The original Element was always a great looking DAC/Amp with plenty of people loving it’s look and functionality. A well machined aluminium chassis with a large central volume knob with light illuminating the ring, it’s classy.
On the back you have RCA inputs and outputs so it can be used as a DAC/Pre-amp for speakers, or as an amp only when paired with a different external DAC. You also have the gain button and power button (which also switches between headamp and pre-amp). On the front you have the headphone output socket, that is it. JDS Labs have packed in plenty of functionality into an attractive package, it really does look great when sat on a desk.
The new Element II has a better DAC section which now supports higher resolution bitrates, along with other enhanced specs. The amp section is based on the one in the Atom, which we all know is super clean with low output impedance. Gain is set at 1x and 4.73x, which should fit most peoples needs.
Sound:
Well the Element II, just like the original, is designed to power your headphones to their maximum potential without colouring the sound. It can be used with sensitive IEM’s, right up to most planar headphones without missing a beat, it is clean and exceptionally well controlled. The Element II is not a bright sounding DAC/Amp, instead it will let you hear the true signature of the headphones you are plugging in to it. Having such low output impedance means even the most sensitive IEM’s won’t have their sound signature altered.
The Element II perfectly demonstrates that neutral is not boring, and it allows you to pick the headphones to suit your needs rather than picking the amp for your headphones. The Element II also looks superb when on a simple desk, it is clean and minimalist and is all the DAC/Amp you really need for most headphones. I for one, appreciate that the Element II is not trying to wow you with colouration, nor is it analytical to the point of sounding cold and artificial.
Conclusion:
If you are looking for a clean and neat setup, that also sounds clean and detailed, you cannot go wrong with the Element II. Just don’t expect it to flatter you with a warm and analogue sound, it will reveal the true sound signature of your headphones instead.
Aesthetically you have got to love the stylish yet simplistic look of the Q350, they have a very refined look and build quality that will impress anyone who sees them. The Uni-Q driver array looks superb and the cabinets are well finished, feeling solid and heavy.
Setup:
Ideally you want to place the Q350 40cm or further away from any walls, they are rear ported and quite sensitive to placement, however they do come with foam port bungs in case you don’t have that much breathing room. Toeing them in slightly helps focus the centre image, however due to their design the off axis response is very good.
Sound:
Sound wise the midrange is definitely the standout part of the frequency response, grabbing your attention with plenty of energy and a lifelike presentation. It does an impressive job of sounding well integrated, yet cleanly separated from the lows and highs. The lows are punchy and surprisingly full, the port bungs will help you tune the low end to your preference, as fully open might be a little too full for some.
Extension is always going to be a little limited, however when listening to music I have never found it to be lacking. The highs have enough sparkle to prevent the Q350 from sounding too dark, and they bring out a good amount of air and detail in recordings. For a metal dome tweeter, the Q350 do not have a particularly sharp top end, which is good for relaxing and longer listening sessions, but it does mean they are a little safe sounding. The Q350 sound best when playing at slightly higher volumes, they just don’t sound very engaging at lower volumes.
Conclusion:
The Q350‘s have a good grip on the music, they do however lean towards a more refined and smooth sound than being overly punchy and energetic. This can work wonders depending on the music you listen to, and they are certainly not lacking when it comes to detail retrieval. When positioned properly they portray a very convincing stereo image, and the great off-axis response is welcome when you have people over.
For those of you that don’t know, Final is a Japanese audio brand with a long and impressive hi-fi history. Their products all share a similar theme – unique design and expertly tuned sound. With the A8000, Final’s latest flagship IEM sticks to their brief, while adding to it something I’ve never experienced before.
It’s clear that a lot of love and thought has gone into the A8000. The whole experience from opening the box, to putting them in your ears and getting lost in the music is an absolute joy. The earphones themselves are stunning, with polished stainless steel housings shaped in a very modern and striking way. Inside the housings, Final has developed a truly pure Beryllium driver – creating a level of dynamics and definition I’ve not heard from a dynamic driver IEM before. The supplied high purity silver plated copper cable adds to the impressive looks, which is terminated with a right angled 3.5mm jack.
The unique design of the housings are not just for good looks – they also happen to be extremely comfortable. The shape allows the earphones to sit effortlessly in my ears, and with the correct sized tips, getting a good seal is very easy to achieve. Then for added security, Final has supplied cable guides to help the cable stay behind your ears, and reduce cable noise or microphonics if you feel the need to use them.
Final A8000
Along with the cable and ear hooks, the A8000 comes supplied with a selection of different sized Final silicone eartips, an aluminium and silicone carry case, an easy MMCX plug removal tool and spare sound tube grill filters.
Final’s uniqueness doesn’t stop with their design, their sound is also unlike any other brand – IEMs or headphones. This is quite possibly due to the fact that Final develop a lot of their own technology, and they always keep to a certain house sound.
Bass on the A8000 has a natural and live feel to it. It has definition and depth without any of that unwanted bloatedness or distortion. It’s incredibly clean, and manages to add body and warmth where needed. Thanks to the control of the bass, mids flow through with ease and sit high enough in the mix to point out each fine detail. Vocals have a real quality to them, with layers of detail that bring out all of the intricacies and emotions you’d expect to hear only in a live setting. Then the treble manages to create endless space, with reverb trails that go on and on – the treble has a liquid quality that I’ve not heard from an IEM before.
The superb treble and overall dynamic sound helps the A8000 deliver a real-to-life soundstage, with depth and atmosphere – putting you close to the action. Imaging is also realistic. Instruments are easily defined and width is just what you’d expect it would be when recorded.
Final’s main competition at this price point comes from the likes of Dita, Campfire Audio and Hifman – and however impressive their high end models are, none have managed to achieve the purity and delicacy that the A8000 brings.
