The Whizzer A15 are well worth considering for their £69.99 price; detailed and fun sounding, with great build quality make them a winner.
Pros:
Well balanced
Detailed
Separation
Soundstage
Cons
Highs are not the most refined
Cable is a little thin (replaceable)
Aesthetics, Build Quality and Accessories
The Whizzer A15 is an interesting IEM, with a brushed metal outer shell and the company logo stamped in black on it. They look and feel excellent for the price and have a nice slim profile.
Build quality is very good, especially considering the price. The outer housing is metal, the cable has a soft and flexible section of memory wire and is sheathed in fabric below the y-split. The cable is detachable and uses the popular MMCX connection, so you can use aftermarket cables should you wish. The cable has good strain relief, my only concern is it is a little on the thin side where it enters the section of memory wire.
Accessory wise you get plenty of added extras, first off you get a nice faux leather carry pouch which is small and perfect for storing the IEM’s in. Next you get a metal tip holder with a variety of ear-tips. You get S, M and L in 2 different types of single flange tips, and also a pair of S and L foam tips. The A15 have removable dust filters, and come with a pair of tweezers to remove the old foam, and 5 pairs of new foam filters. Overall everything you need is included, along with some bonus extras.
Comfort, Isolation, Cable noise and Driver flex
The A15 are really comfy, the housing has no sharp edges and the memory wire is supple and easy to shape. Once in they are secure and comfortable for all round usage. I do find the angle of the cable does slightly push them out of your ear and foam tips offer a more secure fit.
Isolation is quite average on the A15, due to the large vent on the inside of the housing. They would be fine for most general usage, but if you are looking to block out loud noises, a fully sealed IEM would be better.
Cable noise is not an issue due to the behind the ear cable routing.
Driver flex is not an issue, I believe this is due to the venting of the housing.
Sound
Bass
The A15 are tuned for fun listening, with a strong and punchy low end but without excess or bloat. The bass will satisfy most people and lends its hand to all genres well. The bass is well controlled; during rock tracks bass guitars are easy to follow, and kick drums hit with authority and good body. Acoustic has excellent body and warmth with good tonality, and EDM is just fun and energetic. The bass does not bleed into the midrange, and extends right down to the sub-bass regions with ease.
Midrange
The midrange has excellent bite and clarity, as stated the bass does not cause excessive warmth to the midrange adding only a hint of warmth to the lower midrange. The midrange is also not pushed back in the mix which can happen with some of the more fun sounding headphones out there. A highlight of the midrange is the air and separation, allowing everything to shine through with delicacy and detail. Luckily there isn’t an upper midrange peak, allowing them to be fatigue free with no sibilance.
Treble
The treble is well presented in the mix, not being subdued or left behind. There is a slight peak which gives greater presence to the lower treble region and they don’t quite extend as effortlessly as some more expensive models. But putting them up against similarly priced models, you will find these sound more complete than the usual warm bassy sound of others. Initial cymbal hits have excellent energy but are not sharp, and do not become too bright and fatiguing.
Instrument separation is excellent, the A15 never becomes congested through faster more complex tracks, and the soundstage is above average with great width. Imaging is convincing with good spatial cues and directionality.
Conclusion
The Whizzer A15 lends its hand to all music, and does a great job at being a good all rounder. Stick on some rock and they are energetic and fun, well recorded acoutstic and you can hear subtle detail and warmth. Presenting a well balanced sound across the frequency range, the A15 is a well built IEM for the price with excellent sound to boot.
Sennheiser is a company which seems to have painted itself into a corner in recent years; how do they improve on the models they’ve had on sale for the past few years? It’s either a testament to their design teams of years past, or a damning indictment of the design team they have now. They’re recycling old designs, and adding an ‘S’ so we can’t pluralise without causing confusion. What trickery is this?
Pros:
Nice warm sound
Good assortment of tips and accessories
Carry case
Cons:
Could have more midrange clarity
Straight jack on cable
Design and appearance
A new version of an old classic is simple enough to achieve; round off the corners a bit more and you’re done! There’s probably more to it than that, but this new IE80S bears more than a passing resemblance to the original IE80. However it’s a good look, and Sennheiser obviously knows that it’s not necessary to have flashy designs or gimmicks to impress their fans.
The supplied case is sturdy and sleek, with a non-removeable foam insert which houses the earphones when not in use. Also there are plenty of eartips and accessories, such as a pair of earhooks if your cable keeps popping over your ears.
Durability & build quality
There’s nothing bad to write here, the Sennheiser IE80S is as expected with excellent build quality. The jack on the cable is a straight one which may be a problem for some; if you want a right-angle jack then spare cables for the IE80 will fit just as well.
Sound characteristics:
The tuning is what we expect from Sennheiser; there’s no drastic departure from the typical Sennheiser sound which is warm, with a smattering of treble to keep things interesting but staying comfortable.
Bass
Bass is fairly plentiful and should please lightweight bassheads; however the dials on the sides of the capsules can be adjusted to give a bit more grunt. Control is pretty good, but where it’s loose it feels as if that’s the way it should be. It’s loose with a touch of panache! Subbass is quite powerful if it’s in the music, and you’ll be in no doubt
Mids
The level of the midrange is lower than the bass, but pretty clear and enjoyable nonetheless. Harmonics are clear enough and there is no congestion here, but there is the feeling that the IE80S could do better; at least with the supplied eartips. Aftermarket eartips (such as Blackbird) seem to improve things in this regard.
Treble
Treble is gentle; we’re fond of a warmer sound but the IE80S still takes some getting used to. If you’re a fan of an airy, shimmery sort of presentation then the IE80S is not for you. If however you’re a fan of laid-back music then the IE80S is a contender. Plenty of detail is present though; it comes across as an extension of the midrange with a smooth transition.
Soundstage & Separation
Soundstage on the IE80S is pretty good for an IEM but there’s a lack of depth to the sound, apart from the bass which appears to spread out in front of the listener. Separation is good, but limited with the supplied tips. If you’re splashing out on the IE80S, then try some tips such as Blackbird or Spinfit.
