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.
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.
Etymotic ER4XR – Review – Microscopes for the Ears
Intro:
Veteran earphone fans out there will certainly recognise this brand! Etymotic has had an excellent reputation with its single balanced-armature designs; particularly amongst professionals within the audio industry. With the Etymotic ER4XR we see that Etymotic’s famous and long-standing ER4 design has had a tweak to add a little more bass to the mix.
Pros:
Very accurate and resolving
Simple no-nonsense design
Nicely designed and replaceable cable
Carry case
Extra bass is restrained and well balanced
Cons:
Not recommended for poor quality recordings
Deeply inserted tips will not suit everybody (foam tips included)
Design and appearance:
There are few changes to the look of the ER4XR when compared to previous versions; it has the same styling, it’s still black and the eartips are the same. However, when something works so well, why fix it? With earphones such as this, Etymotic is right to feel that purchasing decisions will be made on sound quality requirements alone, rather than gimmicks such as styling and colour.
Durability & build quality:
Again, there are minimal changes here, if any. The cable is sturdy but flexible, and where it splits we have braided cable going into each driver. The cable is replaceable, being attached using MMCX connectors. The impression is definitely of a product which is built to last in demanding environments.
Accessories are decent enough, with a selection of eartips (standard triple flange, a larger size triple flange and a few memory foam tips), a few extra filters with a changing tool and shirt clip/jack adaptor. Also there is a carry case which is semi-rigid, and roomy enough to keep a few extra bits in as well as the earphones.
Comfort:
Due to Etymotic’s triple flange tips and the need to insert the ER4XR deeply in the ear, some may have comfort issues with the fit of this design. There are some memory-foam eartips included also, and a plethora of after-market tips should this be a problem.
That aside, the Etymotic ER4XR is very stable and comfortable; users can concentrate 100% on the audio.
Suitability for Intended Application:
Etymotic has long enjoyed a dedicated user base of audio professionals, and the ER4XR will not disappoint. However, more and more end-users have found Etymotic’s products as ideal for enjoying their music, and the Etymotic ER4XR is sure to please this group with some added bass when compared with the older ER4S. Mercifully, Etymotic have been quite measured with this additional bass; it’s balanced well with the rest of the sound and does not threaten to upstage the famous midrange of the ER4 design.
Sound isolation:
Isolation is fairly good; a reduction of around 30dB is quoted on the box which is certainly good enough. With the triple-flange tips, exterior sounds are deadened enough to avoid distractions but it’s still possible to hold a conversation with the earphones still in position (without music on, of course).
Sound characteristics:
The Etymotic ER4XR compares well to the other newly released ER4, the ER4SR. Both are very similar in terms of their sound, with a little bit more bottom end on the ER4XR. The accent is on the words ‘little bit’; these are not for bass fans, so please look elsewhere if you’re all about that bass! Etymotic have stayed true to their loyal followers, as the increased bass of the ER4XR does not impinge on the midrange detail and clarity that this design is famous for.
Bass:
A good seal with the eartips is still important, but not quite as important as it was with the older ER4S! There is an appreciable amount of extra bass which starts quite low, adding a nice weight to the presentation. Given the popularity of previous designs, both with audio professionals and music fans, perhaps this is a nod towards the second group. The additional bass adds more than a hint of musicality, warmth and vigour.
As might be expected, bass is very nicely controlled and well balanced with the rest of the frequency spectrum, working perfectly with midrange which adds some very realistic harmonics..
Mids:
Midrange frequencies foster a blend of revelation and adventure. Revelation, due to the relentless way it exposes details within the audio, and adventure for the same reason; some older or badly made recordings might be difficult to listen to, and low-bitrate encoded tracks will not do well. Additionally, there are unexpected things to be discovered within music collections everywhere. Listening to a German film theme from 1971 (Peter Schirmann – Fluchtweg St. Pauli), it’s possible to hear what was on the tape before they recorded! Always make sure your tape is properly erased – German music producers of the early 1970s, take note.
Those who have a sensitivity to high-midrange frequencies might wish to think carefully as the onset of listener fatigue may be quick for some. The rewards more than outweigh these paltry pitfalls however, as music can be laid bare and almost deconstructed by the quality on offer here. No sonic stone is unturned! Things are handled well; even with a chaotic amount of action going on in the music, the ER4XR does it standing on its head.