Essentially, it’s going to come down to taste. No matter how good I think they are, if you’re used to a warm or bass driven sound signature, then the A8000 could come across as too bright or harsh in the upper frequencies. For those who favour transparency and clarity, then the A8000 may be the best IEM you’ve ever heard.
Our pick of the 8 Best Digital Audio Players for all budgets and uses:
We know how important it is to find the right player; whether it is for your mp3 collection, hi-res music or streaming apps such as Tidal or Spotify.
Whether you call them DAPs, players, music players, portable players, mp3 players or anything else, this is the post for you. We’ve gathered our picks for the best digital audio players that you can buy!
BEST DAP UNDER £100
1. Shanling M0 – £99
Shanling M0
If you fancy getting better sound on the move, but don’t want to add a large device to your setup – the Shanling M0 could be just what you’re looking for. This tiny player delivers top quality Hi-Res audio and can be used in two different ways. The SD card slot allows you to store your own library of tunes, from mp3 to DSD – it can handle it all. The M0 can also act as a Bluetooth amp and DAC for your headphones. So, if you prefer using Spotify or Tidal on your phone, then wirelessly connect to the M0 to boost the audio quality while using an interface you are comfortable with.
Shanling’s impressive M2x is our choice for under £200. The impressive build quality and easy to use software makes the M2x an enjoyable experience. Sound quality is well balanced and clean, with superb detail retrieval. Then the addition of Tidal streaming via the app, opens up the listening possibilities.
The Cowon Plenue D2 may seem simple to look at, this is certainly not the case though. Cowon are very well known and admired for the sound quality of their players. Bringing life and energy to music, as well as impressive customisation with their well developed EQs. The Plenue D2 is solid and very easy to use, with impressive battery life giving up to 30 hours of HD audio playback.
A new addition to the iBasso family, the DX160 sports an updated design to previous models and the addition of a 4.4mm balanced headphone output. The large touch screen is very clear, with vibrant colours and responsive touch control. As for sound, the DX160 provides a well balanced and organic sound with an emotional quality to it.
5. FiiO M11 – £449.99
FiiO M11
FiiO have really upped their game with the release of the M11. The impressively designed and built player houses some impressive technology. Dual AKM DAC chips and their custom made op-amp helps make the most of the aptX HD, LDAC and LHDC compatibility. Then the flexible headphone connectivity brings 2.5, 4.4 and 3.5mm ports to accommodate all popular jack sizes.
Shanling has long flexed its muscles in the portable audio player scene, and M6, the latest digital audio player offering takes its place at the top of Shanling’s Hi-Res audio player line-up. M6 is the first Shanling audio player to run Android OS and is armed with Hi-Res Audio and Hi-Res Wireless Audio certification taking your audio to the next level.
We feel that the iBasso DX220 hits the ultimate price and performance point in the higher end of the digital audio player market. The DX220 is superbly built, with solid software and an easy to use design. The dual Sabre DAC chips help to achieve a clean and neutral sound, and the replaceable amp modules provide a level of customisation that is not common at this level.
Astell & Kern were not sure whether it was possible to come up with a product that is different from the SP1000 while delivering the same sound quality, but they decided to take up the challenge so that more people could experience their products’ fidelity. There were many trials and tribulations in making the SP1000, A&K’s best product, smaller. They were determined to not compromise sound quality in the process, and ultimately developed the second A&ultima product, the SP1000M.
Campfire Audio Custom In Ear Monitors – Equinox and Solstice
Campfire Audio is quite possibly the hottest boutique IEM brand out there, already gaining a name for themselves for their superbly built, beautifully designed IEMs with sound quality packed full of passion and character.
Having already become well known for their universal models, Campfire Audio has now released the new Solstice custom IEM – and along with the Equinox, Campfire Audio has two seriously good custom options available.
Superb Build Quality
The build of both the Equinox and Solstice are very similar, with slight detail differences. Both are made with a polished stainless steel housing and then moulded solid black acrylic, for that smooth and comfortable custom fit. The combination of black and silver is unique and very striking. The shape of the back plate is different for each model. The Equinox is circular, and the Solstice is angular – almost hexagonal. Then inside is where the models really differ.
The Campfire Audio Equinox is based on their Atlas universal IEM. Like the Atlas, the Equinox uses a single full range 10mm dynamic driver, and the A.D.L.C. or Amorphous Diamond Like Carbon driver has been tweaked slightly – so there is a touch less thumping sub-bass when compared to the Atlas.
Campfire Audio Equinox
The newest addition to Campfire Audio’s custom range is the Solstice. This time they have decided to draw on the Andromeda model, with 5 balanced armature drivers inside each housing. The Solstice also comes with Campfire’s very own T.A.E.C. or Tuned Acoustic Expansion Chamber which gets the very most out the higher frequencies.
Campfire Audio Solstice
Both models are supplied with a choice of cables, which can be chosen during the buying process. The standard smokey litz cable options are 3.5mm stereo, 2.5mm balanced and 4.4mm balanced. Then there are two artist options. Both use the smokey litz cable, but the artist version is 18” longer, and there is the choice of replacing the grey MMCX moulds with red and blue moulds for the right and left connectors.
Made-to-fit Perfectly
Being a custom IEM, you can expect the fit to be as close to perfect as possible. Campfire Audio are very confident in their build process, and as long as the ear impressions are done well – the IEMs are made to a very high and consistent standard.
Campfire Audio is aware that custom IEMs are not just for pro users, music lovers use them too. With this in mind, Campfire offers two types of fit – Artist Fit and Audiophile Fit.