Music genres good for and why
Due to the bass presence, the IE80S is best suited to dance music, pop and rap. Fans of classical, jazz and opera may still enjoy those genres with the IE80S but they will likely miss the airiness and the reverb ‘feel’ of the space the recording was made in.
Summary
Sennheiser’s souped-up IE80 design is here, and it’s an enjoyable listen for many modern genres but some may find the sound lacking air and space for genres such as classical.
Sleek sporty look with a perfect fit, the P281 Sport are some new budget kings on the block. Coming in at £24.99 they are a huge step up to any headphones that come with a phone.
Offering a well balanced sound with good kick down low, they offer an engaging and fun listening experience when out and about, yet still allow plenty of detail to be heard. From top to bottom there are not real peaks or dips, they have a smooth and easy to listen to sound. What is also great is the inclusion of a microphone and button for taking calls or skipping tracks.
What can be better than the award winning SoundMAGIC E10 for under £50? The E10C has the same superb build quality and sound signature as the E10 but with the added function of a universal smartphone in-line microphone – need we say more?
The E10C has tight bass with plenty of weight – the mids are well defined and the top end sparkles. These earphones are perfect for listening on the go as the sound is fun and they will sound great with whatever you throw at them.
If you have £40 to spend on some new earphones then go for the SoundMAGIC E10 – if you need an in-line microphone then go for the E10C. Easy.
If you are looking for a more detailed and neutral sound than the E10C, take a look at the MEE Audio M6 Pro. With it’s monitor like sound and styling, detachable cable and great looks, it is a steal for under £50.
Well the M6 Pro with Blackbird S20 foam tips may have become a new favourite for under £50. These really managed to have everything and sound very engaging, the highs do not disappoint with their presence and tone, the midrange is slightly up front and the mid bass has a mild boost, as a stage monitor I can see these being good and the sound would be easily tuneable with EQ.
For under £50 you won’t find this level of detail, clarity or separation from another in-ear headphone. Add to that brilliant build quality and you have a winner.
Looking for a more bass oriented in-ear headphone with an upfront and engaging sound, yet without losing out on the finer details and comfort, you need the Oriveti Basic.
A 10mm titanium coated driver supplies an impressive amount of bass. Now I am not much of a bass head but after listening to these for a while I found myself really enjoying them.
They’re not audiophile and they won’t give you a reference sound but if you like your earphones to be fun and enjoyable with plenty of punch then these could be for you. The isolation and comfort is also really impressive and along with replaceable cables they are a great buy!
Oriveti are new on the scene and they certainly know how to make an entrance. The new Oriveti Basic earphone packs a punch and gives you plenty of features for its modest price tag.
Looking for a in-ear headphone with quick snappy transients, whilst retaining a well balanced sound signature? Take a look at the New Westone UM Pro10, revised in 2017 to be even better and more comfortable.
Predictably, the balanced armature makes short work of replicating higher frequencies accurately, but the real interest is at the low end where single BA IEMs are concerned. Provided a decent seal can be achieved, the bass is in good balance with the rest of the presentation, although bassheads will be wanting more.
If you fancy the idea of a single balanced armature earphone, but don’t fancy the protruding capsules of the Etymotic designs then the UM Pro 10 is worth a close look. Sometimes the best designs are the simplest and I really think there is something to be said for single-driver IEMs. Makers may be able to tune the sound signature a little more with multiple drivers, but this risks muddying the sound with possible phase/imaging issues as the audio from these different drivers reaches our ears at different times.
In short – choose the simple life and get the UM Pro 10!
One of our best sellers, the New Primacy has a well balanced sound signature with class leading separation and clarity.
The Oriveti New Primacy has a bit of a mid forward sound signature, with excellent clarity and air throughout the range, the bass digs deep and is very articulate, the mids have a habit of bringing out all the detail in recordings but not in an unpleasant way. The highs are airy and well extended, without fatiguing properties, overall a very comfortable and enjoyable listen. The New primacy manages to be a very coherent sounding hybrid design, with a very well textured and layered sound.
Our top pick for under £500 is the Dunu DK-3001, with impressive technical capabilities that are really enjoyable to listen to as well. Punchy and clear sound with a wide soundstage, these are truly excellent.
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 a 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.
If you don’t mind the open back design, the Audeze iSine20 will offer a listening experience more like a full size headphone than an in-ear model.
Offering an open sound with excellent punch the iSine20 offers a relaxing listening experience with slightly polite treble. Keeping in tone with their house sound the iSine20 offers good bass quantity with non-fatiguing treble and a natural tone. This is a very unique IEM that is well worth looking into if you want a more traditional headphone sound. The sound is slightly v-shaped; it’s a warmish, ‘fun’ tuning yet still retains excellent detail retrieval.
The W80 are an incredible performer, with a very detailed, spacious yet smooth sound plus an added Alo Audio cable you are sure to be impressed. Fitting 8 BA drivers into this tiny housing is no easy task, yet Westone have done it without sacrificing anything at all.
Some of the most comfortable IEM’s available; the Westone W80 is a pleasure to use for long periods of time, especially with their non fatiguing sound. The bass has body and impact adding a little warmth to the overall sound, the midrange is smooth and non fatiguing, yet the finer details still shine thought. The treble is slightly relaxed but still retains a certain level of sparkle and extension; they are not analytical but still extract the finer details with ease. A very well balanced IEM, that is comfortable and easy to listen to.
The FI-BA-SST35 is one for the detail lovers, being very unforgiving of the source material you will want to listen to well recorded music to get the most out of these.
Final are kings at squeezing the most out of one single BA driver, and the FI-BA-SST35 is no different. Using their proprietary BAM design they move more air, and dig deeper than most conventional single BA driver designs. The bass is always well controlled but offers good impact and articulation without becoming overwhelming or adding much body to the overall sound. The midrange changes depending on the track you are listening to, yet is always very detailed and very transparent. The treble is not fatiguing yet offers incredible insight into the recording, again play well recorded tracks and you will be rewarded with great sound. The soundstage and separation are both excellent, and the timbre is very good for a single BA driver.
