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DUNU DK-3001 Hybrid Quad Driver Earphone Review – Hybrid Theory

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Dunu DK-3001

DUNU DK-3001 Hybrid Quad Driver IEM Review

The Dunu DK-3001 is a detailed and well balanced IEM, lending it’s hand to all genres and never becoming congested or peaky. A technical achiever that is also a lot of fun to listen to.

Pros:

  • Overall balanced and detailed sound
  • Layering
  • Soundstage

Cons:

  • Ergonomics
  • Treble may be borderline bright to some

Aesthetics, Build Quality and Accessories

The Dunu DK-3001 are an interesting looking IEM, and very difficult to describe so it’s best to look at the pictures. The stainless housing is low key in black, with Dunu laser etched onto the outside.

The DK-3001 feel very well built, the stainless housing feels tough, the cables have very good strain relief and these use standard MMCX connectors so changing cables out is easy. I cannot find fault with the build, althought the MMCX connectors are extemly tight when first out of the box.

Accessory wise, if you have bought Dunu before, you know they include a ton of extras, these are no exception. They come with a hard plastic case, cable clip, flight adaptor, 3.5mm to 6.3mm adaptor, 2.5mm TRRS balanced spare cable, a pair of Comply foam tips in M, Spinfit tips in SS, S, M and L, and two different types of silicone tips in S, M and L.

Everything you need to get a good fit, and having a balanced cable is a big plus in my opinion, there is nothing missing with these.

Comfort, Isolation and Cable Noise

Well the housing of the DK-3001 is subject to some comfort issues, as they are not the most ergonomic IEMs out there. However I did find these to be more comfortable than the Dunu DN-2002. There are some sharp edges on the housing that can cause some discomfort over prolonged periods of time for some people, but once I got a good fit I found them to be quite comfortable. On a personal note I dislike memory wire, so getting a good upgrade cable could be useful for some.

Isolation is fairly average as these are vented, they don’t block out much outside noise so are not the best for very noisy environments, but general commuting and use will be fine.

Cable noise is not an issue with these.

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READ MORE: MrSpeakers Aeon Audiophile Headphone Review

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Sound

  • Bass

The bass on these is dynamic and full, it is quick and nimble when needed yet comes out in full when called for. Bass guitar lines are superbly controlled and easy to follow, kick drums hit with punch and authority, but all in line with the rest of the sound. The bass is not dominating in any way, it is well behaved but extremely articulate and well layered. They extend right down into the sub-bass with ease, acoustic guitars have very real body and the bass never gets in the way of the mids.

  • Midrange

The midrange is well detailed, the bass does not create additional warmth which allows the midrange to shine. I find the midrange to be quite smooth without huge peaks or dips, these is however slightly more presence in the upper mids. The don’t however suffer from sibilance in the upper mids, and what is excellent is the amount of fine detail that can be extracted from the mids.

  • Treble

The treble is crisp and clear, it has some added sparkle and presence and could be borderline bright for treble sensitive people. I find them to have excellent definition, extension and presence. The treble is not laid back, it is there allowing you to hear and distinguish every cymbal tap.

  • Soundstage

The soundstage is quite wide and airy, these is plenty of space between instruments and the soundstage is accurate and not artificial sounding. Instrument separation is excellent, with everything being easy to pick out, even in fast and technical tracks.

Conclusion

The Dunu DK-3001 is a very well done hybrid IEM, the bass is dynamic and punchy, with excellent and realistic body. The midrange is well layered and very detailed, with and hint of smoothness to it. The highs are always present, yet not fatiguing. These work well with all genres, the bass is fun and energetic in EDM, and rock comes across with detail and layering. Jazz has a very natural tone, and they just take all genres in their stride, however their ability to control heavy metal is truly impressive.

Pioneer SE-Monitor5 – Expert Review

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Pioneer SE-Monitor5 – Expert Review

Intro

Hot on the heels of the Pioneer Master1 , the SE-Monitor5 promises to be a closed-back alternative. It’s a similar design but with a few tweaks here and there, and at a much lower price. So what does a grand get us from Pioneer these days?

Design and appearance (e.g. attractiveness, feel):

Wearing the SE-Monitor 5 certainly makes it known that you’re incommunicado; the earcups are big circular affairs which swallow up the ears and quite a lot of head along with them! Attractive copper rings decorate the earcups on the outside, and the cable bears a couple of rose gold touches.

Durability & build quality (e.g. cabling, connectors, materials):

The Pioneer SE-Monitor5 is built with longevity in mind and will probably last for many years. Everything is solid and premium-feeling with no weak points. The cable is a little unusual in that it’s a fabric-coated type which has been braided or twisted, so it resembles a vintage power cable. The twistings are not fixed so they’re a bit tighter here and not so tight there, making it a bit scruffy looking. Strain reliefs are pretty small, but this is a ‘stay at home’ model so pretty standard for that use. There are three cables included; a 3 metre one, and two shorter cables, one of which is balanced with a 2.5mm jack.

The connectors which go into the headphones are 3.5mm stereo jacks, so there is plenty of scope for aftermarket or DIY cables if that takes your fancy.

When swapping the earpads over, the housings for the drivers were revealed as being of solid magnesium alloy. It’s impressive that this should be found where few will ever venture and actually see it, but it’s probably there for acoustic reasons first and foremost.

Comfort:

The drawback of all this solid construction is the weight, around 480g (17 ounces). This reviewer is of the strong-necked variety, and heavier headphones have been tried but some out there may wish to think twice if they are sensitive to this sort of thing. The weight is quite evenly distributed between the earpads and headband, but the slight pressure from the headband may start making itself known after an hour or two.

Sound characteristics:

The Pioneer SE-Monitor5 comes with two sets of pads; the velour is fitted by default and there are a pair of leatherette earpads too. For this review the leatherette earpads are being used; with the velour pads the sound is a little more focused on the midrange with a lower bass level.

The SE-Monitor5 earpads are quite solid and the seal is affected if glasses are worn; glasses with chunky arms create a gap between the earpads and the head, letting out a fair bit of the low frequencies. Metal-framed glasses may be better. It’s easy to imagine that this issue will resolve itself when the earpads start to wear in.

Bass:

Bass is quite responsive to the music being played; it stays in its place with older genres but is fully present with anything newly produced. The sub bass comes out to play, and we’re treated to a very wide, tight and dazzling bottom end! There is no hint of the bass being elevated above where it should be with any particular thing. There’s a nice clarity and form to it, and it’s clear and well separated even with a lot going on within the midrange.

Mids:

Like the bass, the midrange doesn’t overdo it. The SE-Monitor 5 is a fairly flat and neutral-sounding headphone, but there is a certain warmth and lushness there to keep things sounding appealing. There is no sibilance though, or any sign that the SE-Monitor 5 is having anything other than a great time! It’s all relaxed and effortless.

The midrange hangs with the bass and merges seamlessly; there’s a vast amount of space and reverb trails/effects are clear and well defined all the way to their eventual decay. harmonics are clear and serve to make for a large and well defined sound.

Treble:

Following in the SE-Monitor 5 theme, the treble hits the right note too. It’s neither boosted or recessed; our attention is on the full presentation, and it’s topped off with some really impressive detail given the relaxed and unhurried way in which it appears to be served up. Like the midrange, the treble has an inviting lush quality to it which really appeals and makes for a slightly warm sound, but without compromising on detail.

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READ MORE: Fostex TH7BK Closed Back Headphone Review

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Soundstage & Separation:

The width of the presentation is pretty good for a closed-back model. There’s a decent amount of virtual space in which the SE-Monitor 5 has its fun, and a very real impression of the space in which the recording was made too, such as in the case of acoustic music like classical or opera.

