphical transitions in Developer mode to keep things snappy. The dropdown shade has the usual icons – gain, output, Wi-Fi, Bluetooth and audio settings. This shade is configurable, but I could not find an icon for Airplane mode — that has to be done through the normal settings menu.

Installed as standard is Hiby Music and the Cayin version of that player with slimmed down options. This has a lot of granular options for play mode, Replay Gain, USB audio and so on. Useful if you want that stuff, but perfectly ignorable if not. I use the player offline only – no streaming, USB or Bluetooth DAC mode. I like to keep it simple.

I was very apprehensive about using the Hiby Music based apps as my previous experience of them with the N5ii was unpleasant to say the least, due to poor hardware response and unhelpful UI, particularly when it came to creating and managing playlists. The UI is still far too crowded, with multiple buttons configured to do a lot of overlapping things. I still cannot get it to enqueue tracks properly. There should be one button to add to a playlist, rather than stepping through 2 menus. In the end I left it alone and played my test list on random. I didn’t download any other player because I wanted to see if things had improved. I don’t feel that they have, particularly. I would suggest downloading your preferred player instead.

For parts of the review I had to be mobile and that meant putting the N6ii in my pocket. Not too much of a problem but I came up against an odd design flaw – I could not use the hardware buttons unless the screen was on – i.e. I had to press the volume pot in before they would work. I could not find a menu or option anywhere to change this behaviour.

Wireless firmware update was a relatively painless procedure but it took multiple tries to get the Cayin to hold onto my wireless network – it would keep dropping it as soon as it locked on. I do not know what changed but eventually it stabilised. I updated to 1.18EN for this review. Within the Audio settings drop down are the most useful toggles – PCM and DSD antialiasing settings, digital out, gain, line out and volume compensation. The 4.2” IPS screen is bright and colourful with no latency or edge drop out. The back button at the bottom edge of the screen is permanently lit as a confident white circle.

Review settings and materiel:

High gain, PCM sharp roll off, DSD FIR3.
A01 and T01 modules.
iBasso DX228
Empire Ears Studio Reference, Noble Tux5, Cayin YB04, Meze Rai Penta, CCA C12

A01 Sound:

I was a little surprised by this: a warm, intimate but powerful sound, lush and effortless. It feels very…. ”vinyl”. The warmth to the entire frequency response supports and lifts the sound but doesn’t mask detail. It isn’t liquid or slurred but really enjoyable. Whilst there is power and control the soundstage is average but packed with detail and depth.
All the IEMs I used responded to this warmth and control with a comforting but pleasurable sound. No IEM sounded out of place, mismatched or dissonant.

T01 Sound:

I felt that this module was more mid/vocal centric with a wider soundstage and a more balanced response. The transients were crisper, bass drier but as detailed, vocals pushed a little wider and more neutral. Personally, I preferred this module for the music I listen to (EDM, Funk, Deep House, etc.). I will probably dust off the iBasso Amp1Mk2 module to see how it fares against the T01.

DX228 Comparison:

I’m going to be honest here - for the first few days of the test I was constantly wishing for my DX228 – its detail, power and energy. Once I let that go and settled into the N6ii sound, I really enjoyed what the Cayin was offering. I didn’t use the iBasso for 10 out of the 12 days the N6ii was in my possession. Overall, the DX228 has a wider soundstage, crisper but not sibilant transients and a greater resolution. The bass extension is probably not quite as deep as the Cayin but there is more detail.

Conclusion:

The Cayin has won me over in the final stretch with its effortless blend of musicality, enjoyment and pace. The responsive hardware and UI, solid build and modular design are to be highly commended. If I did not own the DX228, I would consider this as a worthy but differently abled alternative.

Meze Rai Penta 4BA + 1DD Hybrid earphone.

Unboxing & Package contents:

A nicely understated matt black rectangular box with black gloss contouring. Contains the phones, silicone and foam tips, 3.5mm unbalanced cable and carrying case. For review purposes, Meze also supplied 4W SPC 2.5 and 4.4mm balanced cables.