Pioneer’s a big player in the audio field, and their new full size headphones certainly went down well at London’s recent Canjam event. They’ve other smaller offerings too, such as the in-ear SE-CH9T; we take a listen.
Pros:
Removable cable
Mic/control for answering calls
Well controlled bass
Pouch included
Cons:
Relative lack of accessories
Sound lacks refinement/detail
Design and Appearance
The outward appearance of the cosily-named SE-CH9T is fairly standard, although on closer inspection the capsules look like they’re half Shure SE215 and half SoundMAGIC E10. There’s a fairly small Shure-like capsule which looks to give some space behind the driver; this works in conjunction with the ‘air-flow control port’ to usher out all those unwanted reflections within. Leading to the actual sound nozzle, there’s a striking copper-coloured aluminium protrusion which itself houses an inner nozzle made of brass. This ‘enables tight and punchy bass’ according to the packaging.
There is a mic/control on the cable; this is of the single button type, so no volume controls. The SE-CH9T is suitable for use with both Android and Apple handsets though, and is removable with MMCX connectors.
It’s generally a sensible, understated design but for the copper-coloured nozzles which give a splash of flamboyance.
Durability and Build Quality
The SE-CH9T is a very well constructed earphone. The twisted cable is strong and pliable; the 90 degree jack is small and stylish and strain reliefs look as if they get the job done. As with a few other similar designs however, no such strain reliefs are on the mic/control unit, perhaps they are not so crucial in the middle of a cable.
Accessories are minimal; a pouch is provided along with a selection of eartips and two ‘connector shields’ which we think go over the ends of the cable where they meet the capsules. We’re not sure why though.
Once a comfortable fit is achieved, the earphones can be as good as forgotten. For this reviewer, a shallow fit works best as the sound nozzles are relatively wide at around 7mm in diameter. A deep insertion is not an option here, but may be for you.
The cable is supple and doesn’t offer any resistance to movement, but there is a chin slider to prevent any unruly cable behaviour, if needed.
Sound Characteristics
The Pioneer SE-CH9T is a bit of a break from recent bass-heavy models such as the SE-CX8, release a couple of years back. Overall the presentation is on the warm side of neutral, with a bit of bass emphasis and upper midrange presence too. The sound has a certain ‘ungarnished’ quality about it.
Bass
Extension is low with the bass; it’s wide and deep, but there’s no more of it than necessary to add a touch of rumble if called upon. Bass is well controlled and tight; there seems to be a bit of a gap where it gives way to higher frequencies though; this isn’t a deal breaker but makes the midrange appear slightly detached from the bass.
Mids
The slightly forward upper-midrange gives an impression of a clean and accurate sound; it tends to pick up instruments like brass, percussion and electric piano rather than male vocals, although female vocals do get a bit of ‘centre stage’ treatment. There’s a decent amount of detail here, but there is also a touch of graininess, or lack of detail which carries on up into the treble.
Treble
The balance of the SE-CH9T’s treble with the other frequencies makes it almost understated and relaxed; it’s a pretty smooth transtion from the upper midrange but the treble prefers sitting in the shade. The treble does lack refinement, but Pioneer decided not to make up for this by emphasising these frequencies, and that’s pretty welcome.
Soundstage and Separation
There is a good breadth to the sound, but instruments are less distinct than they could be. The harmonics which help to give instruments their character and form are not clear enough, and we’re left with a slightly smeary presentation with the instruments overlapping and bleeding into each other. It’s not unpleasant, but there are earphones at this price which do this better.
Music genres good for and why
The strengths of the SE-CH9T lie in the bass and midrange regions, but the tight bass wins out. Modern dance, R&B and pop will do well, with acoustic and classical taking second place. There’s a danger of the sound seeming a bit lean if there is not a fair level of bass warmth in the recording.
Summary
Pioneer’s new SE-CH9T earphones are pretty straight-laced if compared to some previous models such as the ‘Club Sound’ SE-CX8, and we’re tempted to suggest that Pioneer is growing up. However since Pioneer turns 80 next year, we won’t.
Final’s a funny name for a company which keeps bringing out great earphones; there’s nothing Final here as there’s always more to look forward to! Although the Final E3000 and E2000 are budget models when compared to some of their offerings, they are very interesting specimens; dynamically driven and with a hint of openness about them.
Pros:
Simple, small designs
Cables round (not ribbon-style)
Earhooks included
lovely soundstage and imaging
Cons:
Not as isolating as some
Design and Appearance
If you’re familiar with Final’s earphones then you’ll see that there’s no real departure from a lot of their in-ears. They’re a cross between the newer F7200 and the Heaven series, with a sleek and sensible appearance. The capsules are small; again, about halfway between the F7200 and the Heaven series. The capsules for each model differ, as the E2000 has black plastic and the E3000 has shiny stainless steel.
Unlike Final’s Heaven series, the cable is not of a flat ribbon type but has a pretty standard round design which behaves itself and is quite soft and slinky. The E3000 and E2000 can be worn either with the cable hanging down from the ear or with the cable going over the top of the ear; this can be facilitated by use of the included earhooks.
The back ends of the capsules feature a vent each; this allows a little of the sonic ‘backwash’ to escape from those dynamic drivers, improving the soundstage but also compromising isolation slightly. Very little leaks out though so there’s no need to be self-conscious.
And if you’re keen on wearing earphones with the cable over the ear, Final have thrown in a pair of earhooks with each model.
Durability and Build Quality
There is a decent strain relief on the jack end of the cable but it’s minimal where it meets the earphones and the ‘joiner’ in the middle. This shouldn’t be a problem unless the earphones are habitually yanked out of the ears (if you do this then you are asking for problems)!