The SE-Monitor 5 may be a little warm-sounding but not at the expense of details which give positional cues, preserving the positions and forms of instruments really well. There’s great layering and we’re well aware of players and voices stretching out to the fringes of the space; nice for backing vocals.

Music genres good for and why:

Headphones at this price point should really do everything well, and the Pioneer SE-Monitor 5 doesn’t disappoint. Classical pieces benefit from a certain weightiness without taking the listener away from the midrange detail. Drum and Bass can give its all, and the SE-Monitor 5 serves up sub bass in buckets. Older recordings sound vibrant and musical, whilst at the same time being given sympathetic treatment for any artefacts or hiss they may have.

 

Pros:

  • Excellent sound
  • Premium feel/Solid construction
  • Short and long cables included

Cons:

  • Might be a bit heavy for some
  • cables look untidy (nitpicking!)

Summary:

Pioneer’s new SE-Monitor 5 promises to be a closed-back follow up to the open-backed SE-Master 1; but is it a people pleaser? It goes well with all sorts of music and should put a smile on the face of the most committed curmudgeon!

Grado RS1e Audiophile Headphone Review – Who Woodn’t?

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Grado RS1e Audiophile Headphone Review

Grado needs no introduction; they’ve been producing headphones since 1990 and have stuck to the same design ethic since then, making their headphones one of the most recognisable out there. Of course, there have been changes going on within the headphones themselves, not least with the ‘e’ range which was released a while back.

The Grado RS1e is one of these, with mahogany earcups and a very retro headband which makes us think of radio operators during World War II. Had their headphones sounded this good at that time, would the Allies have still won? It’s a real enigma.

Pros:

  • Good clear Grado sound
  • Attractive construction
  • Good quality extension cable included

Cons:

  • Cable’s a bit serpentine

Design and Appearance

The headband design is as simple as possible; pins and gimbals allow for size adjustment and that’s all. They say the best designs are the simplest, so this is not meant as a criticism! The quality of the headband and stitching is definitely something which needs to be remarked upon, even just from a retro-appreciation standpoint.

The mahogany earcups carry this theme very well too. They match the headband very well and go against the ‘shiny and new’ look that a lot of headphone makers strive for with their models. The Grado RS1e might have been introduced decades ago; this is testament to the fact that Grado is happy to rely on the tried and tested, rather than push designs that might be gimmicky and fashionable.

Durability and Build Quality

The RS1e is not designed for use anywhere other than at home or work, so we have no problems with its light and relatively barebones quality. The headband assembly won’t take kindly to being sat on though! The cable is a thick PVC coated affair much like the rest of their range; it would be nice to see a change here. It is supplemented by a 450cm Grado extension cable however.

There are no strain reliefs on the cable where it meets the headphones, so just ensure your foot is not on the cable when you stand up.

The wooden earcups are well turned and finished, and together with the leather headband they do look good.

Comfort

The Grado RS1e may look good, but padding is relatively spartan. Given the weight of this model, it’s not an immediate issue but pressure points may announce themselves during longer sessions, on the ears and over the top of the head.

Sound Characteristics

Grado is known for a fairly bright and airy sound from their headphones and the RS1e fits right in. There is bass in good proportion however, and the RS1e appears well balanced without any obvious peaks.

Note: There are reports that the RS1e improves after a certain burn-in period which pays no heed to review deadlines. If possible, this reviewer will return and update these impressions if necessary.

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MORE INFO: Grado GS2000e Audiophile Headphone Review

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  • Bass

Sub-bass is there but fairly muted; it’s there if we look for it, but it may easily be missed in unfamiliar pieces. Low/Mid bass is more prominent with a nice width; it’s well controlled too and gives an impression of effortlessness, like it’s just pouring into the ears.

It has a well defined form and there are no concerns here; lots of space is left for those higher frequencies for which the Grado name is known.

  • Mids

The midrange is extremely clear and crisp-sounding which is a two-edged sword. With well produced and more ropey recordings alike, we get everything warts and all. Needle noise and pops on your digitised vinyl collection will be apparent, but older recordings are generally very well rendered.

Vocals may get a bit peaky here and there; particularly female vocals which can reach towards the piercing at times. Also, certain sounds such as bells, resonance on an electric piano or anything like that can cause issues depending on your particular sensitivity to these frequencies.

  • Treble

Faithful to the Grado sound, treble is fully present and is well balanced with the midrange. There is no obvious trouble between these areas of the frequency response, and so the midrange just seems to continue on up into the treble naturally. It makes for an airy and intricate sound, with plenty of fine details.

  • Soundstage and Separation

Soundstage is about average for an open-back; the sound seems to be coming from without, but the listener is not surrounded as such. Similarly, imaging and separation does not benefit from the clear midrange harmonics as much as expected, so maybe the wooden earcups are having an effect here, or this particular headphone needs a bit of running in before reaching its potential.

Music genres good for and why

The Grado RS1e is a real toe-tapper with any genre; however if you’re fond of sub bass in your tunes, you may miss this a bit. As mentioned though, it may improve as the headphones receive more use.

Summary

Grado’s RS1e is a graceful and svelte looking piece of kit, and sounds it too. It’s not bass light though, with a good balance between the various frequencies. There is a low bass rolloff so extremely low bass may be attenuated a bit.

Bowers and Wilkins P9 Signature Review – Streamlined and Benign

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 Intro:

Bowers and Wilkins have done it again and added to their sequence of odd numbers with the Bowers and Wilkins P9 Signature. However they’ve taken a break from their black and silver theme and gone over to the brown side, giving the P9 even more of an executive feel. But has the sound of the P9 undergone a similar transformation?

Pros:

  • Great versatile and comfortable sound
  • Three cables included
  • High quality construction

Cons:

  • Isolation quite low for a portable
  • Headband needs adjusting for use with case

To Buy Now click the image below.

Design and appearance:

As mentioned above, the colour of the Bowers and Wilkins P9 Signature has been changed from the familiar black we have all come to know, and the basic design of the headband has changed as well. Gone are the swept back silver yokes of the other black models, with some very solid-feeling forged aluminium ones on the P9 model. There is a nicely put together soft case for storage, although the headband needs to be adjusted to its minimum size for this. The P9 comes with a generous three cables; two of which are short for portable use (one with mic/controls) and a long 3m cable for enjoying music at home.

Durability & build quality:

The new yokes are very strong and together with the firmness of the earpads, the P9 is a very sturdy design. It is a little more hefty than previous models, but the weight is by no means excessive and once in use barely noticable. Cables are similarly solid with good strain relief at the jack end; as with previous models, the cable is attached to the headphones by taking off one of the earpads, where the jack sits within a recessed cavity. The earpads and headband padding are coated with Saffiano leather which not only looks and feels luxurious but also means it last the test of time.

Comfort:

With the right adjustments, clamping force is distributed equally between headband and earpads, and the earpads have enough give in them for glasses to be worn with no trouble or discomfort.

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READ MORE: Grado GS2000e Audiophile Headphone Review

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Sound isolation:

Isolation on the P9 is fairly low; when tried here in the office with no music, the headphones allow pretty much everything through. With music playing, this is of course mitigated against but still those distracting exterior sounds can be a problem; especially during those quieter passages in classical music, for instance.

Sound characteristics:

Overall the Bowers and Wilkins P9 Signature has a very versatile frequency response. The accent is tilted towards the warm but there’s plenty of detail to be had.

Bass:

Down low, there’s good extension as sub-bass is fully present; it’s certainly skull-rattling with tracks with plenty of subby basslines, and a nice amount of weight and drama is added to classical performances. Kick drums decay with a certain unmistakable rumble. Higher up, the mid-bass is slightly pronounced, and together with the sub-bass makes bass a real feature of the P9’s sound. The P9 is no one-trick pony however, as bass moves up into midrange very smoothly and with great definition.