Treble:
Next to the power of the midrange, the treble settles for second fiddle. There are no sharp edges here. Treble is tuned to provide support for higher harmonics and percussion, but there is a chance of the ER4XR sounding a little strident in terms of lower treble/upper mids. Female vocals and trumpet sections can be a little hard-edged on occasion, depending on the production quality.
Soundstage & Separation:
With the accuracy on offer from the Etymotic ER4XR (and ER4SR), it’s no surprise that separation and imaging are very impressive indeed. It’s difficult not to be distracted by that oboe player skulking on the far left of the presentation, or percussion which gives a vibraslap round the face.
Soundstage is good; the music appears to be coming from further out than the deeply inserted ER4XR’s physical limits but the near-neutral tuning and accuracy of the ER4XR does impose limits on this, making more distant instruments appear closer.
Music Genres Good For and Why:
The ER4XR is perfect for well-produced music of all types, so long as it is encoded well (in the case of digital music). Older recordings may be a hit or miss affair with music from the 1960s and earlier, depending on the production and mastering quality. Frequency peaks in the wrong place will become very apparent, and of course artefacts from the original recording medium (such as record pops and scratches) will not escape undetected.
Jaybird X2 Wireless earphones Review -The No Bother Jogger/training without the draining
Intro
Being New Year, resolutions abound; after Christmas we feel like losing the pounds we gained during the festivities and seek to turn over a new leaf. Cue the Jaybird X2 wireless, which is the perfect pacing partner and will still keep us entertained when we inevitably just take to sitting around the house eating pizza instead. Usually by February.
After the good intentions have become a distant memory however, the Jaybird X2 can still provide good and useful service as a decent wireless earphone when commuting or frying chips.
Design and appearance (e.g. attractiveness, feel)
The Jaybird X2 is sleek and discreet; its looks blend in with all types of lycra and the supplied earhooks help to keep the earphones in; whether running, jumping, or just bent over whilst gasping for breath. The X2 can be worn either with the cable going over the back of the ears or with the cable coming straight down.
The X2 earphones are certainly built with an eye on the needs of exercise fans. They are rugged and will shrug off sweat, splashes of water and the odd impact like it’s a run in the park. The flat cable is well finished and the X2 even comes with some little parts to place on the cable and take up the slack when it’s worn. This cuts down on a lot of the ‘microphonics’, or audible vibrations which travel up the cable when it is in motion.
Comfort:
Certainly with the correct sized earfins, the X2 stays put so we can concentrate on our chosen exercise. There are Comply eartips included in the pack as well as the more familiar silicone ones, so a bit of experimenting gets a perfect fit.
Sound isolation (if applicable)
Isolation is very good, however there’s always a danger with earphones being too effective when we are out and about. The Jaybird X2 earphones hits the right balance between audio seclusion and being struck by a Mack truck. Most of what can safely be ignored will go unnoticed!
Sound characteristics:
The sound of the X2 is aimed at fans of most genres which get the blood pumping. The overall sound signature is comfortable and enjoyable; there is no chance of fatigue with the Jaybird X2 (well, listening fatigue anyway).
Bass (e.g. punch, low extension):
Bass starts low, and is slightly accentuated but has good amount of texture and leaves the midrange relatively uncluttered. Control could be better but is quite acceptable.
Mids (e.g. vocals, acoustic instruments):
Vocals and acoustic tracks are warmed up slightly by the bass presence, but there is still a good deal of clarity here; harmonics and delays are noticeable but may be a little recessed for some tastes.
Treble (e.g. high hats):
Higher frequencies are on the gentle side and for a majority of users, this is preferable. Percussion and other high frequency sounds are there, but have no chance of hurting the ears and hindering concentration.
Soundstage & Separation:
Soundstage is fair, with separation of instruments OK too. The wireless nature of the headphones and the bluetooth transmission method does lead to some compromises when it comes to sound quality, and this impacts on clarity dependent attributes such as soundstage and imaging/separation.
Music genres good for and why:
Being aimed at exercise and training enthusiasts, the Jaybird X2 excels in training-montage friendly genres such as rock, dance, pop and rap. Anything which benefits from an increased bass response will be in the sweet spot and will help to not feel the burn.
Pros:
Perfect for keep fit folks
A good wireless option for general use
Nice selection of accessories
Cons:
Not for those who want a no-compromise sound –
Battery will need to be kept charged
Summary:
Wireless earphones are getting more and more popular, and the Jaybird brand has a good pedigree in this field. The Jaybird X2 earphone is a very neat and effective solution for those who want a wire-free earphone, whether exercise is intended or not!