As we’ve come to expect from Final, the build quality is excellent with no flaws.
Comfort
The capsule size of the E3000 and E2000 is small, so there should be no issues with fit, and the supplied silicone tips are comfortable enough. Not everyone can get on with silicone tips however, so if aftermarket tips are preferred then the Comply ‘200’ sized tips are suitable, or the newer Blackbird ‘S20’ tips are available from our outlet.
Sound Characteristics
As with many of Final’s earphones (both the dynamically driven and balanced armature designs), the sound has lovely clarity, and this dynamic design gives a little bit of extra bass presence when compared to the Heaven II model, for example).
These impressions are for the E3000 model. For the E2000, there is a slight shift in the balance between the bass and midrange; there is a little more in the way of midrange when compared to the lower frequencies. Also the E2000 has less refinement with details at the treble end, but this is not obvious without comparing the two models closely.
Bass
These little things offer a surprising bass quality; the 6.4mm drivers can really dish it out! The E3000 is not bassy per se but the bass starts really low, gives a good thump with those kick drums, and is enough to please anyone. It’s fairly tight and doesn’t interfere with the midrange frequencies at all.
Mids
There’s a good deal of clarity and detail here; it’s clear when flautists inhale and woodwind keys click. Vocals are nicely textured too. The midrange is not emphasised too much, nor recessed too much. The overall impression is of a smooth sound but there’s no feeling that anything is being missed; it’s all here.
Treble
The theme continues up the frequency range, with bright and tinkly sounds coming across as just that; these never stray into strident or fatiguing territory. In fact, the opposite may be true as Duran Duran always struck me as a bit cold-sounding (classic 1980s production here) but the E3000 gives them a more natural feel.
Soundstage and Separation
The vented design comes into play here; when compared to most ‘sealed’ designs the soundstage of the E3000 is impressive with some nice width and depth too; the E2000 is a little behind with its slightly grainer treble but still strikes the right note. Both models give a decent impression of the instruments’ placement as well; recordings such as those done by ‘The Mint Julep Jazz Band’ have us surrounded by some very convincing brass instruments, and it’s very enjoyable!
Overall, the slight loss of isolation in the design is more than made up for with the soundstage on offer here.
Music genres good for and why
As above, anything live or recorded in a big room is a treat, but studio produced tracks are equally as impactful, making both the E3000 and E2000 good candidates for those who like to mix it up.
Summary
Final’s new dynamic offerings, the E3000 and E2000, are amazing value and stay faithful to Final’s house sound of a pure and natural presentation with a touch of warmth. These earphones are certainly recommended for the asking price.
With the DUNU DN-2002, they have made a very coherent sounding IEM, that impresses with its clarity, natural tone and larger than normal soundstage.
Pros:
Resolution
Extension on both ends
Cons
Comfort (size and weight)
Cable is not easy to remove
Aesthetics, Build Quality and Accessories
The DN-2002 are and odd looking IEM, it is easier to see in the pictures than to describe them. They don’t look bad, but they are quite big as they have managed to get 2 dynamic drivers, and 2 balanced armatures into them.
Build quality is excellent as with the rest of the Dunu line, the housing is metal, the cable is detachable and feels well built with good strain relief. These will last a long time.
Accessories again are plentiful, Dunu are well known for including a wide array of accessories and these are no exception. You get some ear-hooks that should help them stay in your ear and relieve some of the weight, you get a pack of various Spinfit tips, a pack or regular silicone tips, and a pair of Comply tips. Also included is a jack adaptor and a cable clip, all the accessories are held in a neat hard plastic case.
Comfort and Isolation
The DUNU DN-2002 are metal and heavy with all those drivers inside, I personally have small ears and they are not the best fitting for me. They stick out quite far and do not have the most secure fit. If you have slightly larger ears I can see these fitting fine, but once I have a good seal they fit fine.
They can be worn with the cable straight down, or over the ear.
Isolation is perfectly fine for on the go use, but do not block out as much as fully sealed models.
The bass on the DN-2002 is well placed with effortless extension right down to the sub-bass. The dynamic drivers are working well here giving the sound a natural tone. What I like with these is that they don’t suffer from a mid bass hump, the bass is linear and the sub-bass response is very impressive.
Mids
The DUNU DN-2002 has crystal clear mids with no bleed from the bass, they are very transparent and true to the source. Another thing that stands out in the mids is the separation and layering, you can easily pick apart the recording and hear all the details.
Treble
The treble is smooth with great extension, these never become bright or strident but the detail is there. No real issues with the treble, it is present and very well controlled and detailed without grain or splashiness.
Soundstage
One of the standout features of the DN-2002, it is very wide and expansive with excellent placement and air around each instrument. The separation and imaging is all so precise.
Conclusion
The DUNU DN-2002 offer a very coherent sound, everything is there and well balanced. They are not neutral, but natural and balanced sounding. The extension on both ends, and the expansive soundstage are what will grab you first, but listen closer and the resolution of the sound will impress too. Now if only they were a little smaller.
RHA has a nice little thing going with its stainless steel capsules and fabric cables; it’s a good look. And as with fashion design, the models tend to get smaller all the time. However, the lightweight RHA S500 will never develop a cocaine habit, or punch a paparazzo.
Pros:
Decent build
Decent accessories
Bass has a nice velvety quality
Tiny capsules
Cons:
Midrange may be too present for dance fans
Design and Appearance
You might expect a low-cost model to skimp on certain features and items, and compared to other RHA offerings this is certainly the case. However, RHA is always generous with its accessories no matter what you’re spending; included is a nice little drawstring pouch, a cable clip and seven pairs of eartips. Not bad.
The driver capsules are certainly a departure from designs such as the MA350, with teeny microdrivers keeping the capsule size to that of a balanced armature earphone. These earphones can be worn with the cable down, or with the cable over the ear; the small capsule size may offer an improvement for those who have found it difficult to get a good fit with larger designs.