Mids:

In the middle, there’s no hint of bass encroaching on midrange territory, which can certainly hold its own. Here there is a nice amount of clarity and presence giving crisp directional cues and harmonics. Space is there in spades and there is no danger of congestion with more complicated or busy passages.

Treble:

Higher frequencies are well balanced with the rest of the presentation and lead to what most will think of as a comfortable sound. Detail is not sacrificed however and as with the midrange, there is a certain crispness here which grabs the attention. Having said that, the P9 is on the forgiving side when it comes to older recordings, or those whose production might leave something to be desired.

Soundstage & Separation:

Soundstage is impressive; with good width and depth. It’s easy to pinpoint individual instruments and the instruments themselves are very nicely rendered thanks to the clear midrange and treble, enhancing the 3D effect.

Music Genres Good For and Why:

The Bowers and Wilkins P9 Signature has been tried with pretty much everything and provides a nice touch with all genres. Weight for those dramatic strings in classical and for heavy basslines in rock and dance music. Conversely, acoustic performances enjoy a certain lightness and plenty of air. Old music such as Harry Richman’s ‘Puttin on the Ritz’ is most enjoyable on the P9, despite its being recorded over 80 years ago!

Final F7200 Review – Diminutive Dynamite

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Final F7200 Review – Diminutive Dynamite

 

Intro:

Final (the maker formerly known as Final Audio Design) has introduced some rather nice products in its time, and is known for its trademark house-sound which gives a very pure and natural presentation. It has enjoyed some success with its ‘Heaven’ range of IEMs among others, but Final is not finished yet.

Step forward, the new range of balanced armature IEMs, the F Series. Starting with the F3100 and F4100 models, with the F7200 sitting at the top of this range.

 

Pros:

  • Replaceable OFC silver coated cable
  • Novel carry case design and eartip design
  • Clear, natural sound

 

Cons:

  • Heaven series fans with expectation bias may notice a change with the Final house sound here

 

 

Design and appearance:

These earphones are certainly tiny; the addition of eartips makes them seem even smaller somehow! The capsules are 5.5mm in diameter and only 2 grams each. Final has designed them to reduce the distance between the driver and eardrum, making for a more realistic and involving sound.

They have a certain functional aesthetic; the stainless steel capsules and OFC silver coated braided cable make the Final F7200 look like a specialist piece of equipment, which arguably, it is.

They can be worn with the cable down, or over the ear. Earhooks are supplied to reduce cable noise and keep the cable in position, should this be a problem.

They come with a novel case; made of soft silicone, the earphone cable can be wound around the outside, with capsules and jack kept apart to prevent scratching. Also the design avoids bending the cable in the same places, as some other carry case designs do.

 

Durability & build quality:

These new models from Final may be small, but build quality is typically superb. However the MMCX connectors are not designed for repeated disconnection/reconnection so this should only be done if the cable is upgraded, for example.

Strain reliefs are very good, and made of clear plastic to keep the earphones pretty. The right-angle jack and Y-split on the cable are made of stainless steel which gives a good impression of quality also.

 

Comfort:

Given their tiny capsule size, the Final F7200 earphones can be adjusted easily to provide the perfect fit; also there are some rather novel eartips included as well as the standard silicone eartips which we all know. These consist of relatively large foam tubes, which slip over the capsules entirely and provide extra comfort and isolation..

 

Sound isolation:

Isolation is fair with the standard eartips, and can be enhanced with the larger ‘tube’ tips. A bit of experimentation is advised with these, it’s quite fun to try something new anyway.

 

Sound characteristics:

The Final house sound has had a slight tweak here; the F7200 still has a pure and natural quality to it, but with a little more upper midrange presence.

 

Bass:

Low frequencies are well balanced and have great control; these are not earphones for bassheads, but music has a certain authoritative weight to it. Despite being a single balanced armature design, Final has worked its usual magic to maximise bass response without affecting the midrange.

 

Mids:

Midrange is clear and pure; there’s a certain bump in the upper midrange which distinguishes the Final F7200 from most of Final’s single-BA ‘Heaven’ series, such as the Heaven IV. This gives an impression of greater accuracy, and makes the F7200 a good choice for professional/monitoring uses, as well as just for enjoying music as an end user.

 

Treble:

The top end is detailed, but there’s a natural smoothness there which conveys a sense of realism. It sits well with the slightly accentuated upper midrange and isn’t upstaged by it. The combination makes for some very nice harmonics with brass and woodwind instruments, and imaging is as good and accurate as with any single BA design.

 

Soundstage & Separation:

Soundstage is impressive considering the tiny Final F7200 capsules, and we are reminded of Dr Who’s Tardis. Where does all that space come from? Possibly, the purity of the sound from the Final F7200. Separation definitely benefits too; whether the music is simple or complex, the sound never gets congested.

 

Music Genres Good For and Why:

The slightly lifted upper midrange may cause issues for more sensitive souls with a predilection for female vocals; but other that, the Final F7200 will give good service with any genre. The accuracy on offer is especially good with acoustic performances, and as mentioned earlier in this review, the F7200 can be used for professional monitoring purposes and might be a good option for those who find equivalents such as the Etymotic ER4SR a little too dry.

Etymotic ER4XR – Review – Microscopes for the Ears

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Etymotic ER4XR – Review – Microscopes for the Ears

 

Intro:

Veteran earphone fans out there will certainly recognise this brand! Etymotic has had an excellent reputation with its single balanced-armature designs; particularly amongst professionals within the audio industry. With the Etymotic ER4XR we see that Etymotic’s famous and long-standing ER4 design has had a tweak to add a little more bass to the mix.

 

Pros:

  • Very accurate and resolving
  • Simple no-nonsense design
  • Nicely designed and replaceable cable
  • Carry case
  • Extra bass is restrained and well balanced

 

Cons:

  • Not recommended for poor quality recordings
  • Deeply inserted tips will not suit everybody (foam tips included)

 

 

Design and appearance:

There are few changes to the look of the ER4XR when compared to previous versions; it has the same styling, it’s still black and the eartips are the same. However, when something works so well, why fix it? With earphones such as this, Etymotic is right to feel that purchasing decisions will be made on sound quality requirements alone, rather than gimmicks such as styling and colour.

 

Durability & build quality:

Again, there are minimal changes here, if any. The cable is sturdy but flexible, and where it splits we have braided cable going into each driver. The cable is replaceable, being attached using MMCX connectors. The impression is definitely of a product which is built to last in demanding environments.

Accessories are decent enough, with a selection of eartips (standard triple flange, a larger size triple flange and a few memory foam tips), a few extra filters with a changing tool and shirt clip/jack adaptor. Also there is a carry case which is semi-rigid, and roomy enough to keep a few extra bits in as well as the earphones.

 

Comfort:

Due to Etymotic’s triple flange tips and the need to insert the ER4XR deeply in the ear, some may have comfort issues with the fit of this design. There are some memory-foam eartips included also, and a plethora of after-market tips should this be a problem.

That aside, the Etymotic ER4XR is very stable and comfortable; users can concentrate 100% on the audio.

 

Suitability for Intended Application:

Etymotic has long enjoyed a dedicated user base of audio professionals, and the ER4XR will not disappoint. However, more and more end-users have found Etymotic’s products as ideal for enjoying their music, and the Etymotic ER4XR is sure to please this group with some added bass when compared with the older ER4S. Mercifully, Etymotic have been quite measured with this additional bass; it’s balanced well with the rest of the sound and does not threaten to upstage the famous midrange of the ER4 design.

 

Sound isolation:

Isolation is fairly good; a reduction of around 30dB is quoted on the box which is certainly good enough. With the triple-flange tips, exterior sounds are deadened enough to avoid distractions but it’s still possible to hold a conversation with the earphones still in position (without music on, of course).