The monitors are beautifully sculpted anodised aluminium, cool and powdery to the touch. The pressure equalisation port and Meze logo have been milled into the coating to expose the bare aluminium. The ‘phones are a fascinating deep ocean / steel blue, which evokes in me a sense of depth and solidity.

The case is formed leather with a bold metal Meze logo plate. It reminds me of a an Italian sportscar.

Sensitivity:110 dB
Impedance: 20W
Pin Type: MMCX
Frequency response range: 4Hz - 45KHz

I use Spinfit CP240 biflange and generic large triflange silicone tips. Comply TS400 ended up attenuating the whole soundscape.

Hardware:

iBasso DX228 (Mango OS, High gain, Digital Filter 3)
Cayin N6ii (Hdb, Slow Roll-off) – A01 and T01 modules
Cayin 4.4-2.5mm adapter
0.78mm 2 pin – MMCX adapters
Cables: supplied Meze SPC 3.5mm SE, 2.5mm & 4.4mm 4W, NiceHCK 16-3, BGVP DM3 8W. Unfortunately, I do not possess any higher-end MMCX cables but there is an additional fillip….

The N6ii is a loan unit from Cayin. All the non-Meze cables and other DAP hardware are my own. The Rai Pentas are free loan units and will be returned to Meze at the end of the review period. All thanks to Meze for the opportunity.

Playlist:

A mixture of MP3, 16/24-bit FLAC, DSD256.

Sound:

Overall, there was a definite improvement in sonic quality with increase in sampling/bitrate – i.e. the Pentas were at their sonic best when resolving DSD256. They seem to be indifferent or at least unflattering with MP3/FLAC.

DX228:

Lows: there is mid bass presence, but sub bass extension is distant and polite. No slam or pace. The only time I heard anything approaching visceral bass were low strings on Childish Gambino tracks or kick drums from Robyn. A minor improvement in separation and depth with the 16-3. Better control with the BGVP.

Mids: There is good vocal decay and air, particularly with male vocalists. Female vocals are neutral, certainly not sweetened. All voices are held in the centre, like you are amongst the group, rather than watching them. Piano and strings feel dry and veiled. The 16-3 warms everything up and rounds out this portion of the response. BGVP gives a more natural mid-range with no specific colouration or attenuation.

Highs: lean transients and sizzly percussion. Smoother with the 16-3 with greater separation but still verging on uncomfortable. BGVP in between but with pleasant timbre and tonality.

Encouraged by the response to the hybrid BGVP, I used my 2 pin Ares 8W and EAC 8W hybrid with MMCX convertors to see if any improvements scaled. Well, they do but so do the undesirable elements. The Ares 8W certainly amplified and warmed the sub bass and mids but hardened percussive treble to a point where it became sibilant. Certain tracks swamped the Penta’s ability to resolve bass fully, whence it became muddy. The EAC was a perfect match for the Penta, promoting but not exacerbating the bass and smoothing but not obscuring the treble. I have a Fearless 7N 8W SPC which was a more resolving but similar version of the Meze SPC cable sound signature.

N6ii Sound:

A01: The SPC did not synergise well, with a thin, closed-in sound and edgy highs. The 16-3 was a better match, deepening the soundstage, warming the bass and mids but not rounding the highs as much as I would like. The bass, whilst fuller, felt looser. The hybrid BGVP was a better partner, bringing control and speed to the bass whilst sweetening and taming the highs. Overall the sound is warmer and more intimate compared to the DX228 but pleasurable in a different way. The T01 module is more mid/vocal centric, with a wider soundstage and improved separation and clarity but at the expense of bass extension and prominence. The Ares 8W added more bass and only removed a tiny portion of the beautifully precise and clear highs. The EAC expanded the soundstage but not the quantity of bass significantly.

Soundstage:

Average with the supplied SPC for both the DX228 and N6ii; everything feels very close and the sounds are directly forward and centrally - an intimate, interior soundstage. I have to concentrate to separate out components of the music. Steering is very hard to pick out against the overall soundscape. Better with the T01 module but not quite approaching the DX228. Hybrid cabling improves the soundstage in all cases.