 
Durability and Build Quality
Build quality is much what we’ve come to expect from RHA; stainless steel is used for the driver capsules and jack housing, and the ‘joiner’ on the cable is made from durable plastic.
Strain reliefs are present on the cable where it meets jack and capsules, and the cable is braided between the jack and the joiner. Above the joiner, it’s rubber coated.
Comfort
There’s a good chance that you’ll forget these are in – the tiny capsules allow for a bit manoeuvring so the perfect fit can be achieved.
With the supplied silicone tips, the RHA S500 can cut down those pesky outside sounds very well, but aftermarket foam tips such as the Blackbird S20 will improve this.
 
Sound Characteristics
The RHA S500 has a relatively smooth sound. If you want treble crunchiness, then the S500 is not for you. The action lies in the bass and the midrange with this model.
Bass (e.g. punch, low extension):
With a good fit, the bass is big, wide, deep and low. It’s fairly tight and works well with the midrange; there is no sense of missing anything there. The bass quality has a mellow edge to it which this reviewer really likes; it’s similar to the bass on the Sennheiser IE800 so roll up if you want a taste of that high-end bass!
Mids (e.g. vocals, acoustic instruments):
Midrange is emphasised relative to RHA’s similarly-priced offerings; rather than the bass and treble receiving a lift, the S500 has a full and present midrange. It can appear a little hard-edged at first but after a couple of minutes’ getting used to it, it sits very nicely with the rest of the presentation.
Treble (e.g. high hats):
Treble is there of course, but serves only to extend the midrange if that makes sense. It sits low enough in the mix to give support and fill in those little details, but will never give a particularly bright and shimmery quality to proceedings.
 
Soundstage and Separation
Soundstage is very nice; the sensation of width feels as if it’s down to the bass and midrange frequencies, making it feel as if things are jumping out of line and back again and keeping the ears on their er.. toes. Separation does less well as it relies more on high frequency information, but the S500 does a good job of keeping things from getting confused.
Music genres good for and why
The midrange presence makes the S500 most suitable for acoustic or live performances, or vocals. Dance music and R&B, etc. tends to have a bit of a hard edge which may not suit some, although the bass quality of the earphones makes up for this.
Summary
A very able earphone for the asking price; the RHA S500 is not typical of models in this price range with its present midrange so will be a good option for those who prefer acoustic or vocal recordings.
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!
Our audio gurus have collected the best in0-ear headphones from under £50 to over £500 in 2016 and reviewed them all to help you choose. From established brands like Shure, RHA and Sennheiser, to new kids on the block like DUNU and FIDUE and DITA, below you can check out our best rated headphones from the year so far.
Scroll down for reviews of our favourite in-ear headphones this year so far.
— Scroll to the bottom of this page to watch the video
Best In Ear Headphones Under £50
First in this year’s line-up is the Dunu Detonator, perhaps to reflect the explosion of interest in earphones..
They’re bassy, with a clear midrange and warm treble where perhaps some detail is exchanged for a vibrant sound and a low price. They come with a microphone for taking those important calls, and will suit anyone who is new to earphones other than the generic ones you receive with your new phone.
Being good all-rounders, there is ample scope for the SoundMAGIC E50 to be enjoyed with all genres but the relatively flat response or neutrality of the E50 makes it a perfect earphone for vocals; particularly when accompanied by backing vocals. Percussion gets a nice lift also, as does any distortion effect.
The A65 gives the impression of a long-lasting earphone which will be a solid performer for a good long while. As for their sound, rock music should be mentioned first as the exceptional midrange is perfect for guitars and vocals. Pop, dance and hip-hop are also well served, with an expansive bass and good detail without any danger of sibilance to get in the way.
Shure’s SE215 is the oldest design in our line-up, being released in early 2011. However it’s still popular, which means it hits the spot with a great many earphones fans. Styled for on-stage performers, the cable goes over the top, and down the back of the ears. Bass is plentiful and powerful, with midrange and treble more laid back; but still a very fun-sounding model.
Fidue’s new A73 shows that IEMs under £100 are facing challenges unthought of until recent times – there’s fierce competition within the fertile £50 – £100 section of the market and it’s getting better all the time.
The Fidue A73 can do it all, however dance genres can be enhanced very well with the tremendous bass response. Also rap music and pop for the same reasons. Older pop also does very well on the A73 with the clear midrange offering a crisp presentation of tracks which are 50 years old, further enhanced by the clear reproduction of reverb equipment and compressors which were used back in the day.
These great Bluetooth in-ears will give wire-free piece of mind for those with boundless energy. Designed to stay in the ear with the help of supplied ear fins, they should remain in place during the most strenuous workouts. The sound is well implemented with a well controlled impactful bass, a midrange which is present and clear and a treble which is detailed but smooth so your ears don’t get fatigued along with you!
If you fancy a glint in your ear as well as your eye, the T20 from Glasgow-based RHA has a lot to offer. Both the build quality and the sound are solid. The T20 was tried with a varied range of genres and does well with them all. They are as good with dance as they are with rock music with a good balance between bass presence and midrange action. Soundstage and separation prowess also lets genres such as jazz and classical shine. The T20 is a worthy successor to the T10, with several sonic improvements.
Soundstage and separation are as good as I’ve heard from a BA in-ear model, and the added clarity in the AF180 makes the space portrayed in the music very lifelike. Bass is just right in terms of power and placement – sub bass is present and gives just enough without threatening to take over. Mids are sharp and edgy but not breaking into a sweat, there is an air of effortlessness here. Detail is brought out and reverb decays can be followed right to the end, clearly heard within the mix.
Another of our favourite models, Dita’s ‘The Answer’ doesn’t wait for any questions, and gets straight on with providing some truly immersive sounds. Bass is rich and weighty, with an astonishing midrange. Treble is smooth but with clear and crisp detail, making for a wide soundstage with fantastic imaging.