 

Sound characteristics:

The Etymotic ER4XR compares well to the other newly released ER4, the ER4SR. Both are very similar in terms of their sound, with a little bit more bottom end on the ER4XR. The accent is on the words ‘little bit’; these are not for bass fans, so please look elsewhere if you’re all about that bass! Etymotic have stayed true to their loyal followers, as the increased bass of the ER4XR does not impinge on the midrange detail and clarity that this design is famous for.

 

Bass:

A good seal with the eartips is still important, but not quite as important as it was with the older ER4S! There is an appreciable amount of extra bass which starts quite low, adding a nice weight to the presentation. Given the popularity of previous designs, both with audio professionals and music fans, perhaps this is a nod towards the second group. The additional bass adds more than a hint of musicality, warmth and vigour.

As might be expected, bass is very nicely controlled and well balanced with the rest of the frequency spectrum, working perfectly with midrange which adds some very realistic harmonics..

 

Mids:

Midrange frequencies foster a blend of revelation and adventure. Revelation, due to the relentless way it exposes details within the audio, and adventure for the same reason; some older or badly made recordings might be difficult to listen to, and low-bitrate encoded tracks will not do well. Additionally, there are unexpected things to be discovered within music collections everywhere. Listening to a German film theme from 1971 (Peter Schirmann – Fluchtweg St. Pauli), it’s possible to hear what was on the tape before they recorded! Always make sure your tape is properly erased – German music producers of the early 1970s, take note.

Those who have a sensitivity to high-midrange frequencies might wish to think carefully as the onset of listener fatigue may be quick for some. The rewards more than outweigh these paltry pitfalls however, as music can be laid bare and almost deconstructed by the quality on offer here. No sonic stone is unturned! Things are handled well; even with a chaotic amount of action going on in the music, the ER4XR does it standing on its head.

 

Treble:

Next to the power of the midrange, the treble settles for second fiddle. There are no sharp edges here. Treble is tuned to provide support for higher harmonics and percussion, but there is a chance of the ER4XR sounding a little strident in terms of lower treble/upper mids. Female vocals and trumpet sections can be a little hard-edged on occasion, depending on the production quality.

 

 

Soundstage & Separation:

With the accuracy on offer from the Etymotic ER4XR (and ER4SR), it’s no surprise that separation and imaging are very impressive indeed. It’s difficult not to be distracted by that oboe player skulking on the far left of the presentation, or percussion which gives a vibraslap round the face.

Soundstage is good; the music appears to be coming from further out than the deeply inserted ER4XR’s physical limits but the near-neutral tuning and accuracy of the ER4XR does impose limits on this, making more distant instruments appear closer.

 

Music Genres Good For and Why:

The ER4XR is perfect for well-produced music of all types, so long as it is encoded well (in the case of digital music). Older recordings may be a hit or miss affair with music from the 1960s and earlier, depending on the production and mastering quality. Frequency peaks in the wrong place will become very apparent, and of course artefacts from the original recording medium (such as record pops and scratches) will not escape undetected.

Fidue Sirius A91 IEM – Every Dog Has His Day

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Fidue Sirius A91 IEM – Every Dog Has His Day

 

It’s always nice to see a brand bringing out a new flagship model, and Fidue are certainly looking at the stars with the Sirius. Boasting a driver configuration consisting of 4 custom-made balanced armatures and one dynamic driver for the bass frequencies, Sirius promises to illuminate us; but is it a magnitude better than the competition?

 

Pros:

  • Lovely presentation
  • Strong carry case
  • 2.5mm balanced cable as standard
  • Adaptors for use with 3.5mm sockets
  • removable cable locks into place

 

Cons:

  • Carry case is a bit bulky – that’s all!

 

 

Design and appearance

This is certainly one of the best presented IEMs; the capsules themselves are very strong and the cable is a fabric coated effort which is quite reminiscent of a full size flagship cable. This is terminated with a 2.5mm balanced jack as standard, for use with Astell&Kern palyers or the Lotoo PAW 5000 for example; more are sure to follow. However if you are still languishing in the world of 3.5mm sockets then adaptors are included; one for a standard 3-pole stereo socket and another 4-pole for better compatibility with some 4-pole sockets.

 

The case is similarly made well but it’s quite chunky; it’s probably designed to go into a bag rather than a pocket.

 

Durability & build quality

It appears that no expense has been spared in terms of materials used; it’s all very sturdy and gives the impression that it’ll go on for years. Strain reliefs are good and as mentioned above, the cable is thick and luxurious without being cumbersome. It behaves itself nicely.

 

The cable is removable and the MMCX connectors are kept in place using locking rings, which also take the strain. It’s still possible to rotate the capsules with the cable locked into position, so a good fit is always easy to achieve.

 

Comfort

Like the case, the capsules are on the chunky side but they sit in place quite comfortably without sticking out. The fabric cable also helps to fool us into thinking we aren’t wearing earphones at all, and the sound of the Sirius enhances this feeling (more on the sound below)!

 

Sound isolation

Isolation is decent enough; this is of course dependent on the sort of seal which can be achieved with the supplied eartips. This may be improved with the Comply eartips which are also included. Exterior noise tends to vanish when the play button is pressed, especially when music sounds as it does from the Sirius!

 

Sound characteristics

The sound of the Fidue Sirius sits together so nicely, it’s a challenge to pick out the features of the bass, midrange and treble. It’s a tangible and cohesive presentation which lets us know that this earphone is not playing around. Other flagship IEMs might emphasise detail which makes them a touch bright, or there may be a smoothness there in which something seems to be lacking. The Sirius sits perfectly between the two camps, giving up details effortlessly with an ease which cajoles the brain into accepting what it’s hearing as real.

 

Bass

Bass is tight and authoritative with a rich creamyness which really appeals. Definition is very good, with shaking drumskins and similar low-frequency details nicely rendered. Sub bass is there in quantity when needed, and it’s nicely balanced with the rest of the presentation so it never threatens to take over.

 

Mids

Midrange frequencies are about as present as they can be without risk of fatigue; they’re clear and vibrant with no hard edges. Older recordings get a new lease of life as if they’re brought up to date. It’s a bit odd, but a very nice type of odd. Steppenwolf’s ‘Magic Carpet Ride’ could have been produced last week, and the Temperance Seven’s renditions of 1920s dance music are so fresh, it seems a real possibility that a flying champagne cork might assault us. Newer, well produced/mastered music needs to be heard to be believed!

 

There’s a good amount of space and things never seem to get bogged down with a lot going on in the music. Reverbs and harmonics are clear and give a tremendous sense of being there and directly involved with the music.

 

Treble

Up top, higher-frequency detail is similarly treated with a bright-sounding presence which knows just when to back off. It has a natural and organic quality to it, with a shimmery lushness which gives another touch of realism to the presentation. The Sirius is exceptionally revealing but never strays beyond the bounds of believability.

 

 

Soundstage & Separation

Soundstage is very impressive; the head is surrounded by music, helped along by the Sirius’ very open sound. Instruments are easy to pick out and have great definition, but at the same time everything sits together very well should you just wish to relax and take it all in.

 

Music Genres Good For and Why

What genres is the Sirius not good for? We haven’t heard anything which the Sirius cannot do justice to. It shines with everything.

Summary

If you are looking to upgrade, you could do a lot worse than giving the Fidue Sirius a try. It is utterly deserving of its flagship status and it’s been a real pleasure to review. It’s one of those earphones which will have you tearing through your music collection in order to hear everything for the first time, again!

 

Fidue Sirius A9Video Review

Sennheiser HD 630VB – Expert Review

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Sennheiser HD 630VB – Expert Review – Pump Out The Bass!

