The Effect Audio Horus definitely deserves its TOTL status, bringing added dynamics, layering and detail to your IEM’s.
Pros:
Holographic
Natural
Organic
Detailed
Cons:
It costs a lot
Aesthetics and Build quality:
To start with the Horus comes in a leather presentation box, fitting of it’s price and big enough to store your IEM’s in too. First impressions are excellent, then you look at the cable and it is simply beautiful. An even braid with a slight gold tint to the cable, with a rose gold splitter and chin slider.
The 2-pin connectors are standard and the jack plug is the usual carbon fibre Effect audio one, I would have liked to seen the jack in rose gold like the splitter. Everything feels very well built, with good strain relief and this is a beautiful cable that is built to last.
The Horus has a pitch black and deep background, sounds emerge from thin air to immerse you in a richly textured and expertly layered sound.
Bass notes have an effortless quality to them being full in nature but not bloated, they extend with ease bringing out the quality of the bass tones of your IEM’s. The main thing about the bass that stands out is the natural and organic texture that doesn’t bleed into the midrange.
The midrange is well separated from the lows but also has a slightly smoother tonality, without losing out on the finer detail. The midrange has excellent micro detail retrieval, yet still retains a more organic and non fatiguing sound. Air and separation is superb, vocals come across with superb clarity and layering.
The highs gain a little presence over most stock cables, but here the quality is outstanding. They take the highs of your IEM’s of choice, take away the harshness and add extension and detail without hard edges. The Horus is not a bright cable, it is open sounding but at the same time engaging and dynamic. Cymbal taps and crashes are better defined within their own space, fading effortlessly into the black background.
The Horus is a deep sounding cable, adding a real sense of air and space to the sound both depth and height wise. During Pink Floyd – The Dark Side of the Moon different instruments swirl around the stage creating a holographic soundstage with excellent imaging and accurate placement.
This is a cable for those who want to get every last bit out of their favourite IEM’s, you have to come in and demo this to believe it.
Conclusion:
Horus is a cable that is incredibly dynamic sounding, it is full and impactful, yet at the same time it is open, airy and detailed. It may sound contradictory, but that is really how I hear this cable. The tone is natural and organic and is never fatiguing, bringing out every subtle detail in the recording without throwing it at your face.
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.
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.
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!
We had so much fun last August at the Park Plaza in London and we’re
We are back, but this year as a Show Sponsor:
Look out for some exciting new products on our tables including:
Pioneer: SE-Monitor 5 headphone & the new XDP-30R DAP
The SE-Monitor 5 makes extensive use of trickle-down technology from its flagship SE-MASTER 1 headphone. It has a Cellulose Nano-Fibre, 50mm driver, and includes 3 cables and 2 types of earpads right out the box.
The XDP-30R features: Compact High-resolution audio player with 2,4 inch touchscreen, ESS SABRE DACs with separate channels, symmetrical audio output, Bluetooth, Google Play apps, WiFi and thumb optimised controls.
ORIVETI is a new and innovative brand providing HiFi quality audio products that are for daily use by discerning listeners.
Founded in 2015, The Oriveti team start from a position of strength with years of engineering and design experience within the earphone/headphone industry.
Following on the the extremely popular 99 CLASSIC, the Meze 99 NEO are an aesthetically pleasing, warm sounding, easy listening headphone suitable for kicking back and enjoying rather than analysing.
It’s always nice to see a brand bringing out a new flagship model, and Fidue are certainly looking at the stars with the Fidue A91 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 all.
Enter the DUNU DN-2002 IEM earphones equipped with four drivers in a hybrid configuration of two dynamic and two balanced armature drivers in each earpiece. With quadruple driver design the DN-2002 are able to create a wide distribution of frequencies offering a spacious and 3-dimensional sound across the frequency spectrum.
Dunu have also managed to enhance their classic sound in the DUNUDK-3001 IEM with a more balanced signature and enhanced sound quality and detail.
Combining a single dynamic driver to manage the bass extension, and three Knowles balanced armature drivers to handle the remaining frequencies. This combination results in a sound stage that is saturated with detail and space for a true Hi-Res sound experience.
Shanling: M1 and M2s DAP’s
Made for taking on the road, Shanling M1 packs all that is needed for portable audiophile listening into a compact digital audio player. Compelling features of the M1 include aptX Bluetooth, lossless file playback and headphone amplifier and DAC functionality. Shanling M1 is a highly advanced digital audio player that packing a lot into a small space, opening up a fresh world of portable listening.