The audiophile fit has a shallow seal depth, so they won’t go as far into the ear canal as traditional pro customs do. This makes the IEMs more comfortable for longer listening sessions, and easier to wear for a range of different uses from home listening, to a work commute or studio mix-down.
The artist fit sticks to a more traditional, deeper fit. This is important for pro users as it provides a much greater seal, giving a more secure fit and improved isolation for live settings.
Campfire Audio Equinox
Sound Quality
With the Equinox and Solstice, Campfire Audio has created a custom IEM to suit a number of different needs. For those who prefer a big and luxurious sound, with low end thump and rich detail that’s packed full of smooth layers – then the single dynamic driver Equinox will be the one to consider.
On the other hand, the Solstice is for those who favour transparency and cleanliness. Like the Andromeda, the five balanced armature drivers provide a well balanced sound that leans towards the higher frequencies. Sound comes across effortlessly with an organic and natural feel to it.
Campfire Audio Equinox and Solstice
Having only tried universal versions of the custom range, I can’t go into more detail when it comes to the sound. Saying that, if you already have an understanding of the Atlas and Andromeda models, then that will give you a very clear idea of what to expect from the Equinox and Solstice customs. And we will be holding the universal version of both the Equinox and Solstice – so you could always book a demo with us to try them.
Final Thoughts
Here’s where I normally mention the competition, and even though brands like 64 Audio, Ultimate Ears and JH Audio are all making some of the finest pro IEMs out there – none are doing what Campfire Audio has managed to achieved. Not only is the design of the Equinox and Solstice completely unique – breaking the all too familiar mould of custom IEM design. They also offer a lot more than their competitors. Whether you’re a musician or music lover, there’s an option for you. And I’m not aware of any other high end custom IEM brand making a single dynamic model – this is definitely something that Campfire Audio has perfected.
The Solaris do not take a low-key approach when it comes to looks, with a gold faceplate and large housing they definitely stand out in the crowd. They do however look great, you can see the craftsmanship in the machining of the shells, and everything feels very premium.
Build quality is superb again, with aluminium shells that are CNC machined, the cable is silver plated and slightly thicker than the one on the Andromeda. Everything is very well built and feels solid, albeit a little on the heavier side.
Comfort and Isolation:
Well there is no escaping just how big the Solaris are, and depending on the size and shape of your ears the fit will vary. I have quite small ears, and the Solaris stick out quite far, but do stay in fine with the right tips. They are not uncomfortable, just a little cumbersome.
Isolation is good on these; they do have a vent for the dynamic driver but this doesn’t seem to affect their isolation and these are great for on-the-go use or commuting and hold up well in loud environments.
Sound:
Bass: Having a single dynamic driver handling bass duties, these have more impact and rumble when compared to a more neutral IEM like their sibling the Andromeda. These have incredible articulation down low, there is a slight increase in presence down low to keep things tilted towards a more fun sound signature. However, the bass does a good job at controlling its body, and it never manages to get in the way of the midrange.
Midrange: The midrange on the Solaris is clean and clear, not suffering from the typical warm lower midrange due to bass bloat. This is where the BA drivers kick in and through out incredibly crisp and detailed mids that sound natural and tonally accurate. The midrange sits perfectly in the mix, without being pushed back, the extra body down low does not translate to a v-shaped sound signature. The transition from the midrange to the treble is smooth and sibilance is not an issue with the Solaris.
Treble: The treble on the Solaris is very tastefully done, packed full of detail yet with a smooth and effortless extension allowing them to shine yet without fatigue. There is no artificial boosting to create a sense of detail, instead they decide to have a more even-handed approach and allow you to enjoy the music but also the detail is there if you want to listen. The precision of the treble is really impressive and their placement within the soundstage is very accurate.
The soundstaging of the Solaris is a definite highlight, there is great width and height and everything is incredibly well separated.
Conclusion:
The Solaris are incredibly coherent from top to bottom, with a mild emphasis on the bass region. They are a full bodied yet well balanced IEM that handle pretty much anything you throw at them. They may be expensive, but their performance is truly superb.
Well what can I say, Shanling know how to make a great looking product and the UP2 is no different. Tempered glass in the front and back with subtle branding and a machined aluminium shell and volume knob/button. On the bottom you have a single USB-C port for charging and DAC duties, on the top you have the headphone socket and small hole where the internal microphone is located. It is sleek, slim and just looks great in person.
Build quality is great, the tempered glass should hold up well over time, along with the main aluminium body feeling strong. Having a USB-C connector is excellent as most new devices have now moved over to this connector. I really cannot fault the UP2 in terms of build.
Features:
Well the UP2 is first and foremost a Bluetooth receiver, it supports all the latest codecs too including LDAC and AptxHD. This really does make a difference when compared to devices that only support SBC and AAC.
The UP2 can also be used as a USB DAC with a PC and does not require drivers to work. The internal headphone amp is powerful enough for most IEM’s and easy to drive headphones.
You can quite easily control the music via the UP2, the volume wheel can be pressed in to play/pause, double click to skip a track forwards, and triple to skip back. You can pick up phone calls and the UP2 has a built-in microphone for that duty. The UP2 has around 11hrs battery life on SBC, when using LDAC or Aptx it is slightly lower.
Sound:
The UP2 is an excellent sounding Bluetooth receiver, using a separate Bluetooth receiver and DAC chip means you really do get high quality Bluetooth audio. I’ve been using the UP2 with some Campfire Audio Andromedas and there is absolutely zero background hiss, match that with the low output impedance and you have an impressive wireless setup. The UP2 doesn’t really have much of a sound signature of its own, being neutral and detailed depending on what you pair it with.