Pairing:

For the balanced, energetic DX228, I would suggest a hybrid cable – the best of both worlds. This brings some much-needed weight to the bass region whilst taming the peaky treble.
For the warmer, more intimate N6ii, I would suggest a hybrid cable to improve the sound staging and clarity. The T01 module is better with copper rather than SPC or a hybrid.

Conclusion:

The Pentas are beautiful to gaze upon and handle. Care and attention have been taken with the design and form factor. They look and feel like a quality item but…. I really struggled to get the best from the Pentas. It shouldn’t have been this hard! I was always left wanting more – definitely more bass, more energy, more…. fun. They are fussy about data, source and cable matching. I could only get the best from them with DSD, the DX228 and an 8W hybrid cable. The N6ii & T01 module with copper came a close second.

I hesitate to recommend this IEM unless given a thorough audition with the highest quality gear you have. Only then can you begin to justify the price.

Great read. It seems like a real unbiased and personal review. On top of that, amazing pictures. Bravo!!

Cayin YB04 4BA earphone – Genuinely Joyful

Unboxing & Package contents:

Large black clamshell box with the IEMs, mid-brown leather case, cleaning brush and cloth, cable clip, 4 cards of various silicone and foam tips, 3.5mm copper/silver 8 core cable. The box is needlessly huge with far too much foam packing. It could easily be done in half the volume and still be a pleasant unboxing experience. There should be a degree of corporate responsibility for environmentally sensitive packaging.

The YB04s are sleek, brushed metallic round-edged polygons. Very slippery in the wrong hands! The connectors are raised 2 pin 0.78mm. The right-angle connectors are slightly shrouded but there is no impediment to a flat or standard 2 pin cable. They feel well machined, solid and of quality.

The cable is beautifully made; the silver and dark brown copper strands complement the metallic tones of the YB04 and the case in a harmonious fashion. It is a real shame that it is unbalanced. Seems like a waste of 8 cores. Cayin has missed a trick here – they should have taken a leaf out of iBasso’s book and supplied a balanced 2.5mm cable with a 3.5mm single ended adapter. I will be using my own balanced cables.

The hard carrying case is a little plasticky to the touch but there is plenty for space for tips, cable and the IEMs. A tasteful departure from the usual black or carbon fibre finishes.

Sensitivity:113 dB
Impedance: 30 ohm
Plug Type: 3.5mm
Pin Type: 0.78mm
Frequency response range: 18Hz - 40KHz

Single flange silicone tips are never any good for me, so I switched out to the supplied foam tips and my own Spinfit CP240 biflange tips. I could not get a good seal (which is unusual for me with the Spinfits) and so tried some generic large triflange silicone tips. The change was miraculous – gone was the weak bass, washed out soundstage and attenuated timbre.

Hardware:

iBasso DX228 (Mango OS, High gain, Digital Filter 3)
Cayin N6ii (Hdb, Sharp Roll-off)
Penon 4.4-2.5mm 8W SPC adapter
Cables: NiceHCK 16-3, Penon CS819, Effect Audio Ares 8W, Fearless Audio 8W SPC, Electro Acousti (EAC) 8W OCC / AgAu
All the cables and DAP hardware are my own. The N6ii and YB04s are free loan units from Cayin Audio and will be returned to Cayin at the end of review period.

Playlist:

A mixture of MP3, 16/24-bit FLAC, DSD256.

DX228 Sound:

Lows: Although the response could be described as a fairly neutral but typical balanced armature bass, there is nothing wrong with this per se. It is impactful in both the mid and sub bass regions but only when called for. There is accurate timing, tonality and speed. Best brought out by the Ares but amazingly clear and precise with the Fearless. The EAC expanded the soundstage with a bass in between the Areas and Fearless.

Mids: Beautifully balanced but with a hint of warmth. Vocals are sweetened but only as far as they need to be. The best way I can describe them is proportional – represented as and when needed. Again, best brought out by the Ares and Fearless. All of the hybrids were ever so slightly recessed except the EAC.