Sennheiser may now be a septuagenarian, but is keen to be ‘down’ with the kids without resorting to giving out Werther’s Originals. Hence the new HD 630VB, which has the facility to alter volume, answer calls and alter bass levels using controls on the right earcup; as hinted at by the ‘VB’ bit of the name. But does the Sennheiser HD 630VB have the panache of an elderly David Niven, or does it come across as a flare-clad grandad at a rave?

 

Design and appearance:

At first glances, the HD 630VB appears to be something which executives are pictured enjoying whilst looking out of aeroplane windows. Much like executives, they are very smart looking with their metallic veneer and slightly hard-edged styling, but they feature generously upholstered earpads and headband padding to offer a more yielding and comfortable experience.

The unique selling point is the variable bass feature; this works on its own (without relying on software in your digital audio player) so can be used with any device or full size amp with a headphone socket, although an extension cable will likely be required. The only thing is that the earcups are very large for a portable, but hey, let’s smash those preconceptions!

Unusually, the cable is worn on the right side of the headphones; this is due to the controls being on the right side for the majority of us who are right-handed.

 

Durability & build quality:

Weight is an issue with a lot of headphones designed for portable use and the HD 630VB is no exception. It’s a lot lighter than it looks but the stress points, such as the bit where the headband extends and the pivot points for the yokes have a good solid feel to them, so there should be plenty of life in the HD 630VB.

The cable is non-removable but has a very solid feel and is quite supple. The jack is straight and the housing is only 5mm wide so not a problem for anyone with a recessed socket in their player or DAC.


Comfort:

As is typical of portables, the Sennheiser HD 630VB does have quite a grip on the head, but the comfy earpads mitigate against this very well. Also they are good with glasses with reasonably chunky frames/arms. After a couple of hours, it may get a bit warm and moist under these earpads however.

 

Suitability for intended application:

These headphones are an obvious choice for portable applications, but are large and comfortable enough to be a good choice for relaxing at home too.

 

Sound isolation:

Isolation is pretty good, as the ears are swallowed up within the luxurious earpads and a fair bit of outside noise is taken care of. Obviously this melts away with music playing so you’re alone with your music. Others nearby will not twig that some particularly loud music is being enjoyed; the HD 630VB will keep your more questionable music preferences hidden.

 

Portability:

The headphones can be taken anywhere with the use of the supplied semi-rigid case; they fold up quite nicely to save space when not in use too.

 

Sound characteristics:

The HD 630VB has that classic Sennheiser tuning; ignoring the variable bass feature for a moment. Warm yet detailed, with clear mids and impactful bass.

 

Bass (e.g. punch, low extension):

The variable bass part of the design alters the bass level by 5dB up or down at 50 Hz, so there’s a good amount of control here. They can be made mean and lean, or can lend some serious welly to proceedings with a twist of the wrist. The trouble is, the temptation is to keep playing with the bass levels rather than just enjoying the music; to a man with a hammer, everything looks like a nail.

Naturally, some sub bass-heavy genres such as drum&bass have been tried and with the bass turned way up, the rumble factor is extreme; though not to the detriment of the midrange. Things are still well controlled, it’s just that there’s a particularly heavy foot beneath it all. Great news for bassheads.

With more midrange-centric genres however, the bass can be a little too much and appear boomy, perhaps as expectations and tastes change depending on what’s expected. You might enjoy salt on your chips, but not so much with cornflakes. The obvious answer is to tame the bass again using the control.

 

Mids (e.g. vocals, acoustic instruments):

Midrange is clear and crisp with good harmonics coming through; vocals are prominent without giving too much in the way of sibilance, and reverbs/space get a good treatment too. It’s smooth yet detailed too, a good balance.

 

Treble (e.g. high hats):

Treble is an extension of midrange you might say; crisp and clean but allowing for the high-frequency sensitivities most of us have. Hi-hats and other percussive sounds cut through the mix, while synths scintillate energetically.

 

Soundstage & Separation:

For a closed-back model, soundstage is excellent on the HD 630VB. You might argue that the earcups are big enough to offer enough room for this, but that’s just mean. Separation is very well preserved too; the HD 630VB is faithful to classical genres and gives a decent sense of an orchestral performance.

 

Music genres good for and why:

With the variable bass feature, the obvious recommendation is for dance music genres and anything which benefits from a good solid kick. Jazz and classical are very well served too, with bass adjusted to suit, of course.

Pros:

Variable bass feature
Volume and call answer buttons mounted on earcup
Great isolation
Good build

Cons:

Earcups are large for a portable model
Fixed cable

Summary

The variable bass control gives a good range of possibilities for those who like a variety of genres and styles, and bass can even be adjusted to mask exterior noise like aeroplane engines or the rumble of a train. The Sennheiser HD 630VB is an excellent gift idea for those who wish to take no chances!

Acoustic Research M2 High Resolution Audio Player – Expert Review

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Acoustic Research M2 Review – Android on Steroids

Acoustic Research is one of those old names which has been connected with the world of hi-fi for some 63 years now, although it has changed hands a few times since. Responsible for quite a few innovations over the years, can this brand offer anything new to music fans in 2015? Fully equipped with Wi-Fi capability, the AR-M2 can work with streaming services such as Spotify; so now we’re not limited to the tracks we have stored on our players.

Design and appearance

The M2 is a relatively large and weighty player, with the front side almost completely composed of glass; a fair amount of which is the touchscreen (62mm x 110mm to be exact). The back of the player is bevelled and it settles in the hand well. Its angular form and dark glass screen is reminiscent of a 1980s coffee table, but only a little one.

Key Features

Given the M2 is an android-based player, there’s a fair amount of customisation possible – there’s no bloatware or anything to get in the way, but users can always add items they wish to use. Spotify was installed without a problem, for instance.

Other than the touchscreen, there are 4 buttons on the side for track control and power on/off and a volume wheel on the top. Outputs are limited to headphones and line-level output. There’s a little sliding door for micro SD cards if the internal 64Gb isn’t enough for your music collection, and of course a slot at the bottom for connecting to a computer via USB.

The player can be ‘locked’ for when it’s playing whilst in a pocket or bag; however the buttons on the side still function so there may be some issues there. The volume control wheel on the top is still sensitive when the M2 is locked so again, care is needed.

The player was taken outside on one of the brightest days we have in the UK (we do get bright days) and with the settings adjusted for maximum screen brightness, the screen was clearly legible. The only problem is the fingerprints on the vast expanse of screen which are also clear to see.

The Dac within, a Burr-Brown PCM1794A offers up to 24-bit/192kHz playback and supported formats include DSD, WAV, AIFF, FLAC and ALAC.

Being Android-based, streaming services such as Spotify can be installed on the AR-M2 for use over local wifi networks, making this player more useful still.

Durability & build quality

As alluded to above, the M2 is solidly built and gives the impression of something which will last for a good few years. The back does have a hollow ring to it when tapped with a fingernail, but it doesn’t feel hollow or flex with pressure.

The M2 will be fine in a trouser pocket, but tight trousers might not react too well. Bend over and you might gore yourself – the design is strong and unyielding! The M2 comes with a velvety pouch for protection – ostensibly for the player itself, but it might help avoid the odd nick or scratch elsewhere too.

The buttons on the side of the unit for play controls can be operated even when the unit has gone into standby/hold mode, so fishing the AR-M2 out of a pocket may cause an unintended change of track. Also, the volume control can be operated while in this state. Although it’s firm, it’s loose enough to be operated by material brushing against it in the tight confines of a pocket or bag.

Sound Quality

There’s no question about the power available within the AR-M2; with a HiFiMAN HE-6 attached, volume gets up to a respectable level – even a little too loud for sustained listening, depending on the genre. Likewise with the Audeze LCD-3.