Hifiheadphones are pleased to announce that we will soon have stock of the new Aurisonics Bravo series of 3D printed in-ear monitor headphones – the Kicker, Forte and Harmony. Each model has their own sound signature – the series has something for every taste. We have covered each of these models in detail for you.
Aurisonics Kicker – RRP £249
As the name suggests, the accent with the Kicker is on bass with midrange delivering some nice textures too. Perfect for those wanting to live the low life without compromising bass quality. The 9.25mm dynamic driver in the Kicker can also deliver a nice amount of detail at the treble end of things but it is smooth enough to give the low and midrange frequencies centre stage. There is a good amount of space on that stage too, with separation enhanced by some very nice harmonics.
Aurisonics Forte – RRP £379
Moving through the range, the Forte features both a 9.25mm dynamic driver and a balanced armature which has been designed especially for use with within a hybrid IEM. Bass is every bit as present as with the Kicker, but with enhanced midrange for greater presence with vocals, transients on drums and decays for a clear sense of space. Treble is gentle and sits very well with the rest of the presentation; it works seamlessly with midrange frequencies to complement and not overshadow them.
Aurisonics Harmony – RRP £489
Sitting on top of the Bravo Series is the Harmony model. The addition of a second balanced armature to work with the 9.25mm dynamic driver creates more presence near the top of the frequency range, but it still has a smooth edge. As with the previous models, the Harmony gives a warm, bassy presentation with good control. The overall sound is a little more neutral from midrange up, with no peaks or bumps in the frequency response and no danger of fatigue. Perfect for professionals and end-users alike.
All models are available to Pre-Order from us at Hifiheadphones
It is tempting to think nowadays that smaller is better, cheaper and easier to carry around; but when it comes to headphones there are differences between large and small which are not all that obvious.
One of the relatively new developments in portable audio is the in-ear headphone, as opposed to the ‘earbud’ which goes back 25 years or so. The earbud sits in the ear’s concha and rests up against the ear canal (sort of), whereas the in-ear headphone sits in the ear canal itself and ideally creates a seal, for far better isolation and bass response when compared to the earbud.
In-ear (Intraaural)
This coupling method between speaker and ear gives a much more intimate presentation – indeed, more intimate than the producer or mastering engineer perhaps intended. This brings a danger of fatigue with certain recordings, and the soundstage is typically narrower making any spatial effects less pronounced.
One of the important parts of getting the most out of the in-ear headphone is the seal created when the right eartips are used. Everybody’s ears differ, and it is likely that some experimentation is necessary with the tips before the right effect is achieved.
Not everyone can comfortably wear in-ear headphones; some also prefer to keep the presentation as close to the intended ‘2 speakers in a room’ sound as possible. Full-size headphones replicate this better.
On-ear (Circumaural and Supraaural)
This is the style everyone surely thinks of when they hear the word ‘headphone’ – speakers sitting on or over the ears, connected by a headband.
The Circumaural style encloses the ear and is the most likely to give the ‘2 speakers in a room’ effect; the entire ear is subject to sound coming from the headphone driver, and this gives the outside ear or ‘pinna’ a chance to bounce the sound around a bit before it enters, much like natural environmental sounds.
Also, headphone designers have much better opportunity to treat the headphones, or make minor adjustments to ensure that they have the required frequency response. For example, holes or ‘ports’ can be created to reduce bass frequencies, and bumps in any frequency response graph can be dealt with by membranes which block certain frequencies and allow others to penetrate. There are fewer opportunities to tinker with in-ears before the design has to go back to the drawing board.
To a lesser extent, there’s a better chance of the left ear picking up sounds from the right speaker and vice-versa; mirroring what happens in real life. Sound passes through the head and is also filtered by it; the resulting sound is therefore attenuated and with a lot of high-mid frequency detail lost. Together with a slight delay (the time taken for sound to cross from one ear to another is around 3 thousandths of a second), the brain converts these subtle details into information on sound placement.
This is why binaural recordings are so lifelike; given that the technique involves small microphones placed in the ears of a real human head or dummy, any recorded audio has the artefacts lent to it by the head on which it is recorded.
The circumaural style is considered to be the most comfortable generally; the intended use for circumaural headphones is that the wearer stays relatively still, perhaps seated, and so the headphones rest gently on the head and ears.