Building on the highly acclaimed M2 audio player Shanling have created a stunning new portable audio player, the M2s. Packing cutting-edge technologies into a lightweight player with small dimensions the M2s is able to play most lossless audio files including DSD256 and PCM up to 384kHz/32bit. With dual-way Bluetooth the M2s can provide an audio source to connect headphones and speakers wirelessly
The DITA Answer was designed entirely from the ground up with one simple goal in mind, to be the finest sounding, most luxurious, universal fit earphones available today.
The DITA Truth Edition is built for the ultimate purist. One who is looking to squeeze that last ounce of performance from his personal audio system.
The DITA Dream is the latest and flagship model. A new custom dynamic driver powers the Dream with a smoother mid-band and bass that reaches even lower with greater control. Dream is also equipped with the Awesome Plug for a multitude of new features.
Full list of brands attending the event:
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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.
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.
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:
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.
Even while being used to the excellent forerunner, the RS170, the Sennheiser RS175 impresses. Time marches on of course, and Sennheiser has marched along with some even more amazing wireless headphones which have left a right impression with everyone here. We feel that to parade around the house with these headphones would be an ideal use for them. We know the drill!
Intro
Following the popular RS170 closed-back model, Sennheiser have had their work cut out. However they’ve improved functionality and have added some useful features too.
Key Features
Flawless and lossless wireless transfer allows for uninterrupted and interference-free enjoyment of TV and music. Buttons on the headphones alter volume, enable bass boost and control virtual surround. Also, switching the headphones on or off will issue the same instruction to the transmitter, for convenient operation anywhere within the transmission range. The included AAA batteries can be recharged within the headphones while sitting on the transmitter which doubles as a stylish headphone stand.
Both analogue an optical cables can be connected; a switch on the back of the transmitter selects the input source. Working on a 2.4GHz frequency, they are free of interference; even when being used with Wi-Fi signals in close proximity, for instance wireless internet routers.
First Impressions
Once out of the box, the headphones feel lighter than they appear to be, and once on the head they are very comfortable – even when glasses are also worn. The ears are fully enclosed; there’s a generous amount of space within the earcups.
The positions of the buttons are intuitively placed; altering volume and enabling bass boost/virtual surround is a doddle. The Sennheiser RS175 promises to give hours of comfortable and trouble-free operation, allowing the user to concentate on the audio.
Sound Quality
The audio quality itself is certainly comparable to many similarly priced wired headphones; with the standard unaltered settings, bass is well controlled and has plenty of impact. Midrange is more prominent than the older RS170 model, improving speech intelligability with video and harmonics with music. There is a slight danger of clutter here if a lot is going on within the audio however. Treble is crisp and clear, but without getting overbearing. Soundstage is fantastic and separation is as good as any closed back at this price level.
Bass boost is more subtle than the name of the feature implies; it gives a gentle lift to the lower end of the bass without causing any bloating or muddying. It is just as well controlled, allowing the midrange and treble space through without being overpowered.
Virtual surround is a big improvement over the older RS170 model; audio which belongs in the centre of the soundstage stays there, while instruments/voices panned towards the left/right move further out. There are two levels of virtual surround and on the higher setting the presentation is truly immersive! Perfect for TV and films.
Summary
The new Sennheiser RS175 is a far cry from the image of the crackly and noisy wireless headphones of years ago. Sennheiser have hit the right spot with the RS175, and the new range of wireless models, the RS165, RS175, RS185 and RS195 promises to dominate the high quality TV headphones market for some time to come.
In recent years, Sennheiser has introduced some wildly popular headphones for more portable uses; from the almost ubiquitous PX100 series to the larger closed back Momentum and Urbanite models, both full-size and on-ear.
And never one to sit still, Sennheiser has introduced another flavour for the similarly restless – the Urbanite XL Wireless.
Pros
Wireless operation and track/volume control
Amazing sound
Foldable for easy storage
Comfortable for long periods
Cable can be used to save battery power
Cons
Non-removeable battery
Supplied pouch could be more protective
Verdict
Overall, a very good quality headphone with versatility to match. Perfect for travel and for relaxing at home alike, the Sennheiser Urbanite XL Wireless presents the great Sennheiser sound which anyone can enjoy. A good all-rounder, with which any genre can be enjoyed.
Key Features
The main point of note is the wireless bluetooth feature of course, and there is an intuitive touch-sensitive panel on the right side by which the user can select tracks, alter volume and answer calls. There are no buttons, a more ‘swipey’ approach has been employed, so a tap pauses, a double tap skips to the next track and a swipe up or down changes the volume.
Should the battery become depleted, a universal cable is included with similar functionality so the music needn’t stop.