With LDAC playing it’s getting harder and harder to tell between Bluetooth and CD quality wired from a DAP (of course you have to be playing CD quality over Bluetooth for LDAC to do its magic). No longer do we have to put up with mushy highs, and one tone bass notes over Bluetooth, now we can have excellent dynamics and detail retrieval, it is making me rethink the whole Bluetooth thing, and that’s a £79 product paired with a £1049 pair of earphones.
Of course, there is still an argument to have a dedicated DAP, with a better amplifier and better components, but usually at a much higher cost. For daily use however the Shanling is perfect, the difference in sound quality really isn’t that big and one that is easy to live with if you value convenience. Yes the UP2 + earphones isn’t as slick as a pair of true wireless earphones but the sound quality is superior to all true wireless models we have tested, along with having better battery life.
Conclusion:
Well the UP2 really is a great little device, the sound quality when paired with a device that can transmit LDAC or Aptx HD really is closing the gap between wireless and wired, with no substantial drop in audio quality. The UP2 is the perfect on-the-go partner for a pair of quality earphones or easy to drive headphones, I forgot to add that the UP2 is clean and neutral sounding to boot.
IEM build quality is really on the rise, and the Rai Penta show off how good well CNC machined shells can look. The Campfire Audio line-up have been using this technology for a while and they have their own twist on styling, whereas Meze have gone for a more rounded look with an understated colour scheme.
The detail on the shells is incredible and you can see a lot of work has gone in to getting the finish as flawless as possible. The small vent for the dynamic driver is a work of art and these feel and look very premium.
Build quality is very good as you would expect, the shells being made out of aluminium are solid and sturdy, the MMCX connectors are tight and rhodium plated for durability. The cable is silver plated copper, with a high strand count helping with ergonomics. You can see the solder joints in the clear MMCX connector strain relief which is a nice touch. The 3.5mm jack is also rhodium plated, and there is good strain relief all round.
Comfort and Isolation:
The Rai Penta has a very ergonomic housing with rounded edges and a soft and flexible cable, this all leads to a very comfortable fit. Once you find the right size tips, you can leave these in and forget about them, they should fit most people’s ears well.
The Rai Penta are vented due to the use of a dynamic driver, this means there is no driver flex but the isolation is affected a little. They don’t leak, but isolation is not quite as good as fully sealed BA based designs.
Sound:
Bass: The lows on the Rai Penta has very impressive reach and linearity down low, they hit with authority yet extend without rolling off early. You can easily hear the sub-bass however it is not boosted and only comes out when it’s in the recording. They are very transparent and revealing and will bring out the bass when called for, they do however remain incredibly well controlled at all times and never sound congested or slow. The lows have the ability to be full when needed without affecting the midrange at all, and as they are so transparent the amount of body will change depending on the source.
Midrange: The midrange is remarkably well controlled and the lows never bleed in to the lower midrange. This leaves male vocals to cut through with excellent clarity and layering without added body congesting the sound. The tonality is spot on though and the Rai Penta are never lacking in natural timbre. Both male and female vocals excel with perfect presence, falling perfectly in line with the rest of the frequency response. It doesn’t matter how busy the mix gets, the midrange cuts through and is never left behind.
Treble: The highs extend effortlessly into the black background of the Rai Penta, yet they have great impact and energy without distortion or fatigue inducing peaks. The transition from the midrange to the treble is smooth with no emphasis so they are devoid of sibilance unless it is in the recording. The highs do nothing wrong, perfectly aligned with the bass and mids, they add great air and openness to the sound. Getting rid of sound tubes, and using CNC machining for the sound bores goes a long way in helping the high frequencies breathe and sound as open as these do. They don’t quite reach Andromeda levels of presence and air, but they are not lacking by any stretch.
The soundstaging is very good, with great depth and impressive width as you would expect for the price. Separation is a real strong point due to how controlled the Rai Penta sound, they never lag or sound congested no matter how busy the track gets.
Conclusion:
There are so many great models out at the moment that it is hard to pick which are best and thus we always recommend listening before purchasing. What the Rai Penta delivers are impressive dynamics and a level playing field for all the frequencies. Their transparency allows them to play well with all genres and bring out the best in all of them, it is not a jack of all trades, master of none experience either. Even at low volumes you get the full range and impressive dynamics, yet play them a little louder and they hold the same signature with nothing stepping out of line. The Rai Penta is a high-end IEM in all aspects, and delivers a balanced yet musical and natural listening experience.
The PurePlay Z3 (formerly known as TEVI) are a smooth and discreet, nothing really stands out on them with a small logo and silver trim ring on the faceplate. They smooth black finish looks great, there is a slight difference in colour between the 2 sections of the body but it doesn’t detract from the overall look.
Build quality is excellent, the joins in the housings are very smooth and they are finished to a high standard. The charging case is fabric coated and solid, and the buttons on the faceplates have a very positive click. Overall everything feels very well put together and durable for long term use. They are also IPX7 rated which means they are fine for your daily run and gym use.
Features:
The PurePlay Z3 use the latest Bluetooth 5.0 technology along with support for aptX, AAC and SBC codecs. Pair them with an aptX compatible device and you’ll get slightly better sound quality of course, but AAC also sounds very good.
The controls are easy to learn and intuitive, two click on the right to increase volume, two on the left to decrease. Three clicks on the right to skip track forward, three on the left to skip backwards. Single tap on either will pause the music, and a 2s press on the left will bring up Siri/Google assistant. You can also pick up calls and there are built in microphones that work very well.
Battery is rated at 10hrs per charge (SBC 50% volume), and I would say that figure is quite accurate from testing, using aptX will decrease this slightly but the increase in sound quality is worth the trade-off. The charging case supports another 6 whole charges, making these very impressive compared to the current competition.