Highs: Overall clear with a hint of hardness depending on cable choice; never strident although the Penon was edging towards that. Again, really easy to listen to, non-fatiguing. Again, Ares were warm and rich but not especially rounded off. Best appreciated with the Fearless / EAC.

N6ii Sound:

Strangely I did not feel that this was as synergistic a pairing compared to the iBasso. The iBasso has a wider soundstage, was more energetic and lively compared to the ever so slightly warm and smooth Cayin. The vocals were more intimate but no less acoustically pleasing on the Cayin across all the cables. Only the Fearless produced a comfortable, pleasant sound with any copper sounding far too harsh and metallic and the hybrids washing out the timbre and blunting the tonality.

I tried the supplied 3.5mm single ended cable with the Cayin: The obvious difference between single ended and balanced applies – minor reduction of separation, resolution, and soundstage but otherwise a decent sound with appropriate bass but some congestion and stridency towards the upper range.

Soundstage:

Wide with average depth and height – better with hybrid cables but deeper with the Ares and Fearless.

Pairing:

For the balanced, energetic DX228, I would suggest a hybrid or SPC – but it is best suited to a higher quality 8 core. The 16-3 did itself no favours with a dry, hardened timbre.
For the warmer, more intimate N6ii, I would suggest the SPC rather than the copper or the hybrid, which were both a little edgy and dry. The supplied 3.5mm cable is perfectly adequate but a balanced SPC takes the sound to the next level.

Conclusion:

I wasn’t expecting to like the YB04s as much as I did, once I got the right DAP, tips and cable. They are well made, easy going but not laid back, comfortable for long periods of time and a delight to use. Not for someone who wants a huge amount of bass but I often found myself performing air slap bass (a la Mark King) because the tunes were so engaging. Not something you need to see but nonetheless, a marker of enjoyment.

Effect Audio Vogue series tour.

These were loaned to me without charge by Effect Audio and will be returned at the end of the audition. My review is entirely my own opinion and is uninfluenced by the manufacturer.

Hardware:

Empire Ears Studio Reference (ESR) Monitor, modified Spinfit CP240 tips
iBasso DX228 (Mango OS, High gain, Digital Filter 3)
Fiio BL44 OCC 4.4-2.5 adapter
Effect Audio Ares II 4W for comparison (my own)

Playlist: A mixture of MP3, 16-bit FLAC, and DSD256

Level 42 – Something About You (Live)
Robyn – Beach 2k20
Joe Hisaishi – The Sixth Station
The 1975 – Love It If We Made It
Bjork – Pagan Poetry
Goldie – State Of Mind
Nachtbraker - Leonardo Ceviche
Tove Lo – Really Don’t Like U
Goldfrapp – A&E

The ESRs are very capable 3BA balanced monitors and respond well to cable rolling: the perfect test subject! Effect Audio cables are issued as standard on purchase.

Maestro – 4W copper – very light and comfortable with low profile jack and splitter. The wire is a thinner gauge than the Ares 4W. The design language of the Maestro is carried across the Vogue cable range.
Virtuoso – 4W silver-plated copper.
Grandioso – 4W copper and silver hybrid.

Sound

Lows:
Maestro: good extension from mid-bass into sub-bass, dry and fast paced. Neutral, rather than the warmth I was expecting from copper.
Virtuoso: feels rather cool and flat in comparison – accurate but no real energy.
Grandioso: Equal to the Ares for control and extension but with a slightly tighter sound.
Ares: felt a little warmer, visceral, more liquid but still clear and controlled.

Mids:
Maestro: Female vocals are neutral, male voices sound a little strident. Again, like the rest of the range, neutral in presentation, set in the middle of the soundstage.
Virtuoso: hollowed, muted. The vocals are put into the centre of the soundstage but feel restricted. Piano, strings, harp are pleasant but feel distant.
Grandioso: Rich, full and articulate. Better than the Ares.
Ares: warm, smooth and full-bodied but more tonally accurate.