Supraaural headphones are a little smaller and are designed to sit on the ears, against the pinna. This often makes them more practical for the purpose of portability, but often at the expense of comfort when it comes to extended listening sessions. This design tends to press harder on the ears, both to increase the chances of a good seal and to prevent the headphones’ headband from slipping as the head moves. Supraaural headphones are generally designed for outdoors with more active uses in mind, and so tend to be closed-back to offer better isolation.
It is perhaps easy to choose between circumaural and supraaural headphones; do you wish to remain at home and listen, or go out, for instance? In-ear headphones are less clear-cut. They are being designed now for all scenarios it seems. Our habits may have yet to catch up, but in-ear headphones are now being designed for the armchair listener, so the choice from now on may be less clear, but it will have increased, which is no bad thing.
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.
The DUNU TITAN 1 earphone is a lightweight and stylish medium priced IEM with some innovative design features. The DUNU brand appeared about three years ago with a small range of IEMs that instantly impressed. Cleverly built housings and a compelling grip on balanced yet engaging sound instantly caught our attention. DUNU have actually been building earphones and acoustic equipment for other brands since 1994, which goes a long way to explaining this Chinese manufacturers depth of knowledge and design skill. TITAN 1 are a great example of this new brands dedication to moving earphone design forward. Containing a 13mm Titanium coated driver with an angled nozzle surrounded by innovatively placed venting – which may well be the first design of its kind. We’re expecting to see similar designs in the future, as we’ll confirm later on in this review the results for an earphone at this price are sonically spectacular.
Build quality
From the moment you touch the metal driver housing it becomes apparent that the TITAN 1 has been engineered incredibly well. In terms of a sturdy build metal is a no brainer but if implemented badly an earphone can either be far too heavy – leading to fit problems – or if too thin, actually less durable than plastic. DUNU have this balance just right. The shiny and beautifully finished conical earpieces are ringed by metallic red and blue markers for left and right. With high quality 2 ply silicone tips on the nozzle side and well though out strain relief on the other, it’s very hard to pick any fault with practicality or looks here. The top portion of the cable has a soft rubberised coating which is not particularly microphonic when moving around. The Y splitter is attractive and practical with more metal and a wonderfully clever toggle (should you wish to wear them cable up) that caps the splitter like a bottle top when out of use. The remainder of the cable has a very tight nylon weave cover leading to a small and handy cable tidy and eventually a metal capped gold plated right angle jack unit. The strain relief here and at the Y slitter looks and feels sturdy without becoming obstructive.
Fit and Isolation
Fit, as always, is very much down to the users ears. Having said that, the conical housings and angled nozzle sat inside the ear snugly, feeling comfortable and anchored whilst protruding very little. I would not be surprised if this were the case for the vast majority of users. The angled nozzle prevents you from rotating the housings in the ear but the lengthy strain relief means the cable is happy curving round over the top of the ear or dangling down. Unfortunately the clever venting (we will get round to talking about how impressive that is later) does mean there is a little more leakage of sound, in and out, than traditionally expected. We found the supplied silicone ear tips provide an excellent seal and are comfortable too.
Sound
The TITAN 1 has a balanced type EQ which doesn’t purposely favour top or bottom end. There is a sense of the typical gentle smile curve with lightly recessed mids, a bit of bass punch and thump and some lovely air and silver to the top end.
Lows
Despite giving the feel that they can reach really low this isn’t overplayed, bass roll off is really well managed. Bass is deep but textured and subtle, there really isn’t much flab to speak of. Free of mud and cardboard tones as they transition to the lower mids, it’s all clean and well defined at the bottom. It’s a good balance which compliments contemporary music whilst gently stroking acoustic instruments and older dynamic recordings.
Mids
The mids are simply superb. Vocals and instruments in this region feel realistic and natural, there’s warmth but it’s handled with care. The outcome is a really pleasant and engaging vibe that defines the characteristics of this quick and nimble earphone.
Highs
There is plenty of energy in the highs but it rolls off comfortably, you couldn’t really describe the TITAN 1 as bright but that Titanium driver is performing a bit of magic here. There’s good air and space and just enough metallic brightness to deliver a fresh realistic feel with a bit more fine detail than you would normally expect from a dynamic driver.
Soundstage, Imaging and Separation
Soundstage is surprisingly wide and a bit further back than most in ears. This gives a bit of an upside down U shape to the image adding a taller broader scale than expected.