Connectivity and signal stability are excellent, they pair easily and only cut out if you go out of range or add objects within the transmitting path (walls etc..). Overall, they work as advertised and don’t cut out if your phone is in your pocket or within a reasonable distance.
Comfort and Isolation:
The shape of the PurePlay Z3 is ergonomic with soft rounded edges and the perfect angle nozzle to provide a comfortable and secure fit without sticking out too far. The housings are a little on the larger size, but they never feel cumbersome when in use.
Isolation is pretty good; they do a very reasonable job at muting outside noises and are perfect for daily use and commuting.
Sound:
Bass: The bass on the PurePlay Z3 is full yet well controlled, it has a way of adding body without becoming the centre of attention. In terms of presence they are slightly north of neutral but they always sound very well balanced. There is good extension and kicks are backed up with body. The lows really are impressive, preventing the PurePlay Z3 from sounding thin but without making them sound bloated. They handle most genres with ease and have good articulation, lacking only a little speed during complex mixes.
Midrange: The lows are slightly north of neutral in terms of presence, but this does not mask the midrange and make vocals sound pushed back or congested. The midrange is well separated, lower male vocals do have a tiny bit of added body, and female vocals cut through with a little more detail but the overall midrange performance is very well balanced. Most consumer true wireless models have a habit of boosting the bass and treble, whereas the PurePlay Z3 comes across a lot more even handed and more suitable for a wide range of genres. There is great separation and layering, yet the coherency between frequencies is also excellent.
Treble: The treble is slightly laid back but luckily there is enough presence to prevent the PurePlay Z3 from sounding overly dark. The thing about the treble is that the tonality is just right, they don’t sound splashy or metallic and have great extension and detail. They have good accuracy when it comes to imaging too and they fit well into the frequency range. I would never call these bright though, and the treble is smooth enough that even the most treble sensitive users won’t have any issues with fatigue.
Soundstaging is good, not huge but very acceptable as most TW earphones sound very closed in. The detail present here is excellent and the separation between instruments is great.
Conclusion:
The PurePlay Z3 are very impressive, especially considering their sub £100 price point. Offering up a smooth and detailed sound signature that is well balanced yet slightly full. Add to that great stability and functionality and you have a TW earphone that is so easy to recommend, go out and grab one now as they are a game changer in the TW market.
The YU4 are a seamlessly finished product that looks sleek and polished. The rear panel on the left side has the inputs and bass port and the right side has the bass port and speaker wire terminals. The front is clean and smooth, with a power button and volume control on the left side. The size of the YU4 allows them to fit nicely on a larger desk or on a cabinet/windowsill. You could stand mount them but I think they are a little small to be used for a main system.
Build quality is great, the cabinets feel substantial and the inputs on the back are all very sturdy. For an active speaker at this price range, the Kanto’s feel very well made.
Placement:
The YU4’s smaller bass driver means they are best used in a near-field setup rather than in a typical hi-fi setup. Using them in a more typical hi-fi setup you lose a little body and the sound is a little more focussed on the midrange/treble. These are rear ported and placing them close to a wall will reinforce low frequencies, you can play about with the distance between the back of the speakers and the wall to create the best amount of bass without bloom due to resonance. In a near field setup they sound best when they have some room to breathe.
Functionality:
The YU4’s have a 3.5mm aux input, a pair of RCA inputs which can handle a standard line-in or at the flip of a switch it can be used as a phono input from a turntable (there is a built-in phono pre-amp). You also get Bluetooth with AptX support, a subwoofer output and 2 optical inputs. There is a USB port on the back, but this is not for audio use, purely for charging USB devices unfortunately.
You get a remote which allows you to control all the functions of the YU4’s, including inputs, bass and treble controls and standby on/off. The remote allows you to fine tune the sound and is really handy if you are not next to the speakers.
YU4 sound:
Bass: The bass on the YU4’s varies depending on how they are placed, but when you find the right spot, they have good reach (limited by the driver/enclosure size) and the bass is tight yet full bodied, however there is sometimes a little bloom in the mid-bass. Of course, for a speaker of its size, you have to be realistic when it comes to extension and volume, but the bass is present and controlled and gives the sound good overall balance. You can dial in a little more bass with the remote, but I have found that it becomes a little boomy if you do this. Kicks lack a little weight and come across a little dry, but bass guitars have good articulation.
Midrange: This is where the YU4’s really shine, with great separation the midrange is given space to breathe and has plenty of insight and detail. The upper midrange is not pushed back, so there will occasionally be a little sibilance if it is present in the recording. Vocals are rendered with excellent clarity and the tonality is good. Acoustic guitars have good reverberation, and the layering of instruments in the midrange is excellent. Overall performance in the midrange is very good with a slight lift in the upper mids that can add a little bit of a hard edge to certain notes, but this is a minor gripe.
Treble: The treble is not dialled back on the YU4 and has very good energy in the lower treble region. This makes cymbal crashes stand out with great energy but it might be a little too exciting for those who are a little more treble sensitive. The treble control on the remote works quite well, and just dialling it down a notch or two can help on hotter recordings. There is a slight metallic tone to the highs sometimes, not being the smoothest or most refined, but again at the price point they do a very good job at pulling out finer details and adding air to the sound.
Bluetooth: Bluetooth performance when paired with an aptX compatible device is remarkably good, with very much the same core sound signature with slightly compressed dynamics. These work very well with bluetooth devices and the performance doesn’t drop massively compared to a wired connection.
Conclusion:
The Kanto YU4 with matching S4 stands make an excellent near field setup, without the stands they do a good job as a backup/bedroom or kitchen setup. Their size is a good middle ground between real bookshelf speakers and desktop monitors and they have excellent features in a polished housing. All this is backed up with an expressive and open midrange, ample low end to give the sound some warmth and body and an airy and well extended top end. You could add a sub to the system to bring up the lows a little, but as they are, they make a fine pair of desktop speakers.