Unlike the more neutral Final Audio Heaven VII, the Heaven VIII is tuned with a richer and more vibrant frequency response for a lusher sound. Like all of the Heaven range, there’s virtually no stridence or discomfort for sensitive ears, but detail is reproduced with no compromise. Bass is fully represented (thanks to Final Audio’s ‘BAM’ technology) without getting too big for its boots, midrange is crystal clear and uncluttered, with treble as smooth as silk, yet superbly detailed.
Just when the heat of summer starts to loosen an Englishman’s resolve to keep a upper lip stiff, along comes something to turn it completely to mush, and give the thermostat a good twist to boot.
Fidue’s new A73 shows that IEMs under £100 are facing challenges unthought of until recent times – there’s fierce competition within the fertile £50 – £100 section of the market and it’s getting better all the time.
Design and appearance (e.g. attractiveness, feel)
The A73 is silver to the A83’s gold – literally. Well we’re talking about aluminium in this case, but the A73 bears a striking resemblance to its more expensive stablemate. Designed to fit in the ear ‘monitor style’ with cable trailing down the back of the ear, the A73 is relatively petite with one balanced armature rather than the A83’s two, along with a dynamic driver of course. Both ‘left and ‘right’ capsules are composed of the same translucent red plastic.
The cable is rubber coated with braided or twisted cable within. It has the feel of rubber at least, but does not stick to itself. It’s very well behaved.
Strain reliefs are composed of stout rubber sheaths which match the colour of the ear capsules. The straight jack may not be favoured by some but one gets the feeling that the build is sturdy enough to last very well. The jack, mic/button casing and cable join/Y-split are composed of a ridged cylinder which, along with the rest of the design, puts one in mind of the 1950s; in build quality as well as style. The cable is not of the detachable variety which isn’t unusual for an IEM under £100 but some users prefer them.
Comfort
Everyone’s different of course, but this design should suit everyone except those who really must have the cable dangling straight down from the ears. The small capsule size should be a good fit for all but the tiniest of ears.
Sound isolation
There’s a few eartips to try included in the box, and it is recommended that they be experimented with. I found the change in frequency response can be quite dramatic depending on whether the eartips are right for the ears or not. When a suitable fit is found, sound isolation is fair but not dramatic. Using Comply tips a little bit, and the sound is further enhanced (The Comply 200 range is correct for this model).
Portability
In the box, there’s a a decent case for the Fidue A73, with a near-rigid construstion which will protect the earphones in most scenarios. There is webbing within it so a few alternative tips may be carried without jumping out once the case is opened.
Sound characteristics:
Bass:
Bass is both tight and slightly elevated in volume compared to the midrange; there’s a real power to it which underpins kick drums and bass guitars, for example. It extends low so sub bass is not lost on the listener. There’s a good width to it as well, as there is across all frequencies here. It’s further enhanced by some very clear harmonics coming through from higher up in the frequency spectrum..
Mids:
As above, mid-range is pristine with very subtle details not at all lost on the A73. There’s a wonderful sense of space from vocals with a bit of reverb treatment in the production; it’s really involving, along with the harmonics which creates a real immersive 3D effect. I’ve noticed harmonics on synth basslines that I’ve not come across before – I’d probably be able to pick them out with other IEMs if listening for them, but the Fidue A73 serves them up on a plate.
Treble:
Treble is all there, it’s perhaps a little smoother than some would like but probably hits the mark with most people, without causing the discomfort of an all-too-present brightness. Details are laid bare, but bask in a tuneful glow.
Soundstage & Separation
This is another thing the A73 does really well! As alluded to earlier, the experience is involving and riveting. Soundstage is great for a closed IEM, and is as wide as your sense of disbelief will allow you to grasp! Separation is also excellent, as details are always there to be picked out by the discerning listener. Everything hangs together but individual elements can stand up and be counted at the same time.
Music genres good for and why
The Fidue A73 can do it all, however dance genres can be enhanced very well with the tremendous bass response. Also rap music and pop for the same reasons. Older pop also does very well on the A73 with the clear midrange offering a crisp presentation of tracks which are 50 years old, further enhanced by the clear reproduction of reverb equipment and compressors which were used back in the day.
Pros:
Great quality at this price
Good tuning
Wide soundstage
Sturdy build quality
Cons:
Cable not detachable
Lack of slider on cable
Our video review of the Fidue A73 IEM can be found below, happy viewing.
Escaping the shadow of a famous parent or sibling may be a challenge for some, and the SoundMAGIC E50S is in a similar situation. Given the extraordinary success of the E10 model in recent years and the similarities between these two designs, what can the E50S offer to convince us that it both deserves as much attention and can bring something different to the table?
Design and appearance (e.g. attractiveness, feel)
The SoundMAGIC E50S conforms to the same basic design as the E10, with the small barrel-like capsules and glossy braided cable but now instead of the straight connection where the cable meets the jack, the E50S sports a 60 degree angle between them, to cut down on stresses which both straight and 90 degree connections can be susceptible to.
The metal capsules, button enclosure and jack casing are covered by a matt powder coating which gives an attractive impression without being too flashy. The capsules can be worn with the cable going up and over the ear, or down from the ear.
The best thing about this design is its simplicity and its tried and tested ruggedness. The cable is coated with a strong rubber material which is neither sticky or too stiff, allowing the cable to move and flex whilst avoiding tangles.
Everything about the E50S is solid but light, a perfect combination for the purpose these earphones will no doubt be put to. The included carry case will ensure they are safe and dust-free when stored between uses.
Comfort
As with the E10, the SoundMAGIC E50S will offer no limitations for those with non-standard ears who may have run into problems with other designs. The generous selection of eartips included with the E50S should have something to suit anyone, and help them achieve a good fit for as good a sound as the E50S can provide. This includes a pair of Complyfoam tips, consisting of memory foam for an almost custom fit.
The diminutive and stylish design makes the E50S an ideal companion in all scenarios and weathers, with little to worry about in terms of susceptibility to particular conditions and temperatures. the single button and microphone can be used with both Android-based handsets and Apple products – the switch on the cable’s yoke (where left and right cables meet) can be operated for perfect compatibility.