Sound Conclusions
The TITAN 1 have weight and authority but also enough bright power to sound refreshing and airy. Imaging better than more expensive earphones, they could still have a darker background and better detail retrieval but the combination of the Titanium driver and the completely individual venting system seems to be performing a minor sonic miracle. This venting is the subject of much discussion online, some believe the sound escaping here is vibrating the surface of the outer ear mirroring the way the ear receives normal room sound. The superb EQ and natural yet fun presentation prevents you from noticing the finer shortcomings. Sound-wise they conjure an exciting, easy going and vibrant presentation which is hard to criticise.
Accessories and Packaging
Packaged in a sturdy and attractive box, DUNU include some interesting information about themselves and their manufacturing ideas. Accessories are generous with three pairs of narrow bored silicone ear tips with red cores and three pairs of wide bored tips with blue cores and three pairs of what look like Sony hybrid tip clones. There’s also a 3.5mm to 6.3mm jack adaptor, a useful shirt clip and a smart hard case to keep it all in.
Conclusion
The TITAN 1 are shockingly good for their price. They’re a superb example of how far medium priced headphones can be pushed by an innovative manufacturer with big ideas. Although they don’t scale the heady heights of today’s crop of high end IEMs, they more than hold their own in the under £100 category. With their good looks, a beautifully implemented Titanium driver and totally individual take on venting, the TITAN 1 finds a natural, exciting and fluid sound which may make them the very best buy for anyone shopping at this price point.
Best in-ear headphones to buy in 2015 – Expert Reviews – See more at: http://www.hifiheadphones.co.uk/reviews/best-in-ear-headphones-2015-review-2015/#sthash.SkMK3Ygf.dpuf
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!
What happens after Christmas and New Year, we all start to feel the need to hit the gym, but this can be such a tiresome chore, slogging away on the running machine for hour after hour, or bursting your lungs spinning away mile after mile on an exercise bike.
Well why not take you music with you to keep the spirits up and keep your ears entertained.It’s no fun listening to the sound of the pounding muscles around you when you could be listening to your favourite tracks.
The SoundMAGIC E30 offers well balanced, accurate sound at a price that is hard to beat . They have an an in-ear monitor (IEM) design, which is normally reserved for much more expensive earphones (i.e. see earphones from Shure, Sennheiser, etc).
The cabling is designed to run up and over the ears to the back of the neck, which means the ear buds stay very securely in your ear, and the wires stay out of your way. This fit system works very well for sports, on stage in-ear monitoring or any situation where you are active.
The SoundMAGIC E30 is robustly built, with well made cables and good strain relief to protect the cabling from being damage. They come supplied plenty of different size ear tips to ensure you get a good in-ear fit. You could even get the Comply T-400 Foam Tips which would give you the best possible comfort and noise isolation.
Hifiheadphones verdict:
Sound quality with the SoundMAGIC E30 is exceptional considering the reduced price point and compares well with earphones costing two, three even four times as much. The sound is well balanced for an earphone at this price point, with well defined bass and a high level of accuracy through the mids and highs.
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.
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!
Tiësto is a DJ and Musician who has transcended musical genres to create the global “Tiësto” brand and now he has his own headphones. His achievements include: a Grammy nomination, numerous MTV awards, performing at the opening ceremony of the 2004 Athens Olympic Games to an audience of billions, he even has a wax statue at Madame Tussauds!
With over 18 million friends on Facebook, 3 million followers on Twitter, over 500 million views (and 1.5 million subscribers) on YouTube, Tiësto is truly a universal phenomenon. Voted ‘The Greatest DJ Of All Time’ by Mixmag and the #1 DJ by Rolling Stone Magazine, Tiësto has worked with superstars such as Kanye West, Coldplay, Katy Perry, Nelly Furtado, Yeah Yeah Yeahs, Goldfrapp and many more.
By partnering with Audiofly, Tiësto has drawn on a company whose expertise in product design and audio engineering sits atop the industry. The results of this partnership are pretty amazing.
Every track is a journey of emotions, packed with the ear candy you crave. Paradise boasts a full, balanced sound to capture the feel of the club and take you there everyday.
Engulfing and larger than life, Maximal is your sonic entourage. Be transported and experience detailed layers of texture, effortless precision and a punchy bass for that explosive drop.
Powered by dual driver technology, Adagio is your VIP access to a place where extraordinary things happen. Immerse your senses in an eternity pool of mindblowing sound, where stunning detail meets heart-pounding exhilaration.
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.