Highs:
Maestro: Grainy and perhaps a little hardened but not overly extended.
Virtuoso: emphasises keyboards and guitar, these are thrown out front and wider and are a little clearer than the slightly smeared percussive transients.
Grandioso: Define and wide with excellent steering and separation. Really nice transient attack and decay.
Ares: slightly rounded off but a little more accurate in timbre.

Soundstage: Imagine the stage as a function of Lego bricks (W x L x D). For reference, the Ares II 4W as 4x3x3. I would say Maestro sound stage is 4x3x2 (shallower), Virtuoso 3x2x2 (compressed), Grandioso 5x3x2 (wider but not as deep).

Summary:

The Maestro is a rather neutral, crisp cable, more like silver plated copper than copper. It may be of benefit if your source or phones are on the warm or dark side.
The Virtuoso doesn’t really come across as a coherent product – cool and hollowed with a narrow soundstage. Perhaps if your other gear were mid-centric or your musical tastes were more towards orchestral or classical.
The Grandioso is my preference for the overall timbre, pace, rhythm and timing. It is expensive, though, for what it represents. I feel that there are better hybrid 8W cables for similar cost.

Conclusion:

In my opinion, Effect has squandered the chance for a decisive shot across the bows of this market segment. Only the Grandioso is worthy of note within the Vogue range and even then, there are equal or better competitors in this hotly contested slice of the market.

Alternatively, you could obtain a second-hand Ares II or Eros II. That pretty much sums up the Vogue series.

"Only the Grandioso is worthy of note within the Vogue range and even then, there are equal or better competitors in this hotly contested slice of the market."

Please, say which cables are the "better competitors".

CEMA Electro Acousti hybrid, Penon Mix, Satin Audio Theia to name a few.

Dual hybrid (2DD + 2BA) earphone.

Unboxing: Comes in a tidy slate grey box with minimalist styling.

Sensitivity:105 dB
Impedance: 15 ohm
Plug Type: 3.5mm
Pin Type: 0.78mm
Frequency response range: 7-40KHz

Package Contents:
1 pair BQEYZ K2 + 3.5mm right angle unbalanced cable
3 pairs of silicone eartips (S/M/L)

The supplied single flange tips weren’t any good for me (they never are) so I switched out to some Comply TS400 and Spinfit CP240M biflange tips. The earphones themselves sit quite comfortable in my ears, even with foams which usually start aching after a while.

The 3.5mm cable is fine, in terms of weight, build quality and fit. I don’t even realise that it was there after a few minutes.

The housings are black powder coated aluminium and a little slippery. The sockets are recessed standard 0.78mm. The nozzles are 5.5mm in diameter.

Hardware:

iBasso DX228 (Mango OS, High gain, Digital Filter 6)
Oneplus 6 – assessed with unbalanced 3.5mm supplied cable only
Penon 4.4-2.5mm 8W SPC adapter

Cables: Penon 8W CS819, Noble standard 2.5mm 4W balanced, Effect Audio Ares 4W & 8W, Fearless Audio 8W SPC, Electro Acousti (EAC) 8W OCC / AgAu

Playlist: A mixture of 16-bit FLAC, 32bit OGG and DSD256

Hot Chip – Hungry Child
Boards of Canada – roygbiv
Level 42 – Love Games (Live)
Bjork – Joga
Depeche Mode – Higher Love
Ladytron – Seventeen
Tove Lo – Glad He’s Gone
The Prodigy – Narayan
Robyn – Beach2k20

The IEM, cables and hardware are my own and I am not sponsored in any way.

Sound: Lows: Throughout all the cable rolling, there is a dry and well controlled midbass but no real subbass unless the track itself calls for it (e.g. Beach2k20). The K2s then respond with a surprisingly meaty sound. Best bass was with the EAC, with the CS819 second. The Ares were relatively neutral in this respect, smoothing but not particularly accentuating. I did notice a darker background with the Ares and EAC cables. I am surprised with 2 dynamic drivers that the bass isn’t really as deep as I would expect.

Mids: Neutral. No real colouration or accentuation. A little forward with the Fearless. Best from the Ares and EAC cables.