Much like all other Campfire models, the Polaris are a thing of beauty. The precision CNC’s machined housings look perfect, the blue really does stand out against the black screws and smoky cable. Even the case compliments the colour scheme. Campfire, in my opinion, make some of the best-looking IEM’s out there.
Build quality is another strong point, the metal housings are perfectly finished, and the MMCX sockets are some of the best I have ever come across. The cable is a silver plated litz cable that is twisted, with good strain relief on the 3.5mm angled jack. I can see the anodised finish showing scratches in the long run, but I personally find that adds character to them.
Comfort and Isolation:
The housings may look uncomfortable but the inner sides have softer edges and once you find the right tips the Polaris are incredibly secure and comfortable to use. I found them to fit and sound best with foam tips, but this is down to personal preference. The cable now uses pre-moulded ear-hooks which I find to sit much better than stiff memory wire, it’s great to see more brands using this. My one tiny gripe here is driver flex, which is quite present when you first insert them.
Isolation is very good, perfect for daily use and commuting, even though the housing is vented for the dynamic driver, I don’t find this impacting isolation much.
Sound:
Bass: This is the part that is immediately noticeable when you first try the Polaris, and for good reason. These are made to deliver a very full and powerful sound, and they do that without fault. The bass carries real weight and impact, you feel as well as hear the notes. The bass may be the prominent frequency band on these, but they do this without totally masking the rest of the frequency response. They are not a dark, bloated mess, yet they still have a bass-heavy signature which is very impressive and a lot of fun. The sheer weight and power of the low end is quite astonishing, yet it manages to steer clear from masking the mid-range too much, only giving the lower midrange a hint of warmth.
Midrange: The midrange is clear and detailed, yet does come across a little behind the bass in terms of absolute presence. The lows do give a little body to the lower midrange, but the upper midrange is quite up front. The transition from the upper midrange to the lower treble is not the smoothest, bringing out a bit of sibilance in the recording. They do not suffer badly from sibilance, but it is there nonetheless, and more present than a few other IEM’s that are a little smoother. The Polaris trade off a little refinement for fun factor, and I honestly am fine with that. They are engaging, the midrange is clear and well defined, especially when you compare it to the bass.
Treble: Due to the T.A.E.C technology, the Polaris has an incredibly open and airy top end. The treble extends effortlessly with excellent tonality and presence, however is it not peaky or harsh. The openness of the top end really aids the soundstaging capabilities of the Polaris, offering a really spacious sound that is not congested or closed in. There is plenty of detail up top and the energy is what mainly prevents the Polaris from sounding too dark. I really do enjoy the treble performance of the Polaris, providing the perfect balance between being there and clearly audible, but not bright and overbearing. Campfire don’t need to artificially boost the top end to give a sense of extra detail, because the detail is there and audible.
Conclusion
The Polaris are one hell of an IEM, with a very powerful and engaging sound signature. The bass is there by the bucketload, yet the midrange is detailed and only slightly behind when it comes to presence. The highs are effortlessly extended and packed full of detail, giving them a sense of space and air that really opens the Polaris up. Overall a great buy if you want an engaging and powerful IEM.
Essentially custom in-ear monitors are, as the title suggests, custom made earphones that are moulded to the shape of your ear. Everyone’s ears are different, and to really achieve the most comfortable fit, along with the best isolation, you have to go down the custom route.
Where to start?
So, you are thinking about going down the custom route, first up is the usual research and reading of reviews to shortlist some potential models. The custom industry has grown massively in the last few years, and they are no longer reserved for touring musicians, and there are easily as many audiophile models as there are pro-audio models now.
A few of the main brands are:
64 Audio
JH Audio
Ultimate Ears
Empire Ears
Cosmic Ears
Custom Art
Once you have shortlisted some, it is worth looking to see if anywhere near you has demo models you can go and try out. As once you have the custom version, you won’t be able to return them.
Next you will need to get some ear impressions done, this is one of the most important parts of the process, due to this we would advise you spend a little more and get them done by someone who is highly qualified in taking ear impressions for musicians. Alternatively most brands will have a list of recommended audiologists, the process is not painful, but it is a bit odd if you have never had it done before.
First, they will check your ear canals are clean enough to take the impressions, and then they will insert a foam stopper past the 2nd bend of your ear canal. Then a 2-part silicone mixture is mixed and inserted into a syringe. You are usually given a bite block to take an open mouth impression (recommended for custom monitors) and the mixture is then injected into your ear and fully filling the outer part too. The silicone takes about 5-10 minutes to cure, then the impression will be removed and you are done.
Now you have your impressions, it’s time to design your monitors (or vice versa)
To be fair, you can order your monitors and then get ear impressions, either way the end result is the same. It is however best to send the impressions sooner rather than later as they do change if kept in storage, reducing the likelihood of getting a good fit the first time round.
You can go on to most manufacturers websites and design your monitors with their online design tools, these are great fun to use and the number of options varies depending on the brand. A lot of them also allow you to upload artwork if you want a specific logo on them. Take your time and make sure you pick a design you love. There are companies like Custom Art that are happy to surprise you if you don’t know what design to go for, they do some incredible pieces.
Now the wait…..
Your customs arrive, you are keen to try them out, but wait, how do they fit in?
Most brands include a leaflet to help you, but there is a technique to inserting custom monitors, you have to twist them in until they lock into place. Here is a great guide on the fitment of Custom monitors: https://theheadphonelist.com/custom-in-ear-monitors-fit-guide/
Now you have your own unique earphones that with some care will last you years and give you excellent sound quality, along with increased isolation and comfort when compared to universal models. Happy listening!