With IEMs such as the Dita Answer (Truth Edition), the AR-M2 is in its element with well controlled bass, excellent space and detail in the midrange, and a rich airiness which brings the best out of both the music and the earphones.

Within the supplied AR player app, EQ settings are possible with many genre-based presets but there’s a limit to the control possible with the rudimentary 5 band on there. This can always change with future updates, however the unadulterated sound of the AR-M2 is perfect.


Pros:

Fast, responsive touchscreen
Large internal memory
Can run apps such as Spotify

Cons:

Side buttons can be pressed while unit is on ‘hold’
Volume control can be accidentally operated

Summary

The Acoustic Research M2 (or AR-M2) is a fantastic sounding player which is well worthy of a position at its price point. Holding it gives the impression that it’s a serious bit of kit, despite all the fun it gives. It has enough power to drive all commonly used headphones well; even 600 ohm cans with sensitivity below 90dB. The large internal memory and the adaptability offered by the Android-based operating system make this a very nice pocketful, although a large one. It’s definitely one for a jacket pocket or bag.

Please take a look at our video review below for more details.

 

 

Lotoo PAW 5000 High Resolution Audio Player – Expert Review

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Lotoo PAW 5000 Review

Earlier this year we were pleased to announce the new Lotoo PAW Gold player, but now there’s a smaller (and a much lower cost) model from Lotoo called the PAW 5000. At half the size, less than half of the weight and less than a quarter of the price of the PAW Gold model, can this upstart bring home the audio bacon?

Design and appearance

The button arrangement on the front is very similar to the earlier model, and the wheel on the 5000 model enables files, folders and options to be selected. The PAW Gold’s frontage was adorned by a little too much of the blingy stuff by all accounts, so the 5000 has been reined in with just a touch of gold on the power button. Very tasteful.

With handheld devices, the trend seems to be towards touchscreens now. This can give greater functionality and versatility, but buttons do offer a more instant tactile feedback. Also the advantages of a button-operated unit present themselves in winter where the PAW 5000 can be used with gloves on, or with gloves off and cold fingers!

Key Features

The PAW 5000 has more connectivity than the PAW Gold, with an optional SPDIF output for attaching to an exterior DAC. There’s a headphone socket of course, and a line-out socket for external amps. Another welcome option is the ability to work with bluetooth headphones via the bluetooth 4.0 standard so you can enjoy your music wirelessly without the possibility of snags.

Durability & build quality

The PAW 5000 is a lot lighter than the PAW Gold, but still feels solid. Buttons feel well made, and the wheel has a free-flowing quality about it while still feeling sturdy. Unlike the PAW Gold model however, a collision with a tiled floor may result in a dented player, rather than a cracked tile. Although the player has no flex or ‘give’ as it’s squeezed in the hand, a tap on the back cover does betray a slight hollowness.

Sound Quality

(Tested with an Audiofly AF180 IEM with EQ off on the player)

We’re used to using earphones such as the Audiofly AF180 with a Chord Hugo (with a Fiio X3 connected via coaxial) and so were expecting a bit of a drop in quality in terms of sound quality. It’s not that easy though.

With EQ disabled, sound is neutral with a nice depth and breadth – soundstage is as good as headphones will portray. The presentation does not have the precise, clinical edge which some high-end players (such as the AK240) have, but that’s no bad thing. Details are not lost; they are there, but just not pushed at the listener so much.

The Lotoo PAW 5000 is a good match for these earphones; the AF180 earphones cost only a little more (at £369.99) and are well served. The PAW 5000 helps to bring out the best in them, and should the listener wish to have a bit more (or less) edge to the sound, the EQ settings should have something to please. These are much the same as the PAW Gold player, featuring both permanent presets and user configurable presets too.

Pros

Digital output (SPDIF)
Balanced output (2.5mm)
Many EQ presets, also user configurable EQ
Bluetooth 4.0

Cons

No internal memory
Supplied SuperSpeed USB cable is quite short

Summary

The Lotoo PAW 5000 does not require deep pockets; in more ways than one. The sound quality and features found on this device rival much higher priced equivalents offered by other makers, and the diminutive size of the PAW 5000 makes it very convenient to keep as a constant companion for those quiet (or noisy!) moments.

OPPO PM1 Planar Magnetic Headphones – Expert Review

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OPPO PM1 Planar Magnetic Headphones – Expert Review

Intro

The name Oppo is perhaps better known for smartphones produced in Asia; but Oppo Digital, which produces these headphones, is a Californian company and quite separate but for its distinctive (and licenced) logo.

An unconventional arrangement then, but does this ‘out of the box’ thinking translate itself to the headphones? Well no – because the headphones do come in a box, albeit a rather fine one. It may be one of the nicest boxes we’ve seen headphones presented in; it’s rather reminiscent of a Jaguar X-Type dashboard, and opens like one too. Well, the glove-box anyway.

It may be worth noting however, that for a considerable saving you can opt for the Oppo PM-2 version which has a few of the extras and details omitted. For instance, where you might have a chrome trim on the PM-1, the PM-2 uses plastic, and it does away with the presentation case.

They do have the same drivers and will have a very similar sound signature, so if you are as happy with good champagne at £30 per bottle as you are with the best champagne at £120 per bottle, then consider the PM-2.

Pictured with the OPPO HA-2 Portable Headphone Amplifier & USB DAC

 

Design and appearance

The good impressions don’t stop with the box; it’s entirely in keeping with the rest of the design and feel of the PM-1. They’ve gone for a chunky yet light feel with plush generously-sized earcups held by large aluminium yokes, and a steel headband tempered by a soft, yielding leather padding.

Durability & build quality

The materials may be plush, but the Oppo PM-1 gives the impression that it’s no rich man’s toy or passing fancy. It means business and can produce the goods.

The cable is a good example; covered in a close-woven black fabric, it’s reminiscent of goods made in a bygone age. They are certainly high quality.

The Oppo PM-1 headphones looks like they’re more at home amid the tantalus cabinets and antique davenports of a West London penthouse; and likewise they have the solid feel of an item which will stand up to years of enjoyment.

Comfort

The earpads are big enough for the appendages of most people, but if earcup size has been an issue before, these may be on the snug side. The earpads are perforated and breath a little, so things shouldn’t get too moist under them.

The Oppo PM-1 headphones are held on by equal pressure between the plump earpads and equally generous headband padding, and wearing glasses doesn’t pose any problems.

Suitability for intended application

The Oppo PM-1 is definitely meant for relaxing and enjoying the music with few distractions coming either from the headphones themselves or from without; the open design will allow audio out and exterior sound to penetrate so a nice quiet space is ideal in which to get totally lost in the music.

Portability

The handsome case which these headphones arrive in is of limited use if travelling as the accent is on quality and presentation, but there is a travel case offered for the PM-1 in the packaging so if you are planning to travel with them you won’t be disappointed. The earcups fold flat on the PM-1 so they can be packed without being too hungry for space.

Also included is a small one metre cable with a 3.5mm jack for enjoying the headphones from smaller players and amps;

Sound characteristics:

(Used with Chord Hugo DAC/Amp & FiiO X3)

Bass:

Bass is as you’d expect from a planar magnetic design; it reaches low and fills the bottom part of the audio spectrum nicely. It’s not overblown; it’s just enough to tickle your eardrums and be felt as much as heard. Higher up, the bass is as strong and impactful as is called for by the audio with all the quality hinted at by the PM-1’s outward design.

Mids (e.g. vocals, acoustic instruments):

The midrange gives the impression that the PM-1 is slightly on the ‘fun’ side of neutral – but it’s subtle. The midrange has as much presence as the bass and treble, but the Oppo PM-1 does not sound neutral, perhaps ‘sumptuous neutral’ is more like it. There is plenty of space and very little congestion amid busier sections of music. Anything here can be paid attention to, and zoomed in on for all those tiny details.