The battery can be recharged via the supplied Micro-B USB cable, and like its wired forebears the Urbanite XL Bluetooth can be folded up for easy storage.
An audio cable is also supplied to save on battery power or if it is exhausted, and a soft cloth pouch for storage.
First Impressions
Given that we’re no strangers to the previously released Urbanite XL model, the design and extras are no surprise. The stylish looks, solid build and comfortable fit are never a problem to experience again but even so, the extra Bluetooth functionality has stolen the show! With an Android handset playing on one side of the office here, the headphones made it all the way to the other side of the building (some 15 metres) and no drop-outs were encountered.
The control panel on the right side is a very slick feature; however there’s always a chance that a quick touch to adjust the position of the headphones might result in an unintentional track skip but with practice this can be avoided.
Sound Quality
It should go without saying that a certain amount of quality is lost within the Bluetooth transfer method, but the result is still very pleasing; also with the MP3 still being the king of formats for many, this is not a major concern.
The bass is very well controlled and clear with plenty of punch; the micro-velour type earpads may soak up a little of the lower sub-bass region but overall the bass impact is very impressive.
Midrange gives a wonderful sense of space and both male and female vocal are well complimented, with reverb/echo easily cutting through. There’s next to no clutter here and harmonics shine.
Treble is rolled off slightly; the Urbanite XL Wireless does not hold it back, but there are brighter-sounding headphones. As it is, there is enough treble to enhance details such as percussion, but without much chance of fatigue – it’s a good comfortable sound.
Separation and soundstage are excellent; individual instruments can be picked out with the soundstage extending beyond the physical confines of the headphones themselves.
Using the cable, maximum volume was lower although this of course depends on the maximum amplification of the smartphone being used. The Urbanite XL Wireless has an internal amp which only comes into play when used along with its wireless capability.
Isolation is fair, but you may be inadvertantly sharing your music with those nearby if listening at high volume levels.
Summary
It’s a time of year when we are all looking forward to the longer days and warmer temperatures promised by summer (at least in the northern hemisphere!) and we’re to be found making plans and dreaming about lazy days in the sunshine. Snag-free music seems like a great way to enhance that feeling of freedom and those carefree (cable-free?) moments out there. With the Urbanite XL Bluetooth being worn with it’s XL earpads, our ears might be in the dark but at the same time most enlightened!
The Hidizs AP100 is a great media player. I look forward to future firmware updates but in the meantime the UI is quite useable, and the unit gives a clean, uncluttered sound with a decent amount of power. This is an amazing first effort which begs the question; whatever next from Hidizs?
Pros
Built to last
Neat, useful carry case
Large clear display
Firmware can be updated
Sounds superb at this price point
Internal data/file storage
Cons
Button layout may need getting used to
Micro SD card could be easier to insert and remove
If you like your brand names to look like the first line of an optician’s eye chart, the Hidizs is certainly worth considering – the name might take some getting used to, but it’s plain to see that this player is getting some covetous glances! The Hidizs AP100 has some stiff competition in the low-cost DAP (Digital Audio Player) market, not least from FiiO’s ‘X’ range. The Hidizs AP100 appears to be a halfway house between the Fiio X3 and X5 in terms of size and cost.
Key Features
Inputs and outputs are well represented; both headphone and line-out sockets are present on the top and a separate 3.5mm coaxial in and coaxial out can be found at the base of the unit. Volume buttons are side by side on the front, and on the left side there are both the source/SRC and EQ buttons. Being capable of playback at up to 24bit/192KHz, the SRC button can select the bitrate the player works at. The EQ button scrolls through available presets, and the user can define their own preferred EQ settings.
The case is a really nice design; it is enough to protect the AP100 without bulking it out, and has an understated look much like the player itself. The case is made from a synthetic leather-like material which looks quite durable.
The battery lasts a good long while, and although no precise measurements were taken, there was a good amount of playing time between the ‘low battery’ warning and the player turning off – maybe an hour or two. My experience with the Fiio X3 gives little chance to enjoy music before the unit runs out of power – perhaps 20 minutes at most. Helpfully, the status of the battery is given as a percentage on the screen when charging the unit, so we can make an informed choice of whether to leave the unit charging or to take our chanced with what power is there.
First Impressions
The buttons on the Hidizs AP100 are lovely to press; there’s a great chunky feel to them and they are good solid buttons which will last. Someone said that they are reminiscent of Gameboy buttons – certainly the placement of the volume buttons on the AP100 give a flavour, but they are the kind of buttons that let you know they’ve been pressed – there’s no doubt involved as with touch screens and wheels. The only problem is that Hidizs saw fit to add separate buttons for ‘fast forward/rewind’ – usually the same buttons are used for track skip and forward/rewind, but not on the AP100. Also the ‘back’ button is on the right of the other navigation controls, which makes it feel like a forward/select button; this may lead to a few wrong turns for the uninitiated but it’s easy to get used to.