The E50S, like most IEMs sold in Europe now, are subject to regulations limiting the maximum volume from portable devices such as phone handsets. Therefore the E50S (like the more recent E10) has an impedance of around 46 ohms. Most handsets will still offer enough volume with a majority of music, and if more volume is required (some classical music can be very quiet) then there is always the option to get a separate portable amplifier.
Sound isolation:
Being dependent on the fit achievable with the ear, experiences may differ as far as isolation is concerned (as with all in-ear models). But with the wealth of eartips options included, a good level of isolation can be achieved.
Sound characteristics:
Bass (e.g. punch, low extension):
As regards bass, the SoundMAGIC E50S gives as good as it gets and remains faithful to the original music. Where the E10 increased the bass a bit for more volume in the bass region, the E50S gives more impact and provides a richer, mnore immediate impression of basslines, drums and the like.
Mids (e.g. vocals, acoustic instruments):
Being a relatively neutral earphone, the E50S provides a little more of the midrange without any peaks. Harmonics are clear and vocals are pristine and backing vocals are distinct. Atmospheric effects such as reverb can be easily picked out and followed, giving a clear sense of space.
Treble (e.g. high hats):
There is as much detail at the top end as most of us require; it’s never an easy job balancing between a sound which some might think is an overly bright and uncomfortable one, and a sound which others might describe as muddy and dull. However the SoundMAGIC E50S hits the right note and makes a great complement to the midrange for clear and comfortable retreival of detail.
Soundstage & Separation
The increased midrange response makes harmonics shine, bringing instruments to life and giving greater definition. For earphones at this price point, separation is fantastic and with it, soundstage is very good for an in-ear model.
Being good all-rounders, there is ample scope for the SoundMAGIC E50S to be enjoyed with all genres but the relatively flat response or neutrality of the E50S makes it a perfect earphone for vocals; particularly when accompanied by backing vocals. Percussion gets a nice lift also, as does any distortion effect.
Pros:
Simple, modest design Superb clarity and neutrality Good range of tips Sturdy carry case Angled jack Switch for greater compatibility with a wider range of smartphones
Cons:
Single button control only, no volume control functionality
Please take a look at our video review below for more details.
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!
Our audio gurus have collected the best in ear headphones from under £50 to over £500 in 2015 and reviewed them all to help you choose. From established brands like Shure and Sennheiser, to new kids on the block like DUNU and FIDUE, below you can check out our best rated headphones from the year so far.
Scroll down for in depth reviews of our favourite in-ear headphones this year so far.
We had to keep reminding ourselves that the DUNU DN-12 in-ears cost less than £50. The packaging is nicely finished and when you get inside you find a good quality leatherette bag, plenty of different eartips, a cable clip and even a Karabina belt clip.
The headphones themselves are extremely well built. The driver housing is made from titanium which feels great and has a good amount of weight. The cable feels tough and isn’t flimsy, this ends in a smartly designed angled jack connection – you even get a cable tidy designed by DUNU included
Bass is deep and punchy without being boomy, midrange is slightly recessed with high frequencies well balanced; there’s a slight roll-off for those who like a warmer sound signature.
Hifiheadphones verdict:
Punchy with tight bass and crisp detail, the DUNU DN-12 looks and sounds incredible for the price. A real budget winner!
DUNU DN-12 Trident In-Ear Isolating Headphone Review – See more at: http://www.hifiheadphones.co.uk/reviews/dunu-dn-12-trident-in-ear-isolating-earphones-review/#sthash.k4fb5q4C.dpuf
DUNU DN-12 Trident In Ear Isolating Earphones – Review – See more at: http://www.hifiheadphones.co.uk/reviews/dunu-dn-12-trident-in-ear-isolating-earphones-review/#sthash.k4fb5q4C.dpuf
DUNU DN-12 Trident In Ear Isolating Earphones – Review – See more at: http://www.hifiheadphones.co.uk/reviews/dunu-dn-12-trident-in-ear-isolating-earphones-review/#sthash.k4fb5q4C.dpuf
From the start it is hard to believe that the E10S is under £40. The packaging is smart and of a very high quality – once opened you find plenty of spare ear tips and an attractive hard case. Holding the earphones you can feel how well made they are and the innovative switch on the jack plug will let you set the earphones to work with any smartphone – you would not expect technology like this on such a modestly priced earphone.
The E10S comes with ‘Smart Switch’ (Hense the added S to the Model Number) making it compatible with all smartphones, the E10S incorporates this ingenious user adjustable switch enabling control of Apple as well as Android smartphones. Owners of multiple smartphones can easily swap between devices to control call answer and end functions without compromise, and to top it all it comes in a choice of colours.
And for those with a little more to spend, consider the new SoundMAGIC E50. The E50 is a very similar design, but with improved driver (giving more detailed sound) and Comply tips supplied as standard.
HiFi Headphones Verdict:
If you have £40 to spend on some new earphones then go for the SoundMAGIC E10 – if you need an in-line microphone then go for the E10S. Easy! These earphones are our default recommendation at this price point.
Shure’s addition to the sub £50 earphone range is very impressive. They are very well built with a tough cable and solid speaker housing. The sound rolls off slightly at the top which takes away any harsh frequencies and the bottom end has plenty of punch!
The Shure SE112 are a great alternative to the award winning SoundMAGIC E10 – especially if you prefer a mellower presentation.
For a more professional in-ear monitor design we also recommend the Shure SE215 – tight bass, crisp mids and great soundstage.
HiFi Headphones Verdict:
The Shure SE112 has punchy bass and smooth top end detail. They are very comfortable with great isolation and they are tougher than most. IF you ned a built in Mic you Shure have now produced the Shure SE 112M+ for all smartphone options.
When it comes to the sound, the Momentum In-Ear compares well with its full-size Momentum sibling. Detail is high without sibilance or discomfort; harmonics are brought out for a very real sense of musicality.