Highs: A little piercing for me but this is only on certain tracks rather than a global response. The EAC had the smoothest but most sonically pleasing effect. I get great transients, separation and steering, particularly with the hybrids.

Soundstage: Above average, a real surprise. Better with the hybrid cables, given their enhancement of the lows and highs. The Ares narrowed the soundstage slightly, as you would expect. Similarly, a smaller soundstage was present with the 4W Ares and Noble cables.

Conclusion: For me, the K2 represent amazing value for money. The sound I would describe as neutral with a mild treble lift. Not for bassheads, really. It responds to cable and tip rolling with foam tips allowing a smoothing of the sound profile without too much upper register loss. My personal preference would be a hybrid cable with foam tips.

This is my second foray into Chi-fi (my first being the personally disastrous VSonic VS1DS) but I was really taken aback as to how far along this genre of IEM has come. Yes, there is still the treble lift but the build and sonic quality has come on leaps and bounds. I am left with an uplifting, positive curiosity as to where this will lead me.

I acquired these from a fellow headfier after being captured by their sound at the recent London Canjam.
They came with a single-ended Ares II cable which I sent back to Effect Audio in Singapore to be upgraded to a 4.4mm balanced 8W. I had bought a second hand 2.5mm balanced Ares II 4W just before the upgrade offer was released so will also be comparing the 4W to the 8W.

Hardware:
iBasso DX228 (Mango OS, High gain, Apodizing filter), Fiio 4.4mm-2.5mm adapter. All hardware, IEMs and cabling is my own.

Specifications:
3 balanced armatures with a custom 4-way crossover.
Frequency response: 10Hz - 40kHz.
UPOCC 26AWG 2-pin Effect Audio Ares II cable available in single ended and balanced terminations.

Design and Fit:
A rather bland and uninspiring form factor. The acrylic universal shell is a little thicker in the midsection compared to my iBasso IT04s. The resultant shallow depression straddling the helical crus means that they protrude a little more and feel less secure in my ears. The shorter nozzle also contributes to this feeling of relatively shallow insertion. I used the supplied bi-flange silicone tips.

Playlist: A mixture of 16/24 bit FLAC and DSD256, ripped from CD via JRiver Media Centre.

Level 42 – Children Say (acoustic version)
Hot Chip – Hungry Child
Daft Punk – Voyager
Goldfrapp – Anymore
Boards of Canada - roygbiv
Robyn – Dancing On My Own
Anden – Walls (extended mix)
Peter Gabriel – Sledgehammer
Level 42 – Dream Crazy
Bjork – It’s In Our Hands
Jo Hisaishi – The Sixth Station
Imagination – In The Heat Of The Night

Sound:

Lows: The midbass is mellow but a little dry. Still articulate though. On Hungry Child I notice that the subbass does not bleed into the mid bass or mids leaving the vocals and keyboards clear. On Sledgehammer the fretless bass loses some texture and timbre. I would say a good example of BA bass overall but lacking a little attack.

Mids: Overall smooth delivery of horns, keyboards and guitars. Full male vocals and brass. The piano and strings on The Sixth Station are particularly rich. Unfortunately female vocals are sweetened and ever so slightly thin. Not what you want from Bjork or Goldfrapp!

Highs: Textured and crisp transients but occasionally sweetened. Not particularly energetic or “fun”, though.

The soundstage is moderate in width and depth but lacks that “out of head” feeling or presence from other monitors (e.g. IT04).

My notes from listening to the 8W all have the same statements: “increased definition and separation”, “wider soundstage”, “increased channel steering”, “better grip on lower frequencies” but also “female vocals still a little sweetened”.

Would I buy the 8W over the 4W? Absolutely. If I already had the 4W? Probably, as I am always chasing that ever elusive magical sound shower. I'll probably upgrade the 4W into something else when the opportunity presents itself.

Summary: The ESR sound is balanced with no part of the tonal spectrum emphasised over another. A little warm and dry but non-fatiguing to listen to.

It would be interesting to compare the copper Ares II to a SPC or hybrid cable as I have a feeling that these might cool the sound and open up the soundstage a little more. Stay tuned for that review…..

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