Sound Quality
Compared to the Fiio X3, the AP100 is a little more accurate and coolish but this is not to say that the AP100 is harsh. Listening to unyielding and brittle-sounding early 80s pop such as Duran Duran is fine on the AP100 but the X3 just gives it a bit more warmth and roundness to a presentation – the AP100 wins in terms of detail.
Compared to the Fiio X5, the sound is extremely similar; the X5 comes across as just a little smoother up top. Soundstage and imaging are similar, but with just a hint of edge to the sound on the AP100 which brings up harmonics a little more.
Added to that, the AP100 holds enough wherewithal to power some less than sprightly headphones such as the HifiMAN HE-400 very well, so the need for a separate amp is lessened.
Summary
An excellent player with a bulletproof design. Solid and reliable, the Hidizs AP100 gives a similarly solid sound and user experience. The sound quality and power gives amazing results, however less sensitive headphones may need a little help. The Beyerdynamic T1, at 600 ohms/102 dB gets up to a good level, but quieter recordings will be lacking in headroom. In our opinion, it bridges the gap between Fiio’s offerings and Astell and Kern’s AK100 but at a very favourable price.
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!
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.
Exceptional quality for the price. The Audio-Technica ATH-MSR7 renders every detail clearly and leaves no sonic stone unturned, but steers just clear of being overbearing at the top end of the frequency range.
Pros
3 cables for all scenarios, including one for smartphones
Solid but light construction
Carry pouch
Cons
There must be something..!
The new Audio-Technica ATH-MSR7 has escaped from Japan and has made it to our eager earholes in the UK; but can we expect a bigger version of the M50, or something else? The styling is reminiscent of the M50, but can we expect the recessed mid range that the M50 is known for?
Key Features
The ATH-MSR7 features ‘True Motion’ Hi-Res audio drivers with a diameter of 45mm; this according to Audio-Technica’s website improves response times and minimises distortion for a clearer and and more detailed sound, due to the inclusion of a super-light voice coil and precision diaphragm. Also ‘Dual layer air-control technology’ is described as a method for reducing vibrations within the housing; together with a triple-vent on each side, virtually all extraneous sound can be dealt with. Audio-Technica have been generous with extra cables in the box; there’s both a 3m and 1.2m cable and for those of us with friends, a cable featuring a mic and smartphone controls. For those without, we can always place the plush and well-made carry pouch over our heads.
First Impressions
The headphones don’t inspire much in the way of excitement on first seeing them; they’re pretty standard and much like the M50 with a less broad headband and larger earcups. The build quality is superb however, exuding a feeling of solid reliability. I’m reminded of a Beyerdynamic DT250.
Sound Quality
Under the ATH-MSR7’s dour and business-like appearance beats the heart of a party animal; ready to draw you in for the time of your life! The sound of these cans really must be heard to be believed; for under £200 the ATH-MSR7 represents some amazing value for money. There’s no ‘effortless’ feeling of headphones at the high end of the market, but everything else is there. A very pleasing bass which knows its place but is very impactful and rich, leaves room for a stunningly clear midrange with bright treble extending high, but with a smoothness which does not stray near harshness.
Soundstage is good for a closed back headphone, but it’s the imaging and speed which really makes the ATH-MSR7 shine. It certainly seems that the mysterious techniques that Audio-Technica have implemented here have paid off. I can think of headphones this good which cost twice as much as the ATH-MSR7! Little harmonic details and hard-panned instruments vie for attention, and the ATH-MSR7 demands pretty much all of it!
Summary
All too often we’re forced to find new exciting ways to say something is very good, and this is another of those times. The Audio-Technica ATH-MSR7 just does everything well. Understated enough to be worn in public, vented enough to provide a great sound, but also with a good amount of isolation. The ATH-MSR7 is just heavy enough to give the impression of solid build quality, but light enough to be enjoyed in great comfort. And as above, the sound is immersive.
Score – 9.5/10
Click Below to see our Audio-Technica ATH-MSR7 Unboxing video
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. They are available in versions compatible with Apple devices as well as Android, so you needn’t be cutting down your choice of handsets with the Momentum In-Ear.