What Is Hi-Res Audio – The History of Digital Audio
Hi-Res audio has now become a standard feature when looking for a new audio device, whether that’s headphones, earphones or portable players. It has also become a rating for high quality music files. That little gold logo has become very important… but what does it mean?
Audio Formats
To understand what hi-res audio is, it’s worth having a basic understanding of digital audio and how it’s recorded. The majority of music we listen to these days, at some point during the recording and mastering process, has been made into digital audio. Once upon a time, audio was recorded onto tape and then cut straight onto vinyl, a completely analogue process.
Nowadays music is mainly recorded onto computer drives using software like Protools, Ableton or Logic. Tapes are still sometimes used to record onto, but they tend to be transferred onto the drive as well. The recorded audio is converted into digital audio and then stored on the drive to be edited in the software.
Historically, digital audio has been available in a number of different file types. MP3 and AAC are not hi-res formats. They are early developed file types that compresses audio data in order to achieve small file sizes: convenient for storing on devices with minimal storage, while compromising on sound quality. Nowadays this compression is used on streaming services such as Spotify and Apple Music, so it’s worth knowing that however convenient they are, the sound quality will be compromised.
There are four main file types which are capable of storing hi-res audio. They are WAV, AIFF, FLAC and ALAC. The quality of these file types can range from 16bit CD quality audio up to the highest hi-res audio quality. WAV and AIFF are raw, uncompressed formats which are not commonly used for general listening due to the very large file sizes. FLAC and ALAC are the most common formats for hi-res audio. They are both lossless compression formats, which means the file sizes are much smaller and they can store metadata, which is all the information about the piece of music.
Bit Depth and Sample Rate
Now the complicated part. Before hi-res audio became mainstream, music was typically recorded with a bit depth of 24bits and a sample rate of 44.1khz or 48khz. The bit depth determines the number of bits of information in each sample and the signal to noise ratio, while the sample rate determines the number of samples of audio taken per second. If you want to know more about bit depth and sample rates, I would suggest you do some research online, as there are a lot of articles on this. Alternatively, you can ask us down below and we’ll do our best to answer.
The digital audio on a CD is always 16bits and 44.1khz. This is a standard process for CD, and was calculated by very smart people to get the best from this format. Before hi-res audio was a format we could easily listen to, CD’s gave us the best digital audio quality, with Super Audio CD’s providing the hi-res audio of its time and an early glimpse of DSD audio. We’ll save that for another video. Now thanks to portable audio players having high quality DAC chips and also very large, expandable storage, hi-res audio is something we can all experience wherever we want.
Unlike CD quality, hi-res audio has a minimum bit depth of 24bits and a sample rate of up to 192khz. To achieve this, the audio has to be recorded at a much higher sample rate than was done before. This requires a lot more storage, as the data is much larger.
The upside to this is that the higher bit rate provides more dB of dynamic range, meaning the 24bit recording has a dynamic range of 144dB compared to the 96dB provided by the 16bit CD recording. The result is more headroom for peaks at the recording stage, avoiding the risk of clipping. It also gives a greater separation between the recorded audio and the noise floor.
Using a larger sample rate will increase the amount of samples taken of the audio per second, and this is where it gets tricky. The higher the sample rate, the higher frequencies a system can record. So a sample rate of 44.1khz reproduces frequencies of up to roughly 20khz, and increasing the sample rate will increase the frequencies that can be produced. Technically this seems like a no-brainer as more information can be captured during the recording process, making sure to grab all the detail possible.
Conclusion
The argument to this is that we can only hear frequencies up to 20khz, and that’s pushing it. So why would we need more? Well that seems to be a subject where no definite answer has been determined. Please feel free to give your opinions to this below.
Right, here we are. Is hi-res audio worth all the fuss? If you have a very good set of headphones or earphones, and you use them with a very nice portable player or plug them into a high end home system, then I’d say that you will notice the difference between CD and hi-res audio. On the other hand, if you listen to music on your phone using the earphones supplied with it, or you listen to your music wirelessly, CD quality will probably be as good as you need. Saying that, most people still listen to Spotify and seem very happy with it, so what do I know? And don’t even get me started on vinyl or we’ll be here all week.
Flare Audio Flares Jet 1 and Jet 2 Earphone Review
Flare Audio is a British firm which was founded a few years ago by inventor and all-round clever chap Davies Roberts; they’ve been busy developing new patented technology in order to more precisely reproduce the music (see below)..
Pros:
Great sound for both with great detail
Good construction
Light and comfortable
Cons:
Grills not present so syringe those ears
Design and Appearance
Both models are very light compared to other in-ear designs; the Jet 1 capsules being constructed of a polymer material and the Jet 2 capsules aluminium. The nozzles or soundports themselves form an attractive shape as they narrow from the capsule to the eartip end, giving them a very unique look. They sport Flare’s patented design called ‘Jet technology’ which apparently both equalises pressure on both sides of the driver, and maximises efficiency.
Durability and Build Quality
Both models sport a light but tough-looking cable which is pliable; the coating is a little bit grippy which can be annoying should the cable become tangled, so no putting into your pocket between uses (a rule which is worth following with any earphone). Strain reliefs are quite adequate, and these are black and red where the cable meets the capsules, for left and right respectively.
There’s also a single button control and mic on each model so the Jets are suitable for phone calls.
One point of concern is the lack of grills on both models; knowing how some earphones can end up after prolonged use, earwax can get in and interfere with the sound, or stop it altogether. The long and narrow design of the nozzles on both the Jet 1 & Jet 2 does lend itself well to a deep-insertion wearing style which could exacerbate the issue, so a shallow fit is recommended unless you’re wax free.