Both male and female vocals are given a slight prominence and backing vocals are just as present in the mix, with definition and details easily giving added realism.

Treble (e.g. high hats):

Treble is smooth. The Oppo PM-1 headphones are not dark (at least when paired with a Chord Hugo) but they allow a comfortable, non-fatiguing listen. There’s enough treble here to add the upper harmonics to instuments and shimmering qualities to percussion and not quite enough to cross the threshold into uncomfortable territory.

Given that the Oppo PM-1 is provided with a smaller 1m 3.5mm cable, the headphones were tried with a similar sound source, the Fiio X3. The slightly warmer nature of the X3 was apparent on the PM-1, but the combination still gives a punchy and involving presentation. The PM-1 does respond well to lower-powered devices but my cheap android phone could have done with going a couple of notches higher in volume. Apple iPhones and brands such as Samsung/HTC should not have any issues though.

PIctured with the OPPO HA-1 Balanced Headphone Amplifier & USB DAC

Soundstage & Separation

There is a lot of room in these headphones! Anything recorded in a studio with separate close miking and mixed is as wide as the producer envisioned, but live and classical recordings are given a real treatment. The listener is virtually surrounded among strings, woodwinds and flutes.

Separation is likewise superb; the Oppo PM-1 is like a pair of opera glasses for the ears. However with a lot of classical recordings, the shuffling of feet and turning of music pages will be noticeable, along with the odd click of a woodwind key.

Music genres good for and why:

Everything was tried with the PM-1 from Harry Richman to Herb Alpert, and it all sounded great. The PM-1 is another one of those all-rounders which doesn’t even blink in the face of audio adversity; the obvious result of good breeding, no doubt.

Pros:

High quality in every way
Comfortable to wear and hear
Exceptional sound quality
Travel pouch

Cons:

Some may prefer more ‘sparkle’ or brightness

 

 


Audeze EL-8 Open-Back – Land of Open Glory – Expert Review

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Audeze EL-8 Open-Back – Land of Open Glory – Expert Review

Intro

Based in Sunny California, Audeze have endeavoured to spread a little spare sunshine around; even to the point of piercing the gloom here in the UK! We’re all aware of the effect The Golden State’s orange juice has on us in the mornings, and it appears that its headphones aren’t far behind in being able to part the clouds, if only in terms of dazzling audio resolution.

The planar magnetic EL-8 Open-Back is a bit of a departure from Audeze’s other designs; it’s smaller, lighter and and more travel friendly with an ability to be folded flat – not that the idea of stopping listening and packing these headphones away is particularly alluring.

Design and appearance (e.g. attractiveness, feel)

I say that the Audeze EL-8 Open-Back is lighter than the other models; and while that may be the case, they still have a fair bit of weight. When compared to the average portable out there they won’t win any Oscars unless there is a strong supporting cast. But if viewed as a headphone for any quiet scenario such as for home use too, the EL-8 Open-Back returns to the podium like something out of Ben-Hur.

They’re decorated with a wood-like veneer design around the edge of the earcups, which looks a little more understated when compared to the LCD range, but still follows the Audeze theme of natural wooden tones.

Durability & build quality (e.g. cabling, connectors, materials)

Despite the initial surprise at the headband which consists of a relatively thin band of steel with a sprung pad in the middle, plus the departure from other Audeze designs where the yokes are concerned (the pivoted parts holding the earspeakers), we were reassured of the solid build quality when handling the headphones. Nothing about the Audeze EL-8 Open-Back goes against Audeze’s pedigree where build quality is concerned.

Even taking the design of the headphones into account, the cable is perhaps the greatest departure from previous designs. It’s ribbon-style and the connectors are more reminiscent of those you might find on a memory card, with 4 separate contacts on each side. Being 2m/6.5 feet long, an extension cable may be required for home use with full-sized amplifiers as the Audeze EL-8 Open-Back was primarily designed for portable players.

Comfort

When nestled on the head the Audeze EL-8 Open-Back is quite comfortable and does not feel heavy, but we all have different opinions where weight is concerned. At 460g (or just over a pound) they are lighter than the LCD range by a fair margin. The headband cushion is comfortable too, but when adjusting the headband back or forward there may be a tendancy for the headband’s rubber coating to pull on the hair.

Suitability for intended application

Being an open-backed portable, this EL-8 version is obviously for those who want a low profile way of taking great quality music to the office or to enjoy in quiet spaces outdoors. These headphones may run into problems in noisy environments, or if the wearer wishes to not cause a nuisance to those nearby. There is a EL-8 Closed Back for such scenarios, so take your pick!

Portability

The earcups on the Audeze EL-8 Open-Back fold down flat and so can reduce the size of the headphones in a bag or case; however the travel case supplied with them could be more substantial, amounting to a soft cloth pouch which will protect the headphones from dust.

Sound characteristics

Bass (e.g. punch, low extension):

Being a planar magentic model, bass comes naturally to the Audeze EL-8 Open-Back! It’s all in proportion of course, there’s no bloat for the sake of it. It’s emphatic when called for and never steals the show. It is tight and detailed, enhanced by harmonics within the unfettered midrange and upper frequencies.

Mids (e.g. vocals, acoustic instruments):

The mid-range can be zoomed in on and enjoyed whether there’s a lot of action or not; it is all taken in the EL-8 Open-Back’s stride. This headphone can certainly keep its head.

Nuance is not lost and every tremelo and vibrato within a vocal performance is faithfully served up along with accompanying reverb trails, making for a very convincing and moving presentation.

Treble (e.g. high hats):

The upper frequencies are a perfect complement to the rest of the range, neither too bright or too dark. This is a personal opinion of course as we all have a differing amount of sensitivity to this region, but Audeze have obviously put some thought into this and hit a perfect balance between sharpness and dullness; they sparkle without glare, and massage auditory systems in a non-drowsy way.

Soundstage & Separation

Soundstage may suffer a little from the grill on each side; the larger earcups of the LCD range give audio a good chance to breath but this should have been scaled down for the EL-8 Open Back along with the earcup size itself, with a greater chance of any otherwise reflected audio escaping.

Separation is as good as any open backed headphone in the EL-8’s price range; even bringing out details I had never conciously noticed before such as that rhythm guitar low down in the mix, or that backing singer who was multi-tracked and not the subject of a delay effect.

Music genres good for and why

Genres from classical to slow and heavy EBM were tested with the EL-8 Open-Back; the headphones are sensitive and precise enough to convey the finer touches and emotion of the Brandenburg Concherto, as well as vibrating the skull with Rhesus Factor’s ‘Commando 242’, an unremitting heavy synth track of little subtlety! The relatively neutral tuning of the Audeze EL-8 makes it a perfect jack of all trades, and a master all of them as well.

Pros:

Removable/replaceable cable
Sounds amazing
Small and light (in comparison to Audeze LCD Series)
Ver comfortable to wear

Cons:

Some may still find them just a little heavy on the head
Carry pouch not as substantial as a hard case
6 foot / 2 metre cable only

Please take a look at our video review for the Audeze EL-8 Headphones below:

 

 

 

 

Fidue A83 Earphones Review – Hybrid Unbridled

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Verdict

What’s not to like about the Fidue A83? From the unassuming ‘try me’ design to the expansive sound, the A83 could take us down many rabbitholes!

Pros

  • Instantly engaging
  • Lovely cable

Cons

  • Case is a little ungainly

Fidue is another of those makers who are peppering the market with all sorts of models at various pricepoints, and the A83 occupies their top spot just now. Despite sharing its name with a minor road up in Scotland, the Fidue A83 is warm, fast and hardly ever congested. The Fidue A83 can however bring you to ‘The Mull of Kintyre’ if you really want to go that far.