Pros
Very nice looking
Decent well thought-out case
Versions for Apple and Android
Right Angle Jack
Cons
Bundled accessories are high quality but low in number
Designed to be worn down from the ear only
Hot off the press at Sennheiser, the Momentum In-Ear promises to give music fans a taste of what this esteemed company is capable of in its 70th year. This particular old man is not doddery in the least however; the old CX300 and similar models have been updated, the new Urbanite is impressing young music fans all over the place and now we have the Momentum In-Ear.
Key Features
The first thing which is noticeable is the case, since the Momentum In-Ears are tucked away in the case when bought. Fishing them out gives a very good impression however – the case is semi-rigid with an internal caddy around which the cable can be wound. This will certainly protect the Momentum In-Ears well when not in use. The nozzles have been updated from previous similar Sennheiser in-ears, with the Momentum In-Ear these are now ‘custom machined stainless steel sound tunnels’ – they give a nice impression of build qulaity. Then there’s the buttons, either for Apple or Android, depending on which version you buy.
First Impressions
In terms of styling, it’s more reminiscent of the Urbanite model. The flat two-tone cable and understated shiny design is attractive but not showy, much like the Momentum In-Ear‘s sound. The case is new too, and is an excellent design as it affords protection against the contents being squashed or stressed. A separate ‘caddy’ comes out, around which the cable can be gently wrapped and it goes back into the case to be zipped up. Very neat.
The capsules themselves remind me somewhat of the Brainwavs S5, with their off-centre nozzles. They fit very well indeed when worn like this, but it may make the ‘up and over’ wearing style a little awkward. It can be done though!
Sound Quality
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 now axed CX300, the sound is drastically improved and shows that this old dog still has some new tricks!
Summary
A very good in-ear from this venerable old timer. Despite all the in-ear competition coming from young companies keen to impress, Sennheiser can still pull a rabbit from the headphone hat; the Momentum In-Ear is a real treat!
I once thought that when it comes to budget earphone reviews, a jaded attitude would eventually begin to creep in. Surely there’s a limit to how many of these in-ear headphones one can try before it all gets a bit dull! However, I’m glad to find that I can still get bucket loads of enjoyment out of trying earphones such as this. The Brainwavz S5 are bags of fun with a warm and friendly presentation and they have loads of room with a generous soundstage. For the asking price the Brainwavz S5 is a fantastic sounding headphone; being new does not make it average, as we’ve seen with recent debutants such as DUNU-Topsound and Fidue. There are a couple of minor gripes such as the ‘left’ and ‘right’ markers being tiny and the y-split strain relief on the cable – it looks like a section borrowed from a bridge.
Pros
Generous supply of tips including Complyfoam
Good solid jack adapter
Hard case
Involving sound
Cons
Left and right markers hard to see
Straight jack
Cable split strain relief has become a feature
Brainwavz is another relatively new company in the personal audio market. However they are currently making big wavz of their own, and if the Brainwavz S5 is anything to go by a few more products from them can certainly float in this direction!
Key Features
Features are basic with no controls or buttons on the Brainwavz S5 itself, but there are some nice touches like the alternative eartips which give a slightly different sound, together with a pair of Complyfoam tips. A hard case is included which is great for cable longevity, and a rather nice jack adapter.
First Impressions
Initially there were no expectations, having no experience with this brand before. Packaging and presentation are fine for a product in this price range, but the sheer number of similar products diluted our enthusiasm. Initially there was disappointment with the black eartips – the bass was boomy and took up a lot of space in the presentation. But then the translucent eartips were tried.. See the next section – Sound Quality!
These earphones actually caused pain in the eyes as it was so hard looking for ‘left’ and ‘right’. For this review, a folded post-it note was stapled around the cable on the left so this needn’t be repeated. Black characters on a black background need to be several millimeteres in height before they’re legible.
Sound Quality
With my preferred translucent eartips, the presentation is perfect for my tastes. A warm weighty bass underpinning some very spacious mids and present but not overbearing highs. The bass impact stays down low while harmonics higher up give it a gloriously chunky feel which I’m a big fan of. It stays in its place and gives the midrange plenty of chance to show off its own detail. The midrange is slightly recessed, but not as recessed in my opinion as with the black tips. Higher up, things are on the smooth side but by no means dark. Soundstage is good for an in-ear of this type with separation fairly good – there is a bit of a cluttery feel to the percussion in The Bangles’ ‘Walk Like an Egyptian’ but the Brainwavs S5 copes well, considering all that’s going on in that track.
Summary
A very competent and great-sounding offering which begs the question – what are the higher-priced items from Brainwavs going to be like? I found the Brainwavz S5 to be amazing on older instrumental and pop recordings, but there may be a danger with more modern music featuring sub bass and similar with the bass being a bit much. But then again, fans of those genres will likely be looking for just that type of sound.