Comfort
The capsule design and placement of the mic/control on the cable suggests that the Flares Jet 1 & 2 are meant to be worn with the cable hanging down from the ear, as opposed to the ‘over the ear’ wearing style. Given how light both models are (Jet 1 is just under 12 grams and Jet 2 is 14 grams), they draw little attention to themselves other than by the sound they provide, although microphonics (vibrations travelling up the cable through movement) can be an issue.
Sound Characteristics
The Jet 1 and Jet 2 are slightly different beasts; the former has a little more emphasis on bass (or rather, a slightly reduced midrange) and the Jet 2 has a more neutral sound to it.
Bass
Bass is well controlled on both models; sub bass has good extension and the control factor has it feeling really tangible. Mid and upper bass has good impact and good speed too. These earphones are giving up details down low which seem quite new to me on some tracks, so if you’re a fan of tight and textured bass then these Jets are certainly worth a punt.
Mids
This is where the two models diverge in terms of what they offer; the Jet 1 has midrange which is a little more reserved than the Jet 2, so if you’re more a dance music and r&b listener then the Jet 1 may be more your thing. Also if you’re a little bit sensitive to midrange presence as this reviewer is, then the Jet 1 is the one to go for.
The Jet 2 is the more grown up-sounding of the pair, but both are more than capable of rendering strings and rhythm guitars with aplomb. Both models have a very strait-laced midrange sound which is neither too dry nor too luxuriant, though it is slightly on the dry side if we were forced too choose. This is not a criticism, think of dry sherry vs. sweet sherry!
Treble
Both Jets are not warm-sounding earphones (in terms of a lack of treble presence) but there is a certain restrained quality about the treble here. It’s not there in any quantity which draws attention to itself, and carries on the midrange’s good work without overshadowing it.
Soundstage and Separation
Soundstage is rather good for both of these models; if an instrument is panned hard left or right in the mix, it seems to stand a good few inches clear of the ear. Imaging and separation is similarly good; with subtle harmonics not lost on the listener.
Music genres good for and why
The Flare Jet 1 and Jet 2 are not fussy regarding the music they handle. However we’d say that the Jet 1 is more for commercial recordings such as pop and similar, whilst the Jet 2 is the more grown-up sibling which may be more appropriate for live recordings and classical genres.
Summary
UK firm Flare is definitely one to watch; matching interesting technology with good manufacturing and resulting in some very good-sounding earphones in the Jets – Jet 1 and Jet 2.
Shipibo wood cups, aluminium gimbals, rodblocks and leather headbands are all excellent hand crafted upgrades for your Grado headphones. They also provide a great base for a custom Grado style build for use with 3rd party drivers.
Shipibo Audio is the creation of Przemyslaw Nyczaj and Michal Czok, created to provide perfect products that stand out in the world of custom headphones. They craft all their products in house in Poland.
Cups:
Lets start off with the main product, the Zebrawood cups. These cups are Grado RS style that have been CNC milled on the inside, and hand turned on the outside to provide a perfect finish. These cups have tight tolerances inside and this means that your drivers will be a perfect fit. You can use liberated Grado drivers from the Prestige or Reference series; or 3rd party drivers from Symphones, Nhoord, Elleven Acoustics and Turbulent Labs.
The drivers slot right into place, you can use a layer of tape around the edge of the driver to make it a snug fit. The cups have a small opening to route a cable through, alternatively you can drill it out a little and fit connectors for detachable cables.
The grills are press fitted into place, and everything is flawlessly finished, these cups are produced to a very high standard. They have not ruined the grain by using a gloss varnish on them.
Sound wise cups do not change the sound drastically, but I have compared these to a Spalted Tamarind cup and these are ever so slightly fuller sounding. These are however a huge upgrade to your current Grados, and one that does not cost the earth. They will alter the sound a little over Metal or Plastic stock cups, as the resonant frequency is slightly different. I found moving to wood cups brings out a little more air, but also a more realistic timbre and body to the sound.
Rodblocks and Gimbals:
These are a prototype of the slim style rodblocks, and because of this they do have slight differences to the production models. However for a prototype they are perfectly machined with tight tolerances once again. The headband screws into place, and the slider tension can be adjusted by screws to keep them in the same position on your head.
The Gimbals have screws on each side to hold the cups in place, they are sandblasted on one side, and plain aluminium on the other. They are a perfect fit, and feel much more substantial than the stock plastic gimbals.
Apart from the cosmetic upgrade, being able to lock the rods in place to keep them the right size for your head is a huge bonus.
Note: The new rodblocks and gimbals have been treated with microarc oxidation which created a ceramic layer on them. Ceramic microarc coating is generally recognized for high hardness, wear resistance, and corrosion resistance, so you won’t have to worry that your new parts will get scratched. So these parts are scratch-proof, but come only in bright silver matte colour.
There are 2 types of headband padding being made, one is a slim size which is similar in width to the original Grado padding, and the other is wide which is also thicker.
For this main build I used the slim pad, as it looks similar to the stock pad, but if you are making a heavier build, or want to upgrade your PS series headband the wide would be perfect.
Both pads are hand made, they are easy to install and offer a large upgrade in the comfort department. The padding and leather is soft and the weight is distributed more evenly, these headband pads are such a simple upgrade, yet one that makes your headphones a lot more comfortable.
Conclusion: Firstly it is excellent to see another company producing Grado style parts, there are too few. Also people do not realise that for a modest price you can build a headphone from scratch that will compete with models a lot higher priced, with minimal work involved.
Shipibo parts are well priced in the market, superbly finished and simply excellent.