Key Features

The left and right sides are denoted by the blue and red housings of the Fidue A83; they simply beg to be worn and seem to offer a fun experience just by looks alone. Supplied tips are what can be expected for a model in this price category; there’s a good range along with the nearly ubiquitous free Comply foam tips, but don’t differ that much from those given away with budget models. The case is of the chunky ‘Pelican’ style and along with the hard foam winder/storage insert will certainly protect the earphones. The case will not easily fit in the pocket however.

First Impressions

The clear translucent red/blue plastic of the housings is matched by the outer-facing housing part which although metallic-looking, is also plastic. However the overall impression is of a solid and well-built IEM along with the best of them. The cable is the most striking feature; it is braided and is coated to avoid too much friction. It’s nice and loose so tangles are unlikely.

Sound Quality

Far from a neutral sound, the Fidue A83 certainly packs a fun punch with deep and powerful bass when called for, adding weight beneath kick drums and basslines, but steering well clear of midrange bleed. There’s no more bass than dictated by the music. Midrange is clear with a lush hint; space is well preserved and harmonics make instruments shine. Up top, the Fidue A83 is not as rolled off as most universal IEMs but there is no hint of anything which might cause fatigue in the ear. Separation and imaging are very good for an in-ear too.

The A83 is amazingly faithful to your chosen genre; trying these with some 1970s production music, the dynamic compression used is beautifully rendered and makes the bass and midrange really work together. Conversley, with some clean and clear Level 42 from the 1980s, the presentation is as fresh and clean as a new pin. The A83 takes what’s good, and makes it even better.

Summary

The Fidue A83 really are as fun as they look; but don’t let this kid you into thinking they cannot be serious too. Think perhaps of looking in a mirror and actually seeing the person you imagine yourself to be – 10 years younger, spritely and in your best light – it’s the Fidue makeover!

Score – 9.5/10

The Fidue A83 features in our BEST HEADPHONES OF 2015 REVIEW

Final Audio Heaven VII Earphones Review

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Verdict

Any Final Audio earphone in the Heaven series is fantastic at its pricepoint, and for the asking price the Final Audio Heaven VII offers angelic audio quality. Soundstage and detail are stunning, while the frequency response gives a presentation which is both delicate and authoritative.

Pros

  • Sounds amazing
  • Looks amazing!
  • Good strong metal case

Cons

  • Microphonics
  • Cable can be worn down from the ear only

Being British here we’re no strangers to what the heavens can provide (lots of rain!); however we’ve been enjoying a few distractions lately. Final Audio’s Heaven series is no less than a perfect fusion of detail and comfort; starting from the entry-level Heaven II. The range leaves us spellbound, and a lot drier as well.

The appearance and sound of the Final Audio Heaven VII is a contrast to its stablemate the Heaven VIII, which is the fuller sounding of the two models. While the Heaven VII lies in neutral-airy territory, the golden Heaven VIII gives a lusher presentation with a little more bass. A review of the Heaven VIII is coming soon.

As well as the Heaven VIII, the Heaven VII is one of the latest in this series; it is based on a similar design to the rest of the Heavens, but borrows the capsule design from the limited edition dual balanced armature ‘LAB-1’ model which is not generally available outside of Japan and the Far East.

Key Features

Using a single full-range balanced armature driver produced by Final Audio themselves, the Heaven VII is detailed but never gets fatiguing. Bass is fully represented, mainly due to both the balanced armature and Final Audio’s BAM (Balanced Air Movement) technology which incorporates some clever tricks to improve the frequency response in the lower region, when compared to other makers’ single BA designs.

Also, the Heaven VII has been designed with ‘resonance dispersion’ in mind. According to Final Audio, this helps prevent vibrations and reflections in the housings which may lead to a detrimental effect on the sound. The casings are made using a metal-plating technique so that the colour won’t wear away or chip.

First Impressions

It’s the styling which is first to be noticed; there’s a medieval feel about them – particularly the black Heaven VII. While the design is of course down to a high-tech process, they still give the impression that they were produced by an enchanted artisan a few hundred years ago!

The jack differs from others in this range however; it’s more like the straight jack which comes with the Final Audio Hope VI full-size headphones.

Sound Quality

With an Astell & Kern K120, the Final Audio Heaven VII gives a totally immersible experience – soundstage is well beyond the physical confines of the housings, and separation is superb. Bass, as already mentioned, is not typical for a single balanced armature design; it is very well balanced with the rest of the sound and is well controlled, allowing the midrange a good amount of space to impress. The sound is very clean and exact; it neither is boosted or recessed and works very nicely. Sense of space is very real, and together with the soundstage, very big! There are moments with the K120 where high frequencies threaten to cross into strident territory, but never do. With a Fiio X3, due to the nature of the player’s sound, the Heaven VII is smoother which I prefer personally.

Summary

We’ve come to expect very high standards from Final Audio – in terms of audio quality, build quality and presentation too. The Heaven VII still pushes the envelope, giving a touch of glamour without ostentatiousness, toughness without bulk, and detail without sharp edges.

Score 9.5/10

 

LINDY HF-100 Headphones Review – Low Cost, High Value.

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 LINDY HF-100 Hi-Fi Headphones Review – Low Cost – High Value.

Verdict

In return for money spent, the sound quality that the Lindy HF-100 Premium Hi-Fi Headphone puts out is no less than stunning. When guessing what these headphones cost, we overshot like England penalty-takers; we never guessed that this sound would be available for well under £100. If you want to keep someone convivial, buy them these headphones and you will have a friend for life; albeit a very preoccupied one. Perfect for use at home or on the move, but an amp or dedicated music player is required. At 60ohms impedance/100dB sensitivity these will not be sufficiently powered by a phone alone for example.

Pros

  • Ridiculously Good Value
  • Comfortable
  • Travel Case
  • Alternative earpads
  • Removeable cable
  • A taste of audiophilia for under £100!

Cons

  • Not suitable for use straight from a phone
  • Cable runs to both left and right earcups

Intro

Headphones for £100 and under have been a mixed bag generally; at this price point, designs have been compromised in some way in order to keep down costs and the more substanial the headphones looked, the more substandard they sounded. So with all this baggage the Lindy HF-100 had its work cut out and impressed us despite it all.

Key Features

Being a full size headphone, the Lindy HF-100 includes the expected accessories such as jack adaptor and storage case but with a nice pair of alternative earpads too – these are a little firmer than the earpads which are fitted to the headphones when new and will change the sound signature, try these if the original pads do not suit you.

First Impressions

The Lindy HF-100 is a low-cost full size headphone from the Lindy brand, a name perhaps linked with a plethora of gadgets, connectors and peripherals. Our surprise at how good these headphones sound may have been partly due to them being new on the headphone scene, but now that they have come out again for this review I have only the cost in mind, and we’re still delighted.

Sound Quality

The Lindy HF-100 Premium Hi-Fi Headphone has a fun sound; very engaging, and with a decent bass. Not woolly and voluminous, but well controlled and balanced. They respond very well to EQ, the bass boost on my FiiO E12 not being lost on them. Midrange is clear and spacious, with a good amount of detail. Higher up in the midrange the sound is a little uncompromising in terms of stiffness – there is no peak here to cause the listener discomfort but the HF-100 can seem a little starchy and unyielding where a more expensive headphone would be smooth, for example the SoundMAGIC HP-150. With good quality recordings this is a minor detail, but low bitrates and poor recordings may get fatiguing to listen to after a while.

Summary

As with everything you get what you pay for. Although I should make that ‘most things’ as there are exceptions to this rule; not least the Lindy HF-100. A while ago, I would have expected to achieve a sound like this if I were to spend £150 or over. But not any more.

Score 8.5