Soundstage is surprisingly broad for an in-ear model and imaging is coherent and sharp. Overall, the sound is fairly typical of Sennheiser’s recent offerings; in terms of full size headphones at least. When compared to older lines such as the soon to be axed CX300, the sound is drastically improved and shows that this old dog still has some new tricks!
HiFi Headphones Verdict:
Momentum in-ear – For the asking price, the Sennheiser Momentum In-Ear is incredible value; giving great sound as well as swish styling and all in a very rugged and classy looking case.
This is a very special earphone that challenges the big brands with both finish and sound quality. We think the DUNU Titan 1 is arguably the best in ear headphone available under £100.
An ideal solution for fans of the wide sound of open-backed headphones, but who require more isolation. The bass is tight and solid, providing thumping drive when needed.
Soundstage is greatly enhanced by the innovative vented design. One theory is that the energy coming through the holes in the earphone housing (not through the eartip) is felt by the concha, or bowl of the ear. Just as in real life, when sound energy is focused by the ear into the ear canal, it creates a light sensation on that part of the ear which the Titan 1 design mimics with great success.
HiFi Headphones Verdict:
Yet another triumph from DUNU-Topsound. Bright crisp and clear with big bass. These shiny little IEMs are comfy as well as crisp and airy sounding, The finish and materials are high end making this earphone a solid choice for those looking for something special.
Heaven IV achieves the truest possible expression of live concert hall sound.With the incorporated balancing air movement mechanism the earphone body design has evolved into an uncomplicated, slender structure.
Final Audio Design’s special BAM (Balancing Air Movement) mechanism, optimises air movement inside the housing, has pushed the evolution of earphone body design to the next level with a simpler structure and slimmer body. The result is a balanced, natural sound that reduces unwanted sibilant high-frequency sounds.
The Heaven IV is handmade by Japanese sound engineers with a full-focus on ideal sound with no compromises.
HiFi Headphones Verdict:
Final Audio Design have managed to create an earphone that not only looks great, but sounds it too! You get a refined sound with clear and textured detail as well as deep, tight bass. The flat cable design has also been well thought through, it is very durable and eliminates tangles and microphonics.
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’ as well if you really want to go that far.
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 Complyfoam tips and the accompanying carry case is a chunky ‘Pelican’ style along with a hard foam winder/storage insert that will certainly protect the earphones.
HiFi Headphones Verdict:
Great sound quality, superb cabling- this hybrid driver earphone has come from nowhere to capture the hearts of audiophile listeners in 2015.
Machined from solid aluminium, the capsules are designed to avoid adding their own colouration to the sound, and are weighted to lean into the ear for greater comfort and a better seal. They aren’t heavy but just weighty enough to let you know they mean business, and the cable is reassuringly stout.
The Answer Truth Edition is a dynamically driven IEM with a single 10mm driver; Dita Audio wanted to go for the simplest design in order to deliver the purest audio. Since balanced armature technology requires crossovers, multiple drivers and all the related gubbins, Dita went for the less complicated dynamic route. And why not? We’ve all been shown the power and finesse of the dynamic principle through Sennheiser’s excellent IE800s.
Soundstage and imaging are first class, and the use of a headphone amp can really add the cherry to the cake in terms of realism.
HiFi Headphones Verdict:
The Truth Edition is not cheap, but then the best things in life often aren’t, these are incredible earphones with a crazy over engineered cable. Aluminium monsters that are powerful yet precise.
Also available is the Dita Audio Answer IEM, using the same driver and housing as the Dita Truth Edition but with a simpler cable option.
This is a very special earphone that pushes the boundaries of in-ear headphone design.
The FAD Heaven VIII is tuned with a rich and vibrant frequency response for a lusher sound. Like all of the Heaven range, there’s virtually no stridence or discomfort for sensitive ears, but detail is reproduced with no compromise.
Bass is fully represented (thanks to Final Audio’s ‘BAM’ technology) without getting too big for its boots; midrange is crystal clear and uncluttered, with treble as smooth as silk, yet superbly detailed.
A special effort is required to keep any dignity the wearer might want to hang on to; the temptation to start dancing is great with the Heaven VIII! Soundstage too is incredible; for IEMs, the Heaven VIII comes close to full-size headphones. Imaging and separation are razor sharp also, instruments leap out and reverb decays really give an idea of real space.
Also check out the Heaven VIII’s little brother the Heaven VII.
HiFi Headphones Verdict:
Final Audio has earned itself a fanbase the world over, thanks to the wonderful IEMs and full size headphones it produces; the Heaven VIII is a shining example (literally) of the sort of talent they have. Both stunning to look at and even prettier to hear, these handcrafted beauties are among the best earphones you will ever be able to buy.
The IE800 are Sennheisers new flagship audiophile earphones. Featuring a linear-phase driver system that achieves distortion-free audio even at high sound pressure levels. Surely Sennheisers most innovative portable music solution, the IE800 meets the demands of portable audio with truly superb sound and comfort.
The extra wide band transducer system, with a diameter of just 7mm is the smallest wide-band driver system currently available in dynamic earphones. Innovative vent holes in the housing of the IE800 direct the air flow resulting in minimal distortion levels. Sennheiser’s revolutionary dampened two chamber absorbers eliminate the masking of low volume frequencies by absorbing the energy from the louder low-frequency sounds.
Build quality is amazing, scratch-resistant ceramic housing, stainless steel air vents and Kevlar coated audio cable, the IE800 is built to last. Two special meshes protect the IE800 against residue and contamination.
The package includes 5 pairs silicone eartips in different sizes, premium leather carrying case, a cleaning tool and instruction manual.
HiFi Headphones Verdict:
Brimming with ground-breaking technologies the IE800 are the ultimate IEM for bass lovers. Big warm and powerful sounding, beautifully engineered with an ergonomic and attractive design, these are very special IEMs.
John from the sales team gives you a visual rundown of our top 10 best in ear headphones of 2015:
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.
